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
Tuesday, September 30, 2008
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.
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