![]() Let’s take a look at an exposure sequence I created in 2014 that I was not happy with the final result I was able to achieve at that time. It has very precise controls that can help you show the detail you wish along with the density range you need to cover with relative ease. MAC users now have a new option from MacPhun called Aurora HDR. Many of the effects included way too much saturation, ghosting in high contrast areas, and noise. I haven’t been a great fan of a lot of the HDR programs in the past as they ‘looked’ like HDR. This is especially important when it comes to making better images from older files as new software solutions are formulated. Camera cards and storage memory have come down in price to a point where storage of the extra files is not a price decision. Today’s cameras can capture RAW plus jpeg giving you the options with the best of both worlds. But those same benefits of jpegs become liabilities when you want to make larger images and dig down into the data to pull out all the detail and color that is available in the RAW. Or, if you tell the camera to give you a black and white or another photo style the information is baked right into the file. Benefits include having the image look great right out of the camera for instant sharing on social media. There are wonderful reasons to use jpegs. When jpegs are saved a relatively large portion of non-visible information is tossed to the side never to be seen again. This can be done using jpegs also, but you will not have near the latitude as RAW files. I’d like to talk about revisiting older RAW files to see how the new processing tools can breath new life into them. Photography software has been improving at an incredible rate to help us in developing our imagery. Now that we are in the digital age we can create repeatable results and can tickle every pixel in the file to do our bidding. And good luck with being able to create the same image again. ![]() You could spend hours trying to get an image printed just as you would like it. In the past to pull a print in the darkroom you had to dodge and burn using your hands or other objects to interrupt or extend the lighting time on the paper. ![]() We now create changes that are repeatable to an exacting standard. Instead of heading to a dark room full of chemicals and diminished red light we can work in a lighted environment. The post-processing is the performance of the file which leads to the print or other use. The original file is now equivalent to Ansel’s negative. I will update Ansel’s quote just a bit for today’s digital age. Each performance differs in subtle ways.” – Ansel Adams “The negative is comparable to the composer’s score and the print to its performance. ![]()
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