Since the start of photography's digital era, photographers have debated the merits of the genre's film and digital forms. Some photographers see no use for film any longer, others are die-hard filmers, and there is a third group that enjoys dabbling in both.
I just came from reading a very enjoyable essay, titled "The Perfect Storm," by a professional photographer who is in that third group, a man I met 35 years ago in Columbus, Wis., where I worked as editor of the weekly newspaper. The essay author, Paul Gero, was then a freshman in high school, and he came to see me about getting some of his pictures published in the newspaper.
Gero has since gone on to a stellar career in professional photography. For many years he worked for newspapers in Chicago, Washington, D.C., and Phoenix, and most recently, for several years now, he has operated his own wedding photography business in Southern California.
Below are links to "The Perfect Storm" essay. The first link takes you to its posting at his blog; the second goes to ProPhoto Resources, a Web site where the piece first appeared.
Paul's blog posting
ProPhoto Resources article
Showing posts with label digital photography. Show all posts
Showing posts with label digital photography. Show all posts
Thursday, August 6, 2009
Tuesday, July 7, 2009
On online communities
Recently, I've been in touch with some local amateur photographers whose work I discovered through the ongoing "Capture Indy" project, a photo collection campaign that The Indianapolis Star is driving to publish a book conveying not only what Indianapolis looks like in photographs, but also to display and expose some of the best work of talented local photographers.
I initiated the contact with these photographers because I'm interested in making make them subject/profiles of my monthly "Photographer in the Spotlight" feature here at "Photo Potpourri." Since Photo Potpourri launched in December, all of my spotlight subjects have been from out of my home state of Indiana. There was one from the Bahamas (Trish van den Berg), one from Canada (Tony Hadley), one from Minnesota (Ron Germundson) and two from California (Joo-chiang "JC" Lee and the most recent, Chris Harris). All of these except JC I met through Photo.net, where I maintain one of two public online photo galleries of my own. JC is a "connection" I made through the online business networking site "Linked-In," where I've made many other photographer acquaintances. I can't say that all of these people are close "friends," but I mention it here to say that each has played some role -- large or small -- into advancing my knowledge or understanding of photography, which is why I devote the time I do to develop these spotlight features. Each of these photographers' interviews has been informative to me, and my hope is that is has been for others who've read these question-and-answer features. Each "spotlight" feature has included some wonderful photographs from these craftsmen and women.
I initiated the contact with these photographers because I'm interested in making make them subject/profiles of my monthly "Photographer in the Spotlight" feature here at "Photo Potpourri." Since Photo Potpourri launched in December, all of my spotlight subjects have been from out of my home state of Indiana. There was one from the Bahamas (Trish van den Berg), one from Canada (Tony Hadley), one from Minnesota (Ron Germundson) and two from California (Joo-chiang "JC" Lee and the most recent, Chris Harris). All of these except JC I met through Photo.net, where I maintain one of two public online photo galleries of my own. JC is a "connection" I made through the online business networking site "Linked-In," where I've made many other photographer acquaintances. I can't say that all of these people are close "friends," but I mention it here to say that each has played some role -- large or small -- into advancing my knowledge or understanding of photography, which is why I devote the time I do to develop these spotlight features. Each of these photographers' interviews has been informative to me, and my hope is that is has been for others who've read these question-and-answer features. Each "spotlight" feature has included some wonderful photographs from these craftsmen and women.
I joined Linked-In initially thinking it would help connect me to more people in the area of my livelihood -- journalism. But even though the largest portion of my Linked-In connections are writers or editors, Linked-In's primary benefit to me so far -- and by far -- has been the group of photographers I've come to "meet" (cyberspacially), and their discussions and comments I monitor closely in Linked-In group discussions. I've joined more than a half-dozen photograph-related groups alone at Linked-In, and three or four of them have discussion threads that are updated daily. Photo.net also has a bounty of informative articles and discussion topics and threads. I simply don't have the time to monitor all of them. But because it is a global community (as is Linked-In), Photo.net is a valuable resource, its articles (especially on equipment) and discussion threads are publically accessible even to non-members. If you're a photographer and haven't yet discovered Photo.net, you owe it to yourself to check it out -- not as a prospective member, but just to take advantage of the wealth of resources there.
The whole point of this post is to underscore the value of some networking sites. My success and satisfaction with Linked-In and Photo.net (the latter isn't so much a networking site as it is a global community) softened my resistance to create a personal account at Facebook, which several friends had prodded me to do in the past couple years. But I'm now a Facebooker, too, although ... I'm still so new at it that I'm not at the point where I can absolutely positively declare satisfaction with it to the degree I can with Linked-In and Photo.net.
The whole point of this post is to underscore the value of some networking sites. My success and satisfaction with Linked-In and Photo.net (the latter isn't so much a networking site as it is a global community) softened my resistance to create a personal account at Facebook, which several friends had prodded me to do in the past couple years. But I'm now a Facebooker, too, although ... I'm still so new at it that I'm not at the point where I can absolutely positively declare satisfaction with it to the degree I can with Linked-In and Photo.net.
Saturday, January 17, 2009
'The Genius of Photography'
A 'don't miss' series on Ovation TV
The Ovation TV network (Channel 157 on Dish satellite and Channel 274 on DIRECTV; check your local listings for the network's availability on cable television) is running several installments this month of the excellent BBC series "The Genius of Photography."
Check Ovation's schedule guide for dates and times, but I can tell you this much: This month's installments will be aired and repeated on only three days -- this coming Monday, Tuesday and Wednesday (Jan. 19, 20, 21).
I saw three of the shows for the first time last month and am glad I thought to record them on my DVR, because I plan to revisit them periodically. They deal primarily with photography's origins, influences and master photographers. It's something anyone with a strong interest in the craft of creating images should look in on. Check back in early February to see when any of the others will air.
In addition to checking Ovation's schedule guide, you may want to visit the BBC Web site on the series to read more about it.
Check Ovation's schedule guide for dates and times, but I can tell you this much: This month's installments will be aired and repeated on only three days -- this coming Monday, Tuesday and Wednesday (Jan. 19, 20, 21).
I saw three of the shows for the first time last month and am glad I thought to record them on my DVR, because I plan to revisit them periodically. They deal primarily with photography's origins, influences and master photographers. It's something anyone with a strong interest in the craft of creating images should look in on. Check back in early February to see when any of the others will air.
In addition to checking Ovation's schedule guide, you may want to visit the BBC Web site on the series to read more about it.
Friday, December 26, 2008
NYIP: The ups and downs
In my last post, I discussed how I researched various correspondence programs four years ago when I went to look for something that could help me refresh and hone my photography skills. I explained the rationale for selecting the New York Institute of Photography's Professional Photography course.
In general, I felt the course was very good; I'd grade it a B to a B+. If it weren't for the fact that I felt some of the learning materials -- the audiocassette tapes, in particular -- were slightly behind current technology, and if not for what I perceived to be an inordinate emphasis on film in the instruction and inadequate attention to digital technology in the core course, I would even give it an A-.
To be fair, NYIP did send me -- several months into the start of my coursework -- a DVD devoted entirely to digital photography, and NYIP does now offer a full course on digital photography, a course it promoted periodically through mailings during the remainder of my coursework. I can't remember if current students were offered a tuition discount if they wanted to take that course as well (other than the pay-it-all-up-front discount); I don't think so. Perhaps my disappointment could be explained as a matter of mere bad timing.
Here, now, is my detailed assessment of the NYIP course ups and downs.
The ups
1) Don Sheff and Chuck DeLaney -- the voices on the audiocassette tapes that accompanied the texts in each of the six units -- were wonderful learning companions. Sheff and DeLaney also appeared on some of the DVDs students were directed to view at the completion of each unit. It was clear they had a good professional rapport. They were encouraging and nurturing in all aspects of the lessons, and clarity reigned; I never felt there was any gap or lack of detail, and they communicated in a way that could reach all levels of learners. They occasionally skipped through some material, but that happened only in areas that really weren't critical to understanding basic or fundamental material.
2) The photo illustrations in the booklets were helpful in understanding key points of instruction, and there are some great photographs in them. It was encouraging to know, too, that a good number of those images were taken by NYIP graduates; no doubt it was helpful to NYIP as a promotional tool, too!.
3) I most appreciated the later units, which delved into lighting (natural and artificial), portraiture, macro, children, weddings, news and sports, and architecture. I wasn't too interested in the fashion, glamor, pet/animal and advertising lessons, but I trod through them dutifully and I understood the need to do so. (Note to anyone who might actually look into taking the course: There is an optional lesson on nudes. Students are free to read the text, but they are not required to answer the test questions or take or submit any photos related to the subject matter.)
4) The unit photo assignments were challenging. I did find myself taking time to think about what I wanted to capture and how I wanted to capture it to satisfy lesson objectives. Some frustrations I experienced along the way were reminiscent of those I experienced in high school and college, so I figured something must be right!
5) Having a photo mentor who is a professional photographer is a great idea. My mentor was Walter Karling, a freelance photographer whose work has appeared in such publications as The New York Times. I felt that Walter was encouraging and helpful in all critiques except one of the early ones. I'm not sure what it was about that one -- maybe he'd had a bad day -- but the critique seemed rushed and perfunctory. But in all other ones, I truly felt he was zeroed in on my work and the task of sharing a professional's insight into the nuances required to pull off the best picture possible. When extending congratulations in his final critique, Walter revealed that he, too, is an NYIP alum.
6) While the "tests" weren't classic exams, in that you had the "open-book" option of consulting the lesson if you had any doubt, each test presented challenges. Most questions required careful reading and re-reading; a misread nuance could change the meaning and/or answer.
7) The texts, audio critiques and post-lesson DVDs (which often showed a professional photographer trying to tackle some of the same challenges the students have been asked to do in their projects) are not the only materials NYIP sends you. Each student also receives handbooks and guides (one that comes to mind immediately helps students find ways to get their work published); a photographer's gray card (a device photographers use to ensure optimum exposure; if you flip it over, you can use it as a white card to customize a digital camera's white balance); a white umbrella reflector to use in portraiture work; a small camera case; and a NYIP "press" card to help students get access to take photographs for news and sports coverage assignments.
The downs
1) The first couple units of instruction (discussing the parts of a camera, exposure, camera settings and various film types) were largely a review for me; this was stuff I learned (and for the most part retained) from my photo classes in college.
2) The audiocassette tapes medium (for the Sheff-DeLaney lessons and the mentor feedback) were archaic. I didn't own a portable tape player when I started, and to get one I needed to visit several stores because they aren't easy to find anymore. It wasn't until my sixth and final unit -- in fall 2008 -- that NYIP upgraded this aspect of its course program by converting mentor feedback to compact disc.
3) Some test questions were worded such that they could be interpreted one of two ways, or ... could actually be answered both true or false depending on conditions or stipulations not provided -- but needed -- in the question. I knew NYIP did this in most questions to see if students paid close attention. I understand that. But they need a proofreader! I once sent along a protest stating as much when I returned my test in one of the early units, and I received no reply ... other than to see my "guess" answer (hey, I had a 50-50 chance!) checked wrong.
4) The school claims to be readily accessible for questions by phone and encourages such communication. But the one time I took NYIP up on that offer and called for help to clear confusion that I had with a unit assignment -- confusion that was largely responsible for delaying my progress for more than a year -- I didn't feel I got a very thorough, attentive or satisfying reply. It's very possible that my experience was an anomaly, and I'll give NYIP the benefit of the doubt. And oh, telephone calls to NYIP are on your dime; there is no toll-free number.
In summary, if NYIP's Digital Photography course had been available at the time I started my instruction (the one that materialized several months after I started), I think I would have spent my tuition money on that. But that's not to discredit the Professional Photography course, which I did find to be beneficial and helpful, and I'm grateful to the school for its instruction and materials.
In general, I felt the course was very good; I'd grade it a B to a B+. If it weren't for the fact that I felt some of the learning materials -- the audiocassette tapes, in particular -- were slightly behind current technology, and if not for what I perceived to be an inordinate emphasis on film in the instruction and inadequate attention to digital technology in the core course, I would even give it an A-.
To be fair, NYIP did send me -- several months into the start of my coursework -- a DVD devoted entirely to digital photography, and NYIP does now offer a full course on digital photography, a course it promoted periodically through mailings during the remainder of my coursework. I can't remember if current students were offered a tuition discount if they wanted to take that course as well (other than the pay-it-all-up-front discount); I don't think so. Perhaps my disappointment could be explained as a matter of mere bad timing.
Here, now, is my detailed assessment of the NYIP course ups and downs.
The ups
1) Don Sheff and Chuck DeLaney -- the voices on the audiocassette tapes that accompanied the texts in each of the six units -- were wonderful learning companions. Sheff and DeLaney also appeared on some of the DVDs students were directed to view at the completion of each unit. It was clear they had a good professional rapport. They were encouraging and nurturing in all aspects of the lessons, and clarity reigned; I never felt there was any gap or lack of detail, and they communicated in a way that could reach all levels of learners. They occasionally skipped through some material, but that happened only in areas that really weren't critical to understanding basic or fundamental material.
2) The photo illustrations in the booklets were helpful in understanding key points of instruction, and there are some great photographs in them. It was encouraging to know, too, that a good number of those images were taken by NYIP graduates; no doubt it was helpful to NYIP as a promotional tool, too!.
3) I most appreciated the later units, which delved into lighting (natural and artificial), portraiture, macro, children, weddings, news and sports, and architecture. I wasn't too interested in the fashion, glamor, pet/animal and advertising lessons, but I trod through them dutifully and I understood the need to do so. (Note to anyone who might actually look into taking the course: There is an optional lesson on nudes. Students are free to read the text, but they are not required to answer the test questions or take or submit any photos related to the subject matter.)
4) The unit photo assignments were challenging. I did find myself taking time to think about what I wanted to capture and how I wanted to capture it to satisfy lesson objectives. Some frustrations I experienced along the way were reminiscent of those I experienced in high school and college, so I figured something must be right!
5) Having a photo mentor who is a professional photographer is a great idea. My mentor was Walter Karling, a freelance photographer whose work has appeared in such publications as The New York Times. I felt that Walter was encouraging and helpful in all critiques except one of the early ones. I'm not sure what it was about that one -- maybe he'd had a bad day -- but the critique seemed rushed and perfunctory. But in all other ones, I truly felt he was zeroed in on my work and the task of sharing a professional's insight into the nuances required to pull off the best picture possible. When extending congratulations in his final critique, Walter revealed that he, too, is an NYIP alum.
6) While the "tests" weren't classic exams, in that you had the "open-book" option of consulting the lesson if you had any doubt, each test presented challenges. Most questions required careful reading and re-reading; a misread nuance could change the meaning and/or answer.
7) The texts, audio critiques and post-lesson DVDs (which often showed a professional photographer trying to tackle some of the same challenges the students have been asked to do in their projects) are not the only materials NYIP sends you. Each student also receives handbooks and guides (one that comes to mind immediately helps students find ways to get their work published); a photographer's gray card (a device photographers use to ensure optimum exposure; if you flip it over, you can use it as a white card to customize a digital camera's white balance); a white umbrella reflector to use in portraiture work; a small camera case; and a NYIP "press" card to help students get access to take photographs for news and sports coverage assignments.
The downs
1) The first couple units of instruction (discussing the parts of a camera, exposure, camera settings and various film types) were largely a review for me; this was stuff I learned (and for the most part retained) from my photo classes in college.
2) The audiocassette tapes medium (for the Sheff-DeLaney lessons and the mentor feedback) were archaic. I didn't own a portable tape player when I started, and to get one I needed to visit several stores because they aren't easy to find anymore. It wasn't until my sixth and final unit -- in fall 2008 -- that NYIP upgraded this aspect of its course program by converting mentor feedback to compact disc.
3) Some test questions were worded such that they could be interpreted one of two ways, or ... could actually be answered both true or false depending on conditions or stipulations not provided -- but needed -- in the question. I knew NYIP did this in most questions to see if students paid close attention. I understand that. But they need a proofreader! I once sent along a protest stating as much when I returned my test in one of the early units, and I received no reply ... other than to see my "guess" answer (hey, I had a 50-50 chance!) checked wrong.
4) The school claims to be readily accessible for questions by phone and encourages such communication. But the one time I took NYIP up on that offer and called for help to clear confusion that I had with a unit assignment -- confusion that was largely responsible for delaying my progress for more than a year -- I didn't feel I got a very thorough, attentive or satisfying reply. It's very possible that my experience was an anomaly, and I'll give NYIP the benefit of the doubt. And oh, telephone calls to NYIP are on your dime; there is no toll-free number.
In summary, if NYIP's Digital Photography course had been available at the time I started my instruction (the one that materialized several months after I started), I think I would have spent my tuition money on that. But that's not to discredit the Professional Photography course, which I did find to be beneficial and helpful, and I'm grateful to the school for its instruction and materials.
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