Paralympic Games 2008 Images

This is nothing short of inspirational. Sure, Michael Phelps is now regarded as the greatest Olympian ever, but these folks are my heroes.

Check out the slideshow at Sports Illustrated.

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Suggestions on shipping your artwork

Ok, so you've sold a print or have gotten into a gallery show. Looking at shipping options, I would guess like myself you want to ship the cheapest way possible while protecting your artwork. You might be tempted to ship via USPS. DON'T! 

I recently shipped a print having packaged it in a tube, carefully putting tissue in the top and bottom. It was also wrapped in an acid free plastic bag. The tube was shipped USPS and arrived crushed. The client was not happy at all, but I assured them that my guarantee covered such things and apologized profusely while quickly printing another to get to them. 

I later learned, unlike FedEx or UPS, the USPS has no basic level of insurance on every package sent. You get one hundred dollars of insurance coverage with either UPS or FedEx. For myself in most cases, this is enough as it covers the frame and cost of printing usually. So, I'm out the replacement costs having used USPS. Both UPS and FedEx also offer extra insurance coverage at a very reasonable price. I have sent emails to the USPS explaining the situation and have yet to get a response. Also inquiring at the local place where I ship about USPS, they said not to expect a response. It is their experience that they simply don't care. 

Here are a few extra notes about shipping artwork:

1. Avoid using styrofoam peanuts. Galleries hate this as would you if you had upwards of seventy shipping crates or packages to store as is the case with many group exhibitions. 

2. Order or pick up a few glass stickers that you can adhere to the outside of shipping packages. Your shipment will likely be handled with a more gentle hand.

3. Make sure to label the artwork itself. I simply clear tape a business card to the back of the frame. Anything you can do to make it easier on a gallery is to your benefit. 

4. Go to Lowe's or Home Depot and buy a sheet of flat insulation. It's a cheap way to add a little protection around your work. I make slip cases out of them with packing tape. 

5. Include a flyer or some other piece of promotional material in a shipment. It's your chance to promote yourself, after all you were selected to be in the show. Don't pass it up.

6. Set up an account with UPS or FedEx for return shipping from a gallery back home. We would all like to think that our work will always sell, but it doesn't. Many of the shows I've been in request a return shipping label with the artwork. If you have an account set up, you can include the label and if the piece sells you just saved some cash. 

That's it for now. 

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Microsoft's new imaging program Photosynth

A friend of mine who works for Microsoft showed me this new program that they have created, and it blew me away. It is a bit hard to explain at first but is in essence a way to create an interactive experience with a series of photographs that allows you to explore in almost a 3D like environment. This is way beyond a panoramic. Think of it as being able to transend the limitations of what a two dimensional photographic representation can do.

From their website:

Imagine being albe to share the places and things you love using the conematic quality of a movie, the control of a video game, and the mind-blowing detail of the real world. With nothing more than a bunch of photos, Photosynth creats an amazing new experience.

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Snapped Magazine

Back from the depths of a nasty inner ear infection, I'm back on the scene dropping the new stuff for you.

Check out this cool, photography rag from Africa for a different perspective than you normally see. Beautiful stuff here.

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An article on How to Win a Photography Contest

A not bad blog article on how to win a photography contest written by a judge. The rest of their blog is worth a little poking around time if you have it. Sphere: Related Content

What is modified? Part 1 - Saturation

Photographs by Brian Walski/Los Angeles Times

The top two photos involving Iraqi civilians by a Los Angeles Times photographer in March 2003 were blended in violation of the newspaper’s policy, and it fired the photographer.

I'm starting a new series about the concept of what exactly a modified photograph is. My goal being to stimulate this little community to examine how digital technology has changed the way we see and interpret an image. 

Part 1 - Saturation

In a recent print contest, part of the entry guideline criteria and indeed an entire category was devoted to modified images. The idea being that if you have modified an image, that should be disclosed. I agree wholeheartedly but the distinction of what that properly is has been a topic of much discussion and controversy, how far can you go before manipulation or alteration is necessary to distinguish for a particular image. In this installment, I'm looking specifically at saturation. 

For the contest that I entered, I made slight adjustments to saturation for all three images that were submitted. Not overly significant or beyond what nature could have provided in the way of color, it is part of my normal workflow to make such an adjustment so I don't consider this manipulation. I could have produced the same adjustment level by changing to Mode III on my Nikon or by using Velvia film. Still, I paused before checking the box that the image was not manipulated. I certainly don't want to tarnish my reputation by coming off as deceitful. Perhaps other photographers don't worry as much about this. I don't know so here's my attempt to start a discussion. Let me know what you think.

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PPA Super Monday review

So, I attended the local PPA (Professional Photographers of America) Super Monday event yesterday and was quite pleased with what I got out of it. Super Monday is held across the country in April with local photographers presenting events in their geographic region. There is no unified course offering but instead pros develop the idea and format for their own unique classes so no two are the same. The class in our neck of the woods was hosted by Gary Patton and was focused on portrait lighting both in studio and outdoors. Not expecting much in reality, I found the small class environment fun and exciting. The road of the professional photographer can be lonely, and it was a welcome opportunity to share experiences and do a little networking. Local host instructors are not paid for the classes. Fees are used for scholarships and other PPA programs and instructors are given merit credit towards professional certificate programs. I like that system and was happy to support it. 

My only negative experience with the whole thing was the online registration system at the PPA website. I've had trouble twice now attempting to register for PPA offerings and can't understand why they don't get it together. My personal feeling is that Safari isn't likely supported. I emailed their customer service folks and have yet to get a response back now five days later. I'm not attempting to bash the PPA at all, but it's my decision to report my experiences here on my blog as honestly as I can. 

Thanks again to Gary and the class for making it such a memorable event, and to the PPA for creating such a good program.

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You gotta fight, for your right....

Ok, Beastie Boy references aside. I’ve seen it quite a bit in the news recently where photographers are being harassed or even threatened for taking completely legal pictures. It seems odd to consider what is and what is not legal to shoot, but I must admit I had no clue myself exactly what is and what is not legal. So, I did a little digging and found the below site where you can print out a copy of exactly what your rights are. I’m keeping a copy in my bag from now on.

Your Photographic Rights in PDF

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Artist's Deduction Bill

Support your rights to get fair market value when you donate your work to charities. Read more about it here. Sphere: Related Content

Online versus in person instruction

After attending the Turning Professional workshop in Maine this past week, I'll take a few minutes to examine my opinion on online versus in person professional development education. 

I'm currently enrolled in a portfolio development class taught online at BetterPhoto.com. I was attracted to the course mainly because I respected the instructor's work and thought it would be a good fit for me. The cost for the class seemed reasonable so i jumped into it with both feet. My responses in comparing the two types of classes are many. 

First and foremost, you simply can't get the kind of attention online that you can get in person. The personal interaction between people is really important to build rapport, especially for critique. The variability of what people can take from critique is massive. Often, a gesture or smile can soften the blow of "I don't like it. Why did you do it that way?" Online this could seriously impair someone's creative motivation.

Second, it becomes difficult to wait for responses online. The instant feedback loop of communicating in person is great. 

From a cost perspective, online seems to be cheaper. What you end up giving away is well worth the money to do in person. 

Online lacks flexibility as well. You can't change the parameters for discussion or format very easily. 

Presentation becomes a factor. Online tends to be in jpg format where prints or RAW files provide a more accurate example of what you are trying to communicate through an image. 

As I ramble on, it becomes apparent that I would prefer in person communication for professional development. It depends what you're after in the end. Working towards promoting myself in the fine art realm, the choice is simple. I would recommend TheWorkshops if you are looking to make a choice between the two. Evaluate your needs in advance very carefully to spend your money wisely. If your goal is a better understanding of Photoshop, you likely don't need to visit Maine and can find a program to suit your needs locally at a community college. 

Until next time,

B

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