Luminous Landscape Forum
Site & Board Matters => About This Site => Topic started by: Kevin Raber on January 12, 2018, 11:43:50 am
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I just published the next 3 videos in the Shooting With The Masters Series featuring Charles Cramer. This Segment deals with Workflow and Printing (https://luminous-landscape.com/shooting-masters-charles-cramer-part-4/)
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A+ again Kevin. I am on the waiting list for Charlie's workshop, the more I see in this series, the more I hope that comes to pass.
Tom
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+1. Charlie is an engaging, clear and respectful teacher.
Also, top marks to the production team. Not an easy setup - two on-camera talent and a computer screen.
Two tiny observations, if I may:
I'd like to see less of the wide shot and more of the screen closeups. However you're recording those, they're crystal clear.
When Charlie does a "before and after", repeat that operation a few times so that we can see the results on different parts of the image.
Again, kudos to all. Enjoyable and instructive.
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+1. Charlie is an engaging, clear and respectful teacher.
Also, top marks to the production team. Not an easy setup - two on-camera talent and a computer screen.
Two tiny observations, if I may:
I'd like to see less of the wide shot and more of the screen closeups. However you're recording those, they're crystal clear.
When Charlie does a "before and after", repeat that operation a few times so that we can see the results on different parts of the image.
Again, kudos to all. Enjoyable and instructive.
+1 This series with Charles is excellent.
One question for Kevin. In the prints made so far I see no soft proof in the work flow. Will this be explored as we progress?
Rand
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It is interesting to note that Charles Cramer does all local corrections (masking) strictly in PS. Lr/ACR has now powerful tools for that, especially with the new luma/color range tools. I guess he prefers PS masks because he can use curves, not yet available in Lr/ACR local tools.
I agree that FocusMagic is great, not mandatory for all images, but priceless for some. I have been using it for years.
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Adias,
Regarding local adjustments: In the video just published of the tree detail, you'll notice that I do a local adjustment in Lightroom! So I don't necessarily do all the local adjustments in Photoshop. If it involves lighting shadows, or getting more highlight detail, then I would often use those incredible controls (the Shadows and Highlights sliders) in LR. Otherwise, Photoshop just gives much more control over selections.
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Rand,
Since I almost always print on "photo" type papers (papers that use the Photo Black inks), and since the majority of my images are not that saturated in color, I rarely soft-proof. Mainly because if I turned the preview button on and off, I would see no change. The newer printers, using photo papers can give excellent color gamut.
But, if there's a very bright saturated color, that may cause problems, usually resulting in that color getting a little darker. So, with very bright saturated colors, I will do a soft proof, and if I don't like what I see, try to make some corrections.
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What is so good about Luminous Landscape is that observations can be made / questions asked about articles & videos and the " author " of the item takes the time to come back and give an explanation / answer, as in this instance Charles has done, thank you. :)
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Hi Charlie,
Wonderful videos. Just to say, I am quiet a bit interested in visiting one of your workshops, not this year though. I have just gone into retirement and need sort out things like economy.
I studied your videos with great interest and I have learned a lot. Some of the stuff I was sort of already found out myself, some was new. Your explanations of human perception are a great source of enlightenment, thanks a lot!
Regarding Lightroom vs. Photoshop I feel that it is a bit of advantage to stay in the parametric workflow and I find that things are much improved in the latest version of LR with something luminance masking on the selective tools. Personally, I go Photoshop mostly for content aware fill. So, I would make the point that much can be done in Lightroom. On the other hand the ACR engine is a shared part between Photoshop and Lightroom.
Anyways, thanks a lot of sharing so much of knowledge and experience! And I would like to thank the LuLa team for giving us all the videos.
Kind regards
Erik
Adias,
Regarding local adjustments: In the video just published of the tree detail, you'll notice that I do a local adjustment in Lightroom! So I don't necessarily do all the local adjustments in Photoshop. If it involves lighting shadows, or getting more highlight detail, then I would often use those incredible controls (the Shadows and Highlights sliders) in LR. Otherwise, Photoshop just gives much more control over selections.
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The advantage that photoshop has though is the ability to name layers. You can easily see which layer affected which adjustment. If you've made a lot of fine adjustments in lightroom, it can be disruptive to have to search back through all the little "dots" to find the adjustment that needs to be changed. And turning off two or three, etc. at a time is easier in photoshop. You don't have to delete the layer, just hide it.
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The advantage that photoshop has though is the ability to name layers. You can easily see which layer affected which adjustment. If you've made a lot of fine adjustments in lightroom, it can be disruptive to have to search back through all the little "dots" to find the adjustment that needs to be changed. And turning off two or three, etc. at a time is easier in photoshop. You don't have to delete the layer, just hide it.
True, but I also agree with Cramer that Curves is very flexible for many adjustments.
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What is so good about Luminous Landscape is that observations can be made / questions asked about articles & videos and the " author " of the item takes the time to come back and give an explanation / answer, as in this instance Charles has done, thank you. :)
Indeed!
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FYI Capture One has 'layers', its name for local adjustments, which you can name and they include Curves.
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Is there a tutorial somewhere that we could use to learn the exact way to do the masks he performed? They really made a difference in the final image, and I am thinking I really need to have that ability to make my final prints shine.
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outstanding series. I've admired his work for years and studied many of his images. He certainly has great vision. I've always wanted to take a workshop from him, really have to figure out how to do that soon after seeing these.
And kudos to Chris ... stellar video work as usual.