My grandmother's 1951 wedding photo was sharp, well-preserved, and in black and white. I wanted to colorize it — to see what it actually looked like in color. I ran it through three different AI tools before finishing in Photoshop. Every tool handled the skin tones and the church

Shot a low-light indoor event at ISO 3200 last winter — venue was dark, flash wasn't an option, and I needed a fast enough shutter to stop motion. Every frame had grain. Not unusable grain, but the kind that reads as texture-less mush at 100% zoom, especially in the

Red eye is the easiest problem to remove from photos — two clicks in Photoshop or Lightroom and it's gone. The only time it gets complicated is with pets, because their flash reflection is green or yellow, not red, and automated tools don't detect it. I'

Shot a portrait session last summer in direct midday sun. The client wanted outdoor shots, the venue had no shade, and I underestimated how badly the sky would blow. Ended up with 60 frames where the sky was pure white and the subjects' shoulders were clipping. I recovered about

Shot a wedding last November in a venue that refused to add more lights. By the end of the night I had 340 frames, and about a third of them were 1.5 to 2 stops underexposed. Every single one needed fixing. Here's exactly how I did it

My grandmother's wedding photo lived face-down in a drawer for thirty years. When I finally turned it over, the emulsion had cracked across her face and the whole left side had gone deep amber — the kind of fade that looks permanent. It wasn't. Two hours in

The photo looked perfect on the camera's back screen. Good light, everyone's eyes open, solid composition. Then you open it on your laptop and one face is soft — that motion blur smear that no amount of squinting makes better. I've deleted hundreds of shots