Lightnings taking a ride

by ceinmart

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0

I think there's a psychological aspect to this as well. It's easy to only look at the technical things of a photograph, but no matter how fancy your lighting equipment or camera is or how many years of experience and gathered post processing knowledge you have: in the end, content matters, that is: what you see in the image. I think the post processing ...


2

The histogram for this image looks like this: Key points: Nothing over in the far left — the blackpoint is lifted, or to put it another way, the deepest, darkest color is not black, but gray (and there's not much of that). The bulk of the tones, including a big spike, are way over in the brightest 90%. And, there's also a spike at 100% — that is, fully ...


1

You can click on one step of the history stack on the right hand side to view the image "as it is at that step". Click back to the top to view the latest version. Warning: while you are viewing one step of the history stack, any attempt to edit the picture will discard the top of your stack. You can go to the step you want in history, make a snapshot, come ...


1

There is no such thing as a natural photo. Whether intentional or not, every photo is an interpretation of reality. Cameras don't see the same way our eyes/brains do. I don't think I've ever seen a photograph that was "plausible as a real life eye view." I'm always aware I am viewing a photograph rather than the actual scene. What is included and what is ...


1

I think the natural answer is that if the goal is "natural", then avoid the Vivid and Landscape colors.


4

Each control has two different uses; to compensate for shortcomings in the original exposure, or to add an effect to the image. In a certain range the control has the first use, beyond that it has the second use. The problem is that there is no specific values where a control goes from compensating to effect, and in each case there isn't even a specific ...


2

On the other hand I doubt advanced functions like noise reduction, local contrast or edges could be obtained through traditional film photography — and it seems quite easy to fell on the "too much" side of photo editing. There is no doubt that digital files allow much more processing flexibility than traditional silver halide film. But in this ...


2

One big one you can do digitally that was very hard to do with film is color correction at more than one place along the dark/light range. Unless you were doing very complicated, time consuming, and difficult masking, you could only color correct a photographically processed (as apposed to digitally processed) image at one color point. Color enlargers had ...


3

Actually local contrast / edge enhancement can and was done with film. https://en.wikipedia.org/wiki/Unsharp_masking#Photographic_unsharp_masking Other processes that could be done with film include: cropping, contrast enhancement, rotation, colour manipulation, selective brightening/darkening, gradient filters, image compositing, dust/spec removal / ...


1

For each picture "A", you could have come back at its original state, duplicate it to create image "B". Then go back to the last edition step of "A" and copy only the changes you want (CTRL + SHIFT + C) and past them to "B" (CTRL+SHIFT+V). It's a one by one process but it works. Now a "batch" process is more complicated but doable if you are familiar with ...


1

It looks like a filter hasn't been used here. Instead it looks like the photographer gas increased both the colour saturation and contrast of the image. And then to finish it off a vignette has been added.


7

Split toning is a method that is used to introduce a colour tint(s) into the highlights and/or shadows of an image. It is used purely for aesthetic reason, and could be used to recreate the look of a particular film or just a completely unique look. Many films have colour casts in their shadows and/or highlights. This forms part of their "look", which you ...


1

To be clear, here is a downsized version of the original you are referring to: This looks like a clear case of high black level with a reddish tint. Let's see. Yup, the black level is (.307, .071, .032). Just correcting for that alone yields this: The darkest part is now black and the lightest white. It still looks somewhat washed out and with a ...


2

I'm sorry to tell you that whoever told you that it was some 'secret sauce' added in post production either doesn't know as much as they think they do or has been having you on. What you're seeing in the example images is from an effect called cross-polarisation. It's where light entering the camera has interacted with multiple polarisers. In the images ...


0

I haven't run my favourite image analysis tools on your image but it seems the effects you are looking for are post-processing effects (no obvious use of filters). For the colors, you will probably get something very similar with some contrast adjustment and by playing with saturation and vibrance. Same thing for the vignetting, the tools of your favorite ...


7

As a rule of thumb if you can do it in-camera then you should. If nothing else, getting that kind of mask right in post processing can be time consuming and fiddly. It all adds time to your workflow that you don't really need to spend. Do it with a backdrop and a coloured sheet - it'll be slightly more difficult to set up initially but once it's done once ...



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