Why post-processing rocks
by eNoBlog on May.20, 2010, under Post-processing, Techniques
One often hears and reads that image post processing (PP) is not necessary. Some folks even go as far as to take pride in setting up their cameras in such a manner as to get the JPG file output to be just as they like it, thus avoiding PP. After working at this digital photography thing for a while, as much as I’d like it to be true that I can get “perfect” JPGs out-of-camera (OOC), I am convinced that at least when it comes to B&W that’s just chasing fool’s gold.
Here’s one recent photo I post-processed with a heavy red channel filter to emulate the effects of physical red filters. This particular image is inspired by Ansel Adam’s Monolith in which he used a red filter to contrast rock formations against a darkened blue sky. For me, it is a nice example of why post-processing (PP) rocks. Try doing this with a JPG straight out of camera.
Joshua Tree Rocks, Nikon D700 & AF-S 17-35
The case for post-processing, or so I thought, is tougher when it comes to color images. In many situations, if you take the time to get the exposure and composition right, along with all those customizable camera settings, there is little benefit to shooting RAW. Right? Not so fast. In reviewing some photos I took on a recent trip from an airplane window (yeah, you’re not supposed to shoot through 2 layers of dirty glass, with reflections everywhere, etc.), I got the following images out of camera:
Blah sky view 1, Nikon D300 & AF-S 16-85 VR
Blah sky view 2, Nikon D300 & AF-S 16-85 VR
Pretty, blah, right? The problem here is that the histogram is bunched up smack in the middle, giving a very low contrast image. I’m 100% positive that is not how the scene would have looked had I been on the other side of that window. Though there probably was some atmospheric haze at play here, even on the passenger side of the window, the scene didn’t look like that. Can these be rescued?
Yes! Since I shot 14-bit RAW with my Nikon D300, I had some latitude to use the Levels tool on each of the color channels to both fix the White Balance *and* spread out the histogram from 0 to 255, thus achieving higher contrast. I added a little “Clarify” (aka, Tone mapping) after the Levels step, resized, and presto! My own “Angel’s View”:
Angel’s View 1, Nikon D300 & AF-S 16-85 VR
Angel’s View 2, Nikon D300 & AF-S 16-85 VR
This is where someone comes running in and shows me how to achieve the same results in-camera. 
