Chapter 14 of 20 from Jimmy Chin

Post-Processing: Conrad on the Wall


Jimmy takes you through a granular look at the tweaks he makes to a photo before presenting it to a commercial or editorial client.

Topics include: Editorial Processing • Start Building a Collection of Series • Whittle Down Your Series • The Five-Star Edit: Pick Your Final Images • Organizational Best Practices

Jimmy takes you through a granular look at the tweaks he makes to a photo before presenting it to a commercial or editorial client.

Topics include: Editorial Processing • Start Building a Collection of Series • Whittle Down Your Series • The Five-Star Edit: Pick Your Final Images • Organizational Best Practices

Jimmy Chin

Jimmy Chin Teaches Adventure Photography

National Geographic photographer teaches his techniques for planning, capturing, and editing breathtaking photos.

Learn More


Push the limits of your photography

Jimmy Chin has built his career taking photos at the top of the world, earning him the cover of National Geographic and multiple awards. Now he’s taking you on location to teach you techniques for capturing breathtaking shots. Learn his different creative approaches for commercial shoots, editorial spreads, and passion projects. Gather the gear—and the perspective—to bring your photography to new heights.

From selecting the right gear to telling stories through images, Jimmy Chin teaches you how to plan shoots, capture the best shots, and edit in the studio.

A downloadable book accompanies the class with photography and supplemental learning material.

Upload videos to get feedback from the class. Jimmy will also critique select student work.


Students give MasterClass an average rating of 4.7 out of 5 stars.

I found this course very informative and well delivered. I am excited to put into action the lessons learned from this course!

Is a very good class of photography and adventure photographer life.

100% worth every bit of the money. I've been shooting professionally for 7 years now and was concerned this would be too basic. It was anything but that. It allowed me to see the business side of photography in a new light, as well as Jimmy's ethos and workflow. Highly recommended.

Jimmy Chin's was my first Master Class. I was mesmerized from beginning to the end. I am not a professional photographer, but his wisdom and experience has given me a new look at the work involved in adventure photography. The lessons taught can be used in any walk of life. I can hardly wait to view my next course! Thank you for such an entertaining and special class!



EDITING does make it POP... Good to know how Jimmy edit for commercial and editorial clients, different purposes.

Lynn S.

Wait a minute. In the last lesson, we finally saw a woman. It hasn’t been bro culture, exactly, but the Jimmy and Conrad show was getting a bit stale, so I thought yes, finally. We were told she would climb. Yes, finally. So they did the planning meeting and I could see that Jimmy was addressing his remarks to the guys. I thought okay, maybe it’s just a poor editing choice, don’t be so touchy. So what was the one image of the woman? She was not on the mountain — I figure there are no spas out there and let’s just say she was not dressed for cold weather. She was in a pool, gazing flirtatiously at the camera. That was it. Now we’re back onto Conrad on the wall? Please, guys, it’s the 21st century. Women climb. We’re not just there for R&R. Show us on the mountain, too.


Beautiful shot. I wonder about the rainbow flares on the mountain. I found them a bit distracting and would have edited them out, but I wonder if that would be a mistake. Anybody else have thoughts on those?


JIMMY CHIN: OK, so we've selected arbitrarily one of the Five Star images. I shot this image slightly underexposed. I usually, if there's a lot of bright light, I'll underexpose a little bit. But the first thing we'll do is just your basic color, contrast, clarity, cleaning up spots on the-- on the sensor. When you're working in the field, that happens quite often. We'll do some basic color work on this. Now, the decisions that you make in terms of your post really kind of depend on the client and who it's for. For commercial work, you know, they might ask for a style, or you might stylize it in a way that you want to share it. You're a little bit more focused on making it pop, or it can be a little bit more dramatic. For editorial work, you're just kind of making the picture look nice, making it look like an accurate representation of what you were seeing. So we'll just say that this is for an editorial client. And we're going to do some basic color work on it, take a look at the saturation, the clarity, contrast, exposure, making sure that's right, and working a little bit on the highlights and the shadows. And that'll be our first general pass on the image. So let's bump up-- bring our exposure up a little bit here. I think That's probably in the range. I generally know that the sky, and in this situation, the wall is pretty bright. So I might take it down just a little bit, knowing that I'm going to bring Conrad up a bit. And that's going to help bring him out in the image. So that looks good. Let's give it a little more contrast. Just a tad, there we go. So these adjustments are very broad, and-- in the sense that, you know, they're affecting the entire picture. And so you don't want to do a whole lot here. I mean, you're getting it into a good space. And then we'll move into more specific kind of adjustments-- masks and brushing. I think that looks pretty good. And then why don't we bump the clarity a tad? Yeah, probably around there. And the saturation, just a teeny bit. OK, that looks good. Sometimes, we just move the dials around just to see how things are looking-- like, if we want to go up to the temps and take a look at how that feels if we change it. Yeah, I don't think we need to do much there. I think we can go with what we had. OK, so the lighting on this was, you know, pretty good. I think the most we're probably going to want to do with this image is maybe bring up a little bit of the shadows on Conrad. And so we'll do, probably, a general mask-- see how that feels, and if that's enough. We brought up the overall shadows a little bit. I'd love to get a little bit more detail on his face. So we'll probably go in and actually specifically do a little bit of brushing. That looks good. Great. Now let's pull out again. All right, that's just a little bit more detail in his face. And when you're working in natural light, you want to use everything you have in your advantage. This wall is actually ve...