Each week we correct an image, you can use whatever software or techniques you like.
Each month I will video-call you for one hour, a full private lesson. You can choose the topics, and I’m always here for advices.
You choose how much time to devote to your education, and what skills to improve faster. Learning and consulting together.
The Professional profile is dedicated to who is, or wants to be, a pro in this field. On top of continuous work in the Workshop, and the freedom of pace of Duels, and Vaults, I focused on the only upscale tool we can have. A private one-to-one videoconference.
Each month we will meet for a private, completely custom video call, where I will also share my screen, and I will talk about theory, practice, or whatever is most valuable to you.
If you’re looking for more, you’ll find customisable educational packages in the shop.
Easy and very effective, a page where you will be able to compare your image with the previous winner for that very image. Will you be able to do better? In that case, send me the image, you’re now the winner!
All our work, years of videos and corrections, everything categorised by year, difficulty, and photographer. Hundreds of videos, that you can navigate anytime.
Open access to the beta pages of the Codex Project. A full passive experience to learn color correction at your own rhythm.
Simple, just-working, group chat to leave a comment or engage with other Panel’s users. You can follow in-page, or via a mobile or desktop app, or avoiding altogether, your choice! I use it to notify about new images/videos.
A new feature to reply to questions, to keep the weekly video as brief as possible. Here we’ll talk about news, or specific questions, that you can ask, anytime, via a form.
Also, in the private area you will find three extra videos, some are lessons from precious courses. Plus, a one hour video dedicated to beginners.
How To Join
Yearly subscriptions (two months for free), VAT exemptions, and Gifts are available if you want to know more write me!
100$ / month
Two Free Months!
1000$ / year
Frequently Asked Questions
If you want to ask more, please feel free to contact me.
Is the Professional profile right for me?
This is my most complete educational experience on color correction. It is dedicated to beginners that want to become very good in as little time as possible, and to professionals that want to refine their knowledge. All Classic and Premium feature are included, plus a custom one-hour conference-call with me.
How does the video-call works?
We will use a premium conference-call software, you do not have to install, configure anything, I will connected both via webcam, and screen-sharing. This allows us to direct our lesson as we please, theory, practice and everything in-between.
Can I customise this?
Absolutely! Not only we can talk, and investigate, any kind of topic (underwater photography, fancy workflows, iPad for color correction, you name it), but we can also jump from theory to practice in a second, because I have an entire archive of images already corrected, with both good and bad results we can evaluate. Or you can work on images yourself, and be corrected in realtime.
Want to know more? I published an Help page just for you!
A modern and advance method to read an original, and analyse an image, based on Lightroom (or other RAW processor). In Photoshop we can measure colors, but in Lr we can continuously change all the parameters to see how the image react to these changes. This way we can rapidly collect info not only on the image’s issue, but on its potential as well. We can couple this with the tool “Snapshot”, to create further references to compare.
The biggest problem for users that approach post-production and color correction is not about techniques, or tools, is about image analysis. Readings is a feature of the Online Workshop, is a video where I comprehensively analyse an original un-retouched image, its flaws and potential and how to approach its enhancement.
An absolute genius, and a great friend. Davide has a large and meaningful experience in many high end professional niches. He’s a brilliant coder, and build several Photoshop extensions. He wrote, as well, several books to learn to extend Photoshop. To add insult to injury is an incredibly talented colorist as well.
An application published by Adobe in 1990 for Mac that allowed primitive (but jaw-dropping back then). Pleasure and pain of any digital photographer, colorist, pre-press manager and hundreds of other professions, from architecture to web design. Once sold as a stand-alone application, or bundled in the Creative Suite, it is today available only via a monthly or yearly subscription. It has always been the most pirated app in the world, and one that was developed without care or vision. So many, and diverse, tools were added during the decades, that an organic and comprehensive study is now impossible.
A new tool introduced in Camera RAW and Lightroom that allows user to subtract on a layer-based logic. It acts only on local adjustments subtracting the unwanted areas of brushing and filters. It has a great importance in lessening Photoshop usage, and it is the first step towards the end of the Lightroom Photoshop dualism.
The most important technology that we got when digital imaging switched to digital. Developing a RAW file means first and foremost that we’re not actually modifying that file in any way. We are working on a different text file, or database. This is also why RAWs are called “digital negatives”, because they will stay there untouched. It is the closest stage we can get to raw data from the sensor. There are also downsides, for example each manufacturer chose a different way, and extension, and there are significant variations in different softwares.
A core quality, like contrast and brightness, for every colorist. As such, one of the key parameters to evaluate in a corrected version. When we talk about saturation we mean a certain hue‘s intensity. When saturation get higher colors are more vivid, when it approaches zero hues turn to grey. Often words like “vivid” or “strong” are overlooked in color science, but are still valuable to us. Especially when we remember ourselves how much important perception is in our field.
The Workshop‘s users are a legitimate Team. In years of practice, work and discoveries we distilled a common language and refined our skills. We inspired each other with smart ideas and unconventional approaches. But most of all we disagreed. Agree with each other is a good thing, but disagreement is even better. The Team corrected hundreds of images for years, and it is always invited to share feedbacks and thoughts.
A general understanding of how our visual system works is important for any colorist. The visual system is not limited to our eyes, the brain plays an important role. This combination, and the results they produce, was tweaked during our evolution to serve a purpose. Some of its phenomena can be proficiently used in color correction to our advantage.
A “version” is an image that has been corrected by a colorist. In our Workshop a version is produced by every colorist, every week. It has a great value, but it gets multiplied when used in combination with other versions. Even if your working solo, producing more versions of the same original, can help you producing a better result.
Let’s start from the start! Alessandro Bernardi, or AB (all acronyms in this page are friends, classmates and colleagues). A professional colorist, with a huge experience, he studied oversea with Dan Margulis, and from 2009 managed his classes in Italy. I, and many others, owe him a great debt of gratitude. The education, experience, and networking those classes generated changed many lives, mine included.
My favourite Photoshop tool is also a long forgotten one. I will write a complete article soon, in the meantime let me say blend-if is the most powerful tool to blend two different layers, allowing logical operations, especially when used in Lab. It is as well a tool that can be used in combination with masks, blend modes and opacity. What used to make Photoshop truly essential, at least until Range Mask came out in Camera RAW, and Lightroom.
Photography’s original language (although imposed by technical limitations). Still doable, but massively penalized by digital, black and white is actually a very difficult language to recreate. Similarly to the imitation of gold on paper, todays colorists fail to understand a good old-fashion black and white print used many technologies not available anymore. A huge market, not always honest, gravitates around B&W, from grains to apply, to filter to auto-generate corrections. The best approach is still understanding how a color image is created, and to use its channels.
Our visual system and our color perception will always be more advanced than a camera. Sure, there will be hardware capable of features we can compete with (it is already like this with night vision), but these usually involve peculiar hardwares and algorithms that do not produce good, nor natural, images. The power our brain has to manipulate colors will probably never be matched by a sensor. This is why many times there is no match in what we see, and what our camera sees, forcing us to operate a balance.
Different sets of calculations that allows for different interactions of two adjacent layers. We can set the blend mode of a layer, adjustment layer or smart object, the result will impact luminosity, color or both. There are as well some primitive logic functions, like “difference”.
One of the fundamental elements that compile a digital image. Channels are usually three (RGB, Lab) or four (CMYK), and they are very valuable in practical color correction as well. They are essentially black and white versions of an image (where black and white values depends on colors), thus are great for masking, or reading an image.
Once the the line that divided pros from amateurs this still relevant color method is used less and less day by day. The importance of having four more channels will always be the same, but the more modern RAW tools (and the huge amount of time required to learn Photoshop ‘till CMYK), and the better quality we get from digital cameras, allows for much simpler and faster tools.
Color, limiting this definition in regards of our professions and studies, is our perception of the macroscopic manifestation of physical properties in everything around us. Our visual system is based on perception, and evolved for hundreds of millennia with a purpose: surviving. Studying this phenomena can be rewarding, like in the case of chromatic operation, or adaptation.
Professionals in the fields of color correction. It is a quite definite subset of pros, like retoucher, or post-producers. Once (film age) a very prestigious career, with the transition to digital its value was diluted and quickly forgotten. Learning color correction is frequently mistaken with studying Photoshop, or other image processing applications. That couldn’t be more wrong.
The most important feedback we can have happens when we compare two version of the same image. We’re not able to measure colors with our eyes, but our visual system can compare things very quickly, and we can gain great value in this comparison. What works better, if there is a color casts, paired with tools to read color values we can safely tell the quality of our work.
A core quality for colorists. As with many concepts in disciplines that involve perception it is much easier to observe the changes than to give a definition. If we increase contrast highlights will be brighter and shadows darker, if we reduce it the opposite will happens. Its definition, the relationship with dynamic range and the analogies with other disciplines require much more time and space.
My opinion is that it is better to split color correction results in two categories: “corrections” and “interpretation“. Corrections focus on objectively improving an original. Removing issues like color casts or lack of contrast, and improving saturation. It should be the first step in any job, and it should be the goal of photojournalism or scientific images. This required precision can, sometimes, make things harder, like in multi-images projects.
Duels is the last tool I developed. It allows you to challenge the Winner of a previous assignemt from a pool of over 300 images. You can comper your own version with the Winner’s, with the Average, and the Original. When you want, how many times you want.
Let’s keep this simple. Hue define the kind of color we’re seeing, not how much is bright or saturated. So a saturated red, and a pale red will have the same hue, and different saturations. While a crimson red, a cardinal and a carmine will have similar hues, and different luminosities. Finally, greens and reds will have different hues. In digital color Hue can be a parameter in a color space, combined with Saturation and Lightness.
My opinion is that it is better to split color correction results in two categories: “corrections” and “interpretations”. Interpretations have a much more complex goal than corrections. They focus more on aesthetics, on subjectivity, their goal is to make a picture (or one of its element) to looks “better”. This can’t be absolute, and we risk, sometimes, to achieve the opposite result. Post-production for fashion photography, portraits and product photography usually are interpretations.
A RAW developing application published by Adobe since 2007. Lightroom was developed around the photographers but it still requires Photoshop for a complete color correction workflow. It is divided in modules, and can be used to manage catalogues, archives, metadata, editing, post-production and exports. Since the switch to the subscription model Lightroom is part of Creative Cloud.
A word that represent different things in the color correction world. A quality, a parameter, a channel in Lab, one of the two fundamental elements of a photo (the other is chroma). It is a core concept during the evaluation of a correction. It is a much more appropriate term when describing what was the exposure in a previous stage.
Our collecting, analyzing and tweaking data received from our senses. We are not capable to make absolute measures, but we are very good at comparing things. visual system and color perception are good topic for colorists to learn to add a layer of complexity to their work.