As a photographer, you are aware that hardly any photo you get to see is original. We edit all of our pictures to put the finishing touches on to them, after all. There’s no evil intention behind it, at least in most cases. The purpose of editing is not to deceive the viewer, but to make the subject appear as beautiful as possible. If you do everything right at the moment of taking the shot – and I’m not talking about exposure parameters and image detail but also time of day, light – you don’t really need to fine-tune too much. Usually, a few clicks suffice to optimize WB, contrast, lights, shadows and saturation. Maybe this modesty of daily image editing is the reason why we tend to forget the immense editing potential that lies in modern image processing software and in image files coming from current sensors.
Every now and then, before-after pictures and videos turn up, reminding us that image processing knows one limit only, namely the retoucher’s power of imagination. Because I lack intuition, it would be much harder for me to alter the mood in such a way, than it would be to edit the picture with the stamp tool or create a montage. For professional retoucher Taylre Jones, who works at Grade, this task is a piece of cake.
The contrastless, unaltered shots are original shots from the Indie movie The House On Pine Street.