Show us your vision/capture of a wildlife animal (no pets please). It can be in its natural habitat or a processed interpretation. Whatever it is, don’t show us something we have seen before!

A Few Notes:

1. A bird of prey on action is more compelling than just sitting on a branch.

2. Just because you photographed an exotic animal doesn’t make it submission worthy. Does it tell a story? is the composition sound?

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Anything minimalistic is harder than it seems. Think less is more but show it to us through nature.

As with most of our topics, this one as well has a spectrum of possibilities as minimalism is not a black-and-white concept but on a spectrum.

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Find a scene that highlights and celebrates JUST two colours. You might have to narrow your field of vision or expand it. This topic is a great exercise in ‘seeing differently’.

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Continuing our Abstract series into the world of Flowers.  Show us shapes, colours, or any other detail that on one hand shows a flower but on the other removes it from reality and context. Tricky….

We also saw how to change a background from black to white while maintaining the original colours by switching to the LAB colour mode.

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The Build Environment - but as an abstract! Think shapes, gradients, tones, and form.

Important to note: a photograph flattens three-dimensional architectural subject matter into a flat two-dimensional image. What can you do to bring back volume and depth? Or do you even want to….?

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Lack of Context.  However, to what degree depends on the level of abstraction you wish your image to be.

Notes to keep in mind:

1. Some things enhance context, like texture.

2. Make your image aesthetically pleasing. Make sure your image stays true to the rules of composition.

3. Colours add emotion to an image, choose your colours wisely.

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Know the rules, but more importantly, know when to break them! Sometimes shooting during the Golden Hours won’t necessarily give you the result you want! use light and SHADOW, to sculpt your image.
THINK FORM.

Notes to keep in mind:

1. Are your Shadows popping out? Or, are they dwarfed by irrelevant details?

2. Use extreme dodging and burning to highlight your shadows.

3. Shadows are NOT reflections.

4. Do you need colour in your image or does it work better in B&W?

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Motion, sports, and anything in action. The moment of or the split second before. Use a slow shutter, composition, or whatever you need to take us into the moment of action.

In this session, we saw plenty of submissions but only a few made the cut. Watch the video to see why.

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Creating an Intentional Blurred Image!

Embrace your impressionistic heart and capture an image that conveys a feel more than details yet still tells a story.

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By definition, city skylines serve as a pseudo-fingerprint as no two skylines are alike. Show us your artistic fingerprint to an interpretation of a skyline. Use techniques at your disposal to show us a skyline in a unique and creative way.

We saw a range of Skylines and saw in Photoshop how to enhance them, either by adding colour to buildings and their reflection or adding pizazz to the reflection, plus a few more tidbits!

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Exposing to the right! Keep your image light and bright. We explored the art of creating High Key images and understand the compositional balance they create. We saw what the difference is between an image that has a lot of white in it as opposed to a 'truly' high key? Also, How to convert a properly exposed image as a high key and lots of other constructive critique and Photoshop tips.

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In keeping with tradition, once an In-Depth Talk-&-Learn course is completed the next Free Talk-&-Learn session is dedicated to highlighting the final assignment of the students that have participated in the course. Their assignment was to create a body of work containing 6 images. Each image is different, yet belongs to a series. Additionally, they submit a Vision Statement that verbally conveys what their visual images depict.

So please, sit back, relax and enjoy the online exhibition of the
Talk-&-Learn Online Salon Show!

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We had a spectacular and special guest speaker, Nina Wolfe. Nina is a prolific Moon Photographer and will walk us through her process of scouting locations and photographing the moon! Nina walked us through her process of using Apps to confirm weather conditions and moon alignment when deciding to go out and get a moonshot.

Thank you Nina Wolfe!

Plus - we had some time to go through the image submissions and give feedback on what was good, what was not so, and how to improve it.

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We eat with our eyes. Show us how you experience food. Fun and whimsical or realistic and mouth-watering. Use the tools of photography to arouse our gastronomical senses. Think about perspective, presentation, vibrancy, depth of field, and everything else relevant to capture a compelling image of food!

We also saw how to change the background from white to black without effecting the colours of the image through a Lab Colour Mode Conversion.

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Find your spot and now observe from a different perspective. Use light, shadows, and composition to tell your story.

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Let’s keep it indoors. Any image that was taken inside, be it with a lightbox, light table, strobes etc.

Be creative and don’t forget to make sure that your image tells a visual story.

We also saw today how to work with Groups/Folders in your Layer panel to organize your layers better.

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Bridges around the world are a true engineering marvel. However, there is a big difference between what you see in your mind's eye to what the camera captures. Today in the Talk-&-Learn Session, we learned how to bring out the relevant details of a scene and accentuate leading lines, geometry, and composition to capture the beauty and majesticness of the bridges we photograph. From the conception of vision to Photoshop tips, this session is a great way to learn how to photograph bridges.

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Find a way to show your story through a frame. Windows, doors, openings, or anything that constricts your subject into an enclosed shape. This style of composition adds a layer of complexity, originality, and perspective.

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It can be a Macro shot or just a really great Close-Up. Show us the little world through a big lens!

We Talked and Learned what makes a great Up Close image and not just another zoomed-in shot.

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Not just another sunset.

Show us a Seascape in a unique and creative way.

• Don’t let your technique overtake your vision.

• Avoid the cliche sunset image.

• Is your image about water or a seascape?

We answered all these PLUS we saw how to add colour to a black-and-white image to enhance your sunset colours!

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Show us the essence, and only the essence of a scene. This topic is very forgiving and provides a free license to hide unnecessary details in the shadows. However, the vision of what you choose to show must be clear and obvious.

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Get out your ND Filters and lug that tripod out to capture the sky and water in all its glory. Show us the use of long exposure as a means to an end and not as an end in itself. Use the technique to accentuate motion for the purpose of your visual story.

A great Q&A Session!

We talked about filters, magnetized filters, magnet rings, converting light readings and much much more!

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Where the predominant line(s) in your image are diagonal. You might have some horizontal or verticals, but predominantly Diagonal. Also, is your diagonal adding to the story of the image? Does a diagonal rather than a vertical/horizontal change the narrative of the story?

ALSO... we saw today the importance of using a VECTOR MASK in conjunction with the Gradient tool.

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NOT your typical images of your pet, wildlife or anything animals. Show us a DIFFERENT perspective.

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“Change is the only constant in life.”

-Heraclitus

Our lives are in constant transition. If it is our own being, from birth to death, or the natural world around us. Some of these moments go unnoticed while others are celebrated. Sombre or joyful, transitions make up the fabric of our being.

Show us the transitional moment you observe in the world around you.

Please Note: This topic should heavily rely on composition and story.

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Capturing a scene in (mainly) a single tone.

Please keep in mind that it’s not just about the tone. Show us an original take on a scene, tell us a visual story.

We also learnt today how to use the Solid Color Adjustment Layer and Gradient Map to selectively manipulate colour and tone in your image.

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Capture a moving object in motion. Show us the essence of the motion yet still keep the gist of the story in your image sharp enough or in context.

Most submissions missed the mark when it came to composition. See why and what we did to improve them.

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Capturing a moment in time where many street components are aligned to tell a story. Maybe it is a mistaken story or maybe realistic, but nonetheless, a story that captures a moment.

We started out the session with a few pointers on what it takes to capture a great Street Moment and then went through the Showcase submission images. Most haven't made the cut, but we Talked and Learnt why.

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Minimal B&W is a topic that on the surface seems very simple to accomplish, yet, as we saw in the session, many submissions missed the mark. We discussed why, and what can be done to improve those images.

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Taking us from here to there, up or down. These vertical bridges are a photographer’s delight. Simultaneously ascending/descending and carving three-dimensional shapes in the space they occupy.

Show us your best capture of a staircase!

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Removing a story from its context. How much or how little depends on the mystery and intrigue your new story creates.

All Subject Matter is Welcomed!

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They say that Symmetry is one of the universal laws of esthetics. The human eye finds it esthetically pleasing. It creates a sense of balance and harmony. In this session, we will put that to the test!

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The human eye does not see in black & white, so why are we so intrigued when we see a black & white photograph? Why do some B&W images stand out from the rest?

In this session, we will talk about the importance of form and tonal range when converting or creating a B&W image and how some colours convert better to B&W.

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Understanding the colour wheel. How different colours are complementary or analogous, how they work together to create harmony or drama, isolation or grouping.

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Heat, swimming pools, popsicles or summer love? What does Summer mean to you and can you capture it in a photo?

Keep in mind colour as mood, warm vs. cold, sun glares can be your friend when the topic is related to heat. And of course, all the rest of the artistic requisites I always mention: composition, story etc.

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Definition: a long narrow band or strip, typically of the same width throughout its length, differing in colour or texture from the surface on either side of it.

"a pair of blue shorts with pink stripes"

Now, make it a compelling composition!

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A shot that just wouldn’t have worked without having that ‘someone’ in the image. It can be staged or caught by fluke, whatever it is, it must have a ‘je ne sais quoi’.

People (or sometimes better just a single person) for a sense of scale, context, composition, story.

All subject matter is welcome!

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What would the world look like if you would always look straight upwards? Share your upward perspective as artistically as you can. Any subject matter is welcome - Be Creative!

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It can be stormy and dramatic or calm and soothing. In between the whole gamut of weather conditions. Show us your capture of The Sky.

Please keep in mind composition, tone and story. Not just ‘another sunset image’. But take us by the hand and show us what made you pick up the camera and take the shot?

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In-camera, in post or on your iPhone! create a Multiple Exposure image that TELLS A STORY! Not just a composite image but a combination of images overlaying one on the other in which each image contributes to the theme of the image. You might be celebrating geometry, movement or a specific topic.

Don’t forget to tile your image with the VISION of the image. What is the essence of your visual story? What do you see in the image? what were you trying to convey?

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Find a way to show your story through a frame. Windows, doors, openings or anything that constricts your subject into an enclosed shape. This style of composition adds a layer of complexity, originality and perspective.

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100th Session Anniversary - OPEN TOPIC

These Talk-&-Learn sessions have been a wonderful platform for us to talk, learn and share our images. Therefore, the 100th-anniversary session will be dedicated to you, and any topic you choose, as long as it TELLS A STORY! Even though the topic can vary from one image to another, I will be judging all images with the same yardstick, so regardless of your subject matter, does your image have vision, composition, technique, and all the other things we have been talking about throughout these other 99 sessions?

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Geometry is everywhere we look, shapes and lines define our visual world. This session will be dedicated to celebrating everything geometrical. Especially, your interpretation of how it is perceived in your mind’s eye. Do you see it in an abstract? in a bridge or maybe in an ice flake. Show us where and how you see it!

(All subjects matter are welcome - even abstract!)

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They live and breathe yet they aren’t sentient beings even though we attribute them spiritual, and nurturing attributes. They are nature's skyscrapers, sheltering awnings, and grocery stores and as such provide us with wood to build and food to eat. They have character, beauty, grace, and sometimes just plain whimsical.

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This week’s session will be dedicated to:

SERIES OF 6

In keeping with tradition, once an In-Depth Talk-&-Learn course is completed the next Free Talk-&-Learn session is dedicated to highlighting the final assignment of the students that have participated in the course. Their assignment was to create a body of work containing 6 images. Each image is different, yet belongs to a series. Additionally, they submit a Vision Statement that verbally conveys what their visual images depict.

So please, sit back, relax and enjoy the online exhibition of the

Talk-&-Learn Online Salon Show!

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Paying homage to International Women’s Day, this session will be dedicated to the achievements and depiction of women (in front of the lens). Show us a story of a special woman in your life. A mother, sister, aunt, wife or friend, through tenderness, strength, love, accomplishment or whatever conveys your visual story.

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Ask yourself what is the essence of Urban? Now, see how you can incorporate people into that environment!

Be Creative, Be Bold, Be Impactful!

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Celebrating the wide gamut of human expressions. Joy, defeat, angst, content, confidence - can you capture the expression?

We discussed the importance of having an expression that can 'stand alone' or one that needs context and have more detail to the story.

In Photoshop we say how to complete the story by using filters, either as a Smart Object or on a separate layer.

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Blue is one of the most favoured colour in people from all over the world. It is the colour of the sky we see every day and in the oceans and seas that reflect it. However, we can find blue in other places. Share with us where you find it!

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Combing an Abstract (lack of context) with architecture. This is an opportunity to see in Shapes, Lines and Light.

Hint: Ask yourself what is the essence of an abstract and what is the essence of architecture. Now combine the two!

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Using ND Filters to capture minutes-long exposures. In this session, we will highlight the best of the long exposure submissions, see what it takes to make your LE image stand out from the crowd with vision and post-processing tips, and, most importantly, Sharon will be introducing the Kase Magnetic ND Filters!

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Thinking outside the bouquet!

This session is a challenge to create images with flowers that are unique in their composition, vision and execution. I am not looking for yet another floral image but rather, something that shows flowers in a way we haven’t seen before, be it a composite or in-camera.

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What is it like to see something through something?

A looking glass can be a window, a mirror, or any other translucent glass. This technique adds a layer of complexity, texture and story to an image - show us your story!

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Know the rules, but more importantly, know when to break them! Sometimes shooting during the Golden Hours won’t necessarily give you the result you want! use light and SHADOW, to sculpt your image.

Notes to keep in mind:

1. Are your Shadows popping out? Or, are they dwarfed by irrelevant details?

2. Use extreme dodging and burning to highlight your shadows.

3. Shadows are NOT reflections.

4. Do you need colour in your image or does it work better in B&W?

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Creating an image with multiple layers, be it a Foreground, Midground or Background or layers of content, layers of meaning.

Layer your layers!

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As we embark on a New Year, we will look up to new beginnings and a healthier future. This topic is broad, yet focused. Within the realm of photography, it can address, composition and perspective, the conceptual subject matter of meaning or maybe both.

So let’s welcome the New Year with cheer and toast to Looking Up!

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As pets, in your neighbourhood, or in a natural habitat. The last session of the year will be dedicated to the animals around us.

Things to keep in mind:

1. Does your image show us something we haven’t seen before?

2. Is there character or personality in the image? Playful, mysterious and just a moment of awe.

3. Did you use a technique to depict your story? Slow shutter for movement, low key for selective details…..

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In this session, we will have a look at the work of the IN-Depth Talk-&-Learn alumni and see the work of their final assignment: Creating a Series of 3-6 images plus a Vision Statement.

So get your popcorn ready, sit back and enjoy this beautiful online exhibit.

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Books-Reading-Literature: Everything to do with Reading.

Young or old, rich or poor, engaged in the sacred or the secular, people everywhere read. Let’s pay homage to the beauty and seductiveness of reading with all its various meanings. As a story, an abstract or something completely different. Show us your interpretation.

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Celebrating everything twisty curvy! Accentuate circularity, depth and volume. Colour OR B&W, any subject matter, architectural, nature, studio….anything goes!

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Repetition of Patterns. As this assignment should be B&W there is a strong emphasis on FORM.

We will discuss what creates a compelling composition, balance and tonal range for this intriguing topic.

If you choose to submit an image, be cognisant of the background ‘stage’ vs. your subject. Sometimes a background on its own doesn’t quite work like having the same background with a subject occupying the space.

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Anything of two car lanes or less. Show us the vibe and feel of a narrow place, if from your travels or close to home. These narrow passages are filled with charm and character. A few tips: 1. Bests to have a subject occupy the space (people, cars, bicycles etc.)

2. Strong light can be your friend, play with contrast and shadows.

3. As this subject matter calls for a wide lens, don’t forget to correct lens distortion!

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Take advantage of the lights painting on a dark canvas. The movement, rain, snow or glow.

We saw how to get rid of blown-out highlights without having a bracketed darker exposure. We added snow in post and saw how to add pizazz to night light streaks!

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The costumes, the funny, the scary - Show us what you got!

We saw how to add colours in post to create this poster image of the owl as well as create a soft glow for that special spooky Halloween effect.

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Honouring nature and the elements in shaping the world around us. If it’s in the macro of a conch shell or the larger geometric shapes sculpted in sand dunes by the wind.

Show us what shapes, patterns and forms you see in the world around you.

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LONG EXPOSURE

Get out your ND Filters, tripod and shutter release to capture a Daytime Long Exposure Image. All subject matter will be welcome, single shots or composites. Surprise me!

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Time, as a smart man once said: is relative. And so are the definitions of the term. Definitions vary according to the context, However, these do a pretty good job:

1. The measured or measurable period during which an action, process, or condition exists or continues: duration.

2. A nonspatial continuum that is measured in terms of events that succeed one another from past through the present to future.

Now, internalize these concepts and do your best to depict these concepts in a visual image!

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re·la·tion·ship: the way in which two or more concepts, objects, or people are connected, or the state of being connected.

Tough one eh? it is but we can use the challenge! This topic spans many subject matters and leaves lots of room for creativity. It can be an actor and an audience, a mother and child, two colours.. but ask yourself: how are they relating to one another and, most importantly…is it telling a story?

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For this assignment/session, we will put an emphasis on Exaggerating the dark tones.

Know what it is you want to show, then downplay (a lot!) everything else. You can either capture it low-key in-camera, or better yet, get a properly exposed image and then in post, decide what and where to dodge and burn.

Black & White OR Colour, everything goes!

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Some things you just can’t bring back in your suitcase!

Show and tell of in a visual story what it smelled, tasted or felt like experiencing the location you were travelling in. Take us by the hand and show us what it felt like to actually be there!

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The complexity of Juxtaposition. We are often attracted to the opposite, why is that? Maybe it accentuates the contrast, adds a deeper layer of complexity? Or just colours our reality with a richer palette. In this session, we will explore all the ways that Opposites work!

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Understanding the principle of Telling a Story through Sharon's Travel/Street Photography. Sharon presented some of her past images and showed the pairing of a caption to an image to complete the visual story. Also, Sharon exemplified how to simplify a scene and the importance of 'de-cluttering'.

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Naturally finding moments in which we can capture an image that depicts the simplicity of form and contrast we would normally create in post-processing by converting to B&W.

I am going to challenge the submission to not convert your images to B&W in post, but make sure that your original shot in monochrome. For some ideas, think foggy days, white streaks on black hair, dalmatians…you get the idea. Good luck!

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One of my passion projects is photographing trees. Everywhere I go I look for the majestic tree that stands out in my eyes. Their beauty and grace do not cease to amaze me. Yet, what I see in my mind’s eye is rarely what my camera sees, and most often than not, I need to complete my visionary process in Photoshop. In this session, we talked and learned about how to do just that!

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Geometry is everywhere we look, shapes and lines define our visual world. This session will be dedicated to celebrating everything geometrical, especially, your interpretation of how it is perceived in your mind’s eye. Do you see it in an abstract? in a bridge or maybe in an ice flake. Show us where and how you see it!

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In this session, we will embrace the Olympic spirit and celebrate everything athletic. The triumphs, defeats, grit, grace and beauty - everything related to Sports Photography.

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Thinking outside the visual box. This topic is all about original concepts. No need for fancy Photoshop footwork, you can create an outstanding image with an original take by just creating a composition that incorporates original framing, angles, perspective or…surprise us!

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What defines Heat? fire, heat haze, steam, vapour, sweat, sun glare...Today we saw how to accentuate the details that convey heat in a visual image. We created smoke, steam and lens glare in post-production as well as our own flame brush!

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In this session, we will celebrate the vast meanings and interpretations of these engineering marvels. The ingenuity of the human mind to overcome natural obstacles, a figurative link 'bridging’ two opposing sides or maybe you just enjoy the beauty of the geometric harmony.

What do bridges mean to you? And, most importantly, can you convey it as a visual story?

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What are the fundamental principles of creating a series? What type of series are there? we will Talk-&-Learn how to create a compelling series and VISION STATEMENT - aligning your visual and textual stories.

In this session, I will be showcasing the works of the IN-DEPTH Talk-&-Learn students from the past course. Enjoy the show!

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Combining Nature and Minimalism. Focusing on the Less within the boundaries of Nature. Simplifying your frame to create a single story in your composition. Sometimes, the distance between Simplicity and Complexity is a small one!

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What is Industrial Photography? Things that first and foremost are made by humans to service a large number of people. When considering your image, keep in mind your storytelling. What do you want your image to show? The destruction of the environment by industry? The pollution caused by industry? The benefits we gain from having large-scale manufacturing? Or, maybe just the mechanics of the machine. Whatever it is, just be sure to include elements in your image that contribute to your story. Also…consider how you use tones to convey a strong or soft message.

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Focusing on ONE thing. Simplifying a scene, either in-camera or in post. This topic can, if not careful, blend into abstract. I would encourage you to try and keep it within the realm of contextual imagery, yet to a minimum!

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One can argue that any artwork is subjected to the artist’s personal interpretation. However, this week we are taking the concept to new heights and literally recreating reality to express our vision and to express our personal interpretation of a scene.

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What is Titled Self Portrait you ask? It is a Self Portrait that you have titled so the viewer can get insight into your intention when creating the image.

When creating a Self Portrait, think about how you see yourself, how others see you, how you want others to see you, etc. whatever your intention is, just make it clear so that your image tells your story.

Think outside the box! extra points to those that will come up with new and creative ideas.

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Talking and Learning about Abstract Photography with Special Guest Ursula Abresch!

Ursula shared her spectacular abstract images and gave us insight into her vision, techniques and gear!

Sharon and Ursula both reviewed the SHOWCASE images and gave constructive feedback, The submissions were outstanding, kudos to all those that shared their images.

Taking context out of the equation, how much or how little is a fine art.

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Capturing the magical moments of everyday life in the urban environment. Telling a story that shows a snap moment of an event, lifestyle or better yet…a decisive moment! How to be sure to include the right context that completes your visual story, all this and more!

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Bridging the two worlds of Long Exposure and Still Photography. Creating a composite image that includes a LE and still image that would otherwise NOT have been able to be captured in-camera. Of course, I hope that it goes without saying, that the still image needs to complement the LE to tell a story. Let’s Talk-&-Learn how to best capture Long Exposure Composites!

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Let’s Talk-&-Learn how to best capture Motion! We experience reality as a continuous reality in motion, however, a camera freezes a moment in time. How can we use the tools and techniques at our disposal to depict motion? From wind gently swaying the leaves on a weeping willow, or capturing with a slow shutter a cyclist racing through the finish line.

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Spring is here and with it the new cycle of life renewing itself. This session will be dedicated to all things reborn (not just flowers…try and think outside the box!) We talked and learned what encapsulates the essence of Rebirth, the cycle of life, transition, contrast...and Post-processing tools in depicting just this!

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Today we saw an extraordinary collection of wildlife images. We discussed how to best post-process them and enhance the visual story.

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STILL LIFE: How to bring out the life in the lifeless? Celebrating the inanimate objects surrounding our lives. Using composition as a guide to convey the story of your vision. What works and what doesn't? we say participants images and analyzed the good and the 'not quite there...'.

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What defies Artistic and What defines Architectural Photography? And how to marry the two?

Forget the rules, what do YOU want to show? we will talk and learn how to stay true to architectural aesthetics such as lines, shapes and tone, yet still make room for personal interpretation.

PLUS, as this is the 1 Year Anniversary Special Session, an additional 30 minutes of Sharon demonstrating her personal post-processing files!

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This is a hard topic for the Straight photographers out there. Forget the sharp, crisp details and just focus on a feeling, impression or mood a place or thing gives you. Now try conveying that in a photograph! Ask yourself what helps us convey an emotion? Now use that to showcase your vision!

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The opposite of minimalism, but just as hard. Creating a storyline with complexity and detail and still see the forest with all the trees.

We discussED and learnED the nuances of complexity and how to create compelling images that integrate many details, yet stay true to a narrative.

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Less is More is an understatement when we talk about what makes a great minimalist image. We learned how to create simplicity with composition, contrast, black and white and texture. All through theory explaining the concepts as well as participants' examples, what to do and what not to do! And of course, just like every week, valuable Photoshop post-processing tips.

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We are often attracted to opposites - In this session, we explored the various forms in which we can depict duality in a visual image. Yin and Yang, Black and White, Big and Small, Masculine and Feminine…Whatever your subject of passion is, try exploring it through the lens of duality. And of course, plenty of useful Photoshop tips and tricks to enhance your vision.

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Knowing when it’s actually better to have a blurred image than a sharp one! Creating a feel, an impression or a mood and not a crisp, sharp straight photograph. We explored when it is best used, how to capture it in-camera and how to enhance it in post! Plus, plenty of Photoshop post-processing tips!

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When one image isn't enough to tell a story and you want to CREATE rather than capture. We say how to take multiple exposures in-camera, in post and even on your phone with Snapseed! Tips and tricks on how to improve your images with groups and other great Photoshop enhancements tips.

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Using exaggeration in composition and lighting to create Low Key images. From architecture to floral, this episode has it all! We discussed how to create low key images in back and white as well as colour. A great episode to learn how to create your images pop!

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It is best to shoot High Key images in-camera. However, if you decide to recreate a High Key from an existing image, even a dark one, it is very, very doable! We walked through various ways of creating in camera and in High key images in post. Secret ingredient: Gradient Map Adjustment Layer!

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How to bring out the emotion in your landscape images. using Composition, Contrast and Colour (or lack of). We explored the Zone System invented by Ansel Adams and saw the difference between a small and large tonal range. How strong contrast conveys more drama whereas the mid-tones have a calmer, serene effect. All that and many Photoshop post-processing tips!

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How to enhance your photographs into a one of a kind work of art by hand painting on them, adding textures or collating. What works and what doesn't, what mediums to print on and how to photograph your post-painted images to create reproductions that will make them pop. Get inspired to create your own multimedia artwork!

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How to see colours as B&W? Today we discussed how colours translate in a B&W pallet. When one option is better than the other and if you do decide to convert a colour image to B&W, how to do it best by utilizing your colours to extend your tonal range as much as possible. Learn how to customize your B&W Adjustment layer to give you the results you want.

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Delving deeper into Long Exposure frequently asked questions. Understanding the difference between a slow shutter capture to a LE image. How to use filters, filter magnets and awesome tips on reducing long exposure noise in your images. Additionally, I explained the principles of creating a composite to combine a long exposure with a still shot.

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Hope is an optimistic state of mind that this will be better. But he do we convey that in a visual image. Today we learned how to do just that! With Subject matter, contrast and colour, we say how to use the tools of photography post-processing to convey the emotion and essence of Hope.

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A balanced photograph often allows the viewer’s eye to be drawn throughout the image equally, without resting too heavily on one certain aspect of the image. Photographs that are improperly balanced are often less appealing to look at, especially if the ‘heavier’ part of the image lies too far left or right. In this session, we will saw how to create BALANCE in your image through the use of COLOUR.

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What Makes a great floral image? What makes a great abstract image? and how to combine the two?

Today we saw how to take slow shutter images with your smartphone and post-process them in Photoshop. We also addressed image submissions and saw how to accentuate the abstract and story of floral abstracts.

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As photographers, the first rule is to have the light source behind you so your subject will be uniformly illuminated. However, as we advance, we see that rules can be broken and sometimes. intentionally so. Backlighting is one of those situations. It is a case in which the light source is actually in from of you illuminating your subject from behind. This creates immense lighting challenges. Today we say how we can overcome some of these difficulties with the help of luminosity masks, composition, bracketing and a few Photoshop tips and tricks.

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How to create a more compelling composition by framing your image with trees, structures, windows, and yes, even shadows. In today's Talk-&-Learn session we discussed and saw various formats of framing, getting it right in-camera as well as some post-processing magic. We used masking, gradient lighting and the pen tool in Photoshop to accentuate and highlight the frame within our frame.

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Less is More is an understatement when we talk about what makes a great minimalist image. Today we learned how to create Minimalism with composition, contrast, black and white and texture. All through theory explaining the concepts as well as participants' examples, what to do and what not to do!

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Understanding the importance of what Ansel Adams coined as Previsualization and the Zone System. When to choose a wide tonal range and when to choose high contrast? How does a colour image convert to black and white? and, most important, COMPOSITION! how to frame or crop a landscape image. All this and as usual, post-processing tips.

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What does it mean to express a thought or a concept in a photographic image? How to be true to the story you are telling and use tools and techniques to convey your story. We Talked and Learned about all these and more. Using composites, masks, and blending mode we saw how to transform a snapshot into an expression of art. Finally, we revised some of the new Photoshop2021 new tools, Sky Replacement and the Content-Aware Tracing Tool (part of the Pen Tool).

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How to use MOTION in your photography to Tell a Story. From longer shutter speeds to long exposure photography, what works better to convey your visual story. And, if you didn't get it quite right in-camera, we showed how to add motion blur to your image in Photoshop during the post-processing phase. Lastly, we demonstrated the Replacing Sky feature in the new Photoshop 2021 - awesome feature!

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In a great series, each image can stand alone and tell its own story. Today we discussed how to tell a story through a single image (composition, colour, time, light, etc.) that comprises the series and continued to the series itself. What kind of series are there, does the orientation of the canvas need to be uniform? In addition to these topics, we also learned some Photoshop tips that aided in enhancing our images.

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A wide range of questions regarding daytime LONG EXPOSURE PHOTOGRAPHY. We talked about ND Filters, colour casting, filter magnets and of course - plenty of post processing examples on how to bring out the best of your long exposure images. From using the Pen Tool to the Gradient Adjustment layer, tips and tricks that are always handy in your post processing toolbox!

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Who are you? We all have many facets to our personality and sometimes who we are today is not who we will be tomorrow. Have you ever tried capturing that in an image? Today we talked and learned about the different ways and concepts to convey yourself in a self portrait. Want read more about the first Self Portrait, read up on the first self portrait painting in an article by the New York Times HERE

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What to include and what to exclude in an Abstract image? That is the most important question you should be asking yourself when learning the fundamentals of Abstracts. Keep the mind questioning, take your subject out of context to focus on the lines, texture, and shape of the image rather than the story.

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How to capture and create LOW KEY Images. We learned to darken the irrelevant details and bring to the fore the important ones using Luminosity Masks, Gradients, and just old fashioned Dodging and Burning. A great session for the intermediate to advanced post-processor!

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Understanding the subtleties of High Key images. Capturing in-camera and post-processing tips and advice.

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How to pre-visualize what the essence of your scene is and how to convey that in post-processing. In this session first saw examples of Sharon Tenenbaum's bridge photos, analyzed their vision, and saw through the images of some participants how to convey their vision in Photoshop, using masks, the Pen Tool, and Gradient Lighting.

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A great session that explained theory principles and hands-on technical Photoshop tips! As we Talked and Learned about what makes a compelling Seascape image? 1.) Horizon Line LOCATION 2.) Horizon Line Horizontal (or not) 3.) Less is MORE 4.) Technique 5.) Colour vs. B&W 6.) Tonal Range: Wide or Narrow. We even saw how to add colour to a black and white image, correct compositions with sophisticated 'cloning' and much more.

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Today we talked and learned about using Shadows in an intentional way to tell a story. Contrast, composition, or texture, they all add and contribute their share in what makes a great shadow image.

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What is an abstract image? Is it different from Fine Art Photography? And why do we find abstract images so intriguing? In this session, we discuss all this and more. We say examples of how to use the Pen Tool and Gradient in Photoshop to enhance our vision and accentuate the main theme of the image.

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Macro photography, is extreme close-up photography, usually of very small subjects and living organisms like insects, in which the size of the subject in the photograph is greater than life-size. Capturing the essence of the minuscule world in enlarged high definition. we saw some amazing submissions and learned how to enhance the images with Photoshop tips and tricks.

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Enhancing your skylines photos was never this easy! Step by step instructions in Photoshop along with artistic composition tips. Today we talked and learned about how to create balance through symmetry in Skylines. The importance of content in your foreground and proper cropper cropping. With plenty of Photoshop tips and techniques that easy to follow. We traveled through the skylines NYC, Auckland, Yangon, and Calgary!

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MULTIPLE, MULTIPLE, MULTIPLE EXPOSURES! The beauty and creativity of telling multiple stories in one picture frame. How to capture it in-camera or in post. In Photoshop or from the ease of your smartphone on SnapSeed. Learn how to enhance your images in Photoshop with basic principles that are easy to follow.

Learn more in this insightful article from Shutterstock about Multiple Exposures.

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Bridges around the world are a true engineering marvel. However, there is a big difference between what you see in your mind's eye to what the camera captures. Today in the Talk-&-Learn Session, we learned how to bring out the relevant details of a scene and accentuating leading lines, geometry, and composition to capture the beauty and majesticness of the bridges we photograph. From conception of vision to Photoshop tips, this session is a great way to learn how to photograph bridges.

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Today we talk about how to take an image out of its context and letting the mind imagine and wonder. How to use composition, colour, texture, form, and balance to create a compelling abstract photograph.

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Nature Photography! how to best photograph animals in their natural environment, and more importantly, when nature doesn't always cooperate, how to make adjustments on Photoshop to tone down the background and focus the attention on the subject.

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Today we talked and learned about 'What makes a great ACTION shot?' Capturing that split-second motion that encompasses concentration, skill, and finesse. We saw how to capture the right composition and enhance it with basic Photoshop tips.

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Today we talked about understanding the difference between colour and b&w. What do colours really look like in b&w? how to create a balanced image? and we say a few examples of enhancing b&w images to make them pop.

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The Decisive Moment: Finding the right balance where everything in the moment is: 'yes, yes, yes!' In today's session we looked at beautiful submissions by participants sharing their 'spontaneous moments' captured on pixels. We saw, what works, what doesn't, and how to improve it.

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Today we talked about Daytime Long Exposure Photography. We discussed different ND filter systems and brands, explained the basic principles, and continued on to some constructive image critique. Thank you everyone for participating!

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Today we focused on blurred images 😉 - excuse the pun! The beautiful technique of ICM: Intentional Camera Movement. We saw what gear you need, composition rules, movement technique, and of course, Photoshop tips!

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Today it's all about TREES. How to photograph this subject matter in the most compelling way. We addressed composition, long exposure, image stacking, ICM and much more. Through constructive critique and Photoshop tips we saw how to enhance images to better convey the artists' intention.

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Today we addressed the topic telling a visual story through the topic of ISOLATION. Looking at different images submitted and discussing composition and ways to enhance this concept with the aid of Photoshop.

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Today we discussed images with the common theme of Architectural Photography. How to straighten camera distortion, enhance the sense of depth and volume through gradient lighting overall storytelling to transform your images in FINE ART Architectural Photography.

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In today’s Photo Talk-&-Learn Session, I addressed the importance of composition. I exemplified the ways in which from one image, you can create many stories.

Your canvas is the portal in which others will see the story you want to tell, what you decide to include or omit will convey the essence of your visual story.

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In this Zoom Photo Talk-&-Learn Session, I addressed a body of work by Barry Wolf ‘Just Like Me’ in which Barry exemplifies the importance of conveying though your image the essence of your vision. In the latter part of the session, show through participants’ work how to achieve this with Photoshop.

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Questions Address:

1. We analyzed Marks's staircase image. We figured out how to remove the color cast as well tackle the composition. a few suggestions were made and I think that in the end we all did a pretty good job at improving the image!

2. On Carol's image: we saw how to improve the shadow of the lizard plus, how to blend the lizard better with some perimeter blur.

3. Cindy's image: improving overall brightness and color.

4. On Judy's composite image of people crossing the road, we reintroduced a little color and redid the perspective of the people in the shot with some gentle warping.

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Questions Addresses:

1. We saw in Carol's image how to deal with the edges of an image that don't come out quite blurred.

2. In Cindy's images, we took the composition in a completely different direction....we are kept biting our nails to see how Cindy continues the post-processing and completes the vision of the image.

3. We saw how to tie in separate Paths.

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Questions Addressed:

1. We worked on Judy's image:

• How to selectively straighten buildings independent of adjacent buildings. Plus a few composition tips.

2. Cindy's Image:

• Tying in various paths that have common sections into one.

• Composition tips

• Exaggerating the curve with the Warp

• What to do with the sky....

  3. Lucia's image:

• Redesigning the composition, squishing one side and stretching the other for a non-symmetric composition.

• Adding a gradient in the widow for a balanced composition.

• Adding color to light beams.

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Questions Addressed:

1. Setting your Hue and Saturation Adjustment Layer.

2. Worked on Josh's image, enhancing the iceberg. Luminosity Blending Mode, removing black stains etc.

3. We figured out how to change the color of a light beam (add a Solid Color Adjustment Layer, clip it to the Light Beam layer but DO NOT change the blending mode to Color.

4. A recap on how to make skyline reflections.

5. a few odds and ends with Generative Fill.

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Questions Addressed:

1. Reviewing Richard's Before and After IR Images.

2. Reviewing Cindy's waterfall images with suggestions for post-processing. We also saw how to export a Luminosity Mask to a Pixel Layer.

3. We revisited Kathleen's IR image and saw what to do with the Selective Color Adjustment layer in Photoshop to bring out the Yellow/Blue colors.

4. How to RESET your mask. Black or White.

5. How it Inverse a Path!

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Topics Addressed in this Session:

1. Image critique of Richard's IR images, one for composition and the other for colors. We added a Color Lookup Table to keep the vibrant hues of the IR 590 nm filter.

2. Horizontally straightening Cheryl's image, added a few tweaks to the color of the ground. And, we tried but not much success to darken the tone of the left pink wall.

3. In Susan's image, we moved the guy on the scooter to the fore and blended him in with the Auto-Blend feature - it did a great job!

4. Lastly, in Mallory's image, we saw how, when photographing an actual painting, it needs to be straightened and we saw how to change the color of the background (of the wall it's on).

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Topics Addressed:

1. IR Image. In my latest update, my LR Custom IR Color Profile got deleted. I tried creating a new one, but as you will see, I made the mistake of not saving the exported file into the default directory, instead, I placed it in a different folder which resulted in LR not finding it. - This will be continued next week in Sharon's pre-recorded session - stay tuned....

2. We saw in Susan's image of the Chrysler Building what to do to give it more presence. Delete the building behind it, select the Chrysler Building, place it on its own layer, and stretch it a bit (enlarge it).

3. How Focal Blur works (in the Neural Filters) and using them with the TK Luminosity Mask Panel for further masking.

4. Sharon shared some drone footage..

5. lastly, I gave Richard some feedback on his seagull image.

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Questions Address:

1. We had a look at Ruby's image and saw how we could improve it. Working with lights, shadows and B&W.

2. Working with the Gradient Tool. It tends to be finicky when started outside the frame, we saw the workaround.

3. Sharon tried to quiz you with a few questions to keep you on your toes!

4. We had a look at Josh's skyline image. We created a reflection and added a blur.

5. Sharon post-processed one of her night-time(ish) images. Combining bokeh lighting with a regular still shot. We also saw how to create (even though it's not quite the same) bokeh lighting with the Maximum filter. Please see 05 Before to After on Bokeh Lighting for all the tips and tricks!

6. lastly, thank you Mark for sending us the page on Rob Shea's website in which you can create an IR profile as the DNG Profile doesn't seem to work with the latest computer updates. Here is the link: https://www.robsheaphotography.com/infrared-profile-pack/

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Questions Addressed:

1. To Upgrade or not to Upgrade....this video might help shed some light on the advantages of the new Nik Collection upgrades (thank you Mark Stevens): https://www.youtube.com/watch?v=rIIXo_Aoa7c

2. How to upload your questions and images for Shop Talk.

3. Resizing - Pay attention to the proportion lock, is it On or Off?

4. Using a laptop vs. Desktop as a main computer.

5. The Maryland Photographic Alliance is having a webinar on the Nik collection with a focus on Viveza and silver effects on Sept. 16th at 7PM eastern time - anyone is welcome to register.

6. A heated discussion on what camera bag to buy....does the perfect bag exist???

7. What to have in your camera bag? to take an extra body or not?

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Questions Addressed:

1. Reducing halos or other artifacts from the outline of a subject.

2. Image reviews of John's IR images.

3. Sharon shared three of her new/old images of the Alberni by Kengo Kuma building - sharing her vision of how to proceed with them.

Following up on last week's Blending Modes, here are two helpful videos on Group Blending Modes

1. Apply a Blend Mode to a Layer Group with Julieanne Kost

https://youtu.be/tbON_ZH66Tc?si=tiJ-yTZCeAtoEfuW

2. Why Layer Effects and Clipped Layers work differently when Applying Blending Modes by Digital Mastery

https://youtu.be/dEm_rMpVllY?si=cIXNXy5JOKKHX3IK

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Understanding Blending Modes - An overview of what are Blending Modes, different types, and their grouping.

We also saw the difference between the Normal and Pass Through Blend Mode of a Group. Next week we will address blending modes of brushes and inside a group.

Additional Questions Addressed:

1. How to develop your own voice as a photographer.

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Questions Addressed:

1. Understanding the Gradient Tool, the Classic and New Interactive Gradient.

2. Ways to create a High Key Image

3. Updating your Color LookUp Tables. Please look in Shop Talk 78 for what to do if you don't see all the filters you need under the Abstract Tab of the Color LookUp Table.

4. Josh is going to Alaska so we all chimed in on best practices for photographing snow.

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My apologies but Patreon's email service wasn't working. I emailed the session link three times but it wasn't received. I ended up emailing it individually to people who emailed me and requested it.

Questions Addressed:

1. Extending a canvas to add Sky using the Crop Tool.

2. Various ways to create a Stroke.

3. The Color Lookup Abstract Folder. If you don't see more filters this is what you need to do:

On a Mac:

Copy Files from:

Macintosh HD/Library/Application Support/Adobe/ "Color Profiles"

To:

Macintosh HD/Library/ColorSync/Profiles

On Windows:

Copy all the ICC files from C:\Program Files (x86)\Common Files\Adobe\Color Profiles , then paste them into:

C:\Windows\System32\spool\drivers\color.

Reboot PS.

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Questions Addressed:

1. Best way(s) to eliminate dust spots in post and Sharon's encouragement to clean your own sensor - a full tutorial on how to do that will be coming up soon.

2. opening files in LR, editing in LR and saving in Photoshop...how to sync your libraries.

3. Resizing files in PS, making an Action to resize

4. Resetting a tool.

5. Straightening architectural lines with the Adaptive Wide Angle Filter.

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Questions Addressed:

1. The banding effect with the Gradient Adjust Layer, not quite resolved but we found a work-around by using a Curve Adjustment Layer and the Gradient Tool.

2. Lunar Eclipse HDR with the help of the TK9 Multi-Mask Panel. It took an attempt or two but we finally did it :)

3. Content Aware Fill with Cloning when extending your canvas.

4. Finally, a few tips on Lightroom file management.

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Today we discussed what makes a balanced image and what that even means. Do we always want our image to be balanced and if not then why not?

Also, we addressed a few questions:

1. The problem of getting banding when creating a black and white sky from the Gradient Adjustment Layer. We never solved the problem and Sharon will look into it for next week.

2. Creating a composite of multiple solar eclipse images. We also tried to come up with an original composition. To be continued for next week where Sharon will create an HDR manually for multiple exposures.

3. When using the script for Image Stacking -> load the images as a stack into Photoshop – Do NOT select the layers, just leave it as is with the top layer highlighted -> now run the script.

4. Why halos happen and how to get rid of them in Photoshop.

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Questions Addressed:

1. Fixing blemishes such as dust spots on the sensor with the clone tool, spot brush, or healing brush. Why it is best to place all your corrections on a separate empty layer.

2. Fancy footwork with Vector Masks. How to inverse, intersect and vector masks. We did our best but still need to research this topic.

3. Fine adjustments of masks with blending modes of the brush. Similar to dodging and burning, using different brush blend modes to refine a non-binary mask to a binary one.

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Questions Addressed:

1. Dodge and Burn Tool - to use or not to use?

2. Setting up your Photoshop Workspace.

3. Selective Coloring on the Nik Silver Efex Pro - Using Control Points.

4. Can you save Paths in a Tiff file?

5. Creating Custom Gradients, from a Swatch of anywhere else.

6. How to search for videos on Sharon's Website, under Patreon Tab - Archive List.

7. Scanning Apps for your phone.

8. Touching up Stephen's Image

9. Shooting tall buildings...the struggles

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Questions Addressed:

1. How to blur a background and blend in the subject.

2. Why the direction of a Path Blur (the arrow) IS important.

3. Working with Gradients and vector Masks.

4. Customizing your own Gradients with colours of your choosing.

5. Creating an Action, loading an Action into your Action Menu Panel.

6. We discussed having a session on Infrared Photography....more to come on that topic...

7. Make your own digital Signature.

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Questions Addressed:

1. How do the eye droppers work in colorize in the Hue adjustment layer?

2. Using the crop tool in PS to crop to a specific size, say 11 X 14, or 1 X 1 and then adjusting the overall composition within that size limit.

3. Working with composites. Isolating a subject from its background to be placed within another image.

4. How Sharon uses the Curves Adjustment Layer, only one point at a time.

5. Working with two colour spaces (LAB) but using a Smart Object.

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Questions Addressed: 

1. Adding colour (in groups) to an abstract image with Vector Masks. 

2. We explored various Blur Filters. 

3. Colour correction to match a sky to water.

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Today we discussed an eclectic collection of Topics:

1. When to use a regular mask and a vector mask.

2. The difference between the Gradient Adjustment Layer and the Gradient Tool.

3. Isolation of an object with various Blur Filters.

4. Drones!

and a few other tidbits.

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Questions Addressed:

1. Finding the Fly-Outs on the TK9 Panel.
2. Creating a Light Beam from scratch in Photoshop (or making your own light beam brush).
3. Settings on the H&S Adjustment Layer.
4. Flipping a single layer vs. flipping all the image (all layers).
5. Creating highlights on a long exposure sky.
6. Aligning layers for hand-held bracketed shots.

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Topics Addressed:

1. Settings of the Pen Tool, how to Invert a Path.

2. Creating Light beams with special brushes. Manipulating the beams - rotation or size and finally adjusting the colour of the beams.

3. We tackled various ways to turn a bright green leaf with water drops into a low-key key image. We tried various ways to blend the edges of the leaf into a black background. After numerous tries of various methods, we finally found a solution!

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Topics Discussed: 

1. Setting up your Photoshop Workspace 

2. Understanding the Brush Tool (especially Opacity and Flow) 

3. Colour Swatches and The Solid Colour Adjust Layer

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Questions Addressed: 

1. How to add depth and gradation to a bridge. 

2. Using Gradients and Vector Masks. 

3. Selecting the cables of a bridge with the Pen Tool. 

4. Selecting the cables of a bridge with the TK9 panel (Luminosity Masks). 

5. How to Inverse a Path. 

Plus a few more...dive in to find them!

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Today we talked a lot about Vector Masks, so if you are looking for a refresher, this is the episode for you! 

PLUS, we also talked about: 

1. Setting up your fixed Ratio Transformation 

2. Understanding all the features within the Properties Panel. 

3. The multiple ways to Feather a Selection. 

4. How some Adjustment Layers interact with Vector Masks compared to others and a work-around.

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in today's session, we addressed quite a few questions:

1. We saw how to use a Vector Mask and When.

2. How to Merge Blend two images.

3. Where to get your texture images for floral composites.

4. How and where to add or remove the grid overlay in Photoshop.

5. We saw a few different ways to straighten your buildings, Camera raw and Adaptive Wide Angle.

6. On this topic, we also saw how to rotate your image sideways rather than up or down.

7. Lastly, we saw how to create a mask through your channels.

Phew! quite a lot for one session but hey! it's all in the recording :)

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Today we learned:

1. How to create a custom brush.
2. Change the properties of the brush to our liking and/or needs.
3. Create our own light ray beams.
4. We discussed when to use Gradients.
5. and lastly, we saw how to use the Blend-if feature and when it would be best used.

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Questions Addressed:

1. We talked about the problems with the current PS version 25.0 and showed how to install an older version of PS.
2. Sharon demonstrated how to import skies of your own into the Sky Replacement feature and place them in your own custom folder.
3. Post-processing Josh's image by adding tone and depth as well as Sky Replacement.
4. How to add light beams with a brush. We will continue to explore this feature in the next session.

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Questions Addressed:

1. The difference between the new 2023 Gradient Tool to the Classic Gradient. Also, the difference between the Foreground to Background Gradient setting to the Foreground to Transparent.

2. Why and how to use a Stamp Layer.

3. Image critique of Marlene's Graveyard image.

4. How to change Cyan to Blue.

5. A few more tidbits!

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As in the title, we discussed the basic principles of Aperture, Shutter Speed, and ISO in determining the amount of light entering the camera plus the properties of each one in determining the look of your image.

We also discussed how to use a polarizer and when.

Additionally, we addressed a few questions:

1. Adding a solid Colour Adjustment Layer, specifically in making your sky black.

2. Apps for Photographers - The Photographers Ephemeris and a Tide Table App - Tides.

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Questions Addressed: 

1. Improving Kahsia's image of 'Looking Up'. Working with Masks to eliminate buildings and bring in a new sky. We also saw how to work with Groups to replace a sky. 

2. Enhancing Cindy's Blurred Seascape. We improved the composition and added some colour with a few more additional touches. 

3. How to use Instagram to get exposed to new and different Photoshop techniques. How to save a Collection on Instagram plus a few influencers to follow.

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Questions Addressed: 

1. How to add more than one option to Open/Edit In from Lightroom to Photoshop. 

2. Exploring a little more options or lack of options of Photoshop Generative Fill. 

3. Adding/subtracting area within your frame to enhance cropping composition. 

4. Fine tuning of straightening an image.

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Questions Addressed:

1. Understanding the Histogram

2. How to use the Level and Curves Adjustment Layers.

3. Tweaking Carol Hoffecker's image by mirroring an image.

4. Increasing Tonal Range in an image.

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Questions Addressed:

1. How to use the TK8 Panel for creating a pencil sketch, colour and B&W.

2. How to use Control Points within the Nik Software.

3. Docking a Menu Panel in your workshop.

4. Using the Hue and Saturation to sample a colour.

5. Using the Neural Filters to create a Depth of Field Blur.

6. Straightening a building and filling in the lost edges with the PS Beta Generative Fill.

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Questions Addressed:

1. Moving and panning within the Photoshop Workspace.

2. Darkening colours with eth Luminosity Mask TK8 Panel - Color Grading.

3. Enhancing Stephen Dunn's image 'Morror, Morror on the Wall'.

4. A failed attempt at selecting in-between driftwood...

5. Changing the Blending Mode of a Curves Adjust Layer to prevent colour distortion.

6. Starting the conversation on the Mac's Color Monitor Calibration.

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Questions Addressed:

1. How to change the default setting of a file opening in PS Beta rather than regular PS (on a Mac).

2. Working with Path, Vector Masks, Blending Modes, and Groups.

3. Using the Gradient Adjustment Layer to create transitions of colour.

4. Resizing images in PS

5. Changing the colour of a background in an image.

6. Warping

and a few more tips and tricks!

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Today we continued to work on Susan Langer's Denver Art Museum Image.

We saw a few things:

1. The use of the Pen Tool with Gradients and Vector Masks.

2. Working with a Vector Mask as a mask to a folder/group.

3. How to create multiple versions of one image in a single PSD file using ONE Pixel layer and multiple folders in which each folder contains a different version of post-processing the image.

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Today we started post-processing Susan Langer's image of the Denver Art Museum.

We saw techniques for 'cleanup", how to use Gradients in conjunction with Vector Masks, and lastly, we saw how to create two different versions of your image, one in colour and one in B&W.

Next SHOP TALK we will continue to see two different post-processing visions.

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Questions Addressed:

1. Fine detailing of sky replacement masks. We combined. We added a temporary saturation adjustment layer to make the masking easier and then combined two masks together with the aid of the TK8 Luminosity Masks Panel and Channels.

2. Enhancing gradients. Create contrast with brights and shadows and follow the rule that the eye always goes to the bright part of the image first.

3. Using the Blending Modes of the Brush Tool to enhance a mask.

4. Creating a Path from the Polygonal Lasso Tool.

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Questions Addressed:

1. Saving a Color Space

2. Resizing for printing

3. Blending multiple layers with the aid of masks

4. What happens to your adjustment layers when you expand your canvas

Plus quite a bit of Shop Talk!

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Questions:

1. various ways to correct lens distortion.

2. Expanding canvas with Content-Aware Scale.

3. How to protect a Subject/Selection when scaling/stretching.

4. Working with the Image Stacking Script and adding an additional layer to the stack.

5. The difference between, Save As, Save as a Copy, and opening a Raw file as a Smart Object or a regular file.

And as usual, a few more tidbits :)

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Questions Addressed:

1. Richard Gold shared with us how he created his Two Colour blurred image (as in screenshot).

2. We saw how to add fog to an image.

3. Enhancing tones and sharpness and artificially creating a shallow depth of field.

4. The difference between various blur filters.

5. How to remove halos.

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- Looking at behind the scenes of creating Mind Games - Fern

- Expanding a canvas.

- Creating a Mirrored Image.

- Understanding the Gradient Map.

- Intersecting intricate selections.

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Continuing our Mind Game Series to see the Before to After of Twirl.

We saw Masking, Warping, Luminosity Masks, and some final finessing!

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Today we took a step deeper into the Mind Games Series and continued to see the complexities of the post-processing that when into creating the image 'Curve'.

Also, we had time to see how Sharon created another image in her Oculus Abstract series.

Finally, we clarified the concept and importance of how and why to create a Merged/Stamp Layer.

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Today we continued our Mind Games series and saw how we added colour to an already existing Black and White image.

- We saw how to create folders with Vector Masks for multiple adjustments.

- We saw the difference between the Solid Color Adjustment layer to the Hue and Saturation Relative vs. Absolute colour adjustments.

Also...as part of Shop Talk, we saw how the benefits of opening a Raw file into Photoshop as a Smart Object. And finally, we say how to darken a foreground using the Curve Adjustment layer and the Gradient Tool.

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Today we saw how Sharon created the first of her Mind Games series in B&W.

- The importance of having a vision so you know what to work towards in Photoshop.

- Working with portions of a structure. - Working with groups.

- Making selective gradient adjustments to a structural element.

- Lastly, we saw how to combine the Image Stacking technique to create a multiple-exposure look for an architectural abstract image! If you wish to follow along and practice the material explained here, please download the jpg file from this link. Sharon will address questions in the next Shop Talk session: LINK AVAILABLE ON PATREON

- Sharon's workflow with Fine Management.

- Working with Lightroom and Photoshop while maintaining your layers in a psd file.

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In this Session, we dictated half the time to understand further the Luminosity Masks TK8 Panel. We saw how to see the result of our LM in real time on an Adjustment Layer as opposed to what we have done so far of first creating a LM and then exporting it to an Adjustment Layer.

Also, we had time to address your questions:

1. Warping and working with duplicated layers.

2. Image Stacking Composition feedback.

3. "Skin Grafting" - taking textures and details from your existing pixel layer and applying it to a different area within the image.

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Questions Addressed: 1. How to enlarge a building within reason. 2. Adding a Motion Blur to a moving car to give it a sense of motion. 3. Creating reflections on a subject that doesn't have a horizontal horizon. 4. Cloning and rotating. 5. Using the Neural to match a colour tone from one image to another. Plus...a few other tid bits :)

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Continuing to understand how the TK8 Panel and Luminosity Masks work.

We saw:

1. How to use the Color Gradient

2. How to use the Luminosity Masks for HDR (bracketed) images, and

3. How to Mask to Mask. Intersecting selections via the TK8 panel. Selecting a very specific area within the entire Luminosity Mask without having to use the black brush to eliminate unnecessary details.

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TK8 Panel Made Simple!

The best tutorial session to start out with when tackling the Luminosity Mask Panels.

In this session:

1. Defining and understanding what a Luminosity Mask is.

2. Clarifying and defining the areas of use within the TK8 Multi-Mask Panel.

3. A simple 3 Step Algorithm to create a Luminosity Mask Panel, and

4. Showed examples throughout the session on how to implement the use of the Panel.

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Questions Answered:

1. How to Inverse a Vector Mask

2. Can you Crop one layer without affecting the entire file?

3. Selectively removing Colour residue from an image.

4. Why and when to create a Stamp (MERGED) Layer?

5. Creating a Path from a Selection.

6. How to control the amount of Anchor Points created in the Path from Selection.

Plus more tips and tricks :)

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MULTIMEDIA PART II

- Q&A from PART I Video.

- Printing on various mediums.

- Using and applying gold leaf.

- Using metallic paint.

- Creating reproductions of your artwork.

- Embellishing your reproductions.

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Questions:

1. We reviewed Ally's image for Mainly Monotone

2 We asked what is a stamp layer and how to create one.

3. We failed to create a quick and easy way to create a pencil sketch (outline) out of a photograph. For the life of me, I could not remember how I did it in the past but I did find this very easy (and quick) to follow video tutorial by Anthony Morganti:

https://www.youtube.com/watch?v=PcfddcE2xvs

4. Lastly, we saw how to change the colour of your black and white image. We selectively added colour to architectural images using the Gradient Map.

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Today we split the SHOP TEALK session into two halves. We started with your questions:

1. How to extend a canvas and flip an image?

2. How to best select a sky?

3. How to darken a sky, and

4. How would I challenge Richard's image with strips and make it better?

We then proceeded to see how Sharon post-processed some of her architectural images. The vision that guided her into going into PS and then the execution.

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Everything you want and need to know on creating your own greetings cards from your photography.

- How to set up the card stock in Photoshop.

- How to set up your image for printing.

- Where to print and where to buy card stock.

- Pairing the right image to the right caption.

-How and where to sell your cards.

And much much more!

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Today we divided the session into one half Architectural Series in which we continued to post-process the image from the Palace of the Arts in valencia. However, we broke off and saw the vision and direction I will take in post-processing other images:

1. The Zurich Law Library

2. The Train Station in Liege-Guillemins (Belgium)

We then continued to answer your post-processing questions as part of the original SHOP TALK:

1. How to smoothen out rough concrete textures

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Today we continued seeing the best options and methods for replacing a sky and fixing tie-ins. With a Stamp layer and cloning or with a different sky and vector mask.

As also saw how to create a stacked image from multiple individual shots and then tweaking to enhance. We used the Milwaukee Art Museum as an example.

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In today's Architectural Series we continued to work on the image from the City of Arts and Science in Valencia and saw the importance of

1. Preparing your image. Be it fixing the water, the sky and 'cleaning it from clutter'. Sharon demonstrated her 'Skin Grafting' technique of using texture from one area of the image and applying it to the other.

2. When working with Gradients, why it is immensely valuable to work in conjunction with Vector Masks and Regular Masks. We demonstrated with and without.

3. We started brainstorming if to keep the image in colour or convert it to black and white. What are the pros and cons?

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The first in the coming session of the Architectural Series. Sharon will walk through her initial raw image selection, and thought process of which image makes the ct and then we delve into the details of the Photoshop post-processing.

In this session, Sharon selected an image from The City of Arts and Science Valencia, Spain. She explained her vision when in the field taking the shot and what guided her in selecting the winning image. Then she proceeded with the post-processing selections with the Pen Tool and adjusted the composition to aid and accentuate her vision. Let's see what she will come up with in the next session!

ps. we also saw how to reset your Gradient Tool in case it's acting up.

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Questions:

1. How to set up the Colour Space in photoshop and in Lightroom

2. Sharon's advice on how to develop 'Vision' for your images.

3. Warping and distorting a staircase to create fine art.

4. Cleaning up unwanted areas with Content-Aware Fill.

5. Creating Artistic Multiple Exposures through Smart Objects.

6. A few Masking Tops and more tidbits.

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Questions Answered:

1. Various forms of Saving files in Photoshop.

2. Working back and forth between Lightroom and Photoshop.

3. Post-processing low-key colour images.

4. Long Exposure post processing.

and some fun chit chat :)

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Questions:

From Venice Italy! we talked about:

1. How to fix exposure differences in a Long Exposure image.

2. Filters, adapters, and more for Long Exposure.

3. What is the best travel tripod and backpack...

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QUESTIONS:

Creating a low key image
Working with Vector Masks and regular Layer Masks
Using the Quick Mask
Diane explained her process of how she creates her paper images on a flatbed scanner.

And most importantly, we had some very interesting chit chat ;-)

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Questions:

1. Clarifying when and how to use the Gradient Adjust Layer and the Gradient Tool.

2. "Cloning" using an existing layer by shifting it over and Masking.

2. Changing colours.

3. Adding a Gradient Adjustment Layer to smooth out water on a long exposure.

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QUESTIONS:

1. How to add a glow to windows

2. Creating a line/shape or stroking a Path to create a line.

3. How to reset your tool when it's not performing as you think it should

4. A little summary on using a regular mask with a vector mask.

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Questions Answered:

-Resizing Images.

-Increase/decrease the intensity of a Gradient Mask.

-Selective lighting to enhance shadows using the Camera Raw Filter and Viveza.

-adding smoke to an image to an image and adjusting the colouring.

-Understanding 'clipped' pixels (blown out or underexposed)

-Shortcuts to changing the hardness and size of your Bush Tool.

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Today we talked about:

1. Focus Stacking and image alignment

2. Straightening vertical lines due to wide-angle lens distortion.

3. How to rotate, mirror and more with the clone tool.

4. Cleaning up images with Sharon's 'Skin Grafting' technique ;)

And a few other tips!

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*Changing the composition of an image by eliminating the redundant middle part.

*Ins and Outs of Cloning.

*Black and White Conversions in Photoshop.

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In today's session, we got all caught up with comparing our different techniques of photographing floral composites.

-Adding colour to skies and foliage.

-Aligning objects perfectly in PS.

-And much more.

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Adding a shadow, creating composites, adjusting tonality, replacing skies and file management (sort of).

Also check YouTube for Jesus Rameriz Photoshop Training Channel for creating shadows: https://www.youtube.com/watch?v=IxQfl7yiRiE

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1. Creating a Color Swatch

2. Understanding the Solid Fill Adjustment layer and the,

3. Hue and Saturation Adjustment Layer (Colorize ON or OFF).

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Today we learned about:

Luminosity Masks (LM), adding canvas and colour adjustments.

Also regarding LM, Sharon will send out an action, instructions on how to install it are in this video.

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- Refining artificially added snow.

- Vector Masks and composites.

- Composites with Blurred and Sharp Images.

- Replacing Skies with Blend If.

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- Selective Colourization using the Color Adjustment Layer vs. the Hue and Saturation Adjustment Layer.

- Masking, cloning and the RAW file.

All this and more :)

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Today we talked about Smart Objects, the Pen Tool and Paths as well as some other tidbits of valuable information.

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-Changing a background colour.

-Using the Magic Wand to make a selection.

-Editing an image for Low Key results.

- Adding a Gradient Adjustment Layer and modifying the colours.

-Image critique for black and white conversion.

-Using Silver Efex Pro2

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- ND Filter Comparison between the magnetic Kase Filters to the B+W NF Filters.

- A deeper look into the SEP2 Control Points for selective editing and colourization.

- A few more odds and ends :)

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Today we had a look at:

1. Creating images with uniform colours

2. Sky Replacement Filter

3. Different types of selections and how they work.

4. Making Masks with Channels

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QUESTIONS ANSWERED:

1. Working with composites - architectural staircase.

2. Working with pixel layers and masks to create composites.

3. Tips on Image Stacking images.

4. Saving and resizing in Photoshop.

5. Using the Pen Tool.

Straightening Architectural images for lens distortion.

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QUESTIONS ANSWERED:

1. How to use Content-Aware Fill.

2. Sperening with Nik's Define filter.

3. Black and White conversions.

4. Creating your own Brush.

5. Creating a composite image.

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QUESTIONS ANSWERED:

1. What are Vector Masks and how do they work?

2. Mirroring an image.

3. Creating consistent colour presets (Lookup Tables)

4. Staking Images

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QUESTIONS ANSWERED:

1. Review of drawing lines - both straight and freeform lines. Also, the best way to put a line frame around an image.

2. I want to make Vic (the man with a megaphone wearing a yellow hat) stand out more as the subject without degrading the people and location in the image. Would dodge & burn technique, or making Vic sharper and brighter work? After processing, it's ok to still look like a grab-shot, but not to look "processed".

3. What is the best way to change the colour in selective areas of an image where it appears in several locations?

4. Can you please demonstrate how to us how to use the content-aware fill?

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QUESTIONS ANSWERED:

1. Removing artifacts that appear on an outline of an image in the RAW file of your image.

2. Adding textures or other images to wrap around buildings.

3. When you are filling in an area of you image with colour how do you ensure it stays looking like a photo versus an illustration?

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QUESTIONS ANSWERED:

1. Understanding Smart Objects

2. Application of the Reflected Gradient Tool

3. Useful tips for expanding your Canvas.

4. How to use the Content-Aware Fill

5. Feathering your Mask

Plus a few more tips and tricks!

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QUESTIONS ADDRESSED:

Given a choice of A) adjusting one image to bring out a darker section using various masks and adjustment or B) combining two different images of the same location exposed to have each of the two sections in (close to) ideal settings,

Which is the best or easiest method to proceed?

What criteria might be used to determine which of each option might be better?

How to change a background colour of an image? Do you start with a coloured background and then superimpose the image? Or should you start with the image and isolate the background? e.g I have an image of a flower and want to change the background colour.

When I crop with ‘delete cropped pixels’ OFF (unchecked). I see the cropped image and the pixels are hidden, so I can re-crop at any point, however, the background layer image is also cropped, even though the background layer is locked.

How can I see the original background layer and see the cropped layer in the layer stack?

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Some of the questions addressed in this session:

1. How do you put images into folders and

2. How do you go back to the original image and edit it differently and then put that into a folder?

4. Maybe a totally different question but how do you display all 3 images on the monitor? I assume that we will be doing this in our class for the BNW assignment.

I'm interested in getting a better understanding of when to use the gradient masks, I understand they are masks but when looking at an image.. when do I decided to engage the different masks to create a result... or is it always try one out... if it doesn't work try the next one ...etc. Do you in time just gain a clear understanding of when it's important to use a specific mask..

How to import a second image into PS to be used as a background layer to replace the original background in a photo? For example, placing a cherry tree, in full blossom, in a barren desert with a bright crystal clear blue sky. Thanks. (I have neither in my library or I would have included one or both in a submission).

What is the best way to custom resize images to retain the original dimensions? I increased the canvas size to expand part of the image but now I want to go to the original size and eliminate extraneous information. Hope this makes sense.

Do you have suggestions about how to approach taking images of vehicles that are normally moving that you would then combine in a stacked image using PS. I'm thinking of classic cars, trolleys or large boats. My question isn't so much about processing the images in PS, but more about gathering the raw material. I'm thinking it would be best to focus on these types of subjects when they are stationary, but have you ever done it with vehicles that are moving?

What are the steps to creating a smart object?

Lens Correction options for Architectural Photography

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Questions addressed in this session plus much much more:

* if I want to add an element say a cloud or an umbrella into an image, is it best to add the entire picture of the cloud which may contain other clouds, or should I crop the cloud I specifically want to use smaller and bring in the cropped cloud into the image. What are the advantages or disadvantages in cropping and/or is there a better way to add specific subjects to an image? Surely demonstrating this might be more impactful.

* What is the relationship between Camera Raw and Photoshop? I have done all my initial editing in Lightroom Classic only using Photoshop for more detailed editing as I become more familiar and competent with the PS platform.

*If you are working on a series of images, what is the best way within Photoshop to ensure they are all the same size? I have three images right now and have taken the pixel measurements from one, and using the Image Size tool, typed in those measurements for the other two. So far it has worked out but I don't really understand what is happening.

In Lightroom, I know you can set the aspect ratio or size and then move your image around within that frame to get the best composition, but I don't know how to do that in Photoshop.

*Automated Selection Methods - ie channel masking and luminosity masking that require a small amount of Pen Tool work.

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This session will tie in quite a few techniques and tools we have learned about over the past months:

• Working with Layer Comps.

• Composites

• Slow Shutter for light trails.

• Bokeh Lighting

• Warping for artistic pizazz!

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This session is for EVERYONE!

We will be discussing Vision, aesthetic balance, tones and geometry. And, how can we not go into Photoshop and see how to turn a Good image into a Great one!