We did not thing about that part of a production when we jumped into the Masterclass in the first place but soon students were asking: how do you do it, how do you decide, how to manage the mass of images and workflow?
Checking on the day and deleting the really unwanted stuff can be one option but ...
who does that, who`s got the time and energie and capacity on a location to decide and not delete a good image by accident.
Solution: keep everything , have plenty of cards on the shoot and invest some time in the aftermath.
Editing skills: in part II we went through managing Bridge as a support software with the rating system to scale vast amounts of images down in the first run and then being very hard during the second run to get your final images you like to
1. sent to models, 2. put on-line as a published version , 3. portfolio a) online or b) printed.
Another way is you should know what kind of genre you like to tap into :
From the 3 different days you could choose either fashion or editorial or general photo documentary with focus on portraits for privat clients.
The images we liked for the portrait portfolios got some post-production treatment I introduced in during the 1:1 sessions in Part II. Here are some results:
This portrait was shot by Martina Mele.
We joked on set that Karimah is our answer to Elisabeth Taylor but the lifting of the images and streamlining the skin tone and make-up appearence gives it some Hollywood glam.
Natalie Carle played around with conversion to B/W:
Natalie Carle played around with conversion to B/W:
and colour management
Especially in fashion photography theme mixing colour and B/W brings in an extra dimension.
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