“Julieanne Kost demonstrates two methods for one of the most common trouble shooting techniques: resetting the Photoshop Preferences.”
View more Photoshop videos here.
Learn more in my digital photography and digital printing workshops.
“Erik Johansson creates realistic photos of impossible scenes — capturing ideas, not moments. In this witty how-to, the Photoshop wizard describes the principles he uses to make these fantastical scenarios come to life, while keeping them visually plausible. Photographer Erik Johannson creates impossible but photorealistic images that capture an idea, not a moment.”
This is one of the best exhibits I’ve seen in ages!
“While digital photography and image-editing software have brought about an increased awareness of the degree to which camera images can be manipulated, the practice of doctoring photographs has existed since the medium was invented. Faking It: Manipulated Photography Before Photoshop at The Metropolitan Museum of Art (NYC) is the first major exhibition devoted to the history of manipulated photography before the digital age. Featuring some 200 visually captivating photographs created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, the exhibition offers a provocative new perspective on the history of photography as it traces the medium’s complex and changing relationship to visual truth.
The photographs in the exhibition were altered using a variety of techniques, including multiple exposure (taking two or more pictures on a single negative), combination printing (producing a single print from elements of two or more negatives), photomontage, overpainting, and retouching on the negative or print. In every case, the meaning and content of the camera image was significantly transformed in the process of manipulation.
Faking It is divided into seven sections, each focusing on a different set of motivations for manipulating the camera image … “Picture Perfect”, “Artifice in the Name of Art”, “Politics and Persuasion”m “Novelties and Amusements”, “Pictures in Print”, and “Protoshop.”
The exhibit runs from October 11, 2012 through January 27, 2013.
Find out more about the exhibit here.
Whether you can or can’t see the exhibit, get the book.
The exhibition is accompanied by a fully illustrated, 296-page catalogue written by Mia Fineman.
“Photographic manipulation is a familiar phenomenon in the digital era. What will come as a revelation to readers of this captivating, wide-ranging book is that nearly every type of manipulation we associate with Adobe’s now-ubiquitous Photoshop software was also part of photography’s predigital repertoire, from slimming waistlines and smoothing away wrinkles to adding people to (or removing them from) pictures, not to mention fabricating events that never took place. Indeed, the desire and determination to modify the camera image are as old as photography itself—only the methods have changed.
By tracing the history of manipulated photography from the earliest days of the medium to the release of Photoshop 1.0 in 1990, Mia Fineman offers a corrective to the dominant narrative of photography’s development, in which champions of photographic “purity,” such as Paul Strand, Edward Weston, and Henri Cartier-Bresson, get all the glory, while devotees of manipulation, including Henry Peach Robinson, Edward Steichen, and John Heartfield, are treated as conspicuous anomalies. Among the techniques discussed on these pages—abundantly illustrated with works from an international array of public and private collections—are multiple exposure, combination printing, photomontage, composite portraiture, over-painting, hand coloring, and retouching. The resulting images are as diverse in style and motivation as they are in technique. Taking her argument beyond fine art into the realms of politics, journalism, fashion, entertainment, and advertising, Fineman demonstrates that the old adage “the camera does not lie” is one of photography’s great fictions.”
Preview the book here.
On average, we each think 60,000 thoughts a day.
Here’s the math.
One Day 60,000 Thoughts
One Week 420,000 Thoughts
One Month 1,680,000 Thoughts
One Year 21,840,000 Thoughts
One Decade 218,400,000 Thoughts
One Life 1,638,000,000 Thoughts
How many thoughts are significant thoughts or thoughts that led to significant thoughts?
Do you think it would help you to be more aware of your thoughts?
Do you think it would help you to think fewer thoughts?
Do you think it would help you to think in more focused ways?
If so, try meditating.
This book is the product of a life’s work, a very rich life, keenly observed by a sensitive eye with a passion for looking. It’s a sensual pleasure you’re sure to want to savor.
“Since 1974, professional assignments have taken photographer Arthur Meyerson around the world to all 7 continents. Throughout it all, Meyerson’s fascination with light, color and the moment has never ceased and he has continued to produce a body of personal work that has grown into an impressive archive, The Color of Light. With essays by fellow photographers, Sam Abell, Jay Maisel and a conversation with John Paul Caponigro, The Color of Light not only details Meyerson’s photographic philosophy, but also discusses and illustrates many of the themes and ideas expressed in his renowned photographs. A selection of 113 of Meyerson’s iconic images are included and further reveal his mastery of the medium. At home and away, the subject matter is diverse as seen only through the eye of this photographer.”
A special edition slipcased book with print is available in limited quantities.
Preview the book here.
Find out more about Arthur with these resources – Conversation, Video, Q&A, Quotes.
The science behind the breathtakingly beautiful phenomenon of the nocturnal light shows called auroras is fascinating.
The layers of the sun’s atmosphere (photosphere, chromosphere, corona) become increasingly cooler, moving away from its core at15 million degrees Celsius to its surface at 6,000 degrees Celsius. Sunspots, visibly dark areas within the sun, or areas of significantly lower temperature, 4000 degrees Celsius, occur continuously, ebbing and peaking in frequency in 11 year cycles. High sunspot counts correlate with high levels of solar activity. Unlike the bright loops of energy that can be seen on the sun’s surface as particles flow along lines within the sun’s magnetosphere, the darker areas or coronal holes exist where magnetic lines have only one anchor point in the sun’s magnetosphere, allowing plasma to escape.
This plasma carries part of the sun’s magnetic field with it; the interplanetary magnetic field or IMF. The density of the solar wind decreases with distance but its sphere of influence, the heliosphere, reaches past our solar system’s outer planets. The sun’s rotation causes this field to radiate in a spiral structure.
The speed of the solar wind averages 450 km/s but often varies significantly from 300 km/s to 1000 km/s. Large variances in the solar wind’s velocity, density, and magnetic can cause significant terrestrial disturbances.
The solar wind constantly distorts the earth’s magnetic field (caused by the rotating metallic fluids of its core) compressing it on the light side, into a half sphere, and elongating it on the dark side, in a tube, similar to the shape of a comet’s tail. As the supersonic solar wind approaches the obstacle of the earth’s magnetic field a shock front is formed; as the solar wind is directed around the earth, smaller magnetic waves occur between the earth and the sun slowing and changing the course of the streaming plasma.
Surrounding the axis of the magnetic field, offset 11 degrees from the geophysical axis, are weaker areas that give energy rich solar particles little resistance. The charged solar particles that do make it into the upper atmosphere (ionosphere) excite electrons causing them to jump to higher orbits temporarily before they return to their original orbits by giving off auroral radiation and producing visible light in the process.
Auroras (borealis in the north and australis in the south) are produced by the solar wind, fast-moving charged particles that escape the sun’s gravity, exciting gases in the earth’s upper atmosphere.
The color of auroral emissions is determined by the gases excited, primarily oxygen and nitrogen. Altitude also influences color; red is found above 200 km, yellow and green between 180 – 110 km, and blue and violet below that. These altitudes vary between dayside and nightside aurora; at night blue and green altitudes drop increasing in intensity, while red rises decreasing intensity.
Auroras appear most consistently, almost continuously, and intensely in an oval band that rings the magnetic poles; in the north 67 degrees magnetic latitude at magnetic noon and 76 degrees magnetic latitude at magnetic midnight. Additionally a thinner weaker band of increased occurrence bisects this oval along a straight line between the sun and the earth.
Auroras occur by night and by day. The difference between night and day auroras is the number of particles (greater in the day), the amount of energy the particles carry (less by day), and the dominant color (green by night, red by day). Dayside aurora only occur inside the auroral oval at high polar latitudes and are only visible when it is dark during the day.
Auroras are extremely dynamic. Their zone of maximum occurrence can change by several hundred kilometers in minutes. And they can vary in orders of magnitude within seconds.
It’s small wonder that these fantastic colored lights that dance in mesmerizing patterns filling the heavens above have held a never-ending fascination for those who are lucky enough to witness them, whether first or second hand. They’re divine.
Learn more about night photography in my digital photography workshops.
Find out about my Iceland Auroras workshop here.
What settings should you use when making exposures in low light or at night? Use a tripod and cable release, set ISO to 800 (or higher), open up f5.6 or wider, focus at infinity and keep exposures below 20 seconds. While this is a good starting point, that’s all it is, as you’ll need to modify settings based on the specific light(s) in a location, the equipment you’re using, and the effect you want to produce. Instead, ask, “What concerns do I need to be mindful of and what points of control do I have when making low light or night photographs?” Develop your sensitivity to these factors and you’ll know why and when to improvise and even what more you can explore. These twelve tips will give you a solid foundation from which to begin your explorations in low light and night photography.
Premiered at the Sundance Film Festival in January and opening in New York and Toronto Nov 9, Chasing Ice is a documentary feature, directed by Jeff Orlowski, that reveals the work of photographer James Balog and his Extreme Ice Survey (EIS) project. Balog, once a skeptic about climate change, discovers through EIS undeniable evidence of a warming world. Chasing Ice features hauntingly beautiful, multi-year time-lapse videos of vanishing glaciers, while delivering fragile hope to our carbon-powered planet.
Find out more about the film here.
A companion book is also now available. ICE: Portraits of the World’s Vanishing Glaciers (288 pages),celebrating the stupendous forms, colors and textures in arctic and alpine landscapes, will be released in the fall of 2012 in collaboration with Rizzoli, the world-renowned publisher of art books. Terry Tempest Williams, one of America’s most distinguished environmental writers and thinkers, will contribute the foreword.
Preview the book ICE here.
Find out more about photographer James Balog here.
There’s a new electronic magazine in town – and I’m delighted to be a part of it.
The 132 pages in Issue One of PHOTOGRAPH, A Digitial Quarterly Magazine for Creative Photographers. features …
Columns include Martin Bailey’s The Art of the Print, John Paul Caponigro’s Creative Composition, Kevin Clark’s The Studio Sketchbook, David Duchemin’s Without The Camera, Chris Orwig’s Creativity, and Piet van Den Eynde’s Lightroom Before + After.
Portfolios by Art Wolfe, Nate Parker, and Bruce Percy are followed by short interviews.
Featured articles by Younes Bounhar, Andrew Gibson, Jay Goodrich, Al Smith, and Nicole Young.
PHOTOGRAPH is available now through Craft & Vision, as a PDF download, for USD$8. A 4-issue subscription for US$24 (or buy 3 issues and get one free). You can subscribe today, or, if you want to do so risk-free, we’ll send a short email to everyone that buys Issue One and give you the chance to top-up your subscription with the remaining 3 issues for US$16, as long as you do it before the end of November 2012.
Find out more and subscribe on David Duchemin’s blog.
Here’s an excerpt from the first article in my column Creative Composition.
Dynamics Not Rules
“When it comes to composition, there are no rules . . . except, perhaps, never say never and always avoid saying always. I recommend you don’t ask, “Should I . . .?”; rather, ask “What happens when I . . . ?”. But there are principles. Each element has a unique force and contributes to the whole. Each element influences the other, creating a cascading chain of action, reaction, and interaction. These forces are definable and consistent, so you can understand them and apply them repeatedly. An understanding of what these elements are will open up possibilities and create opportunities for you. An understanding of how each element works will help you apply it so that you can improvise given the unique characteristics of a specific situation and your own con- cerns. Versatility with many strategies enables you to be more successful in more varied situations and to make more varied statements. Understanding the principles of visual dynamics will help make your decision making pro- cess more informed, but it won’t make choices for you. Awareness is the key. Better awareness brings better choices. Better choices bring better results …”
“As the director of the Metropolitan Museum of Art in New York, Thomas P. Campbell thinks deeply about curating—not just selecting art objects, but placing them in a setting where the public can learn their stories. With glorious images, he shows how his curation philosophy works for displaying medieval tapestries—and for the over-the-top fashion/art of Alexander McQueen.”