Lessons
Day 1
1Day 1 Pre-Show Banter
18:50 2Introduction
33:25 3What Makes a Dramatic Image?
19:34 4Before and After part 1
35:33 5Before and After part 2
17:23 6Adobe Camera RAW
44:25 7BONUS: Upcoming Alley Shoot
07:09BONUS: What can you do to a pixel?
05:06 9Working with Example Files
55:00 10Preparing for Alley Shoot
11:35 11Photo Shoot in Alley
1:17:00 12BONUS: Homework Assignment
01:22Day 2
13Day 2 Pre-Show Banter
06:33 14Reviewing Yesterday's Images
22:02 15Adjusting with Curves
28:55 16Adding Masks
39:25 17Student Photo: Orb
26:36 18Black and White
27:09 19Audience Q&A
15:37 20Student Photo: Toy Car
10:57 21Black and White Portraiture
17:57 22Tone and Colour Correction
22:02 23Student Image: Journal
14:39 24Audience Q&A
10:08 25Bonus: Internet Homework
19:05 26LAB Color
21:03 27Student Image: Girl on Phone
13:06 28BONUS: LIttle Girl in LAB
07:18 29Wrap Up & Q&A
12:10Day 3
30Day 3 Pre-Show Banter
05:50 31Introduction to HDR Photography
17:50 32How to Shoot HDR
51:55 33How to Process HDR
18:16 34Hands On: Shooting for HDR
52:13 35Processing HDR in Photomatix
1:08:40 36Student HDR Example
27:28 37Thanks + Credits
06:18 38Student Image: New York City
36:23 39Final Review
16:52Lesson Info
BONUS: LIttle Girl in LAB
this is kind of part edited. We haven't got the Linus adjustments. We have got the idea. Blur here with what we've got is the flat file in the color change. That's it. You can go from that color to that color in one curve. It's a kind of it looks like a lot has been done to get from there to there, but it's actually one curve. So before we look at this curve, there's a light has changed there. It's kind of Brian in the business. Let's bring with it more so. This is kind of that there were other things done to this image. But to simplify that kind of looks like the picture now, isn't it? And this is done on one curves that speculate about the and the vicar's. So let's look what we've got. Let's think about the acre first, which is the Reds on the greens, all the rest of the science. So what's happened to the rates? It was narrow it down even further, de saturated things that attracted you? Yes, if you look a lips and probably the red has been in the image, so I kind of look what's happe...
ning there. The de saturate. So where What's happened on the acres? Traveler? Evros family. Let's just have a look. That's the Icher. Okay, well, let's listen. Let's break this down was cracking. You layer on. Let's mimic the acres. So what we've got here is in the likeness left. So what we've got is we've brought the middle. We brought the point down a little bit sore, shifted the color balance on. Then we brought both room two d century. Okay, so let's go to the anchor. So by shifting the midpoint kind of there, we're shifting it towards kind of saying before we start, But I'm also kind of de saturating the anchor of kind of like that. Yeah, that's only part of story, because what we also need is the beak of So tell me, what does that do? That's a very minor. The saturation. Yeah, We're going in a clockwise direction. I go the other way as you've taken out a little bit of the going the other way on the blues. Yeah, I could boost the blues. And I confused the yellows. Yeah, yeah. So it ends up looking kind of cartoonish. I go this way what kind of d century I've got to change the color balance even further. If I wanted to slightly colder. Look, you know, I noticed the midpoint is going up towards yellow on down towards blue. So if I wanted to slightly colder version still which, actually on reflection quite like quite likely that's not the cultivation you think about the original is that one. You know, that kind of works as well, but it's just one curve to get from a to B kind of. The key thing here is the creative decision. Not so much the shape of the curve, which is this idea of unifying the colors. So you said, you taking some colors aims and you writing a slight color caste. So the big changes in the wake of, um you could see that the Reds converting the Reds backing on really saturate the Reds or I d century and I can switch them round to green by going all the way down to the bottom. Yeah, not just look silly, but what I'm doing there is kind of fine tuning the amount of red in the image now that the most noticeable effect is that d saturates the lips, but it also kind of calls down their skin tone as well, because taken red out there, the closer we get to this midline more neutral, it's becoming. So while I'm doing with this, this half of the curve is altering the race so I can saturate that way. De saturated there, and I can kind of switch to green at the bottom. So I've mostly done is taken. The red in the image have also shifted the white point away from neutral. Kind of going more toward science. That makes sense. See it on the white on the background. It's become a little bit blue. Yeah, because the background is fairly neutral. If we look at this in terms off, we've got now new for Palace L. A and B, so it is neutral. We're gonna have a name to be value of zero. The bigger the value come or more tired of blue and yellow, already written green and red, magenta, red and green, green magenta. Can you go back and show us that center point on zero and also where you ended up? Okay, what if right, let's Let's let's let's start from the beginning. Listen, let's do it from scratch on. What we'll do is we'll lock down the neutral point before we start. We'll lock in. The background is neutral, so let's switch to the acre. Andi. It's minus two minus two. So let's not be up to zero. That's a very, very slight change in terms of the reading greens. It's nearly neutral. Before we start now, let's go to be will go to the same area, the image that's minus one. So we'll leave that where it is. So we've locked the midpoint. Yep. If I go to the anchor and I want to do saturate the Reds, I could do that, you know, take the red ants and I context in the blue, and but I'm not shifting the color balance. If I go to the beak of I take some of that as well. I could do that and it's just just looking quite unpleasant, isn't it? Because it's a D saturation, and in the shifting white balance, that kind of creates the final effect. So the key one is kind of shift in that one day and that one down like that as well. Nice going wrong me. So let's go back and look at the original one. So on the earth, his damn and on the beak of it's awesome. Marginally, they're kind of the background has gone blue, which has affected her skin towns. They've gone. If we look at it now, it's kind of a value of one of five. So skin tones are almost neutral in terms of red and green are kind of at that. Bias is virtually nothing. I'm is value of five on the B channel, which is towards blue. Sorry towards yellow. It is kind of you need to be subtle with this and even slight change in the middle. There on kind of that that images reactions up. We're looking actually joined this. It's just a very little change, bringing it back down again. It looks fine goes up because it's more change. Yeah, it's kind of I mean, it's huge on the screen on the curve. It small. Yeah, very mind changing the curve. It's a kind of the key thing here is putting extra Bryant speaking, Kind of like it's a kind of thing. This is this. If you're working in a lab color mode, calibrate this screen is a really good idea. If you work in a long calibrated monitor, you end up with you can in that with very wacky results look really bad.
Class Materials
bonus material with purchase
Ratings and Reviews
a Creativelive Student
Ive been following davids work and tutorials for around a year now...well ever since i took up photography as a hobby. Im a lifetime member to chromasia.com and have been working through his tutorials when time allows. There is no fast track approach to this subject but i wanted the best advice i could get. Ive always found david very approachable over the internet and is always willing to offer advice on questions ive had regarding all manner of photography questions, being a noob. Whilst the tutorials are very comprehensive and well written sometimes its hard to digest this by yourself. So when i heard that he was presenting a three day course over the net. I jumped (well not quite more like sat down) at the chance to make sure i was able to watch the course (didnt manage that either). Sometimes its better to have a monkey see monkey do approach to walk you through different aspects of photoshop. And after the first day of the tutorial, so much information sunk in more so than it did sat reading through the tutorials. Although i didnt get to actively sit and watch the remainder of the last two days i did purchase the course so i can refer back to it time and time again. I can highly recommend this course, its concise, well planned and enjoyable course to watch. When you subcribe to the course you even get the files david walked through so you can practice yourself. I cant really praise the whole package enough...but its an invaluable reference course and couple this with chromasia membership you have a package that will dramatically improve your processed photos, the way you think about composition and importantly your camera settings! Great stuff
a Creativelive Student
David’s Dramatic Post Production Workshop is an excellent source of both education and inspiration. The Photoshop instruction is excellent and was my primary reason for watching the workshop. I was very surprised by how thought provoking the shooting sessions in the alley were and the lasting influence it will have on my own photography. Firstly the preparation for the session in the alley was interesting – having a goal and a purpose in mind. The fact that they are producing interesting work to illustrate the points and techniques in a rather dull alley helps emphasize the learning. On my next shoot after watching the workshop I definitely made adjustments in my approach. The discussion, examples and instruction on the goal of making an image more dramatic is very inspiring. It really makes me step back and review my own work to see how I can approach it from a different perspective
a Creativelive Student
The workshop was a great opportunity to learn to be more purposeful and intentional about the creative process at the post-production stage. I found the second day of the workshop – where David goes into his own approach in Photoshop – to be the most valuable for me. I look forward to putting this new found wisdom into practice into my own work. Thanks David!