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ONE TO ONE
PHOTOGRAPHY WORKSHOP
TUITION SESSIONS & POST-PROCESSING CLASSES
ONE TO ONE
TUITION SESSIONS & POST-PROCESSING CLASSES

ONE TO ONE

PHOTOGRAPHY COURSES IN THE FIELD

I believe the best way to learn and improve skills is practicing in the field with the assistance of an expert photographer’s mentoring. This ensures a much faster and pleasant learning curve.
One to one tuition sessions are designed to guarantee full and exclusive attention from the instructor to participants. The courses are essentially tailored to the photographers specific needs and skill level. The participant is given the possibility to decide the date (assuming I am available), the location and duration of the tuition. (Minimum 4 hours to maximum 2 days)

If participant has no precise idea of where he would like the tuition to take place, but just wants to improve his/her technique, I can propose a location.

The photographer attending the workshop could eventually decide to share the course with a friend, in which case the rate of the tuition will be shared as well.

With a one-to-one tuition we can discuss whatever subjects you need help with, ranging from techniques training for beginner to advanced for skilled photographers. Following are some examples of the topics we can cover:

  • Camera settings and metering
  • Aperture and depth of field
  • Hyperfocal distance
  • Composing with wide-angle
  • Exposure braketing *
  • Use of GND and ND filters
  • Long exposure
  • Flare control
  • Focus stacking *
  • Focal length blending *
  • Time blending *
  • Panoramas *

*  The subjects marked with an asterisk require a post-processing workflow to be completely fulfilled, thus a separate post-processing one-to-one session is recommended.

One-to-one tuition courses are arranged by mutual agreement. If shortly before the agreed date the weather forecast prove to be unfavourable, a new date can be arranged.

If you wish to take advantage of one-to-one tuition please contact me using the contact form below.

WHAT TO BRING

  • SLR or Mirrorless Camera.
  • One lens or more (eg. 16-35 or 24-70).
  • Tripod and Remote Shutter Release.
  • Spare batteries, memory cards.
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ONE TO ONE

POST-PROCESSING CLASSES

In the digital era, post-processing has to be considered as an essential part of every photographer’s workflow, in order to achieve images that appear as close as possible to what is actually seen in the field at the shooting stage. Even in the film era post processing was regularly practiced before a photograph was printed, especially among landscape photographers. (But, with a totally different approach).

Unfortunately, many people believe that post-processing is like cheating, and using software such as Photoshop or Lightroom to manipulate photographs is false.
This can be either true or false, depending solely on how photographers make use of these powerful instruments. In fact, I do believe that photo editing softwares are like a double-edged sword: if used correctly they can greatly enhance a photograph, but improperly used, the image becomes a horrible mess.

Camera sensors and lenses, despite having evolved tremendously over the last two decades, are still not capable to perceive the light the same way a human eye does. For instance, think of dynamic range and depth of field.
The topic gets even more complex if we consider, for example, wide-angle lenses. These have a very different angle of view compared to that of the human eye, which is roughly the equivalent of a 40mm lens. That said, the photographer’s goal should be to make enjoyable an image that will look different from what we actually see in a real world.

My post-processing courses are aimed at training the eye and improving your vision to properly evaluate the light in a given scene, and editing accordingly to enhance the image without overdoing it.
The classes take place in my studio, and include editing techniques for both Lightroom and Photoshop. You are only required to provide original RAW files if possible.

SAMPLES

RAW files need to be developed, just like you would develop a negative. In camera JPEGs are already processed by the camera itself, that is why they look more saturated, crisp and sharp. However, you do not have control over JPEGs after the photo has been taken.

RAW files look flat and boring on purpose, as they are intended to be developed according to the photographer’s taste. Some photographers might like more contrasted or saturated photos, while others prefer the opposite.

RAW files contain all the data captured by the sensor, so that we can adjust parameters later, such as white balance, exposure, sharpness and so on. Jpegs are processed by the camera to a standard set of rules, so why should we let the camera take control of our images?

Here are some RAW files processed to look exactly how I saw the scenes when I took the photographs.

THE TUTOR

GUIDO TRAMONTANO GUERRITORE

Guido is a photographer with 20 years of experience and over 16 years in Fine Art Landscape Photography. He has always been an advocate of knowledge sharing and a keen teacher. He regularly teaches classes and gives lectures about composition and techniques concerning landscape photography in schools and private organisations. He believes though that the best way to learn and improve skills is practicing in the field with the assistance of an expert photographer’s mentoring. This ensures a much faster and pleasant learning curve. His landscape photography workshops are a full immersion aimed at providing all participants the best support possible throughout the entire course length. The small group number of participants, typically 2 to 4 people, ensures continuous and tailored tuition, both in the field and out of it.

GET IN TOUCH FOR A ONE-TO-ONE TUITION

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