YOU’VE HAD AN EFFECT ON ME
By MICHAEL PERKINS
“FULL–FUNCTION” CAMERAS (I try not to call them “real”) have made several concessions to the invasion of the mobiles over the last decade, adding features that tweak or sweeten images after they are taken, in the manner of cel-camera apps. The most commonly used functions, like cropping or straightening, have been joined over the years by monochrome converters, fisheye-like distorters, and selective color effects, which allow the user to desaturate discrete parts of a picture for a part-color, part B&W composite. Occasional use of these DSLR tweaks, as with those in App World, can yield interesting results. Their over-use, however, can erase the thin wall between tool and gimmick.
Effects oftimes go beyond merely enhancing a shot to loudly calling attention to themselves, and thus upstaging said shot completely. Of course, if you want to establish a personal style that always expresses itself in sepia tone or double exposures, by all means rock and roll and Godspeed. Generally speaking, though, special effects have the greatest impact when they are the spice, and not the meat in the recipe.
One that I keep playing with, trying to decide if it’s truly useful, is the aforementioned selective color. Desaturating only parts of an image is tricky, because the monochrome elements must work in at least some way with the remaining chroma, lest the color/no color ratio be jarring. Remember, you merely want your viewer to get the impression that something has been subtly improved in the picture, not drastically rehauled.
In the restaurant scene shown here, night had already rendered most of the darkened areas as nearly grey already, so converting that to b/w wasn’t a stretch. I took out the reds from various neon signs and the ambers and yellows caused by my camera’s misreading of the light temperature, and elected to keep the blues, in an attempt to use them as an extension of the blacks and grays. Whether I think I succeeded depends on which day I view the result, but my intention was to add just a flavor of mood to a photograph that was essentially mono.
I think the best way to avoid going wrong with the use of a post-processed effect is to begin with a picture that’s already 99% of what you were going for……using the tools to give a “pretty good” image a nudge, rather than a shove. As in photography in general, it’s a game of inches.