TK7 Go Module: A video by Dave Kelly

“The Joy of Editing” is a YouTube channel run by Dave Kelly, and he recently uploaded a video featuring luminosity masks and the TK7 Go module. He explains the basic features of how to use it, and photographers familiar with the panel may already know some of what he demonstrates. However, he does make especially good use of the module’s Zone masks in this video. Zone masks were completely changed in the Go module compared to the Zone masks in the RapidMask module, and they’re possibly underutilized. Dave uses them as layer masks on Curves adjustment layers, but I also find them useful for burning and dodging after loading them as a selection. If you’ve not experimented the Zone masks in the Go module, hopefully seeing what Dave does in this video will provide some incentive and confidence to give them a try.

Sean Bagshaw on the PhotoPills channel

Sean Bagshaw appeared on the PhotoPills YouTube channel recently. He had a conversation with Rafael Pons from the PhotoPills team that covered Sean’s personal history, his approach to taking pictures, and then four image workflows where Sean demonstrated various ways he uses Photoshop and luminosity masks to develop images. It covers a lot of territory. The processing workflows start at 30 minutes in, but the initial conversation also provides valuable insight on how to create images that are personally satisfying. It’s interesting and fun to watch but maybe grab a bowl of popcorn first as the total runtime is a little over two hours. Also, be sure to check out the PhotoPills app. It’s a great way to plan landscape images that perfectly align with the sun, moon, and stars.

The Photo Series: Challenge your creativity

This article is the brainchild of Bob Hills, who organized the content, wrote the original draft (and edited several more), solicited the images, and continues to inspire other photographers with his work. Also worth noting is that all the images in this post are thumbnails. Clicking one opens a slideshow to see larger versions of the entire series

As photographers, many of us have websites with “galleries.”  The gallery is a useful tool to organize stand-alone images into a logical group or collection thereby enhancing the viewing experience.  Each can include a few images or several dozen.  Photo galleries typically originate when the photographer assembles similar images from their existing portfolio and, later, may expand the collection with new, fresh material.  

While we aim for each image to tell its own story, we know that one image isn’t always enough. More breadth is sometimes required, and thus more images, to provide the full story regarding our connection to the subject. This interest in creating a more comprehensive photographic narrative led me on an investigation of the “photo series” and to eventually discover its potential to make a stronger visual statement while also exploring new creative possibilities.

In working on different photo series over the years, I’ve discovered several characteristics that distinguish them from images grouped into a gallery.

  • The photo series is more premeditated in that it is planned before the creative work begins or early in the creative cycle.
  • There is a tight, overarching theme to a series with each image contributing to enhancing and conveying that theme with less emphasis on making each image unique and distinct.
  • There is likely a deeper connection between the photographer and the subject matter that drives the initial capture of images and the subsequent development and organization.
  • It follows that photographs in a series are often edited with the same method and in a similar style to bolster coherence.  

Examples of photo series (or portions of them) are shown throughout this article. 

A good photo series provides an enhanced viewing experience.  

  • The series has a cumulative effect beyond individual images being considered on their own merits. 
  • It capitalizes on the phenomenon that the human brain is stimulated by identifying trends, patterns, and other unifying elements in imagery.
  • There is the effect of expanding on the theme, or storyline, with each additional image.

This last point lends itself to the metaphor between photography and writing. A good individual image can tell a story, like writing an article or short story.  If the image is part of a compelling series, that image becomes a chapter, and the entire series forms the novel around the theme.

A photo series can also presents viewers with an alternative and perhaps unexpected viewing experience. 

  • The viewer will get a broader perspective on the subject or theme than can be derived from a single image. 
  •  A well done series communicates the photographer’s personal connection to the images and their intention to explore this relationship artistically.
  • The viewer will likely regard the photographer as having studied the subject and developed some expertise on how to capture and present it. 

In the end, a well done series engages the viewer to consider both the images and the photographer in a positive manner.

Producing a photo series should provide a satisfying experience for the photographer.

  • It gives them a chance to tell a bigger story than can be told with a single image.
  • Developing a series allows the photographer more time to take a deeper dive into their subject, theme, or concept.
  • There is the opportunity for a more meaningful learning experience compared to jumping between unrelated images since the time and effort to create a series often requires new approaches and solving a broader set of problems.  

As the photo series unfolds, the satisfaction is not just in the pictures.  The creative process of making the series can itself be as rewarding as the final images.

As a photographer, how do you go about producing a photo series?  The first step is to decide what you want your series to be about.  Ideally, you would come up with an idea before you get started.  However, it would be more common to stumble on the idea for a series as you capture or process individual images, or experiment with different techniques.  The plan or thought for a series will be spurred by excitement, a personal connection to the subject, the desire to serve a cause, or simply to take on a bigger challenge.  Always be thinking about “series” possibilities in order to catch potential ideas early on.  And when inspiration strikes, be sure to follow through by making additional, similar images to see where it might lead you.

Once you have decided on the cohesive theme and style for your series, a certain level of commitment and perseverance is required to complete a set of supporting images.  You do not necessarily need to work on a series in one continuous block of time or exclusively.  However, it is easier to stick to the theme and style if you can work on it with some regularity in order to keep the momentum intact.

The final challenge is the same as with any work of art:  deciding when it is done.  The shooting, editing, and curating of images can, of course, be endless, so the real question becomes when to share your series with a larger audience. In general, the answer to that question is to do it sooner rather than later. Once you have a minimal number of images (like three) that you feel communicate something bigger than the content of the individual pictures, you likely have a series. However premature this may feel, sharing the product may help you find direction and incentive to continue. The reality is that a series never needs to end unless you want it to.  If the subject, theme, techniques, and exploration continue to be of interest; and you can consistently create new images around that theme, then both you and your audience will continue to benefit.  A series doesn’t have to be a one-off event.  If you’re lucky, it can also be a life-long passion.

Luminosity Mask Masterclass: A new video series by Sean Bagshaw

I’m very happy to announce that Sean Bagshaw’s newest video series, Luminosity Mask Masterclass, is now available on the Panels & Videos page. I’ve included several sample chapters below.  Previous customers should check their email for a private discount code.  New customers can use the following code for an introductory 20% discount:  Master20

From almost the time the original tutorial was released in November 2006, Sean Bagshaw has been a user and proponent of luminosity masks.  He’s been teaching them for nearly a decade and has had significant input into designing the panels I’ve made to generate them.  His first Complete Guide to Luminosity Masks series in 2013 and the follow-up “2nd edition” in 2015 helped many photographers understand the potential of these amazing masks for the first time.  Since then he has done numerous courses utilizing luminosity masks.  His Complete Workflow videos, for example, demonstrate how easily these techniques can be incorporated into the digital workflow and what a difference they can make.

However, it’s been over five years since Sean released a series devoted exclusively to luminosity masks, and this makes Luminosity Mask Masterclass an important and timely update.  I’ve continued to evolve masking concepts over the years, and new masks and new panels are now available.  While preset luminosity masks are still the core type of pixel-based masks, they’re no longer the only type of mask that can be derived from pixel values.  Saturation masks, color masks, and zone masks are now easily generated, and these too can be extremely useful when making targeted adjustments in Photoshop.  In addition, there are new ways to modify masks, new ways to output them, and new techniques that take advantage of these masks’ immensely useful self-feathering character. 

So the universe of pixel-based masks has expanded considerably in the last five years.  Luminosity Mask Masterclass looks to combine this new knowledge about pixel-based masks with Sean’s expertise in using them to provide a detailed overview of their creative potential.  Masterclass is a compendium that provides both a broad look at this masking landscape as well as in-depth demonstration of how to use these masks in specific situations.

The new series is composed of fifty (50) chapters and would require around five hours if you watched them all straight through.  Fortunately, Sean has the content arranged into broad topics that include:

  • Basic concepts
  • Ways to mask
  • Choosing masks
  • Modifying masks
  • Mask techniques

It’s filled with lots (and lots) of examples and includes images, so you can practice along with Sean.  The organization makes it easy to focus your attention on topics and chapters that interest you most and to learn at a pace that feels comfortable.  Additionally, this is Sean’s first course that makes extensive use of the new TK7 Go module, and I’m really happy to see how it performs. It’s instructive to see how he employs it in a wide variety of situations.

I’m sure you’ll enjoy this new series. Sean is a talented teacher and an expert at explaining the way things work and how to do them, especially when it comes to luminosity masks. Luminosity and other pixel-based masks can certainly make a difference in your images, and this course will help you get the most out of them. I hope you’ll give the new series a try. Please feel free to leave a comment or contact me if you have any questions.

NOTE: The Master20 discount code expires on November 26, 2020.