Behind the raw | Ep 9 Sigma 150-600 Monster waves

Behind the RAW: A Detailed Look at Landscape Photography Editing

Welcome to Behind the RAW, where I provide an in-depth exploration of landscape photography editing. In this series, I offer a transparent view of my editing process, sharing insights into the methods and techniques I employ to enhance raw images. Join me as I dissect recent captures, providing a detailed walkthrough of each step from start to finish.

Episode Overview:

In each episode of Behind the RAW, I meticulously dissect a recent image, unravelling the intricacies of its editing journey. From initial capture to final adjustments, I guide viewers through my approach, offering practical insights and strategies. Whether you're a novice seeking guidance or a seasoned photographer looking to refine your skills, this series is designed to educate and inspire.

This weeks Episode: Sigma 150-600 Monster waves

Shooting with my Sigma 150-600 allows me to get under the harsh light, fill the frame and add some great compression to the scene. The image I chose to edit for this episode encapsulates just that. The towering stack known as An Searrach would be the star of the show, however, the waves would give it a run for its money. They were simply stunning.

I started by darkening down the image, I had a good base to work with despite the bright light as I was shooting at a very fast speed to freeze the water. Once I had the image darker, I was able to adjust the shadows to bring up some of the detail on the stack, now there wouldn’t be much light hitting it anyway due to the position of the sun right above it, but that same position of the sun would play a big part in my finished file. The light as it fell on the waves not only helped me to get that fast shutter speed but also allowed me to bring the waves more into the scene. I used some radial filters to increase the whites on the peaking wave which worked perfectly for what I had in mind for the shot. Not an overly complicated edit in the bigger scheme of things but still something that I feel others wouldn’t do and if you wouldn’t then I would encourage you to at least try. It does help bring the image together and offers you the chance to edit in zones as such. I intended to shoot in mono for the day and the resulting images while not strictly mono, we’re almost exactly that. A high contrast scene with plenty of whites and blacks to play with. My final step was to look for noise, which surprisingly there was very little of, given the fast shutter speeds I was shooting at and also being at f6.1. You can see my exact process in this week’s video of Behind the raw.

What to Expect:

Expect a thorough examination of landscape photography editing techniques, delivered in a clear and concise manner. Throughout each episode, I discuss composition choices, lighting considerations, and editing methodologies, providing actionable advice for viewers to implement in their own work. By sharing my experiences and expertise, I aim to empower YOU to elevate YOUR editing proficiency.

Why You Should Watch:

Behind the RAW offers a unique opportunity to gain practical knowledge and insight into the editing process. Each episode is packed with real-world examples and actionable tips, making it an invaluable resource for photographers of all levels. Whether you're looking to enhance your editing skills or simply curious about the creative process behind captivating imagery, this series has something to offer.

Thanks for reading and for your continued support

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