My Deepest, Darkest Digital Photography Secrets

This is a photodocumentary of my most secretive reason for getting a digital camera. I agonized over the decision to let the public in on my little secret...

...touching up photos. In the end, I figured I would fess up to my crime, and show you the advantages of a digital camera, and graphic manipulation of digital photos.

The following pictures are a series of shots of my sister, Amy, on the road to the top of Mount Mansfield, the tallest mountain in Vermont. The first picture is the original, cropped down to save downloading time.



I noticed that Amy was very white-looking from her T-shirt to her skin, because of the dark background. So I pinkened up her shirt, and gave her cheeks a little more color. The same amount of color was given to her arms and legs, but didn't work out. That's all right, they weren't as important as her face, especially with the added pink in the T-shirt to give them a little separation.



Next, I had to get rid of that ugly black pipe sitting in front of the waterfall. Everything else seemed so picturesque, but that pipe just ruined the whole effect.



After I thought I had finished the modifications, I realized that the pipe was squirting water, and that water was still on the picture! I was sure that this would be the most difficult part of the modification, but it turned out to be pretty easy.



In the end, we now have a great little mountain waterfall scene, with my little sister as the star of the show, all thanks to the power of digital photography. Gotta love it.

What, you didn't expect me to give away my techniques, did you? A photographer must have some element of secrecy in his artwork, or all the mystery would vanish.

The larger, more detailed, full picture of Amy and the waterfall is shown in the Mount Mansfield Portrait Gallery, along with a few other great mountain scenes.


Don't forget to visit
Digital Photography 2, Dumpsters and Port-a-Pottys
for more graphic action.



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This page was last updated August 6, 2000.
© Copyright 2000, Andrew Fredman