| Welcome to my world. Seen through the lens of my camera. |
| The Photojournalist Page |
This section is dedicated to those of you who wish to discover the
joys of photography as I have experienced them for 50+ years.
I began at the tender age of 6 when Santa brought me a Dick Tracy "detective"
camera.
At my 12th Yule the old boy in the red pajamas delivered a darkroom kit.
It proved to be the catalyst that launched me into my stellar career as a photographer
and later as a photojournalist with newspapers, magazines, and in television
It was the best half century of my life.
In your lifetime, memories are your greatest treasures.
Don't be an old geezer or biddy rocking on the rest home veranda saying, "Well, I could'a!".
Many of our most wonderful moments are those adventures we have actively questing
for new experiences.
Vacations are the most common times we haul out the camera to search for new views
but we too often ignore the world around us.
How we marvel at views of the past and the changes that time has made.
My career in news photography taught me to refine and expand my vision.
I have poor eyesight but superb vision because I learned to really see through the
camera lens.
I also learned the value of a photograph as a key to unlocking total recall.
The sounds, smells, temperature and countless other sensory impressions flash back
wonderfully.
Please use your camera more and start an album/photo journal. TODAY.
There are a few suggestions that I would impart at this time:
Rule #1.
Film is cheap.
Be it traditional "old fashioned" camera film, floppies, memory cards or DVDs;
you can never have enough primary recording material.
Never let yourself be caught with an unloaded camera, without enough film or battery
power
IF YOU DON'T SHOOT IT, YOU CAN'T SELL IT.
Rule #2
Prints Are Expensive.
Print only the best of the best of the best and only display the best of the best .
This is how Ansel Adams and all those other "Great Photographers" got to be that way.
No one ever saw their culls.
If you try to print each frame you will spend a ton of money that would be put to better
use buying more film.
For film negatives make a proof sheet.
For digital recordings, download and edit severely.
Then safely store all in cross indexed files AS YOU COMPLETE THE
PROJECT/ASSIGNMENT .
Don't let a backlog of more than a few days occur or you will lose control of the
situation.
I know of what I speak; In other words, do as I say, not as I have done.
We learn inexpensively from the misteaks of others.
That is why teachers like myself teach the young.
We've been there, fucked up, learned the hard/costly way and try to pass on the
warnings.
KEEPING RECORDS=$$$$$$$$$
Unfortunately ; names, dates and other details are lost to me.
I have two failings in memory:
(1) is peoples names and,
(B, I never was good at indexing) ---I forget what the other one is.
Use the back of hard copy photos to record all the details. Especially names, addresses
and phone numbers. The date, time, location, anything else that comes to mind.
In the computer you should keep a log with as much detail as possible on each
photograph or shooting session.
If this sounds like a lot of bookkeeping, it is .
It will prove to be invaluable to you as you progress.
Rule #3
Negatives Are Priceless.
Every photo is a slice of time that will never occur again the exact same way. Destroy
that recording and it is lost forever.
The previous admonition to carefully file your recordings and information will prevent
a lot of grief when you are approached by someone wishing to purchase your work.
This is where your expensive hobby begins to pay for itself, to support you in an
increasingly affluent lifestyle.
It is my mission to show my students the potential value of any photograph they make.
I believe that anyone can use any camera to record a moment in time that has $ value.
How you go about becoming a "professional" photographer is easy.
You just have to charge cash money for your services.
Knowing what to charge is the big question.
What is the true value of an image?
I once sold a photo of a wreck victim to the relatives for two rolls of dimes. It was all
they had to offer. They presented the photo in court and won a sizeable judgement on
the strength of that photograph. Several of my associates chided me for failing to take
advantage of the situation. I disagreed, though I knew that they had made their point.
I did not feel like I deserved more money because of that family's grief. Ethics count.
In another case involving an accident I sold the pictures of the scene from all angles,
closeups of the damage, etc. 30 photos in all at $5 each. Then I had to sit in the
courthouse lobby for two days until I was called to verify that I had indeed made the
photos.
After that experience I learned to add a charge $10 per hour for any court time to the
invoice before I turned the pictures over to the attorney.
You will pick up these abilities as you go along. Think ahead.
COPYRIGHT! Why, when and how.
The photo of Jack Ruby shooting Lee Harvey Oswald in the basement of the Dallas
courthouse was copyrighted "BEFORE" the picture was published in the newspaper
thus guaranteeing that the photographer would harvest royalties from future
publication.
Did you know that the Vietnam Memorial in Washington D.C. is likewise copyrighted?
If you expect to gain maximum value from your work you must learn the business and
legal aspects from the start. After that, self promotion /attitude takes over.
The best source for learning the ropes in the free lance photography business is to pick
the brain of someone already selling their photos.
The current copy of The Photographer's Market Guide, available in most public library
reference sections will give you delusions of wealth at the tip of your shutter release.
It is also loaded with helpful information on how to peddle your photos.
There are many pitfalls in entering photo "contests"
Read the rules carefully!!!! If you see; " All entries become the property of---"
or, "Winners must submit negatives, etc."; ask yourself if the prize offered is
worth the potential sales of your art. For an amateur seeking fame and a few
prizes, the rewards might be ample. However, you will kick yourself if the photo
becomes a choice piece of advertising art worth thousands of dollars.
Another little catch that might bite you where it hurts.
If your photo includes someone recognisable, you may have to produce a model
release in order to claim your prize.
Model releases protect not only the publisher but also the photographer should
some sleaze bag of a lawyer convince the person in the photo that they could win
a whopping lawsuit, split 50/50--(if they're lucky). Regardless, you could be out
of pocket attorneys fees and a lot more if you can't produce a valid model
release.
Research up to date business practices and know the laws pertaining to
photography, sales and services even if you have no plans to sell
The "Poor Mans Copyright" (This worked in the 60's. I don't know about today but try it
anyway.)
Copyrighting your photos can cost a pile of loose change if done one at a time.
One way you can cut the expenses is to arrange your photos in a display and
photograph them all. By copyrighting the "copy" you copyright all the images shown.
Second method, cheaper still.
Send yourself a registered package via US Mail with all your prize photos inside.
When it arrives,sign for it. DO NOT BREAK THE SEAL ON THE ENVELOP.
Should you have to prove in court that you took said photo before a certain date, let
the judge open the envelop. U.S. Registered Mail, sealed, constitutes a protected
document.
More on paying your way later as it occurs to me.
| When artist get together they discuss techniques. When photographers get together they talk about equipment. |
| It's the NUT behind the camera that creates the photograph. |
I use a Nikon.
I have also made
photographs with a Pentax,
a Crown Graphic, an Agfa,
Yashika, Kodak; Brownie,
Hawkeye and DuflexIV.
The color photos above
were made with my first
digital camera, a Sony
Mavica.
Once I bought a 5x7 view
camera so I could make
pictures like Ansel Adams.
I gave it up after spending
a half hour making, make
that TRYING to make,
one perfectly composed
exposure of a fern by a
waterfall. At the same
time I was missing dozens
of images I could have
easily captured with a
35mm camera.
I do not have the patience
to play with large format
imaging.
In the past 50 years I have
spent a small fortune on
gadgets, filters, lens
accessories, remote
control devices, and made
twice as many; trying to
improve the photograph.
Some of my inventions
worked surprisingly well.
Others are still a joke.
We do. We learn.
We swap ideas. THAT is
how one becomes a better
photographer.
The first person to teach
me from experience was
Jim Taylor.
He took a high school kid
using a twin lens Kodak
mounted on a movie light
bar to make photos of
beauty walk contestants
and taught me the basics
of studio photography.
He also introduced me to
advanced darkroom
techniques.
Before that time I was
splashing chemicals over
the washing machine and
dirty laundry at home,
annoying my mother who
was certain that the smelly
solutions were explosive or
at least would eat holes in
the plumbing.
These were the days
before panchromatic film
when I developed the
negative by see-sawing the
film through an open pan
of developer, watching the
image form under the red
glow of a "safe light".
It was true magic!
My next instructor; Nelson
Van Pelt, was a former
instructor of Jim at
Florence State College,
now UNA.
His first advice came on
day one of Photography
101.
"The box camera has
never been used to its full
potential."
He went on to explain that
most photographers tend
to jump to the next
highest level of equipment
before they learn to use
the camera they already
have.
To emphasize this he had
us construct pin hole
cameras with oatmeal
boxes and tin foil.
To our surprise they
actually produced fairly
decent images.
There were limitations of
course. Anything faster
than a tree was blurred.
Composition was by guess
and by golly.
Forget sports action at
night.
It was an important
contribution to my
perspective of equipment
as related to image
production.
Previsualize !
Where does the
photograph originate?
When you see the subject?
When you compose the
image in the viewfinder?
Does it happen when you
trip the shutter? Or when
the film or print is
developed?
Photographs can come to
me in my dreams.
The lead photograph in the
Gallery;
Good morning world !
started as such an image.
Then it took a little magic
to make it happen.
I have also made
photographs with a Pentax,
a Crown Graphic, an Agfa,
Yashika, Kodak; Brownie,
Hawkeye and DuflexIV.
The color photos above
were made with my first
digital camera, a Sony
Mavica.
Once I bought a 5x7 view
camera so I could make
pictures like Ansel Adams.
I gave it up after spending
a half hour making, make
that TRYING to make,
one perfectly composed
exposure of a fern by a
waterfall. At the same
time I was missing dozens
of images I could have
easily captured with a
35mm camera.
I do not have the patience
to play with large format
imaging.
In the past 50 years I have
spent a small fortune on
gadgets, filters, lens
accessories, remote
control devices, and made
twice as many; trying to
improve the photograph.
Some of my inventions
worked surprisingly well.
Others are still a joke.
We do. We learn.
We swap ideas. THAT is
how one becomes a better
photographer.
The first person to teach
me from experience was
Jim Taylor.
He took a high school kid
using a twin lens Kodak
mounted on a movie light
bar to make photos of
beauty walk contestants
and taught me the basics
of studio photography.
He also introduced me to
advanced darkroom
techniques.
Before that time I was
splashing chemicals over
the washing machine and
dirty laundry at home,
annoying my mother who
was certain that the smelly
solutions were explosive or
at least would eat holes in
the plumbing.
These were the days
before panchromatic film
when I developed the
negative by see-sawing the
film through an open pan
of developer, watching the
image form under the red
glow of a "safe light".
It was true magic!
My next instructor; Nelson
Van Pelt, was a former
instructor of Jim at
Florence State College,
now UNA.
His first advice came on
day one of Photography
101.
"The box camera has
never been used to its full
potential."
He went on to explain that
most photographers tend
to jump to the next
highest level of equipment
before they learn to use
the camera they already
have.
To emphasize this he had
us construct pin hole
cameras with oatmeal
boxes and tin foil.
To our surprise they
actually produced fairly
decent images.
There were limitations of
course. Anything faster
than a tree was blurred.
Composition was by guess
and by golly.
Forget sports action at
night.
It was an important
contribution to my
perspective of equipment
as related to image
production.
Previsualize !
Where does the
photograph originate?
When you see the subject?
When you compose the
image in the viewfinder?
Does it happen when you
trip the shutter? Or when
the film or print is
developed?
Photographs can come to
me in my dreams.
The lead photograph in the
Gallery;
Good morning world !
started as such an image.
Then it took a little magic
to make it happen.
| What makes an image memorable ? |
What is the difference between an interesting image and a great work of art?
What is the difference between a snapshot and a photograph?
Can a snapshot still be a work of art? Of course, if it is yours.
Spend some time in an art gallery. Go online to sites which display art and especially
sites of independent artists. View their work with the thought:
There is no GOOD or BAD art --- I like it or I don't like it.
The first thing you notice is how strong an impression the work made.
First impressions are not as important as how long you study the work.
Lasting impressions are made by works that communicate a clear message.
Photographs can cause total recall for the photographer who made them as well as
the people in the picture. However, anyone else viewing the print would judge the
work by the craftsmanship and presentation of the work, the appeal of the subject
matter based their particular values and prejudices. We all have them.
Look at a snapshot as a scribbled note. A fine photograph as a love letter.
Both may carry the same message yet the carefully composed letter will present
deeper emotional thoughts resulting in, (hopefully), the desired effect.
A picture is worth 100 words --IN ANY LANGUAGE ---
And for anyone old enough to comprehend the image.
Infants will respond to photos of those objects they recognize, then expand their
awareness through associated images. Show a baby a real cat, then a photo of a cat,
then pictures of lions. Association is made. Throw in the picture of a dog. Without
previous contact with a canine the child may confuse the dog as being a cat you
would think. Babies learn by sight at an incredible rate. If something is different
they will detect it.
Experience an event. Photograph it so as to capture the action and impressions that
you witnessed. Present the pictures without explanation. How well do the viewers
understand what is going on? How much time do they spend looking at your images?
How well did you communicate your impressions and tell of your adventure?
The Lucky Photograph is being in the right place at the right time.
Luck AND being prepared to respond to the DECISIVE MOMENT is just half of the
process of producing a great photograph. Composition is the critical element.
Among my most treasured possessions is a copy of the Suribachi flag raising by the
U.S. Marines on Iwo Jima, 23 February 1945. It is autographed by Joe Rosenthal
who told me in a telephone interview that it was a "grab shot".
Joe had followed the Marines to the summit of the hotly contested hill. A small flag
was flying from a length of pipe. Joe took several pictures. He learned that another,
larger flag would be raise and tried to guess how far he needed to be from the site to
record the event. A Marine motion picture cameraman standing to his right asked if
he was in the way. Joe was standing in a shell crater. He turned and began talking
with the cameraman standing above him. The Marine cameraman started filming as
the new flag brought up from the beach was raised saying, "There she goes!".
Joe spun about, whipped up his 4X5 and snapped what I call "the quintessential grab
shot". The most famous and recognizable photograph of WWII, possibly of the
entire twentieth century. Hear the story at;www.newseum.org
Experience takes time and the ability to learn from your mistakes --if they are.
A "mistake" is a learning experience that can be used to create a new effect for a
different picture. It seems that the best learning experiences often are the most
costly, ---unless someone else makes them and you learn from their misfortune to
avoid stepping in the same bear trap. In the course of these ramblings I will try to
remember the bear traps I have encountered and offer suggestions how you may
avoid the bruises.
Make an effort to recount your own failures as well as your successes. It will not
only aid the less experienced but will also serve as a reminder to yourself that you
are not infallible. That keeps you from getting careless again ----I hope.
What is the difference between a snapshot and a photograph?
Can a snapshot still be a work of art? Of course, if it is yours.
Spend some time in an art gallery. Go online to sites which display art and especially
sites of independent artists. View their work with the thought:
There is no GOOD or BAD art --- I like it or I don't like it.
The first thing you notice is how strong an impression the work made.
First impressions are not as important as how long you study the work.
Lasting impressions are made by works that communicate a clear message.
Photographs can cause total recall for the photographer who made them as well as
the people in the picture. However, anyone else viewing the print would judge the
work by the craftsmanship and presentation of the work, the appeal of the subject
matter based their particular values and prejudices. We all have them.
Look at a snapshot as a scribbled note. A fine photograph as a love letter.
Both may carry the same message yet the carefully composed letter will present
deeper emotional thoughts resulting in, (hopefully), the desired effect.
A picture is worth 100 words --IN ANY LANGUAGE ---
And for anyone old enough to comprehend the image.
Infants will respond to photos of those objects they recognize, then expand their
awareness through associated images. Show a baby a real cat, then a photo of a cat,
then pictures of lions. Association is made. Throw in the picture of a dog. Without
previous contact with a canine the child may confuse the dog as being a cat you
would think. Babies learn by sight at an incredible rate. If something is different
they will detect it.
Experience an event. Photograph it so as to capture the action and impressions that
you witnessed. Present the pictures without explanation. How well do the viewers
understand what is going on? How much time do they spend looking at your images?
How well did you communicate your impressions and tell of your adventure?
The Lucky Photograph is being in the right place at the right time.
Luck AND being prepared to respond to the DECISIVE MOMENT is just half of the
process of producing a great photograph. Composition is the critical element.
Among my most treasured possessions is a copy of the Suribachi flag raising by the
U.S. Marines on Iwo Jima, 23 February 1945. It is autographed by Joe Rosenthal
who told me in a telephone interview that it was a "grab shot".
Joe had followed the Marines to the summit of the hotly contested hill. A small flag
was flying from a length of pipe. Joe took several pictures. He learned that another,
larger flag would be raise and tried to guess how far he needed to be from the site to
record the event. A Marine motion picture cameraman standing to his right asked if
he was in the way. Joe was standing in a shell crater. He turned and began talking
with the cameraman standing above him. The Marine cameraman started filming as
the new flag brought up from the beach was raised saying, "There she goes!".
Joe spun about, whipped up his 4X5 and snapped what I call "the quintessential grab
shot". The most famous and recognizable photograph of WWII, possibly of the
entire twentieth century. Hear the story at;www.newseum.org
Experience takes time and the ability to learn from your mistakes --if they are.
A "mistake" is a learning experience that can be used to create a new effect for a
different picture. It seems that the best learning experiences often are the most
costly, ---unless someone else makes them and you learn from their misfortune to
avoid stepping in the same bear trap. In the course of these ramblings I will try to
remember the bear traps I have encountered and offer suggestions how you may
avoid the bruises.
Make an effort to recount your own failures as well as your successes. It will not
only aid the less experienced but will also serve as a reminder to yourself that you
are not infallible. That keeps you from getting careless again ----I hope.
From the east overlook of
Monte Sano mountain
there is a view of the
valley where the summer
sun rising through
morning mists creates an
enchanted landscape.
I had seen this once before.
One morning I awoke at 3
a.m. with that image in my
mind.
Monte Sano mountain
there is a view of the
valley where the summer
sun rising through
morning mists creates an
enchanted landscape.
I had seen this once before.
One morning I awoke at 3
a.m. with that image in my
mind.
By the time I arrived at
the location, cloud cover
had blocked sunrise. The
effect I was looking for
was not there.
The sun was two hands
high and heavily filtered
through the haze when I
decided to throw in the
towel but something would
not let me leave without
making at least one
exposure.
I saw the limb of a dead
tree off to the left.
No bird ---yet.
With my old Nikon FTN I
could double expose so I
made the first of the sun
at the highest shutter
speed and smallest
aperture so the negative
would only have printed a
white disk against a dark
background.
The second exposure was
metered at the sky to
produce a gray field,
causing the limb to
silhouette in black.
Composition put the sun in
the upper right third of the
frame while the limb
protruded from the lower
left.
Now I needed the bird.
"Bird please." I asked
politely.
A sparrow flew to the
branch.
"Turn to your right." I
directed.
"Your other right!"
"Now chirp!" CLICK
"Thank you!"
the location, cloud cover
had blocked sunrise. The
effect I was looking for
was not there.
The sun was two hands
high and heavily filtered
through the haze when I
decided to throw in the
towel but something would
not let me leave without
making at least one
exposure.
I saw the limb of a dead
tree off to the left.
No bird ---yet.
With my old Nikon FTN I
could double expose so I
made the first of the sun
at the highest shutter
speed and smallest
aperture so the negative
would only have printed a
white disk against a dark
background.
The second exposure was
metered at the sky to
produce a gray field,
causing the limb to
silhouette in black.
Composition put the sun in
the upper right third of the
frame while the limb
protruded from the lower
left.
Now I needed the bird.
"Bird please." I asked
politely.
A sparrow flew to the
branch.
"Turn to your right." I
directed.
"Your other right!"
"Now chirp!" CLICK
"Thank you!"
| The art and mechanics of Composition |
There are a lot of books and Internet sites that will teach you the basics of
composition. You will become familiar with the Rule of Thirds where you divide the
viewfinder/photo into three equally spaced sections, then place your subject in the
area where the lines cross left or right, upper or lower of the center.
Beginners usually think that the subject should be dead center in the photo.
This is a camera, not a hunting rifle you are using.
By centering the subject you effectively kill the composition. The center is static.
In the flag raising photo above; the subject is the flag itself. It is supported on a
strong foundation of the Marines filling the lower third of the frame.
The upper two thirds of empty sky is sliced by the dynamic angle of the pipe mast.
The flag, whipping in the wind is in the upper left third, stretching toward center
yet not quite crossing that invisible line.
It gives the feeling of movement by its shape and the slight blur.
The uplifted arms of Ira Hayes, the Marine on the far left is in sharp contrast to
the powerful planting of the base of the staff by Harlon Block.
The features of all except Navy corpsman John Bradley in the center are hidden by
their pose giving a feeling of anonymity, communicating a more powerful sense of
representation of all Marines involved in that conflict.
Composition is more than the placement of the subject and related objects within
the frame.
Composition also requires awareness of intruding objects and distracting elements.
Most common are trees or flag or telephone poles sticking out of heads. Bright
areas also distract. Bright/contrasting colors will ruin a photo as well.
Camera manuals tell you to:
" look through the viewfinder at the subject."
If you look "through" a window at a bird on a fence, your mind will isolate on the
bird and everything else drops out of focus or is ignored.
To understand how much you can see; hold out your hands in front of you at eye
level. Then move them apart while staring straight ahead. When you think they are
no longer visible, wiggle your fingers. If you detect the movement, you can still see
your hands even at this extreme angle. This is called peripheral vision. Learn to use
it. It can keep you from being squashed on the football sidelines. It can alert you to
picture possibilities outside your intended zone of interest.
Always keep both eyes open when looking through the viewfinder.
I will advise you to;LOOK INTO the viewfinder AT the finished print.
Eliminate all elements that distract from the subject.
Do this by changing your position; higher, lower, shifting so that a neutral or
complementary background lets the object stand out.
As soon as you are satisfied that everything is as it should be, make the FIRST
exposure.
Composition usually begins after that first exposure unless you have the experience
to plan ahead.
Then study the subject from a different angle.
Try a variety of positions.
You are painting with light.
Make use of different lighting effects; back light, sidelight, three quarter, be
constantly aware of the strength or glaring effects of harsh sunlight.
The pleasingly dappled effect of sunlight filtered through the trees can cause hot
spots on noses and cheeks. Overcast days are best.
Clear communication requires careful composition so that only the essential
elements are presented.
composition. You will become familiar with the Rule of Thirds where you divide the
viewfinder/photo into three equally spaced sections, then place your subject in the
area where the lines cross left or right, upper or lower of the center.
Beginners usually think that the subject should be dead center in the photo.
This is a camera, not a hunting rifle you are using.
By centering the subject you effectively kill the composition. The center is static.
In the flag raising photo above; the subject is the flag itself. It is supported on a
strong foundation of the Marines filling the lower third of the frame.
The upper two thirds of empty sky is sliced by the dynamic angle of the pipe mast.
The flag, whipping in the wind is in the upper left third, stretching toward center
yet not quite crossing that invisible line.
It gives the feeling of movement by its shape and the slight blur.
The uplifted arms of Ira Hayes, the Marine on the far left is in sharp contrast to
the powerful planting of the base of the staff by Harlon Block.
The features of all except Navy corpsman John Bradley in the center are hidden by
their pose giving a feeling of anonymity, communicating a more powerful sense of
representation of all Marines involved in that conflict.
Composition is more than the placement of the subject and related objects within
the frame.
Composition also requires awareness of intruding objects and distracting elements.
Most common are trees or flag or telephone poles sticking out of heads. Bright
areas also distract. Bright/contrasting colors will ruin a photo as well.
Camera manuals tell you to:
" look through the viewfinder at the subject."
If you look "through" a window at a bird on a fence, your mind will isolate on the
bird and everything else drops out of focus or is ignored.
To understand how much you can see; hold out your hands in front of you at eye
level. Then move them apart while staring straight ahead. When you think they are
no longer visible, wiggle your fingers. If you detect the movement, you can still see
your hands even at this extreme angle. This is called peripheral vision. Learn to use
it. It can keep you from being squashed on the football sidelines. It can alert you to
picture possibilities outside your intended zone of interest.
Always keep both eyes open when looking through the viewfinder.
I will advise you to;LOOK INTO the viewfinder AT the finished print.
Eliminate all elements that distract from the subject.
Do this by changing your position; higher, lower, shifting so that a neutral or
complementary background lets the object stand out.
As soon as you are satisfied that everything is as it should be, make the FIRST
exposure.
Composition usually begins after that first exposure unless you have the experience
to plan ahead.
Then study the subject from a different angle.
Try a variety of positions.
You are painting with light.
Make use of different lighting effects; back light, sidelight, three quarter, be
constantly aware of the strength or glaring effects of harsh sunlight.
The pleasingly dappled effect of sunlight filtered through the trees can cause hot
spots on noses and cheeks. Overcast days are best.
Clear communication requires careful composition so that only the essential
elements are presented.
| DO NOT UNDERESTIMATE THE POWER OF THE FORCE ! |
Lightning is easy to capture
if you have a tripod mounted
camera, it is at night and you
have a LOT of luck with the
shape of the strike.
It helps if you have
composed so that a
foreground object is in a
good place to add interest.
Again, you
PREVISUALIZE.
See the possibilities and be
ready.
if you have a tripod mounted
camera, it is at night and you
have a LOT of luck with the
shape of the strike.
It helps if you have
composed so that a
foreground object is in a
good place to add interest.
Again, you
PREVISUALIZE.
See the possibilities and be
ready.
Who says that "the camera never lies." The photo at the left was an April first
feature for The Huntsville Times. It gave a lot of readers mental whiplash.
The test shuttle Enterprise had arrived at Marshal Space Flight Center for testing.
I took a NASA photo, copied it, reversed the shuttle and pasted it to the 747. All
lettering was replaced and retouching completed the effect. It ran with captions
that the shuttle was hurriedly loaded in the middle of the night and flown to
another test site ---April Fool!
A member of the Von Braun team who had recently retired commented; " I knew
things would go to hell in a handcart when I left but I didn't think it would be this
bad."
feature for The Huntsville Times. It gave a lot of readers mental whiplash.
The test shuttle Enterprise had arrived at Marshal Space Flight Center for testing.
I took a NASA photo, copied it, reversed the shuttle and pasted it to the 747. All
lettering was replaced and retouching completed the effect. It ran with captions
that the shuttle was hurriedly loaded in the middle of the night and flown to
another test site ---April Fool!
A member of the Von Braun team who had recently retired commented; " I knew
things would go to hell in a handcart when I left but I didn't think it would be this
bad."
| THEN AGAIN, Never underestimate the power of a retouch brush and a sense of humor. |
| Making use of your photography Exercises in creative display |
Slide shows require a different
approach. By now you have probably
seen enough feature films and National
Geographic magazines that you can see
the pattern. Why some picture stories
play well and others knock your socks
off.
For projected images to work at the
best impression speed they should be
viewed no longer than eight seconds
before the next viewpoint.
The shortest view/recognation time can
be 1/30 of a second with a proper sound
track.
An easy way to start your first multi
media presentation is to:
Select a favorite piece of recorded
music. One which brings images to
mind.
Storyboard those images with pencil
and paper as you listen to your
background music.
To figure the number of images, mark
off the pauses between segments in
the tune or the images inspired by
each paragraph or sentence in the
lyrics of a song.
Keep in mind the impression speed
theory. Let your imagination work for
you.
Now go and find the images.
OR
Gather your images in a file, take the
recording and arrange the photos to
match the rhythm/lyrics.
No matter how much you like your own
photographs you must keep the entire
show to less than 60 minutes. Most
bladders can't hold any longer than that.
As soon as I can transfer my old slide
shows to DVD i will add a clip to better
illustrate my ideas but for now you are
limited only by lack of experience.
Practice by watching an interesting film
and time the scene changes. Also take
note of the changes in viewpoint from
wide angle to closeup and direction of
travel. You'll catch on.
approach. By now you have probably
seen enough feature films and National
Geographic magazines that you can see
the pattern. Why some picture stories
play well and others knock your socks
off.
For projected images to work at the
best impression speed they should be
viewed no longer than eight seconds
before the next viewpoint.
The shortest view/recognation time can
be 1/30 of a second with a proper sound
track.
An easy way to start your first multi
media presentation is to:
Select a favorite piece of recorded
music. One which brings images to
mind.
Storyboard those images with pencil
and paper as you listen to your
background music.
To figure the number of images, mark
off the pauses between segments in
the tune or the images inspired by
each paragraph or sentence in the
lyrics of a song.
Keep in mind the impression speed
theory. Let your imagination work for
you.
Now go and find the images.
OR
Gather your images in a file, take the
recording and arrange the photos to
match the rhythm/lyrics.
No matter how much you like your own
photographs you must keep the entire
show to less than 60 minutes. Most
bladders can't hold any longer than that.
As soon as I can transfer my old slide
shows to DVD i will add a clip to better
illustrate my ideas but for now you are
limited only by lack of experience.
Practice by watching an interesting film
and time the scene changes. Also take
note of the changes in viewpoint from
wide angle to closeup and direction of
travel. You'll catch on.
Why take the time and money
to make a photograph unless
you get some reward?
The camera is a tool to be
used to construct an ego,
(yours), and a reputation as a
chronicler of current events.
You can also earn a living
and replace your expenses
with the camera by fulfilling
the wishes of others.
It is up to you to make the
best use of those images that
you select to record.
With that in mind I propose:
Photo Project #1
Pick one presentation style:
Photo album
Slide show
Photo grouping
Eventually you will do all
three but for now fill the most
pressing need.
If you have space on a wall to
display a gallery of your best
work or the desire to have a
book of your photos for
friends and guests to admire
or you need to plan a
collection of images which
complement one another.
A display may be a random
group of subjects or it may
tell a story.
The slide show may be a
screen saver collection of
your photos or evolve into a
multi media production
depending on your
showmanship and editing
abilities.
See the columns to the right
for my suggestions.
Have fun!
to make a photograph unless
you get some reward?
The camera is a tool to be
used to construct an ego,
(yours), and a reputation as a
chronicler of current events.
You can also earn a living
and replace your expenses
with the camera by fulfilling
the wishes of others.
It is up to you to make the
best use of those images that
you select to record.
With that in mind I propose:
Photo Project #1
Pick one presentation style:
Photo album
Slide show
Photo grouping
Eventually you will do all
three but for now fill the most
pressing need.
If you have space on a wall to
display a gallery of your best
work or the desire to have a
book of your photos for
friends and guests to admire
or you need to plan a
collection of images which
complement one another.
A display may be a random
group of subjects or it may
tell a story.
The slide show may be a
screen saver collection of
your photos or evolve into a
multi media production
depending on your
showmanship and editing
abilities.
See the columns to the right
for my suggestions.
Have fun!
Gallery and Album display of prints
should begin with a collection of your very
best prints sized to fit a layout that is
varied without being cluttered.
If the prints are to be displayed on a wall
take into consideration; the amount of
space, other decorations in the same
viewing area, the quality and intensity of
light, the traffic in/through the room, and
the color/pattern of the background.
If you move into an apartment with all
white walls and little furniture you have a
freer hand than trying to display on a
colorful wallpaper filled with flowers or
patterns. A room decorated with antiques
presents yet another challenge.
The display which tells a story must have a
beginning, a middle and an end.
Strive for an attention getting beginning
and have a dynamite finish. The middle
will take care of itself.
All photos may be of the same size when
they come back from the lab but most can
be cropped or over layered on the matt
board/page to create a more interesting
montage , (and to cover unnecessary
sections of other images).
The really good photos should be enlarged.
How much depends on the display area.
A wall display is best viewed from
somewhere around ten feet. The smallest
print should be 8x10. A better size would
be 11x14 with 16x20 being the largest print
not counting the matt/frame.
Framing prints can be devilishly
expensive. I recommend just matting the
photos.
My theory is that one gets tired of seeing
the same images after a month or two.
Professional galleries usually display
works for about that time before rotating
exhibits. You want to keep your work
fresh and encourage yourself to produce
more and better images.
To make a really professional looking
book. Start with a ledger binder 12x16 and
a supply of card weight stock. TV gray or
medium gray will enhance both B&W and
color photographs. White will suck the
color out of a photo because it causes
adjoining hues to lighten.
Dry mounting is preferable to using liquid
or spray adhesive.
There are plenty of ideas in scrap book
construction found at hobby shops.
should begin with a collection of your very
best prints sized to fit a layout that is
varied without being cluttered.
If the prints are to be displayed on a wall
take into consideration; the amount of
space, other decorations in the same
viewing area, the quality and intensity of
light, the traffic in/through the room, and
the color/pattern of the background.
If you move into an apartment with all
white walls and little furniture you have a
freer hand than trying to display on a
colorful wallpaper filled with flowers or
patterns. A room decorated with antiques
presents yet another challenge.
The display which tells a story must have a
beginning, a middle and an end.
Strive for an attention getting beginning
and have a dynamite finish. The middle
will take care of itself.
All photos may be of the same size when
they come back from the lab but most can
be cropped or over layered on the matt
board/page to create a more interesting
montage , (and to cover unnecessary
sections of other images).
The really good photos should be enlarged.
How much depends on the display area.
A wall display is best viewed from
somewhere around ten feet. The smallest
print should be 8x10. A better size would
be 11x14 with 16x20 being the largest print
not counting the matt/frame.
Framing prints can be devilishly
expensive. I recommend just matting the
photos.
My theory is that one gets tired of seeing
the same images after a month or two.
Professional galleries usually display
works for about that time before rotating
exhibits. You want to keep your work
fresh and encourage yourself to produce
more and better images.
To make a really professional looking
book. Start with a ledger binder 12x16 and
a supply of card weight stock. TV gray or
medium gray will enhance both B&W and
color photographs. White will suck the
color out of a photo because it causes
adjoining hues to lighten.
Dry mounting is preferable to using liquid
or spray adhesive.
There are plenty of ideas in scrap book
construction found at hobby shops.
| This page is still under construction. To increase the value to you, I will entertain questions on the subject of black & white photography which is my speciality. I also have experience in portrait, sports, nature, glamor, figure studies, micro/macro, multi media presentations, news photography, accident/crime investigation documentation, --- about anything that could be photographed on film with roll or sheet film cameras. This was before digital which I am still learning how to use. In the lab; I can help you design an efficient B&W darkroom. I can advise on chemical and print manipulation. As for color; I never got past processing transparencies. It was cheaper to let the professional labs print color. I'll do what I can to help. Email me at sexydruid077@aol.com |
 |  |  |  |  |
Yet, it would not have achieved
the status of a classic example of
The Decisive Moment had Joe
not been prepared, had the
experience and been able to
respond correctly without
hesitation.
The two photos of Joe are as he
was when I spoke with him in
1979 and as a combat cameraman
in the Pacific Theater in 1945.
(Click on the print and study the larger image )
the status of a classic example of
The Decisive Moment had Joe
not been prepared, had the
experience and been able to
respond correctly without
hesitation.
The two photos of Joe are as he
was when I spoke with him in
1979 and as a combat cameraman
in the Pacific Theater in 1945.
(Click on the print and study the larger image )
Click any picture to enlarge!