TUTORIALS

00:00  Introduction to the Theory of Practice
02:27  Pedagogical and Philosophical Priorities
05:24  Procedural vs. Metaphysical Relationships
09:40  The Ontology and Epistemology of Tone
12:02  Pre Visualisation and the Zone System
15:52  Metaphysical Equivalents and Vision
18:30  Enumerating Photography
29:04  Manifestations of the Spirit
31:22  Emulation and Association
35:47  Procedural Considerations
43:01  Printer Setup – Technological Evaluations
57:39  Concluding Thoughts

00:00  Introduction
01:02  Distinguishing Process vs. Methodology
02:18  Structuring Post Capture Workflows
10:43  Image Layout in Mirage Print
16:54  Resizing and Scaling in Printing Apps
24:40  Pre-Press File Preparation for Photo Books
34:34  Frequency Domain Masking
45:16  Exporting and Resizing Images for Printing
49:00  Matching Colours via Numerical Evaluation
50:42  Hasselblad Flextight 3F Scanning Workflow
53:31  Discontinued Printer Drivers and Solutions
57:16  Concluding Thoughts

00:00  Introduction
02.17  Tutorial Topics and Questions
05:49  Calibrating Dual Monitors
11:09  Custom Monitor Emulation
15.11  Cataloging Custom Monitor Calibrations
16.30  Calibrating MacOS Screen Presets
19.39  Hardware vs. Software Monitor Calibrating
24:11  Life Expectancy of Graphics Monitors
26.49  Validation of Monitor Calibration Accuracy
33:41  Choosing Monitor Calibration Devices
37:11  Spectrophotometers vs. Colorimeters
40:15  Refined Degrade Techniques
44:45  Separating Tonal and Colour Compositions
55:57  Gamut Mapping Colorimetric Separations
60:36  Creating the Lobster Photoshop Action
63:40  Concluding Thoughts

00:00  Introduction
01:52  Questions and Topics
10:57  The Constructed Moment
22:55  Affinity Features and Shortcomings
31:34  File Formats
42:04  Workflow Integration
43:50  Contrast: Tonal, Colour, Spatial. Emotional
52:31  Paper Characteristics and Selection
64:00  Spatial, Frequency & Colorimetric Domains
71:05  Concluding Thoughts

00:00  Introduction
00:23  Printing Paper Materiality
01:07  Setting Up Printing in Mirage
02:03  Soft Proofing Limitations
02:52  Papers vs. Image Reception
04:00  The Effects of Paper Texture
06:40  Gloss versus Matte Surfaces
08:08  My Emotional Theory of Print Size
09:31  Printing B&W Images in Mirage
09:58  Selecting Printer Profile Variants
12:29  Paper White Simulation

00:00  Introduction
01:28  Printing Accuracy
02:05  Rendering Intents
06:20  Black Point Compensation
08:29  Soft Proofing Strategies
12:18  Bespoke Profile Variants
14:45  Conclusion

00:00  Introduction
05:35  Explicit vs. Tacit Knowledge
07:05  The Scale of Exhibition Prints
08:47  Gallery Installation Case Study
09:47  Reflectivity and Interactivity
12:19  My Emotional Theory of Print Size
16:31  Studio Experiments in Print Scaling
19:23  Conclusion

00:00  Introduction
01:50  Framing Overview
03:51  Portrait Case Study
05:58  Elements vs Principles
08:02  Landscape Case Study
14:51  Proportionality
16:36  Protection vs Adaptation
18:32  Images That Stay With Us
20:25  Conclusion

00:00  Introduction
02:39  Why Printer Profile Variants?
05:47  Profile Variants Tone Curves
06:56  Profile Variants Gamut Mapping
07:52  Profile Variants Advantages
13:32  Finest Details Explained
13:51  Canon Finest Details Test
16:20  Epson Finest Details Test
19:04  Conclusion

00:00  Recap of Last Week’s Tutorial
00:57  Perceptual Gamut Mapping
01:39  Visualising Out-of-Gamut Values
02:42  Photoshop Gamut Warning
03:49  Comparing & Evaluating Media
04:47  Photoshop Gamut Soft Proofing
07:07  ColorThink Gamut Analysis
08:12  Pictorial Testing & Evaluation
09:12  3D LUT Creator Mapping
11:33  Perceptual Compression
15:50  Manual Compression
16:21  Conclusion

00:00  Introduction
04:59  Workshop Resources Index
06:45  Crafting a Digital Print Toolkit
08:17  Reanimating the Image
10:57  Highlight Bump Masking
12:05  Reattaching Highlights
14:43  Capturing Hearts and Minds
16:25  Workflow Specific Enhancements
18:52  Conclusion

00:00  Introduction
01:30  Indexicality vs Stylised Colour
02:07  RGB vs LAB vs HSL
03:18  Evaluating Colour Models
03:43  Lightness vs Brightness
06:28  Hue vs Saturation
06:54  Analytical vs Aesthetic Priorities
08:01  Famous Fives Framework
08:50  Additional Resources
09:49  Conclusion

00:00  Introduction
03:28  The Workflow in Three Stages
06:18  Workflow Rationalisation
07:30  The Literal vs The Non-Literal
09:04  Creativity: Urgency and Privilege
09:28  What Are You Trying to Achieve?
10:12  Workflow Efficiency
11:52  Seeking vs Understanding
14:29  Workflow Relighting
15:02  Reverse Overlay Masking
16:53  Clarifying your Pictorial Intent
17:46  Conclusion

00:00  The Story Behind the Print
01:04  Analysing the Print
01:47  The Representation of 3D in 2D
05:12  Re Lighting Surfaces
06:43  Re Configuring Volumes
08:32  Enhancing Dimensionality
11:50  Intensifying Presence
14:00  Conclusion

00:00  Introduction
03:34  CMYK Toning Workflow
06:05  Ink Curve Controls
08:10  CMYK Printing via Mirage
09:29  CMYK B&W Separation
12:40  Luminance Aesthetics
13:32  Concluding Thoughts

00:00  Introduction
04:12  The Materiality of The B&W Image
06:18  The Aesthetics of Film Grain
08:05  Toning and Tinting Aesthetics
09:07  Representing More Than Is Shown
12:13  The Meaning of Subjectivity
15:06  Pictures About Thinking
16:41  Toning Examples and Revelations
18:04  Additional Workshop References
19:32  Conclusion

00:00  Introduction
02:18  Silver Gelatin Paper Tone Curves
04:20  Proper Proof Prints and Scans
05:17  BPWN vs BPWD Renderings
08:22  Archiving a Print’s Materiality
09:34  Preserving Aesthetic Qualities
09:44  Protective Spray Coatings
12:44  Anti Reflective Contradictions
14:40  Analogue to Digital Equivalents
16:27  Storing, Handling, and Displaying
21:30  Conclusion

00:00  The Intangibles
00:24  The Role of Ambiguity
01:41  Practising Intuition
03:12  Developing Visualisation
04:19  Subtracting vs. Adding
07:09  Enhancing vs. Modifying
13:45  Conclusion

00:00  Colour Models and Toolsets
01:54  RGB – Additive Colour
03:30  Color Theory
04:52  Saturation & Brightness
07:02  HSL – Non-Perceptual Colour
09:13  CMYK – Subtractive Colour
11:56  Conclusion

00:00  Introduction
01:34  Handmade vs Automation
03:49  Lightroom Confusion
05:24  3D LUT Creator Clarification
07:03  The Company We Keep
08:51  Why Our Actions & Scripts?
10:05  Reattaching Highlights
10:58  Luminosity Curves
12:48  Deconstructing Innovation
14:06  Workshop Resources
14:49  Conclusion

00:00  Introduction
00:53  Intent and Purpose
04:15  Transcription vs Poetic Description
04:48  The Attitude We Bring to The Tools
07:29  Master Class Resources Index
09:09  Case Study: Spectacular Spectacle
14:11  Case Study: On Presence
17:37  Collaborative Re Animation
18:18  Conclusion

00:00  Introduction
03:01  Silver Gelatin Printing Controls
03:54  Exposure, Brightness, Lightness
05:40  Photoshop Equivalents Analysis
08:14  Subtractive Reduction
09:46  Selenium Toning and Intensification
11:46  Tea Toning and Tinting
13:15  Dodging and Burning
14:57  Colour Toning
16:05  Conclusion

00:00  Introduction
03:07  Spatial Relations
04:29  Drawing with a Lens vs with a Mind
05:09  Colour Editing vs Grading
06:25  Objective vs Subjective Corrections
07:21  Blending Modes to the Rescue
08:10  Sliders, Nodes, Blending Modes
10:08  Soft Light Luminosity Curves
11:50  Soft Light Colour Curves
13:43  HSL Colour Grading Corrections
15:50  Moiré Analysis and Reduction
19:27  Colour vs Tonal Moiré
21:43  Conclusion

00:00  Introduction
00:23  Alpha Channels and Masks
01:11  Photoshop Alpha Channel to 3DLC
03:19  Advanced Masking Techniques
05:07  Creating Custom 3DLC Masks
07:09  Interoperability 3DLC-Photoshop
10:32. Custom Alpha Channels in 3DLC

00:00  Introduction
04:08  Gamut Re Mapping Principles
05:37  Defining Reference Gamuts
07:33  3DLC Analyser Swatches
10:00  Match Colours to Reference
12:08  Extracting Swatches from Images
13:06  Saturation vs Brightness
15:18  Perceptual vs Non Colour Models
17:07  Conclusion

00:00  Introduction
04:59  3DLC Essential Skills Summary
06:35  Combining Grids via External LUTs
09:46  Masking Combined CL Grids
11:50  Soft vs Hard Proofing
14:04  Exhibition Print Hard Proofing
16:20  Drawing Composition Proofing
18:32  Conclusion

00:00  Introduction
02:30  Transformative LUTs
03:12  Which Tool Do I Use?
04:11  LUT Analysis
07:01  Chroma Expansion
08:39  2D Curves
10:31  Re Mapping Vectors
11:16  Expansion vs Local Push Pull
12:04  Local Segment Compression
12:48  Abstract Transfiguration
15:16  Conclusion

00:00  Introduction
00:49  Colorimetric Conversions
01:41  Profile Variants
02:06  Colorimetric Rendering Intents
03:44  Bespoke Perceptual Rendering
04:45  Case Studies
06:49  Print Viewing Conditions
09:32  Optimising Soft Proofing
11:40  Conclusion

00:00  Introduction
02:39  Outsourced Printing Issues
03:45  ICC Tweak LUT Concept
05:45  ICC Tweak LUT Creation
06:24  Measure and Export Print Data
08:15  Create the Correction LUT
09:18  Apply the Correction LUT
10:21  Verifying Print Path Stability
10:48  Photoshop Gamut Warning
13:07  Evaluating Out of Gamut Colours
14:35  Conclusion

00:00  Introduction
01:02  Numerical Understanding
03:10  What Do They Mean?
07:30  Syncing Color Settings Across Apps
09:34  Bill Henson MAPh Publication
12:17  What Press Standard Profile?
14:30  InDesign PDF Export Settings
20:20  Conclusion

00:00  Introduction
02:18  Where to Begin
03:02  ISO Monitor Calibration Standards
04:58  Matching Prints to Screen Intro
06:19  How to Soft Proof
07:01  Lighting and Viewing Theory
08:14  Soft Proofing Check Points
09:16  Light Sources for Print Viewing
10:34  Beyond ISO Monitor Calibration
11:10  Theory of Practice Videos
12:56  Soft Proofing Resources Summary
13:56  Conclusion

00:00  Introduction
04:17  Soft Proofing Fluorescent Media
07:58  Managing OBA Media Shifts
09:42  Cool Tone Papers Without OBAs
10:45  Data Set Sample Sizes
14:07  Numerical Verification Tools
15:15  Black Point Compensation
18:58  Real World Shadow Detail
20:18  Conclusion

00:00  Introduction
00:18  3 Centuries – 4 Photographies
00:48  The Artistic Process
01:14  Photography’s Contradiction
01:37  Practice vs. Performance
03:12  Subtractive vs. Additive Processes
04:34  The Unseen but Captured
04:56  Pre-Production vs. Post-Production
05:48  Drawing with the Mind
07:04  The Creative Dilemma
07:54  Case Studies
11:33  Summary

00:00  Introduction
02:53  The Ontology of Greyscale
04:12  Luminosity Functions
05:05  Gradation versus Proportion
08:21  Perception versus Preference
09:45  Making Images More Interesting
10:57  Analysis versus Emulation
14:26  Conclusion

00:00  Introduction
01:56  Why Understanding Pictures Matter
03:48  Photoshop Separation Actions
04:38  Drawing Composition Case Study
08:11  Tonal Composition Case Study
10:46  Color Composition Case Study
14:02  Spatial Composition Case Study
17:41  Temporal Composition Case Study
18:34  Conclusion

00:00  Introduction
03:25  More Than They Show?
04:00  Conjuring the Impossible
06:15  Beauty: Familiar Yet Remote
07:56  On The Making of Works of Art
13:42  How to Look at a Picture
16:01  The Material & Metaphysical
17:02  Transcendence
18:00  What are we bringing to the task
19:02  Conclusion

00:00  Introduction
01:16  Adjustment Layer Masks
02:40  Adding Masking Layers
04:20  Adjusting Mask Alpha
05:40  Non RGB Color Models
08:25  Channel Masking
09:21  Blend Ranges
11:45  Live Luminosity Masks
12:53  Conclusion

00:00  Introduction
02:09  Transitioning to Affinity
03:55  Legacy Issues
05:45  Layered File Formats
06:52  Proprietary Discrepancies
09:45  Curating Your Archive
10:38  Archiving Your Creativity
14:09  Generative AI Conundrums
17:38  Conclusion

00:00  Introduction
04:27  Continuity and Connoisseurship
05:40  Tutorial 013 Excerpt
12:04  Affinity and the Handmade
14:28  Raw Processing Cavets
16:24  Mac OS Printing Cavets
18:00  Affinity Workarounds
19:50  Conclusion

00:00  Introduction
01:49  Recent Case Studies
03:38  Controlling Surface Reflections
04:24  ColorChecker SG vs. Classic
05:10  Polarised vs. Non-Polarised
06:14  M1 vs. M3 Reference Data
08:15  Preservation vs. Derivatives
09:39  Cross Polarised Exposure
11:51  Cross Polarised Profiles

00:00  Introduction
00:27  To Polarise or Not to Polarise
00:46  Repro Workflow Priorities
01:36  Cross Polarised Challenges
04:28  Lighting, Lens and Camera Setup
09:24  Capture One Polarised Workflow
10:10  Custom M0 & M3 Input Profiles
14:02  Results Evaluation
15:33  Conclusion

00:00  Introduction
02:28  Certified Hard Proofing
03:27  Proofing via an RGB Print Path
05:04  Peter Dombrovskis NLA Publication
07:00  FOGRA 52 Proofing
10:26  Measuring and Verifying
11:57  FOGRA Media Wedge Verifier App
14:22  Printing Profile Optimisation
15:16  ISO 12647-2 Standardisation
16:07  Conclusion

00:00  Introduction
01:30  ISO P1 & P2 Viewing Conditions
04:22  What Are We Soft Proofing?
05:48  Preservation Asset Workflow
06:38  Derivatives Soft Proofing
09:16  Works on Paper Proofing
10:46  Publication Pre Press Proofing
13:13  OBA Fluorescence
17:38  Print Media Selection
18:35  Conclusion

00:00  Introduction
01:52  Stitching Options
02:19  Moving Lenses or Sensors
03:33  Moving the Artwork
06:20  Stitching Captured Sections
08:11  Vertical Geometry & Alignment
10:40  Horizontal Geometry & Alignment
12:44  Magnification Errors
13:42  Interpolation in Cultural Heritage
15:20  Factorial Interpolation
19:05  Conclusion

00:00  Introduction
01:20  Sharpening in Capture One
02:07  Sharpening Theory
03:04  Edge Enhancement
04:44  Re Focusing – De Blurring
06:05  What is an Unsharp Mask?
09:43  Photoshop Unsharp Masking
11:27  Capture One Unsharp Masking
12:35  Local Contrast Enhancement
13:26  Iridient Developer Comparison
14:20  Deconvolution + Unsharp Mask
15:54  Conclusion

00:00  Introduction
02:30  Case Study: ‘Raging Falls’
03:25  Subtext & Ambiguity
05:17  Contextualising Images
07:42  Judging Success
09:10  Agentic AI Contradictions
10:10  Intellectual Skills
12:15  Expertise vs. Handmade
14:14  Conclusion

00:00  Introduction
03:15  Previous Tutorial Excerpt
07:29  Clarifying Intent and Purpose
08:34  Case Studies – How Do We Do This
09:05  Modernism – Max Dupain
11:25  Beyond Modernism – Interventions
12:12  Peta Clancy Undercurrent Exhibition
14:29  Process and Methodology
16:05  Artistic Rationale
18:20  Conclusion

00:00  Introduction
02:37  The Contest of Meaning
04:00  Contextual vs Material Thinking
05:49  Fundamental Questions
06:58  Case Study Exhibiting
07:47  Case Study Color Grading
09:11  Case Study Collaboration
10:41  Case Study Arts Education
12:27  Conclusions

00:00  Introduction
02:58  Quality of Attention Span
04:16  A Problem of Meaning
05:47  Representation vs. Presentation
06:46  Engaging Workshop Resources
08:14  Test Strips on Roll Paper
10:50  Test Strips on Cut Sheets
13:11  Final Thoughts

00:00  Introduction
04:57  Explorers Don’t Make Postcards
06:18  Scale, Volumetrics, & Gamuts,
08:55  ND5 Shark Bay Case Study
11:30  Exhibition Prints vs Web Galleries
14:07  Media Specific Adaptations
16:57  Resolving Conflicts and Differences
17:43  Conclusion

00:00  Introduction
01:42  In Camera Film Re Lighting
03:53  In Camera Digital Re Lighting
04:26  Post Capture Colour Variability
07:06  Post Capture Shade and Shadows
08:27  Post Capture Pre Production
11:25  Law of Compounding Advantages
12:52  Conclusion

00:00  Introduction
02:08  Redistributing Tone & Colour
04:05  Abstract Layer Masking
05:32  Soft Light Abstract Masks
08:48  Refining Abstract Masks
11:08  Drawing Abstract Masks
13:35  Presence in the Landscape
16:50  Conclusion

00:00  Introduction
04:55  Process versus Methodology
06:40  Case Study Bowness Prize 2026
09:45  Clarifying and Justifying
12:41  Pictorial Sequencing
15:12  Lighting Narratives
16:00  The Art of Not Making
18:15  Engagement Beyond Oneself
19:12  Conclusion