PHOTOSHOP THE MOMENT
By MICHAEL PERKINS
IT’S BEYOND POINTLESS TO PREACH OF “PURITY” when it comes to photographic technique, although the argument springs up whenever the idea of manipulation comes up. It’s not even a new squabble. No sooner had science given the world a way to record reality with a machine than artists began tweaking, twisting, and torturing effects out of the camera that could only be done by deliberate intervention. So much for reality. In fact, photography’s first half-century boasts a rainbow of spectacular effects, undertaken precisely to undermine or improve upon the real world.
No, it’s about a century and a half too late to worry about whether people will alter their photographs and high time we explored what kind of manipulations are best for the overall impact of an image. I personally prefer to “photoshop the moment”, or to calculate what I need in a picture during the taking of it. I truly feel that, in most post-shutter tweaking, you lose an intangible something that might have made real magic if factored into the same-time making of the picture. The best thing about planning is, it gets easier to get better effects from simpler things, things that seem to work better for the picture if you design them into the shot rather than adding them later.
Take the ridiculously obvious tweak done in the above picture. 90% of the final photo here is in the composition of the shot, framing the entrance of this wonderful old house in the arch of its outer gate. The sunlight is perfect for the back two-thirds of the picture, but, given the position of the sun in late afternoon on that particular street, my first shot tended to render the arched topiary very dark, nearly a silhouette. Thing is, I really wanted the entire image to have a kind of fairy tale quality. I needed an intervention.
Easy fix. I walked back a few steps to make sure that my flash was just powerful enough to pop a hot green into the arch, yet too faint to illuminate anything else. As a result, the color you see here is not goosed up after the fact. I exposed for the house in the background and the fill flash made the foreground hues as bright as the stuff in back. Again, as planning goes, thus wasn’t the D-Day invasion. I just needed to make one simple change to solve my problem, and the fact that I did it during the original making of the picture made me feel like I was in charge of the project to a greater degree.