PHOTOSCHOOL

This is a gallery of some of the various A2A shoots that Jon has done. Camerships have included; Eurocopter AS350 Squirrel, Robinson R44 & R22, North American T6 Texan, BAE Hawk, Lockheed C130 Hercules, Pilatus PC9, Cessna 282RG, Sikorsky S70B-2 Seahawk, Cessna 180, DH Tiger Moth and many more.

THE WAY OF THE PHOTOGRAPHER

For Jackson. All photography and information © Jon Davison 2023. Keep refreshing your browser as more tutorials are being added all the time.


I have created this collection of web pages to get your head around the craft of photography, to help you start thinking like a photographer.
It ultimately means that you won’t end up shooting multiple frames hoping for one that works!.

There are three main aspects that I will cover;
1. The how (the mechanical bit) - the camera and all the elements that will help create a technically good image.
2. The why (the fun bit) - what you point your camera at and for what reason.
3. Post Production - making the most of what you have captured.

Photography offers a powerful means of communication, but to be able to communicate, you need to find your ‘photographers eye’. Once you have this your attitude to what you see around you will change and as you evolve as a photographer, so too will your art. So changing how you think is at the core of how to master this craft. As you digest the methodology, it gets added bit by bit to your intuitive processes. So eventually when you see a scene in front of you, you ‘just know’ intuitively when it is right. These tutorials can help you get to this point. Use these insights as you wish, add to them, make them your own and your work will bear your unique stamp.

A lot of blood, sweat and tears has gone into gaining this knowledge over the last 50 years! Google was not around when I started and I mostly had to figure it out for myself, so it’s been a very personal journey. The insights I offer here are not really about how to shoot different subject matter - the inside of churches, cars, houses or babies for instance - although I will touch on some of these subjects as part of the process of seeing. It is really designed to get you thinking and communicating as a photographer.

Post production is now an essential part of the image making process. It affects how you perceive a subject and subsequently knowing how you are going to treat it. So all tutorials the here will reflect this. I personally choose to use Adobe Photoshop in conjunction with Adobe Bridge as my work flow and editing environment.

If after digesting all this information and you find that you are getting passionate about photography, then don’t be surprised if it starts to dominate your thinking. Like me, you may find that it governs pretty much everything you do and everywhere you go, to the point that your camera becomes a part of you. Soon you can’t do without it as it’s how you see. don’t worry, this is good, it’s where you want to be. Don’t ignore it or think it will pass, it probably won’t, in fact the affliction just gets worse. So welcome to the world of photography, it’s an amazing ride!

I would really value your feedback so please email me with your results!

A big thank you to David Cassard and Maddie Thornhill for taking the time to go through this first draft.
Jon Davison , Cordes-sur-Ciel, France 2023.


  1. THE HOW - how your camera captures images

DEPTH-OF-FIELD

DEPTH-OF-FIELD

LENSES

LENSES

SHUTTER SPEED

SHUTTER SPEED

CAMERA SHOOTING MODES

CAMERA SHOOTING MODES

CAMERA  EVOLUTION

CAMERA EVOLUTION

ISO - Sensitivity

ISO - Sensitivity

TRIPODS

TRIPODS

RESOLUTION

RESOLUTION


  1. LIGHTING - setting the mood

NATURAL, ARTIFICIAL, MIXED

NATURAL, ARTIFICIAL, MIXED

HDR - HIGH DYNAMIC RANGE

HDR - HIGH DYNAMIC RANGE

SILHOUETTES

SILHOUETTES

SCATTERED OR HAZY

SCATTERED OR HAZY

SPOTLIGHTING

SPOTLIGHTING

BOUNCED OR BACKLIGHTING

BOUNCED OR BACKLIGHTING

WINDOW LIGHTING

WINDOW LIGHTING

HOW TO AVOID LENS FLARE

HOW TO AVOID LENS FLARE


TIMES OF DAY

TIMES OF DAY

OVERCAST DAYS

OVERCAST DAYS

HIGH KEY -  LOW KEY

HIGH KEY - LOW KEY

TWILIGHT / DUSK

TWILIGHT / DUSK

BACKLIGHTING

BACKLIGHTING

LIGHTING ARCHITECTURE

LIGHTING ARCHITECTURE

RIM LIGHTING

RIM LIGHTING

STUDIO ‘SOFT BOX FLASH LIGHTING

STUDIO ‘SOFT BOX FLASH LIGHTING


2. THE WHY - what you point your camera at and why

FINDING YOUR STYLE

FINDING YOUR STYLE

COMMUNICATING YOUR THOUGHTS

COMMUNICATING YOUR THOUGHTS

LINES

LINES

PREVISUZLISE

PREVISUZLISE

CONTEXT

CONTEXT

NEGATIVE SPACE

NEGATIVE SPACE

EXPLORING YOUR SUBJECT

EXPLORING YOUR SUBJECT

USING YOUR SENSE OF HUMOUR

USING YOUR SENSE OF HUMOUR

CENTRED OR TO ONE SIDE

CENTRED OR TO ONE SIDE

CHOOSING YOUR SHOT

CHOOSING YOUR SHOT

SELECTIVE FOCUSING

SELECTIVE FOCUSING

COLOUR TEMPERATURE & CASTS

COLOUR TEMPERATURE & CASTS

MULTIPLE FOCAL POINTS

MULTIPLE FOCAL POINTS

THE INSTINCTIVE REACTION

THE INSTINCTIVE REACTION

CHOICES CHOICES!

CHOICES CHOICES!

RULE OF THE GAZE

RULE OF THE GAZE

COMPOSITION - Fibonacci Spiral

COMPOSITION - Fibonacci Spiral

EXPLORING ANGLES

EXPLORING ANGLES

THE  COLOUR WHEEL & TYPES OF COLOUR

THE COLOUR WHEEL & TYPES OF COLOUR


2. GETTING CLEVER - useful techniques

TIME EXPOSURES

TIME EXPOSURES

INTERIOR PANORAMAS

INTERIOR PANORAMAS

FILL-IN FLASH

FILL-IN FLASH

SHUTTER RELEASES

SHUTTER RELEASES

MOVING WATER

CAPTURING MOVEMENT

THE DIGITAL STUDIO

THE DIGITAL STUDIO

MULTIPLE FRAME PORTRAITS

MULTIPLE FRAME PORTRAITS


SPOT COLOUR PORTRAITS

SPOT COLOUR PORTRAITS

PAINTING WITH LIGHT

PAINTING WITH LIGHT

PANNING WITH YOUR CAMERA

PANNING WITH YOUR CAMERA

CROPPING AN IMAGE


3. POST PRODUCTION - getting to grips with Photoshop

INTRODUCTION TO PHOTOSHOP

INTRODUCTION TO PHOTOSHOP

REPLACING A BACKGROUND

REPLACING A BACKGROUND

WHAT ARE CHANNELS

WHAT ARE CHANNELS

PAINTING WITH BLEND MODES

PAINTING WITH BLEND MODES

UNDERSTANDING LAYERS

UNDERSTANDING LAYERS

USING MASKS

USING MASKS

MAKING A SELECTION

MAKING A SELECTION

THE TOOL BAR

THE TOOL BAR

FILE TYPES

FILE TYPES

YOUR EDITING WORKFLOW

YOUR EDITING WORKFLOW


CONVERTING COLOURS TO CMYK

CONVERTING COLOURS TO CMYK

EDITING OUT PROPS & FLAPS

RULERS & GUIDES

RULERS & GUIDES

 
WHAT IS A RAW FILE?

WHAT IS A RAW FILE?

TIME LAPSE MOVIES

WORKING WITH THE  BRUSH TOOL

WORKING WITH THE BRUSH TOOL

SAVING YOUR FILE

SAVING YOUR FILE


3. PHOTOSHOP COMPOSITING & COOL EFFECTS - getting involved, creating scenarios

COMPOSITING WITH PLASTIC MODELS

COMPOSITING WITH PLASTIC MODELS

WORKING WITH GREEN SCREEN

WORKING WITH GREEN SCREEN

CUTTING TEXT THROUGH A LAYER

CUTTING TEXT THROUGH A LAYER


OPTIMISING YOUR SHOOT

OPTIMISING YOUR SHOOT

CREATING A COMPOSITE PRESS ADD

COMPOSITING

CREATING IMAGINARY WORLDS

CREATING IMAGINARY WORLDS


2. TECHNIQUES & SUBJECTS - more useful techniques

LIGHTING CHOICES

LIGHTING CHOICES

SHOOTING GLASS SUBJECTS

SHOOTING GLASS SUBJECTS

CLOSE UPS

CLOSE UPS

WHICH SIDE OF THE FACE SHOULD I SHOOT

WHICH SIDE OF THE FACE SHOULD I SHOOT

SHOOTING INTERIORS

SHOOTING INTERIORS

NATURAL LIGHT PORTRAITS

NATURAL LIGHT PORTRAITS

LAND, SKY & CLOUDSCAPES

LAND, SKY & CLOUDSCAPES

PANORAMAS

PANORAMAS

LIGHTING FROM DIFFERENT SOURCES

LIGHTING FROM DIFFERENT SOURCES

WORKING WITH A MAVIC MINI DRONE

WORKING WITH A MAVIC MINI DRONE

USING REFLECTORS TO BOUNCE LIGHT

USING REFLECTORS TO BOUNCE LIGHT

SHOOTING AIR-TO-AIR

All images and text information © Jon Davison 2023