Make a Photo Story With Atavist: Long Form Visual Narrative

We all love a story. We like stories so much that we’ll even make up a narrative where none exist. We're hard-wired for it: narratives shape information into patterns, making the information easier to understand and remember. Narratives engage our emotions as well as our thoughts, playing to our dual nature as thinking and feeling creatures. And narratives engage more of our brains, activating not just those brain cells that decode words into meaning but also every part of our brains that would have been involved had we experienced the events of the story ourselves. Our brains interpret that kind of activity as an experience, and we’re much more engaged with experiences than with data and language.
We also love pictures. Our brains process visual information faster and with more recall than when the information is presented in text. It takes milliseconds for us to grasp visual information compared to minutes for text. Pictures don’t require translation and they can communicate concepts and ideas that might otherwise defy description. Talking about a child exhausted after a day of sightseeing is one thing; seeing a photograph of an exhausted child is something else altogether.

Boy sleeping on his fathers lap
Photography by Dawn Oosterhoff

Combining stories with pictures is an especially powerful combination. According topsychologists, we retain very little of what we hear or read, but we retain about 80 percent of what we see and experience. This combination of stories and pictures is increasingly the language we use for communication, both in print and online. Journalism, advertising, and education all use a combination of words and pictures to communicate. Storytelling, especially visual storytelling, is now also the the dominant design trend for company websites and online marketing.
Storytelling is universal and ageless, but the way we tell our stories changes with the tools we have at hand. Thousands of years ago, we would have told stories by painting on cave walls with pigments. Invention of the printing press led to reproducible stories in novels and periodicals. Then it was motion pictures and television. Now we use the internet and everything it supports—text, audio, video, and still images—to tell our stories and engage others.
For a while, we may have let online storytelling collapse into bursts of 140 characters or less, but in 2012, John Branch of the New York Times re-ignited long form storytelling with his online publication of “Snow Fall: The Avalanche at Tunnel Creek.” Branch and a team from the New York Times combined photographs, video, audio, and text on a web platform to tell the true story of sixteen skiers and snowboarders caught in an avalanche. “Snow Fall” was a storytelling sensation, earning Branch the 2013 Pulitzer Prize for feature writing. While not every story can be told in such an extraordinary fashion, “Snow Fall” has been a catalyst for a new standard of visual, online storytelling.
If you’re a photographer or videographer, you have the opportunity to use online resources to construct similar stories, whether you intend to use the stories for personal, professional, or commercial use. Magazine-type online community sites provide space for users to construct their long form narratives, using whatever combination of words and visuals suit the story best. Many of the sites are free, at least for trial or hobby use. For a fee, most sites will provide the infrastructure for selling your stories, if that’s what you wish to do.
In this article, we will look at Atavist, one of the early and still highly rated platforms available for long form narratives. Atavist was founded in 2011 as a long form publisher with its own online magazine. Soon after, Atavist added a self-publishing platform, Creativist, which was overhauled and relaunched earlier this year as an integrated part of Atavist. It’s this new self-publishing platform we’re going to look at.
Begin your storytelling project by getting a feeling for what is possible with Atavist. Explore “Built With Atavist” to be inspired by examples of long form narratives. Your story could be fictional or it could be an account of something you’ve experienced, witnessed, or photographed. If you’d like to try constructing a story but don’t know where to start, consider telling a story about a vacation, a family or public event, an outing, a person, or a community interest.
You don’t need a polished story to start. Because you control when your story becomes available for public viewing, you can use Atavist as your online word processor and layout designer, experimenting with features, re-writing content, and switching out visual elements. You will, however, find it easier to construct your story if you have an outline or storyboard for your narrative. Outline your plot—the sequence of what happens—and get a clear sense of the setting—where the story takes place. Identify the visual elements you’d like to use to tell the story and pull your prepared image files into one folder for ease of use.
I have been collecting found photographs, letters, and documents for some time, and knew that I wanted to use them to construct my story. Those captured in the photographs became my characters, and the letters provided events and settings. I used a storyboard to pull it all together into a narrative with a beginning and middle. I haven’t decided how to finish the story yet, so left that open for inspiration as I move along. 
My storyboard is below, and I'll show you screenshots of my story in progress as we move along. You can peek ahead here to see where I'm at with building my story.

Storyboard with outline for a long form narrative

Remember that you can create and experiment on Atavist, so don’t get stuck writing a prize-winning story before you even start!
  1. If you haven’t already created an account with Atavist, do that now.
  2. Once you’ve created your account, you’ll have a project page where you can organize all of the projects you will create on Atavist. You can return to this project page at any time by clicking the Atavist icon in the top left corner of the window or by selecting My Projects from the menu on the Atavist home page.
  3. On your project page, click New Project to begin your new story.
  4. On the story page, give your project a title, then select Subtitle, author, and description to expand the Project Flap where you can add more details about your project. Be sure to Save your changes. (I suggest leaving the Title DesignNavigation, and Theme in their default settings for now.)

Atavist home page showing Atavist icon and My Projects menu item
Atavist home page
Atavist project page
Atavist project page
Atavist story page showing Project Flap
Atavist story page with Project Flap

Alternatively, if you have a project already started in a Microsoft Word file, you can create a new Atavist project by simply dragging the .docx file onto your project page. Images will be converted to design blocks. Page breaks in the .docx file will create new sections in your Atavist project. Although some basic text formatting will be preserved, you are best to do all of your styling and layout once you have the project in Atavist.
Users build their stories on Atavist with design blocks and sections. Blocks are individual elements of text, an image, video, slideshow, or something else. Blocks are grouped into sections, which are the equivalent to chapters or articles.
On your story page, click the Add Blocks icon (the white + in the blue button) to open the Blocks Picker, the selection of blocks available for designing your story. 

Atavist story page showing Blocks Picker icon and selections

There are several options in the Blocks Picker, including the expected:
  • ImageVideoMapSlideshow, and Audio
A few options offer design elements typically used in text layout:
  • Pull Quote will highlight a section of text you’ve copied from your story by formatting the copied text in a larger font that is also marked with a design element (a solid line, for example) to set it apart from the main text.
  • Sidebar will add a piece of supplementary information at the edge of the page.
  • Text Overlay allows you to place text on top of an image.
  • Chart allows you to create a chart using data saved in a Google spreadsheet. Formatting and styling the chart is all done in Atavist.
There are several design blocks to add social media sources. At the time of this tutorial, these include Instagram, Flickr Gallery, SlideShare, and Twitter. There are also design blocks that allow you to customize your online story with animated elements, including Giphy, Parallax, Image Compare, and SoundCloud.
If you’re familiar with coding, you can add also blocks for JavaScript and embedded code, such as the code Facebook provides to add a Like button to a webpage. 
Finally, if you’ve got a portfolio of photos or videos elsewhere on the web, take the opportunity to add a Button block that you will customize with a URL that will redirect viewers to your portfolio or website.
In all cases, clicking a block in the Blocks Picker or clicking and dragging the block will add that block to your story page. I recommend clicking and dragging for better control over placement of the design block. Once the block is on your story page, add elements to the block or customize its look or use by rolling over the block to reveal the edit options at the top of the block. The options include a delete button should you decide to remove the block.
help page on Atavist provides simple but comprehensive information about using all of the various design blocks.
You don’t need to add text blocks because your story page is, itself, a text block. All other design blocks rest inside the text. To reveal the cursor for adding text, simply click in the text area, outside of a design block. To format your text, select the text and then choose from the formatting options that will appear in the options bar. Text formatting options are limited, but the nature of Atavist is to keep designs simple.

Atavist story page showing text formatting options

One little surprise option you’ll find in the text formatting bar is an option for adding a pop-up annotation. Click the + button at the end of the text formatting bar. That will open a list of design blocks you can add at that point. At the bottom of the list is “pop-up annotation.” Use that to add a pop-up note, for example, about an information source. When users click the highlighted text in your story, the annotation you created will pop-up.

Atavist story preview showing pop-up annotation
If you add a pop-up annotation, clicking on highlighted text in the published story will bring up a pop-up note.

You have a few options for how you lay out the blocks on your story page, but in all cases you cannot simply place a block randomly in blank space on the story page. The design block must be placed in relation to text on the page.
If you want to place your visual elements before you write your text, you will need to use placeholder text to provide text anchors for your design blocks. Placeholder text is often referred to as “lorem ipsum.” Lorem ipsum is often, but not necessarily, Latin. More importantly, it is text that is not intended to have meaning. It’s used simply to provide paragraphs of text that can be formatted to show how typeface or design layout will appear. There are a number of free lorem ipsum text generators on the web. My favourites are:
  • Lorem Ipusum—This is the classic placeholder text generator. It’s been around for a long time. Your options are limited to specifying how much text you want (number of paragraphs, words, or lines) and in which language. It’s simple, basic, and reliable.
  • Loripsum.net—This generator allows you to include lists, block quotes (pull quotes), headers, and other features. Having those elements in placeholder text can make your job easier if you know that your story will eventually have some of these elements in the text.
  • Fillerati—If you’d like your placeholder text to inspire you while you work, visit Fillerati to get text generated from novels that are now in the public domain. Be careful if using text from this generator because you may inadvertently generate text with HTML markers, which you don’t need on Atavist.
  • Journo Ipsum—If your story is journalistic, be inspired by using placeholder text filled with newsroom terminology.
Once you have text on the page, you can move the blocks:
  • Up and down the page. Roll over the block with your mouse to reveal the placement icon at the top right corner of the block. Select and hold that icon to move the block and place it between text you’ve already written.
  • To the left and right. Roll over the block to reveal the the options bar for the design block. The options bar will contain buttons for the left to right placement choices available for that block. For example, a still image can be placed to occupy the full width of the page or to occupy the full width of the text, or it can be placed on the left or right with text wrapping around the image.

Atavist story page showing options for placing design blocks

Your placement options for layout are limited. You can place a design block between paragraphs, or if wrapping text, you can place the design block only at the beginning, or in some cases, at the end of a paragraph. The size of each design block is also predetermined with the sizes varying only to accommodate placement. For example, a full width image will be the full width of the page and an image with wrapped text will be 60% of the page width.
At some point in creating your story, you’ll want to explore options for the general look and feel of your project. To explore your options, click your story button at the top left of the page to open the Project Flap
On the right of the Project Flap are options for changing the Title Design,Navigation, and Theme. There are multiple options—too many to describe here—so my suggestion is that you navigate your way through the selections and try out the options that appeal to you. Depending upon your choices, you may have further options for design, such as whether to use drop caps or change the space between paragraphs. 

Atavist story page showing design options
Click your story button to open the Project Flap, which reveals options for customizing the appearance of your story.

Look for title designs, layouts, fonts, colours, and navigation choices that enhance the theme of your story. My story, for example, is historical so I didn’t want a modern parallax image or animated GIF as part of the title. I wanted something classic, so chose the Simple title design. I elected to use the Fisher project theme in order to get an aged paper look for the background and a traditional serif font.
Consider testing your project as you change design options. Long form narrative projects are new to many people, so you may find that some of your design choices are not user-friendly. For example, I originally designed my project so that each letter would appear on its own page. I wanted viewers to pause and get a feeling that some time had passed between letters. However, when I tested the project, a number of my users were confused about how to navigate from one letter to another, so they lost the thread of the story. Until I sort out something better, I changed my navigation to a continuous document in order to keep my viewers engaged.
If you use Sections to break your story into smaller chunks, you will have the opportunity to design the appearance of each section and arrange the order sections will appear. Manage sections by clicking the sections icon at the bottom right of the window. Add a section with Add Section. Rearrange or delete sections with Edit Sections.
To customize the appearance of a section, click the name of the section at the top of the design page. The title designs that are available to the whole project are also available for sections.

Atavist story page showing options for customizing sections

Atavist is a simple, beautiful interface for story design but navigation can be tricky. For example, to access Help, you must first click on your story button at the top left of the page, then select Subtitle, author, and description to fully open the Project Flap. Then select Help at the bottom right of that dialogue box. I bookmarked thehelp page so I could access that information directly in a separate tab or window.
In some cases, you exit a dialogue box by selecting SavedClose, or Cancel. In other cases—for example, when exploring the Blocks Picker—you exit the selections by either adding a block or simply clicking back in the story design page. And yet with other options, you’ll find yourself in a new browser tab and able to return to your previous position by going back to that still open tab.
If you create Sections (or chapters) within your story, you navigate betweenSections by clicking the icon at the bottom right of the story design page. Or, you can move forward or back one section at a time by selecting the hyperlink at the top or bottom of the story page.
To make changes to your project, or if you’re lost and simply cannot get back to where you need to be, click the Atavist logo at the top left of your browser window. That takes you back to your projects page where you can re-enter your project by selecting Edit, or you can customize your project options by clicking the down arrow to open a drop-down menu.

Atavist story page with Atavist logo highlighted
If all else fails, click the Atavist logo at the top left of your browser window to take you back to your projects page.

To customize how your story will appear to the public, navigate to your projects page (click the Atavist logo at the top left of your browser window) and then select your name at the top right of the window. That will open a Profile page where you can add a short bio and a logo or avatar, customize your Collection page, and choose a subdomain on Atavist for your project.

Atavist profile page

I’m assuming you will want to share your finished story. At any point during your project and certainly before you share your work, take a look at how your story will appear to others by selecting Preview from the options at the top right of your story page. The preview will open in a new browser tab so you can switch back and forth to tweak your design and check the result. You will, however, have to refresh the preview page each time to see the results of your design changes.
When you’re happy with how your story looks, select Publish from the top right of your story page. Note that you can publish your story at any time while you are creating your project, then go back and make further changes or additions. Your changes will not be visible though until you publish again. This offers you an opportunity to push out a project in stages and control when you release the newest additions or changes.
When you select Publish, you will be provided with options to customize the URL for your project, add a password for access, and share the project on social media. Your project will be published on the web and free to others unless you elect to upgrade to a paid account. Upgrading to a paid account also gives you the option of publishing your story to an app or e-book. Finally, if you have a website of your own, don’t forget to add a link from your website to your Atavist project.

Atavist publish page
Atavist publish page

I am excited by the online evolution I’m seeing with long form narratives. There’s no question that this design approach is becoming more popular in all sectors. If you’re a commercial photographer, it’s in your business interests to explore the possibilities offered by long form narratives. If you're a journalist, this is a bold way to engage directly with your audiences. I believe the trend also suits our growing personal interests in sharing stories and experiences that are greater than will fit in a short media post. For all photographers, the interest in long form narratives provides us with an opportunity to experiment with sequencing photographs to tell stories, and to try out an additional creative outlet—writing—to build narratives.
I’d love to see what you’ve been inspired to create. Consider adding a link to your project in the comments below.

Introduction to Traditional Media: Chalk Pastels

Final product image


What You'll Be Creating

In this tutorial I will introduce you to chalk pastels, what they are, and how to use them, setting you on the path to bright and colourful work that never fades and can be done at home or out and about.
I have to admit that pastels are my absolute favourite medium to work in. The vibrancy of the huge selection of colours is wonderful, while the detail you can achieve often surprises. You only need a piece of paper and a pastel and you are off, no other materials. You can quickly achieve a finished piece either at home or outside, and you don’t have to wait for anything to dry.
For me, painting with pastels is about taking advantage of a series of subtleties, and I consider many aspects of the work in front of me:
  • the different shades of pastel sticks and pencils I am working with
  • the colour of paper or card I have chosen (should I let it shine through my painting or not?)
  • the colours I have already laid down, and what effect I can get with new colours on top
  • how blending with my finger will change what I have already done
  • whether I am brave enough to leave clear strokes unsmudged
They are not the stuff teachers use on blackboards, or what children use to draw with on the pavement. Chalk is made with calcium carbonate mixed with a bit of colour and is generally very pale and quite hard. 
Like chalk pastels, oil pastels are made with pure pigment, but oil pastels are mixed with a non-drying oil and a wax binder, and can be used with turpentine to form a paste.
Pastels are pure powdered pigment, mixed with a small amount of binder. This makes them softer than chalk and much more versatile. They range in colour from soft shades to very bright and are brilliant for creating large or small paintings, inside or outside.


Squared pastels

Some pastels are harder than others, and I find that there is little difference (just their make) between them. I use both to cover large areas and for detail—one is just more crumbly than the other. It tends to be the colours that I go for.


Rounded Pastels

There are also two shapes of pastels, round and squared. Again, I use both, for large areas and detail. However, I like to take advantage of the different stroke shapes they give me. Below is an example of fur from a much larger painting of a howling wolf. You can see a variety of strokes where I used both round and square pastels, but I deliberately used the edge of the square to give the fur a more matted feel.
When you start your drawing, don't sketch it out in pencil, as chalk doesn't cover it very well. Use a pastel pencil, or if you don't have any, a conte pencil or charcoal or, of course, a pastel stick.


Wolf Fur

You can buy packs of pastels, containing a selection of colours. Inscribe offer a good starter box, but go for the 48 colours as they have a variety of different shades, and the price is very reasonable. However, the pastels are quite hard, a bit gritty and can be difficult to manipulate subtly. Try to avoid sets that have lots of bright colours, because as you work, you will find this limiting. 
Sennelier are an absolute joy to work with. They feel so smooth to handle, and the choices of colours in their starter sets are wonderful. You can buy boxes of pastels specifically for landscape, mid tones and dark tones, and they even have fun ones that are metallic and iridescent. However, they are much more expensive than Inscribe.
You can also see in the photograph of the squared pastels that I carry them around in a small tool box. I cut down their foam packing to fit them in. This has allowed me to store them on a small scale and to take them with me with ease when I am working outside. The cardboard boxes they come in fall to pieces after a while, or the pastels simply fall out if you hold the box at the wrong angle.


Pastel Pencils

As I said before, I love pastels, but I love pastel pencils more than anything. I can get amazing details with them, and they sit beautifully on top of pastel sticks. They have exactly the same pigment base, but are just surrounded by wood—it makes them less messy too. However, I find that pastel pencils need to be used with pastel sticks, which I use for background and large areas.


Cheetah Eye and Fur

This is the eye of a cheetah (again from a much larger painting). I have used rounded pastels as a base, and for all the fur and detail, my pastel pencils. Pastel pencils can be used to lay down colour as well as for blending.
The only problem is sharpening them, and the only way to do it is carefully. I use a sharpener, or if I want a squared-off tip, a very sharp, small-bladed knife that I take my time using.
There are a number of good makes: Derwent, Faber Castell Pitt, or Stabilo. Go for a set that has tones and shades of the same colour in their box sets—sets of 24 or larger. Derwent seem to do this best and have the widest variety of colour choices, but I am biased, as they are the ones that I use most of all.
If you are unsure of pastel pencils, you can easily buy them individually to see if you would like to use them.
I also use a carry wrap for my pencils (which you can see above). It keeps them safe, holds them together, and makes it easy to cart large numbers of pencils around.
I know I said before that all you need is some paper and a pastel to start creating, but there are some tools that I use to help me along the way.


Additional Pastel Tools

I use hairspray instead of fixative, because fixative is incredibly expensive, and hairspray does just as good a job. Once I've laid down my initial colours, I use this to fix them so I can then draw on top—or if I've made a mistake that I want to go over. 
The grittiness of hairspray (experiment with the different types of holds to find which one you like) allows for a textured base to continue your drawing. However, hairspray or fixative both change the colours of the pastels, making them darker. As a result, I never fix my drawings once I finish them. I'll go into how I get around that in Section 5, Storage and Transportation.
This, to me, is indispensable. The suede ball at the end is soft but not squashy, and the stick itself ranges in size, which is adjustable. I place it across my work on the right, the ball resting on my board, holding the other end in my left hand. I then lean my right hand on the stick as I draw. It stops me from smudging my work.
I use these as well as my fingers for smudging and drawing into my pastel. The different sizes and their points allow you to be very detailed in your work. They are particularly brilliant for fur, hair and grasses.
This is for taking away areas that I think are mistakes, almost like an eraser. It can also restore spots that are becoming difficult to draw over—this sometimes happens when you overwork part of your drawing, making the chalk compacted.
You place it on your drawing and use whichever of the holes you wish, drawing over it with your pastel to leave a shape on your painting (below). I have to admit it is not something I use often.


Pastel Stencil

If you are unsure of what to get first, I would recommend strong hold hairspray, a mahl stick and blending stubs. Everything else is useful, but you can do without.
Whatever surface you choose to work on, you will always need one with texture—anything smooth will not take pastel. 
Below is a small choice of papers and cards that you can use.


Pastel papers

Around a 160 gms pastel paper can be found in sketchbooks or individually. There are normally about six colours within a sketchbook. They come in a variety of sizes, depending on your preferences, and the colours vary.
This is a joy to work on. It is by Clairefontaine and feels like a slightly rough cork. You rarely need fixative (hairspray in my case). However, I find the sizes can be limiting as, for me, the pads tend not to be big enough—I do like to work large.
This is what I prefer to work on. It has enough of a texture to take my paintings and at the same time is heavy enough for me to cart around without risking folding or creasing. The sheets can also be A1 (594 x 841 mm, 23.4 x 33.1") in size, which allows me to work on a large scale and then cut down my painting if necessary. The colours vary wonderfully and I can get the dark shades I like—there are plenty of paler and muted ones too.
As long as they have a texture, use them. As you can see above, I have even got a card that has sparkles through it—just to see what kind of effect it might have.
Sandpaper can also be used, would you believe. There are a number of grades of grit to it, starting at coarse, but I would recommend super fine or ultra fine, because anything rougher will eat your pastels.
The colour of paper you choose really does have an effect on your painting. As the paper is textured, the chalk sits on the surface, leaving small patches of the paper to shine through. It can have an effect on the colours of pastel you are using and the overall atmosphere of your work. As you can see below, where I have circled on a very rough sketch of a beach, the pale blue of the paper I used still comes through.


Beach sketch on blue paper

I have to admit, I like drama, so tend to avoid paler colours (unlike above), and veer towards dark greys, blues and, on the odd occasion, black. These shades allow the pastels to jump off the page, I feel, letting you make bold statements out of the palest of colours. You can get bright colours too, and there are a number of well-known artists who prefer to use them. The choice is yours.
You can buy pastel paper in a sketchbook format, and try to find ones that have tissue paper between the sheets which will protect your work. However, if you are buying one on the internet, be careful as they don't always show you which colours are included. Winsor & Newton and Derwent would be a good choice for straightforward paper. But, if you don't mind spending a bit more, I really do recommend Clairefontaine's pastelmat.
Mountboard comes in individual sheets, and a variety of colours and sizes.
Then again, have a look around your house for any textured note paper, or extra-fine sandpaper—they will do the job too.
While you are working, you need to find a method of support that suits you.
You can easily work on a table top. Just cover it in newspaper, as pastel dust gets everywhere and for some reason turns to a dark grey, no matter what colours you have been using. You will find that you will blow on your work to remove dust, and this pushes it all over the place.


Support - easel

I prefer to stand when I work, and when I am painting on mountboard, I use an easel. I attach a large piece of MDF (you can use any kind of unbending wood) to the easel, and then use bulldog clips to secure my painting in place. This way, the chalk dust falls into the cradle at the bottom of the easel and is less likely to get everywhere. The board is also large enough for me to lean my mahl stick upon without touching my work.


Support - wall

As I said above, I prefer to stand when I work, and when I work on paper, or a smaller piece of mountboard, I simply tape (using masking tape) it to a wall. As you can see, though, the wall will get dirty.
Because I never fix my finished work, I need to protect it when I am either storing or transporting it. The solution is very simple.
I use high-grade, smooth tracing paper, and wrap the painting like a present. I make sure that all the folds and masking tape are at the back of the painting, allowing me to see through clearly to the work at the front (it makes it easy to find). This way, I can pile it on shelves, in drawers, place it in a portfolio, or safely transport it to a framer.
Framing a pastel painting isn't as straightforward as other media.
Always frame pastel behind glass. That way, no one can put their stick fingers on your work and smudge it, and unwelcome dust is kept off it.
Even if you decide to fix a painting after you have finished it, pastel dust will drop off, and it will gather in the corners of your frame (below), eventually making it look grimy.


Dust in the corner of the frame

The solution is for your framer to create a small gap between your painting and its frame, allowing dust to drop between (below). As you can see, it is hardly noticeable. However, I should mention that not all framers know of this method, so you will need to ask them about it and, if necessary, tell them what you want.


Clean frame corner

Pastels are a joy to work with, and you will see results almost immediately. Experiment with using both pastel sticks and pencils, their accessories and different boards and papers, to find what suits you best. Although they can be a bit messy, they are easily cleaned up with soap and water (including your clothes and the floor).
Pastels are very transportable, are perfect for working with outside, and cover large areas quickly. They are also easy to obtain. Nearly all art shops will stock pastels, and you can get vast choices of colours online.
Have fun!

The Complete Mobile Imaging Workflow for iPhone Photographers

Final product image

What You'll Be Creating

In this tutorial you will learn how to raise the quality of pictures taken with your iPhone’s built-in camera with a start-to-finish mobile imaging workflow. 
It makes sense to push the limits of the iPhone: it is the camera that's always with you! It's always in your pocket and it's built to share your pictures online. While the device is convenient getting the best possible image quality takes some extra effort. Luckily, you can get top-notch results without rushing home to process pictures on your computer.
I spent my last six months studying abroad. The only camera I brought was my iPhone 6. Adapting to my new circumstances, I developed a custom workflow for mobile post-processing. I am now able to do my post-production almost immediately, and I'm able to do advanced things, like lens distortion correction, that would otherwise require a professional desktop application.
With my photo editing workflow I always try to aim for non-destructive edits, but that’s not possible on iOS yet. When you use more than one specialized application to edit the same photo you usually have to export and import the files between each application. So, while this workflow is entirely mobile the caveat is that it's not entirely non-destrutive. Still, it's pretty close.
A note to photojournalists: if you use your iPhone to do reporting and you might want to enter a contest like the World Press Photo Awards, think about keeping a version of your image for each step below so that you can prove you haven't messed with the image too much
Anyway, as a temporary solution, I always make sure to keep the original image if something goes wrong during the post-production process. You should always try to export at the biggest possible resolution, too.
For capturing images, most of the time I use the built-in Camera app because of the quick access from the Lock screen and from the Control Center. Since the introduction of iOS 8, we can finally manually modify not just the focus but the exposure as well. Therefore, there is no longer a need to use a third-party camera app unless we want fully manual control over the camera settings. 
Manual is one of the best apps available in the App Store for manual image capture. With Manual you have full control over your iPhone’s camera settings, like ISO, shutter speed white balance and exposure compensation. 

Manual app for iOS

ManualShot! is my second favorite app for shooting in manual mode. The biggest advantage of this app over Manual is the built-in level indicator, which immediately shows us how straight our image will be, and the Focus Peaking feature, which highlights the areas that are in focus. Focus peaking lets you quickly confirm focus and not miss crucial shots, even in manual mode. 

ManualShot for iOS

If you want to read more about capturing images with your iPhone, I highly encourage you to read the excellent tutorial by Harry Guinness about manual photo and video recording.
Cortex Cam can be used both to create perfect night shots and daylight shots with some special effects. Cortex Camera basically creates and combines dozens of individual photos, aligns them in real time, and fixes their positioning using the gyroscope sensor in the iPhone. With Cortex Cam you can shoot perfectly sharp night images without using a tripod. 

Photo taken with Cortex Cam

You can use this same app during your daylight shots, too. When you try to capture a waterfall or lake, for example, it will give you a beautiful blur effect on the surface of the water. Cortex Cam brings the beauty of a long-exposure shot without the difficulties of using a tripod or similar equipment.
Before you can start editing your images you have to select your best shots. Before iOS 8, I always created a new album with a name ’To edit’ and put every single image in it I wanted to edit later. This method of selecting images costed me at least 3 taps per image, which sounds like nothing, but when we’re talking about selecting 200 to 300 images, that’s a lot of wasted time. Now, I’ve found a better solution for this problem.
With the introduction of iCloud Photo Library, there is a new smart album in the Photos app: Favorites. When you’re browsing through your images you can find a little heart icon () under every single picture. Tap it, and Photos will automatically put that photo in the Favorites album and also make sure not to delete those in case you have the Optimize iPhone Storage turn on under the iCloud Photo Library’s settings. 

Managing your photos in iOS 8

Go through all of your images in the Photos app and tap the little heart icon whenever you think you might want to process that particular image in the future. In the Favorites album I then go through for a second time to review my selected images one more time, just to make sure I only keep the very best. 
When you have to open an image in a third-party photo editor application you always have to relocate the photo you want to work on. It’s even more difficult when you have almost identical photos next to the one you would like to process. Without a bigger preview image you cannot easily pick the one you need.
This is why I reverse this process. Instead of opening a third-party app, find the image you want to edit in the Photos app, then pass the photo to the other application with the help of an iOS Extension created by the Workflow app.
For example, if you want to open and edit a photo in the VSCO Cam application, you just have to find the image in the Photos app, then tap the Share icon, select theRun Workflow extension and tap on your previously built extension, which will automatically open the image in the VSCO Cam app.

Sending photos between apps

To create a similar Workflow extension, just create a new Action Extension, search for the Open in… action within the Actions, then add VSCO Cam as the destination app.

Creating a custom workflow in the Workflow app

In the rest of the tutorial I’ll focus on the imaging applications I use regularly during my post-processing workflow. Before jumping in on the details of every application, I strongly recommend you to read Harry Guinness’s other great tutorial about the basic principles of photo editing on iOS.
SKRWT is a remarkable application for correcting the lens distortion of your iPhone’s lens or a third-party lens like the olloclip.
Based on my experience, SKRWT is the best available app for creating perfectly straightened, distortion-free and vignette corrected images. This is an essential step before you start to develop a unique feeling for our photos by manipulating its colors and other values.
One of the best uses for this app is definitely architectural photography, when achieving perfect lines is the key. This works whether you’re shooting only one building or an entire street. 

Straightening images in SKRWT

This is the best video showing the true capability of this application. It looks fairly simple at first glance, but there is a lot going on under the hood.


Snapseed is one of the most versatile photo editor applications for iOS. While you can use it for modifying the exposure, contrast, saturation, sharpness and many other details of you image, I use it for the Selective Adjust feature.

Using the Selective Adjust tool in Snapseed

Selective Adjust allows you to modify the brightnesscontrast and saturation only on a selected part of your photo. I use this tool when, for example, the sky becomes too bright compared to other parts of the image or when I want to put some extra emphasis on one subject or element in my photo.
Content-Aware fill has been a privilege for desktop applications for many years. WithTouchRetouch you can disappear any unwanted element on your image.
Before trying out the TouchRetouch app I was quite skeptical about its capabilities, but I have to say sometimes it works better than a desktop application on my computer. You just have to select the part or parts of your image you want to remove, tap on the small play icon at the bottom of the app, and the magic happens automatically. 

Using TouchRetouch for removing parts of the image

And the best part is that all of this is done without decreasing the quality and size of the original image. 
PS Express is, like Snapseed, an all-in-one image editor. However, the feature I use most is the Noise Reduction tool. Definitely in case of photos taken in low light conditions, this app is a life saver in removing the unwanted noise from your images. 

Noise Reduction tool in PS Express

Some tools can add extra noise to your image during the editing process, so I recommend using the Noise Reduction tool as the final step  in the image correction part of your image processing workflow.
Now that you've corrected the image and everything is looking clean and clear it's time to adjust the image create a special look. 
The main reason why I don’t use the other features of Snapseed or PS Express is because I use VSCO Cam to give a unique feel and style to my images.
VSCO Cam uses vintage, film-like presets, which were developed by photographers trying to recreate the feelings of old analog cameras. They have special preset collections for street, portrait, nature and fashion photography as well.

VSCO Cam presets collections

Once in VSCO Cam, I always try to find the best possible preset for my photo. If you have dozens of presets downloaded this could be a daunting process but it’s worth trying. My favorite presets are the E7, F1, G2, KK1, M5, N1 and S2 from the color version and B3, X5 among the black and white presets.

Finding the perfect preset for your photo

After you find a preset which represents the feeling you want to express with your photo it's time to jump into the more detailed adjustment features of the app. VSCO Cam uses a 12-step slider to set different values of the image, like exposure orcontrast. Contrary to an infinite type of slider, I prefer this solution, because in my experience it helps me to better decide to either increase or decrease a certain value in a repeatable way.

More detailed editing in VSCO Cam

Most of the time, I increase the exposure and contrast with +1 value, and thesaturation with +2 or +3, but it really depends on the particular photo I’m working on. As a final step I always add a +1 or +2 value to the sharpness, especially if I’ll upload my photo to Instagram, where we have to take into consideration a lower quality and resolution. For an especially detailed editing process I recommend playing with values belonging together, like contrast-fadeexposure-highlights/shadows, and grain-sharpen.
And that's it! Time to export and share our final work with the rest of the world. Usually I publish my images to VSCO Grid, which functions in my case as a journal (I’m doing the 365 photo challenge this year), to Flickr, and to Instagram. 
This is my iOS photo workflow at this moment, but I’m always experimenting with new techniques to find even better solutions. Having followed this tutorial I hope that you are more confident in using your iPhone as a fully functional camera and post processing device on-the-go. 
Here's a recap:
  1. Capture images with the stock iOS camera app for ease of use, Manual or Manualshot! for precise control, and Cortex Cam for long exposures.
  2. Manage images with the Photos app, using the Favourites feature to collect your best images. Send you files to specialized post-production apps using theworkflows extension.
  3. Process with SKRWT, Snapseed, TouchRetouch, PS Express, and VSCO Cam.
  4. Export, then share to your heart's content.
I’m curious to hear about how you found the process, so don’t hesitate to leave me feedback and questions in the comments.

 

Copyright @ 2013 Krobknea.

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