NEWSFLASH: Book Updates PLUS your chance to Win!!!

Written by: Glyn Dewis

Published: March 18, 2013

Category: General

Hey Everyone,

Hope you had a good weekend.

Today I’m kicking the week off with some exciting news to announce all about books.

• • •

Win a FREE copy of my NEW Book and an Invite to the Launch Party
What? A New Book? Ok so this isn’t the Selections Book I’m talking about here; news about that is a little further down. No, this is a different kind of book that I’ve wanted to put together for the past 12 months and will now be launched in July this year!

Kind of a coffee table book but more than that as each picture in the book has a chapter covering everything from the planning & preparation, breakdown of the picture plus hints and tips…all giving an insight as to how the picture went from Concept to Print.

Now though I need you help…I need your questions.

What do I mean?
I think it would be really cool to have some Questions and Answers in the book so here’s the deal…

Send me your questions and if you’re question/s is used in the book then you’ll receive a FREE copy on launch day July 27th AND you’ll be invited the to the Book Launch Party too!

To submit a question you can either email me to glyn@www.glyndewis.com or post it in the comments section below.

Selections Book
Ok so for some time I’ve been meaning to get the selections book finished but things have been real busy here so it’s meant having to put it back more than I had intended.

Writing a ‘How To’ book seems to be one of those things you never finish because as you write and as you experiment and work on images inevitably you come across new and improved ways of doing things.

The last thing I want to do is to finally release a ‘How To’ book for it then to be out of date such a short time afterwards; especially as there’s some BIG updates coming soon…hint, hint 🙂

So here’s what I’ve decided to do…

The content of the book is being recorded in video format and will be made available as a FREE ‘Training on Selections’ Webinar to download; and the great thing with this is that I can release it to you very soon!

Ok that’s all from me for today so have a great start to the week and I’ll catch you back here tomorrow; oh and if you’re in Epsom tonight for my 50% Photography 50% Photoshop Seminar/Talk I’ll see you there.

Enjoy,
Glyn

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13 Comments

  1. Darren House

    Great idea with the ‘FREE ‘Training on Selections’ Webinar’ and looking forward to the book coming out.

    I will have a think about some carefully worded questions re selections.

    I must admit the selections course was one of my 2012 highlights so the Book and Webinar will be amazing I’m sure.

    Cheers
    Darren

    Reply
  2. Bob Bell

    Whoa! Nice one Glyn, can’t wait for all these then 🙂
    And those updates sound very interesting.

    Reply
  3. jlua

    Here is are not one but two questions: 1)There are many techniques for retouching skin, but I have found that there isn´t one that works equally well for all occasions. Yet, I still haven´t discovered which particular technique works best in each different situation (beauty with flat lighting, beauty with dramatic/contrast lighting, male skin, etc). It would be helpful to hear what are your thoughts on this issue. 2) Similar to the first question, there are many techniques for sharpening. What are your thoughts on what technique works best in each picture type or situation (beauty, portrait, landscape, architecture, etc)

    Reply
  4. Tony Romano

    Hi Glyn, First off, big fan. I love your work and your energy. For me, taking a photo is good, telling a story through a photo is a Great. So the question I have is:

    Do you imagine a story, or vignette, that is in your mind when you are putting the photo(s) together. Then do you make your decisions about what the end results looks like based on the story, or do you lean more towards the getting the photo looking “perfect” at the risk of the motif. I think it would be fantastic to take one of your favorites and replay the story and see how the photo reads it back to the audience.

    Grats on the book work and good luck!

    Also, I have been meaning to ping the Kelby guys about this but I think it would be awesome for you to do a video on Kelby Training on selections. One cohesive video on this topic would be fantastic instead of piecing from all sorts of sources.

    Have you thought about taking it there?

    Again, best of luck.

    -tony

    Reply
  5. Morgana

    When planning your composites do you choose the background in advance or do you take the image and pick a background from your collection of background images?

    Does a background ever not work out the way you thought it would and if so what do you do?

    Do you need to make sure that your background and subject are shot at the same focal length?

    Let me know if you need more 🙂

    Reply
  6. Michael P

    Hi Glyn,

    After following a few of your Online Trainings and Webinars I have the following question for you or for the book:
    – You use that specific 50% gray layer technique for dodging and burning (which works great btw) but what if I just create a Levels adjustment layer, darken it, add a black mask and then slowly paint back, with a low opaaaacity 🙂 brush, the contrast where I need it, and then the same with the lighter area’s? Obviously PS has several ways to come to the same result, I tried doing this and could not really see a difference. So is there a difference (like destroying pixels vs adjusting) or is that just a different approach to the same result?

    cheers,
    Michael P

    Reply
  7. Henk Jan van Boeijen

    OK Glyn,

    Here’s a question for you which leads to the title of your webinar ‘from concept to print’.

    What things synchronization must be in place to verify the result of your work which is on your screen will end up (approximately) the same way in print?

    Which settings/software do you use and why so the print won’t be too far off your screenresult.

    Thanks for the advice.

    For me it’s a constant annoyance/ frustration

    Reply
  8. Andrew Keane

    Hi Glynn

    Hanging out for the book BTW. Once question which has always bugged me and that others may find useful is getting rid of that pesky grey bits you get on masks when doing hair selections. The hair is a nice white but often they is a grey smear around outer hairs as if Photoshop is not sure whether to fully commit to that selection 🙂

    I use Matt Klowkowski’s method using a brush on overlay mode to paint it out. It never seems to work that well for me, but is better than nothing.

    Other questions ideas are hoe to get rid of the dreaded black and white fringe on selections, and also how to blur just the edge of your selection so it doesn’t look too sharp and fake (that’s one I still struggle with).

    Cheers

    Reply
  9. Paul M.

    I’ve been waiting for the E-Book and I’m glad to get the information in any way you present it! It appears that no matter which way you teach something, it just “clicks” better the way you present it.

    Now, on to the question …. I’ve spent a few days trying to come up with the perfect question – something related to Photoshop – that would really be outside-the-box. I came up with many but couldn’t settle on just one. This morning, I thought to myself … what if Glyn was at lunch with me and I was allowed to ask only one question. It was then that I realized I would ask more of a broad/general question.

    “Where your pleasure is, there is your treasure: where your treasure, there your heart; where your heart, there your happiness.” This was a quote by Augustine of Hippo (4th century???). What part of the photography experience gives you the most pleasure and why?

    Reply
  10. Frank Bramkamp

    Hi Glyn, these are some questions that I always have to look up again.

    1) luminosity masks: Just making a simple luminosity mask by crtl-click the icon in the channels is easy. But when I want to create a more advanced luminosity mask, I always have to think it over. That means how to select the brighter highlights (and very bight highlights). The same for darks and very darks. And from that, how to combine a bright channel and a dark channel to create a mask just for the midtones. E.g. if I want to apply Calvins Amazing Details technique, but just apply it to the midtones by a midtone mask.

    2) if I have made 2 different selections. How do I combine them properly into one overall selection. You once showed it in a video, where to select the hair, then the body and finally combine them. Before I always wondered how to do that properly..still have to look it up somehow.

    3) when using the refine edge:
    I am sometimes not sure if I should make the initial selection in such a way, that it already goes a bit beyond the main subject. E.g. extracting a face/body from the background, if the first selection should be just inside the body or if it already should include a bit of the background. And then use the special edge brush.
    In that context it is always a question: Using the special edge detection brush – Often it leads to some kind of semi transparent areas so that suddenly parts of the main subject are half gone. How to counteract this, if it should be just a solid mask. Best with a setting in the refine edge or by using a brush in overlay mode and try to darken/lighten the area afterwards.

    Greetings, Frank

    Does the invititation to the book release party also include the travel costs from Cologne to London and 3 nights in the Radisson hotel ?

    Reply
  11. David Kelly

    A most generous and great idea re: the free webinar, so thanks in advance 🙂
    As far a question for the book I have more than one question, if I can be greedy:

    1. Given that I know you create your own backgrounds / stock images from different sources i.e. your iPhone & D-SLR, my question is what hints / tips do you have for working around the differences in image resolution / quality between images from different sources, when you come to work them all into a single composite.

    2. I know you’re a very knowledgeable chap re: PS Skills but for people with lesser PS skills, do you have any advice as to how you can overcome / workaround the limitations of the reality of your PS skills vs what you may envisage in the minds eye for a finalised composite. How can that gap be bridged – should you start off by just developing simple but well executed composites? Tied in with this question is another facet – what do you think are the pre-requisite PS skills that a good compositor needs?

    Cheers,

    David

    Reply
    • Glyn

      Cheers for the questions David.

      Reply
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    Hi, really love the design of ones website. Would you mind telling me what theme you might be utilizing? I’m new to this and I’m hoping to acquire mine looking anywhere near as cool as yours. Thanks a lot.

    Reply

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