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Creativity, Camera, and Photoshop

Which net would you use to catch a butterfly?

Many photographers argue that getting an image right in camera is the real deal—if you’re going to call yourself a photographer, you better learn your exposure and technical stuff, and compose beauty in the frame.

With the rise of digital photography, however, now you can take your images into a whole new realm of manipulation. Highly stylized images have grown in popularity along with the advances in digital cameras and software for processing digital photos. Photoshop is arguably the giant in the post processing world, so much so that people now use the name of the software as a verb. As in, “Was this photo Photoshopped?”

Purists, or people who scoff at Photoshop artists as hacks, don’t like overly manipulated photos. Indeed, a lot of contests out there specify the minimal adjustments that the entrant can make to their entry to the contest. Still, the world is not made of purists. At the other end of the spectrum are the—for lack of an official term—digital artists, who style their photos with scores of layers, stacking special effect upon special effect, and not apologizing for it.

In between are you and me.

Every week, I have a group of hobbyist photographers who make images because we like it. We call ourselves a Tribe. It’s a lot of fun now that we kind of know each other, and we sometimes chat briefly on Facebook about photography. And when I asked the Tribe if they wanted weekly modules with a Photoshop twist, I got an overwhelmingly positive response. So I can anecdotallyconclude that in my Tribe at least, we like improving our skills with the camera and we like to learn new Photoshop tricks, too.

mermaid manipulated photo in Photoshop copyright Aloha Lavina 2012.

Do you think I overdid this one, my first attempt at a total composite? I thought the fire ball tipped the scale.

Photoshop is a complicated software that is the industry standard; it takes a long time to master its tools. But it is somewhat accessible to the emerging hobbyist, as long as he or she is patient and doesn’t get overwhelmed.

But it’s not fair to photography if the shooter shoots thinking that Photoshop will fix everything.

Here’s what I’ve learned from my forays into the world of digital manipulation using Photoshop.

1. You still have to light the image right.

Photography is still capturing light, no matter what you can do to create light in Photoshop. A well lit image can be enhanced beautifully in Photoshop, but you cannot create light where there is none in the software. Yes, people argue that with tools like Shadow/Highlight control, or painting with light technique, you can paint light with a Photoshop brush easily. But you still get unnatural effects when you do this, like nasty noise in the underexposed areas you tried to bump up, or discoloration. Nothing works like a photo where light is where it should be, in the first place, as you capture it in camera. So yes, learn to manipulate light in Photoshop, but first learn to light.

2. You still have to get a good exposure.

We could say this is like Tip Number 1, but it’s a little different. This is about balancing the way your camera becomes sensitive to the light (ISO), choosing the right amount of light to enter the lens (Aperture), and rendering the captured image in the right amount of time (Shutter Speed) to get an image that has a good dynamic range. A good dynamic range in plain English is when the highlights and shadows have good detail just like the midtones. Now you can ‘recover’ shadows and highlights using Photoshop, but the resulting image is not as detailed as you would like it to be in a good exposure. You still have to learn to make a good exposure, no matter how high powered the latest version of PS is.

3. You still have to compose the image.

You can crop in Photoshop, and move the elements around. You can even composite different images, add things, clone things out, flip or transform or warp the image.

Manipulating every single image like this, to create a composition you really like, takes a lot of time.

And you’re not really sure about the compatibility of the elements. For instance, what if the lighting isn’t similar in the items you choose to composite? And what if you plunked a cow that is clearly not proportionally matched with a model in the original photo? Ooops. Visually, some things do not work composed in Photoshop. You still have to learn to compose in your camera.

mermaids digital manipulation composite photo copyright Aloha Lavina 2012.

This was better. The light was right, the framing was deliberate. And then the whole slew of layers.

4. The rules of optics still apply.

We see with a maximum aperture of f/2.1 in the dark, and a minimum aperture of f/8.3 in bright light. But another thing happens with us in our three dimensional world: we see in planes. That means that things that are on the same plane have the same sharpness for our eyes.  Why is this important for Photoshop? It means that we can’t blur the hell out of things we don’t want to see clearly in the image when those things are on the same plane as the things we want sharp. It just doesn’t compute in our brains.

But this is called artistic license. Skillfully done, you could still make a beautiful image with unnatural optical composition.

5. Photoshop is almost like painting.

Painters have the luxury of composing their pictures exactly as they imagined. Photographers have to find that composition and then interpret it with skill and technicality. Photoshop gives the photographer the advantage of adding or subtracting things that are in the frame, just like a painter does. But if the shooter doesn’t have skills in Tips 1 to 4, it may not work as well.

So in conclusion, there has to be balance in the way we use our camera skills and the way we manipulate the resulting photos. Ignoring one for the other seems unwise when the beauty you could make with both is boundless.

And that’s why if you want to catch this butterfly, make sure your net is big enough.

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About Aloha

I am a photographer and writer currently based in Bangkok, Thailand. My work has appeared in CNNGo, Canon's PhotoYou magazine, Seventeen magazine, The Korea Times, Thailand Tatler, and a few photography books including recently Blogging for Creatives, a book published in the UK. I believe there is nothing you cannot imagine that you cannot do.

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