Managing Storage and Embracing Photography
About three months ago, my computer’s storage reached capacity. While a terabyte of storage might seem substantial, it quickly fills up when working with post-processed and RAW image files. Through the process of transferring data to a new computer and recovering files, I gained valuable insights into how and where these images are stored. Despite the technical challenges, I do not mind the effort. My passion for photography, including post-processing, drives me to repeat these steps, each time with the hope that my skills have evolved. In a spirit of gratitude, I approach each new attempt with optimism: perhaps this time my techniques will yield better results, or the image will resonate in a fresh, artistic way.
Capturing Munich’s Frauenkirche
During a walk through Marienplatz in Munich’s Old Town (Alstadt), I found myself seeking out church steeples. On this journey, I encountered a view of one of the doors of the Frauenkirche. The scale, colors, and intricate details of the scene compelled me to capture the moment. We had stumbled upon one of Munich’s renowned cathedrals, vibrant and alive with daily life rather than isolated or still. Amidst the activity, I imagined the façade as a benevolent and steadfast presence, enduring through change and challenge. The architecture was solid, grand, and beautiful.
Post-Processing Workflow in Lightroom
I approach post-processing in Adobe Lightroom Classic with the intention of enhancing images. My goal is to pull the viewer’s eye through layers that reveal personality, circumstance, beauty, emotion, and even a touch of divinity. Perhaps I am ambitious, but I enjoy the process regardless. The first image in my workflow is the original RAW file, straight from the camera. I often shoot slightly underexposed, as my skills are more attuned to lifting light than subduing it. In this instance, the stonework at the top of the bricked arch appeared too light, a common occurrence when shooting from shadowed areas. Fortunately, this was an easy fix, as I had planned to crop the image from a 4 x 6 format to either 3 x 4 (which translates to a 30 x 40 or 26 x 48 print) or 8 x 10 (converting to 16 x 20, 24 x 30, or 48 x 60).
Compositionally, I rely on the rule of thirds, and my editing software conveniently displays gridlines when cropping. I also straighten images, ensuring vertical lines are true and horizontal lines are level. Although I typically avoid centering subjects, the door in this photograph ended up centered in both formats. Deciding what to keep or remove is part of the process; in this case, I retained the top of the archway while cropping out an arm on the left and some greenery on the right.
Techniques in Editing and Color Management
Flattening images is a signature part of my technique. I consistently slide highlights all the way to the left and shadows all the way to the right, effectively removing them. This adjustment dramatically changes the colors, making greens and blues much brighter and more saturated. To maintain clarity and avoid a hazy look, I carefully adjust exposure settings. There are no strict rules here; I monitor the histogram to prevent blacks and whites from blowing out. Adjusting white balance and varying color saturation helps keep the histogram balanced. I also use shade and highlight features to add sunlight and shadow, and I include camera lens information for correcting lens distortion.
Final Touches and Image Naming
Once satisfied with the color, lighting, and composition, I export the processed image from Lightroom to additional programs for further refinement. For the 3 x 4 format, I use Adobe Photoshop to remove the unwanted arm at the lower left corner, utilizing the AI-generated fill feature to seamlessly replace it with generated imagery. The edited image is then saved back into Lightroom, where I sometimes reapply highlight and shadow adjustments for an even more graphic effect—one that I find visually appealing.
Additionally, I employ Topaz Sharpen, an application that produces ultra-sharp images. I am careful to ensure the details remain realistic and do not become distorted. After saving the new image to Lightroom, I again fine-tune highlights, shadows, color saturation, hue, white balance, and luminance to emphasize certain colors and add depth. Once the image meets my standards, I give it a name. This particular photograph is called ‘Take Me to Church’.