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Vision & Voice 1st (first) edition Text Only
Excellent Book
- GenresPhotographyNonfictionArt
Paperback
First published July 12, 2010
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272 people want to read
About the author
David duChemin
92 books165 followersDavid duChemin is a world & humanitarian photographer, best-selling author, and international workshop leader.
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Displaying 1 - 13 of 13 reviews
July 14, 2019
This is the second book by DuChemin I have read, and the umpteenth tutorial for Lightroom. What sets this book apart is that it not only describes what DuChemin does in Lightroom, but more importantly, *why* each step is taken.
The first part of the book delves deeply into DuChemin's thought process in general, somewhat more concisely than his other books. If you already read "Within the Frame", as I have, this first part doesn't offer many new ideas. Still, what is there is as insightful as ever.
The second part applies these ideas, concretely, in Lightroom, to twenty images. This is genius. It bridges the gap between theory and practice, something I missed in every single book (on crafts) I have read so far. I can not overstate the power of seeing how DuChemin implements his ideas in practice. It really made these ideas click for me in a way they hadn't in his other book I read.
And the funny thing is, I don't even like his style that much. But seeing how he creates his works made me think about how I would do it differently, which is honestly even more valuable than just nodding along in perfect agreement.
I think these ideas could be driven even farther. Maybe the "theory" sections could be integrated into the "application" part, with particularly fitting example images. Or maybe one could try to extract common "rules" or "tools", like "brightening faces using the adjustment brush" or "recovering blown skies with a grad filter", and then label these operations more explicitly in the workflows. This might even build to a photographer-specific "toolbox". This could tighten up the Lightroom sections a bit, which tended to be somewhat repetitive. And finally, some of the pictures seemed a bit redundant, as a similar picture had already been presented a few chapters earlier.
Still, none of this detracts from the fact that this was one of the most insightful, and effective, books on digital photography and RAW processing I have ever read.
The first part of the book delves deeply into DuChemin's thought process in general, somewhat more concisely than his other books. If you already read "Within the Frame", as I have, this first part doesn't offer many new ideas. Still, what is there is as insightful as ever.
The second part applies these ideas, concretely, in Lightroom, to twenty images. This is genius. It bridges the gap between theory and practice, something I missed in every single book (on crafts) I have read so far. I can not overstate the power of seeing how DuChemin implements his ideas in practice. It really made these ideas click for me in a way they hadn't in his other book I read.
And the funny thing is, I don't even like his style that much. But seeing how he creates his works made me think about how I would do it differently, which is honestly even more valuable than just nodding along in perfect agreement.
I think these ideas could be driven even farther. Maybe the "theory" sections could be integrated into the "application" part, with particularly fitting example images. Or maybe one could try to extract common "rules" or "tools", like "brightening faces using the adjustment brush" or "recovering blown skies with a grad filter", and then label these operations more explicitly in the workflows. This might even build to a photographer-specific "toolbox". This could tighten up the Lightroom sections a bit, which tended to be somewhat repetitive. And finally, some of the pictures seemed a bit redundant, as a similar picture had already been presented a few chapters earlier.
Still, none of this detracts from the fact that this was one of the most insightful, and effective, books on digital photography and RAW processing I have ever read.
February 28, 2022
An excellent introduction to Lightroom workflow, and what makes this book special, is that the software's features and uses are explained from the creative perspective. May be dated today, but the logic and clarity of the process is remarkable.
November 19, 2013
Książka, która w odróżnieniu od wielu innych na rynku skupia się bardziej na sprawach emocjonalnych i odbioru, niż na tych technicznych. Chodź takich kilku też nie zabraknie. Dotyka wartości fotografii jako medium, które przekazuje nasze wyobrażenie lub uczucia o miejscu które fotografowaliśmy. DuChemin właśnie tak opisuje. Poza ogólnym wstępem prezentuje obróbkę 20 fotografii, ale skupia się w nich przede wszystkim na opowiedzeniu o procesie wydobywania treści fotografii i tego co chcemy nią przedstawić, jak zmienić własny tor myślowy w tym kierunku. Jeśli ktoś szuka formułek, przepisów na konkretne problemy które oferują tutoriale to tu tego nie znajdzie. Znajdzie natomiast proces myślenia nad wydobywaniem emocji w fotografii i kierowaniu uwagą i okiem oglądającego. Co na kwestie odczuć i emocji też nie ma przepisu, natomiast 20 przykładów przybliża nas do sposobu jak się za to zabrać i jak [w łagodny dość sposób] analizować fotografię pod tym kątem.
Po przeczytaniu 5 przykładów, dla doświadczonych użytkowników Lightrooma wydaje się być trochę powtarzaniem podobnego schematu. Zabrakło mi nieco więcej złożonych i ambitniejszych przykładów, które z pewnością byłby świetnymi przypadkami.
Istotnym jest również fakt, iż autor dzieli się własnymi RAW'ami, aby czytelnik mógł sam przeprowadzić obróbkę zgodną z własnym gustem i ewentualnie ją porównać. Lub po prostu podążał za ustawieniami Davida i poza przyswajaniem suchych faktów, uczył się tego własnoręcznie.
Niestety wersja Polska nie ustrzegła się błędów w merytorycznych takich jak tłumaczenie magenty na karmazyn !! [gdzie jest dość duża różnica w proporcjach mieszania niebieskiego z czerwonym]. Feather -> Piórko w kontekście do ustalenia rozmycia krawędzi winiety [według mnie "piórko" nie jest trafnym określeniem i może być mylone po prostu z pędzlem]. Tint = Tinta, określenie którego zupełnie nie rozumiem, być może ktoś mógłby mnie uświadomić? Po drobniejsze jak Czarne zamiast Czernie, gdzie kilkanaście stron dalej już dobrze i ładnie jest tłumaczone, ze autor "podnosi czernie", "dodaje czerni", "rozjaśnia średnie tony". Wszystko tak jak omawiają to fotografowie czy koloryści... A wystarczyłoby w razie niejasności wejść na wikipedię lub zapytać google i poznać różnicę pomiędzy magentą a karmazynem. Być może i się czepiam, ale w przypadku druku, czy obróbki fotografii ma to duże znaczenie.
Książka jest dobra dla ludzi którym w ogólnie zalewającej literaturze techniczno-tutorialowej brakuje emocjonalnego podejścia do fotografii, a w tym przypadku jej obróbki. Które w zasadzie ciężko opisać, bowiem każdy z nas ma inne gusta czy odczucia co do barw, kształtów, faktury i innych składowych obrazu.
Po przeczytaniu 5 przykładów, dla doświadczonych użytkowników Lightrooma wydaje się być trochę powtarzaniem podobnego schematu. Zabrakło mi nieco więcej złożonych i ambitniejszych przykładów, które z pewnością byłby świetnymi przypadkami.
Istotnym jest również fakt, iż autor dzieli się własnymi RAW'ami, aby czytelnik mógł sam przeprowadzić obróbkę zgodną z własnym gustem i ewentualnie ją porównać. Lub po prostu podążał za ustawieniami Davida i poza przyswajaniem suchych faktów, uczył się tego własnoręcznie.
Niestety wersja Polska nie ustrzegła się błędów w merytorycznych takich jak tłumaczenie magenty na karmazyn !! [gdzie jest dość duża różnica w proporcjach mieszania niebieskiego z czerwonym]. Feather -> Piórko w kontekście do ustalenia rozmycia krawędzi winiety [według mnie "piórko" nie jest trafnym określeniem i może być mylone po prostu z pędzlem]. Tint = Tinta, określenie którego zupełnie nie rozumiem, być może ktoś mógłby mnie uświadomić? Po drobniejsze jak Czarne zamiast Czernie, gdzie kilkanaście stron dalej już dobrze i ładnie jest tłumaczone, ze autor "podnosi czernie", "dodaje czerni", "rozjaśnia średnie tony". Wszystko tak jak omawiają to fotografowie czy koloryści... A wystarczyłoby w razie niejasności wejść na wikipedię lub zapytać google i poznać różnicę pomiędzy magentą a karmazynem. Być może i się czepiam, ale w przypadku druku, czy obróbki fotografii ma to duże znaczenie.
Książka jest dobra dla ludzi którym w ogólnie zalewającej literaturze techniczno-tutorialowej brakuje emocjonalnego podejścia do fotografii, a w tym przypadku jej obróbki. Które w zasadzie ciężko opisać, bowiem każdy z nas ma inne gusta czy odczucia co do barw, kształtów, faktury i innych składowych obrazu.
January 1, 2011
Most books teach the science/craft of post-processing, with a little bit of the "art" that makes each person's style unique. This book flips the equation upside down by attempting to focus on the "art" side of post-processing. Writing about the less tangible, more mysterious and personal aspects of the craft of pushing pixels around in RAW files is a difficult task.
The book begins with 90 pages about finding your voice that I didn't connect with, followed by an introduction to most of the adjustment panels, and then 20 examples of processing RAW files. Kudos to the author/publisher for providing DNG files for the images for download. The best way to learn post-processing is hands-on.
Processing the 20 DNG files in the second half of the book will work pretty well as a Lightroom primer for beginners. If you've already gone beyond the Basic panel in Lightroom and are already using tone curves and local adjustments, there may not be much here for you.
As an experienced Lightroom user and instructor, I had two major issues with the techniques presented in this book:
1. On multiple image examples the Exposure is pushed beyond clipping and Recovery is used to pull back the blown highlights. Setting the white point with Exposure and then using Brightness to control the Lights would yield better highlight protection and image contrast. Only use Recovery when necessary.
2. Clarity is over used in many cases due to completely glossing over capture sharpening. Balancing lower Clarity settings with more attention to capture sharpening can give you more control and subtlety.
I don't want to downplay the importance of experimentation and play that are core to duChemin's thesis -- these are hugely important ideas that are key to keeping your work creative and fresh. However, it's important to note that most beginning and intermediate photographers who want to learn Lightroom would be better off reading Martin Evening's book first to develop strong fundamentals as a springboard to heading off into these more difficult territories of vision and voice.
Everyone reacts differently to teaching styles and methodologies. Just because I didn't connect with the author's style doesn't mean you won't love this book. I recommend checking out duChemin's blog and affordable Ebooks to see if his way of explaining the art side of post-processing is for you.
The book begins with 90 pages about finding your voice that I didn't connect with, followed by an introduction to most of the adjustment panels, and then 20 examples of processing RAW files. Kudos to the author/publisher for providing DNG files for the images for download. The best way to learn post-processing is hands-on.
Processing the 20 DNG files in the second half of the book will work pretty well as a Lightroom primer for beginners. If you've already gone beyond the Basic panel in Lightroom and are already using tone curves and local adjustments, there may not be much here for you.
As an experienced Lightroom user and instructor, I had two major issues with the techniques presented in this book:
1. On multiple image examples the Exposure is pushed beyond clipping and Recovery is used to pull back the blown highlights. Setting the white point with Exposure and then using Brightness to control the Lights would yield better highlight protection and image contrast. Only use Recovery when necessary.
2. Clarity is over used in many cases due to completely glossing over capture sharpening. Balancing lower Clarity settings with more attention to capture sharpening can give you more control and subtlety.
I don't want to downplay the importance of experimentation and play that are core to duChemin's thesis -- these are hugely important ideas that are key to keeping your work creative and fresh. However, it's important to note that most beginning and intermediate photographers who want to learn Lightroom would be better off reading Martin Evening's book first to develop strong fundamentals as a springboard to heading off into these more difficult territories of vision and voice.
Everyone reacts differently to teaching styles and methodologies. Just because I didn't connect with the author's style doesn't mean you won't love this book. I recommend checking out duChemin's blog and affordable Ebooks to see if his way of explaining the art side of post-processing is for you.
July 22, 2014
This is something of a Lightroom workbook. Duchemin begins with an excellent intro to his photographic/educational theme: Vision. Everything he publishes relates to Vision, and it is all helpful. This book begins with that summary, and then has an overview of Duchemin's postprocessing process in Adobe Lightroom. It's not an exhaustive how to, but a reflection from Duchemin's own style. Finally, Duchemin walks us through his postprocessing on 20 of his own images, step by step, and telling us why he chose to do what he did - all in pursuit of his photographic vision. I believe the book gives you access to those raw images so that you can follow along also, but I borrowed mine from the local library so I can't tell you that for sure.
All in all, I learned a few new tricks in Lightroom that I can use to craft my own photo vision.
All in all, I learned a few new tricks in Lightroom that I can use to craft my own photo vision.
June 10, 2011
This book isn't so much a technical book on photography as an encouragement to give your photographic creativity a voice. In the first part of the book, he writes a about vision-driven workflow along with a few key ideas like shooting in RAW and using a histogram, and in the second part of the book, he writes about aligning your captured image with your envisioned image through post-processing. He provides 20 of his own images (which you can download and follow along with the processing described) with a step-by-step breakdown and explanation of the processing in Lightroom.
July 18, 2012
This is one of the great books on Photography and Lightroom. The author makes a fantastic effort to help us understand his vision and voice - a classic, I would say.
Very few photographers would want to share such a skill and thinking with the readers. I am glad that I came across this book. Don't forget to download the RAW files and practice as you are reading the book. I now have lightroom 4 and it was a bit difficult to follow some of the settings. But I had a great time reading and visualizing!
Very few photographers would want to share such a skill and thinking with the readers. I am glad that I came across this book. Don't forget to download the RAW files and practice as you are reading the book. I now have lightroom 4 and it was a bit difficult to follow some of the settings. But I had a great time reading and visualizing!
November 8, 2012
This is one of the unique books on post processing. Rather than a litany of which slider or brush does what, duChemin shows you how to make Lightroom (or any post processing tool) serve the vision you have for your images. This is A short but very deep book. It moves beyond the cookbook and into the realm of a tasting. Highly recommended.
December 14, 2016
Love the introductory chapters. Missed a lot in the middle as I'm not a Lightroom user.
Update 12/12: I'm a Lightroom user now, so I went back and worked my way through each of the exercises. I changed from rating from 2 stars to 5. Great at learning how to use Lightroom.
Update 12/12: I'm a Lightroom user now, so I went back and worked my way through each of the exercises. I changed from rating from 2 stars to 5. Great at learning how to use Lightroom.
June 7, 2013
A quick, non-technical overview of Lightroom. Out of date, since examples are from Lightroom 3, but still relevant to Lightroom 4. The author explains step by step how he goes from his zeroed out RAW images to his final products. This would be good for Lightroom beginners.
August 23, 2018
Too many Photoshop or Ligthroom kills photography. "Excess is a vice," wrote Seneque. I found that book too chatty, too verbose. I found that book too chatty, too verbose. This book is less like a book about photography than about self-development.
January 12, 2011
Great addition to book "Within the Frame: The Journey of Photographic Vision" also by David Duchemin. Excellent tutorials in Lightroom, on great materials.
July 12, 2011
I really like David's work. I liked seeing the before all the way to the end. It showed me some parts of Lightroom I have yet to explore and use.
Displaying 1 - 13 of 13 reviews