One spot left just open up in our April 21-24th class.
Learn the legendary Lightroom Workflow.
Not only will we teach you Lightroom but we will also teach you how to convey your vision with processing. You’ll learn the fundamentals of Lightroom and become an expert in keeping every image you shoot organized, edited and archived through keywording, metadata and collections.
Many of the folks teaching Lightroom have gotten their training by taking our workshop.
Why Take a D65 Lightroom Workshop?
Learn how to use Lightroom efficiently and effortlessly
Learn when to use what slider and why to adjust your images
Learn how to condense multiple catalogs into one concise catalog
Learn how to organize all of your images with an easy to follow DAM system
Learn how to get all of your old images organized into Lightroom
Learn how to migrate images from iPhoto and Aperture
Learn how to never have those annoying question marks
Learn how to merge images shot on location into your catalog at home
Learn how to set up an true archive, so you don’t ever lose anything
Learn advance techniques for moving between Lightroom and Photoshop
Learn in an intimate & personal setting with constant one-on-one attention
Learn how to reveal your voice with your images.
Palm Beach Gardens
April 21-24, 2015 1 spaces left
May 12-15, 2015 3 spaces left
For more info: http://www.d-65.com/workshop/201504_pbi_info.html
Come to our next Lightroom Workshop March 10-13 and really learn Lightroom.Our Lightroom Workshops are legendary. Many of the folks teaching Lightroom have gotten their training by taking our workshop.
We are very proud of our teaching style and in the last workshop every student gave us a score of 10 out 10. Here is one of comments:
Dear Seth and Jamie,
“THANK YOU, THANK YOU!!!!!!!!
This workshop far exceeded my expectations! The agenda for the four days was logically organized and the spiral review for each module was essential.
I truly appreciated your “tag team” model. You each bring such a wealth of experience and skill. The “walk round the table” one to one assistance was most helpful for me (as I am sure it was for everyone in the group) as it was truly specific and differentiated for each of us. I also like the “mini quiz” experiences. It helped me cement the knowledge that I was trying to apply each day.
I came with one expectation – that my LR.cat catalog would be correctly organized and easily accessible by Friday! I have that and way more. I now understand how the catalog works as well as how to correctly import old and new images.
I feel confident and “more competent” with the development module. Thank you for your fun and relaxing instruction and leadership that did not ever intimidate but always challenged me to improve my skills and understanding!!
It was such a pleasure to share with the participants and your family. Thank you for opening your beautiful home and sharing your amazing talents and friendship this week. Your your wine and appiteaser evening was just stunning!!!
Loved it all!! and can’t wait to see you in the future ”
Almost any photographer can produce 10 to 20 really good images but that in itself, may no longer be enough to gain them the recognition that will take their craft further. Developing a voice or a style and eventually developing a successful body of work may help provide you with the edge to take your work to the next level.
CAN YOU DESCRIBE YOUR OWN WORK OR STYLE?
If you are a painter there are words to describe the style of painting that very clearly communicates the type of work you produce such as Impressionism, Realism, Photorealism, Fauvism, Surrealism. If you work in ceramics, or glass or just about any form of art other than photography the outside world gets a pretty good idea about your art. Yet, when it comes to photography, most folks just call themselves a photographer, which leaves the door wide open for interpretation. When I say that I am a photographer, I am routinely asked if I do weddings and when I say no, I am asked if I do wildlife and when I say sometimes, they are already confused. When I add in that I also photograph people and landscapes and produce commercial work for magazines, and fine art for galleries they are clearly even more confused.
– See more at: http://blog.xritephoto.com/2015/02/body-work-coloratti-master-seth-resnick/#sthash.lFH1QNU1.dpufShare on Facebook
Lightroom Develop Tip
Did you know?
The Alt (Option) Key has many specialized uses in the Develop Module. Here I am using The Alt (Option) in the Noise Reduction panel to better see the Luminance, Detail and Contrast sliders. Using Alt (Option) for removing noise converts the image into a black and white image so you can see the effect of the adjustments more clearly. You can also use Alt (Option) for Sharpening, Lens Corrections with the Color Tab as well as for the Exposure, Highlights, Whites, Shadows and Blacks.
In our 4-day intense workshop, D-65 will teach you detailed workflow utilizing the 7 modules of Lightroom, to vastly improve your digital asset management, processing and image delivery skills.
You’ll learn the fundamentals of Lightroom and become an expert in keeping every image you shoot organized, edited and archived through keywording, metadata and collections.
Palm Beach Gardens
February 9-12,2015 2 spaces left
March 10 -13, 2015 6 spaces
April 21-24, 2015 2 spaces left
May 12-15, 2015 6 spaces left
For more info: http://www.d-65.com/workshop/201502_pbi_info.html
Folks who have taken our Art of Creativity Class are typically asked by others if they shot good pictures?They are surprised when they learn that the person never actually shot a photograph during the workshop. How can one take a photography workshop and not shoot?
We teach two photography workshops that do not incorporate shooting. The Art of Creativity and The Art of Processing are very rewarding to teach and our participants take their work to new levels yet they don’t actually shoot. So what exactly do we do in our program? We just finished teaching the Art of Creativity and below are just some of the topics we covered with the students. We spend the majority of our time on creative exercises to develop and enhance a personal distinct vision.
There are in depth reviews of work which include things like every person supplying 10 ideas to further develop a body of work. This in itself gives each participant more than 100 ideas. Some of the topics we covered were:
- Describing your vision
- Elevator Pitch
- Keywords for yourself and your images
- Your photographic influences
- Guiding Questions
- Titles For A Body Of WorkWhat’s missing?
- How could you add something to make “it” more complete/successful?
- What could you add to a complete body of work to extend it?
It is beyond rewarding as a teacher when you can get students to find major life answers to questions that connect to their work. Tears, hugs and laughter are all experiences that we share as a group.
Ironically, when deciding on a workshop many people simply assume that they are already creative and they really are only interested processing. If we look at the work of many of the worlds respected photographers both living and dead they all had a very distinctive style and voice. It is not hard to know a Jay Maisel photograph or Greg Gorman, Eric Meola, or John Paul Caponigro. The same is true of Ansel Adams, Henri Cartier-Bresson and just about every other well known photographer. Their signature goes well beyond the physical one on the print. The entire image becomes a signature and this is what we teach in this workshop which just about every photographer finds beneficial.
In the end we ask all the students to rate various factors of the workshop on a scale of 1- 10. It is truly humbling and rewarding to to review our own grades and see that we with with a possibility of 60 from each of 10 students our lowest grade was a 53 and 8 students gave us 60. This gives us a average score of 58.7 in satisfaction and expectations from a possible 60.
Our next Art of Creativity Workshop has only one space left and it is August 6-9 in Maine.Share on Facebook
Because you asked for it we recently created a DPD Frequent Flier Program!
We’re now offering free one day follow up sessions on our Digital Photo Destination travel workshops.
You’ll be able to get more feedback and spend time processing your files with us before you return home.
As a valued DPD alumni who has taken at least two workshops you qualify.
We’ve just added another benefit – discounts on our Seminars.
We’re offering 25% Off / $500 Off on our new upcoming Seminar Advanced Lightroom & Photoshop.
As a valued DPD alumni who has taken one travel workshops you qualify.
We look forward to continuing to create more benefits and events for our special alumni like you!
JP and SethShare on Facebook
Enchanting Antarctica is explored in this beautiful ebook.
Individual portfolios are followed by a selection of images shot at the same locations at the same times by both artists.
Essays include personal responses to place and insights into the many influences that arise by working side-by-side.
It was 1972 and I was a Freshman in High School and successfully launched a newsletter about keeping marine reef tanks called “The Legal Reefer”. It was available in my local pet store that I worked in but I wanted to write a book. I started a manuscript and realized I needed photographs and opened up the yellow pages and called a few photographers. It was going to cost $500 to hire a photographer and that was about $450 more than I wanted to spend. After all, I only needed some pictures of corals and fish in tanks and I wasn’t going to spend that kind of money just to take pictures…… I purchased a Canon TLB for the same price as it would have cost to hire a photographer and that is how it all started. I instantly became fascinated with the physics of lighting a fish tank. The reflections, refractions and white balance were captivating and I was soon addicted to photography. At that time Nikon was really number one but I could only afford the Canon.
I started high school and took photography courses each semester and I knew this was my calling, and ironically to this day I still have a large marine reef tank. I researched schools and decided to apply to one and only one university, Syracuse. I was accepted into the Newhouse School of Communications early decision and sold my Canon and bought a couple of Nikons. After Syracuse I landed a job at the Syracuse Newspapers and built up my Nikon collection and was truly a happy camper focusing on my career. Life was good and I was gaining recognition in NPPA, contests and eventually mixing my full time job at the newspaper with magazine freelancing. I was working regularly for Newsweek, Time, Forbes, Business Week and National Geographic and started to lecture on the business of photography, creativity and the internet. One thing led to the next and I ended up with my college room mate Stephen Wilkes and one of my mentors Susan Meisalas teaching at a Palm Beach Photographic Workshop. I was in awe at the talent that was around me including Arnold Newman and we were all taking when we were rudely interupped by a man named Michael Newler. “Newlah” was from Long Island and was obnoxious and sweet at the same time, but extremely intelligent. He wouldn’t back off and just kept asking what would it take to get me to switch to Canon. Finally I said to him, “send me a bunch of gear to start with”. I thought to myself, boy I just got rid of this clown. After all who in the world would just send me gear to play with. I returned to my home and on the doorstep were very large boxes of Canon gear. I actually called my lawyer to see if I could open it because after all I didn’t sign any papers and I didn’t want any legal responsibility for what looked like a boat load of Canon equipment. My lawyer said if there was no paper work to go ahead and open it. I was a kid in a toy store. I was opening up box after box and there were bodies and every lens I could dream of including a 300 2.8 and an 800. Who was this NEWLAH guy?
Well Newler was and still is one of the most dedicated, intelligent and sweet yet obnoxious people I have ever met. I see a lot of me in him and to this day he is one of my dearest friends. OK so back to Newlah. There was a card in one of the boxes and it said Michael Newler Canon USA. I called him and just like the infamous commercial at the time, Mikey said, try it and you will like it. So I tried the gear and yes I did like it. We talked some more and he asked me to become a Canon Explorer of Light. The deal was interesting. We would not get free equipment but we could buy it at about the same price as B&H but the sponsorship would allow us to do speaking engagements and be paid. It was an incredible way to talk about the business of photography and speak to trade groups about the power of the internet and creativity. I accepted the deal and sold my Nikons and started the adventure of lifetime headed by Michael Newler. I was part of a group of some of the most respected people in the industry including the likes of:
Arnold Newman, Gregory Heisler, Greg Gorman, John Paul Caponigro, Jeff Schewe, Sam Abell, Joyce Tenneson, Douglas Kirkland, Dennis Reggie, James Nachtwey, David Stoecklein, Jack Reznicki, Lauren Greenfield, Michel Tcherevkoff, Susan Meisalas, Mary Ellen Mark, Stephen Wilkes, Barbara Bordnick, Art Wolfe, James Wood ,Albert Watson, Nick Vedros, Melvin Sokolsky, Gil Smith, Harvey Lloyd, Gerd Ludwig, Norman McGrath, Robert McNeely, Sheila Metzner, Joel Meyerowitz, Duane Michaels, Sarah Moon, Arthur Morris, David Muench, Barry O’Rourke, Chris Rainier, Roger Ressmeyer, Walter Iooss, Jr,Ryszard Horowitz, Dirck Halstead,Timothy Greenfield-Sanders, Larry Dale Gordon, Robert Farber, Anthony Edgeworth, Patrick Demarchelier, Bruce Davidson and Harry Benson to name a few.