When it comes to post-processing, I like to stick to the basics. If I can’t make a photograph more aesthetically pleasing within a minute of dabbling in levels/white balance/spot removal adjustments in Lightroom 4, then I don’t see the merit in wasting time attempting to make a “good”photograph out of a”bad” one. In that same vein, I won’t even attempt to correct a photograph that I feel may take a lot of computer work (aside from critical portrait work on occasion); shame on me for not getting the majority of it right in-camera!
That said, this kind of light post-processing doesn’t usually find its way into the “My Mind’s Eye” series. In these posts—the few instances where I do take the time to show what my mind’s eye sees that a camera cannot immediately capture—it can be a refreshing change of pace to find that only a little PP work is all it takes to bring a photograph to life. Spring is in the air, and I’m catching up photographing all the flora that comes with the season:
In this straight-out-of-camera shot, I like the creamy bokeh and contrasting blue against washes of green. However, everything is a bit flat–as is typical in unadjusted JPEGs of colorful scenes.
So, how much good can adjusting contrast and saturation do to this photograph? A lot, as it turns out!
The Little Ones
85mm, ISO 100, f/2, 1/400
Taken with the 85mm f/1.4 AI-s, I’m still in the middle of testing this fine telephoto, and also have more to share from some recent sporting events. Until then, thanks for dropping by, guys and gals!
Bokeh’s looking good here, Matthew. I also very much like your post processing techniques (both here, and in general). It does make me smile a little when I show say, a Leica or Fuji fanboy, a photo I’ve taken on my meagre Sony NEX, and have tweaked the output to match their magic. Sony could certainly have better lenses, sensor, etc etc, but I’m mostly pleased with the results I get, and that’s what really matters.
It seems that Sony’s sensors always render more clinically than other camera manufacturers, whether it be JPEG or RAW. I find this a good thing. It’s easier to take “away” from images (adding saturation/exposure changes in post for more character), than to “add” to them (adding sharpness/clarity). Sony’s RAW files render detail so sharp from the get-go that, from a technical perspective, many of my photographs require no editing. I’ve gotten to the point now that just a little contrast addition through utilizing the shadow/highlight clipping indicators in LR4 gives files great pop, while there’s still so much headroom at ISO 100 for other artistic edits.
Agreed on the lenses deal, though. You know I don’t have to particularly worry about that, but those that don’t like the idea of using manual lenses can easily come away from the NEX line feeling a bit disappointed (unless they’re using the Zeiss 24, Sig 30, or Sony 35, of course).