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RAW files are not processed within the camera, which means they're essentially a huge chunk of data for you to mold. Think of them like raw materials found in nature, just waiting to be used for any number of purposes. In the world of technology, the larger your data file, the larger the canvas and the more choices you have.

To help beginners navigate the breadth of options available, here's a quick and easy Adobe Photoshop tutorial for beginners to help get you started.

When you first open your RAW files within Photoshop, using Adobe Camera Raw you'll be able to make the first adjustments to your photos. Under the layers panel, you can begin with nine easy adjustment layers to edit your original image.

1. Exposure

This tool adjusts the overall brightness of the photo. Exposure is a great place to establish a baseline tone for your photo before you begin to make more specific edits.

2. Contrast

Control the relationship between the bright and dark areas in your picture with this tool. A low contrast will make the two look closer, where a higher contrast will separate the light and dark areas while maintaining a ratio between them.
Want to learn more Photoshop techniques and tricks? Learn all the best shortcuts today.
3. Highlights

Highlights only affects the light parts of your photo, while leaving the darker areas untouched. Here you can make the light areas stand out more vividly.

4. Shadows

The exact opposite of Highlights, the Shadows slider will only affect the dark areas in your photos. This is a great tool to use shadows to create a more dynamic photo.

5. Whites

A step above highlights. The Whites slider (in the black and white adjustment layer) only affects the highest spectrum of light colors, meaning you can affect only the brightest portions of your picture.

6. Blacks

The most true-to-name slider of the bunch. This only affects the blacks in your image. This is a good place to experiment adding some black if there isn't any in the properties of your photo. Creating some black can add a greater richness and depth.

7. Clarity

The clarity slider manipulates the detail contrast in an image by affecting the different textures. This is different from the color based Contrast option previously, so have fun experimenting.

8. Hue/Saturation

The Hue/Saturation adjustment impacts different colors in your image equally. Be careful using this tool as adjusting everything together can make already colorful sections of the entire image overpowering or unbelievable.

9. Vibrance

This tool only affects the areas of an image which are not very colorful, to begin with. This is a great tool to make all the colors in your images pop out without making the photo look unbalanced.

After playing with these settings, you can cancel the changes or click ok to save. In this way, the adjustments panel is a great way for non-destructive editing. Take the time to study these image adjustments and set yourself up for creating great photos.
Want to learn more Photoshop techniques and tricks? Learn all the best shortcuts today.

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9 Easy Photoshop Adjustments for RAW Files

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RAW files are not processed within the camera, which means they're essentially a huge chunk of data for you to mold. Think of them like raw materials found in nature, just waiting to be used for any number of purposes. In the world of technology, the larger your data file, the larger the canvas and the more choices you have.

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In this film, Julie Mehretu discusses her process and painterly methods with White Cube's Tim Marlow. Mehretu talks openly about how her studio practice has changed and evolved over her successful, decade-long career and how the use of skilled draughtsmen and the ability to work on many canvases at

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How to build your own home studio (photography)

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How to build your own home studio (photography)

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How To Build Your Own Home Studio | TECH TALK

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Tips on how to set up a photography studio at home

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Tips on how to set up a photography studio at home

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6 Tips for Setting Up a Home or Office Studio - Photography & Lighting Tutorial

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https://photoeditor.polarr.co/

https://www.befunky.com/

https://www.picmonkey.com/

https://www.ribbet.com/photo-editor-like-picmonkey

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Mick Rock (Great person to look at for works with celebrities and portraiture in general as he really captures celebrities on and off-stage persona) See him talk about his work: https://www.youtube.com/watch?v=DaZlfQXcK9Q

Cindy Sherman (Great for students who want to do everything themselves)

Ansel Adams (Black and White)

Dorothea Lange (Black and White)

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TattoooedBlondePunkArt (Australian Photographer)

Michele Abeles

Mark Arbeit

Wayne Quilliam (Indigenous Photographer)

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@tattooedblondepunk1945
@howlongisnever

@alerasoul

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NGV Australia, Federation Square

Ground Level, NGV Design Studio

23 Mar 18 - 15 Jul 18

OPEN 10AM-5PM DAILY

An annual favourite on the NGV exhibition calendar, Top Arts showcases the exceptional work of students who have completed Art or Studio Arts as part of their Victorian Certificate of Education. Comprising work selected from applicants across Victoria, the exhibition encompasses a range of media, including drawing, painting, printmaking, sculpture, digital and mixed media.

Top Arts 2018 celebrates the outstanding abilities and the diverse concerns of our newest emerging talents, and is certain to provide inspiration to visitors of all ages. The exhibition includes the opportunity to view selected developmental folios and to hear from current exhibitors about their inspiration, ideas and practices.

Ideas behind the work ...
The Acrobatic series is an experimental photo series that explores concepts of connection, physics and surrealism. In Rope 1, I reference Rene Magritte's The lovers and depict two acrobats hanging by a rope with a cloth covering their facial features. Rope 2 continues this investigation into surrealism and confusion - it shows a rope in a horizontal state from which an acrobat hangs off by its side to build upon the distortion of reality. Wheel 3 takes a different approach to the other works, as a wheel is featured instead of a rope. In this work, the use of repetition is highly contested and has been deliberately used to build a sense of confusion for the viewer.

Materials and processes ...
I used Adobe Photoshop as the main tool for creating the works. I started off by capturing images using my Nikon D3300 camera with a 18-55mm lens to capture the subjects. During this process, I ensured that every time I took a photo the sun would be directly behind the camera to avoid inconsistent lighting and the chance for flares to appear. In addition, I used a fast shutter speed to avoid motion blur, making the editing process of removing the subjects from the images more efficient. Once I had merged my images with the pen tool, I used the burn tool to adjust the lighting of particular subjects and the feather tool to fix inconsistent cuts from previous photographs.

Starting points and influences ...
Throughout the course of the year, I looked in depth behind Rene Magritte and Sarlota Ban. With Rene Magritte, I was influenced by the subjects he used and the logistics behind the reasons for his works. On the other hand, Sarlota Ban influenced me to use the pen tool to remove subjects from photographs and play with the camera's raw filter function, which was used to adjust the colours and brightness involved within the compositions.

Future plans ...
Next year I intend to start off with a degree in architecture and see what happens. My second preference is to do a degree in photography where I will be able to continue working with photographic manipulation, but also to hopefully continue my career as an artist.

Materials and processes ...
The rich black in the drawings is also achieved with a versatile material called artgraf, water-soluble charcoal that is forgiving yet intensely pigmented. In other final works, my drawings have been printed onto transparency film and pressed onto mirrors with white paint so they retain the rich blackness of the ink without compromising the crucial contrast a white background provides.

Future plans ...
I hope my work captures my ardour for both the fields of science and art, for I seek to pursue a career that can integrate these two realms in the future. From both a scientific and artistic lens, I've always loved anatomy, which explains my adoration for portraiture and traditional explorations of the human form. It's hard to know what 2018 will bring, so I'll embrace whatever comes my way. But what I do know, is that you don't need to pursue an artistic career to have art surround your practice in the real world. Instead, creativity can become a way of thinking. Art can be a mode of expression no matter what you do.

Ideas behind the work ...
Both works explore the relationship between attraction and repulsion but in different ways. The sculptural work, Sugar candy mountain, predominantly focused on the human senses: sight and touch. I wanted to capture a sense of child-like allure to the work and did this by focusing on my use of psychedelic colours and texture and refining the organic form. I worked with a range of craft materials to create naturalistic elements such as flowers, mould, mushrooms and leaves that carried a kitsch aesthetic. Once layered excessively together, the various textures, shapes and forms portray an alluring utopia, yet once the viewer is up close, the excessive textures and colours serve to provoke a sense of disturbance and repulsion. Moreover, Melted candy extends upon the relationship between attraction and repulsion. A child-like allure is captured through the fusion of sculptural elements reminiscent of toddler toys and a traditional painterly composition positions viewers to simultaneously experience both attraction and repulsion to the work.

Materials and techniques ...
Emphasis on painterly application and layering were key techniques across both works. Sugar candy mountain was constructed through layering expanding foam on a base created from a combination of foam, plaster and scrunched paper. Tapered forms created with plaster enhanced a 'mountain-like' silhouette to the work. The highly tactile surface of Sugar candy mountain resulted from an accumulation of layers of objects and textures collaged onto the surface. I created pompoms out of synthetic wool and string as well as tassels, ceramic mushrooms, paper flowers and leaves, all of which imbued a naturalistic and fantastical aesthetic to the work. Moreover, Melted candy was created through a more traditional painterly process. Canvas boards cut into fluid organic shapes were spray-painted using long sweeping motions to achieve a smooth gradient effect. I worked in layers, often layering smaller brushstrokes in flat opaque colours over large swirling brushstrokes. The kinetic elements of this work were creating with sculpted clay. I used the coiling technique to create small rounded hoops and rings.

Favourite artist ...
I am inspired by so many artists, predominately artists whose work is characterised by vibrant colours. I love Tanya Schultz's whimsical sculptures, which are rich in candy-hued colour and alluring textures, yet underneath they serve as a serious critique on consumerist culture. It is this paradoxical relationship that really fascinates me. Additionally, Schultz's ability to create captivating and wonderfully whimsical sculptures out of crafty materials such as sugar and found objects provided a direction for my own sculptural practice. I also love Yago Hortal's use of colour within his gesturally captivating paintings. The dynamic vitality he creates through the juxtaposition of smooth colour gradients and wild bold brushstrokes is truly inspiring.

Future plans ...
My plan for 2018 is to study a double degree in communication design and business at Monash University. Art will always influence the many facets of my life and I hope to explore the visual language I have developed during studying VCE Studio Arts and Art in different ways, such as through graphic design.

John Lim
Scotch College, Hawthorn

FRI 23 MAR - FRI 15 JUL
Education Studios

A hands-on opportunity for students to look closely at the visual diaries, sketchbooks and folios completed by exhibiting students to meet the requirements of the VCE Art and Studio Arts study designs.

Lily Callanan
Folio 2018
VCE Studio Arts
Victorian College of the Arts Secondary School, Southbank
© Lily Callanan

Deakin University, Major Partner

A message of congratulations from Vice Chancellor, Jane den Hollander.

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OPEN 10AM-5PM DAILY An annual favourite on the NGV exhibition calendar, Top Arts showcases the exceptional work of students who have completed Art or Studio Arts as part of their Victorian Certificate of Education. Comprising work selected from applicants across Victoria, the exhibition encompasses a range of media, including drawing, painting, printmaking, sculpture, digital and mixed media.

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Starting points and influences...
I have always been very interested in different cultures and the diversity within them. I think the idea for my artwork came from my love for patterns and detail, and I wanted to use this in a unique way. The paper cutting within my artwork was originally influenced by Lisa Rodden's work, as she does very beautiful paper cutouts. When I trialled this type of art form, I fell in love with the way the patterns catch the light and ceate a very delicate aesthetic. The large scale of my artwork was a way for me to emphasise the delicacy of the cut outs.

Materials and processes...
In Continuum, the main material used was paper. The thicker type of paper I used allowed for the paper knife to carve out very neat and straight lines, which helped to avoid potential rips and rough lines. I used a paper-cutting knife to cut out the designs. I chose not to draw the patterns and designs onto the paper before cutting them out, as it would leave grey lead markings on the scroll. This left me cutting out the patterns as I went and fitting the patterns together in my head before cutting the paper. I folded some of the petals and leaves forward, to bring a bit more texture and dimension into the artwork.

Inspiration...
My main source of inspiration is nature. I love observing different types of landscapes throughout my travels. Nature is something that I love to paint and draw because of its fine detail. I enjoy being amongst nature for feelings of relaxation and tranquillity. Bob Ross, an artist who painted realistic landscapes, and made videos that show the process of creating his work is another inspiration. He uses oil paints, paintbrushes, and palette knives. I have watched many of these videos, which have inspired me to use similar techniques. Learning about his approach to this subject matter has been a huge source of inspiration for me throughout the year.

Favourite artists...
Darren Wardle is an artist I admire. His use of colour and the manner in which he creates a composition with a sense of stillness and an immersive story is inspiring.

Materials and processes...
Multiple trials were merged together in order to create the abstract shapes. A picture was then taken and then projected onto a wall, in order to trace the outline onto a piece of MDF wood. The traced shapes - the 'fragments' - and the silhouettes representing people, were cut out using a jigsaw. Each fragment was painted with gouache and white acrylic paint. Each silhouette was painted white and then glued onto a fragment. Finally, blocks of wood were mounted on the back of each fragment in order to elevate it and allow for the composition to be mounted along a wall.

Ideas behind the work...
This work was a very expressive piece to create. It is 6 x 5 feet, so to cover the canvas, I found myself moving my body in a manner similar to performance art. I found the process to be cathartic. The streaks of paint aren't connotative of anything other than an investigation. I explored the notion of 'removal of intention,' wherein I attempted to make work in a non-deliberate manner. The two panels aim to create a broken rhythm. As the eye follows the downwards motion of the paint, it is interrupted and jarred by the break in the two panels.

My work is largely process-driven abstraction, which allows me to create expressive pieces that encourage an exploration of self, experiences and emotion. The large element of chance in my work creates an immense challenge, as it leaves lots of room for failure. I had many works this year that did not turned out as I had hoped. This was disappointing, but these works enabled me to learn and develop as an artist and I built on successful techniques, filtering out the failures.

Favourite artists...
I have always loved and been fascinated by Gerhard Richter. His works have an amazing energy to them and he creates a fascinating depth and visual effects with his use of paint. I have a similar admiration for Mark Rothko. I recently saw one of his works in the flesh at the NGV and I was captivated by it. I love the idea that art can create an experience. That is exactly what this work did for me as I stood in front of it. I experienced a profundity and felt overwhelmed by the work. Perhaps it prompted me to slow down, and simply consider my surroundings and my own presence. I also have great admiration for the likes of Alex Prager and Gregory Crewdson. Both photographers have a highly staged, narrative style and create amazingly refined and composed works.

Doing VCE Art was the best decision - I loved it every moment of it! Ensure that you are doing this subject for exactly that reason - that you love it, because it is hard work. You need to put in a lot of time and you also need to be prepared for failures - but these failures will strengthen you. I encourage you to experiment and go wild, particularly if you do Art, as the course really supports this. This year I have done 3D work, print making, drawing, photography, and painting all in one year. Experimentation with medium and style will allow you to explore art and sometimes, work in one medium will inspire another.

Materials and processes...
I used lino board, oil based printing ink, gold leaf (chine colle), decorative paper (chine colle), watercolour, composition board and acrylic paints as my materials for the Monkey King prints. I started by posing a life model to help me capture the body movement of Sun WuKong. I took a series of photos of him to help me refine the form. After that I added a squirrel and a honeyeater to my sketches. Each animal is a native to a specific area and each symbolises my Chinese heritage and my home in Victoria. I then carefully transferred my drawings onto two different lino plates. After many hours carving out each plate, I was able to create some test prints. Colour was achieved by creating multiple plates that were cut to specific shapes that could jigsaw together. Each print took about 6 hours to print from start to finish and I have made around 6 copies of each. I presented my work on two wooden panels that refered to the traditional Chinese Door God and symbolise my personal sense of home and place in both China and Australia.

Ideas behind the work...
The focus of my folio this year has been informed by a relationship between art and science and exploring the space where the two may co-exist. Within this theme I have referenced the wunderkammer or 'cabinet of curiosities'. A wunderkammer or 'wonder room' was used in 16 th century Europe to display collections of objects that were considered curious, unusual or historical. The wunderkammer collections were organised to inspire wonder and stimulate creative thought. I have created multiple works that reference these types of collections, specifically scientific or archival collections.

Specimen Two is a graphic representation of the intrinsic beauty of biology. This idea is investigated through the creation of biomorphic abstractions using human hair as an unconventional material. I have taken biological material and turned it into curious objects, my aim being to provoke strong emotions in the viewer, drawing them in or repulsing and confronting them. The hair used is my own which creates a meaningful and personal connection to the work and references my theme of science and art. Both the hair sculptures and the ink drawings have a gestural quality and directional movement, with the circular drawing and the circular hair objects moving the viewer's eye in a circular motion over the composition.

Starting points and influences...
My passion for art and science is explored in this work. During an RMIT science scholarship, I was given the chance to work with cadavers and examine the internal structures of the body. Viewing the internal organs, muscles, tendons and veins significantly influenced how the theme of science was referenced in my work. Science has always been an interest and passion of mine, so it was natural for me to incorporate this into my theme and work this year. I have always been interested in sculpture and installations and I particularly wanted to represent scale in my work, both large and small whilst maintaining elements of delicacy and fineness. I also knew I wanted to use hair and bones and other unusual materials to challenge people's perceptions of art in that it doesn't always have to be beautiful and that it can also evoke feelings of uneasiness and disgust.

Inspiration...
When it comes to my art, the things that inspire me usually revolve around personal experiences or things that I have an emotional connection to. I am heavily involved in music within my school and within my Church. I connect well with song lyrics and melodies because I am a singer and flutist. Exhibitions such as Top Arts and Top Design have also influenced me a lot in my high school years.

Materials and processes...
For my artwork Nurtured Connections I decided to use acid etching and aquatint because I had never attempted to use this medium before and it really intrigued me. After only trialling one plate in Unit 3 as part of a potential direction, I was keen to continue the use of this medium as I wanted to see what interesting marks I could create with it. The other reason I chose to use acid etching and aquatint was because I believed that it would give my subject matter some power. I really liked the marks that I created on my trial and wanted to achieve that level of detail in my final piece. The deep contrasting tones in my prints did make my subject matter appear powerful and important to the viewer and allow the images to stand out from the background. Each plate has been printed onto a separate piece of rag paper to emphasise the stages of friendship and that each stage is important when building relationships.

Ideas behind the work...
The theme that formed the basis of my artwork was Connections; a broad concept that was concerned with different forms of representation. I explored this by creating three paper lanterns of different sizes and shapes that capture connections and interrelationships in society. Each strip of paper was attached to another in one continuous circular spiral pattern, so as to reinforce this idea of connections being omnipresent even if we can't see them. With a strong focus on aesthetics to visually communicate my idea, I aimed to create an atmosphere that surrounds the viewer and urges them to look for these connections, playing with light and shadows to enhance the overall experience.

Starting points and influences...
I began by researching a number of artists I was interested in, including Onishi Yasuaki, Viviane Sassen and Akiko Ikuechi . They are all very different artists, however they all employ an aesthetic that I am drawn to and am inspired by. Having extensively researched String Theory, I felt comfortable with the knowledge and inspiration I had to begin my search for a way of best representing my theme and idea.

Inspirations...
Day For Nights by Frederick Reiken was a book I read a few years ago that has been on my mind ever since. It is a story with many stories and illustrates how disparate and distant people can be, but connected in the most unusual and seemingly impossible ways. Reiken's novel motivated me to choose 'connections' as the theme and focus for my artworks; to show these ties and associations in visual form.

Materials and processes...
For each of the three paper and wire works, I created paper templates which were used to cut out the strips of paper attached to the different sized lanterns. Keeping with the same of shade white for all three lanterns, I glued each of the 2000 strips of paper in a spiral motion, attaching and overlapping each piece to ensure a voluminous and full form. My initial idea was to install a light globe in the centre of each lantern. However, no light escaped from the piece because of its density. I had to consider other methods of illumination to create the atmosphere I was wanting to achieve. Using spotlights underneath the works proved to be the best option and in this way I was able to create the overall mood that I had been searching for.

Ideas behind the work...
At once familiar, functional and culturally relevant, windows encapsulate representation, as well as the division between passive observer and active participant. They provide a rectangular frame for everyday scenes and can transform regular interiors into compelling, filmic scenes seen fleetingly as you drive past them at night. In Observation, a variety of domestic scenes progress in a sequence. From their vantage point, the viewer is voyeuristically aware of the subjects' privacy and proximity as they are allowed a constricted glimpse into their personal worlds. Isolated by the formal grid pattern and dark expanses, parallel narratives develop. Despite living in close proximity to one another, the building's inhabitants appear to be very much alone.

Materials and processes...
The photographs were taken using a variety of lighting equipment loaned from school. The coloured LEDs were precisely adjustable so they were extremely useful for creating the specific hues. For 'Observation' I took around 2000 images of a number of different scenes, with different set dressings, actors (friends and family) and lighting setups. Afterwards I carefully selected 3 sequential shots from each setup and used Photoshop to combine the first 18 images into one 'wall'. This was a painstakingly slow process of smoothing over each brick to get them to match up evenly. For the following 2 compositions I switched interiors without changing the entire photos, which sped up the process a little. Otherwise, editing involved compensating for lens warping as well as adjusting colours to improve the realism of the bright nighttime interiors.

Favourite artists...
My favourite artist is perhaps Gregory Crewdson. His works have a stunning depth to them. From attractive aesthetics, to nuanced narratives and eerie atmospheres, the photographs are truly stunning and deeply engaging. I admire his handing of light and composition as well as his skillful and subtle control of narrative and suggestion. From the theory of the 'decisive moment' to the saying 'the camera doesn't lie', photography is often seen as a medium for recording reality. This suggestion is, I think, highly ignorant of the power of the camera to warp, disfigure or entirely transform reality, as well as it's ability to create new things, images totally imperceptible to the eye. I really admire Crewdson's complete departure from photography as a medium grounded in spontaneity or organic reality, a sense of imagination is constructed through his absolute control over the scenes. Perhaps it's almost more complex to take reality and craft it into your vision than to take a medium like paint and shape it into reality. His work unites photography with the complete control of the traditional artist.

Inspirations...
I once read that photography is purely the study of light, and at the time I didn't really believe it, I thought about composition and colours and subjects. But more and more this statement has influenced my practice, and this year my work has been very much inspired by physically encountering light. To get a feel for how it behaves and interacts, light needs to be felt, so I think I've really been impacted by experiencing light in everyday life. From sunsets to neon signs to torches to concerts, I'm inspired by the transformative power of light as it impacts our experiences and our environments. Similarly, the skilfully transformative way cinematographers or filmmakers like Wes Anderson, Alfred Hitchcock or Joe Wright can manipulate a setting, people, and lighting to enhance emotion and communication inspires and amazes me. Just as photography is often concerned with communicating something about the physical world, my work's major influences have been grounded in a similarly tangible sense of reality, things like personal experiences, emotions, opinions and discussions.

Ideas behind the work...
Living Inside My Head is based around my own experience, having suffered from anxiety throughout most of my adolescence. Del Kathryn Barton once said, "My thing is happening". The murky territory of anxiety that Barton experienced as a child is explored in this work. Living Inside My Head was a way in which I was able to express and portray my own intrusive and obsessive thoughts. I incorporated abstract subject matter, such as random, organic and biomorphic shapes, which grew from my thoughts. The main idea behind this work is derived from a quote from artist Louise Bourgeois, "what is the shape of this problem?" I was fascinated by this, and as a result, I began to think, what is the shape of my anxious thoughts? What would they look like? From this, I based my work around the question, 'what is the shape of this thought?'

Inspirations...
My inspirations come from Louise Bourgeois, Del Kathryn Barton, music, novels such as 1984 by George Orwell, as well as visiting galleries and artist-run spaces. Being surrounded by my family and friends, travelling with my family - especially to places such as Noosa, Lorne and Mornington Peninsula - the beach and the natural bush land also inspire me.

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Starting points and influences... I have always been very interested in different cultures and the diversity within them. I think the idea for my artwork came from my love for patterns and detail, and I wanted to use this in a unique way.