Advanced Photoshop Curves e-Book is here

Last night I released my new e-Book on Photoshop's Curves. It is part of my 'Tonal Adjustment' set of e-Books.

Perhaps you feel that learning Photoshop isn't for you, or that you are very happy with Lightroom's toolset. It is a really nice software package after all, and easy to get to grips with.

But Lightroom only goes so far, and I find the controls rather too broad (as I type this in July 2018).

I've prepared some  on-line tutorial videos for my Curves e-Book which are included as part of the purchase.  Above is an excerpt from the videos. I hope it will show you the power of the curves adjustment tool for doing nuanced edits. 

There is also a message in this tutorial that has nothing to do with Photoshop. I discuss very much how the eye can be tricked into thinking an image is bright enough when it isn't. So if you edit in another software application, it is still worth watching.

Sometimes, things just take a while

No activity on this blog is usually a sign that I'm quite busy with other things. For the past month or so I've been slowly but surely working towards completing a new e-Book and also a physically printed book.

There have been numerous delays, complications, setbacks or hold-ups. 

And it has reminded me that sometimes the creative 'flow' just doesn't. Sometimes there are blockages, dead-ends, delays and no matter how much you try to push it, it has to go at its own pace.

I often wonder why that is so, and I have often considered that when things are right, they tend to flow, and when they aren't, they don't. I would say I still hold this view, that good things tend to come together easily. But sometimes, just sometimes, the best ideas and the best creative decisions result in delays, setbacks and put quite simply: hard work.

As much as I would suggest to you not to push your creativity too hard, sometimes you just have to. You just have to keep forging ahead, even if it feels like you are walking in treacle, or that every 2 steps forward also means 1 step backwards.

Everything is a learning process. Failure or difficulties often mean we are going through some kind of learning experience: should we wish to take the lessons on board and this is how I am reminded of it right now. My new e-Book is slowly but surely taking shape and is becoming more than I had anticipated, likewise my new physically printed book is much tighter now, for all the reviewing and corrections we've put into it, and also for living with it for so long: the text was complete in its first draft around February this year, but it has had to go through this long birth to get to where it is now. Sometimes there are no shortcuts and things just have to be born when they are ready, and not any time sooner.

Photoshop's Curves Adjustment tool

In my opinion, the finest degree of control you can apply to your images is through Photoshop's Curves Adjustment tool. I know, it's not intuitive, and neither is Photoshop. But with some perseverance it is worth getting to know.

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I know my e-book on Photoshop's curves has been promised for some time. I just find my schedule gets in the way, but there is also something else that gets in the way: preparation time and absorption time.

I tried to sit down to write this e-Book last December during some time away from workshops, and I found I kept hitting a dead-end with it. I know from experience that when that happens, it's best to back off and leave it. Often I find that things become much clearer if I leave them to surface when they're ready.

It's always interesting to me to find out that within a few weeks this new e-Book came together very quickly. But it did require about six months of gestation! Some things can't be rushed, and I often find I need time to sort out what it is I want to say, whether it's in an e-Book or with my photography.

I'm more convinced than ever that the subconscious is always working, sorting things out and figuring out how best to approach things.

Well, I'm delighted with what I've managed to put together for this e-Book. It just needs to go through some review time before it is finally released.

Apologies for my lack of blog posting. I only feel that I should write when I have something worthy to say, and right now I'm busy taking a break from my workshop schedule. But behind the scenes I've been writing this e-Book, and also preparing a new printed book for publication later this year.

The creative edit

Today's post is all about the creative edit. I'm been very kindly given permission to use one of the images that was discussed and edited during my Digital Darkroom workshop this past May. Many thanks to Orchid for allowing me to share this image with you.

Disko Bay, Greenland
Image © Orchid Fung, workshop participant, Digital Darkroom class May 2018

There is often an image hiding within an image, and often a re-interpretation hiding within an interpretation. When we first compose a scene out in the field we often look at it from the point of what was there, often focussing, composing, setting up with the intention that we are going to record faithfully what we see. But when we come to edit or to review the image later, we often re-interpret the original composition and see other crops or other compositions within the original frame. This I believe is perfectly normal and should be encouraged.

I think if you are a photographer, you are always 'seeing', but also, you should always be interpreting, and that means even re-interpreting. To look at a photograph and see something else within it, is a similar process, if not identical to the one that allows us to look at the original world view and choose how to interpret it with our initial capture.

If you get good at choosing what to put into the frame and what to leave out , then I see no reason why this should not continue when you come round to reviewing your work and then deciding to re-crop or make another photo out of an existing one.

Which is what we did here with this photograph.

The original capture (RAW file with no processing applied) it shown below. My intentions are to illustrate that sometimes there are strong shapes and motifs in a photograph that will get stronger if we manage to remove the other things that are competing for our attention, and also, that it is perfectly ok to depart fully from what was captured.

The original raw file

During my workshop, we discussed how as visitors to a location, we are often caught up in the experience of being there. We live in a 3D world with real objects and we often tend to separate them in our mind because we know they are physically different things. I also believe that we look at tones in different ways when we look at scenery compared to how we look at tones when we look at a photograph. I am convinced that my dear friend Orchid thought the highlighted snow in the foreground was a pleasing part of the photograph because I too, have done the same. I have also taken many many photographs where I was inclined to put a foreground into the picture when non was required. This is, I believe, because as physical beings we wish to represent what was immediately in front of us. Foregrounds are a way of allowing us to step into the picture after all.

It is only when we review the image later that we find that perhaps the foreground is too distracting, or maybe it doesn't have enough aesthetic beauty to support the rest of the frame. Which is what we discussed with this photograph. I know the photograph was taken because of the mountain peak in the background and I believe the foreground was put in there because of such a need to have something to help us walk into the frame.

For me, I'm fascinated by the disconnect between a photograph and reality. I do believe that we see differently while on location than we do when we are reviewing photographs. For many of us the process is different, yet I have a very strong feeling that it shouldn't be. We need to be able to 'see photographs' while on location. Not scenery, and this is the hardest thing to do for most of us because we've had a lifetime of thinking and seeing the world as a living breathing 3D reality.

So what of the final edit? Are you shocked at all by how different it is from the initial capture? I'm curious because for me, I think of photography is the art of creating an illusion. Photographs aren't real, even when we don't alter them, they still do not convey what we saw or how things actually were. We could get quite philosophical if we chose to on this one.... but for me, photography is a creative-arts endeavour where our aim is to create a beautiful illusion. How we get there is a matter of personal ideals of what photography is and what it isn't. I have my own thoughts on what is photography (dodging, burning, cropping) and what isn't (blending, HDR, merging, superimposing things) but that is just for me. I realise that each and every one of us has our own boundaries of what is and what isn't photography and I respect that you may be happy to merge or superimpose things - there are after all no rules, and nor should there be. It's an arts endeavour we're discussing here.

I think my interpretation I made of Orchid's photo takes the viewer to the heart of the picture - that beautiful peak at the back of the original frame. By softening the tones down dramatically across the picture, we have removed a lot of textural details that would be vying for our attention. Doing so enables that beautiful graphic zig-zag shape to emerge in the photograph a perhaps the reason for the photograph. It was there all along, but it was competing with so many other elements that it was being drowned a little.

I think editing is an enormously creative process. It is a space that I can spend hours and days in, and it has taught me never to judge my work at the point of capture. I never really know just what the final images may end up being like, and I've certainly had images that have become personal favourites when I almost never worked on them because I wasn't convinced they had enough merit.

Photography is the art of looking again. And again. Of being open, and willing to re-interpret something another way. I hope today with this example I've shown you exactly that.

Many thanks to Orchid Fung for allowing me to reproduce and discuss her beautiful image.

You've gotta hand-craft it

Many years ago, before my current occupation as a photographer, I used to be a budding musician with lots of nice synths at home to play with. This was the 90's and an era where most synths turned up with lots of nice sexy factory presets to play with. Indeed one of the issues with 90's synths was that they only usually had one slider on the front of the panel and thus were a nightmare to edit the sounds, so most people would tend to use the factory presets with almost no changes to them at all.

This past month I have returned to music and I'm presently busy building a little home studio of some nice synths to own. I've deliberately chosen to look for machines that have lots of knobs and sliders on the front panel so that they will encourage me to shape the sound to my liking, rather than hope or rely on some preset to work in the music I'm making.

You may wonder what this has to do with photography. Well quite a lot.

I don't believe that plug-in's that offer presets to work with are a good way to start, or to continue with for the long-run. I can sympathise and appreciate that they may feel like a really great way of kick-starting your editing, or that they perhaps influence or inspire you, but the chances of them actually being exactly what your images need is pretty slim.

I've reached the conclusion that the best approach to image editing is to hand-craft it. Here's my reasons why I think it's good to go the slow manual way:

1. You are given the opportunity (through having to figure out what you want to do to an image) to learn what components of tone, colour and form your image is made up from.
2. You learn a lot about what works and what doesn't when you have to go in there and deconstruct  your image. Presets don't encourage this.
3. Presets will rarely, if ever, give you exactly what you need and they will not encourage you to look or study deeply into what is going on in your work.
4. Hand-crafting your work means that you build up skills to interpret what you've created, and also to think about what you might want to look for in future when you do return to shooting outside.
5. It should go without saying, but each image you create does not conform to a preset. It has its own character and therefore needs to be treated on an individual basis.
6. Photography is about being creative, and convenience should not be part of the creative vocabulary. Making good or great images isn't easy, and we have to put the work in to learn.
7. Perhaps the most important point - you get to tune the image exactly the way you want.

Perhaps you think that presets are a great starting point, and that you still tune and edit manually anyway. My thoughts on this are that when we apply presets to our work, we only see or understand a little of what has been changed. if you wish to iron out some of the effect it's a little bit like going 10 steps forward to have to retreat 8 steps to get to where you want to be. I'd much rather walk each step at a time and build up a good understanding of what it is i'm doing with the edit at each stage.

I used to rely on presets for synth sounds in my music and often found it hard to get certain sounds to mix in well with others. Now that I have a collection of synths at home with tweak able parameters I can shape the sounds to fit in more. It brings me confidence when I hear certain sounds just shift into focus as they are tuned to fit into the music. Rather than flipping through thousands of presets hoping for the 'right sound' I am creating it myself.

By taking the reigns of your editing and pulling the decisions and control back into your own lap, you are giving yourself the opportunity to learn about your yourself, your work and to improve your own visual awareness. As tempting as certain presets may be, I'd suggest going the manual way for a while and see how it goes.

First draft of New e-Book is complete

Part 2 of my Tonal Adjustment Series

It's been slow progress, but I'm really delighted to discover to day that I've finished writing my new e-Book about Photoshop's curves adjustment tool. I've been trying to write this e-Book since last year - I remember doing some work on it in December, and then it got shelved while I was so busy running tours and workshops.

It is my 'holiday' time at the moment. I'm at home for the next few months, and the only work I have to do is finish this e-Book and also one other special project. 

All I can say is that I had no idea I could write 50 pages about the curves adjustment tool. One of the best things about writing this e-book is that it's helped me clarify in my own mind just what is actually going on when I do any curve adjustments.

The new e-Book now needs to go into review mode, where I will check for errors and discrepancies. It comes with around eight Photoshop files to illustrate some of the more difficult to understand features of curve adjustments. And I'm hoping to put some QuickTime movies together to show you some screen sessions.

But it's all come together well so far. I'm very pleased with the results and I think it's going to be a very nice e-Book if you're interested in developing your knowledge of curves. The curves adjustment tool really is the most powerful way to modify and transpose tones.