As per the syllabus I gave you on the 1st day, here is the Grading Criteria:
Class attendance and participation: 10%
Completion of classroom assignments (homework) (on required deadlines): 30%
Personal Projects 1, 2 & 3: 60%
The personal projects are as follows:
Midterm: Promo Card: 15%
Blog: 15%
Final: 30%
You can email me individually if youa re concerned about your grade. I will be turning them in by Dec. 24.
Wednesday, December 10, 2008
Wednesday, December 3, 2008
Adorama Prints
Adorama's prints are inexpensive, but they are Digital C-Prints. They are archival for 60-100 years, and Adorama works with you to get your colors right, which is the most important thing. For exhibitions and portfolios in the future, however, you may want to think about getting Inkjet prints made, as they are the most archival.
With today's inkjet printers the color gamut far exceeds what the traditional film processes could produce. For example at PhotoPlus 2006 Joel Meyerowitz stated that digital printing today has,"Greater capacity to reveal the subtlety of the color image, compared to c-prints... inkjet printing has truly arrived."
Here is another lab to get really well done inkjet prints made, in Brooklyn.
If you are having your prints done at Adorama, click here for how to prep your file:
http://www.adoramapix.com/Support.aspx?SupportID=prepcolor
If you would like to have total control over the color and the density of the final prints, you can do so by telling Adorama not to change anything in your image, so that AdoramaPix technicians do not overwrite the color correction you've applied to the photos in your order. If you decide to choose this option make sure that your monitor is properly color corrected.
Download profiles from the Adorama Site.
Put the profile you download into this folder in Photoshop: /Library/ColorSync/Profiles. For a step-by-step How-to, click here: http://www.drycreekphoto.com/Learn/profiles.htm
In Photoshop, you can soft proof your image in the profile you've downloaded, and then before you save, go to Edit> Convert to profile to save that profile setting to you image. Then make sure to tell adorama (of whatever printer you use) not to color correct. Remember, only do this yourself if the monitor you're working on is calibrated. Otherwise, let the lab do the color correction.
Optimum File Sizes:
8×10 inch 300 dpi 20.6 MB
10×12 inch 300 dpi 30.9 MB
11×17 inch 300 dpi 48.2 MB
12×16 inch 300 dpi 49 MB
13×19 inch 300 dpi 63.6 MB
16×20 inch 300 dpi 82 MB
20×24 inch 300 dpi 123.6 MB
30×40 inch 300 dpi 309 MB
30×40 inch 200 dpi 137.3 MB
40×60 inch 300 dpi 618 MB
40×60 inch 200 dpi 274 MB
With today's inkjet printers the color gamut far exceeds what the traditional film processes could produce. For example at PhotoPlus 2006 Joel Meyerowitz stated that digital printing today has,"Greater capacity to reveal the subtlety of the color image, compared to c-prints... inkjet printing has truly arrived."
Here is another lab to get really well done inkjet prints made, in Brooklyn.
If you are having your prints done at Adorama, click here for how to prep your file:
http://www.adoramapix.com/Support.aspx?SupportID=prepcolor
If you would like to have total control over the color and the density of the final prints, you can do so by telling Adorama not to change anything in your image, so that AdoramaPix technicians do not overwrite the color correction you've applied to the photos in your order. If you decide to choose this option make sure that your monitor is properly color corrected.
Download profiles from the Adorama Site.
Put the profile you download into this folder in Photoshop: /Library/ColorSync/Profiles. For a step-by-step How-to, click here: http://www.drycreekphoto.com/Learn/profiles.htm
In Photoshop, you can soft proof your image in the profile you've downloaded, and then before you save, go to Edit> Convert to profile to save that profile setting to you image. Then make sure to tell adorama (of whatever printer you use) not to color correct. Remember, only do this yourself if the monitor you're working on is calibrated. Otherwise, let the lab do the color correction.
Optimum File Sizes:
8×10 inch 300 dpi 20.6 MB
10×12 inch 300 dpi 30.9 MB
11×17 inch 300 dpi 48.2 MB
12×16 inch 300 dpi 49 MB
13×19 inch 300 dpi 63.6 MB
16×20 inch 300 dpi 82 MB
20×24 inch 300 dpi 123.6 MB
30×40 inch 300 dpi 309 MB
30×40 inch 200 dpi 137.3 MB
40×60 inch 300 dpi 618 MB
40×60 inch 200 dpi 274 MB
Tuesday, December 2, 2008
Making a PDF Presentation and a Web Photo Gallery in CS3
If you need to send a slick looking slideshow of your work to someone and don't just want to attach jpgs to an email, consider making one of these:
PDF Presentation:
Make a folder of hi-res images that you'd like to be in your slideshow presentation.
Go to FILE>AUTOMATE>PDF Presentation. Browse and add all the photos from the folder you just created. Output Options: Save as presentation. You can include title etc, but you have to have embedded it in the file first by going to File> File Info and typing into the title and author fields. Choose the appropriate font size (10 seems good). Then choose whatever presentation options you prefer at the bottom.
When the "Save Adobe PDF" window comes up, look at the top, and if you want to email this to someone, choose "smallest file size". To print, obviously choose the high quality print option. You can now attach this to an email and show a selection of your work to someone in a clean and finished way.
Web Photo Gallery:
Make a folder of hi-res images that you'd like to be in your photo gallery. Then save them for web. This function under "File">"Save for Web and Devices" automatically saves your images to the right size (about 500x500) and color space (sRGB) to be able to go online.
The images you start with should be anything larger than a JPEG before you save for web, the highest-res version you have of that photo. Go to "File">"Save for Web and Devices" and in the dialogue box choose JPEG, High, Quality 60, Blur 0, and check the Progressive box, but DON'T check the ICC profile.
Then click in Device Central at the bottom of the page. In Scaling just click on "Fit Proportionally"
Then go to File>Automate>Web Photo Gallery. there are several styles to choose from, I like Flash Gallery 1. enter your email address. Choose a source folder (the group of images you've saved for web). Make a new folder for the web gallery to be saved to and make that the "destination". Under Options, choose whatever you like.
When you hit OK, you will have a folder full of dreamweaver/html files that can be zipped and attached to an email. To view in Safari, just double click the "index.htm" file. These files can also essentially be put together in Dreamweaver to create a website.
PDF Presentation:
Make a folder of hi-res images that you'd like to be in your slideshow presentation.
Go to FILE>AUTOMATE>PDF Presentation. Browse and add all the photos from the folder you just created. Output Options: Save as presentation. You can include title etc, but you have to have embedded it in the file first by going to File> File Info and typing into the title and author fields. Choose the appropriate font size (10 seems good). Then choose whatever presentation options you prefer at the bottom.
When the "Save Adobe PDF" window comes up, look at the top, and if you want to email this to someone, choose "smallest file size". To print, obviously choose the high quality print option. You can now attach this to an email and show a selection of your work to someone in a clean and finished way.
Web Photo Gallery:
Make a folder of hi-res images that you'd like to be in your photo gallery. Then save them for web. This function under "File">"Save for Web and Devices" automatically saves your images to the right size (about 500x500) and color space (sRGB) to be able to go online.
The images you start with should be anything larger than a JPEG before you save for web, the highest-res version you have of that photo. Go to "File">"Save for Web and Devices" and in the dialogue box choose JPEG, High, Quality 60, Blur 0, and check the Progressive box, but DON'T check the ICC profile.
Then click in Device Central at the bottom of the page. In Scaling just click on "Fit Proportionally"
Then go to File>Automate>Web Photo Gallery. there are several styles to choose from, I like Flash Gallery 1. enter your email address. Choose a source folder (the group of images you've saved for web). Make a new folder for the web gallery to be saved to and make that the "destination". Under Options, choose whatever you like.
When you hit OK, you will have a folder full of dreamweaver/html files that can be zipped and attached to an email. To view in Safari, just double click the "index.htm" file. These files can also essentially be put together in Dreamweaver to create a website.
Tuesday, November 25, 2008
Final Projects Due December 9th
For the final project, each student is asked to present a portfolio of 10 images that have been retouched. All 10 of these photos should be burned to a DVD and turned in, with the layers. Not Flat.
**NO LATE PROJECTS WILL BE ACCEPTED** Due the last day of class: December 9.
5 images need to be printed:
4 of the photos should be printed 8x10" or larger
1 photo should be printed 20x24" or larger
These 5 printed images should "work" together. They don't need to all be of the same subject necessarily, but they should be a group of images that relate to each other....a cohesive edit showing 10 of your best photos from Fall 2008.
These can all be printed by you or a lab. They can be Inkjet or Digital C-Print. NO LASER PRINTS (i.e. from Kinkos or CVS) will be accepted.
Printing Location Options: MAKE SURE YOU CALL and ask what profile they use so you can make sure your file matches it (EDIT> Assign Profile)!!
*FIT lab (make your own inkjet)
*SVA Digital Output Center (inkjet only)
http://mfaphoto.schoolofvisualarts.edu/?page_id=46
214 East 21 Street ground floor
212-592-2369
-$8 per 8.5×11″ sheet paper
-Large Format Printing: $26 per linear foot (single weight paper), 43" wide max.
*Print Space:
For Digital C-Prints: http://www.printspacenyc.com/
20x24" Digital C-Prints are $30
151 W 19th St, New York, NY/ 7th Floor
(212) 255-1919
As another option, you can also make Giclee prints at Duggal: http://www.duggal.com/
Don't know what a giclee print is? Click here.
Adorama: adoramapix.com
Preparing your images for Print
Refer to Martin Evening Text: Chap.14, pgs. 398 – 431
Before Printing Checklist:
1. Make sure your monitor is calibrated
2. If you are making the prints yourself, make sure you are using the correct profile for your paper and the printer. You can download profiles at Epson.com
3. Make sure your file is in Adobe RGB color space
4. File must be flattened and 8bit
5. Do any last minute sharpening you see fit.
**NO LATE PROJECTS WILL BE ACCEPTED** Due the last day of class: December 9.
5 images need to be printed:
4 of the photos should be printed 8x10" or larger
1 photo should be printed 20x24" or larger
These 5 printed images should "work" together. They don't need to all be of the same subject necessarily, but they should be a group of images that relate to each other....a cohesive edit showing 10 of your best photos from Fall 2008.
These can all be printed by you or a lab. They can be Inkjet or Digital C-Print. NO LASER PRINTS (i.e. from Kinkos or CVS) will be accepted.
Printing Location Options: MAKE SURE YOU CALL and ask what profile they use so you can make sure your file matches it (EDIT> Assign Profile)!!
*FIT lab (make your own inkjet)
*SVA Digital Output Center (inkjet only)
http://mfaphoto.schoolofvisualarts.edu/?page_id=46
214 East 21 Street ground floor
212-592-2369
-$8 per 8.5×11″ sheet paper
-Large Format Printing: $26 per linear foot (single weight paper), 43" wide max.
*Print Space:
For Digital C-Prints: http://www.printspacenyc.com/
20x24" Digital C-Prints are $30
151 W 19th St, New York, NY/ 7th Floor
(212) 255-1919
As another option, you can also make Giclee prints at Duggal: http://www.duggal.com/
Don't know what a giclee print is? Click here.
Adorama: adoramapix.com
Preparing your images for Print
Refer to Martin Evening Text: Chap.14, pgs. 398 – 431
Before Printing Checklist:
1. Make sure your monitor is calibrated
2. If you are making the prints yourself, make sure you are using the correct profile for your paper and the printer. You can download profiles at Epson.com
3. Make sure your file is in Adobe RGB color space
4. File must be flattened and 8bit
5. Do any last minute sharpening you see fit.
Monday, November 24, 2008
Promoting Your Work/ Helpful Tips
Below are some suggestions that I think you might find helpful when starting out in the field of photography:
#1 *** You must have a website. If you can't afford one, make a blog or an online, free portfolio on carbonmade.com. A website template service that has great flash websites for about $25/month that you can make yourself is PhotoBiz. You need a link to be able to send people.
Make postcards and business cards with a picture on them at vistaprint.com.
Sending emails with your website is usually more effective than postcards.
Post ads on craigslist weekly.
Drop off your book constantly to magazines. Always have it out. Get the names/locations of magazines and their editors on Mastheads.com. Make more than one if you can. Get your portfolio made at House of Portfolios in Chelsea. 8.5x11 or 11x14 are good sizes.
Buy a professional looking bag to put it in.
Mastheads.org: an amazing resource for contact info for magazine people. It’s about $25 for the year, and worth it. Will give you photo editors’ phone # and email info. Email or call all the magazines you want to shoot for and ask what their portfolio drop-off day is. Calling is sometimes the most effective as letters get lost or don’t get FWed to the right person.
Send gifts/press kits to photo editors every holiday you can think of (drop off at messenger center). I picked about 5 and keep sending them things, so they get to know my name.
Conde Nast: 4 Times Square (messenger center entrance is in the back of the building on 43rd)
New York Times: 620 8th Avenue, messenger center is on 40th Street between 7th and 8th, just east of the building entrance. Ask in lobby if you can’t find it.
Teaching can be a good balance to freelancing. If you want to teach photography, send out teaching packets (letter, resume, your postcard) twice a year to schools. Send follow up emails 1 month before Fall and Spring semester starts (a lot of the last minute hiring happens then). Think about teaching private photography lessons as well.
Join ASMP or APA while you’re still a student, right before you graduate. You’ll have the membership for the whole year at the student rate. They’ll give you access to the emails of tons of photographers in the city. Great way to get assisting jobs.
TA at a school’s photo dept to keep access to equipment once you graduate.
If you don't kow how much to charge for something, or for selling your images, Getty is a great resource. Go to their website and see how much they charge for their stock images. As a backup, think about how much your time is worth and charge an hourly fee. It's standard to charge an hourly retouching fee as well.
Stock photos- put your stuff on iStock or a similar site.
Check Mary Virginia Swanson’s blog often for ‘calls for entry’. Try to apply for 1 thing a month. www.marketingphotos.wordpress.com. Also look at www.spenational.org/opportunities and www.artdeadlineslist.com for calls for entry.
Sell your work on etsy.com
If you want to do event photography, call up law firms, schools, non profits etc and ask for the name and # of their PR person/ Event planner. Several Law firms also have “art buying committees” which choose art to hang in their offices. Banks can also be good clients for selling fine art prints to, or even leasing them.
Click on the image below for an example of what a standard photography invoice to bill a client might look like:
#1 *** You must have a website. If you can't afford one, make a blog or an online, free portfolio on carbonmade.com. A website template service that has great flash websites for about $25/month that you can make yourself is PhotoBiz. You need a link to be able to send people.
Make postcards and business cards with a picture on them at vistaprint.com.
Sending emails with your website is usually more effective than postcards.
Post ads on craigslist weekly.
Drop off your book constantly to magazines. Always have it out. Get the names/locations of magazines and their editors on Mastheads.com. Make more than one if you can. Get your portfolio made at House of Portfolios in Chelsea. 8.5x11 or 11x14 are good sizes.
Buy a professional looking bag to put it in.
Mastheads.org: an amazing resource for contact info for magazine people. It’s about $25 for the year, and worth it. Will give you photo editors’ phone # and email info. Email or call all the magazines you want to shoot for and ask what their portfolio drop-off day is. Calling is sometimes the most effective as letters get lost or don’t get FWed to the right person.
Send gifts/press kits to photo editors every holiday you can think of (drop off at messenger center). I picked about 5 and keep sending them things, so they get to know my name.
Conde Nast: 4 Times Square (messenger center entrance is in the back of the building on 43rd)
New York Times: 620 8th Avenue, messenger center is on 40th Street between 7th and 8th, just east of the building entrance. Ask in lobby if you can’t find it.
Teaching can be a good balance to freelancing. If you want to teach photography, send out teaching packets (letter, resume, your postcard) twice a year to schools. Send follow up emails 1 month before Fall and Spring semester starts (a lot of the last minute hiring happens then). Think about teaching private photography lessons as well.
Join ASMP or APA while you’re still a student, right before you graduate. You’ll have the membership for the whole year at the student rate. They’ll give you access to the emails of tons of photographers in the city. Great way to get assisting jobs.
TA at a school’s photo dept to keep access to equipment once you graduate.
If you don't kow how much to charge for something, or for selling your images, Getty is a great resource. Go to their website and see how much they charge for their stock images. As a backup, think about how much your time is worth and charge an hourly fee. It's standard to charge an hourly retouching fee as well.
Stock photos- put your stuff on iStock or a similar site.
Check Mary Virginia Swanson’s blog often for ‘calls for entry’. Try to apply for 1 thing a month. www.marketingphotos.wordpress.com. Also look at www.spenational.org/opportunities and www.artdeadlineslist.com for calls for entry.
Sell your work on etsy.com
If you want to do event photography, call up law firms, schools, non profits etc and ask for the name and # of their PR person/ Event planner. Several Law firms also have “art buying committees” which choose art to hang in their offices. Banks can also be good clients for selling fine art prints to, or even leasing them.
Click on the image below for an example of what a standard photography invoice to bill a client might look like:
Tuesday, November 18, 2008
Portrait Retouching Part 2
In class this week, we went over more portrait retouching techniques and retouched portraits of ourselves that were taken in class.
For HW, each student is asked to retouch a photo (of themselves or someone else who is relatively young) and make them look older. Read this article by Katrin Eismann first:
Reading for next week (due 11.25): Chapter 7 in Martin Evening text
Also, for reference, refer to the article below for more ideas in portrait retouching:
For HW, each student is asked to retouch a photo (of themselves or someone else who is relatively young) and make them look older. Read this article by Katrin Eismann first:
Reading for next week (due 11.25): Chapter 7 in Martin Evening text
Also, for reference, refer to the article below for more ideas in portrait retouching:
Thursday, November 13, 2008
PDN Photo Annual 2009
You should all apply! This is a really good one, and there's a student section.
DEADLINE DEC. 19
http://www.pdnphotoannual.com/
Tuesday, November 11, 2008
HW Due Nov. 18th: Merge to HDR
Read this article by Katrin Eismann (see column 20 on this link or download below), then following her instructions, and take a series of at least 6 images on a tripod.
Use the Merge to HDR function in Photoshop to create a properly exposed image. (File > Automate > Merge to HDR)
Use the Merge to HDR function in Photoshop to create a properly exposed image. (File > Automate > Merge to HDR)
Color Management
Color Profiles in Photoshop:
For PRINT: use ADOBE RGB 1998
For WEB: use sRGB
When you color-manage documents that will be viewed exclusively on the web, Adobe recommends that you use the sRGB color space. sRGB is recommended for web because it defines the color space of the standard monitor used to view images on the web.
To change color profiles in Photoshop, go to EDIT > Assign Profile. Your monitor/workspace in Photoshop should always be set up in ADOBE RGB. To make sure it is, go to EDIT > COLOR SETTINGS. Choose "North American Prepress 2" and under working spaces, the top RGB slot should say Adobe RGB 1998. Leave everything else as is.
Preparing your Files for Web
When working with images that have an embedded color profile other than sRGB, you should convert the image’s colors to sRGB before you save the image for use on the web.
In Photoshop CS3, there is a function that helps you save your images for web properly, so that you don't have to convert all the profiles manually. Go to FILE > SAVE FOR WEB & DEVICES. It automatically saves it as sRGB, and you can resize the file as well. Remember, appropriate web size is usually in the range of 500x500 pixels. Under the Quality tab, choose Bicubic Sharper as it generally produces better results when you are reducing image size.
I saved this same file in Photoshop 2 different ways. Notice that the one I saved as sRGB looks a little better...the colors are more vibrant. The one I saved as Adobe RGB looks a little desaturated, because this is the incorrect color profile. Adobe RGB is for making prints only.
* the difference is subtle, but notice the redness of the raspberry in each.
sRGB
Adobe RGB 1998
In the dialog box at the left inside the "Save for Web" window, there are various boxes you can check. I recommend checking "Progressive" (which automatically optimizes your image) and leaving ICC unchecked. Here's what they all mean:
QUALITY Determines the level of compression. The higher the Quality setting, the more detail the compression algorithm preserves. However, using a high Quality setting results in a larger file size than using a low Quality setting. View the optimized image at several quality settings to determine the best balance of quality and file size.
OPTIMIZED Creates an enhanced JPEG with a slightly smaller file size. The Optimized JPEG format is recommended for maximum file compression; however, some older browsers do not support this feature.
PROGRESSIVE Displays the image progressively in a web browser. The image appears as a series of overlays, enabling viewers to see a low-resolution version of the image before it downloads completely. The Progressive option requires use of the Optimized JPEG format.
ICC PROFILE Preserves the ICC profile of the artwork with the file. Some browsers use ICC profiles for color correction. This option is available only after you saved an image with an ICC profile—it is not available for unsaved images.
For PRINT: use ADOBE RGB 1998
For WEB: use sRGB
When you color-manage documents that will be viewed exclusively on the web, Adobe recommends that you use the sRGB color space. sRGB is recommended for web because it defines the color space of the standard monitor used to view images on the web.
To change color profiles in Photoshop, go to EDIT > Assign Profile. Your monitor/workspace in Photoshop should always be set up in ADOBE RGB. To make sure it is, go to EDIT > COLOR SETTINGS. Choose "North American Prepress 2" and under working spaces, the top RGB slot should say Adobe RGB 1998. Leave everything else as is.
Preparing your Files for Web
When working with images that have an embedded color profile other than sRGB, you should convert the image’s colors to sRGB before you save the image for use on the web.
In Photoshop CS3, there is a function that helps you save your images for web properly, so that you don't have to convert all the profiles manually. Go to FILE > SAVE FOR WEB & DEVICES. It automatically saves it as sRGB, and you can resize the file as well. Remember, appropriate web size is usually in the range of 500x500 pixels. Under the Quality tab, choose Bicubic Sharper as it generally produces better results when you are reducing image size.
I saved this same file in Photoshop 2 different ways. Notice that the one I saved as sRGB looks a little better...the colors are more vibrant. The one I saved as Adobe RGB looks a little desaturated, because this is the incorrect color profile. Adobe RGB is for making prints only.
* the difference is subtle, but notice the redness of the raspberry in each.
sRGB
Adobe RGB 1998
In the dialog box at the left inside the "Save for Web" window, there are various boxes you can check. I recommend checking "Progressive" (which automatically optimizes your image) and leaving ICC unchecked. Here's what they all mean:
QUALITY Determines the level of compression. The higher the Quality setting, the more detail the compression algorithm preserves. However, using a high Quality setting results in a larger file size than using a low Quality setting. View the optimized image at several quality settings to determine the best balance of quality and file size.
OPTIMIZED Creates an enhanced JPEG with a slightly smaller file size. The Optimized JPEG format is recommended for maximum file compression; however, some older browsers do not support this feature.
PROGRESSIVE Displays the image progressively in a web browser. The image appears as a series of overlays, enabling viewers to see a low-resolution version of the image before it downloads completely. The Progressive option requires use of the Optimized JPEG format.
ICC PROFILE Preserves the ICC profile of the artwork with the file. Some browsers use ICC profiles for color correction. This option is available only after you saved an image with an ICC profile—it is not available for unsaved images.
Thursday, October 30, 2008
Free Photography Talk
Aperture Foundation at The New School presents Confounding Expectations - Photography in Context: Framing the Presidency
11/12/2008 7:00 p.m.
The Aperture Foundation, the Photography Department of Parsons The New School for Design and the Vera List Center for Art and Politics at The New School present a new season of panel discussions focusing on photography. The second event is “Framing the Presidency,” which will explore the collision of photography, mass media, and politics in the 2008 presidential campaign and beyond. Artists and media experts will share their experiences and explore the power of photography in constructing our image of the presidency.
Panelists include photographer Tim Davis; Robert Hariman, chair of Communication Studies at Northwestern University; and others to be announced.
Presented with generous support from the Kettering Family Foundation and the Henry Nias Foundation. The program is made possible, in part, by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs.
Location:
Tishman Auditorium, Alvin Johnson/J. M. Kaplan Hall, 66 West 12th Street
Admission:
Free; no tickets or reservations required; seating is first-come first-served
11/12/2008 7:00 p.m.
The Aperture Foundation, the Photography Department of Parsons The New School for Design and the Vera List Center for Art and Politics at The New School present a new season of panel discussions focusing on photography. The second event is “Framing the Presidency,” which will explore the collision of photography, mass media, and politics in the 2008 presidential campaign and beyond. Artists and media experts will share their experiences and explore the power of photography in constructing our image of the presidency.
Panelists include photographer Tim Davis; Robert Hariman, chair of Communication Studies at Northwestern University; and others to be announced.
Presented with generous support from the Kettering Family Foundation and the Henry Nias Foundation. The program is made possible, in part, by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs.
Location:
Tishman Auditorium, Alvin Johnson/J. M. Kaplan Hall, 66 West 12th Street
Admission:
Free; no tickets or reservations required; seating is first-come first-served
Tuesday, October 28, 2008
Class: October 28, 2008: DARK ROOM EFFECTS
Many of you have mentioned an interest in still life photography. Above is a great shot that was in the NY Times Mag this weekend by Kenji Aoki.
Today in Class we will look at Chapter 9 in Martin Evening's text: DARK ROOM EFFECTS
In partners, we'll do the "split color toning" exercise which begins on page 451.
Please read this whole chapter for homework by next week.
We'll also have a slide lecture and look at some photographers' work, including:
Irving Penn
Kenji Aoki
Stephen Lewis
Robert Polidori
The Bechers
Homework Due next week, NOV. 4
1. Don't forget to Vote! November 4th is election day!
2. Reading: Chapter 9, Martin Evening Text (starts on p.447)
***Choose 3 different darkroom effects from the chapter and apply them to 3 OF YOUR OWN IMAGES. Bring the files to class, or put them in the folder in my Drop Box called "Darkroom EFfects HW". Title them with your name and the effect.
3. Bring several (about 15-20) of your best photos to class for a critique/ group edit. Prints are preferable (any size is fine), but digital photos are fine too.
4. Create a PROFESSIONAL blog for yourself. You can do this for free if you have a gmail account (blogspot.com). Wordpress is another option. Start uploading a bio and images, and in class we will add to it. A more final version of this blog will be due the following week, NOV. 11.
Even if you already have your own website, create a blog to feature more of your work that's not on your site. For example, I have a website which shows mostly just my food photography, but then I also have a wedding blog which I send to potential wedding clients. I also have a food blog which I post new projects to, as they come about. Make this blog useful to you! As you look for photo jobs or assisting jobs by sending out postcards or emails, it's important to send a link that potential clients/employers can look at. If you have a website, this is ideal. If you don't, then the next best thing is a blog. It's free!
Options for your new blog:
-A specific photo project you're working on. You can post new photos to it weekly.
-A place for employers to see your bio and download your resume.
-If you don't have a website, use it to showcase a sampling of your work. Arrange it in sections, if you have several types of photos you want to show. But keep it simple.
As you create your blog, make sure you change your image color profiles to sRGB, which will make your colors look right when uploaded to the internet. In CS3, go to EDIT> COLOR SETTINGS. Make sure they are the appropriate size as well: about 600x600 pixels is more than enough. In CS3, you can go to FILE> SCRIPTS> IMAGE PROCESSOR to change a folder of big images to small jpgs in an instant.
Monday, October 27, 2008
Printing
Printing is sometimes the biggest challenge in photography- getting the print colors to match the screen can be brutal, and ink & paper are expensive when wasted! You may want to opt to have a lab do it for you. Here are 2 reasonable options.
A great place to get digital inkjet prints made is at the DOC at SVA. A small hidden photo printing lab (all digital) that is open to the public and reasonably priced. All the info is here:
http://mfaphoto.schoolofvisualarts.edu/?page_id=46
Printing
Epson 4800, 8-color UltraChrome inks
$8 per 8.5×11″ sheet paper
$10 per 11×17″, 13×19″ sheet paper
$25 per linear foot for roll media (250 wt glossy, matte, or luster)
Roll paper width is either 16″ or 17″ wide depending on paper in stock.
Large Format Printing
Epson 10600, 6-color Archival inks
$26 per linear foot (singleweight paper)
$50 per linear foot (doubleweight paper)
Roll paper width is 44″ (maximum printable area 43″ wide)
*****
To get Digital C-Prints Made, I go to PRINT SPACE:
http://www.printspacenyc.com/
7th Floor
151 W 19th St, New York, NY 10011
(212) 255-1919 x7
A great place to get digital inkjet prints made is at the DOC at SVA. A small hidden photo printing lab (all digital) that is open to the public and reasonably priced. All the info is here:
http://mfaphoto.schoolofvisualarts.edu/?page_id=46
Printing
Epson 4800, 8-color UltraChrome inks
$8 per 8.5×11″ sheet paper
$10 per 11×17″, 13×19″ sheet paper
$25 per linear foot for roll media (250 wt glossy, matte, or luster)
Roll paper width is either 16″ or 17″ wide depending on paper in stock.
Large Format Printing
Epson 10600, 6-color Archival inks
$26 per linear foot (singleweight paper)
$50 per linear foot (doubleweight paper)
Roll paper width is 44″ (maximum printable area 43″ wide)
*****
To get Digital C-Prints Made, I go to PRINT SPACE:
http://www.printspacenyc.com/
7th Floor
151 W 19th St, New York, NY 10011
(212) 255-1919 x7
Tuesday, October 21, 2008
CS4 Talk tomorrow!
APA|NY and liveBooks present:
a First Look at Adobe Photoshop CS4 and Lightroom 2
featuring Julieanne Kost
Learn more about the latest versions of Adobe Photoshop and Adobe Photoshop Lightroom and get familiar with the new features that make them the gold standard in digital imaging. Adobe® Photoshop® CS4 software offers more intuitive access to its unrivaled power for greater editing freedom and significant productivity enhancements so you can composite images and achieve amazing results more efficiently than ever before.
About Julieanne Kost:
Joining Adobe in 1992, Julieanne has learned her craft through hands-on experience and now serves as the Senior Digital Imaging Evangelist. Spanning digital imaging and illustration, her role includes customer education, product development, and market research. She is a frequent contributor to several publications, a speaker at numerous design conferences and tradeshows, and a teacher at distinguished photography workshops and fine art schools around the world.
Herself a passionate photographer, she combines her background in psychology in creating artwork, seen in several showings and published in several magazines. She is the author behind Window Seat - The Art of Digital Photography and Creative Thinking and the Photoshop Fundamentals and Advanced Photoshop Techniques training DVDs published by Software Cinema. http://www.jkost.com/
WHAT: APA presents a First Look at Adobe Photoshop CS4 and Lightroom 2
WHEN: Wednesday October 22, 2008 - doors @ 6:15PM, program @ 7PM
WHERE: The Actors' Movement Studio, 302 W 37th St, 6th Floor (between 8th & 9th Ave) COST: Free to attend but seating is limited: first come, first serve
a First Look at Adobe Photoshop CS4 and Lightroom 2
featuring Julieanne Kost
Learn more about the latest versions of Adobe Photoshop and Adobe Photoshop Lightroom and get familiar with the new features that make them the gold standard in digital imaging. Adobe® Photoshop® CS4 software offers more intuitive access to its unrivaled power for greater editing freedom and significant productivity enhancements so you can composite images and achieve amazing results more efficiently than ever before.
About Julieanne Kost:
Joining Adobe in 1992, Julieanne has learned her craft through hands-on experience and now serves as the Senior Digital Imaging Evangelist. Spanning digital imaging and illustration, her role includes customer education, product development, and market research. She is a frequent contributor to several publications, a speaker at numerous design conferences and tradeshows, and a teacher at distinguished photography workshops and fine art schools around the world.
Herself a passionate photographer, she combines her background in psychology in creating artwork, seen in several showings and published in several magazines. She is the author behind Window Seat - The Art of Digital Photography and Creative Thinking and the Photoshop Fundamentals and Advanced Photoshop Techniques training DVDs published by Software Cinema. http://www.jkost.com/
WHAT: APA presents a First Look at Adobe Photoshop CS4 and Lightroom 2
WHEN: Wednesday October 22, 2008 - doors @ 6:15PM, program @ 7PM
WHERE: The Actors' Movement Studio, 302 W 37th St, 6th Floor (between 8th & 9th Ave) COST: Free to attend but seating is limited: first come, first serve
Erwin Olaf Talk
Tonight, we will be spending the 1st half of our class at Aperture Gallery for a talk by Erwin Olaf, a Dutch photographer. Meet there at 6:30pm.
For his website, click here.
He is represented by Bernstein & Andriulli.
To see a video interview with Olaf, click here.
For a press release on Hasted Hunt's website, click here.
Aperture Gallery
547 West 27th Street, between 10th and 11th Aves. 4th Floor.
http://www.aperture.org/events/detail.php?id=444
The 2nd half of class (beginning at about 8pm) will be held in our normal room, C306, and we'll be looking at the midterm projects then.
See you all tonight!
Erin
******
Excerpt from an interview with Olaf:
F STOP: What inspired your move from black and white to color?
OLAF: Photoshop.
F STOP: Photoshop?
OLAF: Absolutely. I hated color photography till the early nineties… When Photoshop came along I could control the colors like I could control black and white in the dark room. This was really an eye opener for me. In the beginning I was aggressively against Photoshop. The first series I did with color was called Mind of Their Own, which was portraits of mentally disabled people. I burned the negatives to create a dream world. It was the first time I gave in to color photography. The strange thing is that I burned the negative because I was a little bit against Photoshop because I though “why, spend $1000 on Photoshop when I can burn the negatives in ten seconds for $1?” But after that I really started to embrace Photoshop.
F STOP: Do you have a standard kind of post-production regime?
OLAF: I work with several retouchers for every project. It’s like in the film industry, there’s an editor. I see myself more as a director nowadays than as a pure photographer.
Monday, October 20, 2008
Reminder: Midterm Due This Week (10/21)
For the midterm, you are required to create a photographer's promotional piece: basically a professional postcard, double sided that shows all your contact information, what kind of work you are looking for, and at least one of your images.
*Choose an image that you can retouch. I want to see before and after of this image when you turn in the assignment.
This can be printed anywhere: at Kinkos, in the FIT Lab, at home etc. It should be on card stock, double sided paper. Make sure you pay close attention to color management. If you are using a professional print lab, ask what color space your document should be in for their printer. Make sure the color space of your document matches the printer's. Most inkjet printers use Adobe RGB 1998. Laser printers differ, so make sure to ask. Vista Print is a good website to use for printing large quantities of promotional materials, but for this assignment, you only have to make 2 postcards.
*Choose an image that you can retouch. I want to see before and after of this image when you turn in the assignment.
This can be printed anywhere: at Kinkos, in the FIT Lab, at home etc. It should be on card stock, double sided paper. Make sure you pay close attention to color management. If you are using a professional print lab, ask what color space your document should be in for their printer. Make sure the color space of your document matches the printer's. Most inkjet printers use Adobe RGB 1998. Laser printers differ, so make sure to ask. Vista Print is a good website to use for printing large quantities of promotional materials, but for this assignment, you only have to make 2 postcards.
Tuesday, October 7, 2008
Class 10/7 (Week 6)
In class this week, we will go over 2 separate categories:
1. Workflow Strategies
How to batch process a folder of images in the raw window, Photoshop & Bridge
How to write actions and apply them to a folder of images
How to Automate Contact Sheets
How to turn a large folder of Tiffs into JPGs or vice versa. (File > Scripts> Image Processing)
2. Pen Tool & Paths
We will continue to practice Pen tool techniques. We'll learn how to combine Pen Tool and Channels to make an effective mask. See handout for instructions.
***
Homework:
For Next Week: Chapter 9: Classroom in a book. Vector Drawing Techniques and the Pen Tool. Please do the reading and the exercises as well. All the image files can be found on the CD that accompanies the book.
MIDTERM PROJECT!!! Due in 2 weeks: OCTOBER 21st.
For the midterm, you are required to create a photographer's promotional piece: basically a professional postcard, double sided that shows all your contact information, what kind of work you are looking for, and at least one of your images. (Choose an image that you can retouch. I want to see before and after of this image when you turn in the assignment). This can be printed anywhere: at Kinkos, in the FIT Lab, at home etc. It should be on card stock, double sided paper. Make sure you pay close attention to color management. If you are using a professional print lab, ask what color space your document should be in for their printer. Make sure the color space of your document matches the printer's. Most inkjet printers use Adobe RGB 1998. Laser printers differ, so make sure to ask. Vista Print is a good website to use for printing large quantities of promotional materials, but for this assignment, you only have to make one postcard.
For a note on rasterizing type, click here. If a type layer needs to be rasterized, you will be prompted by Photoshop.
1. Workflow Strategies
How to batch process a folder of images in the raw window, Photoshop & Bridge
How to write actions and apply them to a folder of images
How to Automate Contact Sheets
How to turn a large folder of Tiffs into JPGs or vice versa. (File > Scripts> Image Processing)
2. Pen Tool & Paths
We will continue to practice Pen tool techniques. We'll learn how to combine Pen Tool and Channels to make an effective mask. See handout for instructions.
***
Homework:
For Next Week: Chapter 9: Classroom in a book. Vector Drawing Techniques and the Pen Tool. Please do the reading and the exercises as well. All the image files can be found on the CD that accompanies the book.
MIDTERM PROJECT!!! Due in 2 weeks: OCTOBER 21st.
For the midterm, you are required to create a photographer's promotional piece: basically a professional postcard, double sided that shows all your contact information, what kind of work you are looking for, and at least one of your images. (Choose an image that you can retouch. I want to see before and after of this image when you turn in the assignment). This can be printed anywhere: at Kinkos, in the FIT Lab, at home etc. It should be on card stock, double sided paper. Make sure you pay close attention to color management. If you are using a professional print lab, ask what color space your document should be in for their printer. Make sure the color space of your document matches the printer's. Most inkjet printers use Adobe RGB 1998. Laser printers differ, so make sure to ask. Vista Print is a good website to use for printing large quantities of promotional materials, but for this assignment, you only have to make one postcard.
For a note on rasterizing type, click here. If a type layer needs to be rasterized, you will be prompted by Photoshop.
Saturday, October 4, 2008
Pen Tool HW Due 10/7
HW: Pen tool this file that we started in class. It's on the CD that came with the Evening text in Chapter 8 images, or you can download it here:
See you Tuesday!
http://rcpt.yousendit.com/612162165/490eb3fe7fd73b14a4448c237a932a53
See you Tuesday!
http://rcpt.yousendit.com/612162165/490eb3fe7fd73b14a4448c237a932a53
Friday, October 3, 2008
Creative Quarterly Contest, deadline 10/31
For all the info, click here: http://www.cqjournal.com/callforentries.html
It's time to get your entries ready for our next show. Our first combined show had leading design firms, illustrators, photographers and fine artists submitting right alongside students and faculty from leading art schools and colleges.
Some of our big winners were Laughlin Constable, Teknika Design, O Group and our schools included Art Center, Tyler, Academy of Art, RISD, MICA, FIT, RIT, SVA. For a complete listing of all winners click here. Medal winners are listed below.
Keep in mind our low entry fees--$10 each--and you can enter online. And if you're a winner, great exposure in the next issue of Creative Quarterly (Take a sneak peek at our current issue). All entries must be uploaded or postmarked no later than October 31, 2008.
We're now two shows in one, professional and student.
Eligibility:
Working professionals, undergraduate or post graduate students and faculty in graphic design, illustration, photography and fine art
Categories:
Graphic Design--editorial, Identity, packaging, posters, books and advertising.
Photography--both fine art and commercial.
Illustration--print and animation.
Fine Art--painting, drawing, printmaking, multi-media, pottery, sculpture.
All winners will be exhibited in the next issue of Creative Quarterly due out at the end of the year.
Click here for more details about entering online and entry forms.
Questions?
Contact us at shows@cqjournal.com or at the studio, 718 435
4047.
Entries for CQ14 must be to us no later than October 31, 2008
Photo Contests at CENTER
Center For Fine Art Photography
OCT.14 DEADLINE:
It is not always the subject, but the Negative Space around the subject that makes a photograph truly stunning. This exhibition will highlight the compositional element that makes up the space not commonly seen.
Juror: Brooks Jensen
Brooks is the founder and co-editor of the publication LensWork Magazine. He is a prolific writer and photographer. His podcast and published interviews of the famous and not so famous provide valuable content for the community of photographers.
Exhibition and Awards:
* With selection for this exhibition, artists and their work will be seen by an international audience of collectors, curators, art consultants and others who appreciate the fine art of photography.
* Juror's Selection award: $300 Director's Selection award:
* $200 Gallery Visitor's Choice Award:
* $100Two Artists' ShowCase Online subscriptions - the Center's new online image marketing website (preview at www.artists-showcase.org)
* All exhibitors are included in the Center's online galleryInclusion in the Center's 2008 Exhibition Collection CD which is distributed to selected galleries, collectors, design houses and corporations world wide
For more info: http://www.c4fap.org/
OTHER CONTESTS:
Idea of Self
Deadline November 12, 2008
How do you see yourself? How do you think of yourself? How do you think other people see you? Are you the fly on the wall or the center of attention? The Idea of Self stretches further than the self portrait, and into the recesses of the mind, spirit and our subconscious.
_______________________________________________________________
Perspective
Deadline December 9, 2008
Perspective can be the point of view from which you are standing when you release the shutter, or reflect your state of mind at the time when the image is created. Are you up high, or low to the ground? Maybe you are high on life, or down in the dumps. All these perspectives can greatly influence the message and impact of your photograph.
What is your Perspective?
_______________________________________________________________
All of the Center's juried exhibitions are open to all domestic and international, professional and amateur, photographers working with digital or traditional photography or combinations of both. The Center for Fine Art Photography invites photographers working in all mediums, styles and schools of thought to participate. Traditional, contemporary, avant-garde, creative, experimental and mixed techniques are welcome.
Information and online submissions at The Center for Fine Art Photography at www.c4fap.org or email questions to exhibitions@c4fap.org.
Tuesday, September 30, 2008
PDN Photo Expo
The Most Important Event in Photography: October 23-25, 2008.
Located at the Jacob Javits Center in New York City the show boasts a huge expo floor, hundreds of exhibitors, thousands of new products and a conference with over 100 seminars.
Sign up for FREE!!
http://www.photoplusexpo.com/ppe/5300/expo/index.jsp
Located at the Jacob Javits Center in New York City the show boasts a huge expo floor, hundreds of exhibitors, thousands of new products and a conference with over 100 seminars.
Sign up for FREE!!
http://www.photoplusexpo.com/ppe/5300/expo/index.jsp
Tuesday, September 23, 2008
Wacom Tablets
Adobe Photoshop is specifically designed to be used with a Wacom pen tablet. Pen pressure, pen tilt, and even the airbrush's finger-wheel can control attributes like opacity, size, color, and exposure. With a Wacom pen, you have the power to dynamically control Photoshop's tools in the most natural and intuitive way possible.
Photoshop has more than 20 customizable tools that perform at their best with a Wacom pen. Simply press a little harder or softer with your pen for more or less effect. Photoshop feels every slight adjustment that you make with your Wacom pen.
Photographers, designers, and artists choose to work with Wacom pen tablets because Photoshop Quick Masks and Layer Masks are designed to be used with a Wacom pressure-sensitive pen. Color temperature, exposure, blur, and any other Photoshop effect can be applied with pressure-sensitive pen control. To selectively undo the effect, simply turn your pen over and use the pressure-sensitive eraser. Whether making selections, retouching, or applying effects, working with a Wacom pen is clearly the fastest way to work to achieve a smoother, more natural look.
For more info go to: http://www.wacom.com/tips/photoshop.cfm
For tips & a tutorial on how to use the wacom pen plus pen tool to do a composite, go to http://www.wacom.com/tips/tip.cfm?ID=91&STEP=5&category=Photoshop
To buy one, click here.
Saturday, September 20, 2008
Homework Due 9/23
Reading: Martin Evening Text pp. 334-347: Retouching Portraits.
Retouch one portrait you've shot in RAW. Pay close attention to the skin and use the techniques we went over in class. For the Skin Finishing steps, refer to the handout that was given in class, or download this sheet:
Retouch one portrait you've shot in RAW. Pay close attention to the skin and use the techniques we went over in class. For the Skin Finishing steps, refer to the handout that was given in class, or download this sheet:
Friday, September 19, 2008
Emerging Artists 2009: Competition
Emerging Artists 2009 presents the seventeenth annual competition for gallery exhibition and awards. The exhibition will be held in March 2009 at the Limner Gallery. Open to all artists working in any media. There will be a $1,000 cash award and $2,600 in publication awards. For the prospectus e-mail slowart@aol.com, Visit website or mail SASE to: SlowArt Productions, 123 Warren St, Hudson NY 12534.
Deadlines: November 30
Deadlines: November 30
Art Scholarship Competition
MyArtSpace is accepting artwork online for their scholarship competition. Artists must be enrolled in an undergraduate or graduate art program and be a member of myartspace.com, an online community for the contemporary art world. First place in the competition is a $5,000 cash scholarship; Second place is $2,000, and third place is $1,000. Visit My Art Space for more information.
Deadline: November 31
Deadline: November 31
Thursday, September 18, 2008
Shots Magazine Portfolio Contest
Photographers chosen for publication will be interviewed and featured on at least 4 pages in this annual issue. (Note: Photographers previously featured in Shots’ interviews and past Portfolio Issues are not eligible for this issue.)
Send up to 20 images (prints or files on a CD) for consideration.
An established independent photography journal in its 22nd year of publication, Shots Magazine reaches an international audience of photographers, collectors, galleries, museums, educators and other fine art photography enthusiasts. Don't miss this chance to have your work seen!
All submissions must be received by November 3, 2008
For more info, visit:
http://shotsmag.com/guidelines.htm
Tuesday, September 16, 2008
Week 4: Image Retouching
This week are going over image retouching. We will be looking at different images to assess what can be done to improve them. We will also talk about the different audiences for photography and what degree of retouching suits each. Fashion and beauty retouching is much more in depth than the retouching that goes into a private portrait session. You must always ask what the needs of your client are. Also, a photographer must be aware of the rules that govern photojournalism. Look at the articles below to get an idea of what is technically allowed (NPR) and what is actually done:
Articles for reference:
Pixel Perfect
Pascal Dangin’s virtual reality.
by Lauren Collins
New Yorker, May 2008
3 Magazines Are Accused of Retouching Celebrity Photos to Excess
By ANDREW ADAM NEWMAN
NYT May 2007
L'Oréal Denies Lightening Beyoncé's Skin for New Ads
NY Mag blog, The Cut
One Gap Ad’s Tragic Photoshop Error
NY Mag blog, The Cut
Do you care if the photographs you see in your newspapers and magazines, or on the Internet, have been changed? If only slightly? If so, why? Click here to hear a radio show on NPR's Talk of the Nation on this topic.
In class, we will go over all the steps of retouching one portrait together.
Here is the before and after of an image we'll work on. It was taken by my friend, photographer Kelly Neal.
After all your basic retouching (cloning, healing, cropping, levels etc.) is done, follow these steps for skin finishing to achieve a airbrushed magazine finish. Click on this image to see the instructions:
Articles for reference:
Pixel Perfect
Pascal Dangin’s virtual reality.
by Lauren Collins
New Yorker, May 2008
3 Magazines Are Accused of Retouching Celebrity Photos to Excess
By ANDREW ADAM NEWMAN
NYT May 2007
L'Oréal Denies Lightening Beyoncé's Skin for New Ads
NY Mag blog, The Cut
One Gap Ad’s Tragic Photoshop Error
NY Mag blog, The Cut
Do you care if the photographs you see in your newspapers and magazines, or on the Internet, have been changed? If only slightly? If so, why? Click here to hear a radio show on NPR's Talk of the Nation on this topic.
In class, we will go over all the steps of retouching one portrait together.
Here is the before and after of an image we'll work on. It was taken by my friend, photographer Kelly Neal.
After all your basic retouching (cloning, healing, cropping, levels etc.) is done, follow these steps for skin finishing to achieve a airbrushed magazine finish. Click on this image to see the instructions:
Monday, September 15, 2008
Critical Mass 2008 | Deadline Oct. 6
Critical Mass is an annual juried competition sponsored by Photolucida. It is a valuable addition to Photolucida's popular in-person Portfolio Reviews, and offers an online submission and selection process. Critical Mass participants receive tremendous artistic exposure at a fraction of the cost of in-person reviews. 2007 is the fourth year of Critical Mass.
The aim of Critical Mass and all Photolucida programming is to provide participants with career-building opportunities and to promote the best emerging and mid-career artists working today.
Friday, September 12, 2008
Exhibition Opportunity: Lana Santorelli Gallery
We are currently looking for work for our next show- our annual small
works exhibition. We invite you to submit work to this group show
which will feature contemporary art of small scale (less that 24" in
any dimension). Priority deadline for submissions is Friday, September
26th, 2008.
Submission Guidelines:
Please include your brief resume, artist statement, cover letter, and
artwork detail list (including title, medium, dimensions, and artist's
compensation expected for of each piece submitted).
Please email images or mail CD of images (20 images maximum). We
prefer to have all files electronically, so please put all artist
materials on CD, if mailed. No slides please.
We will not return submissions from artists who request their packages
be mailed back unless artist has sent sufficient return postage. We
prefer to keep artists' work in our files to consider them for future
shows.
Please send submissions to:
Lana Santorelli Gallery
Attn: Submissions
110 W 26th Street, Ground Floor
New York, NY 10001
lanasantorelligallery@gmail.com
works exhibition. We invite you to submit work to this group show
which will feature contemporary art of small scale (less that 24" in
any dimension). Priority deadline for submissions is Friday, September
26th, 2008.
Submission Guidelines:
Please include your brief resume, artist statement, cover letter, and
artwork detail list (including title, medium, dimensions, and artist's
compensation expected for of each piece submitted).
Please email images or mail CD of images (20 images maximum). We
prefer to have all files electronically, so please put all artist
materials on CD, if mailed. No slides please.
We will not return submissions from artists who request their packages
be mailed back unless artist has sent sufficient return postage. We
prefer to keep artists' work in our files to consider them for future
shows.
Please send submissions to:
Lana Santorelli Gallery
Attn: Submissions
110 W 26th Street, Ground Floor
New York, NY 10001
lanasantorelligallery@gmail.com
PDN Faces Photo Contest : Deadline 9/15!
faces
>>portraits from all angles >>
Deadline for entries: September 15, 2008*
*LATE? Pay $10 per entry for an extended deadline: September 15, 2008
Enter Online:
http://www.facesphotocontest.com/
Prizes
grand prize winner for each category will receive:
* PhotoServe Portfolio (Value: $860)
* PDN PhotoPlus International Conference Gold Expo Pass
* A Crumpler photo bag
* One complimentary 16x20 print from Modernage
all winners are featured in December 2008 issue of PDN and in online gallery at www.pdnonline.com.
Select images will be exhibited at a gallery exhibit at PDN PhotoPlus International Expo from October 23 to 25, 2008 in New York City.
Categories
1. >> Celebrity/Editorial Portraits (studio)
Published or unpublished. Famous or infamous.
2. >> Environmental Portraiture
A person in their natural surroundings.
3. >> Self-Portraits
You, yourself
4. >> Animal Portraits
Your friends, your companions, your family.
For more info: http://www.facesphotocontest.com/
Thursday, September 11, 2008
APA Photo Contest
For all the Info: Click here. The APA National Photo Competition is open to all, APA members and non-members. There is a STUDENT section of the contest...great opportunity to get your work out there!
Tuesday, September 9, 2008
Assisting
A great way to learn your way around the studio (and make some $$!) is to assist.
Most busy photographers (especially ones who work in the studio) usually have full time assistants. Often, on a big shoot, there will be even 3 assistants, with one assistant in charge. Assistants usually do all the hard work that the photographer doesn't want to do, like setting up all the equipment and carrying heavy things on location. The going day-rate for an assistant is about $300, and can sometimes require long hours because you need to set up before everyone arrives and tear down after everyone leaves. Even though it's hard work, an advantage is that sometimes photographers will allow their assistants to use the studio space and equipment for personal use during off hours.
Since most 'big' photographers are represented by an agent, it can be hard to get the photographers personal phone # and email. Still, try contacting the agent, explain that you are looking for assistant work, and ask if you can have the photographer's contact info.
Cold calling is a good option, if you can get their number. Give it a good hard google search if you can't!
Another great option is to join APA. Advertising Photographers of America (APA) is a trade association that promotes and protects the interests of commercial, editorial and corporate photographers. They have a section of their website devoted to assistants, and many photographers (especially ones who are looking for last minute help) look here. You can also get access to a mailing list to send out emails yourself. Join while you're a student and the membership fees are much lower. Even without joining, however, you can search for photographer's info on the website. Search by city to see who's in your area.
Also, word of mouth is often the best way. Ask your teachers if they know any photographers who are looking for freelance assistants!
If you are a pro at digital workflow, you can look for jobs as a digital technician. Click here to see one freelancer's website that he uses to try and get work.
Most busy photographers (especially ones who work in the studio) usually have full time assistants. Often, on a big shoot, there will be even 3 assistants, with one assistant in charge. Assistants usually do all the hard work that the photographer doesn't want to do, like setting up all the equipment and carrying heavy things on location. The going day-rate for an assistant is about $300, and can sometimes require long hours because you need to set up before everyone arrives and tear down after everyone leaves. Even though it's hard work, an advantage is that sometimes photographers will allow their assistants to use the studio space and equipment for personal use during off hours.
Since most 'big' photographers are represented by an agent, it can be hard to get the photographers personal phone # and email. Still, try contacting the agent, explain that you are looking for assistant work, and ask if you can have the photographer's contact info.
Cold calling is a good option, if you can get their number. Give it a good hard google search if you can't!
Another great option is to join APA. Advertising Photographers of America (APA) is a trade association that promotes and protects the interests of commercial, editorial and corporate photographers. They have a section of their website devoted to assistants, and many photographers (especially ones who are looking for last minute help) look here. You can also get access to a mailing list to send out emails yourself. Join while you're a student and the membership fees are much lower. Even without joining, however, you can search for photographer's info on the website. Search by city to see who's in your area.
Also, word of mouth is often the best way. Ask your teachers if they know any photographers who are looking for freelance assistants!
If you are a pro at digital workflow, you can look for jobs as a digital technician. Click here to see one freelancer's website that he uses to try and get work.
Class 3, Sept. 9: Color Calibration and Masking (con'td)
Part One: Calibration
Color calibration is an important factor in the digital workflow and essential to getting good prints.
For your home computer, it's a good idea to invest in a calibrator for your monitor. Here is one recommendation: The Spyder3Pro Display Calibration, available at B&H for $149.
On your mac at home, you can go into system preferences and do a calibration of your monitor, which is the next best thing if you don't have a spyder.
Go into System Preferences > Displays > Color > Calibrate, and follow the steps. If your monitor is really off, this should help quite a bit.
To make sure your color is right, however, you must also pay attention to white balance settings both in your camera and in camera raw.
While shooting, you can use a macbeth color checker card.
A white balance gray card can also be placed in your shot to assure correct white balance and color.
Here are some options at B&H:
Lastolite EZYBalance Grey/White Card - 20"
WhiBal G6 Reference White Balance Gray Card
Simply put the card in your shot, and then using your eyedropper tool in ACR (or using the downloadable Macbeth calibrator profile) you can assure that all your images from a single shoot will have the same result and matching color. This is especially important when shooting a catalogue!
Click here for an article with additional info.
Part 2: Compositing Using Channels
click here for step by step directions:
Assignment Due Sept 16, 2008:
Composite using a mask made with channels
The object will be to take 2 separate images and merge them into a composition that creates a completely new context to the subject matter. The object is to create a new and believable reality using Photoshop. The 1st image should be of a person who has been photographed BY YOU on a white background. The 2nd image is an environment of your choice, also taken by you.
The final image must be turned in during class next week. DO NOT FLATTEN your image! I want to see all the layers. Save as a TIFF or PSD.
The source images used for this assignment need to be original (preferably RAW) images made by you. No images from TV, web, books, friends etc should be used.
Please give careful attention to making good selections and make sure the images are properly exposed. Go back and make a new channel mask if necessary, or re-do the “refine edge” if it doesn’t come out quite right. Lots of thought needs to go into the details that make an image seem believable. Consider placement of shadows and scale of objects carefully as they will make or break an image. Try to pick 2 images which have similar lighting conditions.
Color calibration is an important factor in the digital workflow and essential to getting good prints.
For your home computer, it's a good idea to invest in a calibrator for your monitor. Here is one recommendation: The Spyder3Pro Display Calibration, available at B&H for $149.
On your mac at home, you can go into system preferences and do a calibration of your monitor, which is the next best thing if you don't have a spyder.
Go into System Preferences > Displays > Color > Calibrate, and follow the steps. If your monitor is really off, this should help quite a bit.
To make sure your color is right, however, you must also pay attention to white balance settings both in your camera and in camera raw.
While shooting, you can use a macbeth color checker card.
A white balance gray card can also be placed in your shot to assure correct white balance and color.
Here are some options at B&H:
Lastolite EZYBalance Grey/White Card - 20"
WhiBal G6 Reference White Balance Gray Card
Simply put the card in your shot, and then using your eyedropper tool in ACR (or using the downloadable Macbeth calibrator profile) you can assure that all your images from a single shoot will have the same result and matching color. This is especially important when shooting a catalogue!
Click here for an article with additional info.
Part 2: Compositing Using Channels
click here for step by step directions:
Assignment Due Sept 16, 2008:
Composite using a mask made with channels
The object will be to take 2 separate images and merge them into a composition that creates a completely new context to the subject matter. The object is to create a new and believable reality using Photoshop. The 1st image should be of a person who has been photographed BY YOU on a white background. The 2nd image is an environment of your choice, also taken by you.
The final image must be turned in during class next week. DO NOT FLATTEN your image! I want to see all the layers. Save as a TIFF or PSD.
The source images used for this assignment need to be original (preferably RAW) images made by you. No images from TV, web, books, friends etc should be used.
Please give careful attention to making good selections and make sure the images are properly exposed. Go back and make a new channel mask if necessary, or re-do the “refine edge” if it doesn’t come out quite right. Lots of thought needs to go into the details that make an image seem believable. Consider placement of shadows and scale of objects carefully as they will make or break an image. Try to pick 2 images which have similar lighting conditions.
Monday, September 8, 2008
Class 2 : September 2, 2008
During class # 2, we watched a video which accompanies our text by Martin Evening. In the video, Martin himself guides us through the basics of ACR (Adobe Camera Raw). This video coincides with the reading that we did last week about camera raw and goes over all the tools and the differences between the sliders in the raw window. For those students who missed the class, please watch "Movie 2: What's New in Camera Raw" on the CD which is included at the back of your text.
In-Class Demos:
-How to turn your raw images into smart objects
(hold down shift in ACR to open as object)
In your layers palatte, you will see a small icon in the lower right corner indicating that it is not a background layer, but a smart object. Double clicking on the icon makes the ACR window open and allows you to make adjustments. It is always best to make as many adjustments as you can in ACR, as it draws on more of the original information in the file.
-How to use ACR processing to correct a raw file that has an underexposed foreground and a correctly exposed background using the gradient tool and masks
-We started a demo on how to use channels to make composites, but it will be continued next time.
In-Class Demos:
-How to turn your raw images into smart objects
(hold down shift in ACR to open as object)
In your layers palatte, you will see a small icon in the lower right corner indicating that it is not a background layer, but a smart object. Double clicking on the icon makes the ACR window open and allows you to make adjustments. It is always best to make as many adjustments as you can in ACR, as it draws on more of the original information in the file.
-How to use ACR processing to correct a raw file that has an underexposed foreground and a correctly exposed background using the gradient tool and masks
-We started a demo on how to use channels to make composites, but it will be continued next time.
Sunday, August 31, 2008
Class # 1: August 26, 2008
During the first class of the semester, we got to know eachother a bit and talked about what each student's experience with photoshop and photography is. We looked at a few student websites and filled out entrance surveys, to determine what each person wants to get out of this class.
Each student needs to purchase the following books for class. They are about $48 at Barnes and Noble or Borders and they start at about $25 on Amazon.
Required Text:
Adobe, Photoshop CS3 Classroom In A Book: the official training workbook from Adobe
systems, Peachpit Press, 2007
Evening, Martin. Adobe Photosop C3 for Photographers, Focal Press, 2007
During the demo portion of the class, we talked about the importance of shooting RAW and about how raw differs from JPG. We did Lesson 7 from Classroom in a Book and went over the function of each tool and slider in the camera raw window.
Reading to complete by next week (Sept. 2):
Adobe Photoshop CS3 for Photographers by Martin Evening
Chapter 5: Camera Raw Image Processing pp.245-290
Each student needs to purchase the following books for class. They are about $48 at Barnes and Noble or Borders and they start at about $25 on Amazon.
Required Text:
Adobe, Photoshop CS3 Classroom In A Book: the official training workbook from Adobe
systems, Peachpit Press, 2007
Evening, Martin. Adobe Photosop C3 for Photographers, Focal Press, 2007
During the demo portion of the class, we talked about the importance of shooting RAW and about how raw differs from JPG. We did Lesson 7 from Classroom in a Book and went over the function of each tool and slider in the camera raw window.
Reading to complete by next week (Sept. 2):
Adobe Photoshop CS3 for Photographers by Martin Evening
Chapter 5: Camera Raw Image Processing pp.245-290
Welcome to Fall Semester!
Hi Photoshop 2 students, and welcome to Fall semester at F.I.T.! Hope you all had a great summer.
I am Erin Gleeson, and I'll be your instructor. You can check out some of my work at www.eringleeson.com. You can contact me at: erin@eringleeson.com
Throughout the semester, I will post info pertaining to the class on this blog including weekly assignments, readings, notes, pictures and ideas. You are welcome and encouraged to contribute to the blog and post your work/ thoughts as well.
We have class every Tuesday evening from 6:30-9:20. There will be no class the night of September 30 (Rosh Hashana).
I am Erin Gleeson, and I'll be your instructor. You can check out some of my work at www.eringleeson.com. You can contact me at: erin@eringleeson.com
Throughout the semester, I will post info pertaining to the class on this blog including weekly assignments, readings, notes, pictures and ideas. You are welcome and encouraged to contribute to the blog and post your work/ thoughts as well.
We have class every Tuesday evening from 6:30-9:20. There will be no class the night of September 30 (Rosh Hashana).
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