NEVER Fix THIS in Post
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- Опубликовано: 4 окт 2024
- This is how we chose if we should fix it in post or fix it in camera as a professional commercial photographer in 2024.
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Here’s an interesting story for you the original James Bond “Sean Connery” was pictured holding a gun in a poster, the gun was supplied by the photographer and it was a BB gun it was supposed to be fixed in Post were they should have replaced it with a real gun, it never happened check out that poster!
We were "fixing it in post" in 1968 when I started as a commercial photographer. LoL
Retouching was done with paint on a print, of fine dental tools on the negative.
B&W the "fixing it in post" was started in the darkroom with film processing and continued with print making and finalized with paint on the print.
The constant is that the client has a vision and the photography for their advertising has to portray the vision.
Great summary of the practical approach to making the choices.
My Agent Pete was a hand retoucher back in the film days, he has fascinating stories from back then.
@@TinHouseStudioUKI find, and this is just from a hobbyist's standpoint, that while I think there is absolutely zero wrong with fiddling around in post that I prefer to get it as close as possible to what I want in camera. It saves fiddling time later to do so. Less fiddling with contrast, color, cropping, etc after. I get less bad at this as time goes on.
I marvel at some of these photographers on RUclips that just blindly apply their presets because often what they had in camera looked better than what they wound up with applying their presets to the image. Sometimes one must go to the trouble of manually moving those sliders around, and sometimes even it is best as you shot it in camera.
@@TinHouseStudioUK Another thing I've noticed is that the colors in camera are truer to what I see with my eyes if I underexpose slightly according to what the light meter says, particularly when doing photography at night.
@@TinHouseStudioUK My experience is that giving things a bit of thought on sight really is a time saver when getting around to editing it later. Again, I don't think there is anything wrong with editing, cropping, fiddling with color and contrast, but would should endeavor to get it close as possible on site. I'm not sure I'm even saying this correctly.
You make some interesting points that have changed how I feel about "get it right in camera"
You do a wonderful job of explaining photography and "the business of photography".
I generally get my images close to right in camera because I can see the finished result when I’m taking the picture, and getting things close in camera makes the post work much easier, so much so that I was able to use Mac editing software up until recently
You reminded me of shooting projects on 4x5 transparencies. Definitely lots of precision in getting everything right. It was tough to get away from that habit with digital.
I have a movie film lighting background, I've also gripped and shoot camera. There are been many times where I am asked by someone above me about doing X,Y, Z. I would then given them, and by extension the producer who makes the money decisions, that it will take X amount of time given our gear. Then they can decide if I should have a go at it, or we fix it in post.
i kind of enjoy editing :D it's the final thank you that you can give to a decent photo after all
Nice way to look into it.
jfc THANK YOU finally someone said it. you're always keeping it real.
Fantastic as always.
Practical real life professional info. So refreshing ☺️
I'm in tabletop highspeed and do some stills, I honestly don't feel that fix in post is a good enogh option most of the time, at least in moving images, if I can't fix it myself (in post) I'll rarely accept that to be handed off to the posthouse, butwith stills theres alot more space for post, still i prefer to get it as right as possible on the shoot.
2:35, I shoot manual with this $500 light meter.
Interesting, I have never worked with 10-11 people in the studio at one time, I wouldn’t allow it. I need an instant decision on a shot and a direction for alternatives or profiling. When I shout furniture, one art director, food, ons stylist and one director. Product, one director. I try to leave 24 hrs. Between shoots for reshooting if necessary. And the sets are not taken down until we have all agreed. Post work is just a normal part of the day. I glad I don’t shoot in a studio with a set up with all that faff.
Always fascinating information!
Good night.
How do you ensure that a buyer, after buying a photo of you, doesn't sell it as if it were that buyer's photo?
What security does shutterstock give you so that this doesn't happen to you?
Thanks
I think a lot of people think of "fix it in post" as not bothering to try to get it right in the first place. This video sounds like how I view it as a hobby photographer. To me it has always been knowing what to do, how o do it and figuring out the value everything involved
Great advice,Thanks!!!
Absolutely right
Thank you :)
AMEN
I think your interpretation of 'get it right in camera' versus 'fix in post' is a lot wider (and more sensible) than most of the purists are using. The real question centres around exposure. The 'get it right in camera' people don't know what 'exposure' means - they think it means how light or dark the image looks. When they say 'post' they don'r mean 'post-production' they mean 'processing'. So, how light or dark an image looks (technically the 'lightness') is determined by exposure processing. The 'get it right in camera' people choose to fix the processing (to whatever happens in-camera at the chosen ISO) and use exposure exclusively to adjust tonality (just like slide film, as you observe). In fact the rules of exposure setting for this fixation and a raw workflow are quite different - in the latter you're choosing exposure to maximise information, balancing between noise and highlight clipping, and you don't care a lot about lightness - because you'll do that in processing. Your definition of 'post' is the right one, things like changing the background colour and removing dust and other blemishes - but the video as a whole rather misses the whole debate, which really only goes on amongst amateurs.
My question is was the video about fixing it in post done in one shot, or did he have to edit different takes together?
All my RUclips videos are one take. Again, due to time, money and final output. It’s quicker to start again than to start splicing multiple videos
lovely new jacket
Yes, another old table cloth has found a different purpose.
@@monsieurgolem3392 what kind of tablecloth do you have? if anything it'd be closer to drapes
@@ChrisThe1 outdoor table cloth.
@@monsieurgolem3392 i see.
Yes I thought his partner was on bake off and not sewing bee 😍
When you shoot an ad campaign, does the client get all the rights to the photo, or do you still retain them as the photographer, to show on your website for example?
It depends on the usage agreement that you negotiate with the client. A total rights buyout can be very expensive, so a lower-priced agreement will be reached to licence the image for a certain amount of time, for certain media and in certain territories. The licence will grant the client exclusive rights to use the image, but commonly the photographer will retain the right to use the image for promotion purposes on their web site etc. It doesn't always work like this though: I've had a client that insisted on (and paid for) a total rights buyout and I don't have any rights to use the image, even on my web site (although that wasn't for an ad campaign).
@@mindfulcreative thank you! I was figuring bigger companies might not want their photo used by the photographer. That makes sense, though.
lets be fair, if they thought they were good at post process, it would never stop.
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