I have a love/hate relationship with post work. It's where all the magic of the final product comes together, but it can be oh so mundane and tedious. One editor is making it both more fun and more efficient by trading in his mouse and keyboard for something a bit more interesting: a video game controller.
Peter Stewart is an internationally published photographer that specialized in travel and fine art photography. To understand how to take awesome scenery photos, you must know the three basic qualities of light: intensity, direction, and color. Check out how a master does his work.
The choice of colors in a scene can be one of the most influential factors in giving a film its signature identity. Whether you're looking to recreate an iconic look or simply seeking new inspiration, Cinema Palettes is making it incredibly easy to replicate your favorite films.
In the comments section of my last article, I remarked that "I always liked the rendering of X-Trans files on C1 more than Lightroom anyway, so maybe this is just the reason I need to make the switch back." A longtime contributor to the comments, Pete Miller, asked if that was indeed the case. Good question! Let's find out if the reputation Lightroom has gained for inferior Fuji X-Trans processing is still warranted.
You're about to become better at post-processing! Raiatea Arcuri, a landscape photographer from Hawaii, has an impressive portfolio. I was pleased to learn that he also shares some of his secrets to processing his landscapes. Arcuri teaches you how to process a stack of images shot at night to create a wonderful star trail nightscape using Lightroom and Photoshop, and I will share some additional tips to help you achieve stunning star trails.
With the wedding season right around the corner, it is time to find a solution to improve last year’s workflow. Most event photographers complain about the same thing: culling. It can quickly become a very time-consuming task, and it is far from being the most interesting part of the job. Although, there are a few ways to help speed up the process while retaining a solid quality control.
For many of us, photography is a form of art, or at least there is an artistic process behind it. More than that, each of us strive to have a "style" that is an artistic consistency to our work. Photography, however, is quite different from your traditional art-making process. There is as much technical knowledge required as artistic or creative inspiration and thinking. This separates the process into two distinct parts: the shoot and the edit. These two parts are equally important to your identity as a photographer.
Lindsay Adler is a high end fashion photographer and educator. She has been named one of the top ten fashion photographers in the world, so when she shares her insight, it’s probably best to take notes. In this free one hour webinar, Adler goes over five things that can ruin skin, and how to fix them.
Retouching, much like photography itself, is a really subjective topic in the community. What one photographer considers great, another considers mediocre. While there are many debatable topics regarding retouching, I think it’s important to note these three things most photographers get wrong when they’re retouching.
In this video, Guadalajara-based Photographer and Retoucher Sid Vasandani, shows us how to recreate that classic Steven Meisel vibe, used in his controversial campaigns for Vague Italia's, "Makeover Madness" and "Supermodel Enter Rehab". Watch as Sid walks us through a behind-the-scenes shoot, where he runs down the lighting set up, before going into an in-depth explanation of the retouching and color grading workflow in Photoshop.
After receiving almost 300 submissions to my previous raw file challenge (inspired by Dani's post last year), I decided to cap the entries at 200, because why not, and also put out a second raw file and an all new challenge. This time, with a shot of model Anna Truett, shot inside the Union Station Hotel convention area in St. Louis.
Recently I babbled on and on about shadow and highlight recovery using raw data in Capture One Pro, something I still fully endorse and recommend you do in your post production work when recovery is needed or wanted. However, feedback and practical thinking made me create a simple Photoshop Action that sets up one of my more common methods for simple shadow recovery, but in a refined and manual way.
Lots of skilled videos editors have started to see the value in being hired for contract work. It’s a great supplement to other income, you can be picky about projects, and most of us enjoy the work. But what about negotiating rates, estimating time, and dealing with files after the job? Here are some tips for the business-side of being a freelance video editor.