Consider processing techniques

For digital photographers, only half the work is done in the field. Vary processing to unlock creative options

one of the greatest advantages of digital imaging is the flexibility to revisit photographs and apply new processing styles. Several years after taking an image and processing it for the first time, it is possible to completely change the tone and atmosphere by altering colour, exposure and cropping. Transforming files in this way opens up multiple exciting possibilities from every shot, enabling us to extract more from a scene than was possible in the days of film. Pro digital photographers such as Robert Schmalle (robertschmalle. com) know how to take advantage of these opportunities. “for me, processing is when the fun begins,” says Robert. “When deciding what processing techniques to use, I start with Lightroom Classic, then move to Photoshop, where I work with luminosity masks. After that, I will work with different plug-ins to bring out [specific] aspects of the image.” When shooting images, you may have a certain ‘look’ in mind, so these preconceptions can inhibit your creativity. In the digital darkroom, free from the time limitations of changeable light, you can spend longer tailoring your edits for each specific shot, processing experimentally to find unique styles. This approach ensures you present each scene element at its best.

However, sometimes it is beneficial to shoot images with the final processing method in mind. If you intend to employ high-contrast adjustments in software, shooting images with lower contrast will avoid clipped highlights and shadows in the final image. Similarly, if you are aiming for a high-key look, shooting a brighter image in the field will avert emphasised noise, through increasing exposure in Photoshop. Either way, since all digital images are likely to be processed at some stage, placing varied editing at the heart of your workflow will provide the greatest experimental freedom. “When I take the shot I will generally have something in mind for an edit. However, the end result is very often different from the plan,” explains Robert. “I try to let the editing lead the way – it’s a constant experimental process and I try not to let my initial conception of the shot impede another good idea that arises during processing.”

“Sometimes it is beneficial to shoot images with the final processing method in mind”

COOL 1. SELECT YOUR WHITE BALANCE Choose a ‘cool’ WB – this was shot in Tungsten, but Daylight was considered less extreme. 2. CUSTOMISE COLOUR A temperature between Tungsten and Daylight was finally selected, while positive Tint provided colour...

Below RAW FILE This out-of-camera image lacks colour and contrast. There are also some exposure issues to be rectified in the highlights. With software, there are a variety of different ‘looks’ with which we can experiment BEFORE