VIEW THE PORTFOLIOS

Ten galleries of images representing David's work, both personal and professional, over the last 8 years.

READ THE BOOKS

If you've tried the books about gear and long for something more, David's poured his heart into 20 books and ebooks for you.

COLLECT THE PRINTS

Two carefully curated collections of 24 beautiful fine-art prints and folios for your walls or your personal collection.

LR4: Graduated Filter + Colour Temp

Near Tofino, BC. 4 Different Skies.

The key to great black and white images (and by this I mean the B+W part, obviously light, lines, and moments still come first) is tonal contrasts. Those contrasts will occur within the scene, of course, but the way we chose to render them in Lightroom (or PS, ACR, etc) has a strong impact on those tonal contrasts and the way the eye reads the final image. One of my favourite improvements in Lightroom 4 is the ability, in the graduated filter and the adjustment brush, to dial in colour temperature and tint. In the image above I’ve changed only one thing from version to version: the colour temperature of the graduated filter I laid over the sky. From top to bottom the Colour Temp settings were 29, 0, -32, and -100.

This is a good example of what can be done globally in the entire image. It’s worth remembering that in Lightroom you aren’t really working on a monochrome image. You’re working on a colour image with a monochrome filter on top. So moving the colour values around underneath that filter – either with temperature or with the channel mixer (Black and White Mix) – will change the tonal values you see in the resulting image. Different tonal values, different contrasts, and different visual mass – in other words, a different feel for the image, and new ways for us to hone our expression.  Below are two different versions of the same image, using different settings (as indicated) in the Black and White Mix. I know which one I prefer, but it’s that: preference. Knowing how your choice of tools will interpret the scene in front of you will help you make the aesthetic choices that best suit your intent.

Black and White Mix: Red +54, Orange 0, Yellow -2, Green +8, Aqua -35, Blue -81, Purple -100, Magenta -40

Black and White Mix: Red 0, Orange -45, Yellow -58, Green -26, Aqua -21, Blue -13, Purple -31, Magenta -32

Oct 9th

2012

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CategoryPosted in: Travel, Within The Frame Adventures

ITALY WITHIN THE FRAME 2013

Join Jeffrey Chapman and me for our favourite Within The Frame Photographic Adventures. From April 20-27 we’ll be in Liguria, starting in Genoa, to spend time in Cinque Terre and Camogli – coastal northern Italy at it’s best. Small fishing villages, beautiful twilight and morning hours, late dinners with brilliant food and wine. Teaching happens […]

Oct 3rd

2012

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CategoryPosted in: Rants and Sermons, The Craft

Snake Oil & Comb-overs: A Rant.

I initially posted this graphic in 2008. Seemed appropriate to bring it back… A friend of mine is a world-class chef. He got there after a lot of hard work. He studied under other chefs, all of them masters at what they do. He’s really good at what he does; he’s both a craftsman and […]

Oct 3rd

2012

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CategoryPosted in: The Craft, Tutorials &Technique

Five Minutes, Ten Stops

  Lake Laberge, YT, 2012. Apart from a difference in timing, these two images might have been identical. What separates them, in terms of their aesthetic, is a difference in five minutes, and ten f/stops. The second image was made just five minutes after the first frame, but with the addition of the Lee Big […]

Lake of Circles, Post-processing.

Here’s one of my favourite images from the trip up to the arctic last month, and a quick walk-through on the post-processing. In Vision & Voice I explain what I call the vision-driven workflow, and there are 4 steps: Identify Intent, Minimize Distractions, Maximize Mood, and Direct the Eye. Identifying the intent here was simply […]