this is what I did distilled into a slightly more organized structured version because when I did it I was sort of like in like in the darkroom feeling for the light switch number one is you figure out your resources so all of us have different things that we can contribute maybe wehave lots of money that we can invest maybe we don't maybe we have lots of time that we can vest me
On this stage, I was already passionate about photography, but this is the first time when I was able to stay there in the darkroom for hours. And I was amazed how quickly you can see the results of your work, especially comparing to designing architecture projects.
And one neat trick you can do in black and white is you can invert images. Like in the chemical darkroom , the difference between positive and negative, a negative was the negative, and a print was the positive. Well, these days, you can do the same thing and flip back and forth easily.
When I was young-- and by the way, what I mean by that is middle school years, early teen years-- I was dabbling in all sorts of arts. I put a darkroom in my parents' basement. I was acting in high school plays.
I started doing black and white photography with Uncle Bill. And my very first darkroom was the bathroom. I'm not joking, the bathroom.
I would literally turn on the light switch to expose the material. That was my first darkroom , the bathroom, literally. And I shot black and white film.
to your stuff. Tip number five is you really want to check your camera settings all the time. I'm always changing my white balance. Sure, we could change the white balance in the digital darkroom , but if we have all these pictures and we're changing the white balance and the exposure and all these other things, it takes time. So, the question is, do you guys wanna be in the digital darkroom or do you wanna be out shooting? So, this is why it's the--, it's very, very important, very important to get the best possible in camera
you can definitely go-- I and a lot of my friends definitely shoot on the automatic modes. So, it's seeing the light, it's controlling the light and then playing with the light in the digital darkroom . Here, I took out some of the color of the background. I softened the color. I'm sure a lot of you know Ansel Adams. He was very well known for his beautiful, beautiful black and white images. Well, he took out the color from the scene. When we take out the color from the scene, we take out some of the reality, right? When we take
I thought, that was a great question. No different than being in a traditional darkroom where you change the color wheels, or you dodge or burn, or you create contrast masks or--
uptight. Especially when you're working with children, allow yourself to come to their level, allow yourself to act like an idiot. So fear is a little darkroom where negatives are developed.
the digital darkroom , but if we have all these pictures and we're changing the white balance and the exposure and all these other things, it takes time. So, the question is, do you guys wanna be in the digital darkroom or do you wanna be out shooting? So, this is why it's the--, it's very, very important, very important to get the best possible in camera exposure. So, you wanna check your settings so the white balance is right, so your exposure compensation is set correctly. Not only to save you time, but so you don't miss a shot.
then, in the background, really adds a lot of interest to this picture. You also see that I cropped this in the high dynamic, in the high definition format. I also added a blue gradual filter in the digital darkroom . I also placed this lone elephant off to the side. Again, think, it doesn't take much. It doesn't take much to turn a snapshot into a great shot if you just think about the end result; how the picture is going to wind up.
And I took my camera with me. People think that digital printing-- I came from the wet darkroom .
I warned you. I find myself-- that's a hard one to answer. That scene was really wonderful and powerful to me because that darkroom was the actual darkroom where I first learned how to develop film and make prints.
man #2: Rick: Ok, maybe someone just walking by, Googling something. Who knows? So, anyway, yes, in the digital darkroom we can rescue up to a stop of overexposed areas. But why risk that? Why risk those highlights being overexposed and blown out? I've seen, I've seen pictures of beautiful landscapes, beautiful landscapes, except part of the sky was blown out, or there's reflection on the water where part of that is overexposed and washed out.
getting paid very much and so Barr use to give him extra work taking installation photos so every time they had an exhibition, he'd go around and take a picture of the gallery itself. So they didn't have a darkroom so Beaumont Newhall used to develop the film in the men's room of the townhouse where they were and one day Barr came up to him and said, "What do you think about trying to host a photography exhibition?" Long story short, Beaumont quickly realized he was being tapped to organize it and then it went well and he
He was a master printer. You do this thing, and you go to a darkroom , and you make these special things.
So one of the things that used to be, when I was a film photographer in the darkroom , I used to use chemicals to create toning. There was a process called solarization, where you would turn the light on in the darkroom and partly expose the paper as it was processing. Well, there are various simulated ways to do the same technique with black and white photography in the digital darkroom .
I warned you. I find myself-- that's a hard one to answer. Actually yes. There was one scene that we filmed at Austin High-- the darkroom scene where the he's getting the lecture from Mr. Whatever his name is.
For some of you, it may help to close your eyes. For others, let's just imagine that we're standing in a darkroom . And the room is so dark, we can't even see our hand in front of our face.
Essentially, there's a hierarchy of black and white conversion techniques where one axis here is the effort involved, and the other is the quality. This could be summed up "no pain, no gain." So I spent a lot of time in the Photoshop darkroom . Generally, for any kind of photography, what really happens is you get some kind of concept, and then you go out,
So I don't know whether that's a symbol here yet or not, but it is for us. So one of the things that used to be, when I was a film photographer in the darkroom , I used to use chemicals to create toning. There was a process called solarization, where you would turn the light on in the darkroom and partly expose the paper as it was processing.
There was a process called solarization, where you would turn the light on in the darkroom and partly expose the paper as it was processing. Well, there are various simulated ways to do the same technique with black and white photography in the digital darkroom . Also, you can use things like mobile phones and mobile phone apps.
And here's the other really insane thing about it. But she intentionally, in the dark room, Photoshopped-- that's a weird analogy saying darkroom and Photoshop together.
of light. Once we learn how to the light, then we can make the right adjustments with the -- inside our camera, or add a flash, use a reflector or diffuser, wait for a different time of day,, and then after we do that on site, then we can go into the digital darkroom and work and play with the light.
the largest fish in the sea. It's about the size of a school bus. This is amazing. It just floats gently through the water and eats plankton. So, it's a very, it's not harmless, it's not frightening to man at all. And again, playing in Photoshop. This is a picture I created one weekend; a 3-D image using one of the digital darkroom programs. But, again, I came here to talk about HDR photography, but we're walking around and I see these meeting rooms you guys have that look like yurts, right? So, I thought I'd throw in some pictures
the light with a flash, we can control the light with a reflector, we can control the light with a diffuser, we can control the light by moving the subject into the shade. So, seeing the light is the first thing, controlling the light is the second thing and the last thing is working, or playing, with the light in the digital darkroom . It's all about light. And if you look at your pictures that way, that it's all about light, you'll start to really, you'll probably get a higher percentage of pictures that you like without underexposed,
here are concerned about digital noise in their pictures? Ok, Cliff raises his hand. Ok, I'll just share. First of all, with the new digital darkroom programs, it's much easier to get rid of the noise. I'll share with you something my father said when I first started getting into photography. I used something called, Cliff, you're a little young; we used to have this stuff in canisters called film, ok? It came in yellow or green containers,
even more grainy. So, I'm talking to my father, I'm going out to shoot something, I say, "You know, what should I do? I really don't wanna push it because I'm gonna get twice the amount the edges of the scene to draw more attention to the main subject and I selectively sharpened the animal. My number one tip in the digital darkroom is to think selectively, don't think