The journey to a final image has barely begun when the shutter is fired. There’s still work to be done in getting to the composition that the eye has seen and the imagination has worked with. I thought it might be worthwhile looking at that journey again with another example.
This is the original unretouched shot as it came out of the camera as a RAW file. I pretty much always shoot RAW so that I have the maximum data to work with in post. This was shot in the evening as dusk was falling. I shot it hand-held at 1/40 sec, ISO-200 at f/8. The reason I’m sharing those settings is that I want to explain how I was trying to find the right compromise to get a workable image. The available light was fading quite quickly as dusk fell and there was a natural haze to the light looking out across the water. I was using a focal length of 55mm so normally, to minimise camera shake, I’d want to use a shutter speed of at least 1/60 sec (the general rule of thumb is to sue a shutter speed at least as fast as the focal length – ie shooting at 30mm choose a shutter speed of at least 1/30 sec). I was therefore shooting just a little slower than I ideally wanted and took the risk of minimal blurring from camera shake – but I thought I’d manage to be steady enough at 1/40 sec. I could have opted to widen the aperture to get a faster speed, but I wanted to have a reasonable depth of field for a landscape shot, so didn’t want to come lower than f/8. Then there was the question of ISO. I wanted to minimise grain (noise, if you prefer) so opted for ISO-200. I think I was pretty much pushing the boundaries here.
The initial RAW image (above) is rather washed-out and not as clear as it looked to the eye. My job in post was to try to get as close as possible to what I saw without making it look too heavy-handed. I did all the processing in Lightroom to end up with this:
That’s much closer to how I saw the sky and the landscape of Edinburgh and the Pentland Hills. So, how did I get to this? Here’s a brief run down of the editing. First of all (and this is standard to my workflow) I made adjustments to the Lens Corrections and ticked to remove chromatic aberrations. I cooled the colour temperature just slightly to bring through some more of the natural blue tone. Then I added some dehaze, and clarity, trying not to overdo it. As both of those essentially affect contrast, I left the master contrast control alone. I also boosted the vibrance a little to enhance the colours and then made slight adjustments to the saturation of purple and aqua. That pretty much got me to where I wanted to be with it. Then, just to deal with the sky, I added a graduated filter and darkened it slightly. I wasn’t entirely happy with the landscape across the centre, so used a brush to add a little more dehaze to that central strand.
I envisaged this as amore cinematic shot, so cropped to a 16×9 ratio slightly recomposing to drop the horizon below the centre line. Finally, I added a slight vignette to help draw the eye in to the composition.
That, then, is how I went from the original shot to the final image. Is this a keeper? Probably not. If I go pixel-peeping, I can see some evidence of slight blurring which is probably the result of hand-holding at 1/40 sec. This wouldn’t really stand up to printing in any large scale, so I’ll put it down to a useful experiment. If I wanted to make something of this composition, I’d need to go back and re-shoot it using a tripod. Of course, whilst I could go back at the same time to the same location, the light won’t be the same and I will never be able to exactly reproduce this image. Such are the joys…