How do you know when to stop retouching a photo?

Retocar fotos serve a diversos propósitos, e os motivos para fazê-lo podem variar dependendo do contexto, do objetivo do fotógrafo e da natureza da imagem. Mas podemos realizar retoque de para aprimoramento estético, correção de Imperfeições como subexposição, superexposição, ruído digital ou distorções dentre outros. É importante ressaltar que, embora o retoque seja uma prática comum e aceita, a ética desempenha um papel crucial. Em algumas situações, como fotojornalismo, a manipulação excessiva pode comprometer a integridade da imagem e distorcer a verdade dos eventos. Portanto, a razão para retocar fotos pode depender do contexto e da finalidade da imagem em questão.

The creation of quality photography only begins with the camera. The file captured is a foundation, not a finished product. Retouching, the refinement of our images using photo editing tools is as old as photography itself. Aesthetics, personal style, and client requirements determine the extent of enhancements that are always part of a complete creation process. Good camera work provides the raw material but post-production elevates the image to a finished state. We are in the presentation business. Deliberate, creative, and technical adjustments made during the retouching process are necessary and ultimately elevate our photographic results.

With every image/photograph, there may be flaws that the eye is immediately drawn to. It is not desirable for the viewer to only focus on the unwanted sunspots or dust the lens picks up at the time of the shoot. Retouching a photo can eliminate these mistakes to create a cleaner image. Retouching can also heighten contrast, create a better image by cropping and improve color. Digital photography has unlimited tools to enhance your photos. When working in the darkroom with film, there are also numerous ways to "fix" a photo to make it a better picture.

Retouching a photo is essentially dressing it to make it look better. You take a raw photo, do some additions or subtractions to make it fit into an ideal you have of what the image should be. It is neither good nor bad, it is just an activity that helps improve your vision. There are some puritans who won't do anything to the image at all, just print/publish as captured. Only alterations may be increase in contrast, highlight or shadows.

El retoque fotográfico es algo que viene de muy antiguo, y está presente en casi cualquier publicación que vemos sea en prensa, redes, publicidad….. mucho más de lo que fuera del sector se cree. Por una parte, sirve para acercarnos más a la idea que tenemos a la cabeza cuando ajustamos luz, color, densidad de sombras, etc…. Por otra parte, nos permite mejorar escenarios que físicamente no podemos cambiar, quitar esa bolsa de basura que nos molesta cuando trabajamos en exteriores, hacer más amplio el estudio…. Y también en publicidad mejorar un producto que nos ha llegado en malas condiciones, enfatizar algunas partes que son importantes, aislarlo del fondo recortándolo, por dar algún ejemplo. El tema está en saber cuando dejar de retocar.

Photography has two components: the photographer + the viewer. When retouching a photo, put yourself in the viewer's place. How will your photo connect to the viewer? If you are photographing food or product, retouch so that the capture creates a strong desire for the viewer to want/need what the photo presents. If you are photographing a landscape, enhance the mood so that the viewer wants to be IN your photo. As far as documentary photos, such as war or crime pictures, try to connect with the viewer's emotions and intellect. The essential purpose of your photograph is to bond in some way with those who see it. Retouching to create a more intense, valuable and/or wonderful image for the viewer is an important goal.

The amount of retouching depends on the customer but also the type of photo. It is normal that for a glamor photo it must be retouched as glamor, but for a social photo report a simple RAW editing is sometimes sufficient. For catalogues, you must ensure that the color of clothing, for example, is 100% correct. (despite most screens people use not being calibrated) But one thing must be clear. Your photo should get better and not worse. Filters and plugins are often used but certainly do not give the best results. With AI, I expect that in the foreseeable future photos will be automatically retouched with stunning results. For example, most plugins currently still give a Barbie look to the skin unless you don't exaggerate.

Une photo de portrait pour un magazine féminin par exemple tout est retouché lisse adoucit etc , une photo de portrait pour un documentaire social c est un portrait large voir portrait américain qui laisse entrevoir des détails sociaux qui étaye le sujet , la photo est net contraste réel peu de retouche , un portrait pour un documentaire de guerre le portrait est net sur le visage et flou sur le reste ( idée du mouvement,ça n est pas une généralité) image plutôt contrastée dur

There are a lot of 'f-arty' responses here. "Connect with the viewer..." blah blah. The goal is to create an image that feeds your idea or surprises you and leaves you feeling like you've made something worthwhile or memorable. As for 'connecting with a viewer' you have zero control over that. One viewer may see a masterpiece, while another may see banal drivel. Who cares. Make something you like and get it in front of enough eyeballs and someone may like it enough to buy it.

The purpose of the photo determines how and if it will be retouched. If you take pictures for a news magazine, they will not need you to remove acne or rashes on your subjects faces. If you are making images for young girls, they'll want the most flattering images from the session and want all flaws removed. If you are making product photos for a catalogue, colour fidelity, sharpness and accuracy of details are of paramount importance to the product owner. You must set clear goals before picking up the camera at all.

Si uno quiere dar un buen resultado en el retoque siempre ha de partir de la base que cada retoque pide un tiempo y un trabajo personalizado. No hay filtros ni atajos que nos permitan sacar retoques profesionales de forma automática. La IA nos ayuda muchísimo y nos deja mucho más tiempo, pero no deja de ser una herramienta más, no la solución. No hay herramienta mala (no hay que demonizar los filtros) pero son simplemente herramientas que hemos de saber usar. Y por supuesto mirarnos el trabajo varias veces para no caer en el exceso de retoque, que nos destroza todo el trabajo.

Tools utilised per time also depends on your goal for a picture. In portraiture for example, the priority is a flattering look for your subject, especially if you are photographing women. You'll need to know the right software that will give the best result for this. You'll also need a good command of how to apply changes in the software. If you are not proficient in the use of skin retouching software, there is a high probability you'll damage the photo, and the raw image is far better than your edit.

One of the best ways to confirm my retouching efforts is feedback from clients and other photographers. I also post on social media and greatly value "likes" and comments that are posted on my photos. One photo can be retouched numerous times to achieve the "look" I'm after; on the other hand, once in a great while, I get it right directly from the camera. The idea is to do my best, both in shooting the subject and in refining it later in post-production. One photo of mine required 65G of retouching, while another 0. The main goal is to produce the very best image possible!

Go back and look at it again and again, days and weeks apart. I say retouch it and store it away for weeks. When you come back to it you'll see things you didn't see while editing it.

The best way to check progress and results is always to apply non-destructive editing. This method of editing allows you to switch between layers and several steps in the editing process, which makes it easily determinable if you are on course. A history state panel is also useful to an extent, but won't be after too many edit steps. You may also share with your colleagues or mentors to help in determining if you are on course.

1. Don't rush. 2. Take breaks and come back to it. 3. Zoom out, zoom in. 4. View it next to the original. 5. You can't avoid all mistakes but you can refine your skills enough to limit them.

I believe every photographer that wants to do commercial photography must learn retouching. This affords them the opportunity to know what is right or wrong. Once they've educated themselves, they'll be able to purchase and utilise the necessary tools that improve their crafts. It is also advantageous to design a system of editing that checks different stages of progress. For example, you start with selecting your best images, deleting bad ones, putting selected images in a folder, working on lighting, working on background, working on skin, color grading etc. Once you have a tested personal system, there are few chances of making errors

Stop retouching when you feel that you cannot further improve the photo. You can experiment after that point is reached by duplicating the original retouched photo, but if the second, third or tenth effort does not look better, go back to your first image and call it a day.

Steer clear of excessive editing that leads to an unnatural appearance. If the retouching starts to undermine the genuine qualities of the subject or scene, it's advisable to conclude the editing process.

El retoque debe pararse cuando no estamos mejorando la foto, cuando vemos que es el retoque por el retoque, y en general cuando no estamos creando una imagen natural o creíble. O nos alejamos de la idea base y estamos yendo a una idea que no encaja con el objetivo inicial. A partir de aquí, ya empiezan los temas éticos. Hasta qué punto es ético crear una imagen de algo perfecto cuando el producto es un desastre? Hasta qué punto es ético crear imágenes de personas con físicos imposibles y que pueden ayudar a crear cánones de belleza inalcanzables? Sobretodo cuando estos cánones pueden llevar a personas del público a querer imitar la imagen que estamos creando. Como cualquier tema ético, dependerá de cada uno fotógrafo/retocador.

Retouching is an art that thrives on purpose. To master it, maintain clarity on the editing goal. Balancing the original and retouching effect is crucial. Strive for a harmonious blend, enhancing without overshadowing the photo's authenticity. A successful edit seamlessly integrates enhancements, preserving the subject's natural essence. Trust your instincts; stop when forced alterations compromise the organic appeal. Remember, impactful retouching goes unnoticed, letting the subject's beauty shine effortlessly.

When retouching images it is best to make the client look the same as in person especially when shooting headshots. This reduces the chances of online image and in person imagery looking different. you can reduce the opacity of frequency separation until desired result is achieved.