BARRY CRAIG EXPLAINS THE WORK HE DID ON THIS
IMAGE FROM PHOTOGRAPHER DAVID WESTPHAL- ADDING ATMOSPHERE
01
,%4Ĉ4(%2%Ĉ"%ĈɌ-/2%ɍĈ,)'(4
This is the image after basic clean-up. There
is some nice light in the sky and some point-of-
interest light in the tent, but these both need to be
enhanced. We also need to think about the client and
what the product is trying to communicate. Let’s
start with the sky.02
34!229Ĉ3+)%3ĈĈ
While on location, the photographer was
able to capture some longer exposure shots of the
night sky. To add a little more life into this shot, I’m
just going to use one of these shots to add some
stars to the sky and lift the colour to a more
attractive blue. Already the image is looking more
alive. The product being advertised in this instance is
a bluetooth speaker that also features party light.
Keeping this in mind, the next step is to add some
directional, coloured lighting to the tent.03
02/$5#4Ĉ0,!#%-%.4
Adding some lighting, glows, and rays to
the tent really helps to lift the whole image. There’s
lots to consider when adding lighting effects,
highlights on the sand and glows on the dunes
behind, for example. We’ve also had to create a
shadow for the boy in the tent. When the image
was shot there was still no physical product in
existence, so as part of the final stage we will also
add in the speaker, which was shot at a later date
in the studio.© Photographer David Westphal© Photographer: Brian Konoske“The most important skill for a good retoucher is an eye for realism,” adds Craig. “Even when you’re
working on a fantastical image you have to base it in reality. Lighting and physics will give the game away if
they aren’t correct. You also have to be patient; there’s lots of ground work to be done on any composition,
all of it important to the final result. The most common issues are adding or removing features that
couldn’t be physically altered on location; removing streetlights, buildings, logos, cars, people and so on.
Where possible, the photographer will shoot plates to the left or right of the obstruction to aid in removing
them, but this is only really common in a photographer who is used to working with a retoucher. The
trickiest things can be complicated image extensions for new layouts. These are usually required last
minute, meaning the photographer likely didn’t shoot any material to aid with the job.”- MAKE THE IMPOSSIBLE POSSIBLE
PHOTO EDITING