This is the last installment of the response to the student.

Just as a printer (the person, not the machine) in a darkroom utilizing traditional techniques, the modern photographer cannot make a mediocre photo better with the computer. He can, however, realize a good image’s full potential. My particular tool of choice is Adobe Photoshop. I cannot recommend this for everyone, however. It has been referred to, on more than one occasion, as an 800-pound gorilla. It’s a very expensive program ($649) that has more features than any one person can fully master. There are a number of alternatives, such as the software the came with your camera (which may include Adobe Photoshop Elements – a much-scaled back version in terms of both breadth and price) or even free online sites and software (e.g. www.picasa.com).

There is book upon book concerning the digital workflow. In no way is one universally better than another. All I can do is to explain mine to you in hopes that you might find something useful. [The following is rather technical and may not make sense unless you are already familiar with the process.] In general, there are usually two copies of any print-worthy photo: the original, unadulterated file (my camera uses the file extension “.crw”) and the Photoshop (“.psd”) file. If I remember correctly, you cannot save over a .crw file so there’s little worry in overwriting your original file. I try to work in a nondestructive way. As such, my .psd file will always contain the image as processed by Adobe Camera Raw along with any number of other layers.

Rather than apply adjustments directly to the image itself, I use adjustment layers (found at the bottom of the layers palette, fourth button from the right (a half black and half white circle). This allows for unlimited adjustments without ever directly altering the image. Most often I use a curves adjustment layer to adjust the image until pleasing. Curves is incredibly powerful and it would be worth your while to experiment. With this method, you can also selectively dodge and burn (traditional darkroom techniques; lighten and darken, respectively) by utilizing the layer mask. This is the rectangle directly to the left of the layer name. By filling the layer mask with black and using a white brush, you can selectively apply the adjustment. This is the single most powerful technique I know. This is an entirely different skill set, but one well worth learning. When you finally print, flatten or merge all of the layers (ALWAYS save your original .psd file complete with layers), adjust the image size (unclick resample at the bottom, change the size, then recheck), and apply some sort of sharpening (I use Unsharp Mask, about which there are a number of books as well as articles online). Then save as a .jpg and upload to your printer of choice, put on a thumb drive, or what have you.

On the surface, photography is a simple medium, but to make worthwhile images, it takes just as much thought and effort as any other. I don’t know to what degree you are interested in photography. Some people want to “learn to take better pictures” while others seek a deeper understanding: to make art. Only you can decide to what extent you are willing to go.

“Though many painters and sculptors talk glibly of ‘going in for photography,’ you will find that very few of them can ever make a picture by photography; they lack the science, technical knowledge, and above all the practice. Most people think they can play tennis, shoot, write novels, and photograph as well as any other person – until they try.” — Ralph Waldo Emerson

Given that this book of a response isn’t what you were expecting, I’ll leave you with the following one-liners:

• Zoom with your feet.
• Fill the frame with the subject.
• Try shooting with your lens set at its minimum focusing distance and without zooming (this definitely will help you fill the frame).
• Bad weather equals dramatic light and clouds.
• Your camera doesn’t make photos, you do.
• The most uncommon perspective is usually far more interesting.
• Long shadows are more interesting (shoot when the sun is low)
• When the sun is high, the contrast may be too great for your camera to handle.
• Don’t forget to print. There’s a big difference between looking at them on screen and hold the print in your hand.
• Most of your photos will be crap. The sooner you come to terms with this the better off you’ll be. (“Twelve significant photographs in any one year is a good crop.” – Ansel Adams)