I believe there is no better way to appreciate the kind of development done, but the before-after classic.
You can find it by following the link below: http://img560.imageshack.us/img560/9156/beforeafterf.jpg
As you can see an obvious part of the photo is quite large ... as long as you do a single account.
The photo above, the initial one, is the version. Obtained from the jpeg. Raw departure, without making any adjustments.
For those still not convinced of the "power" of Raw: a photo is very "poor" in detail (sharpness almost nothing), contrast and saturation is very low ... a sort of preview of approximately that the sensor has a picture ... it seems worse than the worst jpeg, baked by the poorer of the compact ... but looks can be deceiving!
The raw file is a file to 12-bit information is hidden under a veil of apparent low quality ... but there are (many more than in 8-bit jpeg !)... and that is why the raw "forgive "plenty of exposure errors also rather obvious.
This first phase, the raw development was done in Adobe Lightroom, the raw converter I usually use.
The decision to apply at this stage, a few adjustments, is linked to the choice of putting everything in Photoshop, more powerful and faster. The raw has been done for only a very light crop BALANCE diagonal lines.
In Photoshop work actual development lasted approximately one hour. Not particularly complex operations were performed: I used many layers of Curves adjustment, to manage conflicts and exposure in a selective manner, using layer masks, where it seemed more necessary.
The first intervention was to apply a filter sized black, from top to bottom, to "compress" the range of brightness.
Then the dock was carefully selected by a selection obtained from the blue channel (RGB): here was handled selective exposure and contrast, again using the curves to maximize the micro-(a kind of the Dodge / Burn) and simulate differential exposure to the environment (as a bit of flash).
Adopting the same approach was selected band of the sky and mountains.
act selectively, where it is needed ... always taking very blurred layer masks (this helps me a lot faster and I Bamboo graphics tablet that I took recently).
At the end of the interventions have focused on color management: color balance and saturation at all.
Again applied only where needed, never applied to any photo in the block. In particular, benefited from the sky This exclusive treatment: I darkened the blue and cyan, to get a sky "biased" ... even red, yellow and magenta have been a push to emphasize the atmosphere of the sunset.
Ultimately I chose to apply a strong vignetting (not shared by all): the choice was more than another attempt, a ruse to hide a lot of spots I had in my upper right ... objective was fouled in a shameful and during shooting I had not noticed ... so I softened this aspect ... and more convinces me that creates the final effect, that of giving a film the scene. .. by projecting the viewer's gaze toward the center of the scene, toward the horizon.
In conclusion noise reduction (once again selectively on sky and water) and better contrast.
This is because: the photo could be made even better .... so if I had not forgotten the 10-20 at home, he would have benefited. If I had brought a tripod ... I would have taken more time and water would come out a nice ... damn laziness.
As advised by many, also the point of recovery could be slightly higher, mainly to separate the pier from the horizon ... you can not have everything ...
after all I am very happy with the end result ... and now it's okay!
Daniel
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