Saturday, March 26, 2011

Post-processing Diary

These shots all share one thing in common:  I used my recently repaired 17-85mm lens and want to keep shooting to see how well it holds up.  I'm not terribly hopeful.  The 17-85mm, of which this is my second copy, seems to give up on life if ever it registers the dreaded "Error -99".  This one just came back to me on Thursday, thanks to my brother Allan's help.  While I'm getting used to working with it again I find that it can produce some very nice post-processed images.  Shooting Raw images with this lens usually yields "ok" images but processing makes the difference between shots that would normally be acceptable and images with a bit more distinction...well, in a few cases anyway.  For those who don't know, post-processing images is like taking the digital equivalent of a dark-room and working with the Raw image by tweaking any of dozens of different settings until you actually get what you want.  Its not a magic bullet to replace careful shooting in the first place but means a good shot can be better (or excellent).  These shots all have a hidden life, revealed by the tweaking described above, which is no different than changing the darkroom process after the shot has actually been taken and working it until the desired result appears.  That's my excuse anyway...maybe you'll like one or two of these, even with the mystery revealed (if ever there was one)






reduced the shadows and increased the exposure.



Removed all reds and yellows and oranges.

De-saturated all but the tape, sharply increased contrast

De-saturated all but the tape

A simple cropping job to eliminate the sides of the glass

Changed colour temperature and sharpened the edges

No processing

No processing

De-saturated the blues, increased contrast while reducing the overall exposure.

Increased saturation of the blues and increased contrast.



While the lights were out

1 comment:

  1. Of course some of the languaging is way beyond me, but the shots are great.
    KPH

    ReplyDelete

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