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Final Review

rights. We have half now left. I really don't know anything else. Knew it all. What I want to do now is for you to think about what we've done over the last three days in terms of any specific questions that you might have that might be about a particular aspect of what we don't. It might be about. The process is a whole. So I want to do, is kind of jumped back in here for a minute and right now, too here. So let's spend a little time talking about how this all hangs together. Does this kind of make a lot more sense now than it did first thing on Friday morning? Yes. Yeah. I was hoping you said that more than Yes, definitely. Yes. Okay, Right. Which aspects of this have been most enlightening? Few. Which Which parts of the process try and that goes for people online as well. If they want to kind of join in here, try align their tried and Arabic trial. And error is always good fun, especially with Votomatics, because there's so many different adjustments on there that you kind of needed...

to try the kind of if you kind of get those with Votomatics. If you get the key effect, straighten your head about what you slide. It does. You can mitigate the secondary effect using the gamma slide or something else. You kind of need to understand the key effect or you just kind of almost making random changes in trying to guess what it should look like. For me, it is a combination of the creative skills and the technical skills I like. When I took a picture of glass float, I knew that it had the potential to be a nice shot. But I didn't know what that was gonna look like. Rhino Shop. And I think I mentioned this yesterday. But the reason is because I don't I'm not comfortable enough with all of the techniques yet to be able to take the photo and think, Oh, I can do a curves adjustment on this and then dryness and this is what it's gonna look like run. I just know that it has the possibility to be great. Um, so it's gonna I think for me what it's gonna be. It's just working through the technical skills and watching this video on rewatching slowing it down and just going over what we did. You doing it again and then again, again and practicing with herbs. Don't Don't sell yourself short, though, because he's saying you kind of weren't sure how it was gonna look. But we did. I remembers having a discussion about this imagination and they said to contention thing on you didn't know in principle because you knew it was about the flow and he wanted to bring the flow times. And don't say you didn't know. Okay, What? You had that idea. I just, you know, kind of the Gap is thinking about his one thing. There's something else you treat them is loath, separates. So what I'm kind of trying to say with this kind of bottom part of diagram here, it's these two things that you need to bring together. So you don't think you almost the way you said it. It sounds as though you're treating the separate things, that the technical skills is something you need to fiddle around with. Hope something nice comes out, but you can imagine what it would look like. But somehow these two don't meet kind of what you need to do first of this imagination thing, which you did when you sat with me when we went through it on you need a little bit prompting in terms of where to start. Focus shop. What do you want to do with the glass flow? Well, I kind of want that to stand there. How do you want to stand out in these more contrast? Maybe it maybe won't turn in blue. All right, we'll start with contrast. So did that. OK, Do we want that effect across the whole image? No, it looks too heavy. A case will mask it off. What do we need to do with restaurant released? A bit brighter. Okay, well, would it look better if we brightened up even more? And the actual? Yes, it would. You knew all the answers, but you didn't kind of put them into sequence off steps to work through photo shop. But you could have done that. And that's what you need to start thinking about, right? You do have the creative skills because you don't. You wouldn't like the image of the end anyway, right? That's one thing to bear in mind that you kind of here because you can tell the difference between rubbish images on really good ones. You can do that. What you having trouble with is getting from a to B. So, like if we go back to one of the other slides, Andi, it waas in terms off what you're gonna learn so kind of before they're never go. In fact, it was sticking a stick on that one. Let's let's talk to that kind of great outlet with evident worry about that. So it's postproduction difficult. The stuff we've done is the stuff we've done especially difficult. You're nodding, some nodding. No, no, it's not, is it? No, it's difficult in terms of getting from a creative vision to a finished result. But the techniques themselves aren't specifically difficult once you get in your head that if you string these things together in terms of thinking about the image, thinking about sections of the image, thinking about the mood of the image, what color does it need to be that kind of It is kind of second nature. Just work through these steps to get where you want to go. Eso you would agree you don't need a whole heap of complex tools and techniques we didn't We didn't need much did may, coz masks and a few other bits and pieces here and there that you probably already understand most of what you need to know, but don't know how to put it together. Would that be true as well? Kind of you have you had a lot of these skills, but they were kind of isolated things kind of like separate tools. And you told Belt you didn't quite know how to put the hammer and the chisel together. I would agree with that statement. That love was mean using mass. They used him a specific way. And then as you started to talk about breaking it down with using the curves and focusing on specific component and then masking from there, then going on to the next piece and working it through that way. I didn't work in that, that that mindset. So that was expansion of how I was doing it from there. The next point was, you know, had to apply news of rights, Children, techniques. We kind of were gone through that. I'm yesterday. Today it's a kind of we end up with this key point. I made on Friday that post production is an integral part. The photographic workflow. Not just something you bolt on the end. It's a kind of your thinking through where you're going to go. So I knew your shop would be dead easy. So why are you shooting outside? I'm thinking yet he's gonna come to city because I can do that one with, like, kind of not both. I shut, but at least one squinting out the other because that's kind of a shot. I do. And I knew kind of instinctively what it needed. But you did as well because last year, but it didn't. You told me. I know. He was just a question of doing it to Kenya, where you're gonna ask something. You kind of somebody pressed the button over there at some point? Oh, that was me. And I was gonna comment. Um, Popat said the most important thing he took away was for me, the strategic use of minimal set of basic but powerful tools. Absolutely. Yeah. This kind of again, it goes back some sort of Friday that if you try and learn five to shop on your own from a book, it is presented as though it was a set of quite complicated tours. You need to know all of them, but then nobody tells after putting together, and the magazines are kind of the worst offenders because they give you, you know, a particular trick, which is which is fine if you got a workflow to embed it into. But if you don't, all you end up with is a series of a series of tricks that really don't go together and you can't use because you haven't got this process to slot community. I like what Claire of r A said making Wouldn't it be cool if a part of my post process, while understanding how much is actually possible in voter shop? Yeah, that's kind of the trial in Arabic because you can sit there and you can go. Wouldn't be cool if and then not be able to get there. Um, although kind of keep keep trying because every workshop point do people tend to come up with something that I haven't thought off or I kind of thought wouldn't work or I didn't shoot the shot they shot because I thought the light wasn't quite right. I didn't know what to do with it. So experimentation, I think, is key to any any creative act. So keep keep experiment and keep trying stuff, certainly in post production but also shooting as well. We talked about retaining turn arranged, but, you know, blow the highlights. Block out the shadow, shoot in different Why Look at the post production on kind of keep playing around. So we got about 20 minutes left. I just want to keep going round this to make sure it's all sunk in. Yeah, if you can't come get something in one HDR image about using two and merging them in Photoshopped Yeah, we discussed this earlier that if you can't get one HDR image to look exactly, so we're kind of trying to balance the buildings in the sky. So perhaps we could have got to a point where there's one version where we really like the buildings and a completely different version. We re like sky. You can just run it through, generate to tiff files and then bring them into foot. Shop on kind of the key step. If you're bringing in an extra layer, is you would need to add the lamest thumbnail lair on land mask. Reveal all or Heino to reveal all does. That high door would fill it with black when you created. So if you merging multiple layers, you need to add a layer mask week. The only other way doing it's kind of a raise. Parts of one of them and that's that's okay if you kind of absolutely nail the bits that you need to know about. But if you rub out but you didn't need to rebound on you, you're in trouble. So if you had to learn, ask, you can then build up the image. So this wasn't, um this was a manual edit. So it wasn't building up different HD ours, but it waas using specific exposures from an HDR sequence on masks to create a final results. It's a kind of every each of these layers. I'm amending a master it so I can say right, I want this bit from that image this bit from that. Is this bit from that image? So, yes, you can do that to HDR images you want. Actually, I am is an original exposure, or in this instance, you can do it with less seven. So 88 exposures on Blair masks. I like what one of our regulars case dead. Can said the reducing the complicated to the basic in pursuit of your vision. Yeah, yeah, yeah, but with names. My work was microbe gone. Oh, yeah. Here we are. But without doing that, Yeah, it's not too simple. I kind of do think that. Did we have any feedback on this? Is there anything I missed off this Kind of this whole heap of stuff for every level there. But is there any key component people think I want to think about incorporate into this is kind of a workflow model? I think they'll let us know pretty quick. Yeah. Yeah, I'm sure they will. Yeah. Again, let me reiterate the online audience have been fantastic. It's great to have people engaged for three days. It's kind of easy to be here. You know, I had no trouble State animated, cause I'm kind of sat at the front here, and you guys, you know, you've joined in, but times a dedication to sit there three days at home and to watch I'm impressed with the people who stayed. The course has been been really good. Yeah. Sam Cox has been with us for three days. Said his most important part was work on one aspect or portion of the image at a time. And don't try to solve the entire image all at once. Yeah, that came up quite a few times with the things that you were doing. You try and make a change, and then you back off that change because it had an adverse effect somewhere else in the image. Sometimes, you know, you can open image. One curve you don't. Sometimes you on. It's nearly done, and it just needs a minor tweak. Do just remember that you don't have to. It is not a one stop thing. So what? I'm trying to think you had the best example of that. Where what does a mass is a solution? Yeah, yeah. So I kind of just think through what it is that you working, Smokey Joe has asked, and I've kind of seen a couple people wondering about this as well as and no is an OK answer to, um could good day put up on the screen that hist o shots from the first and last shots in one of the sequences we're looking at to clarify how they're supposed to look for the max highlight. And the doctor says, I'm not clear on this point way kind of got that in part, The slideshow here. Ah, kind of what I start by saying, waas, you kind of sometimes this minus 22 plus two eveything units right off the three shots is sometimes okay on this occasion, it's not because we got blown highlights in the darker shot on. We've got clip shadows in the light of shop. So what we need to do is here is the darker shop is that this is what the history needs to look like. So you can forget about the left hand edge with clip the shadow details. But we don't care because this is kind of the darker shot. So forget about the left hand edge. What you need to concentrate on is that top, right? Not top right. The right hand age of the test. A gram is there a gap at the edge doesn't need to be big, but there needs to be just a tiny bit of room on. This indicates that all the highlight details have been captured by the shot. Yeah, what do they need to do is skip over that one on with your lighter shops Or in this example as we discussed is 10 exposures with a one TV spacing. So I've gone from on go back 1/1000 of a second F eight to half a second effects a big, big difference and exposure time. But the key thing here is the left hand edge of the instagram. So again, it's blown to the right with blown Heidi. So what? We don't care? Because what the shot does is it gathers the data in the darkest days of the scene. And we also said it's worth leaving kind of a significant gap this end. Because then what you're doing is you're gathering more data, so you bring in more dates to work with you minimizing the risk of noise on. You're gonna have very good coverage all the way through the sequence. So hopefully that answers that question. Great. Thank you. Okay. Okay. I think, uh, our producer letting us now we have one more question. Okay, so let's find that question. Give a special last. We have a special I've been saving. Really, really discover? Yes. Okay, so the question from was from Dream Willow earlier today. And that was, uh, what is David's favorite part of photography the shooting, the traveling, the teaching or the post production work. You know, I don't think it's an answer to that, because if if somebody said to me, you have to stay in a room with rusty life do postproduction kind of would be all right with that for a few days because it's nice and quiet and peaceful, but I kind of miss it if somebody said you're never gonna post produce again. From now on, you're gonna shoot somebody else is going to you post production kind of that be fun for a while, I congratulate shooting, but that Mr Post production um, the answer is, that kind of it all needs to be there for me. So travel is nice because you see new stuff. But in terms of shooting and post producing, I couldn't sit in post produce other people's images. It is kind of the investment. Wouldn't were there kind of be a techie type job, whereas for me, this idea that what we're doing here is realizing a creative vision. I can't realize somebody else's creative vision. I can creatively interprets somebody else's. But that wouldn't be me saying anything with my images. So going out, finding things to shoot, calling about the floor, shooting stuff on the beach, climbing up on top of monuments, coming to Seattle, having no time to get shoot tall. I'll do better next time I come over on. It's kind of the whole thing. You can't take one aspect away. I don't think science the question you think? Yeah, and speaking of that from Twitter from Libby says it really was a pleasure having him lecture psychology but not teach photography. So thanks, he actually seems to know his stuff. Thank you. She's saying that she's seen you lecture psychology, but he hasn't. She hasn't seen much brilliant thank you so much. Been amazing class. So we just would love to give David a huge global round of applause.