“…aesthetic harmony means very little unless the photography reveals a personal, emotional truth. I want a viewer to feel like they’re inside the experience rather than looking at it.” — Curran Hatleberg
“Originality lies in the embrace of one’s own voice, not in the reaction to others’ voices.” — Peter Kayafas
“I create situations that do not exist. I seek the truth from fiction.” — Sarah Moon
Photoessays/bodies of Work
– “House Music” Reminiscent to me of Sally Mann, only indoors.
– WOW! Repeating patterns
– All of the capbilities of “Export As” More than you might realize
– Creating reflections and reflections in puddles
– Create realistic shadows
– Why you should do projects
– Composing wide angle landscape shots
– Charlie Waite: Great images with small cameras
– Joe Pugliese: Interesting interview and images
– On Photoshop’s 30th birthday (Feb. 19), some stories of its birth
I spent a bit of time this weekend experimenting with different BW processing methods. This was my “traditional” method using a BW adjustment layer in PS and adding tonal contrast and detail extractor in COLOR Efex Pro.
For this image I converted to BW with a gradient map and then added a black layer and white layer and locally masked the layers to get deep blacks in particular.
Finally on this image I used Image > Calculations, with levels, curves and some added noise. Would like to hear comments and what you liked best.
“. . . it isn’t a visual diary, as with so much contemporary photography; it’s an autobiography of feelings and impressions, not of facts and events.” — Russell Hart on Cig Harvey’s work
“I have date nights with my photographs. I put them all up on the wall, look at what I’ve made and try to see what direction the work is taking. This understanding influences the pictures I do from that point on. What the work is about slowly rises to the surface.” — Cig Harvey
“I think that emotional content is an image’s most important element, regardless of the photographic technique. Much of the work I see these days lacks the emotional impact to draw a reaction from viewers, or remain in their hearts.” –- Anne Geddes
Photoessays/Bodies of Work
– Modern Boyhood In my opinion, not fine art, but certainly more than family snapshots.
– Stephen Shore: Unorthodox photography Possibly the best explanation I’ve seen for this type of photography. As record, it has value, as art, all I see are, at best, well-chosen snapshots.
– Street photography in Bengal India
– Accurately re-color your images with gradient maps
– Macro photography tips
– 7 tips on BW Street photography from Alan Schaller
– Emotion in Landscape photography
– Writing your artist statement
Baltimore skyline from Harbor East promenade.
A dock along the promendade at Harbor East.
“What I respect, and at times envy, about painting is that it never claims to be anything other than a purely subjective vision. And we place no false expections on it in terms of its truth value. Photographs, on the other hand, are never entirely fiction or nonfiction.” — Gregory Halpern
“Photography is serial in nature, and oftentimes a group of pictures becomes a much deeper thing than a gathering of single images.” — Todd Hido
“ . . the photographs gain much of their power and meaning from being seen together, in groups that don’t so much suggest a narrative as they do the rhythms of a family life in rural Maine and a continuing search for beauty in small things that might otherwise go unnoticed.” — Russell Hart on Cig Harvey’s work
Photoessays/Bodies of Work
– Thomas Alleman: Social Studies
– Hokkaido winter landscapes
– David Freese: Mississippi River
– Cig Harvey: State of Being
– Compositing tips and tricks This is a really good session, with great details on persepctive, color and luminosity matching, levels, curves, smart objects and more.
– Fixing distortions from wide angle lenses
– Using the difference blend mode to color grade and tone A very interesting approach
– Mindfulness to succeed at street photography
– Creating mood in street photography
– Creating a Portfolio From Steve O.
I was at Big Cypress National Preserve in Florida (just northwest of the Everglades), photographing in a swamp and concentrating on the trees and moss across an open stretch of water when I looked up to see this guy just a few feet away. I backed up pretty quick. It was amazing how quietly an animal that size can move. After my heart slowed down, I shot this at 300 mm with an 80-400 lens.
“. . . the best public photography was about building relationships. It was about creating connections between elements that in the world had no real relationship to each other, but which did within the confines of the photographic frame. It wasn’t just about the creation of a pleasing composition, but the potential of the photograph to do more than just document what was in front of the camera.
It created context while implying narrative. It could elicit surprise or laughter. While a sense of the beautiful could be conveyed through the photographer’s use of light and color, it wasn’t always a requirement for a successful “street photograph.” The inherent strength of the photograph was rooted in the unique and personal way the photographer observed the scene and that particular moment in time. The photographer succeeded when they conveyed that sense of discovery and recognition in the photograph.” — Ibarionex Perello
“As most people now have photo editing tools on their phones, there is no longer a belief that the captured image is anything more than a record of personalized fictions.” — Christopher Russell, Lenscratch, 1/24/20
Photoesssays/Bodies of Work
– Remembering the holocaust You may need to be a Times subscriber, but they usually allow a few free views per month. This is worth one of your views.
– Street vs “Public” photography Interesting analysis; the quote above is from this link.
– Polar changes
– London after dark
– Two-step process to reduce compression artifact from small jpg files
– Creating dramatic BW
– Make a boring white/gray sky blue
– Shooting panoramas
– Re-think how to find time to shoot street
Whitehouse Overlook, taken Sept.. 2012 at Canyon de Chelly, AZ, in between several artist residencies out west.