So what?, you’re thinking. Why do we need another generic Adobe profile when we can choose one that matches the camera’s own rendition and picture styles, or choose one of Adobe’s many built in black and white, creative, modern or vintage profiles? Well let’s see…
Ideas and effects
It's easy to get stuck in a rut and run out of ideas, so here are a few treatments and editing effects I've tried out over the years, with explanations about how they work and how to replicate them. I hope you find them useful!
Everyday edits: This minimalist still life shows Lightroom’s AI masking working perfectly
Minimalism, brutalism and architecture, three of my favourite things. So when I got the chance to spend a week in a converted WWII bunker, I spent much of my time exploring the objects, compositions and lighting in this strange but extraordinary environment.
Everyday edits: Bournemouth Pier, with Lightroom Classic’s Storm Clouds Adaptive Preset
It was a dark, blustery day in May. Bournemouth, on the UK’s southern coastline, was not looking its best. But I didn’t want to try to glamourise it, I wanted to make this place look exactly how it felt on that day – only more so.
Have I been looking at dynamic range all wrong? And how much is enough?
So until now I’ve been thinking of dynamic range recovery as being a combination of highlight recovery and shadow recovery. But actually, I’m starting to think that if my highlights are blown, that’s maybe not a dynamic range issue, but an exposure error on my part. I’ll explain what I mean.
Recreating a classic style digitally in ON1 Photo RAW: Josef Sudek
Josef Sudek was a photographer from what is now the Czech Republic who had a characteristic style, particularly later in his life, when he drew inspiration from the objects that surrounded him and the effects of light. His images were deep, soft and mysterious. But is it possible to achieve some of that look digitally without producing just a cheap, fake effect?
I’m obsessed with the strange, chaotic and beautiful world of Nik Analog Efex
There comes a time to put the science to one side, to put the histograms and the eyedroppers back in their box, and to step sideways into a very strange and very different analog world. Analog Efex, part of the DxO Nik Collection, goes to places other effects tools don’t go. It’s richer, stranger and more random than just about anything else, and I love it.
I edited this black and white image three different ways and I still can’t decide which is best
Editing processes are very selective, and different photographers will have different approaches. Even the same photographer can have different approaches at different times. Just as it’s not always easy to cull your images, it’s not always easy to decide on the best way to edit them.
Edit history: Stormy sky over pier
There’s this idea in digital photography that your gear or your software must be at the heart of everything you do. That’s not true. The art of photography lies not in the tools you use, but knowing what to do with them.
Rediscover the lost art of dodging and burning in Capture One
Dodging and burning isn’t just an old-school black and white darkroom technique. It’s just as useful on color images, and Capture One’s Style Brushes update this classic technique with powerful digital enhancements.
Recreating an 1970s analog street photography vibe in Capture One
Recreating the look of analog films is a surprisingly subtle job that can require several different tools. There are of course magic filters for mobile apps that attempt to achieve the analog look, and desktop applications that have powerful and effective analog presets, like the DxO Nik Collection or ON1 Photo RAW. For this project I’m creating my analog effect manually in Capture One – though you can do the same in Lightroom (see the brief instructions at the end) and other photo editors.