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Photovision Video Magazine on Sale

Friday, July 30th, 2010

Let me introduce you to Photovision, a video magazine.  I’ve subscribed to this for the last two years, initially because the price was right. I continue the subscription because it’s an excellent way to see how other photographers work.

It’s kinda like this: I tend to do mostly portraits, landscape, and light architecture, with some product shots thrown in for good measure.  These videos put me in an excellent position to view baby photographers, senior photographers, and other specialists as they work.  There is technique to learn (the picture below is based on some of their portraiture), as well as a great deal about business.

Interested in getting into the business?  This is a good way to get started.

If you’re interested, they currently have their annual subscription on sale for $39 a year (that’s six 2-hour disks, one every other month). Regular price is $149 (I’ve never paid that, but I’m told it used to be common until their sponsors started picking up a lot of the tab), so it’s quite a discount.

For forty bucks, why not go for it?  Go to their site and enter “PVFAN” as the special promo code.

Portrait, Inspired by some work in PhotoVision

Portrait, Inspired by some work in PhotoVision

Relevant disclaimer: if three people follow that link, I’ll get the next year’s subscription comped.  So I do get something out of you signing up, but it’s something I’d happily pay for anyway.

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Ansel Adams, in Color

Wednesday, June 16th, 2010


Chalk this up to a lack of an artistic background, but I never knew that Ansel did some work in color. Logically, it’s obvious. The man had bills and interests. Color was important work, and he obviously did color work.

I’m tempted to say “fine work,” but I’m not sure that it is fine. Passable, certainly – but not great.

I get this from a limited view: from “Ansel Adams in Color,” to be exact. There were things that I found that broke a bit of my mental image of the man: learning that he tried fairly often to create his vision in color but personally felt he failed. That he considered even his better (color) work to be lackluster. That he played with the English language in letters to friends.

And yet, he was not completely dismissive of color. I find it curious (and a bit obvious, in hindsight) that he considered all color tones to be a subtle lie. I find this to be self-evident: colors in photographs are representative, yes. But not spot-on, somewhat limited in their range, and sometimes misleading.

Having read this book now: I’m glad I did.  It’s heartening to see images from the greats that failed to match their mastery, and it’s equally heartening to see his mastery of exposure translated into color.

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Jan Saudek

Wednesday, March 31st, 2010

I just received a copy of Jan Saudek (by Taschen) from a gifter.  Thanks, anonymous gifter!

After just scanning through the first few images, I have to say: I’m a fan.  I big fan.  Rare is the photo that touches a part of the soul.  Jan has created many.

And they’re not ones that you might think, either.  An image of a father’s feet, with his infant’s feed also on the floor.  Instant hit to the animal me, remembering – no, feeling – what it was like to do so with my daughter.

I’m going to let this sink in for a few days, but wow – just a fantastic book.  I definitely need to see more of this man’s work.

Warning: his work isn’t for anyone who is afraid of nudes.  Especially nudes that border on pornography – he really pushes the limits. But he takes them to unexpected areas, and that makes it… fantastic.

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This will be a slow read

Wednesday, February 10th, 2010

Referring to “Within the Frame,” that is. Barely a chapter in & it’s making me think.  Take, for example, the most recent photo posted here. Decent, but I’m not sure it works.

I mean, the view was spectacular: clouds rolling in, overhead.  The sky blue, but going hazy – the sun was losing its strength.  But there, in the distance: yes, it’s light, hitting the mountain!  This is a great thing, if only I can show the contrast well.  And in that sense, I think it failed.

Early on, duChemin makes a point about color.  To paraphrase: if color doesn’t add anything to the meaning of the frame, don’t use it.  It will merely dilute the main idea.

Now, Mr. duChemin prefers monotones and duotones.  I’m not really sure what I prefer, although I do have a strong affinity for B&W – especially through NIK’s Silver efex plugin.  So I played around with a few versions, trying to get a feel for things.  What ended up being my favorite:

Hospital again, in B&W

Hospital again, in B&W

If you view it large, you’ll get the intended effect: the light on the mountains, darkness all around.

This was, perhaps, a tad overdone in processing.  But it makes two points: first, color wasn’t really an integral part of the experience.  Black and white rendering makes that distant brightness really stand out.  Second, the processing in B&W allowed me to focus on really driving in the differences in luminosity, which again drove in the point of there being light in the distance.

Besides, I also got to make it look coolish with the grain and what all…

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Within a frame

Wednesday, February 3rd, 2010

I’m definitely late to this party, but I’m just now starting to read Within the Frame by David duChemin. Back when it first came out, it was getting rave reviews by pretty high-ranking photogs: Joe McNally, Scott Kelby, virtually everyone I follow in my RSS feeder.  Well, I disregarded that to a certain extent: all these folks are ultimately tied together by Scott Kelby’s mighty empire, so I figured it was 60% marketing, 40% truth.

On review, it looks like Mr. duChemin has quite a bit of backing.  Barely two chapters in, and I’m already excited about reading the rest. To steal and paraphrase a line from the book: finally, a why-to book, instead of a how-to!

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Karsh and Hepburn

Sunday, October 25th, 2009

I want to give an example of what I meant yesterday when I said that Yousef Karsh would catch the person in his portraits and amplify the person’s personality.  Witness (follow the link, I don’t own it) his portrait of Audrey Hepburn:

There are several things about this photo.  First, it is much, much better in print.  It’s larger, there are better details, and it’s much more impressive. I believe that this is true of all of Karsh’s work.  See it in print, or you lose much of the intent.

Now, the subject is Audrey Hepburn.  Ms Hepburn is, of course, one of the most beautiful creatures to have lived on this planet.  But she was much more than that, even in 1956.  Go ahead, read the Wikipedia article on her.  It’s worth it.  When Karsh was doing her portrait, he captured a great deal of the suffering and sadness that went with her.  He also captured her elegance and her subtle strength.

This image is on the back cover of Regarding Heroes.  Again, highly recommended.

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About Yousef Karsh: Regarding Heroes

Saturday, October 24th, 2009

I recently ordered and received a book on the classic photography of Yousuf Karsh:  Regarding Heroes.  Now, I had heard of him and even recognize some work – Mr. Karsh is one of those people whose work reverberates throughout the world.  I was completely unprepared for the beauty in this book.

If I can get my act together, I’ll go over a few of the photos over the next few days.  Suffice it to say, it contains photos of past greats.  This is a book on portraiture.  But oh, what portraiture!  I have seen many great portraits, and have heard many people talk about how the point is to make a human connection.  Never have I really seen that in action.  The photos I see in this book don’t reflect the person and his/her personality, it amplifies it.

Just a gorgeous book.  Grab it if you can find it!

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Antique Technology

Tuesday, October 6th, 2009
I was recently asked if I subscribe to any paper forms of informational distribution.  The answer is yes, I subscribe to quite a few magazines.  Some of them, in the order that they came to me:
  • B&W – a fine-art industry mag.  Pretty artsy, has occasional (artistic) nudes.  I’m not currently subscribed, just pick it up on a whim from time-to-time.  It’s less technical, more image/history/film centric.  Personally like it and will likely subscribe soon.
  • American Photo – more of a “pop-photo” magazine.  Subscribed, didn’t like it much & let the subscription lapse.  The problem is it occasionally has *awesome* articles, and it’s cheap, so I’ll likely subscribe to it again in the near future.
  • Layers – a post-processing mag for graphic designers (and one of Scott Kelby’s pubs).  Decent, but I get the subscription for free (It comes with a Kelby Training subscription).  I wouldn’t pay for it on my own, though.
  • Photoshop User – another Kelby publication.  PS & Lightroom specific.  Comes with the NAPP membership.  This one I would recommend for most photographers – they’re really good at covering the more basic parts of PS, and there’s always something in there that interests other folks (I particularly like Deke’s column!).
  • LensWork – possibly the finest “magazine” on the market.  All published in B&W (even if the originals are in color), with a serious (but not overbearing) outlook and a focus on the unknown photographer.  Not as good for learning technical details, but fantastic for looking at what other people review.  And overall, fantastically edited & professionally put together.  My only complaint: it’s not a magazine, despite what they say.  It’s a fine-art literary publication.
  • National Geographic – Possibly the best mag out there for just viewing awesome photos.
  • PPA Magazine (Professional Photographers of America) – I’ll probably let it lapse.  It’s good for the studio photographer, but too much emphasis on marketing & business for my taste.  On the other hand, there are occasional ideas that are just great.  I suppose it’ll depend on the renewal rate.
  • Outdoor photographer – The few times I’ve read this, it’s been a bit too preachy for me (yes, even after loving National Geographic!), and their emphasis on lower-grade glass (lenses, surprisingly positive reviews) put me off.  It’s OK from time to time – I usually grab it before I fly out – I won’t feel to bad about leaving it in the airplane!  Not going to subscribe any time in the near future, though.
  • Pro Photo Techniques – a great mag, but tends towards the technical side.  My favorite for technical resources.
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Sweet Deals

Thursday, July 30th, 2009

I promise, I’m not a shill for Tony Sweet.  Really, I’m not.  But I do get asked about where my ideas come from, and right now I’m gaining most of them from different existing photographers.  Sometimes it’s Joe McNally, Moose Petersen, or Jim Goldstein.  When it’s flowers, it’s usually Tony Sweet.

Tony doesn’t have that many books out there, and his style isn’t for everyone (is anyone’s?).  I will say that I really like his Visual Literacy: Photography Workshop DVD.  As far as raw technique, it’s pretty much the best of his bunch.

Looking for more flower ideas? Grab his Fine Art Flower Photography.

Some other day, I’ll write about his other books…

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LensWork: The Best of EndNotes

Monday, July 13th, 2009

I received the latest edition of LensWork over the weekend.  If you haven’t read the magazine, then let me recommend it – instead of the typical junk covering the latest, most popular cameras, or whatever is “hip” (think HDR), they focus purely on art.  This usually means black and white photography, and they do a fantastic job at publishing.  In fact, I’d sooner call it a mini-art book.

Mere magazine it is not.

Back in May, you may remember that one of their authors passed away.  The current issue is completely dedicated to him – no photos, just his final thoughts, writings, memoirs from others, and the like.

I’m reading it now.  I highly recommend that you try to get yourself a copy.

And no, you can’t have mine.

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