Photo: Mariyan Atanasov
Geo: Bari, IT
All artists and photographers perceive reality differently. Authors resort to post-production to enhance final content, and that’s perfectly fine. However, most of the material carries rough filters with an exaggerated range, like Lomo or something similar. Their use is appropriate if you understand what you’re doing, and there should always be a source shot or render with proper composition and lighting. Then any presets and LUTs will look good.
Throughout my practice, I’ve realized that the best filter for me is commercial realism with clear, contrasting, and readable light and color. I’ve had a 5D Mark IV, R3, and now R5 with RF optics; all these cameras, especially the last one, forgive and pull out the most hopeless shots. Yes, I make mistakes too, but the magic of RAW allows for miracles. It’s not a coronation light mix to turn day into night, but it’s close. I try to publish such shots in magazines, so for some works, forgive me, authors, I edit them myself to ensure the overall picture of the portfolio is cohesive.
A curious fact: I hardly encounter renders using filters. I don’t know where this trend came from, but in commercial projects and portfolios of my colleagues, there’s no practice of clumsy filter post-processing. At the same time, I have great respect for photographers who skillfully and appropriately apply unconventional post-processing to their works. That’s exactly the kind of author I’d like to feature today with wonderful Mediterranean street photography.
@gorkjournal
Geo: Bari, IT
All artists and photographers perceive reality differently. Authors resort to post-production to enhance final content, and that’s perfectly fine. However, most of the material carries rough filters with an exaggerated range, like Lomo or something similar. Their use is appropriate if you understand what you’re doing, and there should always be a source shot or render with proper composition and lighting. Then any presets and LUTs will look good.
Throughout my practice, I’ve realized that the best filter for me is commercial realism with clear, contrasting, and readable light and color. I’ve had a 5D Mark IV, R3, and now R5 with RF optics; all these cameras, especially the last one, forgive and pull out the most hopeless shots. Yes, I make mistakes too, but the magic of RAW allows for miracles. It’s not a coronation light mix to turn day into night, but it’s close. I try to publish such shots in magazines, so for some works, forgive me, authors, I edit them myself to ensure the overall picture of the portfolio is cohesive.
A curious fact: I hardly encounter renders using filters. I don’t know where this trend came from, but in commercial projects and portfolios of my colleagues, there’s no practice of clumsy filter post-processing. At the same time, I have great respect for photographers who skillfully and appropriately apply unconventional post-processing to their works. That’s exactly the kind of author I’d like to feature today with wonderful Mediterranean street photography.
@gorkjournal