foto Priority

Approximately every 8 weeks on the final night of our beginners Digital SLR Workshop, 60+ graduates swallow hard and with a USB key in hand accompanied by a pre prepared disclaimer, allow us to download the fruits of their 8 week technical and creative toil, for all to see on the big screen.

Although scary at first, time and time again the final night presentations prove to be an incredibly rewarding and inspiring experience for all involved, with the quality and diversity of the work never failing to impress. This time was no different, from 1275 images we edited down to 30.

Selecting so few from so many is not an easy task and is definitely not something we take lightly, so just to give you an idea of how the process works here is a quick rundown.

Once the final night presentations are all done and dusted, the resulting images are compiled into a single Lightroom catalogue where any references to the image creator are removed as we put Lightroom in “lights-out” mode ready for the first edit.

With nothing on the screen but the image we run through each one, judging on initial impact, creative content and idea plus overall presentation. Those receiving a single star survive to the next round, where the judging really heats up.

In the second round usually with 300-400 images to look at we start comparing based on set criteria borrowed from the Australian Professional Photography Awards (APPA’s). You might think it as a bit of an overkill but when faced with that many images to compare, one definitely needs some set guidelines to go by.  As we view, review, compare and argue we normally manage to issue 50-60 two star ratings.

The third and final round starts with an elimination by legibility, where we set up a Lightroom view showing us the capture date in the metadata for each of the images,  and eliminate all those created prior to the commencement of the workshop. From there we continue to compare and discuss, usually by similar subject matter, eliminating individual images until there are just the 30 left.

Overall the images are selected based on the following criteria; impact, creativity, subject matter, composition, centre of interest, file quality, lighting, colour balance, story telling, style, and technique. I believe that keeping these in mind when you are out and about creating your images and practicing your photography is a sure fire way to improve.

Congratulations to all those who made the final cut!!!

See the Top 30 HERE

Enjoy!

© Don Smallwood

In Adobe Camera Raw (ACR) make the curves adjustment (strong contrast) and back on basic tab check for blown highlights. These shots were pretty good so no worries there.

Opened image in Photoshop, first thing I noticed was that the hem of her dress on her right thigh was a little high and showed the dark elastic at the top of her tights. Not very attractive. So I cloned the hem in to hide this.

Next I lengthened her legs a touch. Now Olivia is tall and leggy but probably my perspective was wrong. To do this I made a large selection using the rectangular marquee tool. I select a large rectangle from one side of the screen to another (starting just below hem of dress) and as far down the pic as possible whilst still leaving me a little room to crop within that bottom line later. Then I selected free transform and dragged the bottom of the box down a touch.
I then cropped the picture to my liking, cleaned up the skin (not that she need much) and take away one or two creases in the skin(around the armpit) Sharpened her eyes and mouth and saved.

© Don Smallwood

Open image in Adobe Camera Raw (ACR), adjust the curve to strong contrast. Back to the basic tab and adjust the temperature to ‘flash – 5500′ Then open image in Photoshop

Cropped to get the perspective I wanted.

I then cleaned the skin on the models face and leg using the clone tool.  Whilst on the skin I then run a small home built action called high pass that smooths it a little.

I also used color efex pro to add a little glamour glow.  

Next I cloned the background a little to added a little smoke and to hide a little more the leg of the background light.

If her eyes had been more open I sometimes run an action to increase contrast but not in this case.

Last thing I do is size and then sharpen. I only sharpen selectively on a separate layer so I can see the effect.  Normally with a feather @20-40 I select eyes/eyebrow area and the mouth and then run a little action I got from the world famous ‘Manny Librodo’  If you want to build this the steps are:

Filter/Sharpen/Unsharp mask:18/40/0

Filter/Sharpen/Unsharp mask:150/0.3/0

Edit/Fade Unsharp mask:Darken 100%

Filter/Sharpen/Unsharp mask:150/0.3/0

Edit/Fade Unsharp mask: Lighten 50%

by Don Smallwood

Daniel Linnet - the Ballerina, Marquee

What started out as a simple sketch from a set and costume designer and very good friend of Daniels, James Browne, turned into and epic 18 hour shoot with a cast of thousands, a very talented creative team, months of pre-production and planning all followed by many hours editing and post-production.

We often joke that this series of images is like the gift that keeps on giving for Daniel, but in fact there is truth to that statement. Daniel has sold many prints, and more recently they were shortlisted for the London International Creative Awards.

Recently better photoshop magazine ran a story on the creation of Marquee where Daniel explains the thought and creative process behind the shoot, from behinning to end!

Jose Fernandez

DOWNLOAD THE STORY

Original Sketch by James Browne

Chris Belyea has kindly agreed to become regular contributor to our “tripod holes around Sydney” category. We’d say looking at Chris’s photos on flickr he is certainly qualified to give everyone a “how to” guide for getting those awesome landscape and seascape images he has been producing lately. Keep reading below to find out how to get “that shot” at Mona Vale Tidal Pool.

If you live on Sydney’s north side, or are looking for something different to shoot at sunrise, I would suggest that you take a look at Mona Vale pool as there’s plenty there to inspire you as well as keep you occupied, and if you strike it ‘just right’ (more on that later) more than likely you’ll be rewarded with some great images to take away

Just a word of caution … I’m only an amateur photographer, who still has a lot to learn, and the information I’m offering is based on my experiences, and I’m sure that there will be plenty of better ways to do this, but we all have to start somewhere and hopefully this might help an aspiring photographer

OK, now back to the action !

There is a huge variety of shapes and textures at the pool, and as it sits at the end of a rock shelf, at low tides the background, depending on where you’re shooting from, can be as interesting as the foreground.

The simple geometric lines of the pool, and the wonderful stainless steel railings and chains, offer a huge variety of compositional possibilities.

Aside from the main pool itself there’s also some great shots to be had of the pool steps, the ramp leading to the smaller play pool and the wonderfully rusted valves on each pool

Mona Vale Tidal Pool - Chris Belyea

About this shot

Canon EOS 5D Mk II, ISO100, f/11 at ½ s, Av mode, -1/3EV, Evaluative metering

Manfrotto tripod, mirror lockup, cable release

EF24-105mm f/4L IS USM at 24 mm

I set up on the steps of the pool making sure that I had everything level and then focused on the 4^th railing from the right at the far end of the pool and selected f/11 to get as much of the texture in the foreground in sharp focus. This also made sure that I was shooting through the axis of the lens so as to avoid and weird distortions.

As the lighting was fairly ‘even’ (nothing too bright or dark) I went for Evaluative metering and deliberately underexposed by -1/3EV to gain a little more contrast. Admittedly, I can get away with this with the 5D Mk II’s low noise and light ability, however the results with other setups may vary

Bearing in mind that the 5D Mk II is a full frame camera, to get this angle/perspective with a crop camera you’ll need to have a wide angle lens of around say 10 – 15 mm. Canon shooters with the EF-S 18-55 lens should be OK and I’m presuming Nikon has a similar lens in this range

The RAW files was processed in Lightroom to get the basic image to where I wanted it, and then used Nik Software plugins in Photoshop to finish things off

Things to Consider

1. As with most Sydney beaches, the pool is illuminated by a set of sodium vapour lamps which will play havoc with your white balance, so the easiest solution is to set your camera’s white balance to Auto (I know some will certainly disagree with this) and take a test shot with an 18% grey target (I use a WhiBal) making sure that the pool lights fall on the card. It’s then a simple matter to adjust your white balance in Lightroom (or Photoshop, or Aperture)
2. Don’t even think of shooting here in anything but RAW as you’ll have no chance of getting rid of the orange glow cast by the sodium lamps
3. The lights are on a time clock and appear to shut off at around 6:00 am
4. The pool is very popular with early morning swimmers, so as the saying goes ‘ … the early bird …’ however I’ve always found them to be extremely friendly and more than happy to chat
5. Tides and wind direction can play a big part in how the pool ‘looks’ and behaves. At low tides, the rock shelf is exposed and the surface of the pool takes on a fantastic glassy look which is great at sunrise. At higher tides there will quite possibly be waves crashing into the pool, both situations offer great possibilities
6. Whilst Mona Vale is not typically a ‘big surf’ beach, you obviously need to be aware of the conditions around you … cameras and salt water are usually not a good combination

Equipment

The pool faces due east so at sunrise you will be shooting directly at the sun so graduated neutral density filters can help if its particularly bright.

Needless to say, a tripod is essential as the shutter speeds can get rather low, and I’d suggest you get familiar with how to put your camera into Mirror Lockup if that facility is available.

A remote shutter release is also a great asset, however if you don’t have one, simply put your camera into self timer mode

As you’ll be shooting in a less than kind environment, some microfiber cloths are a good idea to clean your gear off with when you get back to the car

Best Time to Shoot

I’ve found the best time to shoot is definitely pre dawn and sunrise, however mid winter during the day, if you’re lucky enough to score of those magical crisp, clean and cloudless days also offers up a few possibilities

The best time to shoot is definitely at ‘first light’, typically about 30 minutes before sunrise as this allows you to set up and assess what’s happening with the pool, the sky etc

How to get there

Mona Vale pool isn’t that difficult to find, and there’s usually plenty of parking.

Make your way along Barrenjoey Road, turn into Darley Street and then into Surfview Road. Park at the northern end of the car park and then make your way towards the beach.

Google ‘Apex Park, Mona Vale’ and that will take you where you need to be

If you’re planning a sunrise shoot, you can’t miss the pool as its illuminated by those wonderful sodium vapour lamps

Have fun !

more of Chris Belyea’s work

Daniel Linnet creates a promo image for Grayboy Agency. Shot on Mitchell Road Alexandria, just outside the SPW studio.