2010
photography
courses
with
les walkling
at centre for contemporary
photography
Download
the
2010
Photography Courses program
PDF
151kb
SEMESTER 1 2010
20–21 February •
Introduction
to
Digital Photography
06–07 March • Introduction
to
Digital Photography
13–14 March •
The
Digital Negative
27–28 March • Beyond
Basic Photoshop™
10–11
April •
The
Digital Print
24–25 April • Advanced
Camera Craft
15–16 May •
Colour
Management
29–30 May •
Advancing
Photoshop™
12–13 June • Introduction
to
Digital Photography
SEMESTER 2 2010
24–25 July •
Introduction
to Digital Photography
21–22 August •
The
Digital Negative
04–05 September • Beyond
Basic Photoshop™ FULL – Enrolments Closed
18–19 September • The
Digital Print
09–10 October • Advanced
Camera Craft
30–31 October •
Colour
Management
13–14 November •
Advancing
Photoshop™
20–21 November • Introduction
to Digital Photography
TIMES
All courses run from 10:00am to 4:30pm Saturdays and Sundays.
bookings
Book online using our secure online payments page
Workshop Prices
$285
CCP
Member
$340
Non–Member
CCP Members – Enrol
in 4 or more courses
at once and pay only
$265 per course.
Become a CCP Member
You
can
join
the
CCP
and
pay
for
a Photography Course
using
our
secure
online
payments
page.
INTRODUCTION from Les Walkling
This is the seventeenth year that I have offered a weekend education program through the Centre for Contemporary Photography. Over this time a great many cultural and technological changes have taken place in the field of fine art and commercial photography. My research has contributed to this evolution and I hope that my courses continue to constructively help others integrate these momentous changes into their own theory and practice.
Artists, photographers, designers, curators and others from all over Australia, New Zealand and Asia, both professional and nonprofessional, attend my courses. Many people take and/or repeat the courses over a number of years, not only to update or extend their skills and knowledge, but also to benefit from the friendships, collaborations and networks that naturally develop out of this program.
The courses are delivered through studio-based demonstrations, analytical investigations, practical applications, interaction and hands-on experimentation in a focused but entertaining manner. I actively facilitate discussion and analysis of the material being covered, with aspects of photographic and cultural history and theory also related to the work as critical practice.
This year I am presenting eight weekend courses each semester comprising two introductory courses, three intermediate courses and three advanced courses. Together they cover a broad range of skills, including exposure and lighting, RAW processing, creative image editing, digital printing, pictorial design, colour management, and advanced camera craft. All courses have been completely revised and updated for 2010, and due to overwhelming demand, my Introduction to Digital Photography course is now scheduled four times a year.
While the courses can be studied sequentially across one or two semesters, each course is also presented as a focused, self-contained body of knowledge that I then creatively adapt to individual needs. Each course is therefore a unique experience, that evolves from year to year, while the program overall is a comprehensive study of contemporary digital photographic practice.
For more information, please consult my FAQ page at www.leswalkling.com or contact me directly at les@leswalkling.com
terms and conditions
- A 50% deposit is required at time of bookings
- Full payment is due at least 4 working days before the course commences
- If full payment is not received prior, attendance will not be permitted
Withdrawals
Refunds can only be given for withdrawals made at least 4 working days prior to the course commencement and a $100 withdrawal fee will apply. For withdrawals with less than 4 working days notice, refunds will not be issued under any circumstances.
Transfers
Transfers between courses require at least 4 working days notice before the course commences. There is a 12 month limit on transfers and a maximum of 2 transfers are permitted within that time. Please note that transfers are subject to course price increases. A $30 transfer fee will apply for each transfer.
CANCELLATIONS
In the event that a workshop is cancelled, a full refund will be given.
Introduction to Digital Photography
Semester
1 20–21 February 2010
Semester
1 06–07 March 2010
Semester 1 12–13 June
2010
Semester
2 24–25 July 2010
Semester 2 20–21
November 2010
This introductory weekend course presents a comprehensive overview of the practice and principles of digital photography. It is specifically designed for photographers and artists relatively new to the world of digital imaging, who want a comprehensive introduction to working with digital SLR cameras. The course details each stage of digital production, and provides a sophisticated guide to what is involved, what is possible and what is required. Topics covered include:
The First Principles of Digital Photography
- The digital transformation of continuous tone and resolution
- Working with JPEG, TIFF, PSD and RAW file formats
- Understanding image, screen and printer resolution
- File size versus print size: How many pixels do I need?
- Colour profiles: What colour space do I work in?
Working with Digital SLR Cameras
- Aperture and shutter speed priorities
- ISO settings and white balance considerations
- Subject versus camera contrast
- Artifical lighting and fill flash techniques
- JPEG versus RAW workflows
Image Processing
- Which application is right for you?
- Adobe Photoshop™ versus Adobe Lightroom™
- Basic image editing workflows
- Slide shows and online image galleries
- Printing with desktop inkjet printers
Setting up a Digital Imaging Facility
- The digital darkroom and studio
- Selecting, buying and maintaining digital imaging equipment
- Minilabs and professional digital laboratories
- Storing and archiving digital images
- Manuals, textbooks, forums and other sources of information
The course is based on practical explanations and ‘hands-on’ demonstrations, from image capture and processing to digital printing and web galleries. While it is not essential for each participant to own a digital SLR camera, those who do are encouraged to bring it with them. Participants might also enrol in this course to help them decide which equipment best meets their needs, and/or as an introduction to my more advanced courses. Detailed course notes are provided.
The Digital negative
Semester
1 13–14
March 2010
Semester
2 21–22
August 2010
This intermediate weekend course covers the exposure, development and post processing of digital camera RAW files. Workflow centric applications such as Adobe Lightroom™ and Aperture™ are featured, compared and evaluated against applications such as Adobe Photoshop™ and Capture One™. Browsing, cataloguing and archiving applications are also critically examined and integrated to guarantee the efficient production of high quality images. The overall aim is to establish a comprehensive image processing workflow. Topics covered include:
Capturing Digital Negatives
- What is correct exposure?
- Establishing a camera’s dynamic range
- Comparing DSLR colour gamuts
- Key lights, fill lights, and lighting ratios
- Decisive moments and effective compositions
Developing Digital Negatives
- Comparing and selecting RAW processing software
- Calibrating digital capture
- Editing white balance, exposure, and contrast
- Noise reduction and capture sharpening strategies
- Choosing an RGB working space
Post Processing Digital Negatives
- Correcting lens aberrations, vignetting and distortion
- Resizing digital images – cubic, spline, sinc, factorial interpolation
- Identifying and reducing luminance and chrominance moire
- Automated panoramic stitching and compositing
- Introduction to HDR imaging tools and workflows
Archiving Digital Negatives
- Browsing (Bridge™) versus cataloguing (Lightroom™) workflows
- Batch renaming and automated image processing
- Working with IPTC metadata, templates and search engines
- File migration and open source (DNG) formats
- Managing, cataloguing and storing digital negatives
The course is based around a series of structured investigations and practical demonstrations of the capture, processing, and storage of digital images. Examples are drawn from a wide variety of photographic applications with an emphasis on practical solutions to real world imaging problems, such as extending dynamic range, calibrating cameras for accurate colour, and automating workflows for efficiency and productivity. Detailed course notes are provided.
Beyond Basic Photoshop™
Semester 1 27–28
March 2010
Semester 2 04–05
September 2010 FULL – Enrolments Closed
This intermediate weekend course is designed for photographers and artists already proficient with basic applications of Photoshop™ who now want to significantly extend their skills and knowledge. It provides a detailed visual investigation of Photoshop’s unique tools and techniques, where the aim is to help you to work more confidently, creatively, and efficiently as a Photoshop™ artist. Topics covered include:
Editing Photoshop™
- Prioritising Photoshop’s tools
- Levels: Colour and density correction fundamentals
- Curves: The ultimate adjustment and editing tool
- Smart Objects: Image conservation and preservation
- Expanding Photoshop’s capabilities with third party plug-ins
Managing Photoshop™
- Customising Photoshop™ settings
- Choosing the right colour space and bit depth
- Working creatively with channels and layers
- Organising adjustment layers
- Navigating layer masks
Compositing Photoshop™
- Combining images from different sources
- Selection techniques
- Layer blending modes
- Luminosity masking
- Creative image distortion and retouching
Specialist Photoshop™ Techniques
- Eliminating digital artefacts
- Superior B&W images from colour originals
- Smoothing skin tones, hand colouring and cross processing
- Batch processing with Photoshop™ actions
- Designing image editing workflows
The course is organised around a series of ‘beyond the basics’ demonstrations which present essential information and custom solutions to practical imaging problems. Traditional photographic techniques are updated and basic digital imaging workflows established, while key concepts such as nondestructive editing and Photoshop™ specific techniques significantly extend the practice of creative digital production. Detailed course notes are provided.
the digital print
Semester
1 10–11
April
2010
Semester
2 18–19
September 2010
This intermediate weekend course concentrates on printing digital files to the highest level of perfection. Specialised printing processes, materials and techniques combine to significantly expand the range of the fine print and its creative tradition. The aim is to promote, demystify, and facilitate the production of prints of exquisite quality. It also provides a comprehensive overview and analysis of the latest printers, media and inksets. Topics covered include:
Creating a Digital Print
- Re-defining spatial and luminosity relationships in the print
- Optimising printer driver settings
- Linearising and profiling printers, inksets and media
- Softproofing and hardproofing digital images
- Output sharpening strategies and techniques
Digital and Analogue Printing Processes
- Epson, HP and Canon wide gamut pigment inkjet printing
- Lightjet, Lambda and Pegasus digital photographic prints
- Continuous tone versus 8 bit and 16 bit workflows
- File size (ppi) and printer resolution (dpi) testing
- Printing with third party RIPS (MegaRIP, ImagePrint, QuadTone, EFI)
Ink and Paper Combinations
- Fine art, rag, baryta and resin-coated papers
- Aesthetic considerations: Depth, dimensionality and presence
- Evaluating inksets: Density, gamut and ink inconstancy
- Metamerism failure: Lighting and viewing digital prints
- Archival testing: Media, inksets and print coatings
The Digital B&W Fine Print
- Converting RGB, CMYK and LAB images to greyscale
- Refining and expanding print luminosity
- Split toning and multi-layered toning techniques
- Digital intensification and reduction
- Evaluating quality: pigment inkjet versus silver gelatin prints
The course is conducted as a series of integrated studio demonstrations and discussions. Print making equipment, processes and materials are critically analysed and illustrated with numerous case-studies and finished prints. Professional labs, specialist printing services and artist’s studios provide real-world examples, while histories and theories of visual art are incorporated to expand creative practices and aesthetic outcomes. Detailed course notes are provided.
ADVANCED CAMERA CRAFT
Semester 1 24–25
April 2010
Semester 2 09–10 October 2010
This advanced weekend course presents a comprehensive overview of contemporary digital camera craft in the field and studio. It is intended for those who are already familiar with DSLR cameras and digital capture and want to significantly extend their understanding and practice. A ‘hands on’ approach emphasises learning through experimentation where the aim is to promote an engagement with photography and its craft as creative expression. Topics covered include:
Understanding Digital Capture
- Dynamic range: Subject versus camera
- Bit depth: 8-bit, 16-bit, and 32-bit processes
- Sensors, Bayer filter arrays, electron wells and drains
- Metadata corrections and distortions
- Managing and reducing dark current noise
Lighting Digital Capture
- The nature of light, shade, and shadow
- Measuring and interpreting light: Reflected/incident/spot
- Composition: The elements and principles of pictorial design
- Creative exposure and pre-visualisation
- Calibrating and profiling digital cameras
Lenses for Digital Capture
- Resolution and interpreting MTF curves
- Diffraction and Nyquist frequency limitations
- Longitudinal and lateral chromatic aberration
- Digital depth of field calculations and problems
- The subjective properties of lenses
Special Purpose Equipment and Techniques
- HDR: High Dynamic Range tools and techniques
- Extending depth of focus and depth of field
- Hyperfocal distance and zone focusing
- Perspective controls: Shift, tilt and swing lenses
- Scanning backs and panoramic solutions
The workshop is based around a series of practical demonstrations integrated with analytical and reflective sessions. While it is not essential for each participant to own a digital SLR camera, those who do are encouraged to bring it to the workshop. Medium and 35mm formats are catered for, including custom camera calibration and profiling. The course will also inform the selection, evaluation, and acquisition of new equipment. Detailed course notes are provided.
colour management
Semester
1 15–16
May 2010
Semester
2 30–31
October 2010
Colour management is at the heart of every contemporary digital photographic process and practice. This advanced weekend workshop presents a logical and comprehensive approach to accurately colour managing all aspects of digital imaging, from capture, to display, editing, printing and publishing. The aim is to establish the essential skills needed to increase productivity, reduce costs and significantly improve image quality and colour fidelity. Topics covered include:
The Principles and Practice of Colour Management
- Understanding colour reproduction in digital workflows
- The relationship between an image and its colour space
- What are device profiles and where are they stored?
- The difference between calibration and profiling
- Assigning and converting profiles
Setting up a Colour Managed Workflow
- Working with appropriate software and hardware
- Choosing the right RGB, CMYK and Greyscale working spaces
- Print viewing environments and softproofing solutions
- Collaborating with designers, labs and prepress services
- Matching a screen image to its printed image
Device Profiling
- Creating custom camera, scanner, monitor, and printer profiles
- Comparing and testing profiling software and hardware
- Sourcing and evaluating commercially available profiles
- Spectral analysis of devices, materials and environments
- Editing profiles for visual compensation
Alternative Colour Management Strategies
- Analysing profiles for accuracy, reliability and device stability
- Implementing and automating colour managed workflows
- Separating into CMYK colour spaces and device link profiles
- The limits of ICC based colour management
- DIY colour management on a budget
The course is based around a series of practical demonstrations that demystify colour management and integrate its critical functions into contemporary digital imaging practice. Real-world examples are used to illustrate how to accurately implement colour management in everyday production, including collaborating with service providers and working with non-colour managed equipment and applications. Detailed course notes and calibration guides are provided.
AdvancING Photoshop™
Semester
1 29–30
May 2010
Semester
2 13–14 November 2010
This advanced course showcases sophisticated Photoshop™ editing techniques, production strategies and visual problem solving. It is designed for professional photographers, artists and advanced non-professionals who want to extend their appreciation, understanding, and imaginative application of Photoshop™ to profoundly enhance their imaging outcomes. The aim is to inspire creative, innovative and inventive image editing solutions. Topics covered include:
Independent Tone and Colour Correction
- RGB colour: Editing errors and curves that don’t work
- The problems of working in CIE LAB
- Dividing and conquering Photoshop™
- Separating luminosity and chromaticity solutions
- Minimising quantisation errors
Blending Mode Power Editing
- Understanding Photoshop’s Blending Modes
- Intensification and reduction – Lighten, Darken, Screen, Multiply
- Editing tone and colour – Color, Hue, Saturation, Luminosity
- Variable contrast controls – Soft Light, Overlay, Hard Light
- Layer stacking and alignment – Difference, Subtract, Add
Creative Image Editing
- Making it believable – illusions and lies
- Photorealistic compositing – image capture and extraction
- Advanced selection and processing techniques
- Advanced sharpening – Darken/Lighten, Hi Pass and Find Edges
- Real time editing of large image files via low resolution proxies
Advanced Image Masking
- Luminosity and chromaticity masks – fine detail masking
- Layer Styles masks – split luminosity masking
- Blending Mode masks – tonal equalisation masking
- Photographic masks – subtractive and additive masking
- Calculations/Apply Image masks – colour contrast masking
The course is presented through a series of practical applications, analytical demonstrations and critical observations of advanced PhotoshopTM techniques and processes. Therefore a working knowledge of PhotoshopTM is assumed. While the course focuses on the production advantages of the most recent version of PhotoshopTM, the knowledge, techniques and distinctions can also be successfully applied to earlier versions. Detailed course notes are provided
