22 22 DIGITAL CAMERA DIGITAL CAMERA^ FEBRUARY 2018 FEBRUARY 2022 http://www.digitalcameraworld.comwww.digitalcameraworld.com
Life on the streets
Alistair Campbell explains how to craft a documentary
street-style edit to match your shots while out and abouthe street style of
photography has
been around since
cameras were first
designed. Back then,
everything was shot on large-format
or 35mm film, but it’s a look we still
thrive to emulate in the modern day.
Even with our super-clean,
noise-free mirrorless cameras, you
can get creative in the edit and give
your street images a little flavour of
the past. In fact, the key is to throw
the baby out with the bath water.
Don’t worry about details in your
blacks, or striking detail in the
highlights of your clouds: just drive
your sliders to the max (well, not
quite – but not far off) to create
images that mainly feature high
contrast while retaining the viewer’s
eye on something interesting.
I shot this image back in the
summer: it’s very crisp and clean,
taken wide-open at f/2.8, with a
shutter speed of 1/3,800 sec and
a low ISO of 200. The original shot
already has some decent contrast,
due to the high sun creating some
natural shadows in the background
and light on the main subject up
front and centre – but we’ll use
some of Lightroom’s typical sliders
to push the image’s strong elements
into overdrive. (You can also do
these steps in Camera Raw.)T
Alistair’s street editing technique
4 | LIGHTROOMBefore AfterAlistair CampbellSwitch the treatment from colour to black and white in
the Basic Panel. Next, we’ll work with the simple sliders
in that same panel. The original exposure was pretty
good, so we can leave Exposure at 0. Now lift your
contrast until you feel your image pop; here I’ve gone
as high as +85. At this point, don’t worry about
crushing blacks: just go for a high-contrast look.
Next, boost your Clarity slider; this will bring
contrast to your midtones. Here, I was able to go all
the way to +100. Don’t worry if your image feels a littlerough around the edges: that’s the style we want.
You can then use Highlights and Shadows to bring
back as much or as little detail as you want.
In the Tone Curve Panel, create an S-shape with your
curves for more contrast. Now use the coloured sliders
in the B&W Panel for a punchy finish.
Don’t apply any noise
reduction. Add some grain
if you wish in the Effects
Panel, plus a small vignette.1/3,800 f/2.8
secISO
200