Working with Photoshop is important to me. Now I can really look at the pictures I have captured with my camera. It's also the crucial moment to decide which ones are worth working on. I shoot in RAW because this mode gives me the best quality and the full range of options.
Usually the pictures I have taken come with a correct White Balance. With little adjustments in Camera Raw I can make the colors slightly warmer or cooler. With this tool I can give the image the groove I want. Maybe the exposure needs a small correction; in most cases a higher contrast gives more character to the picture. With other sliders I can work on the whites, blacks and colors. I immediately see what I do – it's almost magic and a creative task for sure.
Defining the groove
Revealing hidden qualitiesSome photographers, especially those working in a studio, claim to make almost all decisions before taking their pictures. Using Photoshop as little as possible seems to be a question of honor. For me photographing is a process. With these tools, I can reveal hidden qualities of the picture I have taken. It's all there in the RAW file.
What matters to me is that the picture I am publishing looks like my image – and certainly not photoshopped. You make a photograph twice: as you capture it and then while processing it. I agree with this well-known saying. Working on an image makes it not only better – it definitely becomes my picture.
After Camera Raw I use Photoshop for more fine tuning, retouching, and converting the picture to the appropriate format. I could also crop the picture here, like in Camera Raw. Actually, I rarely crop. The crop tool is for adjustments; it's not the place to define the framing of a shot. I strongly believe that I see my picture while I am photographing. This includes the perspective of the shot, composing the image, deciding what is in the frame and what is not. When I pull the trigger in a decisive moment, it's like exclaiming: Yes, it's a picture!
Why I rarely crop
The black frameShowing the pictures 'as seen' was a real concern at the time I started photographing seriously. It was a statement for the credibility of photography. A small black frame around the picture was the trade mark of Henri Cartier-Bresson, some kind of proof that he had conceived his image before taking it.
Many photographers followed him, me included. With my beautiful enlarger, the Leitz Focomat 1c, I could easily add a black frame on my black and white prints. To tell the whole story: These prints were just for me as the newspapers would have cropped the frame, of course.