Posts By Brad Moore

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Photo by Nadra Farina-Hess

It’s good to be back here on Scotts’ blog. Thanks Scott and Brad. Photoshop World is fast approaching, and this year I’m thrilled to be presenting on Night and low Light Photography and Concert Photography. I wanted to take this opportunity to discuss an aspect of concert photography that those not in the business probably don’t even know about, and that is the Photo Release we are often asked to sign before photographing the band.

If I ruled the world and made up the rules, there would be no photo releases, but sadly (for me) I don’t rule the world (yet) and these releases are a part of doing business. Let me walk you through the typical steps involved with shooting a concert. I am going to talk about the recent 91X-Fest as an example because it is the perfect example of all the types of releases we get to deal with.

The Young Wild performs at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
91X-Fest lineup t-shirt on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA

The 91X-Fest is the summer concert by the local radio station, and I have been photographing it for a variety of outlets for the last few years. This year I was covering the event for the radio station but since the actual concert was put on by Live Nation at a Live Nation venue, I still had to go through the local Live Nation representative to get permission to shoot the individual bands. I emailed my request to shoot the show, stating who I was shooting it for, and what the images would be used for.

The Frights perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
The Frights perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
SWMRS perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
SWMRS perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA

There were 11 bands on the schedule, and the local Live Nation rep would compile a list of all the photography requests, contact the bands and get approvals, then get back to the photographers and let them know when said yes and who said no. The local rep was also in charge of sending out and collecting the signed photo releases for the bands that had them. The photo release is a form that stipulates where the images can be used and how they can be used. Most times, they restrict the photo usage to the specific outlet that you site when applying for the photo pass. So for example, since I was shooting for 91X, the images would be used on the 91X websites and social media accounts. If I was shooting for a magazine, then the images would be limited to that magazine. One of the bands headlining the 91X show was The Offspring, and they had a photo release that limited the images to just the outlet I was shooting for. Here is an example of what that looks like.

91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA

The second headlining act was Cheap Trick, and they also had a photo release. Their release is what’s known as a rights grab release where they allow you to shoot the concert but for that privilege, they then expect to not only be able to use the images for free, they expect the photographer to sign over the rights to the images without compensation. That wording looks like this.

91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA

Not only does the band expect to approve each photo used, they expect copies of all the images (you can tell how long the band has been using this release by the wording as there is no mention of digital files but instead still reference negatives and transparencies. So even though I was working for the radio station that was putting on the show, I refused to sign the Cheap Trick photo release and did not shoot their set. One of the reasons that bands get away with this is that there were other photographers who were quite happy to sign the release as it meant they got to photograph the band even though they were not earning a dime from the work. I can’t think of any other job where people would be happy to work for free, then give away the rights to their work, just because of the subject matter. (Notice I said work for free AND give away their rights). It’s a crazy idea, yet as concert photographers we seem to think it’s pretty normal.

The Shelters perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
The Shelters perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
Chevy Metal perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
Chevy Metal perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
The Shelters perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
The Shelters perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA

Out of the 11 bands that performed at the 91X Fest, there were three bands with photo releases. The third band with a release was WOLFMOTHER, and their release was a first for me. It was a photo release that actually stipulated that I could use the images for self promotion, on my social media outlets provided that it was representative of my work as a whole. It also allowed the band to use the images for their social media and websites and non-commercial use. I was good with that.

The rest of the bands that day did not have any photo release at all. You can see some of the images from their sets in this blog post. So if you have wondered about the rules when photographing a concert, I hope this cleared up some things and why you don’t always see the images from the shows I shoot on my social media or website.

WOLFMOTHER perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
WOLFMOTHER perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
The Shelters perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
The Shelters perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
IRATION perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
IRATION perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
IRATION perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
IRATION perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
KONGOS perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
KONGOS perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
KONGOS perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
KONGOS perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
KONGOS perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
KONGOS perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
WOLFMOTHER perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
WOLFMOTHER perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
WOLFMOTHER perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA
WOLFMOTHER perform at the 91X-Fest on June 5, 2016 at Sleep Train Amphitheatre in Chula Vista, CA

You can see more of Alan’s work at AlanHessPhotography.com, and follow him on Instagram and Twitter. You can also see him live in person at Photoshop World Las Vegas on July 19 & 20!

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Adobe Photoshop Update with Scott Kelby
We’re currently updating some behind-the-scenes stuff on the KelbyOne website, so this week’s class will be released tomorrow! With the latest release of Adobe Photoshop 2015.5, Scott Kelby will take you through all of the newest features, like the Select and Mask feature shown above, to make sure you don’t miss a thing in his newest class, Adobe Photoshop Update. If you’re already a KelbyOne member, keep an eye out for this new class releasing tomorrow. If you’re not a member, you can try it for FREE for 10 days!

In Case You Missed It
In Action Sports Flash Photography, Dave Black uses his speedlights to create the kind of stylized sports portraits that you normally see in feature articles, programs and magazine covers – and he shows you how to do it too. In this class, you’ll learn how to capture action sports, in varying degrees of action from track and field to motocross, with high-speed sync and fast action shutter speeds. You’ll also learn what equipment and settings work best for each progressive action sports situation; but most of all, you’ll learn that while you may not have the exact same kind of equipment Dave does, it won’t matter half as much as you think as long as you share his exuberance and desire to take an amazing picture.

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Two Things Photographers Can Do to Make Their Work Better
If you have an iPhone, the start of this story should sound familiar… I was having an argument with Siri. It was about trying to get Siri to play some music on my phone. After I asked Siri to play a certain artist/album combination, first without, then with, profanity, for a moment I imagined that I might never hear music again.

That got me thinking about my desert island disc (or I guess, download, these days). The one or two albums that you would want to have if you were stranded on a desert island. On the surface, it seems like a pretty easy thing to do. Just think of your favorite music/artist/album and pick. Of course, it is never that easy. Too many choices. Jazz, Blues, Rock, Indie, Hip-hop… Not to mention which artist or album.

As I sat pondering what my selections would be (at least what they would be today), I began to think about how this relates to photography. I’m lucky to be able to not only be a full-time photographer but to also have the privilege of getting to teach and mentor other photographers. In almost every workshop or class I teach, I’m asked questions that I think of as desert island photography questions. If you could only have one, which camera would it be? Other than palm trees, what would you want to photograph? What software program would you want to have? What light modifier would you want? And the list goes on.

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At one point I posed the question: “If you could only do one thing to improve your photography what would it be?” The responses are as varied as people’s taste in music. Get a new camera. Take a particular class or workshop. Get a new lens. Make more time to shoot. And the list goes on.

I’ve found that my own answer to this question hasn’t changed much over the years. It doesn’t matter if I’m teaching a Lightroom workshop or about to create images with alternative processing. These are the two things that I think every photographer can do to make their work better.

#1 Learn and Apply Lessons from Photographic History (and not just the textbook version)
I got my initial interest in photographic history researching how to print old alternative processes (wet-plate, platinum, salt, etc.). I was looking into how to combine modern digital technologies with processes that were there at the very beginning of photography.

Some of the earliest indicators of people working with a camera date back as far as 400 BC. Mozi in China and the Greek philosopher Aristotle both made references to the concept of a camera obscura. In case you aren’t familiar with such old technology, a camera obscura is the precursor to the modern camera. It is a box with a hole on one side, and as light passes through the hole, an inverted image is projected onto the back of the box. You find this same technology being used in pinhole cameras today, and this same principle is used in modern day digital cameras too.

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Photography, as most of us know, it also has its roots in France. In 1816, Nicephore Niepce successfully coated a piece of paper with silver chloride and created one of the first latent images that we would consider a photograph. Over the decades that followed, Daguerre, Fox-Talbot, and others pushed the chemistry of photography forward ushering in the age of photography. From my perspective, the biggest change was created by John Herschel. He not only coined the term photograph in 1839 and created a number of advances in photography, such as cyanotypes and the foundation of platinum printing, but he figured out how to stabilize those latent images so that they would last. By “fixing” Talbot’s and Daguerre’s processes, he made it possible to create lasting images. This process of fixing, by using hyposulfite, is why we still use the term fixer when working in the traditional darkroom to stabilize film and prints.

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From the beginning, photography has been used to tell amazing stories and record the history of everyday life. Even before George Eastman released his Brownie camera in 1900 making it easy for anyone with a spare $1 to have access to create a picture, photography was changing the way we saw the world. With an ever-increasing number of photographers with access to cameras, film, and printing supplies, the moments, objects, and people of everyday life were put in front of a lens.

We became able to capture and share amazing things and amazing moments in everyday life. Not only could we record them, but we could infinitely reproduce the captured image, which in many ways separated it from painting. Photography was really something special.

Beyond capturing the everyday, photography was, and still is, used to explore areas of culture, race, gender, and social status in ways that weren’t possible before. From the essays written by Frederick Douglass in the 1800s―who was the most photographed person of his time―on the equalizing power of photography to deal with racism and civil rights to Lewis Hines’ work with child labor issues in the 1920s to Diane Arbus’ willingness to examine the issue of mental health in the 1960s to Florian Schultz’ work on environmental issues of today, photography has allowed us to see, share, understand, and experience the world in ways we didn’t, or couldn’t have, before.

Although photography is a relatively new art, it has had immeasurable impact. When you broadly study photographic history, you learn about more than just one way of seeing. You can learn so much how photographs have been able to shape our understanding of who we are as a society. As you look at photographers from current and past times, you can see how aesthetic, social issues, storytelling, and passion all come together.

You also have a chance to expand your own understanding of how events from the past have been seen through the eyes of all the photographers of that period. Much like the rest of history, you won’t necessarily find the best of photography in popular history books. Recorded history has often glossed over or entirely ignored people because of race, culture, social status/class, gender, and so on. However, because photography as a tool is so accessible, if you take the time to look, you can find amazing photographers who have/are making a difference in all aspects of life.

Several years ago I had the privilege of getting to meet the amazing photographer Matika Wilbur. If you’ve met her, you know that she is 100 percent high octane. Matika is a Pacific Northwest photographer and member of the Swinomish and Tulalip tribes. She is working on project called 562. Matika has taken on a project of huge scale. She is photographing the people and cultures of all 562 registered Native American tribes. Her work is important for so many reasons, but in the context of history and photography, the work is even more significant. Most of the images that you have seen in history books and stories of Native Americans are images taken by Edward Curtis in the early 20th century.

Those images have—for good and for bad—shaped the stereotypes, identity, and cultural awareness of Native Americans for the past 100 years. At the core of Matika’s work are wonderful stories about Native cultures, traditions, and opportunity. Through the use of photography to educate the world with new Native-created images that aren’t 120 years old, she is able to help redefine and reshape Native cultures and the broader social culture in ways that are more relevant today. If you understand the history of the portrayal of Native American cultures in photography beyond even just Curtis’s work, you can better understand her work and its context in the broader photographic community.

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She is just one example of the thousands of photographers who have looked at the history of photography and used what they have learned to shape and direct their own work. Beyond the technical information, by digging into history we learn how photography shapes ideas and values. The history of photography re-teaches us the power of the photograph and its ability to shape how we think, what we know, and how we respond to the world around us. It always expands us when we look at those who have found a passion, and through research, dedication, and hard work are making photographs that will last long into the future.

We have to break out of looking at the same things over and over to find how all the voices of photography have shaped who we are. Look at the work of Magnum photographer Eli Reed and see who influenced him. Who did he influence? Same goes for Alec Soth, Lorna Simpson, Matika, Helen Levitt, Berenice Abbott, Stacy Pearsall, and countless others. You likely already know the work of Ansel Adams, Cartier-Bresson, Weston, Frank, and the other well-known photographers in history, but I challenge you to find the amazing photographers whose work you don’t know. Study their work. You will be surprised by what you learn.

#2 Print Print Print (Did I mention print?)
A few years ago, I was watching a movie with one of my roommates, and she said that she was going to make cookies and asked if I wanted some. I love fresh-baked cookies, so I was like “Oh HELL yeah!” Ten minutes later she walked into the living room, handed me a spoon with cookie dough on it, and said “Here’s your cookie.” With a blank look and totally confused, I said “Uh, this is cookie dough. Not a cookie.” She said “Same thing!” and proceeded to eat a bowl of cookie dough. In my world, cookies are like photographs: if they aren’t baked, they aren’t done.

For me, the print is the photograph. It is the final stake in the ground that says “This image is done. I am finished editing, changing, and adjusting.” I am willing to say that I am confident enough in the work to make an artistic commitment. Part of photography is about your commitment to sharing your way of seeing the world. Only after you capture an image, make all the edits (from none to full-on compositing), and are willing to say that the image is done does your way of seeing the world or being in the world become realized.

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In the old days (forever ago, like before Game of Thrones, Facebook, and fancy Greek yogurt), if you weren’t shooting slide film, you had to print. It was the only way to see the positive version of the negative. However, as digital became the norm, we moved to images being on the screen. In that transition, amazing tools have come along that allow us to make never-ending changes to the negatives. Some of those changes might be small and others huge but this transition also allows us to experience our work without having to ever be done with it. We never have to put a stake in the ground. It never requires that we commit to being done enough to create a physical object.

Now you might be thinking “Daniel, I don’t print because my work IS digital. It is my way of being in the world.” That’s great, and I would still postulate that printing on occasion will help you see behind the camera better, understand color better, understand composition better, and help you understand how others might see your work. It is a big piece of the feedback loop that tells you how you are doing behind the camera.

Another reason to print is that when we work with tangible arts, we respond differently than we do photons and electrons. The brain relates to the information in the print differently than on the screen. We see differently. This is no different from any other art form. It is always a different experience to stand in front of a Monet or Van Gough than to look at a reproduction. Photographs are no different. As photographers, we are all about seeing, and seeing differently can help push you forward.

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When you print an image, you can look at it up close and from far away. You can see how it looks under different light. You will start to see things that you didn’t see in the digital file. Relationships between objects and subjects. How color shifts across hues and tones. When you are not worried about hi-pass filters, noise reduction, and masking, what do you actually look at first in an image? How does your eye move around the frame?

When you have to look at an image that you can’t immediately edit, it requires you to really think about what is working and not working rather than just reacting. Having a print allows you to see the same image over and over again over time. The image isn’t lost with the closing of a window. The more time you spend with the image, the more it will teach you. In this way photographs are superior to cookies because they never last.

Getting to look at your images at the actual size you imagine is another advantage of printing. I work on 27-inch monitors (13×23-inch screen size). I am limited to seeing my images at that size. Printing allows me to experience the images at the size that I imagine. I can’t fit that 24×26-inch image on the screen.

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Printing also forces you to think about how you want your images to be seen and experienced. Do you like a matte paper or luster paper? What does the paper do to the saturation of the colors? How are gradients shown? What does the texture of the paper do to your feelings about the image? What if you print the image big? What about small? How big should the border be? How white should the paper base be? All of these issues matter in how your audience will ultimately experience your image.

Printing also ensures that the image looks exactly how you want it to look. If you have ever sent an image off and looked at it on another computer screen, you know what I’m talking about. You do not get to control the brightness, contrast, or calibration of someone else’s monitor. Things can go wrong in a hurry. Think about how much your monitor shifts when you calibrate your own monitor, and imagine monitors that have never been calibrated. After you get your final print, you don’t ever have to worry about the print going out of calibration.

You might be thinking that it costs too much to print. I can tell you that at a place like Mpix, Bay Photo, or Costco, an 8×10 print is about $3. That means that for the price of that new $1500 camera you can get something like 500 prints. I can promise you that you will become a 1000% better photographer by looking at and learning from what you see in those 500 prints than you will working with a new camera and creating the same errors over and over again.

So there you have it. My two desert island tips for photographers. Print your work. Commit to finishing the work. Learn your history. Not just the textbooks, but really learn everything about the photography you love. If you love street work, find every street photographer and learn from them. It doesn’t matter what type of photography you love: if you study beyond textbooks, you will fall more deeply in love with it.

Thanks to Scott and Brad for allowing me to come back and do another guest blog post. It’s always fun to get to be a part of such a great community. If you are heading out to Photoshop World (and why wouldn’t you?), I’d love to see you in one of my classes. Or just stop and say Hi. Hope to see you in July.

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Oh, and assuming that Siri and I ever get our differences worked out, the music will be some Miles Davis and the Beatles.

Editor’s Note:  there are still a few spots available in Daniel’s Photoshop World workshop: Hands-On Portfolio Prep.  In this workshop, you’ll have one-on-one time with Daniel where he’ll help guide you in discovering your own motivations for selecting what you photograph and why. You’ll also learn how to sequence your photos for the best possible presentation of your images.

Daniel j Gregory is a Whidbey Island, Wa based fine-art photographer and educator who often creates images using modern digital tools and historical processes. You can see more of his work at DanielJGregory.com, listen to his podcast The Perceptive Photographer on iTunes, his KelbyOne class Visual Literacy, and follow him on Twitter and Instagram. You can also see him live in person at Photoshop World in Las Vegas from July 18-21!

Master Post-Processing: 10 Mistakes Every New Photographer Makes and How to Fix Them with Kristina Sherk
Become a more well rounded photographer! We all make mistakes, so be prepared by learning how to avoid them and how to fix them. Join Kristina Sherk, retoucher extraordinaire, as she teaches you how to deal with the 10 most common mistakes all photographers make. From correcting uneven exposures to dealing with the results of a mixed-lighting environment to correcting blur caused by camera shake, and more, Kristi discusses how to avoid problems in-camera and then shows you how to fix them in Photoshop. You’ll even learn how to be a power user of tools you probably already use. By the end of the class you’ll be ready to take your photography and Photoshop skills to the next level.

In Case You Missed It
Get ready to have a blast learning how to create character-based composite images with photographer and retoucher Glyn Dewis! Starting from scratch, Glyn will teach you every step in his process; from cool ways to use social media for brainstorming and communicating ideas to the importance of building your own stock image library while on location. Glyn demonstrates how he works with non-professional models and shows you how to bring all the elements together in Photoshop. Along the way you’ll learn numerous tips and tricks and leave the class inspired to go out and create your own fantastic composites.

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That’s A Photoshopped Photo, No?
When I started photography in 2005 and was proudly starting to share my work with the world – that was a common reaction to my photos.

Most of the people enjoyed my work, but I would get this comment:

“This must have been Photoshopped.”

Indeed it was, for example:

The Carrousel in Louvre Paris

This is a photo of the Carrousel at the Louvre. I added some clouds and a sepia look, but kept some of reds as natural colors.

I went under the Eiffel tower and we had a very nice sky, with a wide angle lens, I got this shot. Loved the sky that end of afternoon

This is an HDR shot of the Eiffel Tower where I added some magenta in the sky to make it more dramatic.

This is the Pont Neuf Bridge in Paris with a nice sky.

Here is a photo of the Pont Neuf in Paris. I changed the sky and did a lot of dodge and burn on it, love the photo. I’m selling this photo to one of the biggest network galleries in the world – it has 85 physical galleries. The gallery really liked it despite the “Photoshop effect.”

I always felt a little guilty changing skies, or adding too much dodge and burn. I felt like I violated some kind of sacred oath that photographers had signed to not use any of these tricks on their photos.

When somebody tells me, “You used Photoshop!” I hear, “You are just good with software, but you are not actually a real photographer.”

Then one day I started using an ND filter and doing long exposure which lead to this kind of photo:

Notre Dame Paris longue Pause

The magenta came mostly from the use of the filter. The stretchy clouds and the silky water came from the long exposure. So this time the drama did not come from software but from a dark piece of glass that you screw onto the camera.

I wondered, “Is using an accessory to create an effect more legitimate than using software?

Then I started using an 85mm f/1.4 lens that gave a very shallow depth of field and a superb bokeh to my photos.

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This is a portrait of me taken by a friend. Do you notice how the bokeh in the background is a special effect which was created by a lens? This is not something natural that you can observe with your eyes.

I came to the conclusion then, that no matter what you use to create your image, whether it is in-camera, in-software, or with the use of a filter or a lens, what matters is the emotional impact that the photo creates. Do my photos tell a story? Do people like it? Would they like to have it in their homes or offices?

In the end, for me, these are the questions that matter.

I also realize that sometimes people react to saturation, like some people used to react in the early 80’s when color television came out. I remember at home the brand new color TV seemed fake to me, I was only used to black and white.

Sometimes nature gives you very strong sunsets with amazing colors. When you manage to match them using Lightroom or Photoshop to the feeling you experienced at the time, they might feel fake, but to me they are a representation of what I was seeing.

For example:

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This is a beautiful sunset in Clearwater, Florida. I spent quite some time in Lightroom tweaking this photo until I felt like it was as saturated as my eyes remembered.

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A horse close to Chantilly France, looking straight into the sun, my eyes were almost blind, I corrected the color until I got the same impression.

What confused me even more – is black and white photography. I remember talking to the owners of Yellow Korner and they seemed to have a lot of admiration for black and white as being a noble photographic art.

So I started studying Ansel Adams’ workflow from his book, the camera, the negatives and the prints and realize how much he really controlled and retouched his photos using the zone system with a very complex printing process. I also saw some old black and whites from famous photographers who spent dozens of hours retouching them, much more then what we do today. This was mainly due to tools that were hard to use at the time. Try taking out a negative and skin spot with a needle!

Here are a few photos I took recently in Yosemite as homage to the work of Ansel Adams. I’m a big fan of his work.

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Then one day it hit me: When you do black and white, you are participating in an art form that has been here for decades and has been established as a form of fine art.

Even though I felt satisfied that the emotional impact was all I cared about, and that I would be creative with my photos, whether or not people enjoyed them, I still felt guilty when someone asked me if I used Photoshop or not.

One photographer fascinates me for his image and his success and that is Peter Lik.

He does beautiful photos that are very saturated, beautifully printed and, per what I have read, he is the biggest seller of fine art on the planet in recent years. I know some people love him and some people hate him (they are probably jealous.☺)

I get a lot of inspiration looking at his photos and I like to listen to what people say when they see his photos at his galleries. He has galleries all over the place New York, Vegas and I have spent quite some time there for inspiration and eavesdropping.

The public at his galleries usually don’t say “These are Photoshopped!” but more like “What a beautiful tree, or island or beach.” etc…

I’m sure Peter’s work takes a lot of Photoshop work, but that is not the response that he is getting.

I realized then, that as long as you retouch your photos to what people are used to seeing, you can get away with a lot. But when your skies start having a blue that the public is not used to seeing or too much magenta in my case, they react as if your photos are computer generated. But, if you managed to make fabulous color correction, within what the general public is capable of believing, you have created a whole different impact.

So that’s my game these days, to retouch my photos in such a way that they look dramatic (and hopefully nice), but the color has to remain within the realm of experience of the human race ☺

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This photo has quite a bit of dodge and burn, but I tried to keep it to an “acceptable to the human experience” range.

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I shot this from a helicopter at 8000 ISO.

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A sunrise in Paris just a few days ago.

All of this being said, next month I might go back to some super HDR like this:

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I just completed a full course on Landscape Photography that you can find right here.

I’m giving a super discount, for a limited time, to all of Scott’s readers by using the code: KelbySR at check out.

This is by far the training course I’m the proudest of, 48 videos with lots of live and examples from start to finish.

How do you like to retouch your photos? Leave a comment below!

Thanks for reading!
– Serge

You can see more of Serge’s work at SergeRamelliPhotos.com, learn from him at PhotoSerge.com, and follow him on Instagram, 500pxYouTube, Facebook, Twitter. You can also see Serge live in person at Photoshop World in Las Vegas July 19-21!

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Adobe Lightroom CC In-Depth: Unlocking the Power of the Adjustment Brush with Scott Kelby
In this class, Scott unlocks the power of local Adjustments in Lightroom and how to go way beyond simple Dodging and Burning to open a whole new world of editing. You’ll learn the most important shortcuts; techniques; brush settings; how to tweak the Adjustment brush so it works optimally, plus you’ll learn how to use the related tools, like the Graduated Filter, the Spot Removal Tool, and the Radial Tool (among others), plus you’ll lots of shortcuts, workarounds, and creative ideas to help really make the most of this amazing tool. If you’ve always wanted to take this genie out of its bottle and take your editing skills in Lightroom up a big notch, then this is the class for you.

BRAD_NOTC_Blog_06.08.16_BackingUpYourLibrary

Adobe Lightroom CC In-Depth: Protecting Your Photo Library & Backing Up Your Lightroom Catalog with Scott Kelby
Your Lightroom Library of images is more than just thumbnails, it’s more than just your catalog, it’s more than just your images — it’s all of this, and Scott takes you through the process of having a solid system in place to back up your photos — that’s first and foremost. Then how to back up your Lightroom Library so if your library should become corrupt or you were to lose your computer (it crashes, gets stolen, you pour a Diet Coke into your keyboard, etc.), you can get back up and running fast. Lots of solid info here that will help you sleep better at night knowing that you are fully backed up and prepared for any problems that might come your catalogs, or images, way.

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