The Prague Master Class – September 21-27, 2016

PragueMasterClass

Each year we travel to a new and exciting location for a world class travel experience and photographic workshop. You will learn everything from street photography, to portraiture, posing, lighting, and even post production. You will photograph fantastic models and locations, enjoy a new culture, eat amazing food, and increase your photographic skills exponentially.

This year, join Bob Davis and me for a week long travel adventure in Prague. Traveling to Prague should be on everyone’s bucket list. Make it happen this year. This is the ultimate photography educational experience. Explore the exotic and charming city of Prague, Czech Republic while taking your photography to new heights.
LINK: http://prague.mzed.com

WPPI Master Classes March 6-11, 2016, Las Vegas, NV

Jared Platt at WPPI

Every year, thousands of photographers gather in Las Vegas, Nevada for WPPI. This is a photographer’s dream. The show floor sports the very latest equipment and all of the books and albums, photo services and accessories that a pro and amateur needs to make their images, but there’s more than just an eye popping show of photo gear. WPPI is also a veritable university of photography education for a week in March. The very best photographers and instructors come to Vegas to inspire and to teach photographers how to hone their craft.

I will be at WPPI this year teaching two very special classes. In years past, you may have caught me with a thousand other photographers in a platform class where I was speaking about post-production in Lightroom. Well, this year, I have limited the size of my audience to 50 per class. I am teaching two Master Classes only! Each master class has only 50 people per class, which means you will get more personalized attention and I will be able to cater my instruction to everyone’s needs even better than I can in a platform class.

My WPPI Masterclasses are designed for two different levels, Beginners and Advanced. You are also welcome to take both, but you need to sign up and I suggest you do so now to ensure you get a seat.

Lightroom Workflow for Beginners

Monday, Mar 7, 2016 – 10:30 AM to 12:30 PM : MC12 (Limited to 50 Students)

Learn how to put Adobe Lightroom to use in your business and personal photography. Whether you just started using Lightroom or just don’t know how to use it effectively, this class with will change the way you work and think about photo post-production. Stop wasting time behind a computer screen and get out taking pictures. I am not often in front of a small classroom so take this opportunity to get more personalized instruction. You many not get this opportunity again.

This class is for Beginner and Intermediate Lightroom users.

Advanced Photography Workflow – Lightroom and Photoshop

Wed, Mar 9, 2016 – 10:30 AM to 12:30 PM : MC44 (Limited to 50 Students)

Your business depends on efficiency in post production. You also need to produce high quality photographic work. Come learn how to put the two together: efficiency and powerful photo editing techniques that will have you creating fantastic images in no time flat. If you’ve seen me before in one of my platform classes, you know how valuable a few hours with me can be. Now get instruction from me up close and personal. Take the things you know about Lightroom to a new level.

This class is for intermediate and advanced Lightroom users. Prepare to still have your mind blown!

Remember, only 50 people will be allowed in each masterclass, so you need to sign up now to insure you have a seat. And be ready for a ton of free giveaways from my incredible sponsors!

That’s a Wrap on The Best Workshop Ever!

We just wrapped

on an amazing four day workshop here in Arizona where we had 7 students who spent every waking hour learning, practicing and talking about photography. We had styled photo shoots on location here in Chandler and in the breathtaking Sedona red rocks. We maintained a small class size to ensure that each student was given all the attention they needed and deserved, and each one of our students have the very real possibility of having their images published in the national magazine, Pristeen, who provided a vast crew of models, hair and makeup professionals and stylists.

PJared PLatt Photography and Workflow Sedona

I may be tooting my own horn, but I am absolutely certain that there is no photographic workshop experience like the one my students just had. I was so impressed with the improvement of each and every photographer over the course of the four days of intense instruction. Our first styled photoshoot put each photographer into the fire. With a few hours of instruction on the equipment they would use, they all were put into very challenging and critical situations that required their utmost attention. Then, over the course of the next two days, amidst workflow lectures, we critiqued and edited their images. Then, we spent an afternoon working with their cameras and flashes again in preparation for the big Sedona shoot on the final day.

JaredPlatt-Workshop-Portrait-0003

Students that struggled on day one to get the shot, were creating beautiful images by the fourth day. I was so pleased to see each and every one of them creating images all on their own that were exponentially better than what they were attempting to make on our first day of class. Of course, I was not surprised.

My Arizona Photography and Workflow Workshop was designed to create success. I gave my students a year’s worth of university level photo education in four days, and I created a circumstance under which they could succeed. We limited our class size to make sure that I could spend a lot of time with each and every student, and each student spend the majority of the class at the controls. Unlike most photography workshop, my students were not stuck watching me shoot. Instead they were thrown into a real live, active magazine photoshoot with my expert instruction and direction at every step. I knew that they would succeed, because every hour of every day was designed to create lasting success. My students didn’t just see how to create great images, they created them, they were immersed in the process, and now they will return home knowing how to do that on their own!

Students Working Jared Platt Workshop Slide Rock State Park

That is the beauty of the socratic method of teaching. I teach my students how to think and let them experience how it is done, so they will always remember how to achieve success.

A small workshop like this cannot be done without a high price tag, and I can’t thank my students enough for their trust. They took a leap of faith and they found that it paid off. And even the high price tag would not have covered the price of this workshop without our sponsors, who so generously provided the incredible meals as well as providing the equipment and logistical support needed to pull off such a perfect workshop experience.

Finally, we must also thank the folks at Pristeen Magazine. They took a leap of faith that we would be able to take 7 workshop students of pro and enthusiast levels to a level that they would have two full magazine articles full of great images. They are now convinced! But we thank them for putting their trust in us to make this all happen. Not to mention, that Pristeen Magazine funded a full scholarship for our Pristeen Magazine Teen Photographer who joined us on the workshop and is now, at 18 years old, on her way to becoming an accomplished professional photographer. Wait until you see some of her photographs.

JaredPlatt-Workshop-Portrait-0003 (1)

Since all of our photoshoots were for publication, you will not see them now, but in April, after the magazine has published them. I look forward to sharing them with you.

Thank you to your Sponsors:

Join Me at Photoshop Week on creativeLIVE
Photoshop Week 2015

 Don’t miss me on Photoshop Week at creativeLIVE.com on February 23 and 24.  Then keep watching all week long.  There is no better place to get a great education from the greatest instructors.  I will be teaching and hosting five segments there:

Lightroom Mobile

Making Books in Lightroom

Lightroom Develop Module

Lightroom Local Adjustments

Photoshop This

Don’t miss this week of incredible instruction and a lot of fun.  See you there!

On Location with Profoto and Nikon in TTL

We went out along the Salt River in Arizona for our webinar on TTL lighting control with Profoto equipment. In our first shots, we had our model wear a fantastically non-traditional wedding dress by Simply Bridal. Samantha, our model, was a an absolute champ. Balancing in that form fitting dress was quite a challenge in our out of the water. We had a great time and got some fantastic images. Here are the images we used in the webinar, and you can see the full webinar online, just follow this link to Profoto’s webinar page.

bride in wedding dress on a lake in arizona

bride in wedding dress in a lake in arizona

model at a river crossed road in Tortilla Flat, Arizona.

model at a river crossed road in Tortilla Flat, Arizona.

 

 

For this month’s webinar for Profoto, we took our crew and a kit of Profoto B1 off camera flashes  out to the lakes in the desert of Phoenix, Arizona.  This time, instead of shooting Canon, we were shooting with a Nikon D800 on the Profoto Air Remote TTL for Nikon.  Now Nikon users can also take advantage of the TTL abilities of the Profoto B1 lights.  Join me on our Profoto webinars on September 17, 2014 for a free webinar on shooting in TTL and Auto Camera Modes.

Register now:  www.profoto.com/int/webinar

FREE Webinar for Non-Professional Photo Enthusiasts

JaredPlatt_Facebook_815x315

 

I teach professional photographers around the world the best post-production methods to help them get their job done.  But there are so many more photo enthusiasts in the world, who need help organizing, editing and sharing their images and these courses are sometimes a little too pro-centered.  So I have developed an online workshop for you all!  Here it is…

Starting Wednesday, June 25 through Friday, June 27, I will be teaching a webinar on photo organization, editing and sharing for non-professional photo enthusiasts.  If you are a mom, dad, photo student, nature lover, or anyone who has a camera and needs help navigating the organizational nightmare of saving photos on the computer, this is a great opportunity for you.  The webinar is FREE.  Just go to www.creativelive.com (look on the CRAFT channel) and sign up for LIGHTROOM FOR SCRAPBOOKERS.  You can watch for free starting on Wednesday at 9AM Pacific Time.  You can watch this on your computer, your iPad or even your phone.  The course is FREE when you watch it LIVE.  You can purchase anytime access to the course for only $59.

Don’t worry, if you are not a scrapbooker, that’s OK because we are talking about photo organization, editing photos and sharing them.  It’s not all about scrapbooking.  It is all about photos and just happens to be the right fit for people like scrapbookers who want help wight heir photos.  So join me on creativeLIVE, no matter who you are and get a super easy, basic, nuts and bolts look at a workflow for personal photography in Lightroom.

 

Webinar: On Location with Profoto

Profoto Webinar with Jared Platt from Jared Platt on Vimeo.

 

Tomorrow (April 23, 2014 at 10 AM PDT) begins a series of Profoto webinars with me as your host.  We will be tackling challenging problems with light with minimal gear.  Our first photo shoot takes place in a dramatic desert landscape near Phoenix, Arizona.  We create beautiful light with one B1 Profoto Off Camera Light and a variety of light shaping tools.  Don’t miss the webinar.  Ask questions live.  See you tomorrow online!

 

Watch live (and sign up) at Profoto.com/live

I’m LIVE on creativeLIVE.com

You won’t find me at my desk or on this blog, or on Facebook or on location somewhere shooting today.  You can find me anywhere in the world that has an internet connection.  I am teaching on creativeLIVE.com today and tomorrow (Feb 24 and 25) for Photoshop Week.  It is LIVE and it is FREE.  So don’t miss it.  You can even ask questions and I will be answering them live, online.  CLICK HERE and watch!

 

Thoughts on Images from Budapest and Vienna

I taught a photography workshop in Vienna and Budapest with Clay Blackmore and David Ziser through MZed.  This year we will be in Barcelona, Spain [LEARN MORE HERE].  The experience is fantastic.  Great people, great food, models, shooting locations, great instructors, and wonderful staff.  It was such a pleasure to spend days, rather than hours with students (working professionals) who are thirsty for knowledge.

Here are a few images from my week in Budapest and Vienna.

Enjoy.

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On our first full day in Budapest we were allowed to photograph in an ancient and still operational bath house.  What a fantastic start to our photographic journey.  The place was absolutely full of textures and color.  My lighting was accomplished with three Canon Speedlite 600RT flashes on their included flat foot stands (as I did not want to carry light stands with me to Budapest).  I’d say they turned out very nice.

We spent a few hours wondering through the underground labyrinths under the streets of Buda Hill. These were apparently the dungeons that held the likes of Count Dracula himself (the real live person, not the vampire). It is fun to wander with a group of friends, but when those friends include photographers, every random streak of light through fog becomes and event. Unfortunately for my wife, she was the only non-photographer, so she became the subject of many a posed photograph. I am sure there will be a number of eery silhouettes of the lovely Danielle in the coming months on a few photographer blogs. She was a great sport about it all, and we had a lot of fun wandering in the shadowy underworld.

The photo I have chosen to show, however was one that kind of fell in my lap rather than needing to be set up. As Jeff led the way through the foggy tunnel, the mood lighting made a perfect and unexpected silhouette of him and his camera. I told him to freeze! Which he did. I then positioned myself for the best possible separation for his head, his face and his camera. We all worked on the shot a bit as Jeff dutifully stayed frozen in position. Carlos Martìn must receive credit for closing the gates just a bit, which I didn’t even know were there until he pulled them in. I was too focused on Jeff’s position. The gate gave me a lot to play with in the corners of the shot.

These kind of moments happen more often that we realize, but many times we pass them by in favor of getting to dinner on time, continuing our conversation, or just inattention to the moments and details. Sometimes we just let something beautiful pass us by and perhaps we regret not getting the shot. The world would have been just fine without this photo in it. Jeff didn’t even know the photo opportunity existed, and neither did anyone else in our group. I think he would have lived without it, but I know he is excited to have the image.

Many times, the moments in our lives are far more important than grabbing that great light or that perfect moment on camera. I have often told photographers in lectures to take a little time off from the camera, and live life rather than document it. It’s hard for us to do sometimes. Case in point… later that evening, we ended up in a cafe on the edge of Buda Hill watching the sunset, hot-cocoa in hand, listening to a unique little string quartet, when the violinist approached us and asked for a request. After a bit of thought, we requested Ave Maria (one of my favorite songs) and he began to play like he was born to play that song. It was very romantic.

Danielle describes what happened next by saying, she now has conclusive proof that I can handle about ninety seconds of romance and beauty before I have to pick up my camera and document it. It wasn’t until she began making fun of me that I realized what I had done, at which point, feeling a bit foolish, I set the camera down and enjoyed the next song without the camera in my hand.

The question then is, did I need my camera to enjoy the music and the moment? Was there even a beautiful shot to be made? I suggest not! This image is only worth the memory spark to tell a story about my own foolishness. And I can say for certain that I enjoyed the music far better with my wife’s hand in my hand rather than a camera. So why the gut reaction to pick up the camera to document everything? Is it a sickness? A habit? An obligation? I will spend my entire life attempting to understand it. In some instances, it is a blessing for my wife because our children’s lives are very well documented. But, it can interfere with life experiences as well. They say recognition is half the battle, the other half is doing something about it. I have found that I can be a far better date without a camera in my hands, so I will often leave my camera at home and just practice experiencing life. Sometimes it is painful to see beautiful moments happening knowing that they will only be available in my memory, but at least I will have experienced the moment rather than simply having observed it.

When we are traveling, the task of capturing the experience falls on me (or maybe, I take it on myself), so I feel I must carry a camera, but that doesn’t mean I must carry a large professional camera.  And more importantly, I have to be able distinguish between a moment that is to be captured and a moment that is to be lived.

 We took a day trip to Vienna on Friday and I swear I spent thirty minutes debating whether to take my pro gear or my point and shoot with me. Danielle questioned the wisdom of taking my point and shoot to such a beautiful city, but in the end, I am so happy I left all the pro gear in Budapest and walked those beautiful streets with nothing but a tiny camera in one hand and my wife’s hand in the other (see my notes above).

A small (manual) digital point and shoot camera is the perfect middle ground. When you are carrying heavy pro gear, it just gets used more. Maybe just to justify the weight of the gear. A small pocket camera, on the other hand, can be ignored until something critical presents itself, and as long as it is a quality camera, I can walk the streets and enjoy the experiences I am having until something truly needs documentation. And let’s face it, without some kind of a camera, a photographer might go crazy, so it is just nice to have one around.

Everything I shot in Vienna was done with the Canon G15 (a manually adjustable point and shoot camera) and many of the shots were taken at 1600 ISO or higher. So the camera holds up very nicely in most circumstances. Even in the catacombs, where incidentally, a small point and shoot is preferable, when photography is prohibited…

And yes, at the very least, an iPhone makes an acceptable camera to scratch that itch.

 

FYI.  In this next image, the lights were not on.  It was daytime.  But I thought they would look better on, so I turned them on in Lightroom.  Just thought you might find that interesting.  So yes, it is not absolutely accurate.  But it is more beautiful.

I saw a moment that called out to me, I suppose it was the light, angle of incident, the strange juxtaposition of a glowing telephone in a dark cathedral, the loneliness of the old man using it… but the photo looked nothing like this when I found it. It was cluttered with people passing through the shot, some were from my group and the rest the throngs of tourists moving in and out of the church. But I knew my frame and got my exposure set. I found a place to secure my camera against a column to steady it during the long exposure and waited patiently as my wife and friends left the church (I assume they thought I was with them).

As people left the frame, others entered, but I waited for the moment I knew would eventually come. A fraction of a second presented itself where everyone in the cathedral was just outside my frame, so in the hustle and bustle of a heavily trafficked church, was a moment of complete vacancy and solitude for my subject who feels completely alone. This is why I always tell people that photography is at best incapable of telling the “truth” and at worst an outright lie. The moment I am presenting here never occurred, not even for a fraction of a second. My subject never experienced the solitude you see here, maybe only in his mind was he alone, maybe he felt this way in his heart at the time, but I have no doubt that I only forced my vision of the scene on him.

In the end, any photograph will tell you more about the photographer than it will tell you about the scene or person in front of the camera. When we have our artist hats on, this suites us just fine. Like in this instance, I saw a metaphor, not the truth. So that is what you get to see. The problem becomes that you, the viewer don’t know when the photographer’s intention was to present the truth or just a metaphor. In most cases, the viewer is always better off assuming they are looking at and should treat every photograph as a metaphorical statement made by the photographer… even (especially) when the image is printed in the newspaper.

It was raining.  We had umbrellas.  The light was perfect.  I am a bit of a theatrical show off.  So it was only natural to start a “Singing in the Rain” musical number bit for the cameras.  Right?

These next two images were taken by Cable Notebloom.  Thanks Cable.

Budapest is home to a number of beautiful cathedrals. Danielle and I took the long climb to the top of St. Stephen’s cathedral in the middle of downtown Pest and while the top afforded us a great view of all of Budapest, my favorite image came from the design of the circular staircase. Which only further solidifies the adage that it is not the destination, but the journey…

It’s not a little thing that we were given access to the Budapest Opera House for a four hour photo shoot. I have to give Jeff Medford (the workshop’s brilliant coordinator) credit.  This was an amazing experience for everyone, students and instructors. I spent most of the time there with a few students on Canon Speedlite control. We shot setups with just one off camera Speedlite and setups with up to five. While I don’t have very many of my own images from those setups, because I was simply advising students, I was able to make a few images as examples while I was setting up and explaining my light strategies.

This next shot required a total of five Canon Speedlite 600RT flashes and a small 24 inch softbox. One Speedlite with a soft box lights our model, which was the last light to be placed. The remaining lights were used to create depth in the shot. Each cross hallway is lit with a Speedlite, as is the very back corner of the hallway (which would be a black hole without the lights. There are a few windows in the shot which may appear to be illuminating the hallway, but on their own do very little. The Speedlites are doing most of the work, augmenting the natural direction of light provided by the windows.

The important thing to take away from this shot is that without a set of strategically placed flashes that fit in a small shoulder bag, this brilliant hallway would have been very dark and almost unusable. And the entire setup did not take very long. It is a prime example of pre-visualization. You have to see the possibilities in the hallway to select the location in the first place. Then, there has to be a clear vision for the shot to build in the lights quickly and set the scene, otherwise, the exploratory process is too long and takes up valuable shooting time. Wedding photography is a job that requires vision, skill and speed. So I spent a lot of time with Kam and Cabel (my students of the moment) explaining how to build the lighting into the shot quickly and with purpose. I think we got some great imagery.

 

Cabel then asked a very important question. “What if I only have a limited amount of time and can’t build a shot with five lights?”

So we went into bare bones mode. What if I only have one light? What is the best most efficient use of that light? At this point we had a lot of students gathering around the grand staircase as we discussed the shot. At one point, Clay Blackmore wandered in to shoot some video of our couple walking down the staircase.

Well, with one light pounding into the marble off camera right by about 20 feet, we were able to softly light our models and fill in any unwanted shadows in the room. Even though the original light source is a few small inches, the resulting bounced light makes our light source about 40 feet wide, which means we get very soft light… I think the results were fantastic.

 

I also spent a little time teaching a group of students about efficient use of a second shooter during a portrait session. I acted as the second shooter to the students who were shooting with the lights in the primary position. By working together, both the primary photographer and the second shooter are able to achieve completely unique and valuable shots. This represents the second shooter’s artistic shot that I made, as the primary shooter (a few students) made traditional portraits from the primary position. I also had a few students in the secondary position with me. It’s all about efficient use of time and recognition from the both the primary and secondary shooters of the other photographers position and shot needs, and working together to shift the pose back and forth to work for both camera positions. Of course, the subject is rarely aware of the second shooter’s efforts because the primary shooter is the only one directing her movements and actions.

Before leaving the Opera House, we were allowed to peek into the main Opera House and sit in the boxes for a few minutes.  Danielle, posed for a snap shot memory of the box seat experience.  Carlos Martín, prone to doing whatever he likes, found his way past the do not enter signs and velvet ropes to the King’s box (where the King or President would sit).  You can see him and Coralee in the box behind Danielle.

There is an effort under way in Vienna to clean the stone faces of some of the buildings. Clearly, they could use a good scrubbing. Over the years, these brilliant white surfaces have become grey and in some cases even black. So, like every city I have ever traveled to, the best buildings are scafolded on one side or another. I was struck by the remarkable difference between the sides that have been cleaned and those slated for a future scrubbing. But as I photographed St. Stephen’s cathedral (in Vienna – there is one in Budapest too), I found myself wishing they would just leave the building alone. The soot has created a beautiful contrast to emphasise the sculptural elements, enhancing the dimensions and the textures. As a photographic subject, the building is far more interesting as a faded, dirty, raw old building than it is in its sparkly clean glory.

Sometimes we want so desperately to clean thing up, buy new things, streighten the books on the shelf, fuss with the wedding dress and the veil, spray the hair until it is locked perfectly in place, and yet, often times, perfection is far less interesting and beautiful than the natural state of things. Irving Penn warned that working on perfecting a subject for too long, often kills the life of the photograph. Imperfection is life. Time ages people, building and everything in this world. I love imperfections and weathering because it tells a story and that is what makes the photograph intriguing. Clean up this building and this photograph becomes far less interesting. Cleaning out the cobwebs make a place more livable, but not necessarily more beautiful.

 

 

On the very last day in Budapest, Danielle and I walked along the Danube River.  We crossed beautiful bridges, admired fantastic architecture and bought trinkets, but our destination was the memorial for those who’s lives were taken by the Nazis in mass murders on the river’s edge. The memorial is a simple, understated line of bronzed tattered shoes. The shoes face the river as though they are prepared for their end and walking bravely to meet it. I think the direction of the shoes is also a powerful indictment of the cowardice of the Nazi’s, who slaughtered millions of innocent men, women and children (suggesting the act of shooting them in the back). I don’t know if the victims were told to face their assassins or not, but their despicable treachery is well condemned here. And more importantly, as we quietly took in the scene, the innocence of the victims, their humility, bravery, strength, fear, sadness and faith in deliverance hung around us in the air.

I asked Danielle to choose a pair of shoes and I watched her walk amongst the shoes and wondered which she would choose and why? Would it be a father’s boots, who struggled every day to make a living and feed his children and who now faced his murderers wondering what would become of his family? Would it be a set of tiny shoes that belonged to a helpless little child, separated from his parents, not even aware of what was to come? But as she pointed out a small set of simple boots standing side by side with her mother’s modest heeled dress shoes, tears began to form and we talked of a mother and her little girl standing on the edge of a beautiful river, in a beautiful city and we wondered how and why another human could have seen these two innocent lambs holding hands and done anything but run into the group, hold them both and suffer that fate with them… I wonder what the mother told her child. What did the father say to his son? Empowered by faith in God and with hope in his eyes, I hoped he would have had the strength to smile and say, “I will see you in a few minutes, son. We will be just fine.”

I struggle to write this in a blog that is usually filled with happy unions, beautiful moments with care free children and careless discussions about the importance of f-stops and shutter speeds. But while we stood there on the Danube, we had a chance to stand, not in, but near by others’ shoes and I could not help but feel I learned something about family and about God, who must have stood their that day with open arms on the other side to give his tormented sons and daughters a very real and very long embrace. And I just hope that as I enter difficult times of life that are full of fear, that I can hold my little girl’s hand and say with a reassuring smile, “we will be just fine.”  And then step off into that river and await the unknown and the embrace that comes after the extreme trials of faith and hope. And while life is good, and while we are blessed with plenty and peace, this is the time to hold those I love close, build them up, teach them strength, conviction, faith and hope and above all to show them love.

I teach a lot of photographers about workflow and software and f-stops and shutter speeds, but the most important thing I can tach any photographer, or any person for that matter, is the importance of filling your mind and your heart with inspiration ( joyful and sorrowful).  One cannot produce inspiring work from an empty well.  And that is something that was so fantastic about the Budapest Master Class, it was more than an opportunity to learn technical photography, it was an opportunity to become inspired and experience life from another perspective, in another culture, to meet new and interesting people and see things in a completely different way.

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If you would like to join us in Barcelona in October of 2014, go to www.MZed.com and mention JARED PLATT to receive $150 off your tuition for the class.  I hope to see you there.

 

CreativeLIVE Workshop June 14-16 – Be there LIVE

Lightroom Workflow Workshop with Jared Platt at CreativeLIVE

I am doing a FREE online workshop at the studios of CreativeLIVE in Seattle Washington on June 14-16, 2012.  You can register to watch live online for free.  If you would like to be a part of the studio audience in Seattle, you need to submit your video application by midnight tonight.  Nothing fancy, just a video telling us why you should be selected to go.  Details for submissions are listed HERE.  I look forward to seeing you all online and in the studio on June 14-16.

Lightroom Workshops in Phoenix, AZ – January 26, 27, 28

Adobe Lightrom and Photoshop Workshops by Jared Platt

If you have been thinking about taking a Lightroom workshop, this is the time to do it!  The price is right and so is the location.  We are holding three Lightroom Workshops in Phoenix, Arizona on January 26, 27 and 28.  The weather is absolutely perfect here, so if you are from the frozen north, this is the perfect time to get away, thaw out and improve your Lightroom and Workflow skills.

The Workshop Schedule:

January 26 – 4 pm to 8 pm: Intro to Lightroom and Photo Editing – Book Now for ONLY 49$
January 27 – 9 am to 5 pm: The Lightroom Workflow Workshop  – Book Now for ONLY $199
January 28 – 9 am to 5 pm: The Lightroom Workflow Workshop  – Book Now for ONLY $199

BOOK YOUR SEAT NOW!

The Lightroom Workflow Workshop is being held on Friday the 27th and a second session on Saturday the 28th for your convenience.  Choose the one that fits your schedule. If you are new to Lightroom, take the into course on the 26th and add the Lightroom Workflow Workshop to learn even more about Lightroom and how to fit it into your studio or person workflow.

Are you new to digital photography or Lightroom and photo editing?

The January 26th Intro to Lightroom and Photo Editing is a great place to start.

VEGAS Workshop at WPPI: Get Your Lucky Ticket!

Lightroom Workshop at WPPI in Las Vegas

I am speaking at WPPI this year as a Platform Speaker. My presentation, “The Photographer’s Eye” will be on Sunday the 20th of Feb at Noon. Thanks to Pictage for Sponsoring this event!

And since I am there anyway, along with thousands of other photographers, I thought it would be a good time to offer a Lightroom Workflow Workshop. There are many of you photographers out there who have missed my workshop when it came into town, so this is your chance to take the workshop now.

Tuesday, February 22, 2011, there will be two sessions from which to choose, each session lasting 4 hours. This way you can still catch a few speakers throughout the day on Tuesday, but still get the most valuable information you can get at WPPI. How to cut your workflow in half! And a whole lot about Lightroom 3.

Sign up for the Tuesday Morning Lightroom Workshop Session: 8am to 12noon
Sign up for the Tuesday Afternoon Lightroom Workshop Session: 2pm to 6pm

Both sessions are the same. Sign up online for the early bird special of $100. The door price is $200.

Or, since we are in Vegas, you can try your luck and go to WPPI, go to my sponsor’s booths and ask for a LUCKY TICKET. Each LUCKY TICKET has a price of either $120, $60 or FREE on it. Bring that ticket to the door and pay the price on the ticket. I hope you find a free one! That would be your lucky day!

SPONSORS with LUCKY TICKETS: Pictage, KISS Wedding Books, Triple Scoop Music, Shoot Q, Shoot dot Edit and RPG Keys.

The New Math of Lightroom 3 (Process Versions)

The New Math of Lightroom 3 (process versions) from Jared Platt on Vimeo.

I just posted this new podcast. For those of you using Lightroom 3, it is worth the watch. It is a tech topic, so if you are not a photographer, at least it has a photograph of a very cute kid! This little guy is a complete ham.

Lightroom 3 has a few great new features in it, but the best feature is the math behind the curtain. This is what Adobe calls a Process Version. It is essentially a new set of algorithms and other mathematic equations that I would never understand, that make our images look better. And all throughout high school, I thought math would never be useful to me. It turns out that it is very useful, as long as someone smart employes it in my photo software.

Lightroom 3 can employ the older math from 2003 (used in LR 2) or it can employ the new math inherent in LR3. The new math is beautiful and worth updating images that you are taking a second look at, but it is not advisable to update everything all at once. Check out this podcast to find out why.

The iPad as a Second Monitor

A little tech talk for all of you photographers and iPad lovers out there:

I taught a Lightroom Workshop in New York yesterday.  It was a fun workshop and we had a great group of people there.  One of the attendees, Carlos Martin, had his iPad with him and I told him that I had heard of an app for the iPad (from an attendee at my lecture at the Boston Pictage User’s Group meeting) which allows the iPad to become a second monitor.

He immediately downloaded the app and started working on connecting it to his laptop.  It didn’t work while we were in the workshop, but once he got it home and connected to his wireless network, it worked.  How cool is that?  The app is called iDisplay, but it gets bad reviews, so beware, but there is another app like it called Air Display which gets great reviews.  Anyway, it looks like a great idea.  I don’t have an iPad, but if I did, I would try one of these apps.  You can even use the touch screen to work on the iPad monitor, so you could conceivably put photoshop brush pallets and tools over on the iPad and just touch them as needed.

In Lightroom, using a second monitor is a real time saver.  Your second monitor can be your constant loop for confirming image quality.

Here is a shot of the iPad in action, courtesy of Carlos Martin.  Thanks Carlos.

 iPad as a Second Monitor

Here We Go! The Lightroom Workflow Workshop Tour Kicks Off – July 17, 2010

It is that time of year.  I am heading out to cities across the United States to teach my Lightroom Workflow Workshop.  In this workshop I teach professionals and enthusiasts how to take control of their post-production workflow.  I have just released the trailer below.  Take a look at it.  And I will look forward to seeing you out on the road somewhere in my travels.

To book a seat at the workshop, go to www.jaredplattworkshops.com.

The Lightroom Workflow Workshop Tour 2010 from Jared Platt on Vimeo.

Conquer your workflow demons with Jared Platt as your instructor. The Lightroom Workflow Workshop Tour begins on Saturday July 17, 2010 in Phoenix, Arizona. We will then be off to Pittsburgh, Philadelphia, Boston, New York, Syracuse, Los Angeles, Vegas, Cincinnati, Louisville, Miami, Jacksonville, Orange County, San Diego, Raleigh, Nashville, New Orleans, Portland, San Francisco, Seattle and more.

Come learn how to cut your workflow time in half or more and win some great prizes and get free product and services from our sponsors. And learn Adobe Lightroom 3.0 in the process.

The Lightroom Workflow Workshop will pay for itself on day one!

www.jaredplattworkshops.com

Rain and Gale Force Winds: A great day for a photo shoot.

It was a rainy day with strong winds all day and a bit cold for Phoenix, AZ in January, but we altered our planned photo shoot a little in the concept and went out shooting.  Piano rock star, Kevin Burdick, was the subject.  We decided to take the umbrellas, but when we got to our location, we had a break in the clouds, but not the wind.  So we went with the umbrellas anyway.  Kevin get very tired trying to hold the umbrellas up against the wind, it really was quite strong.

 Portrait of Kevin Burdick by Jared Platt

The photos were shot with the Canon 1D Mark IV.

Now on to some tips and tricks:

First, the sun is off to the right of the photo and slightly behind Kevin.  Which means that if we took the photo without additional lights, he would be too dark.  Remember, we are competing with some bright clouds in the background, so we have to control the ambient exposure to match.  We could use a big reflector, or we could use a flash.  It was just Kevin and myself, no assistant, so we chose a flash unit.  A Canon 580EX II is mounted on a pole about 12 feet off to my right to avoid the on camera flash flattening effect.  Because it is off camera, I had to connect it via wireless slave.  I am using the pocket wizard TT1 and TT5 system.  This allows the camera to communicate with the flash via radio signal, but unlike typical radio slave systems, that only transmit the fire signal, the TT1 / TT5 system allows the camera to communicate metering solutions etc to the flash for TTL auto exposures.  The TT1/TT5 system also allows me to sync my flash at incredibly high shutter speeds via radio slave, and in order to get the ambient exposure right with the correct depth of field, I need to expose the image at f 5.0 at between 1/1600 and 1/2000 of a second.  A typical flash slave system will only allow syncing with a flash at 1/250 of a second.  So the Pocket Wizard TT1 / TT5 system is critical to the success of this photograph.  When I need the light, but also need the shutter speed, I don’t have to compromise.

The flash is set to provide a bust of light which is about one and a half stops lower than the brightness of the sun.  This allows the sun to remain the dominant light source.  You can see that the sun is still creating its signature crest of light on the far right side of Kevin’s face, but it is not blown out.  The near side of his face, though lit well, is still the shadow side.  This combination of lights provides a good contour to his face.  I am getting a studio lit look out on location with three lights.

“Three lights,” you ask, “but you have just mentioned the two?”

Light One:  The sun.  This is the strongest light on the set.  It is the light coming from the side and slightly behind, giving me that crest of light on his face and hands, and acting as a hair light.  It is also providing the nice bright crests on the clouds and the mountains.

Light Two: The Canon Flash.  This is a direct light on Kevin’s face which is filling in the shadow not to match, but fall short of the power of the sun (light one).  This gives us a great vivid exposure on Kevin’s face, without flattening the contours of the face because it is not on camera, but off camera and coming at the subject from the same side of the frame as the sun, so direction of the shadows still make sense.

Light Three: God’s Soft Box, the Northern Sky.  The northern sky (because in North America, the sun is always in the southern sky) is a giant soft reflector of the sun’s light.  That bounced light from the northern sky is filling in all the deep shadows on my subject and on the mountains and the clouds.  Without the reflection of the norther sky, the shadows in the photo would be very dark.  Now, I cannot position God’s soft box on a moment by moment basis, it is in a fixed position, but there are some things I can do.  I can choose the time of day to shoot, so that either the northwest or the northeast sky is my active soft box and I can position my subject such that he faces the northern sky, and I can choose the proper location for shooting the photograph so that my subject can face away from the sun, toward the northern sky.

 Portrait of Kevin Burdick by Jared Platt

I always know where the sun is and is going to be.  My iPhone, though not a good phone, has a great sun position app which tells me the exact position of the sun at any hour of any day well into the future.  So, when I scout a location, I know where the sun will be a 3 PM on Jan 12, 2030 and can plan my photo shoot accordingly.  I need to know this, because I want to get the best shot with the least amount of equipment possible.

 Portrait of Kevin Burdick by Jared Platt

The green toned photo above is what happens when the sun changes brightness on you in the middle of the shoot.  The original shot is a bit off in exposure, but with some fancy photoshop work using two different develops of the same RAW file, I was able to pull of a very cool shot and and control exactly how dark I wanted the background and the subject.  I love the drama of the image.

Note: Although the rest of these photographs have undergone a major amount of burning and dodging they have not been “retouched much at all.  I am not all that interested in major retouching, but burning and dodging, which I did very skillfully in the darkroom, is still a very key part of the beauty of my images.  Although now, I have such precise control offer my burns that almost anything is possible.  I often will slim down a subject or remove a belly with only burning and dodging.  I will post my article on Burning and Dodging here on the blog in the near future.  It ran in Professional Photographer Magazine in January 2010.  If you have a copy, take a look.

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This next set of photos, we moved the position of the light from my right side to my left.  Some people on my facebook posts have said it looks almost like he is being photographed against a backdrop, because he is popping out of the photo so much.  This is what happens when you move your second light to a less natural position.  Instead of the light coming from the same side as the sun’s light, it is coming from the other side, which subtly sets Kevin at odds with the shadows in the background.  Ergo, he jumps out of the photo because he is no longer blending in to the light.  Your mind sees him as different than the photo, even if your consciousness can not figure out why.  Study the photo carefully and see the shadows on Kevin, then the shadows on the mountains and clouds.

 Portrait of Kevin Burdick by Jared Platt

Anytime you want something to pop out of your photo, you have to make it different than everything else in the photo.  Most of the time, people use a bight color to do this.  More subtle is using a different texture of perhaps a different pattern, etc.  Notice, he is also wearing a tomato shirt.  That helps him stand out in every photo.  But the lighting is the real key to creating that extreme difference that is still subtle enough to make one question their perception.

 Portrait of Kevin Burdick by Jared Platt

Now for the rest of the photo shoot.  When he is far away from the camera we obviously can’t light him with a flash, so a little dodging in the post production fixes the shadow of the face.  Fortunately, distant shots like these don’t require as much lighting, because they are more about composition.  Besides, we still have our two lights working for us: light one and three.

 Portrait of Kevin Burdick by Jared Platt

 Portrait of Kevin Burdick by Jared Platt

 Portrait of Kevin Burdick by Jared Platt

 Portrait of Kevin Burdick by Jared Platt

 Portrait of Kevin Burdick by Jared Platt

 Portrait of Kevin Burdick by Jared Platt

Before we went out for our location shoot, we also did a few shots in the studio.  Kevin is great for expression.  I posted a set of these expressions in a previous post, but here are a few larger shots I loved from the session.

 Portrait of Kevin Burdick by Jared Platt

You may be wondering what I did to the photos here.  What photoshop action did I use?  The coloring effect is done completely in Adobe Lightroom with the click of a button.  It is one of many presets I have created for toning my images.  This one reminds me of an old 1970s photograph of my mom and dad in horn rimed glasses and a few of the kids  up in the mountains.  The color is faded and the paper is yellowed and some of the silvers are oxidizing.  It is a nice effect, but who wants to wait 30 years for that.  Anyway, most people make these color presets with the color balance changes, but that sometimes messes up the photo itself.  Making presets correctly is important.  I am finishing up a second set of presets, which will be available for purchase by WPPI 2010 in Las Vegas (where I will be teaching a master class on Lightroom and if you are coming, I will teach you how to make this preset).   The first set of presets is called the Essential Lightroom Preset Collection, which is a set of work-flow centered presets to get you through the editing process quickly.  This new set is called the Top Secret Collection, which is a set of effect presets to compliment the Essential Collection.  This effect in particular is mostly based in the split toning panel of the develop section in Lightroom.  There are some other settings in Saturation, Vibrance and Clarity etc that help to make it look just right, but the bulk of the effect is there in the split toning.

By the way, if you are going to be at WPPI and want to take my master class, but can’t get in because it is full, email [email protected] and ask to be placed on the waiting list.  If there are enough people on the waiting list, they will open another class.  And more importantly, they will book me in a platform class next year, which they should have done this year.  So if you are going to WPPI, email and ask to be placed on the waiting list.

 Portrait of Kevin Burdick by Jared Platt

And finally, a nice black and white at 1600 ISO.  This Canon 1D Mark IV is incredible in the higher ISOs.  I can’t say enough good things about that ISO.  I turned off the flash slaves and simply used the modeling lights, raised the ISO with impunity and shot.  With this camera, I will never fear the ISO.  Never.

 Portrait of Kevin Burdick by Jared Platt

Miami Was the Last Stop on the List

Miami, FL was the last stop on the list.  I am finished with the Lightroom Workflow Workshop Tour for the year, if you wanted to attend, but couldn’t, don’t worry, I will be scheduling more of them in the spring.  First on the list is Los Angeles.  So keep checking back to get signed up for that workshop.

I’m coming home!