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How and why you should edit your photos in reverse

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When it comes to editing photos, most of us probably have a workflow that we developed years ago. We start with our global adjustments, then we focus on specific elements of the image to even things out. Perhaps we add a gradient mask in camera raw or Lightroom, or maybe we make some fancy selections and start tweaking in Photoshop. But is this still the best way to go?

This is an interesting video from photographer Anthony Morganti. In it, he talks about how his workflow in Adobe Lightroom has changed and evolved over time. These changes come as a direct result of new features and technology – specifically AI masking – that have been implemented into Lightroom. It’s a perhaps more logical way of editing photos, given the software’s capabilities now.

No idea how to edit that photo? Be inspired by these 7 photographers’ edits of the same RAW file

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Have you ever come back from a day out photographing, downloaded your images excitedly, but then been absolutely stumped about which way to take your post-processing? If you don’t have a preconceived notion at the time of taking the image, or the images are simply a little flat and lifeless, then it can be a common problem.

In this excellent video, Christian Möhrle reached out to 7 different professional photographers and asked them to each edit his landscape photograph in their own distinct style. Some were definitely more distinct than others!

Serif has released Affinity Photo 2 with a slew of non-destructive features for editing your photos

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Serif has launched a new major version of Affinity Photo – its first since initially launching in 2016. Affinity Photo 2 introduces not only a massive amount of new features to the application but is also part of a whole Affinity Creative Suite, similar to Adobe’s Creative Cloud, incorporating multiple applications. Probably the biggest difference between Affinity and Creative Cloud, though, is that this is still a one-off purchase with no subscription.

The first hint that something new was coming was five days ago when a teaser video hosted by Serif Managing Director, Ashley Hewson was posted to the Affinity YouTube channel. This was followed up today by the announcement video below. Affinity Photo 2 finally brings much-demanded features like non-destructive raw development, live and compound masks, and saved layer states.

Take your images up a notch with colour grading done the right way

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One of the parts of editing and post-processing I enjoy the most is colour grading. You can really add to the emotion and story depending on how you edit the colour palettes of an image.

In this excellent video from Adorama, editorial and commercial photographer Emily Teague shows us how she goes about colour grading an image. Emily is using Capture One to edit her image, however, the same principles apply to whichever software you’re using.

Capture One releases update with new capabilities and enhanced speed

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Capture One has released a powerful update to Capture One 22. The improved version features a re-envisioned keystone tool, an array of feature updates with expanded capabilities, and Apple silicon performance advancement that brings a host of substantial speed improvements.

This update also brings new camera and lens support for a number of the most recent hardware releases.

How to make Foveon sensor-like images with a traditional Bayer sensor array camera

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You can achieve Foveon-like images with deep colors and crisp individual pixels with your conventional (Bayer) camera. However, this comes at the price of losing 75% of your megapixels and having to work experimentally and outside the comfort zone of your camera manufacturer’s color science.

Owners of Foveon and 3-chip video cameras swear by their camera’s color reproduction, and for good reason. Other, conventional digital camera sensors can’t see true colors, but only record monochrome red, blue, and green pixels. In other words, a 24-megapixel camera with a conventional (Bayer) sensor doesn’t really record 24 million color pixels, but 6 million monochrome red, 6 million monochrome blue and 12 million monochrome green pixels.

The problem with “Fix it in post” and “Get it right in the camera”

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It’s time we put some updated sensibilities’ behind the statements “fix it in post” and “getting it right in the camera”.

A few people mentioned these phrases to me recently and honestly, I was surprised to hear how they interpreted the meaning behind them.  I was even more surprised and disappointed when I posted the topic on social media today and quite a few people weighed in with very strong opinions and RULES for how things should be done.

I know, I know — I shouldn’t be surprised by people arguing their opinions on social media.

Six signs that you’ve over-processed your landscape photo

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When you edit a landscape photo, it’s easy to get carried away. I know I’ve been guilty of it even years after being into photography. And many times, it’s not even easy to see when you’ve gone overboard. In this video, Mark Denney gives you six signs that will help you recognize when you’ve gone too far with the image editing. And when you learn to recognize them, they’ll help you improve your post-processing skill.

How this three-principles editing template can help your creative vision

When I work with an image, I want to create something pleasing to the eyes, a piece of art with a wow-factor. I desire to produce a scene that takes the viewer on a journey from foreground to background.

When it comes to editing, it really helps to have a guiding template. It helps the creative process. Many call this a creative vision. That said, I would never advocate or introduce rules for landscape photography. My photography’s core motivation is the freedom to express myself in whatever artistic fashion I find fulfilling. It should be the same for you.

For me, though, I have always found it helpful to have some guidelines that outline the direction I am heading. Walking blindfolded isn’t something I enjoy. I have adopted three main principles for my post-processing, and I will explain each of them in detail.

Do you want to become a better landscape photographer?

I vividly remember how stunned I was by the landscape images I saw when I started with photography. It was beyond me how someone could create such beautiful and striking images. Those artists inspired me, but they also created a strong desire to improve my own photography.

I set out on a long journey, and in this article I will share some of the lessons I learned along the way which may help you to improve your skills as a landscape photographer.

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