When we saw Vincent Constan-tino’s photo of a Chinese farmer along the Li River, we were reminded of Jean-François Millet’s paintings. We thought it would be strengthened with a tighter crop to emphasize the solitary figure.

The photographer’s JPEG file had enough resolution for the crop, which also allowed us to put the subject more off-center, moving into the frame’s space.

In Adobe Photoshop CS6, we took out some blue and green with Curves to produce a warmer color balance. We found the sharp background detail too “crunchy” and distracting; we used the Field Blur filter from the Blur Gallery to soften it. Using a gradient mask on the blurred layer let us apply blur progressively more toward the top of the image.

Total time fixing: 15 minutes.

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Shan Jiang’s shot of this little girl makes good use of negative space and shallow depth of field. But we wanted to bring out more detail in the girl’s face without blowing out the background.

Working with Jiang’s RAW file in Adobe Camera Raw, we raised the overall exposure, then brought up the shadows and pulled down the highlights using the Basic sliders. We added Clarity and Vibrance for midtone contrast and saturation, and warmed up the color balance.

Then, in Photoshop CS6, we cropped the image to a 4:3 aspect ratio, getting rid of most of the out-of-focus blur in the lower right corner. We masked off the remaining blur, used Curves to increase the contrast, and boosted the saturation to disguise the blur as part of the sweatshirt. Total time fixing: 20 minutes.

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Decisions, DecisionsHuriye Akinci, Ankara, Turkey

The Problem: A very dramatic vista in Prestwick, Scotland, captured at a peak of menacing weather, gave us an opportunity to trundle out the Rule of Thirds and try a variety of alternative compositions. First, let’s look at the original: While the progressively darkening tones and the sweep of the stone wall create some dynamism, putting the house plunk in the center of the frame keeps the composition on the static side. Notice, too, that the stone wall intersects the picture edge right in the center, which doesn’t help. We also had some concerns with the color enhancements (a bit over the top, perhaps), but this was an aesthetic decision by the photographer to emphasize the wildness of the scene, and it’s effective.

What now? Cropping the picture, we realized there were many framing possibilities. We liked these three: 1) With the house in the top right corner, the wall and the fence funnel in toward the house and out of the frame, and exit in the top third. 2) Placing the house at the bottom right corner emphasizes the sky, while the fence and the line of clouds make a gentle S-curve across the frame from the upper third to the lower third. 3) Having the house in the top left corner puts the accent on the wall, forming a dramatic curve that leads the eye in toward the house, then out to the darkening sea and sky — again, with the exit point one-third down the frame.

Next time: Hey, image-editing programs make cropping easy and fun. When you take a picture you like, see how many other pictures you can make from it. Place important elements anywhere but dead center, and various dynamic compositions can fall into place. Tech info: Nikon D70s, 17-70mm f/2.8-4.5 Sigma lens. Two exposures, f/5.6 at 1/30 sec and 1/125 sec, respectively, were combined for a high dynamic range effect in Adobe Photoshop CS2. Colors boosted in Nikon Capture NX.

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Cleaner cropDrew Wilson, Sarasota, FL

The Problem: An interesting shot of vernacular highwayside architecture, and we like the streaks of the headlights, which make for a quirky sense of motion. But while empty space isn’t necessarily a bad thing, the big expanses at the top and the bottom don’t really add anything to the picture. We also thought we could go for a little more color here and there — for instance, in the tree in the background.

What now? We cropped the picture to square format, which better suits the photographic space. We used Curves in Adobe Photoshop CS2 to brighten midtone areas and boost contrast. Also, we nudged the color a little bit warmer, figuring that we weren’t going to get terribly accurate color in the background tree anyway, so we might as well go with atmosphere.

Next time: Squares aren’t just for medium-format shooters. We’ve noticed lately that many readers who take rectangular photos don’t see the square pictures inside them. Try different framings to see what best suits the subject. And try different shapes: The square format can be cool, all those wide-screen monitors notwithstanding.

Tech info: Nikon D50, 28-80mm f/3.3-5.6G Nikkor, 3 sec at f/4.5, ISO 400.

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Smiling pooch

Tim Cameron, Chilliwack, BC, Canada
The Problem: Once again, we commend a reader for smart use of black-and-white — this portrait of a happy silver-haired poodle (Finnegan by name) works perfectly in monochrome. And also once again, we have to comment on a b&w conversion that’s, um, challenged. The contrast is a little too hot, resulting in highlights (on the nose and fur) blown out, and shadows (in the eyes) lost. There are also a few too many bright distractions around the face.

What now? We reconverted from the original color file (using Adobe Photoshop CS2’s Channel Mixer) to get a fuller tonal range in the file. This in turn let us get back some highlight and shadow detail. We cropped a little to get rid of distracting light to the right of the pooch’s head and at the top of the frame, but kept the bright triangular background shape because we thought it makes for a nice compositional pointer (excuse the pun) to the subject.

Next time: Don’t just desaturate, or click on Grayscale, if you want to make a digital black-and-white conversion from a color original. Many image-editing programs (including Photoshop, as well as Photoshop Elements) provide additional controls for monochrome conversion, and there are some plug-ins for image editors that let you explore various “film looks.”

Tech info: Pentax *ist DL with 18-55mm f/3.5-5.6 Pentax DA lens, 1/350 sec at f/8, ISO 200. Grayscale conversion, contrast/brightness adjustments in Corel Photo House.

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Turning Leaves

Rick Streff, Santa Clarita, CA
The Problem: This is essentially a study in color, with the artificial blue of the lawn chairs and the house trim contrasting with the natural oranges and reds of the autumn leaves. The composition isn’t great, but that isn’t really the point. Still, we think the image could be more focused into the house. And is that horizon really straight?

What now? We straightened the shot, and, rather than throwing the house off-center (the way we always seem to do), we exploited the centered composition completely by making the image into a square. (Somewhere, Hasselblad and Rolleiflex shooters are laughing.) We cropped enough to get rid of the street and peripheral clutter.

Next time: Move a little closer, zoom a little tighter, or both. Try another vantage point — there might be a better picture in this scene.

Tech info: Canon EOS 5D with 24-70mm f/2.8L Canon EF lens, 1/50 sec at f/3.5, ISO 100.

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Falling Water

Charles P. Allen, Arlington, VA
The Problem: An example of how good intentions can be punished, this image is an HDR — a high-dynamic range photo that combines multiple images to attain maximum range in shadows to highlights. And that’s the problem: It’s a nicely composed image that has no snap.

What now? It’s always easier to add contrast, which is exactly what we did. We used Curves in Photoshop to darken shadows, edge up the highlights, and intensify the colors. While we were at it, we cropped the foreground rock because we felt it loomed a little too large and distracting.

Next time: HDR imaging is a great tool, but not every subject benefits from the treatment. We think this image would have worked out fine shot in RAW, particularly since it was made under an overcast sky, which softens scene contrast.

Tech info: Nikon D200 with 18-35mm f/2.8 Zoom-Nikkor lens, five exposures taken at f/22 at 1-EV shutter-speed intervals, ISO 100. Converted to HDR image in Photoshop CS2.

The post Color and Contrast Tweaks to Make Your Tones Pop appeared first on Popular Photography.

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The Problem:
We thought that the real subject in this photo was the angled beam of light, slicing through the frame diagonally. A few too many picture elements distracted from it, as did the overly bright floor and altar railing.

What now? We cropped out much of the floor, but kept much of the columns and ropes because they provide a good framing element. We yanked Curves around in Photoshop to boost the contrast in the church interior, emphasizing the shaft of light. We then burned down bright highlights in the background and the altar rail, to further increase the sense of light breaking into dark shadow. Last, we straightened the picture-it was shot slightly off-kilter.

Next Time: Try different framings (read, in-camera cropping) whenever you have a distinct type of lighting in the scene, and try to avoid clashing bright spots. We thought the decision to make the picture monochrome was a good one, but it never hurts to try different contrast levels or selective dodging and burning-in other words, darkroom experimentation.

Tech info: Canon EOS Digital Rebel XT with 18-55mm f/3.5-5.6 Canon EF-S lens. Exposure at ISO 800 not recorded. Monochrome conversion made in Adobe Photoshop 5.5.

Just Deserts
Daniel Gratton, Chandler, AZ

The Problem:
This is one of those photos with a couple of pictures in it. To the left, the lone plant against the jumble of desert vegetation; to the right, the dirt path following an S-curve to the horizon. We decided we’d go with the picture on the left.

What now? We did the obvious thing and cropped to a vertical, but-oops!-we ended up with the horizon line plunk in the middle of the frame, which more often than not makes a picture very static. We needed more sky! So we cropped the bottom off, then cut-and-pasted more sky on top, smoothing it out with cloning. We vignetted the edges slightly to strengthen the center of the picture (and we don’t mind the vaguely Olde Tyme Look it gives, either).

Next Time: Cluttered landscapes present a challenge in getting a strong picture composition.

Try this: Look for a distinct element-a lone tree or rock, or a road receding into the distance-and work to isolate it. Frame it so that there are distinct layers, foreground to background. And keep the horizon away from the middle of the frame.

Tech info: Canon EOS 20D with 17-85mm f/4-5.6 Canon IS EF-S lens.

Exposure: 1/80 sec at f/16, ISO 100. RAW image processed and sharpened with Adobe Photoshop CS2.

Floating Element
Gareth Cox, St. Augustine, FL

The Problem: Actually, we don’t think there is a problem with this picture; it’s a nicely done dramatic silhouette. But, noodges that we are, we couldn’t help noting that the plainly visible shore works against the impression that the boat is floating in a vast open sea. We also thought that the stark black-and-white-while highly effective-gave an icy feel to the picture. We also wanted to see how it looked with the large black areas to the sides eliminated.

What now? We cropped out the shore, and further cropped the picture to a vertical, reducing it to very basic elements. We did some sharpening on the figures in the boat, as they were slightly fuzzy on close examination. Then we added color-the equivalent of a number 85 heavy warming filter. We think the sunset color makes the picture more inviting and satisfying-do you agree?

Next Time: Don’t forget to take a vertical after you take a horizontal-you never know when a Pop Photo editor might look at your pictures. Take cropping variations on the foreground-sometimes less is more.

Tech info: Nikon F5 with 28-80 f/3.5-4.5 Rokinon macro zoom. Exposure not recorded; aperture probably f/8 or f/11.

Film: Kodak T-Max 100.

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To get rid of distracting leaves and stems in her floral photo, Sherry Christensen of Irma, Alberta, Canada, used the time-honored method of cropping them out. While a wise decision, we think this leaves too little “headroom” around the blossom.

Working with her uncropped version, we removed unwanted detail in Adobe Photoshop CS5 using Content Aware Fill instead.

We then puzzled over how to bring out more detail in the center of the hibiscus, to add a little more dimensionality. We settled on some mild fakery: altering the hue. In a Hue/Saturation Adjustment Layer, we shifted the flower center toward yellow. We finished by adding some selective contrast to the rest of the image.

Total time fixing: 15 minutes

The post Fix It Fast: “Uncropping” an Image appeared first on Popular Photography.

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The Fix It Fast Team almost always ends up cropping an image, but when we saw Linda Morley-Wells’ quiet image of a swan, we felt it needed more space. Specifically, negative space that serves a function—here, added to the upper right to better balance the composition and place the swan closer to a true Rule of Thirds point.

In Adobe Photoshop CS5, it was a simple matter of extending the picture canvas, then using Content Aware Fill to add more water surface. While we were at it, we boosted contrast very slightly using Curves.

Total time fixing: 7 minutes.

A postscript: The Sea Ranch, CA, photographer later told us, “I had taken two shots, and after I submitted this one to Pop Photo, I decided I preferred the other one—where I left more space on the right side of the photo.” Just goes to show you.

Photo: Linda Morley-Wells

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