Editing

Closely following image development for consuming your time (see next section) is the editing down process – choosing which images make the final cut and which don’t.

It’s not uncommon for me to return from a full-day wedding with over 3000 images. To reach a more sensible edit of 500 it would be a mammoth task to go through each image and decided which images to keep and which to bin – which is why I don’t.

If you don’t do this next step already, then hopefully it’ll be the single tip that saves you tons of time. Let me ask you a question. If you need 500 images from 3000, is it easier to bin 2500, or pick 500? It’s a loaded question, of course. But seriously, if you focus on choosing the images to keep you’ll be able to edit a wedding, portrait session, commercial shoot, or whatever type of work you do, in next to no time.

It takes me about two hours to edit a wedding of 3000 images down to 500, so if you don’t do this already, next time you edit, make sure you edit IN not edit out.

Image development – less is more

In post-production, image development can consume the most amount of time after image selection. I’ve learnt to read an image and quickly determine the adjustments needed to create the look I prefer.

When it comes to the style of image development, we all have different relationships with colour, shape and composition, which is what makes photography so much fun. I aim to create print-ready images with a light touch of post-production. I like my wedding images to have a timeless quality, which is why I avoid gimmicks and focus on producing a clean image. I believe that creating a well-developed image not only allows for consistency in image presentation, but also aids any further post-production as you’re working from a good quality image.

To achieve this, I use a logical approach to my image development – start at the top and work your way down. What does this mean? Look at how Lightroom, for example, orders the development tools.

Coincidence? No. The tools are arranged in this order for a reason.

White balance (colour temperature) is where it starts, and it makes perfect sense. If the colours aren’t correctly balanced what will happen if you make adjustments to saturation, for example? You’ll probably end up with some awful looking results.

When it comes to setting the white balance without a reference point in the image, the best way to do it is by eye (assuming you have a calibrated monitor). Take the temp control and slide it backwards and forwards until the image begins to look neutral. Next, take the tint control and do the exactly the same. Repeat the steps until you finish with an image that looks natural. It can take a little time to master but, with practice, you can get the white balance right in a matter of seconds.

Next, I focus on the image’s tonal range using the exposure, recovery, fill light and blacks tools. This is where it helps if you can read a histogram as you’ll quickly be able to determine if adjustments are needed and by how much.

I’m looking for an image with as much tonal range as possible to create the clean images that I like. By reading both the image and the histogram I can quickly determine where to set the levels to achieve the best compromise in tone. I use the word compromise as, typically, this will be the case. Digital cameras have a limited dynamic range, which, in most cases, means you have to lose some details in the highlights, shadows or both. You, as the artist, have the ability to make that decision by using these tools. You’ll become well practiced at making these changes and, with a little experience you’ll be able to set the levels with very little effort and with great speed.

Once I have the white balance and tone correctly set, I move on to the creative controls – brightness, contrast, vibrancy, saturation and clarity. I tend to use these in moderation – less is more don’t forget – but, typically, the following rules apply:

• All images get a slight contrast and brightness boost.
• Black and white images get additional brightness and lots more contrast.
• Wedding detail shots, such as flowers and rings, receive an increase in clarity.
• Typically, I don’t alter saturation or vibrancy.

That’s all there is to it. All of this can be done in less than 30 seconds and the result is clean, print-ready images ready for showing to clients or designing an album.

In the next part I’ll explore the development tools further, looking at how to produce creative results while still focussing on speed.

Biography

Stewart is one of the most tech-savvy social photographers in the UK and a rising star in wedding photography.  After graduating from the Annabel Williams CPT Bespoke Programme six years ago Stewart left the corporate world to start his own business - Randall Photography.

Stewart has an instinctive grip on how photography can benefit from technology and successfully runs his business using highly effective workflow solutions, social networking tools and business processes.  Now an Annabel Williams CPT Bespoke Trainer himself, he regularly teaches other photographers on digital photography techniques, workflow, colour management and Photoshop, as well as photographing weddings at prestigious venues all over the UK and abroad.

For more information on Stewart and his photography business:
www.randallphotography.co.uk/blog

For more information on Stewart and his photography training:
www.annabelwilliams.com

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