October 13, 10am—5pm
Technology Engagement Center
306 Minerva Drive
To make Photoshop work for you, you need a workflow; a process and a structure that guides what steps to take, what tools to use, and when to use them.
This workshop takes you start to finish through my workflow, from Adobe Camera Raw, to Photoshop editing (or processing), to producing targeted files for online and print use. I’ll show you what tools I use, what order to use them in, how they work, and why I use them.
You should walk away from this workshop feeling confident that you can learn and use Photoshop to create top-notch results. My workflow is simple yet powerful. It doesn’t rely on tricks or gimmicks, but on the fundamentals of photography.
I’ve used this workflow to make gallery prints for some of America’s finest photographers. They expect prints that don’t look “digital” or “fake” from over-processing or poor technique. It has been used to create tens of thousands of prints by me and the Master Printmakers who worked under me, and taught to hundreds of photographers on workshops like this one. It is a proven workflow that will unlock the full potential of your photography.
My workflow is so fundamental to the results I achieve that this workshop is for you regardless your skill level. I know you will benefit from this information, gain a more in-depth understanding of Photoshop, and the creative approach to its use.
The class is hands-on. After each lesson, we’ll practice it to ensure you’ve grasped the concept. Mac laptops with Photoshop are available for free, or you can bring your own.
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Saturday September 8, 2018
10am -12pm at the Technology Engagement Center
This class is an introduction to the Photoshop tools and techniques I use to make professional-quality files.
We’ll look at fundamental tools and workflows that will help you create great files that express and share your vision on screen and on print.
This workshop is unique in that it is for both beginner and advanced students. Students new to Photoshop will gain a solid foundation to build upon, while advanced students will be exposed to techniques that will refine their craft and dispel common misconceptions.
In our two hours together I’ll demonstrate key techniques, and then you will practice those technique yourself as I help with problems and questions. The TEC has laptops with Photoshop available, or you can bring your own.
My goal for this class is to get your feet wet, try out new techniques, and inspire you for more advanced Photoshop classes.
To reserve a spot, please email workshops (at) richseiling.com
This class is full. If you'd like to be added to the wait list or are interested in another session, please email me and let me know!
A lot of people ask me why I use Photoshop instead of Lightroom, so I made this video to try and answer that. This image is a great example because of it's extensive use of masking and individual adjustments for each layer. Photoshop's masks let me take control of any area with great precision and make it very easy to modify my masks should I change my mind. Being able to use a different curve with each mask lets me carefully control contrast. And it's very easy to make layers and masks work together and not against each other. Once you learn how to do this, it's a quick, easy, and fluid process. I find that important because the ease helps me express my creativity with less effort which makes it easier to be more creative. Do you know how to make changes like this in your photo software of choice? Tell me what you think!
How many copies of your photos do you keep? My experience this morning is a good reminder that you need more than one. I had just finished making a new “backup” because one of my regular backups was close to full with all the video work I’ve been doing. After finishing my “new” backup, I wanted to do one final backup to my “old” drive, which resulted in this error: The Backup task was aborted because the destination filesystem is malfunctioning. Since this “old” backup was made redundant by my “new” backup, I didn’t really need the “old” backup any more, so this was a survivable error it that I still have my original copy and two good and functioning backup copies. This “old” copy was meant to go in the filing cabinet as a “archive” so I don’t have to spend hours of time or any money fixing it. I’ll mark the old drive “failing” and put it in the filing cabinet as a worst case scenario backup since it’s already paid for and there is no sense in throwing it away. If the worst happens, I can pull it out and it gives me a snapshot back in time for any of the files backed up to it if I can read them. So what’s your backup strategy? Have you ever had a drive fail, and what did you do when it did?
I'm the featured artist for this Friday's Boro Art Crawl, and they did a nice interview with me on their blog. I'll be showing right on the square at The Write Impression from 6-9PM. I'll have six large pieces on the wall, with a wide selection of photos available for purchase. Looking forward to seeing you there!
The Write Impression
120 South Maple Street
Murfreesboro, Tennessee. 37130
I’ll be teaching my Photoshop workflow at Watkins College this summer in a one day workshop titled “Photoshop Workflow for Photographers.”
Workflows are how you turn your photo into the art you want it to be. Much like a recipe, it tells you what ingredients to use, when to add them, and how to mix it all together.
While it’s possible to get good results with complex processes, there is an easier way. I’ll show you the shortest path to get to fine-art quality results, with a proven workflow I’ve used for over twenty years to make tens of thousands of fine art prints for thousands of clients and countless gallery museum and gallery shows.
By using just four primary adjustments and combining those adjustments with layer masks to make local changes, you can work quickly and efficiently with limitless control. This makes Photoshop nearly as easy to use as Lightroom, but with the infinite degrees of refinement and precision that Photoshop offers. In fact, the only reason I use Lightroom is to catalog my files. I don’t do any adjustment work in Lightroom because it just doesn’t offer me the control I have in Photoshop.
If you are ready to take the next step in your photography, gain more control, and make more expressive photos, then sign up today on the Watkins College website.
The workshop runs from 10AM to 4PM on June 23, and costs $110. I’m looking forward to seeing you there and helping change the way you do Photoshop.
One of the questions I try to stick in the heads of my workshop attendees is “What is your story, and how are you going to tell it?
We are all influenced by other photographers, and it’s easy to fall into the trap of trying to make a photo just like one of theirs. What’s bad about this is, if you are copying their story, you are not telling your own. When that happens you, and the world, are missing out.
The world is full of stories, most of which will never be told. So what’s your story? Your unique experience? What do you love, appreciate, understand, believe in, more than anything else? What do you have to say to your fellow humans? Is it capturing memories for your family? Telling the story of a beautiful place? The struggle of an athlete on the field? Or one of countless others?
When you know what your story is, and how you want to tell it, is when you will start making photographs with the most impact. It’s a question you should always be trying to answer, to understand, to refine. It will guide everything you do and fuel your photography.
So what’s your story? And how are you going to tell it?
I’ll be teaching a nine week class on Photoshop at Watkins College, meeting once a week February 7 through April 11. If you are living in the Nashville area and want to learn Photoshop or improve you skills, this class is for you.
Photoshop is not as complicated as you think. With just a few tools, you can adjust your photographs with great precision, unlocking your creative vision. This workshop will teach these tools and the workflow for using them through the process of making prints. But Photoshop is simply an instrument like a piano, so I want to do more than teach you where the keys are and how to press them. I want to teach you to make music with your photographs. Integral to the class will be developing your eye to make refined judgements on exposure, contrast, color, saturation, and the local controls of dodging and burning.
This class is perfect for entry level students to build the foundations you need to keep growing as a photographer, and for intermediate students to learn a powerful and efficient workflow.
I’ve taught this class to hundreds of students of all levels of Photoshop and photography experience. Consistently I’ve been able to help each student improve their skills, their vision, their understanding, and their prints. The techniques have been used on tens of thousands of client files at the former West Coast Imaging, producing prints for some of the most talented photographers working today.
If you have any questions about the class, send me an email and I’ll be glad to answer them.
Do you wait for photographs? Set up your tripod on a scene and then wait for something to happen? Lots of people think this is how #AnselAdams worked, but he didn’t. From everything I’ve heard he was’t patient enough, and neither am I. I find that my most favorite photographs are a response to light, to fleeting moments that unpredictably come into being, exist for a very short time, and then disappear. So while I rarely “wait” for a photograph, I’m always waiting on the light, which is an active process of looking, exploring, slowing down, sensing, tuning in to my environment. I waited on the light for a week to make this photograph. After some challenging life stuff, I took off for a week to camp on the #bigsur coast to clear my head and refresh myself. I spent a week exploring the nooks and crannies of the coast, watching tides rise and fall, but my 4x5 view camera stayed in my bag because a persistent marine layer created dead gray light that just didn’t inspire me. As you can imagine, that left me pretty frustrated because I thought I’d make a lot of new work that week, and on the last day of the trip I faced the prospect of returning home without even exposing any film. But on that final day while exploring an area just south of Carmel, the light started to break. In a mad dash, I broke out my view camera and quickly set up on the scene before me. I was only able to make a few exposures before the light left, but one of those captured what i saw as a rare pastel light illuminated the waves and tide pools. That one picture, on the last day, because I didn’t pack up early, made the whole trip.
Wisner 4x5, Nikon 135mm f5.6 W Lens, Fuji Velvia, exposure unrecorded, likely ƒ32-45
Do you have a flare problem? I’m not talking about the JJ Abrams Star Trek over-the-top creative use of it, I’m talking about those times that it’s killing the richness and saturation of your photographs. You know it can do that, right?
Lens flare is caused anytime light is falling directly on the lens. You don’t have to be pointing directly at the sun to cause it…It can happen even when the light source is outside your frame. When any bright light is hitting your lens, it causes all kinds of stray reflections that bounce around inside your lens and ruin contrast and saturation.
Camera phones are particularly prone to it. Look at this pair of photographs. The first picture was taken with no shading on the lens. The sun is outside the frame towards the upper left. The contrast and saturation have been degraded significantly from the real live view I saw with the naked eye.
I noticed the flare on the screen, so I made a second picture where I used my hand as a shade to stop sunlight from falling on the lens.
As you can see, the results are dramatic. The shaded photo shows a significant increase in contrast and saturation, both in the red leaves and the background, and shows the scene the way I intended.
Using a lens shade on your camera will help avoid flare, but the best way to avoid it is to know what it looks like through your viewfinder so that you can fix it anytime it appears. It’s just one of the many things to be aware of every time you are making a photograph.
Rich Seiling is a pioneer of Fine Art Printmaking, having worked on thousands of prints for leading photographers.