59

Why are hardware-based manipulations, like black and white photography (traditionally using black-and-white film), long exposure, etc., which also result in an "unnatural" image, acceptable while software-based manipulation (like HDR) is frowned upon by the photography community? Differences from human perception that are due to limitations of the medium ...


57

Certainly the biggest factor is the dynamic range processing. The room is so bright, and shares the same color temperature as the outdoors daylight lighting. Yet the shadows in the balcony and near the glass door, which are closer to the light source, are the darkest parts of the scene. Also, one "fakeness" indicator that your mind might not have caught, ...


43

If the lighting was asymmetrical and consistent between shots, then the lighting will be flipped as well and this might easily make the shot look simply awful or so awful its funny. This may not be appropriate for their brand.


43

Being slightly harsh, competition rules like that show that the organisers don't really understand how modern cameras work. A very high level and simplified view of how a camera makes a image (JPEG): Light hits the sensor. Every pixel on the sensor produces an electrical reading which corresponds to the amount of light hitting it. The camera converts those ...


42

Going from negative film to a printed image is a two-step process. First, the negative is developed — the latent image on the film brought out and then fixed in place. Now you have a piece of translucent film with a negative image on it. Second, to go to a the final print on paper, you then essentially repeat the process, shining light through the negative ...


37

Although Philip's answer is the best way to go, it is possible to do what you want entirely within the sphere of JPEG. JPEG works by breaking your image up into blocks called Minimum Coding Units (MCUs), typically 16×16 each, and compressing them separately. You can see this in images when you crank the compression level up very high. At more ...


36

In addition to the points Alex S made, you need to consider why they want RAW. There are several possible reasons: Bit depth as Alex S said. JPG suffers from compression artefacts which RAW doesn't. Blown up to exhibtion size these can jump out and ruin a print. Having the RAW file is often used as a proxy for having taken the photo, as RAWs aren't ...


35

Artistic photography follows the beauty is in the eye of the beholder ethos. There is nothing inherently immoral about it. Photography that is meant to make a political statement or journal actual events is held to a much different standard. Take this example: The depiction is of an actual event, the right person attacking the left. However, the lighting ...


33

I would recommend any of the applications from this list at JPEGclub.org, which develops and maintains software for the Independent JPEG Group. They have a free piece of code called jpegtran which can do some basic transformations (like rotation) without re-encoding the image. Rotating images the "naive" way (rendering to a bitmap, reorienting the bitmap, ...


31

There are no hard and fast rules in art. You are free to follow your heart. If flipping some of the images assists in the symmetry of the final presentation, then go for it! Few if any will recognize their image was flipped. After all, they see a flipped image when they shave or put on makeup. Yes, the dressing, shaving, and makeup image in the mirror is ...


29

RAW is not (or minimally) processed image data from camera sensor. JPEG is processed image data. Typically, raw-files from modern cameras have 12-14-bit per pixel which means up to 16384 values (for more details see Michael Clark's comment). JPEG can have only 256 luminance values per RGB channel. This means that jpeg contains much less data than a ...


28

Let's look at the last picture. If you want a black background, you need to be careful not to spill light. It's relatively easy to control in a large studio, it's almost impossible in a small room. You need a background which is far away. You could even shoot outside at night if the weather allows it. You need some continuous light to show the trajectory. ...


28

The reasons to have difference in size can be (and most of them are related to image compression): Amount of details in the image. Save flat colour image and another with several colours and you will see the difference Number of colours. Related to above, but if you have more colours and lossy compression you may have bigger image (as size) Level of JPEG ...


26

Upon viewing his portfolio at the link you provided, my first thought was push processing. In push processing, one typically underexposes the shot (that is, meters and set exposure as if the the film were a higher ISO than it really is), then compensate in the darkroom by overdeveloping the film to account for the underexposed shot. Push processing tends to ...


25

The thing that sets off the alarm is the perfectly bright and uniform lighting in the room, especially on its ceiling. The room should be quite dark, since the sun is on the other side of the building (according to the building in the background). You can see through the window (and in the big mirror) that the ceiling of the balcony is more realistically in ...


24

You can achieve this using flash, gels, and white balance. Set your WB so that the background (the clouds) has the desired colour tone, this will probably involve a lower WB setting than the one AutoWB would select. (By selecting a WB which is warmer than reality, the image gets colder). Light your subject with flash, with a warming gel on the flash to get ...


24

Usual technique (here with Gimp, but same technique is doable with PS): Put your two pictures in layers (they should of course overlap as exactly as possible, which is easy if like here one is a desaturated version of the other, but can be harder in other cases) Add a layer mask to the top one Fill the mask with a gradient where you want the transition to ...


22

I think your manager is right, and that this phenomenon is much more widespread than just photos for social media, or even photography in general. Take a look in supermarkets, and take in the flashy bright colours and stark contrasts brands use to attract your attention. If they get you to look at their product, chances of you buying it shoot up ...


22

For these two photos: as shown by ImageMagick's identify, the bird is JPEG quality 100 and the llamas are JPEG quality 92). This alone would be enough to explain the size difference (the other factor, chroma-subsampling, is the same in both pictures). To put things in perspective, a test picture, exported with various quality settings (all other settings, ...


21

The point to remember here is that you lose quality when saving the photo into a lossy compression format. So long as you save the photo in a lossless format (PSD, TIFF, etc) after adding the border, you won't lose any more data than you've already lost by saving the photo as a JPEG in the first place.


21

Is it frowned upon? Photography has always made use of whatever technology was available, whether in the camera, the darkroom or, now, the computer. It's a long time since other forms of art were required to be 'photorealistic'. No need for photography to be either! If you find yourself among people who disagree, work within their rules if you find ...


21

The focus seems too even to me.  I would expect a photo taken to have something blurrier, either in the foreground or background.


20

To echo the words of others, I cannot and will not help you here. You are asking for knowledge on how to remove a copyright owner's SIGNATURE from THEIR WORK. Sorry, but that's wrong. If you want a signature-free copy, you should be contacting the owner of the work to see if they will offer you the right to purchase a COPY — however it is up to them whether ...


20

Overexposed areas have a sharp cut-off when the maximum pixel value is reached. You have a completely white area if this happens in all colour channels. There is nothing you can do in post to recover information in those areas. In contrast, underexposed areas retain information, but when you brighten them, you amplify the noise, too, and with less bits to ...


20

Just to provide a third option - & you can do this with just one colour photo, no need for a separate black & white image. Add a Hue/Saturation adjustment layer & dial out all the saturation. Then, just like xenoid's example, paint half the layer mask out & you're left with half colour, half black & white. The great thing about using ...


18

I would suggest backing up three things: The original RAW files. Your RAW software's database of adjustments — usually, this is kept as lossless storage of what changes you made. High-quality (100%-quality JPEG or TIFF, depending on subject matter / detail) of developed images you've put a lot of work into. #1 keeps the originals. #2 lets you recreate your ...


18

Edit: I wrote a Gimp script that does the steps below, and another one for Ilmaris answer. Both scripts are available for download on GitHub. The suggested way to go is this one. I’m answering this right here because I have been searching for a solution for quite some time and found a simple and working one. Let’s get to the result right away: Create a ...


18

(As you havent specified a country, I will assume UK, others will likely be similar or the same) According to the Copyright, Designs and Patents Act 1988 (https://www.copyrightservice.co.uk/copyright/p01_uk_copyright_law) Restricted acts It is an offence to perform any of the following acts without the consent of the owner: Copy the work. Rent, lend or ...


18

What I did in the end Thank you all for your suggestions and advice. You all really helped me decide what to do. Just to clarify, I wasn't aware that they wanted this before the shoot and they were very happy with the photos, they just wanted some taken from the opposite angle (with the subject turned to the right rather than to the left). In the end I ...


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