A Real World Dive into Realistic and Faithful Digital Photographic Processing
July 7-10, 2018. 9am to 5pm. Limited to 6 students
Stephen Johnson Studios & Gallery
- The Master Archive
- RAW Processing
- Tonal Editing
- Color Correction
- Black and White Conversion
- Adjustment Layers
- Selections and Masks
- Color Management
- Dynamic Range Expansion
- Depth of Field Expansion
- Perspective Correction
- Image Aesthetics
This is a great chance to explore digital photographic editing with Steve in his custom built digital lab. Full lab access and your own work station with hands-on help and demonstrations of his use of editing tools with restraint and finesse will benefit all of your digital photography work. This class is designed with the time to really understand the processes, and to work through difficult images.
Four days exploring the tools really needed by photographers for fundamental image control and finishing. Camera RAW acquisition, Color Correction, Sharpening, careful tonal control, and preserving options into archive versions of your files will be our primary concerns. Software concentration will be mainly on Adobe Photoshop, but will look at other tools as well like Adobe Lightroom. A number of images with various challenges will be worked through to satisfaction during the course of the workshop. Full lab access is provided with access to color management tools and printers. This seminar is not about compositing or faking photographs, nor is it for absolute beginners, as basic familiarity with Photoshop is recommended.
Overnight Accommodations in Pacifica, CA
An email responce on the value of the class:
The editing class covers both careful raw processing and real image editing control in Photoshop. The fact is, presently you need both tools, for different reasons, and to do different things, to really craft the best image from your digital photographic data. The class is based on the premise that a finely crafted photograph takes care throughout the process, and concentrates on processes and considerations to achieve that very special result.
The raw processor gives the user the power to pull from the raw data what the camera can see, even if not readily apparent with the default processing people usually use. Careful and purposeful interpretation of the raw data can reveal important data often hidden by defaults. The class spends time on milking out of the raw file the information you really need for the eventual photograph. This can also leave the photograph is a less than finished state, however, fully ready for the finesse of Photoshop’s editing power.
Photoshop is a great tool of fine tuning the image with precision and tremendous power. It can create selections virtually impossible for other applications, which allows edits to be accurately directed at the exact area needs and with a level of grace and subtly few other programs can match. With Layers for adjustments and sharpening, masked edits can be directed only where they are needed, brushed back to blend and easily reinterpreted as your vision of the image evolves. With Photoshop, the image editing can evolve, build, reinterpret and test for printing unlike any other app.
Our four days will be well spent.
After all of these years of working carefully, with inspiration and restraint, I feel the editing course will be a very useful contribution to anyone serious about real world photography.
A photographer, teacher and designer, Stephen has been teaching and working in photography since 1977. His books include At Mono Lake, the critically acclaimed The Great Central Valley: California's Heartland and Making a Digital Book. He runs his own photography, publishing and design company--scanning and designing his photographic books using a Macintosh computer and since 1994 photographing in the field with digital view cameras.
Current projects include With a New Eye, his groundbreaking and historic all digital national parks project, a new book Stephen Johnson On Digital Photography for O'Reilly, ongoing portfolio development and extensive lecturing.
Stephen's pioneering work in digital photography, desktop color separations and digital imaging has included software and product development for clients such as Apple, Adobe, Eastman Kodak, Leaf, Ricoh and SuperMac. His work with Adobe includes the creation of the duotone curves shipped with their Photoshop software.
His photographic clients have included the Ansel Adams Publishing Trust, the Fine Arts Museums of San Francisco, and the Friends of Photography. Johnson's photographs have been widely published and collected internationally.
In 1999, Folio Magazine declared the publication of Johnson's digital photographs in Life Magazine to be one of the Top 15 Critical Events in magazine publishing in the twentieth century. Stephen Johnson was named as a 2003 inductee into the Photoshop Hall of Fame, recognized for his achievements in Art. Canon named Steve as one of their Explorers of Light in 2006.
In 1997, Life Magazine described Stephen Johnson as an artist that "...applies science to nature and creates art." His images create "...an intimacy that brings subject and viewer close in ways conventional photographs cannot."
The Photographer’s Gallery wrote in 1998: “Stephen Johnson's photography rides on the "bleeding edge" of photography's transition to a digital media. Schooled in the traditions of fine-art western landscape photography, Johnson has taken his understanding of traditional photographic processes and brought those skills to bear on the emerging technologies and aesthetics of digital photography. He has pushed technology companies to rise to the best of what imagemaking can be, and pushed his own vision of how we see and record light in the natural world. This has led him to conclude that the way we have traditionally captured images with silver-based photography has been a poor and distortive view of the real and rich world before our eyes. His photographs look almost "unphotographic" in their clarity and purity of color. He shows us a world we know, but rarely see on paper. His is a truly remarkable vision.”
Registration fee must be paid in full to secure a spot in the class. Additional information will be sent upon registration.
Check can be sent to: Stephen Johnson Photography. 1220C Linda Mar. Blvd., Pacifica, CA 94044 (preferred), online, or Credit Card Registration by phone 650 355-7507
Refunds and Cancellation (note changes)
This workshop is financially dependent on adequate class registration. Where minimum enrollment requirements are not met, the class will be canceled, and a full refund given. You will be notified at least one week in advance if a workshop is not going to take place. Student initiated cancellations received prior to one month before the workshop will receive credit for a future workshop of similar value, a 50% credit will be given for notice received at least 2 weeks immediately prior to the workshop (a full credit less a $50 overhead fee will be given if another student is able to fill the spot from a waiting list). No credit will be given if cancelled less than 2 weeks prior to the workshop. Credits need to be redeemed within one year.
Stephen Johnson teaches digital photography and digital printmaking workshops in a fully equipped, hands-on digital photography lab in Pacifica, California.
For information on these seminars email firstname.lastname@example.org or call 650 355-7507.