chromasia online tutorials

Critique Slot Screencast #8

2012-08-04T17:01:29+00:00

]]>If you would like to comment on this screencast please do so here. Alternatively, if you have an image that you would like us to feature in a future Critique Slot Screencast, please email me for further details.

(djn1 [at] chromasia [dot] com

Creative Workflow #7

2012-05-15T14:23:08+00:00

]]>In this series of tutorials we take the creative process as our primary focus; i.e. rather than just discussing 'how' an image was constructed, we will also be considering 'why' each change was made, and how each change contributes to the image as a whole. As with our other image-based tutorials, each will also include a thorough technical discussion of any tools or techniques that were employed, but the emphasis will be upon creative rather than technical outcomes, e.g. how each image was constructed to tell a particular story, what each image says about its subject, and so on.

Critique Slot Screencast #7

2012-01-11T12:23:16+00:00

(djn1 [at] chromasia [dot] com

Critique Slot Screencast #6

2011-06-27T13:53:32+00:00

(djn1 [at] chromasia [dot] com

Creative Workflow #6

2011-04-14T13:35:39+00:00

Critique Slot Screencast #5

2011-01-28T12:59:45+00:00

(djn1 [at] chromasia [dot] com

Creative Workflow #5

2010-12-22T16:52:07+00:00

]]>In this series of tutorials we take the creative process as our primary focus; i.e. rather than just discussing ‘how’ an image was constructed, we will also be considering ‘why’ each change was made, and how each change contributes to the image as a whole. As with our other image-based tutorials, each will also include a thorough technical discussion of any tools or techniques that were employed, but the emphasis will be upon creative rather than technical outcomes – e.g. how each image was constructed to tell a particular story, what each image says about its subject, and so on.

Critique Slot Screencast #4

2010-12-16T14:16:20+00:00

(djn1 [at] chromasia [dot] com

Critique Slot Screencast #3

2010-09-27T12:51:20+00:00

(djn1 [at] chromasia [dot] com

Black and White: part two (VIDEO)

2010-08-14T12:51:12+00:00

]]>In this, the first of our technique based video tutorials, we take a detailed look at four techniques you can use to convert an image to black and white: the Hue/Saturation tool; the Channel Mixer; the Black and White tool; and how to convert your images to black and white during the RAW conversion process. In the first section we discuss the limitations of the Hue/Saturation tool before moving on to section 2: a detailed discussion of how the Channel Mixer technique can be used to radically adjust both the tonal range and tonal balance of a black and white image. In the third section we take a detailed look at the Black and White tool (introduced in CS3), which provides an ever greater degree of fine scale control over the conversion process, but we also discuss an alternative way of working the Hue/Saturation tool (to emulate the functionality of the Black and White tool: useful if you're using CS2 or an earlier version of Photoshop). In the final section we move on to discuss how to convert your images to black and white during the RAW conversion process.

In each section we discuss the strengths and weakness of each technique, from both a technical and aesthetic point of view, by reference to four example images, each of which can each be downloaded from the members area.

published: 14th August, 2010
duration: 1h 3m 42s
video size: 1080px by 675px
file size: 316.7MB

Critique Slot Screencast #2

2010-08-02T12:17:05+00:00

(djn1 [at] chromasia [dot] com

Critique Slot Screencast #1

2010-06-29T13:49:17+00:00

(djn1 [at] chromasia [dot] com

Luminosity masking: part two

2010-05-29T09:17:22+00:00

]]>This is the second of a two part series of tutorials on luminosity masking, a powerful technique that you can use to selectively enhance your images. Unlike conventional masking techniques, which often require you to manually create a specific selection to mask an area of an image (and then feather, or otherwise alter the mask to blend the change with the remainder of the image), luminosity masking creates selections and masks that based solely on the brightness of the pixels themselves. As such, masks created using this technique often blend seamlessly with one another and the unchanged areas of the image, obviating the need to predetermine the selection area, or repair/refine the mask subsequent to its use.

In this part of the series we will focus on luminosity painting: a technique that provides an even greater degree of fine scale control over the tonal balance of different areas of your images.

Both part one and part two were co-written with Tony Kuyper, a recognised authority in this field.

Luminosity masking: part one

2010-04-29T07:24:32+00:00

]]>This is the first of a two part series of tutorials on luminosity masking, a powerful technique that you can use to selectively enhance your images. Unlike conventional masking techniques, which often require you to manually create a specific selection to mask an area of an image (and then feather, or otherwise alter the mask to blend the change with the remainder of the image), luminosity masking creates selections and masks that based solely on the brightness of the pixels themselves. As such, masks created using this technique often blend seamlessly with one another and the unchanged areas of the image, obviating the need to predetermine the selection area, or repair/refine the mask subsequent to its use.

Both parts were co-written with Tony Kuyper, a recognised authority in this field.

Mini-PSDs

2010-03-29T06:18:39+00:00

]]>We've been getting some great feedback on the Mini-PSDs, but please feel free to leave a comment to let us know what you think. Also, if you have any suggestions for images that you'd like us to include, just post the name of the entry, or a link, and we'll consider adding it to the list.

Creative workflow #4

2010-03-28T11:54:42+00:00

Photoshop for Winter Photography

2010-02-22T07:17:19+00:00

]]>This tutorial is based on a suggestion by Paul Schroder, one of our lifetime members, on how best to shoot and post-process winter landscapes or other shots containing snow. The major topics covered include: optimising your initial exposures; enhancing the colour of images shot of dull, flat days; how to tone black and white versions of your images; how to produce high-key winter portraits; and how to retain and enhance the fine scale detail in snow scenes.

READ MORE ABOUT THIS ISSUE HERE

Digital workflow: part five

2010-01-28T11:55:57+00:00

]]>In this tutorial we will discuss a variety of alternative RAW processors, illustrating their strengths and weaknesses in comparison to Adobe Camera RAW. This will include a discussion of Capture One Pra, DXO Optics Pro, and RAW Developer.

Creative workflow #3

2009-12-08T11:09:45+00:00

Portraits: part two

2009-09-18T10:11:38+00:00

]]>In this tutorial we will take a detailed look at how to post-produce both high-key and low-key portraits from otherwise ordinary photographs. The topics discussed include: how to shoot and optimise your initial exposures, how to repair an otherwise imperfect background (in terms of lightening the background for high-key portraits, and darkening it for low-key shots), how and when to mask different areas of the images, and how to creatively recompose an image by extending the canvas.

Working with textures: part two

2009-06-25T10:19:55+00:00

]]>In this, the second part of our series on working with textures, we will continue our discussion of Michael Regnier’s work. In this instance though, in addition to discussing the techniques that are necessary to produce such images, we will be taking a detailed look at the creative and aesthetic processes that underpin their creation.

By the end of this tutorial you will:

Understand how to use an additional range of blend modes to merge a textured image with your photographs.
Have a better understanding of the relationship between technique and aesthetics.
Be able to consider the creative/aesthetic potential offered by an original image.
Be able to creatively alter specific sections of an image.

READ MORE ABOUT THIS ISSUE HERE

Creative workflow #2

2009-04-22T12:58:16+00:00

High Dynamic Range images: part three

2009-02-12T15:07:03+00:00

]]>In this, the third part of our series on High Dynamic Range images, we will discuss how to use High Dynamic Range software to generate a pseudo-HDR image from a single original. We will then investigate how to tone map this image using Photomatix Pro.

In addition we will also discuss how to use Camera RAW (or other RAW processing software) to optimise your initial image prior to generating the pseudo-HDR image, how to minimise and remove noise from a tone mapped image, and how and when to blend an HDR image with a normal exposure.

READ MORE ABOUT THIS ISSUE HERE

Working with textures: part one

2009-01-15T11:52:44+00:00

]]>This is the first of a two-part tutorial on working with textures; i.e. combining and blending layers of texture to existing images. Unlike our previous, sole-authored tutorials, this short series is being prepared in conjunction with Michael Regnier, an internationally renowned artist in this field. Michael has produced work for a variety of clients, including Coca Cola, Kodak and the Federal Reserve Bank, and has been awarded numerous accolades for his work.

If you would like to see some examples of Michael’s work, you can do so here:

http://www.regnierphotography.com/

READ MORE ABOUT THIS ISSUE HERE

Digital workflow: part four

2008-12-11T09:12:50+00:00

]]>This is the fourth section of a multi-part tutorial devoted to digital workflow which, over the coming months, will build into a comprehensive resource detailing a variety of topics: from capture to output to storage.

In this section we will continue our discussion of one of the most important aspects of this process: RAW conversion. This includes a discussion of the following topics:

• The Tone Curve tab
• Working with Smart Objects
• The Detail tab
• The HSL / Grayscale tab
• Converting to black and white
• Split Toning
• Lens Corrections
• Removing chromatic aberration
• Working with vignettes
• The Camera Calibration tab
• The Presets tab
• New developments in CS4

Photoshop for Night Photography

2008-10-29T11:54:27+00:00

]]>In many ways the post-production skills you need to process low light or night shots are no different to those you would use for images taken during daylight hours, but there are a number of technical and aesthetic issues that become more salient when processing this type of image. These include: visualising the final image, altering the white balance – either to compensate for sodium light pollution (common in many night shots, particularly in urban environments) or to creatively manipulate an image – shooting 'point' light sources, and merging multiple exposures.

In addition this tutorial also discusses a range of technical considerations relevant to shooting at night. These include: focussing (a non-trivial task when shooting in the dark), setting ISO, determining the correct exposure, and noise reduction.

READ MORE ABOUT THIS ISSUE HERE

Creative workflow #1

2008-09-01T13:17:39+00:00

Digital workflow: part three

2008-07-12T11:06:00+00:00

]]>This is the third section of a multi-part tutorial devoted to digital workflow which, over the coming months, will build into a comprehensive resource detailing a variety of topics: from capture to output to storage.

In this section we will discuss one of the most important aspects of this process: RAW conversion.

LAB Color mode: part two

2008-05-29T14:16:13+00:00

]]>In this tutorial we are going to take a detailed look at how to manipulate colour using LAB Color mode. Specifically, we will discuss: the relationship between colours and their numeric values in LAB Color mode; how to alter a specific colour range within an image (a topic we briefly discussed in the An Introduction to LAB Color mode tutorial); how to alter a single colour within an image; how to colour correct an image in LAB Color mode; and how to tone the neutral areas of an image by manipulating the ‘a’ and ‘b’ Curves.

The specific topics covered include how to:

alter a colour range of an image by manipulating the ‘a’ and ‘b’ Curves.
alter a specific colour within an image.
colour correct or alter the white balance of an image.
creatively alter the neutral tones in an image.

READ MORE ABOUT THIS ISSUE HERE

High Dynamic Range images: part two

2008-04-14T11:42:59+00:00

]]>This is the second part of a multi-part tutorial on creating High Dynamic Range images using Photoshop and Photomatix Pro. In this part we take a detailed look at how you can use Photomatix Pro to create and tone map your images, using both the Tone Compressor and Details Enhancer methods. The bulk of this tutorial is taken up with working through the various settings you need to adjust to produce your tone mapped images, but we also include two example images, both of which were produced using the Details Enhancer method.

The specific topics covered include:

• Shooting for HDR.
• Creating HDR images with Photomatix Pro.
• Tone mapping: an introduction.
• Photomatix Pro: tone mapping using the tone compressor.
• Photomatix Pro: tone mapping using the details enhancer.
• Using the Details Enhancer: example #1.
• Using the Details Enhancer: example #2.

READ MORE ABOUT THIS ISSUE HERE

Digital workflow: part two

2008-04-04T12:29:17+00:00

]]>This is the second section of a multi-part tutorial devoted to digital workflow which, over the coming months, will build into a comprehensive resource detailing a variety of topics: from capture to output to storage.

In this section we will discuss three main topics: choosing a workflow model; Importing, categorising and organising your images; and selecting which images to work with.

High Dynamic Range images: part one

2008-03-25T11:13:03+00:00

]]>One of the first things we learn as photographers is that our camera sees the world in a different way to us, especially in terms of its ability to capture the full tonal range of a scene. For example, we know that if we want to take a backlit portrait we will most likely need to overexpose the shot or risk our subject’s face being lost in shadow. We also know that this will blow out the highlight details in the background. Likewise, if we wish to photograph the same subject against the backdrop of a glorious sunset, we will probably need to reconcile ourselves to the subject appearing as nothing more than a silhouette.

In short, we learn that our camera has limitations and that it can’s always capture the scene as we see it. So, we stop trying to take impossible shots, and concentrate instead on doing the best job we can with equipment whose limitations we have learnt to accommodate.

In this tutorial we will discuss a variety of techniques your can employ to circumvent the limitations of your equipment and produce those ‘impossible’ shots.

The specific topics covered include:

• understanding tonal range
• understanding dynamic range
• shooting a bracketed exposure sequence
• manual exposure blending
• Photoshop’s Merge to HDR function
• using the Local Adaptation method
• using the Local Adaptation method (continued)
• using the Exposure and Gamma method
• Photomatix Pro: an introduction
• using Photomatix Pro’s Exposure Blending function

READ MORE ABOUT THIS ISSUE HERE

Masking: part one

2008-02-06T16:19:40+00:00

]]>In this tutorial we will discuss a variety of masking techniques including: creating complex and compound masks; repairing images with less than ideal masks; and adding vignettes.

The specific topics covered in the tutorial include:

• Why we need complex masks.
• Constructing complex masks.
•Alternative methods of creating complex masks.
• Creating compound masks.
• Repairing a mask.
• Using masks to add a vignette.

READ MORE ABOUT THIS ISSUE HERE

Digital workflow: part one

2008-01-30T10:36:47+00:00

]]>This is the first section of a multi-part tutorial devoted to digital workflow which, over the coming months, will build into a comprehensive resource detailing a variety of topics: from capture to output to storage.

In this, the first part of this tutorial, we will discuss the pros and cons of shooting RAW images and two issues relating to determining an optimum exposure.

An introduction to Lab Color mode

2007-12-17T13:53:56+00:00

]]>In this tutorial we will work through a range of examples, using four layered Photoshop files, to explore LAB, a powerful alternative to RGB. Specifically, we will discuss how to increase the saturation of an image by rotating the ‘a’ and ‘b’ Curves, learn how to tone an image, and discuss how to invert specific colours and colour ranges within an image.

The specific topics covered in the tutorial include:

• Converting an image to LAB
• The Lightness channel
• The ‘a’ and ‘b’ channels: the basics
• The ‘a’ and ‘b’ channels: working with saturation
• The ‘a’ and ‘b’ channels: toning an image
• The ‘a’ and ‘b’ channels: altering colour balance
• Converting to black and white
• Inverting colours

READ MORE ABOUT THIS ISSUE HERE

Portraits: part one

2007-11-14T12:57:30+00:00

]]>In this tutorial we will work through a range of examples, using four layered Photoshop files, to explore a variety of techniques for enhancing your portraits. The techniques we will discuss include choosing a technique to enhance the message you wish to convey, soft-focus effects, and selective masking of a subject's eyes.

The specific topics covered in the tutorial include:

• What do you want to say?
• Getting the message across
• An introduction to soft-focus effects
• Adding a soft-focus effect
• ‘Soft Light’ and Overlay blend modes
• Enhancing eyes

READ MORE ABOUT THIS ISSUE HERE

Toning colour images

2007-10-11T14:06:58+00:00

]]>In this tutorial we will work through a range of examples, using four layered Photoshop files, to explore a variety of techniques for toning colour images. This includes a discussion of the Channel Mixer, the Selective Color tool, and the Curves tool.

Topics covered in this tutorial include:

• Digital versus film
• Using the Channel Mixer
• Understanding complementary colours
• Using the Selective Color tool
• Comparing the Channel Mixer & Selective Color tool
• Using the Curves tool
• Warming and cooling an image
• Reverse S-Curves and cross processing
• Selective toning

READ MORE ABOUT THIS ISSUE HERE

Black and white: part one

2007-09-19T10:52:26+00:00

]]>In this tutorial we will work through a range of examples, using four layered Photoshop files, to explore a variety of techniques for converting images to black and white. This will include a discussion of the Hue/Saturation tool, the Channel Mixer, Lab Color mode and the Lightness Channel, and CS3's new Black and White tool.

Topics covered in this tutorial include:

• The limitations of the Desaturate command and the Hue/Saturation tool
• An introduction to the Channel Mixer tool
• Smoothing skin tones using the Channel Mixer
• Balancing tonal range
• Customising the Channel Mixer settings
• Lab Color mode and the Lightness Channel
• CS3’s Black and White tool

READ MORE ABOUT THIS ISSUE HERE

Landscapes: creating dramatic skies

2007-08-07T14:17:10+00:00

]]>In this tutorial we will work through a range of examples, using four layered Photoshop files, to explore a variety of post-production techniques and tools that you can use to produce images with a dramatic sky. This will include a discussion of the Selective Color tool, using Curves and gradient masks, blending two exposures, and the use of a variety of tools to tone an otherwise dull sky.

Topics covered in this tutorial include:

• Luminosity: the discrepancy between the ground and the sky
• An optical solution: graduated neutral density filters
• Digital noise: a quick word
• A Photoshop solution: the Selective Color tool
• Using Curves and masks
• Blending two masked Curves
• Merging two exposures of the same image
• Working with precise masks
• Toning a dull, grey sky

READ MORE ABOUT THIS ISSUE HERE

Tonal range and the Curves tool

2007-04-30T22:25:41+00:00

]]>Thanks for all your thoughtful comments on the earlier versions of this tutorial. I hope you enjoy it, and find it useful, now that it's finished.

Topics covered in this tutorial include:

• understanding tonal range
• introducing the Curves dialog
• setting white and black points
• altering the mid-tones
• basic S-Curves
• evaluating an image using the eyedropper tool
• Luminosity blend mode and colour saturation
• basic colour adjustment
• the ‘auto’ and ‘options’ buttons

VIEW THE FULL TUTORIAL HERE