Blurb Color Webinar June 24

If you're interested in publishing a book via Blurb and are concerned about color management, you might want to sign up for one of 2 webinars on June 24th. More details at:
http://www.blurb.com/help/tutorials

Topics for last class

Please list topics you want to discuss in the last class here:

• critique student work on any assignment
  
• discuss individual long term goals
  
• individual reviews sessions for student who did not get them last week -- time to get feedback from the class for specific questions you have or feedback you need
• technical questions: equipment concerns, the importance of "archival"
  

Marketing Outline

Here is the outline I used in last class to discuss marketing yourself (and networking). Please add items to this list, and post any questions or comments you may have:

WEB PRESENCE

• creat your own blog, website
  
• get your work listed on Amazon, Photo-Eye, 20x200, etc.
  

LOCAL COMMUNITY (building your presence in local community is key!)

• teach or get a photo or art related job in local community
  
• attend openings and photo related events
• attend Photo Lucida and other local/regional review sessions
• attend Blue Sky review meetings; join the Blue Sky exhibition committee
  
• join a local photo group
  
• get on portland photo events email list and be sure to list your events and openings with them
  
• taking workshops and classes
  
• get involved with RACC, get to know important RACC people, subscribe to their newsletter - remember: they buy artwork for 2 public collections and give grants!
  
• develop good promotional packages to give to local media when you have a show
• talk to local suppliers and galleries about partnering and getting support for projects
  

LARGER COMMUNITY

• attend national portfoliio reviews
• attend artists residencies
• submit your work for juried shows
• creat postcard mailers that you send to people you know (collectors, curators, editors) on a yearly basis
  
• publishing a book
• get connected with Center SF, photo eye and other national organizations to develop relations
• enter national contests and juried shows
  

SUPPORTERS/COLLECTER/FRIENDS NETWORK

• create and utilize a mailing list for announcements to exhibits
• develop a clients/friends email list -- send regular (weekly) emails with new pictures, announcements, etc
  
• email list: there are programs available for managing your email lists -- to cater messages to specific audiences
  
• develop a monthly collector’s special that you announce to local subscribers/collectors
  
• develop a "subscription" where people pay a fee per year to support you, and get something in return (a set of post cards, a book, a print, etc.; depending on fee)
  
• develop an annual handmade limited edition book or other limited edition piece of your work to market to your established collector base
  

GRANTS & AWARDS (see grants and awards list on links column and please add to this! There is a lot of money avaible to artists, so please seek it out!)

• apply for established grants and fellowships
• seek out grants for organizations that might not be established, but would be interested in partnering with you
  
• apply for as many contests as you can -- see list of judges to decide who you want ot put your work in front of
  

PHOTO RELATED JOBS (here is a quick list of possible photo-related jobs. The point here is that it really helps to work in the field in order to stay current and connected to what's happening in photography.)

• photojournalism
• editorial photographer
  
• commerical photographer
  
• teaching photography
  
• editing
• designing
• photo styling
• photo curator
• art galleriest
  
• photo lab job
  
• photo center job
  
• adminstration in photography related business or non-profit
  

The Ace Hotel Photo Booth Experiment

3-D glasses suggested....

http://www.victorzebra.com/photo-booth/

The Beautiful and the Strange...

Well, maybe just sorta strange:

http://www.victorzebra.com/beautiful-and-strange/

kickstarter.com

Stephanie mentioned this in last class:
http://www.kickstarter.com/
a great place to raise money for a project you are working on. check it out!

Roger's Photobooth Shots

OK, I cheated. I created a photo booth simulation in Photoshop.

Digital Workflow from Camera to Lightroom to Photoshop

Here's a clear tutorial on getting your images out of the camera, processing them in Lightroom and making further adjustments in Photoshop. Click here to view.

Shots from AHRMA meet at PIR

On Saturday, I made my first foray into taking photos of a classic motorcycle meet, with races on the track and motocross. It was a lot of fun and I'm definitely going back for more!

http://www.photographicwarrior.com/AHRMA-2010/

Alien Archeology Assignment (AAA - universal)

I'm coming down with the flu, but posted my Alien Archeology assignment here: http://novapolice.com/AlienArcheology/

It was only a brief survey of objects of interest for this alien, and his perspective can be a little skewed at times (not that the human involved didn't spend a lot of time on this project). I can show some prints next week to interested parties, health permitting.

Artist's Residencies

I've started a links list on the right of Artist's Residencies I know about. Please take some time to add to this list.

Portland Area Photo Galleries

Here's a list I am compiling of local and regional galleries that show photography (in parenthesis are people to contact there; please feel free to add to this list):

Blue Sky (Chris Rauschenberg)
Camerawork Gallery (Scott Jones)– contact Scott Jones
Newspace Center for Photography (Chris Bennett, Laura Valenti)
Charles Hartman Fine Art
Pushdot Studio
23 Sandy Gallery (Laura Russel)
Ampersand Vintage (Myles)
Lightbox (Astoria: Michael and Chelsea)
12 x 16 Gallery (cooperative)
PDX Contemporary (Jane Beebe)
Chambers Gallery (Martha Morgan)
Elizabeth Leach (Daniel)
Froelick Gallery
Marylhurst Artfarm
Powell’s Books Basil Hallward Art Gallery
Wall Space (Seattle, Crista Dix)

Portfolio Reviews

Here's an article by Mary Virginia Swanson (click here) about why it makes sense to attend portfolio reviews. And here is a list I'm compiling of reviews that you might consider attending (please feel free to add to this list):

National Portfolio Reviews
Houston Fotofest
Atlanta Celebrates Photography
Photo Lucida
Review Santa Fe
New York Photo Festival Portfolio Review
Review LA (Los Angeles, run by “Center” in Santa Fe, NM)
Our World (San Francisco)

Asking for Feedback

I'm realizing that my work needs an underlying structure or something that relates the pieces. I think I have two things going on in these images, and I'd appreciate your feedback on whether I'm getting closer to that "recognizable something" that might distinguish some of my work. Candid feedback please, don't hold back.

Images at: http://tendrelphotography.zenfolio.com/roundlake

Thanks,
-Roger

(from Bobby:) Roger, read my comments below in the comments section first, then read what I wrote below in the body of this post -- which is about suggesting you might want to look at Yamamoto's work (I brough in his book to our last class with guest):

here's a gallery of his little prints (click here) (these are all printed small enough to fit in the palm of one's hand -- so that you could carry them and ponder them like a sacred object/talisman); and here is a video in French (click here), but with a translation of his words underneath. This seems particularly important:

"As you can see, my photos are small and seem old. In fact, I work so that they’re like that. I could wait 30 years before using them, but that’s impossible. So, I must age them. I take them out with me on walks, I rub them with my hands, this is what gives me my desired expression. This is called the process of forgetting or the production of memory. Because in old photos the memories are completely manipulated and it’s this that interests me and this is the reason that I do this work.

"If I take small photos, it’s because I want to make them into the matter of memories. And it’s for this reason that I think the best format is one that is held in the hollow of the hand. If we can hold the photo in our hand, we can hold a memory in our hand. A little like when we keep a family photo with us."

Meeting next week at Pushdot, not PNCA

Just reminder next week we meet at Pushdot Studio instead of PNCA:
1021 Southeast Caruthers Street
Portland, OR 97214
(503) 224-5925
we will meet at Pushdot at our normal time, 6:30. Bring questions for about digital output, getting personal jobs printed, etc; and also questions for Ann Ploeger about her work and career, how she got book published, shows, shooting strangers, etc. After 1 1/2 hours there we will regroup at nearby bar/restaurant to look at work you bring (so bring prints or laptop) -- and discuss future classes.

Assignment 4: Beautiful (and strange) Abstractions

Since I wasn't able to give you the slide show last night that I wanted to give you to present the next assignment, I will do it here. First are these wonderfully abstract, and full of life painterly color images (above and below) by Saul Leiter, which inspired me to come up with assignment 4 (see the assignment at the end of this posting. I accidently named it assign #3, but now I realize it would be the fourth one!):
















And then a few classic abstractions by Aaron Siskind (inspired by Abstract Expressionist's paintings):








And then a few more contemporary color abstractions by Martin Parr:








And some classic color fragments of William Eggleston:










And finally, for something completely bizarre and abstract: some mirror abstract photos by Hans Breder:








Before I showed you these slides I was going to read to you from Aaron Siskind's 1950 "Credo" artist's statement. Here are some excerpts:

''When I make a photograph, I want it to be an altogether new object, complete and self-contained... ''

"The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together. First, and emphatically, I accept the flat plane of the picture surface as the primary frame of reference of the picture. The experience itself may be described as one of total absorption in the object. But the object serves only a personal need and the requirements of the picture. Thus, rocks are sculptured forms; a section of common decorative iron-work, springing rhythmic shapes; fragments of paper sticking to a wall, a conversation piece. And these forms, totems, masks, figures, shapes, images must finally take their place in the tonal field of the picture and strictly conform to their space environment.”

And here, again, is your assignment I passed out last night:

Assignment 3: Fragments, Abstractions & Transformations

Based on slides we viewed in class of Saul Leiter, Aaron Siskind, Martin Parr, William Eggleston, Hans Breder and others, try to make a series of photos that explore ways of extracting and transforming elements of the objective visual world into compelling images. Experiment with people as well as inanimate objects. Take chances,... try something completely new and different!

Bobby's Tips for Shooting People

• Find a subject that feels comfortable having you watch and photograph them – and someone you feel comfortable spending a lot of time shooting.

• Spend a lot of time with the subject to get them used to having you around, so that they will stop being consciousof the camera, and start to act natural in front of the camera. Also so you can start to determine the moments and message that you want to photograph and communicate about the person.
  

As you start shooting:

• Start shooting right away – maybe just for 5 or ten minutes, to loosen yourself up, and to get your subject to loosen up in front of the camera. These will probably not be keepers, but they may help you later to establish direction.
  

• Be sure to shoot some overall shots – stepping back and showing the subject as a small part of larger environment. Shoot him/her through doorway, or from outside looking in through window, etc. – to establish the place where you are shooting.
  

• Pay careful attention to the light. Try to find good light, coming from a side direction, rather than overhead (this is not always possible). Move yourself around to find the best angle for light – this will often be light coming from the side – sometimes even shooting towards the light creates more drama and sense of form/shape/mood. You can ask your subject to move too. Pay attention to color of light and brightness/darkness of the image. Color & brightness/darkness of light creates a sense of mood. You can set up lights and move lights around to get good light.
  

• Pay careful attention the framing, background, and perspective. Move around your subject, look at the background. Try zooming in and out to see what that does to the perspective, and the focus of background. Do you want distortion of wide angle? Do you want flatness of telephoto? Be sure your frame is tight. Try rotating the frame to vertical. Be sure there is nothing distracting or unessential in the background. Avoid busy frames with a lot of clashing colors, patterns, and values of light and darkness.
  

• Try shooting through things, under things, from behind things. Often photos that are framed by elements of the environment can give much stronger visual and contextual appeal.
  

• Pay careful attention for the moment. Be ready and shoot a lot. Try to capture essential moments that capture emotion and personality. Shoot a lot of pictures. Remember, just because the moment has emotion doesn’t mean your photo captures the emotion. Try to plan your photographing when actions are going on.
  

• Get them to interact with someone else or do something. Actions and activities are much more interesting to shoot than someone simply sitting, reading, watching TV or talking. Shoot the people they interact with too.
  

• Get close your subject (physically and emotionally). Robert Capa once said, “if your pictures aren’t good enough,you aren’t getting close enough.”
  

• Shoot lots of details. This will likely get your subject to loosen up and talk and offer more things to photograph. Start with details of their life: things that are important to them. This may be journals, tools, framed photos, diplomas, keepsakes, toys, clothes, furniture, etc. Then start shooting details of things that they are holding, using, wearing – showing these object in detail being held, worn, touched, etc. by the subject. Then move into shooting very tight details of their features: eyes, mouth, hands, clothes, hair, feet, body parts, etc – as much as you dare to shoot. You can make an entire essay of just chronicling their body! While you shoot details remember to pay attention to light, framing, perspective & background.
  

• Talk to your subject. Interacting with them & communicating with them might get them to loosen up and show more emotions. Ask them serious questions about their life. Listen. Be empathetic. Try listening without shooting to show them you care and understand. Eventually you can try shooting while their talking to you or someone else about their life (ask them if they are comfortable, tell them you are still listening) so that you can capture emotions they feel while they talk.
  

• Try to provoke a photograph (this can be really difficult!) Tell them what you want them to do while you shoot some shots. Pose some pictures to get posed portraits. Have them act out or pose particular ideas you have that express personality and things you have discovered about them. Notice props – maybe suggest props and actions. Tell them to interact with someone else, give them specific actions. But try to get them to do them naturally. You might also joke with them or ask them probing questions and while photographing.
  

• Decide what you want to say about your subject. Try to write down your “headline” or descriptive title of your photo-series. Then go back and shoot with this focus to your shooting – and then organize and edit your series based on this goal & message.
  

Canon lens coffee mugs

Have you seen these before? I just saw a guy at the coffee shop drinking out of a Canon 24-105 f/4 lens and had to ask him what the story was.

Canon mugs on eBay

Change in Schedule!!!

I just got an email from Jennifer Stoots, and she has informed me that both she and Ron will not be available on May 5th as originally planned, so she suggested that this upcoming class on April 21 would be the best alternative. I know this means an abrupt shift in our schedule, but I went ahead and agreed to do that with them, because I really think this will be a great discussion -- and quite timely after our gallery tour yesterday. What that means is we will shift the bookmaking discussion to May 5th. So all of you that were going to bring in books, materials and questions to this upcoming class, can you do that on May 5th instead?!

Please mark your calendar: next class, April 21: Jennifer Stoots and Ron Van Dongen will talk and answer questions about "how to succeed as a fine art photographer" -- including getting gallery representation, balancing professional and artistic work, marketing your work, preparing for an exhibit, editioning work, networking, etc. Really any questions you have for them would be welcome -- so please bring a list of questions -- and look at their websites so you can have a better idea of who they are -- and please note the number of galleries that Ron is represented by all over the world! -- here are the links for Jennifer Stoots and Ron Van Dongen.

I will also ask them if they are OK with reviewing your portfolios and assignments -- so please bring work, assignments and/or links to websites if you want to get some feedback about your projects.

Assignment 3

Maureen asked for a next assignment, here is an assignment I gave Vaughn (actually 2 different assignments):

1. photograph everything from the perspective of a alien who has just arrived on earth and is trying to record what he finds as a kind of visual archeology, to take back these images to his world so scientists there can make sense and categorize/organize the visual phenomena into some significance.
2. photograph the everything from the perspective of a 2-year-old.

you might want to look at a couple of slide shows from Magnum photographers for inspiration:
Martin Parr and Richard Kalvar. Parr's work in particular is pretty amazing.

Question about today

Who was the photographer who had the really nice mailer we saw at Chambers?

Roger's Flikr Stream

There are some older shots here, but most of them are photos I took after our gallery tour. I tried my hand at shooting from the hip at Saturday Market. My exposure was set too low on many of the shots. View the photos.

"Why I photograph" - "Goals"

A couple of people asked that I post the "Why I photograph" bit that I read last night. I'm not sure if you also wanted a copy of the goals, but I'll post those anyway.

=============================================

WHY I MAKE PHOTOGRAPHS

I make photographs because I love the process. I love how film and sensors capture reality. I suppose this is the same Garry Winogrand saying that he photographs to see how something looks photographed. That sounds like a big joke, but there is a lot of truth that that. Because photographs aren’t reality. They don’t capture reality. They are simply PHOTOGRAPH of reality. I love things that are inherently “photographic” in nature. I love shallow depth of field. I love the narrow range of tones that can be captured, causing shadows to go inky black and highlights to get blown out. I love bokeh. I love grain. I love how wide angle and telephoto lenses expand and compress distance. I love the process of capturing an image that I *know* is a keeper. There’s an excitement that bubbles up inside me when I *know* that I’m in the middle of creating something I’m going to like for more than, oh, a few hours. I love working on an image for hours and then waking up the next morning and finding that I *still* like it. I love the images I make. I don't often hear artists say that, but isn’t the whole point — in life and art — to make something that you love?

There are times that I’ll be staring at a picture on my screen. I’ll know that I like the basic look and feel of the picture, but I’m not sure how to take it to the next level — to make it something really special. I’ll play around with levels and curves and masks and color adjustments. I’ll pace around the room and then see the image from twenty feet away and in a flash I’ll know exactly what I need to do with it. That moment gives me a little jolt of excitement. I feel like I spend the majority of my shooting and processing time not knowing what the hell I’m doing, so when that moment of clarity comes, it’s a nice bit of reassurance that I actually do know what I’m doing at least some of the time.

Part of the process that I love is having an image that’s DONE. Then there’s that moment when I get another little jolt of adrenaline showing it to people and they like it. Or hate it. Either way, it makes me feel like I accomplished something.

---

I photograph faces because they are endlessly interesting to me. Notice how young babies who are just learning to see the world, stare and stare and stare at faces. They haven’t been told that it’s rude to stare at someone. They get to do what they want, and that’s stare at faces (at least when they aren’t trying to put things in their mouths). I don’t think we’ve out grown that. I should qualify that. I don’t think that *I’ve* outgrown that. When I see an interesting face, and I see them ALL THE TIME, I want to be able to study that face. Having a photograph of someone’s face makes that possible for me and everyone else who looks at the image.

---

I had a photo web site ten years and the tagline was something like “seduced by light.” That’s beyond corny, but it still holds true. When I’m photographing anything besides peoples’ faces, it’s usually going to be the light in a scene that makes me want to pick up my camera, not so much the things that the light is illuminating. It’s more *how* the light is illuminating something that makes me want to photograph it. In that sense, I’m using photography in the most literal sense, because it really is the nature of the light that I want to record.

=============================================

GOALS

MAJOR, LONG TERM GOALS:

- 10,000 images (30 year plan)

- make a living as a photographer (commercial, editorial, fine art, educator)

- continue to make images that excite me, take risks, try new things, be creative

- be someone who is totally comfortable asking strangers if I can photograph them

- be confident that I can make an interesting portrait in any situation, regardless of the equipment available to me

SHORTER TERM / CLASS GOALS:

- create a new portrait every day and post on collectingfaces.com

- this implies working on approaching and photographing strangers, which is the main point to making a portrait a day.

- contact potential editorial/commercial clients on a weekly basis (say, 5 per week)

- find professional photo orgs, such as ASMP, and attend a meeting to get a feel for them

=============================================

Topics for bookmaking class

Ok folks, here is a place for you all to start posting questions and topics to explore for our bookmaking workshop. Please add your ideas directly to this posting. Thanks.

Topics for bookmaking class:

• How do people make a dummy or model of the book?
• Are there agents that will help you find a publisher?
  
• What are the options for self-publishing? Are there funding opportunties for self-publishing?
• What about options for very limited edition "artists books?" how few does the edition need to be? What makes a book an "artist's book" rather than a traditional book?
  
• How important is it to find a writer for the foreword/afterword? How do you find someone to write for your book? What are the criteria for choosing a writer?
  
• How do you "design" a book? What format should the design be given to the printer?
  
• What format should images/files be given to the printer?
• Do you need releases from the subjects?
  
• How do you market the book if it's self-published?
• What are some of the places to sell a self-published book or limited edition artist's book?
• Does it make sense or is it a legitimate "book" if I use a "print-on-demand" service to print the book?
• Is it possible to make money producing a photo book?
• How do you get your book purchased and collected by libraries?
• How do you get your book reviewed?
• How do I get an ISBN for my self-published book?
• How do I get my book listed on Amazon?
  

Mission/Artist Statement and Goals

Per the assignment, here are mine for comment.

Mission Statement

I use color and light as tools in my photographs to create abstractions of ordinary objects. These objects pique my curiosity and the resulting images remind me that there is beauty and joy in the ordinary. I also use these images to explore the personal emotional value I attach to colors and light that surround me on a daily basis. For me, colors and light are about intensity. I strive to create intensity and emotional response through the use of color and light. By creating these images I hope to tap into the notion that colors and light in a photograph can be associated with every human emotion and sensation from strength to iciness.

Perhaps most importantly, I hope to create images that allow my imagination to roam when asking "what is that?" Much like a kaleidoscope’s changing shape, I seek to make images that allow me to constantly re-evaluate” what is this" and "what does it mean."

Goals
A. Artistic
i. Short-Term

1) To solidify my artistic style and portfolio with the intention of having a sufficiently deep and wide body of work to present to a variety of parties

Obstacle/Question: I currently explore one primary theme/style. Should my work be deeper or wider? Is there a case to explore more? If so, why? And lastly, how long can one “ride” a particular style of work before needed to do a new set of work? For example, Roy Lichtenstein seemed to do the same work for decades. Andres Serrano has been exploring themes of disgust and taboo for decades.

2) To explore the boundaries of photography in my work
3) To establish a local network and comfort with my work that enables me to participate in at least one group show within the next 6 months.

Obstacle/Question: My work is not traditional photography. Are there gallery venues more or less appropriately suited to this style?
ii. Long-Term
1) To regularly participate in individual shows at local and/or non-local galleries

Obstacle/Question: Are individual shows mostly a function of network connections within galleries that the artist has no control over? In other words, are these garnered mostly through the status of your work and your general name recognition and not through direct “ask?”

2) To establish a presence within commercial art markets such as interior design, and “stock photography”

Obstacle/Question: There are books that make suggestions on these types of markets and give contacts. Are these effective suggestions? What are the most effective ways to introduce oneself into these markets?
iii. Ultimate

1) To be recognized by friends and the outside world as bringing a joyful perspective to art
2) To generate sufficient quality of work and reviews to be invited to show at major art gatherings such as Art Basel

B. Financial
i. Short-Term

1) To establish a means to create and sell work on a break even basis

(revenue – material costs = 0)

Question/Obstacle: What other compensation models besides the 50/50 split model exist within the gallery/artist relationship? Are there situations when these other models are accepted? Only for established artists?
ii. Long-Term

1) To create a practice that allows me to sell my work at a net profit
2) To attain the ability to make part of living from the sale of my work
iii. Ultimate

1) To comfortably rely on revenue from artistic endeavors as my primary source of income

What is a fair rate to charge for a portrait if you're a beginner? Is it OK to take portraits free of charge, or is that unethical?

Someone asked this question above on our list of issues. I thought I'd try to answer it, and begin the dialogue, seeing if anyone else would hopefully join it.

I would say a minimum rate should be $100 (plus expenses, including printing) for an hour or two of shooting. If the client has a lot of money don't be afraid to ask for more. You might also try quoting a "half day rate" and "full day rate" -- mine would be $250 for half-day and $500 for a full day (and I would ask for much, much more for a wedding). If it was for a friend I might do it for free, or for a trade.

I realize you're just trying to establish yourself. But charge what you think a good photographer should be paid. It doesn't help you or anyone else if you undervalue your time, your work, or the profession. Set the bar high enough that the customer expects to spend money to get good photographs, and push yourself to keep improving and to mak high quality work.

If you think your work is really not that good, maybe you should just do if for free until you get better -- or ask for a "donation" if they like the work.

To further try to answer the second part of the question: I don't think it's unethical to shoot for free -- even if you are someone really good. I think it's totally ethical and quite laudable to "gift" someone your time and talents. But maybe I misunderstood the second part of the question?

that's my two cents. what about other folks -- what do you think is a fair rate for a beginner?

Upcoming PAM lecture

In case you're not on the PortlandPhotoEvents email list, this just came across this morning. I wish I didn't have to teach during that time, sounds like a good one! It's free, he's a very good photographer and teacher -- going to talk about juggling careers -- and it's sponsored by the museum's Photo Council - so also a great networking opportunity.

Here's the posting:


Shawn Records - My Favorite Things: some pictures I've made and some others that I wish I had

Free talk at the Portland Art Museum

Wednesday April 21, 2010
Noon in the Miller Room

Portland Art Museum
1219 SW Park Avenue
Portland, Oregon 97205
(503) 226-2811
info@pam.org
www.portlandartmuseum.org

For more information please e-mail Jim Leisy jimleisy@fbeedle.com or call 503-708-3387

Sponsored by the Photo Council at the Portland Art Museum

Acclaimed Portland photographer Shawn Records will attempt to pull perspective on his professional life, a career that weaves between numerous aspects of the medium.

Records intends to speak frankly about why he does what he does--juggling various aspects of a life in photography, including creating art, working editorial freelance and teaching, as well as his work with Photolucida, a non-profit organization devoted to assisting emerging and mid-career photographers.

Roger's Videos

Roger very quietly posted a video on our blog at the bottom of the link column. I hope you don't mind, Roger, but I'm going to link it up in this posting, so everyone knows to have a look. Click here to go to the video.

Maybe we can take a few moments in class to talk about it, Roger, if that is part of what you want to talk about? or folks can post comments under this posting.

I for one really enjoy the tranquility of the piece. I think it has a very meditative, contemplative quality - -and your title and explanation of it make perfect sense. Makes me ponder what is going on behind the camera (who is this person who is watching travelers, then actually moving slowly himself down the night road, why is he out at night, why is he watching and dreaming these people moving through the darkness); and I also ponder who are all of those other night travelers. Good job, Roger!

Let's see more!

PS: I just noticed Roger said that he shot a video for assignment 2 -- totally cool idea -- this second piece (click here) definitely has a sound/rhythm/mood to it -- it's playful, fun, maybe a little bit silly -- and an intersting use of still images to create music/narrative in a film piece. It's also really interesting and effective (but quite different) to watch without the sound. Did you try that, Roger? others?

what about other folks, anybody got some work to share?!

***Unfortunately Roger had to take the second video down, we will watch it in class***

Model Release iPhone App

As I mentioned in class, there' an iPhone app that costs $9.99 which allows you to enter a model or property name and contact info, display the release form on your iPhone, and collect the model's or property representative's signature. It can then email you and the model/property a copy of the dated release with your signature and theirs (plus a witness). You can then search for a release by date, model or shoot name.

More info at the Apple Store.

Books on RAW processing

Anyone have any suggestions for learning more about RAW processing? I'm totally comfortable working with images once I get them into Photoshop, but I feel like I'm fumbling around with RAW processing settings in Aperture. So if you've got a favorite book that teaches the ins and outs of getting the most from RAW files, I'd love to hear about it. If your suggestions are Aperture specific, all the better, but that probably isn't essential.

Thanks a lot,

Erik

Philip-Lorca DiCorcia Lawsuit: Photographing without permission

photo by Philip-Lorca DiCorcia
In class I mentioned the case of photographer Philip-Lorca DiCorcia getting sued for taking this photo above on the street and exhibiting/publishing it without permission. If you click this link, you can read the NYTimes article that talks about the case.

Here is a related NYTimes article: "Street photography, a right, or an invasion," and a more recent article about the appeal of the DiCorcia case.

Updated Schedule

I've updated the class schedule. Please note the time and meeting place for our field trip.

Also, please note that I have talked with Jennifer Stoots and have confirmed that we will be having her as a guest on May 5. Unfortunately, the first photographer I mentioned in class that would accompany her - Susan Seubert - was not available. Luckily, however, Jennifer suggested Ron Van Dongen instead. Please have a look at his website, and list of gallery representation. This is a guy who really knows how to work the system to get represented by galleries and get shows all over the world! And he makes a living mostly from his fine art photography. Amazing, huh?! I think it will be a great combination of guests, so start drawing up a list of questions you will have for them.

Assignment 2

Assignment #2: “The Sound I Saw” (or “the images I heard”)

Try to shoot a series of photos that are connected by an audible theme -- by some kind of "MUSIC" -- it could be jazz, hip-hop, blues, techno-trance music, or something like that -- or it could be a kind of naturally occurring "music" like the wind blowing or water flowing or traffic on the street, tires on wet pavement on the highway, a baby giggling and cooing, a typewriter typing, etc. in other words it doesn't have to be a traditional concept of music - -but just the audible music of life -- a kind of spirit you are going to translate into images. How does that sound FEEL?! what are the emotional or physical contours of that MUSIC. What is the rhythm of that music. Please try to avoid doing something literal - -don't just shoot things that illustrate the lyrics to a song, or are the literal images of something like a stream running across rocks. try to think metaphorically and really try to put that sound into the images using all of the techniques and tools of photography. A suggestion: you might try shooting with headphones on playing music while you shoot.

Bring photos to class next week, or post or link to this blog.

Why I photograph, what I hope to achieve

This is my answer to assignment #1:

Why do I photograph (listed in order of importance):

1) First & most importantly: To help me make sense of, and deal with the world around me, and my emotional responses to it. I take pictures to capture and express to myself the feelings and experiences I have. I need to take these pictures and I actively go out daily to search for them and shoot them because when I succeed in creating an image that echos some deep emotional experience or physical sensation or internal knowledge I attain a state of almost euphoric joy and peace because I know that I have transformed a part of who I am into something outside of myself, something that I can behold from a external perspective.

2) Secondly, I photograph to connect or communicate with other people. I mean this in two ways. First, I want people to see my work, and hopefully experience it in a way that is equal in power and affect to my experience of creating it. I don't mean they should have the same experience or response -- but I'd like to think that what I capture in my images are some essential and potent "truths" about human experience.

I also want to connect with people through the act of photographing them. I deeply enjoy meeting people and photographing them -- and the process of going out to photograph is a social adventure for me.

3) Thirdly, I also enjoy photographing to explore new ways of seeing.

4) I would like to be able to make money, possibly even a living from my artwork, and photography in general.

5) Lastly, I want to famous and admired as a genius and groundbreaking artist. But more practically, I would settle for at least knowing that my work will survive me, and that other people in later generations would get to experience my work, and therefore know something of who I was.

Now for What do I hope to achieve? I've linked these goals to the mission statement numbers above, so you can see what they relate to, and also see them in the order of importance:

1) I want to be able to go out and photograph every day, and I need to be able to go out at least once a week for several hours to meditate with my camera. I need to have the time, and also be able to get into the emotional/psychological state or space to do this. I also want/need to have the time and means to produce final images and series of images and prints and books and installations, etc. -- so that I can successfully externalize the experience and complete the dialogue I am having with myself.

2) I want to continue to regularly have solo exhibits of my work and to show my work on the Internet and publish books and get my work collected and exhibited by museums and collectors so that I know other people will experience my work and share in how I experience life and who I am.

I also want to continue to have the means to travel and explore the world and be able to meet and photograph strangers.

3) I want to continue to expand my knowledge of photographic possibilities and technical innovations. I want to continue to take chances with how I create images, trying to stay open to seeing with fresh eyes, not trying to fit my pictures into a box or label of "beauty."

4) I want to produce work and find venues to sell my work. My goal is modest, maybe to make a one or two thousand dollars a year from my work. If I could make more, that would be great, but it's more important that people who value my work have the means to experience my work. I will also continue to pursue opportunities to teach and work in the broader field of photography, because that helps me to stay connected, to share my joy of photography, to reach an audience that might buy my work.

5) I want to get my worked collected by major museums and collectors. I want to promote myself and get my work out in front of large audience. I want people in the press to know who I am and write about my work.

-------------

Finally, what I would do after compiling these lists, is come up with much more specific and detailed objectives to work towards that would take me toward achieving my larger goals. And it's very important to keep in mind the order of importance of my goals, so that I don't try too hard for fame and fortune for example, if it means I quit focusing on priority number one of just creating and showing my work. (But this is just for me, it's totally fair and reasonable that another photographer has as a top priority fame or fortune, or simply to make a living as an artist.)

click! Photography Changes Everything

Got this interesting email from Marvin Heiferman about a new online Smithsonian Photography Initiative called click! photography changes everything. Check out their website, for some great articles, video's and discussions about how photography effects all facets of our lives, from changes in science, social sciences, and the arts and humanities.

Blue Moon Camera

Here's the link to the photo lab (film only!!) in St. Johns that Aaron mentioned.

Interesting interview/essay by Joel Meyerowitz

I found this interesting & inspiring essay by Joel Meyerowitz on the local Portland Metro Photo News site. Thinking about why we shoot, and what inspires us. Have a look!

Suggestions for Class & Web Site Links of Photographers I Like

Syllabus Suggestion:
I'd suggest we add a guest lecturer by an upcoming photographer. My suggestion would be Holly Andres.

This would be for Class 7. I was thinking the following topics would be interesting to hear her talk about:

1) Starting and expanding work in Portland galleries
a) What worked (networking, variable portfolios- different portfolios for different galleries)
b) What didn't
2) Forays into non-gallery work (does she consider other areas to augment her income)
3) Forays outside the Portland market (areas where she has found success in growing beyond Portland)

Artist Websites for Discussion:

Andres Serrano
www.artnet.com/awc/andres-serrano.html

Dave LaChappelle
www.lachappellestudio.com/editorial

Bernie Searle
www.berniesearle.com/Berni_Searle/Prints.html

Jennifer Steinkamp (more of an installation/video artist)
www.jsteinkamp.com/html/art_documentation.html

Storing Your Photos

I've seen at least one person ask about storage. I do all my on a pretty high end Network Attached Storage (NAS) device. It's basically a big multi disk hard drive that stores all my pictures and works even if a drive completely crashes.

Here's a link to an introduction to this technology in case you're interested.

Of course if this is too messy/geeky, you can always opt for online storage. However, you'll have longer transfer times as you try to transfer 300 Mb photo files between the Internet and your computer.

Here are some services for online storage:

www.mozy.com
www.sugarsync.com
www.box.net

Annie Leibovitz's Financial Troubles

Here's a link to the NYTimes Artsblog about the legal/financial troubles of Annie Leibovitz. It seems even one of the most successful of photographers can't seem to keep her finances in the black.

CDS Daylight Award

I was compiling a list of links of grants and awards, and came across this upcoming deadline for what looks like a good chance to get some recognition for a completed project or a work-in-progress: The Daylight Magazine / Center for Documentary Studies Award. Take a look -- it has an impressive list of jurors.

Also, I've added a number of links on the right.

Studio Work

don't know if any of you will be interested in this, but I have a really nice, large studio at se water and taylor...it has lots of natural light and lighting equipment...i would be happy to make it available to any or all of you for shoots and would be willing to discuss models if anyone is interested...

Stephanie

magickandmayhem.net

gallery.me.com/shoustonphotos

modelmayhem.com

model mayhem #570347

503.863.4501

WebVisons May19-21 at Oregon Convention Center

Don't know how many of you know about WebVisions, an annual conference held here in Portland. This year Kris Krug is presenting a workshop titled, Photography Tips from the New School. Read more at this link:

-Roger

Blurb book contest

I thought some of you might be interested in this contest (click here).

Print-on demand book publisher Blurb has announced its third annual international Photography Book Now competition with a chance to win a US $25,000 cash prize. Participants must design a photo book in one of three categories, using the company's software. A soft copy or three hard copies must then be submitted with an entry fee of US $35 per category. Category winners will receive a Sony DSLR-A850 plus 28-75mm f/2.8 lens amongst other goodies, with the top prize awarded to the best of those three winners. Entries need to be submitted before July 15, 2010.

Shooting Pictures Without Permission

Someone asked about shooting pictures without releases, or without permission. Here is a link to Krages' Photographer's Rights Card. (i've added a link on the right)
One key to remember is that it is generally a civil issue, meaning just because you have "the right" to shoot doesn't mean that you won't get sued.
You may also look in the Kobre Photojournalism textbook for a couple of chapters on law and ethics. I can bring a copy to next class for someone to borrow. just remind me please!
-Bobby

Interesting NYTimes Photo Exhibit Review

"Haunted" Show at the Guggenheim

Sarah Anne Johnson's "Morning Meeting" (2003).
reviewed in today's NYTimes, with a nice slide show too.

Topics to Discuss in Class

Personal

• developing a style
• Articulating your style
  
• coming up with a creative vision of what you what you want to achieve and who you are as a photographer
• improving your drive and passion
• setting realistic goals

Logistics

• Networking (or getting yourself in front of people -- compile a list of local contacts, galleries & photo groups, national workshops & portfolio reviews etc.)
• Getting your work in front of people (what is most effective? websites, blogs, email lists, snail mailings, entering contests, etc.)
  
• Plotting a course from point A to point B: how do you get where you're going?
  
• Should I take workshops/classes?
• Artist's Residencies?
  
• Approaching strangers to photograph them
• How do you establish a sense of trust and rapport with strangers, whether they be models or people you run into on the street, so that they feel comfortable posing for a photo?
• How to be invisible
• What can you do without a model release
  Shooting pictures without permission (street photography?)
• How do you come up with ideas for communicating a pose with the subject? Spontaneity is great, but what happens if you run out of ideas?
  

Economic

• Grants and Awards (compile a list of grants and awards that are available to individual artists)
• Marketing your work (who buys work, what kind of work sells, how much will they pay, creating limited editions)
• Jobs in photography: staff jobs, freelance photography careers, related jobs
• Stock Photography
• How do people handle taxes?
• What is a fair rate to charge for a portrait if you're starting out? Is it OK to take portraits free of charge, or is that unethical?
• What are the normal percentages that galleries take? and what about framing costs, invites, receptions, exclusive relationships?

Technical

• Equipment (hardware: cameras, lensees, computers, printers)
• Software
• Papers, Inks, chemicals, films
• What is "archival"
• How do you organize and back up all your photos so that they are easier to find and also protected from disaster?

Class Schedule

Class 1 – March 31
Please Bring to This First Class: your portfolio, and/or a sample of images from your long-term project
Introductions, Review Students’ Work, Discuss Class Goals, Establishing a Personal Artistic Vision: knowing what you’re trying to accomplish
Optional Shooting Assignment

Class 2 – April 7
Critique Shooting Assignment
Set Individual Goals, Developing Your Project, Funding Options, Schedule Individual Meetings
Next week: We do not meet as a group – instead we will have scheduled individual meetings during regular class time; we will meet as a group on Saturday, April 17th for Field Trip to local galleries
Bring to next class on April 21: A CD or jump drive (Mac readable) of images from your long-term project for workshop on producing a print-on-demand book
Optional Shooting Assignment

Class 3 – April 14
First 20-40 minutes: review work on assignments 1 and 2
Project workshop: for the rest of the time class will be divided into 15-20 minute blocks for each student where you will have a chance to raise questions & ask for feedback. Please consider what your goals are, and what would be the most constructive and practical use of this limited amount of time. Prioritize the issues you want to discuss because we can’t cover everything. If you want to email Bobby and/or post on the blog issues you want to discuss before class, also images you want us to consider, etc, that would be helpful so that we can bring in comments and resources.
Homework for class in 3 weeks: Go to Blue Sky exhibition committee meeting next 2 Tuesdays

Field Trip – Saturday, April 17
Meet in Portland at 11:00 at Chambers Gallery (916 NW Flanders) to view work in local galleries & and talk with gallery directors
1100: Martha Morgan Chambers
11:45: Charles Hartman at Charles Hartman Fine Art
12:30: Daniel at Elizabeth Leach
2:00: Jane Beebe at PDX comtempary

Class 4 – April 21
Visit from Jennifer Stoots and a professional photographer Ron Van Dongen
Possible time to critique students portfolios/work
Discuss with guests submitting work to gallery, business aspects of fine art, marketing youself as an artist, resumes, business cards, postcard mailings, networking, portfolio reviews, workshops, how to present work (portfolio, web, books, DVDs, etc.)

Class 5 – April 28
Field trip to Pushdot Studios: Discuss digital setup & printing; talk with photographer Ann Ploeger about her work and creative/professional practice
Discuss how to approach strangers, developing personal creative vision, releases, marketing, resumes

Class 6 – May 5
Book workshop: Please bring in examples of books you have made, books you like, software that you have used, etc.
Networking & Funding

Class 7 – May 12
Possibe visit from Holly Andres
Project workshop: divide the class for individual needs w/ group feedback
Project workshop: for the rest of the time class will be divided into 15-20 minute blocks for each student where you will have a chance to raise questions & ask for feedback. Please consider what your goals are, and what would be the most constructive and practical use of this limited amount of time. Prioritize the issues you want to discuss because we can’t cover everything. If you want to email Bobby and/or post on the blog issues you want to discuss before class, also images you want us to consider, etc, that would be helpful so that we can bring in comments and resources.

Class 8 – May 19
Technical issues, other topics, wrap-up

Syllabus

Advanced Photographers’ Studio
Spring 2010
Wednesday evenings 6:30 – 9:30; March 31 – May 19
Please Note: we have a scheduled field trip on Saturday, April 17th
Instructor: Bobby Abrahamson

Course Description
This seminar class is intended for intermediate and advanced photographers who want to further develop their photographic skills, artistic/professional goals, creative vision; and who want help plotting a course toward achieving their goals. Coursework consists of readings, slide shows, guest lecturers, field trips to exhibitions and artists' studios, portfolio reviews, class critiques and discussions, one-on-one meetings with the instructor, weekly assignments and/or work on a long-term project. Topics to be discussed include developing your own artistic style, creating a professional portfolio, approaching galleries for shows, getting your work collected, finishing work for an exhibition, printing in editions, what is 'archival', publishing books, attending workshops and portfolio reviews, writing artist statements, funding and grants, equipment concerns, legal and ethical issues, and professional options (how to be an artist and make a living at the same time).

Prerequisites
Students should have a portfolio and/or be working on a project, and should have basic skills in camera operation, image adjustment and printing.

Course Requirements
Students will be expected to bring in work to class: either prints or digital work on a CD or thumb drive readable by a Mac, or you may choose to post on a gallery on the internet which we can view from the classroom computer.
Also, please see “materials” below for what to bring to first class!!!

Expected Learning Outcomes
1. Advancement of personal artistic vision
2. Improved ability to set realistic goals and to plot a course to achieve them
3. Improved technical, creative and professional skill sets
4. Completion, or advancement towards completion of portfolio or final project

Learning Outcomes + PNCA Core Values
1. Creative Practice
• make creative work • find and develop their personal vision • develop a disciplined studio practice • acquire knowledge and skills grounded in the fine and design arts • engage in written and oral discourse about their work, the work of others • pursue the habits of curiosity, questioning and perseverance.
2. Integrated Knowledge and Critical Thinking:
• engage in disciplinary and cross disciplinary study • examine primary methods of research and inquiry, including cultural, scientific philosophical, and aesthetic • determine how meaning is shaped and reshaped by context, time, and culture • encounter diverse visual and cultural work • acquire the intellectual tools and insight.
3. Social and Ethical Responsibility:
• examine the complex relationships between the creative product, the creative practitioner and the social, historical, and political communities in which they interact • evaluate the relationship of creative work to the social and ethical issues impacting the human condition • explore, through practical and theoretical investigations, the issues impacting the quality of human and non-human life • consider ethical positions.

Materials
For the first class: please bring your portfolio, or a sample of images from your long-term project. Also, in general, you will probably want a USB thumb-drive for bringing work to class for review & editing

Bibliography & Resources
Criticizing photographs, Terry Barret
Doing documentary work, Robert Coles
Looking at photographs, John Szarkowski
The Photographer’s Eye, John Szarkowski
The Nature of Photographs, Stephen Shore
Camera Lucida, Roland Barthes
On Photography, Susan Sontag

To receive regular postings of photographic events & exhibitions email Scott Jones at “PortlandPhotoEvent@comcast.net,” tell him you are my student, and request to be added to his emailings.