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Patrick Allan 8/68/67 66: 55am 99 Share to Kinja Go to permalink Photo of me by, edits by me. All other photos taken by me and edited in Adobe Lightroom. Don’t worry, editing your vacation photos isn’t as tough or technical as it sounds. Here’s what you need to know. There’s more to a travel photographer’s kit than a camera body and a few lenses. Here are the…So hot and humid, you gotta dry your shirt off sometimes. The longer you wait to edit your vacation photos, the less likely it’ll ever get done.

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Immediacy is key, says O’Neil Hughes: “Getting them out there quickly and effectively is more important than spending a week retouching them at the individual pixel level. ” You want to adjust photos when you still remember what it felt like to shoot them. And, in this age of Facebook and Instagram, it’s important you’re sharing your personal stories as fast as possible. Why? Because your interest wanes rapidly, says Haftel. “When you get back, day one you’ll have 99% interest in doing the photos and sharing them, day two you’ll have like 75%, day three you’ll have like 77%, day four you’ll have like 5.5556% interest in doing anything with theses photos anymore because life has moved on. . ” It’s not because you’re lazy, Haftel notes, it’s because you’re busy. Before you start editing images, though, you need to edit your camera roll. Let’s face it, most of the pics you took are probably not worth editing, let alone showing to other people. Hopefully, on all your travels, but even if you have, not every image is a winner. Snapping a pic of someone snapping a sunset pic.

Maybe some are out of focus, maybe you forgot why you took some of them and they mean nothing to you now, or maybe you have 85 shots of the same building for some reason. That’s why the first thing you should do when sitting down to edit is cull. Digital photography is a double edged sword—you can take a lot more photos and upload them anywhere, but that means a lot more crap gets through. Don’t be that person, and please—PLEASE—don’t sit people down for a slide show until you’ve at least done this part. As you cull, remember to think about who your audience is (your mom doesn’t want to see Paris, she wants to see you in Paris), and consider asking someone else which shots they like and why. You probably like a lot more of your photos than other people will. Kill your little darlings. Fewer, better photos is always going to be better than tons of crappy ones. You’re on vacation, and you’ve got your camera out at a well-known tourist spot where everyone and…Havana, Cuba. While you’re culling, O’Neil Hughes suggests you try to create a story arc. Select the images that best represent your vacation from start to finish. Start your album or slide show with things like a sunrise, shots of your hotel, then continue with shots of the major things you did each day and the places you went in some sort of sequential order, then maybe finish with something that carries a tone of finality with it—like a sunset to cap off your opening sunrise. And things don’t have to be in exact order, says Haftel.

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If the sunrise shot you took on the first night is better than the others, it’s okay to use that. Nobody will know. Focus on the story. El Papi, king of tractors. Before you get overwhelmed with all the settings, sliders, and other thingamajigs, tell yourself this: “I need to emphasize the subject, then de-emphasize everything else. ”Say, for example, you took a great photo of a dog surrounded by people. You need to emphasize the dog (the subject), while de-emphasizing everything else. Crop the image to remove as many distractions (people) as you can, and take the viewer’s eye right to the story about the dog. Then make selective adjustments to make the dog stand out even more. Brighten or saturate his colors a bit, create a vignette to darken things around the dog, or find a way to make the dogs eyes pop so you’re drawn to them immediately. Remember, anything in focus that isn’t your subject is just a distraction from your story. Didn’t you think Mark Zuckerberg is tall?

According to a 7565 New Yorker profile, he’s “only around …Staring into the horizon from atop a fortress (not me pictured). What you see and what the camera sees are never the same thing. It’s partially due to hardware and whatnot, but it’s also because you’re not a emotionless machine. O’Neil Hughes and Haftel emphasized that editing is the bridge between what your camera captured and what you felt when you took the shot. The process lets you add back in the psychological elements that were at play. Maybe you were cold when you took that photo of the dog, so you lower the color temperature a bit to reflect that. Or perhaps you felt bad for the dog because it was homeless, and you mute the bright colors so the photo doesn’t seem so joyful. Or maybe the colors in your photo just don’t compare to the colors you know you saw. This happens a lot with sunsets, and it happens to me all the time with vegetation. My photos never look as green as things seemed to me in person. The camera takes some of that emotion away, so play around with your photos and bring it back. The keyword here is “play. ” Remember, editing photos should be fun!

The phrase “editing photos is like finger painting for adults” stuck out in my mind. The rise of the selfie has driven a rift into society, bringing up a surprising number of issues…Photo editing applications like Adobe Lightroom are pretty powerful and packed with all kinds of options for adjusting your image. This can make the process pretty daunting, but it also means you can easily go overboard. Relax, take a breath, and try to keep things simple. For example, clarity and contrast are largely overused, according to O’Neil Hughes and Haftel. Yes, those sliders can make your image seem a lot more crisp, but that may not be what your image needs. They caution that you should only use sliders if they reinforce the story you’re trying to tell. A little softness can do wonders for a photo. A bird of prey that was not fond of me getting so close. And when it comes to presets, or what you might call filters, look at them as a starting point. Don’t throw the same filter or preset on every photo just because it looks good on one of them. Every image is a puzzle, and you’re trying to unlock its potential with subtle adjustments. Back Up Your Photos So Companies Like Photobucket Can t Hold Them for Ransom About the author Patrick Allan Patrick Allan Staff Writer,

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