POST-PRODUCTION
Though this is the last section of the chapter, post-production absolutely should not be considered an afterthought. Advances in digital retouching and software have offered incredibly powerful tools and capabilities, though they are not without their limitations. Just because you can do something to an image does not mean that you should. As with every other step along the way, this stage requires conscious creative thought and analysis of the image to determine the best place that retouching can take the image to. The choices you make in post-production have varying levels of impact—but never none. If you do “nothing” to your image, you are still processing it with the factory defaults, which are the settings that someone else decided look good. From basic global corrections for accuracy to stylistic choices to the fabrication of entire worlds, retouching needs to be thought out and planned for right along with the shoot itself. Even if the image has no basis in reality, it still needs to look “real.” For the viewer to be transported, you need to remove all the seams.
Post-production considerations vary by photographic genre. There are no boundaries within fine art photography. By contrast, there is less and less flexibility with journalistic or documentary photographs, as organizations attempt to create a global standard to ensure photographic integrity. Fashion and advertising is also becoming more regulated to avoid misleading the public and perpetuating unrealistic ideas of beauty. Be thoughtful about the ethics and responsibility associated with changes made to your images and what is put into the world, specifically as it pertains to post-processing and retouching.
In my workflow, post-production is another integral layer of my creative process. Every image is different. I spend a great deal of time analyzing the file to see how it can be made stronger, visualizing where the image can go. I experiment with different global and regional adjustments to exposure, color, tone, composition, light, etc. Sometimes an image needs very little work—other times you would not believe what I started with when viewing the final image. I aim to accomplish as much as I can in-camera with the resources that I have, but if I’m unable to find an in-camera solution, then I will look into my post-production options.
On my latest project, The Fantastical Feasts, I enlisted the help of retoucher Rebecca Manson from the post-production studio, The Post Office. The partnership with Rebecca has highlighted for me the critical importance of having a meticulous, skilled retoucher providing support in post-production, as her work has taken my imagery to the next level. In addition to the technical improvements to the images, it’s wonderful to collaborate with someone who understands the work and can be another set of eyes, providing additional insight while walking through the creative process. Her input from a retoucher’s perspective altered the way I thought about shooting in a helpful way.
Here are some of Rebecca’s thoughts on the retouching process:
No magic step-by-step guide outlines exactly what should be done in the post-production process. There are guidelines, many dos and don’ts, but every image, series, and campaign is unique.
Either in your own retouching workflow or when working with a professional retoucher, there are factors to consider in advance of the shoot. Talk yourself (or your retoucher) through the whole process, as you probably do for the shoot. “I need these lights, this lens, this body, certain stands, this tripod, etc.” Extend this thinking through the whole process to the retouching stage, especially if the image requires heavy work in post. Create a checklist for the essentials you need to capture while on set.
Seamless retouching begins with the perfect puzzle pieces. A lot can be done in Photoshop, but it shouldn’t be a crutch for sloppy shooting. Even if something can be fixed in the computer, it’s not the best place to do it and isn’t best for the image. Pay attention to consistent lighting, exposure, angles, and focus, and address them in-camera. Taking the time to remove that light stand, clean that surface, straighten the object, and steam out those wrinkles before the shutter is pressed will not only save hours of retouching time and frustration, but it will look better in the final image as well. Do not fall back on the “we can fix that in post” mindset. Consider all the time spent on little unnecessary fixes in retouching; that time can and should be used for more important things, like making the perfect mask or tweaking the colors and tones until your image sings. This thoughtfulness while shooting will, without fail, save you time and money.
As with any skill set, retouching/post-processing needs to be learned, practiced, and refined. Understand the software and tools at your disposal. You also need to understand your vision beyond the image in your head, and understand how you are going to get to that point from the camera and shoot through to the RAW images (or scans) and into Photoshop. How the final image looks and the story it portrays are extremely important. It will be about the feel and emotion. You need to take those adjectives and translate them through retouching tools (Photoshop) onto your image. In my retouching career, I’ve often had instructions from photographers and creatives that sounded like a sommelier tasting wine. To be able to take an abstract expression and come back with an adjustment they can “feel” is right takes experience, a good knowledge of the software and, importantly, an understanding of visual psychology: how the eye is affected by composition, color, light and dark, balance, tone, etc.
I work in close collaboration with the photographer and art director or designer to create the final interpretation of the images, translating their vision into reality. I want to understand a number of things from any photographer I work with. How do you work? How do I work? Where do we overlap? Where do we differ? How can we help learn from and inspire each other? I want to understand what the photographer needs or wants from me, or more importantly, what they want from their image(s). Good communication and mutual understanding are key. On jobs that are heavy on post-processing, a discussion with the retoucher early on when planning the shoot can open up more creative possibilities. The photograph’s potential expands when brainstorming with a knowledgeable retoucher, who can provide answers to technical questions and predict problems before they have a chance to happen on set.