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Photoshop 101 For Kids

2 Sep 2015 at 11:48am

Photoshop 101 For Kids

I have cause for concern about my job now.
I had my hand put up to give a couple of photoshop 101 lessons at my children’s primary school and had a great time with the classes I taught. There are quite a few photo wizards on their way up I think
Quite a bit different from my normal adult workshops but good fun and at the end of the day the kids had made me some thank you cards.
Feeling all warm and fuzzy.

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My new Epson 4900 Lands Friday

8 Dec 2010 at 10:34am

Now I like to keep up on the latest technology and when I heard about this new printer coming out I new it was the one for me. So much so I ordered two. I am getting my one for home this Friday. Benny from Team Digital is personally delivering it and setting it up for me. He is going to profile it whilst he is down and then we might kick back at the end of the day with a few beers. Now that is what I call service. I will be putting up my thoughts on the printer over the coming weeks but lets just say I am expecting great things from every thing I have heard. Team Digital are offering free 16″x20″ prints from this beast to the first 50 people through the door to have a look. See their blog post here.

Now this means I will be selling my 3880 which is practically brand new. The only reason I am really upgrading is because being a 5 star lazy kind of a photographer I can’t be bothered feeding sheets into the printer every time I use it. I much prefer the ease of roll papers. If you are not as lazy as me and wish to purchase a printer that has probably done less than 100 prints it is on the market for $1395, $600 off the RRP. Let me know if your keen. christianfletcher@westnet.com.au

P.S. that is a very biblical pic of the printer with Benny the believer behind! In my case I get the printer and Benny for a day. I hear he is a great cook too so girls he is the total package. And all you need to do is buy an Epson printer off him. He comes cheap!

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Epson Pro 4900 printer

1 Nov 2010 at 9:51am

I was at the AIPP conference last week and got to have a look at the New baby from Epson, the Pro 4900.

I was so impressed I have ordered two. One for home and one to replace our ageing Canon ipf 5100 (Brand C). This will mean I will be fully Epson at home and in the gallery and printing quality will be consistent across the board. My old 4800 was an epic printer and is still going strong at my Mandurah gallery.

Benny from Team Digital will be getting me one this month and I will post my thoughts on it then. Lets just say I expect great things and did not hesitate to upgrade my equipment.

p.s. please don’t tell my business partner I have order two, I was told I could not spend any more money! oops I did it again! Britney Spears style!

Here is a plot of the colour gamut against the gamuts of other reputable printers! This is why I upgrade. Don’t you love these sexy charts.

For more info and a very cool price go to the Team Digital Blog. Tell Benny or Trevo that I sent you and want you to get the best deal on the planet…… ok the best deal in East Perth!………. ok the best deal on Lord Street!

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Gigapan Promo Video

1 Sep 2010 at 4:35pm

[vimeo http://vimeo.com/14602062]

Another great video by my brother Michael. Shows off the Gigapan and the fun you can have with it. Now before you guys go, hang on that Sugarloaf shot wasn’t taken with the Gigapan, it is there because the actual image we shot wasn’t that great. Not in quality, that was awesome, in light and feel. It was the wrong time of day. For the video Michael thought this shot looked better, see even with all the best technology in the world if the light isn’t on….

The Landscape 500

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The Cartoon Look

29 Jul 2010 at 8:15pm

Have you ever wondered how photographers get that cartoon look in some of their portraits. That gritty dirty contrasty look. I have been trying to work it out for ages. I think I am almost there. Am I going to divulge the secret?? Hmm, you might have to get on my next workshop! Well thats if you like this look. If you don’t, and I suspect you won’t Hazel, then you won’t care a bit!!

I like it, it is fun to do and creative.

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What’s New in CS5

29 Apr 2010 at 11:59am

Photoshop CS5

Hi everyone

This will be worth getting along to, I will probably go along as I fly out later that night to do some shooting around Bright Victoria with Markie, Philbo, Neal, Clint and none other than the amazing Tommy Putt. See you at Team Digital

Thats right Photoshop CS5 has been announced. As with every Photoshop release Team Digital will be running a

” Whats New in CS5″ seminar on the 6th May 6.00pm to 8.00pm. Cost $ 25.00 which is redeemable off any CS5 purchase. contact Bianca to book your place bianca@teamdigital.com.au or 93283377

In this seminar we go through in detail the new features of CS5 , how to use these new features and how to introduce these features into your workflow. Stay tuned !

We have confirmed pricing now

Photoshop CS5 upgrade                       $ 330.00 inc gst

Photoshop CS5 full version                  $ 1149.00 inc gst

Photoshop Cs5 Extended                      $ 1645.00 inc gst

Orders being taken now.

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Phase One – see for yourself

24 Mar 2010 at 9:45pm

Yallingup Beach

Yallingup Beach

I think photographing with a camera like the Phase One has given me the spark I needed to get back into shooting. I can’t wait for the day to start so I can go out and shoot, or should that be reshoot all my favourite locations. The P65+ is proving to be better than I could have imagined and at last I know what it must have been like to shoot 8″x10″ film. Not every image is a winner and you have to make sure your technique is spot on. I am having to focus stack to get the depth of field I want which is new to me after having so much depth of field with the DSLR’s. Still the extra effort is worth it and it has made me slow down and concentrate on the image.

Anyway you can’t get a very good idea how good this baby is until you give it a go for yourself. Have a word to Benny or Trev at Team Digital if you are serious about getting into this sort of gear. It will blow your mind.

Now have a look at this portrait of a very good looking fellow! Ok so I couldn’t find a model for the TNFP shirt. Hey the camera even has a self timer so you can shoot yourself as many times as your ego can cope with, mine got up to about 50 shots! Have a look at the 100% crop. That is all man, er I mean camera! The detail is astounding and if anyone out there would like a copy of this for their wall let me know, I can overlay a target so it would be awesome as a dart board. This is the ultimate weapon for a photographer, maybe Peter Eastway was right all along……………… nah!!

Christian Fletcher

Christian Fletcher

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Workshop with Les Walkling

23 Mar 2010 at 8:55am

Hi all, Team Digital have some cool news on some excellent workshops coming up. I am going to two of Les Walklings, hedaman!!

There is 2 positions left for the Capture One workshop.

This seminar presents a comprehensive overview of Capture One 5, Phase One’s latest version of their legendary software. Highlights of the seminar include Capture One’s exceptional image quality, and the logical and professional workflow it facilitates. RAW, TIFF and JPEG files are processed non-destructively, tethered shooting and batch processing are fully supported, and special tools such as the Colour Editor, High Dynamic Range, Lens Correction and Skin Tone Enhancer produce images of unrivalled beauty, accuracy and processing efficiency.


Also we have the free Printing workshops running on the 30th March. Les is speaking so they must come.

First Steps Seminar 9.30am-12.45pm
Understanding the key elements to printing success – An introductory seminar for
photographers looking to get serious about producing quality output.

Fine Art Printing Seminar 1.45 to 4.45pm
This seminar critically introduces the fine print in the age of digital reproduction. It analyses and evaluates the finest available materials and combines them with advanced editing techniques and print processes to produce prints of exquisite quality. Simultaneous contrast, optical illusions and other visual effects are incorporated into sophisticated image editing techniques. Different criteria for evaluating print quality, and the creative preparation of images for inkjet and digital-photographic printing are also examined.


We’ll have some amazing offers on printers ,media,and coating never before seen in WA.

Cheers Christian you legend!! haha

Ben “Benny” Walton

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Guest Blogger Tony Kuyper

22 Mar 2010 at 10:07pm

Everyone has probably heard about my foray into Luminosity Masks, well I have a treat for all of you. I contacted Tony Kuyper the guy who has the amazing Luminosity Mask Actions you can download from his website. They are brilliant and I use them in just about every image I produce. Say hello to Tony and make sure you get a set of these, they are the secret sauce that will make your images pop. The effects can be subtle or you can go heavier and radically improve an image. Tony says he will have his own blog up soon, that would be one to follow.

First I’d like to thank Christian for allowing me to post on his blog. I’ve enjoyed the variety and quality of his photographs for a long time. He has a great eye for composition and incredible skill at transforming RAW images into beautiful photos.
I’m a photographer living and photographing on the Colorado Plateau in the southwestern US. Many of the landscapes in this region are well-known and heavily photographed. I try to find unique compositions in this region with an emphasis on the varied and somewhat abstract character of sandstone.
Most of my images http://www.goodlight.us/ involve using Photoshop to create a distinctive look. While I don’t particularly like the “manipulation” moniker that is associated with intensive Photoshopping, there’s no question that my RAW files can be significantly transformed as they develop. I often use the phrase “follow the light” to describe the process whereby the photographer and the image collaborate to create the final photo. The image tells the photographer what it needs, and the photographer figures out a way to meet this need. I know, this might sound a little odd, but once you get in touch with your subject and photos, they do tend to guide you towards their final form. In the process, a rather personal style can emerge, and that’s the real benefit of learning to touch the light.
Christian has invited me to share some of my processing tips and methods here. The basics are found in the tutorials section of my website http://www.goodlight.us/writing/tutorials.html , but there are always additional strategies and approaches that develop through frequent use. Over time I hope to share some of these with his readers.
Luminosity masks http://www.goodlight.us/writing/luminositymasks/luminositymasks-1.html have been one of my favorite techniques for several years. These masks are an integral part of my processing. They isolate specific tonal ranges in the image for adjustment and then blend the adjustment into the image in a seamless manner.
Luminosity painting http://www.goodlight.us/writing/luminositypainting/luminositypainting-1.html is perhaps the most powerful way of using the luminosity masks. When I hear from people who use the masks, I always urge them to develop their understanding of them to the level of luminosity painting because this leverages the potential of the masks to a much higher level than adjustment layers. Painting allows both multiple brush strokes to intensify the effect of the mask and precise placement on the image to provide perfect control as to which parts of the image are affected.
Luminosity painting involves three steps:
1. Create a Burn/Dodge layer in Photoshop—New layer>fill with 50% gray>change blending mode to Soft Light.
2. Create a selection to target the desired tones, that is, make a luminosity mask.
3. With a paintbrush, paint through this selection onto the Burn/Dodge layer. Paint white to lighten (dodge) the underlying tones and paint black to darken (burn) them.
Of course, there are all kinds of variations within this process that increase your control over how the image is affected—the tones that are selected by the luminosity mask; the shape, size, and hardness of the brush; the opacity of paint applied; and number of brush strokes are some examples.
While there can be many aesthetic reasons for using luminosity painting with an image, my personal goal is usually to use it to bring a certain degree of balance to the overall light and contrast in the scene. This is a very personal decision, and everyone can decide and create their own personal balance of tones using this painting technique. Here’s an example how it was used in a recent image.
This first image shows how the image would look without the luminosity painting.

This second image shows the manner in which the light and contrast were balanced with luminosity painting. Hopefully you can see and appreciate how the painting increased the brightness of some areas and darkened others, while at the same time maintaining overall contrast and slightly improving saturation.

This third image shows the Burn/Dodge layer after luminosity painting on it to create the desired tones in the image.
This painted layer is instructive as it shows several important characteristics of luminosity painting. What should be most obvious is that parts of the image appear to be embossed in gray-scale onto the layer. This is the direct result of painting through luminosity selections/masks which select specific tones to receive paint. Areas darker than 50% gray darken the underlying tones in the image and areas lighter than 50% gray lighten the underlying tones. Applying paint through an active luminosity selection both selects the pixels that receive paint and darkens or lightens these pixels as the paint is applied. Because luminosity selections partially select pixels in proportion to their brightness, paint is also applied proportionally as the brush is stroked across the Burn/Dodge layer. The net result is not only that the tones in the desired parts of the image are changed, but the change is also perfectly blended into the surrounding pixels. The partially selected tones receive the exact amount of paint to make sure each brush stroke merges seamlessly with similar tones. Brush strokes can be applied repeatedly until the desired change is achieved. By choosing the correct mask or combination of masks to paint through, significant control can be exercised with regard to the final brightness and contrast of the painted areas.

This is only brief demo of how luminosity painting works. There are lots of variations to the process and perhaps they can be subjects of future posts. It’s easy to experiment with luminosity masks and luminosity painting to see how they might help your images. I hope you’ll give it a try.
Best of light,

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