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In the film days of photography, the possibilities of editing images were bound by the limitations of printing images on paper from a film negative, effectively limiting prints to narrow parameters of correctness. Photographic printing was a skill mastered by a few artisans, whose function was to bring the photographer’s vision to life through a lifetime of accumulated darkroom skills.
While photographers were more deliberate on set and did multiple tests of their envisioned shots, primarily through the use of polaroids to test their views, they had little more than an intuitive idea of what the resulting finished image would look like, as there was no way to instantly review images, the way we are able to now with digital photography. They relied on a combination of skills, accumulated knowledge and a good dose of luck. As film was an expensive commodity, nothing like the nearly free and virtually unlimited storage ability of digital media, the more one took shots, the more expensive a shoot would become, forcing photographers to find the right balance between shooting enough frames to ensure a good ratio of useable images and not going overboard, thus rendering the shoot prohibitively expensive.
While they were limited by the techniques of the day and their associated costs, a good photographer then would have to possess the ability to envision and plan a good shot even without the use of polaroids or cameras. That vision, a combination of the intuition-based “ability to see” and experience acquired through dedicated practice, is still what makes a good architectural photographer today, as the tools of the trade have little influence over one’s skillset.
With the advent of tools to both shoot and edit images digitally, a whole new world of possibilities has opened to image producers. For people with large film archives, digital tools enabled the re-interpretations of old photographs through the lens of modern technology.
The late Balthazar Korab, famed 20th century architectural photographer and lifelong collaborator of Eero Saarinen, had the opportunity in his later years to re-appraise portions of his archive, but this time acting as a sort of curator of his work and bring new life to old photographs, only revisiting the images that stood the test of time and emerged as exceptional. He did so with the help of his supremely talented son, Christian Korab.
During their collaboration, while preparing a definitive edition of his father’s images for a monograph on Cranbrook Academy (one of Korab’s favourite subjects which he repeatedly photographed over many decades) in a new digital medium, Christian was able to execute his father’s vision in a way which was never quite reachable before the digital editing tools we have today came into being. These digitized re-mastered images were described by Korab father as:
“The precise and nearly-flawless execution that I could never quite realize in darkroom printing.”
Indeed, his son has parlayed a lifelong working relationship with his father into a set of skills that very few, if anyone else has. It is the ideal blend of technical and aesthetic vision for the finished project. He developed a way to digitize film and master it into digital files that not only allow for the most faithful rendering possible to date but also allow for nearly flawless, unambiguous reproduction and archival conservation.
What is image mastering?
Mastering is a term that’s been widely used in the sound and film industries to describe a process aimed at codifying complex and collaborative artistic efforts that involve a variety of talents. When it comes to photography, it means bringing a similar level of predictability and reproducibility, with a great degree of accuracy to finished images.
In sound engineering, mastering was born from the need to reproduce music with the highest degree of fidelity across many systems of unequal quality, from cheap speakers to hi-fi systems worth hundreds of thousands of dollars. In the sound mastering process, artists codify their vision of how their music should be rendered to ensure that it renders in the best possible way on any system.
In film, mastering allows filmmakers to coordinate sound and colour to create a coherent finished product, accounting for the varying conditions in which the movie was shot and recorded. It essentially takes disparate pieces of raw material and through the editing process ensures that they are coherent and aesthetically pleasing in the finished product. Once the colour grading process is done, the viewer should not be able to see any differences across the scenes of a movie, even though they may have been shot at different times with varying pieces of equipment (this Instagram account is a great way to learn more about the idea).
Ultimately, the goal of these mastering techniques is to ensure that the artistic intent gets conveyed as accurately as possible. Learning from these other industries, Korab developed this methodology while trying to solve the problem of ensuring the perennial survival of his father’s film-based archive. It turns out that the process is also supremely applicable to digitally-native photography editing and archival, as it enables photographers to produce more consistent images across their entire catalogue and oftentimes, turn decent images into hero shots.
Additionally, mastering allows artists to include in the master files information relevant to using the images in the myriad of possible formats, such as fine art printmaking, publication, electronic display, archiving and art conservation. It is, therefore, a unique kind of artifact that possesses both raw information and the final rendition of an artwork. In other words, a digital photographic master is to photography what an audio master is to the recording industry: an unambiguous, infinitely reproducible original artifact that is used to produce all subsequent versions of an image.
If properly archived and backed-up accordingly, its stability over time is guaranteed, as digital files do not decay and can be infinitely reproduced, the redundancy making information highly resilient. Another advantage is that the artist’s vision if properly reproduced, cannot be unintentionally modified as the master contains all the information about accurate reproduction in as many types of media as desired.
A well-produced master is non-destructive, meaning that the work can always be revisited at a later date by the artist and modified to taste. These multiple interpretations are included in the master, thus forming a one-stop-shop history of the multiple versions of the same work
“The negative is the score and the print is the symphony”
Ansel Adams.
If we are to believe Adams' words, a digital master thus includes both the score and the symphony, not only that, but it can also include many symphonic performances, all infinitely reproducible.
Why you should care about it.
Formatting the images that represent your work in a highly-codified, high-fidelity file, enables the representation of your body of work in the most refined of ways. Not only the rendering of your images will be better, but the files themselves can embody a multitude of variations ensuring that your work is always showing up at its best no matter which media it is showcased on.
I have yet to find someone who doesn’t want this level of precision and quality in the public display of their work. Ultimately, your work will not sell itself, but beautiful imagery, well designed and perfectly reproduced will certainly help you convey what your work is about and enable you to find the clients that want what you have to offer.
The work you’re most proud of deserves the best of renditions, don’t you think?
This piece was co-written and edited with/by Christian Korab. If you’d like to know more about how image mastering can work for you, contact us and we’ll walk you through the process.
Arnaud Marthouret is the founder of rvltr and leads their strategy, visual communications and media efforts. He has helped numerous architects and interior designers promote themselves in their best light - pun intended - to help them run more effective practices and grow in a meaningful way.
If you have questions about this article or rvltr or want to chat about your strategy and communications, you can leave a comment, share with a friend, or reach him at arnaud@rvltr.studio.