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: Upcoming Alley Shoot
right. Okay, So what? We got outside? Have you Did you took a walk around? Have a look at the way. Impressed and inspired by the majesty of the environment. It's like a wedding scene. It's not as alleys go honestly on this guy, have not to 10. What would you give? It was interesting. I'd give it a zoo. Uh, six or seven. I think you're being generous. Interesting components. There are some interesting components, but is an overall. See nothing. It's quite difficult. Uh, no one wants to do is spend a bit of time thinking about what we might shoot. We'll have a look at the props in a while. I got Probably assume we've got a model with work with on, but before that, I want us to think through kind of on a conceptual level. What type of shot we might be taking. So what A list of three things here, Thea alias subject. So this would be focusing on the alley is an environment. You can we can we get a shot that conveys environment. Now? I've taken looking on no, absolutely convinced we can, So ...
there's kind of a challenge for you. You know I want shot this alley, too. Site. Something interesting about the alley is a hole. Um, well, think about how it could do that. You mentioned some interesting components that leads into the next with his detail shots. So what kind of things did you see? That might be interesting. There's a bunch of recycling and garbage bins which didn't appeal to me. But there, there, there's also a locked door with some text over the top of it that says, Keep fire away or something. Yeah, against the grey wolf, because that's when there's also the Big Wall. I don't know what color it is. Maybe green or the one on the left as you go up. Yeah, dry had a nice color to the back. Okay, so, yeah, I mean, there's some interesting walls. No striking colors is such that some interesting details on there's also some kind of wire netting further up. There's a kind of an electricity meter. We've got the props to work with. There's plenty of things we could get out in terms of detail shots. So, for instance, one thing you didn't mention was the grained. What was what was on the ground. You went immediately into the alley. The only thing I noticed was that it wasn't gravel, which is what I was hoping for. So I didn't look beyond that, right? Yeah, no details. Remember, as you walk in is a crack that leads up to a 2.5 foot by a teenage wide grille. You know, kind of just grating on the road. And there's a couple of cracks that branch off from the so one of things I'll have you doing is looking down, getting low and looking along on looking up because it's very easy to miss interesting shots. This comes back to camera angle. You can kind of walk out too early and looking at the thing. Well, you know what is the here, but move yourself around in the scene. Sometimes you can imagine what it's gonna look like, but I think Celeste has got some plastic sheeting and stuff. So I want to see you all crawling about on your bellies in this alley, which we kind of good for the online audience. I think I like to see them, so if you're a good dad, it's not raining now. It's not wet. I do want some shots from low. Damn. So I want you to think about the detail on actually on the ground itself. On another thing would be on what's interesting about this shop. What was kind of the key thing here in terms of shooting, what shallow the depth of field? Yeah, it's kind of not. It's not the shot you might think of. So we got a model to work with, and you've also got yourselves. So if you want to kind of set up a shot with somebody else kind of the point here about this one, it's a bang with the detail on the wall. It's not about the guy in the background, but it wouldn't be the same shop without guy in the background. So when you're thinking about your model on working with the model at the alley, one thing you might want to think of is OK. I'm not focused on her. She's kind of some way off, maybe blurred out of focus or something along those lines. Yeah, I share. If you get any ideas as well, we'll talk through things. We look at the props lighter things like this as Well, we're gonna look at this file, and I Would you be able to down You didn't Don't If you're online. You didn't download this one yet, But there's the three shots I'm gonna work through that Craig's gonna make available for download soon. Download files. I believe Craig is putting those together to be downloaded as soon as possible. Yeah, so I don't know if you purchase the course. Yes. Yeah, yeah. I'm so as you see, when we look at the original, this isn't too striking. It becomes interesting because off the changes that night, So what would those changes be in terms of what? What you mentioned this look like bearing in mind. You going to do two things? I'm assuming it has very little color. I think I'm seeing. I'm assuming they probably added blues and greens within some of the glass colors. Yeah, there was some color. They're kind of pushed in that direction. And I've also increased contrast. Okay, look up a swell. You look down and construction data on the ground would not looking out the windows now I don't think I'm gonna get me some. If we do get some on you kind of want this starburst effect. Stop your lens down to something like 16 and under exposed. So this shot would have been probably two stops under exposed F 16. You can get it really nice star shaped diffraction when you stop down to really small apertures, but it is important under exposed as well. Otherwise, you just get a huge white blob in the middle, so it's unlikely we'll get some. You can pay your cheat shoot studio like, but it's probably not gonna have quite the same effect, so that would kind of be a detail show. You can also think about the alley as a backdrop. So a lot of time when I'm shooting on the beach, I kind of think of the beach is my studio. So I'm shooting a lot scenes where really I could, you know, it could be the studio. I could just have a nice, smooth piece of sending from me in a blue backdrop behind it, and I just put things on it. You can treat any environment is backdrop, so there's no comparable floor at the Alec to this shot. This was taken if I came and whether is taken It's kind of just something that spotted on. It's kind of placing an object into an environment. So we've got lots of props. You brought some props long as well. I brought along my my flip flop, which was my my legs block shot. Look at that shot in a minute. You know, it's kind of it's got no merit is as an item. You wouldn't go to a shop and buy something like this, but I kind of really like the fact that it's it's falling apart. It's got the little twinkly sequins, and anyway, we'll look in that shot in a minute. But you can, by all means borrow my old flip flop that somebody else has warned anyway, there is. Okay, so there's the shot came up with from that. So we start off with a kind of something mundane, not especially interesting, and we end up. In my opinion, this is the kind of my favorite sausage dropping things into an environment. So this is kind of what we're talking about looking at the sea and creative skills on focal point depth of field lighting should be temperature exposure to generate raw file, which we're going to go back and look out
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!