I want to talk about the photography Post-Production by analyzing this creative process in its different shades.

Recently I have often put the attention on the topic of photography Post-Production.
In the stories of my Fotorubrina on Instagram, in messages of my followers and also in the previous article, where I wrote about to ponder the publication of your photos online.
I now want to go deep in this aspect that is neglected and badly managed by many.

First of all, let’s start from the assumption that in photography the visualization of the final image should already be present in your mind.
This means having an awareness that leads you to make a RAW in which you, as a photographer, pre-visualize the final result.
To do this, the person who takes the picture must do it wisely.
Unfortunately, there are too many photographs whose “strength” is given exclusively by digital processing in post-production. Where “strength” means a process that is based on mere numbers that tend to enhance the visual impact and becoming something that is no longer a personal vision or a project, but exclusively the creation of an image without a real meaning.

As we know, photography has many variations and each of these accepts a more or less incisive use of digital processing.
This however does not mean losing the overall vision and planning in what you do.
Photography Post-production must always be understood as a creative process in which software puts itself at the service of our photography, and not the other way around.
That phase in which our identity is finalized in the elaborate shots.
An identity starts above all from recognizing the rules of the type of photography we do and knowing how to customize them with respect.

Leaving aside my most authorial photography, which you find among the pages of this site, I want to analyze what my profession is as a photographer in the photographic studio.
Specifically, I want to focus on portraits for children (and newborn) for private use, the classic family photos. I make a lot of them and every year I have the pleasure of photographing hundreds of children.
I see many photographers who have concentrated on making purely “aesthetic” shots. With skin filter, crystal eyes and bokeh effect pushed with digital blur. A type of photography that exasperates what is the original vision of the Australian photographer Anne Geddes, recognized globally for her iconic images for babies. The real problem is that from this exasperation the photographer already departs from representing the subject as he is, the main rule of the family portrait. An advertising approach therefore, which distorts the child making it a doll to be used for photographic purposes.
But above all, from this, the photographer damages his identity because, being purely technical photographs, they are also widespread and replicated everywhere. It is no coincidence that they are almost always with a visible signature. To highlight that it is the signature that recognizes the photographer … and not the photo itself.

Let’s turn the page. In recent times a series of standardized visual outputs have been generated, especially on Instagram.
Currently, for example, there are an immense quantity of images with Teal & Orange filter. A visual trend in which many photographers or aspiring ones have become involved.
Conforming does not identify you and, as I said in the previous article, random likes and followers do not represent your photographic ability.

Last aspect concerns the photo retouches.
Starting from the simple crop of the image (which many abuse), up to the elimination of disturbing elements on the image.
Consider that in many photographic contests it is forbidden by regulation, to the point that, if during the revision of the RAWs (which are requested) photo retouching is denoted, one is excluded from the contest with denied possibility of participation for a few years.
This definitively reaffirms how the original shot is still a starting point from which you have to proceed with respect, awareness and criticism. Regardless of the type of photography you do.

I believe that you should never put the technical ability of the software in front of your ability and personality in taking photographs.
It is a long process that only with personal research and growth as a person can lead to results.
The important thing is not to fall at the mercy of Post-Production and make it dictate what you are as a photographer.
We must always keep in mind that a technical approach can be replicated by everyone, just know the camera and the software and you are at that point.
What you really are, however, nobody can be.

NOTE:

• If you are interested there is a Post Production course on my website.
• If you have a camera but don’t have a Post-Production program, I recommend Lightroom or Capture One (which I use). You can find a banner below that takes you to the page where you can download the 30-day trial version or purchase the software in various available packages
• If you are looking for a Pc ready for some proper photography post-production i suggest the MSI products for creators.