Apr 07 2011

Eye-Opening Insights from Gail Mooney: A Still-Video Hybrid Movie Trailer Goes Viral

Category: Business & Marketing, Creative Process, PhotographersEthan G. Salwen @ 12:07 pm

“Working on this trailer was one of the hardest things I’ve ever done,” Gail Mooney told me yesterday. “The shorter the piece, the harder it is for me to edit, and it probably is for most people. I needed to cut to the essence of the story yet not give away too much. I needed to create interest by what I didn’t tell the viewer.”

One thing this wonderful, interest-grabbing trailer doesn’t tell the viewer is incredible passion, energy and innovation Mooney has put into transforming her personal movie project, “Opening Our Eyes,” from the tiny tickle of an idea into a massive, tangible reality.

Created in partnership with her daughter, Erin Kelly, Mooney shares much of her passion — behind the scenes triumphs, frustrations and the technical and creative nuts and bolts of making a movie  — through her blogging on the “Opening Our Eyes” website, as well as on Journeys of a Hybrid, where for two years Mooney has been dishing up practical advice and motivation for photographers moving into motion.

Thanks to Mooney’s enthusiastic, adept use of social media, as of yesterday, a week after she posted it, Mooney’s trailer has already been viewed by 1,142 people in 62 countries.

“I realize in the YouTube playing field — of babies biting fingers and cats playing pianos — these type of stats are nothing in the viral world,” Mooney observed. “But they are amazing when you consider what it is.”

Indeed. What it is, at least in part, is a passionate visual communicator — who started her career long before the advent of digital imaging and the Web — sharing a personal project with more than a thousand eager viewers in 62 countries.

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Boy with eggs at Camino Abierto, Carlos Keen, Argentina.

The Possibilities in Passion

In a Hybrids blog post last week, Mooney wrote, “When you are convinced that you have the ability to make the impossible possible, then you will put your dreams into action. You will take that chance, and by doing so you are creating your own reality instead of reacting to what others have created for you, which may not be in your best interests.”

There are many people who share this kind of positive sentiment: make your dreams happen with positive thinking. It’s a sentiment that often rubs me the wrong way. It often feels hollow, oversimplifying the immense challenges we all face in life. Regardless of what a Nike ad campaign might say, many of us can’t “Just Do It.” Desire is not enough.

What makes Mooney’s “make the impossible possible” sentiment attractive is that it is grounded in the example of how she lives her life. She struggles, she strives, she overcomes. Yes, she does it. But she never “just” does it.

In her blogging over the past two years Mooney has become increasingly open and honest, sharing her personal struggles. She never complains of simply vents, but she lets us see that a great deal of her making the (seemingly) impossible possible depends on her never given up, even when the (seemingly) possible feels impossible.

In wonderful posts related to her experiences with “Opening Our Eyes,” Mooney shows us how she gets deeply inspired but then has serious doubts but that she still takes big chances anyway. She remains open to learning from diverse sources as she struggles with technical and creative challenges. And although she experiences many moments of sasisfied success, she also  experiences extreme let downs. The common thread — what’s truly important — is that she keeps on going and actively makes things happen.

Viola Majewska with horse at her hippotherapy stable located outside Warsaw, Poland.

Viola Majewska with horse at her hippotherapy stable located outside Warsaw, Poland.

Positive Change From and Beyond Technology

When “Opening our Eyes” is completed, I have no doubt Continue reading “Eye-Opening Insights from Gail Mooney: A Still-Video Hybrid Movie Trailer Goes Viral”

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Feb 27 2011

Pushing Our Photographic Natures

Category: Creative Process, ViewpointEthan G. Salwen @ 12:58 pm

In my last post, I suggested that, in very broad strokes, photographers fall into one of two camps in terms of creative process. Some photographers do most of their work before releasing the shutter (journalists and wedding photographers, for example), while others do much of their creative work after-exposure, in post-production (for example, fine art and commercial photographers who engage in complex compositing).

Reading over my post, I admit, my thought seems a shitload more obvious than I had intended. Still, I think the point is worth considering. More important than identifying our photographic predilections, I think we should consider how to put this information to good use.

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As a "straight" photographer, would it serve me to try compositing this club dancer into a vision I create in Photoshop?

Compositing for the “Straight” Photographer

Perhaps those of us who are primarily straight photographers — creating our images with little technical fuss — would do well to push ourselves to work on technical skills that don’t necessarily interest us.

This would refer to photographers like me. I’m a “Click and Go” Man. I do the technical stuff, but only (and sometimes begrudgingly) as a means to an end.

Perhaps I would do well to improve many of the technical (”nurture”) skills I avoid, such as compositing in Photoshop, which doesn’t really interest me.

Why would I work on a skill set that doesn’t interest me, that don’t relate to my current vision? Because, perhaps, by improving my range of technical skills I would  further my image making in ways that I would find satisfying and surprising. It might open up doors.

“Straight” Photography for the Compositer

If you are an über photo techie, relying heavily on post-production techniques, maybe you would do well to practice some straight photography. Andrew Matusik’s experience would seem to support this.

Andrew Matusik is a fantastic commercial photographer who often spends dozens of hours in post-production working on a single image, and the results are stunning. Matusik started in photography by producing, for years, thousands of straight images — relying almost exclusively on basic in-camera techniques. Photographing while traveling, he most interested in light and composition.

Matusik has explained to me that this “straight” foundation in photography has proved invaluable in his compositing work: he knows what looks real. He says that without this point of reference, he would be lost as he creates visions in Photoshop.

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Feb 26 2011

Nature or Nurture: What’s Your Image-Making Approach?

Category: Creative Process, ViewpointEthan G. Salwen @ 10:02 am

Not in terms of content, but in terms process are you more like Robert Capa or Ansel Adams? Are you images fundamentally created in-camera with little technical fuss, or do they require painstaking control, either in-camera or in post-production?

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Tom Wolfe got me thinking about the nature and nurture aspect of the photographic process in January, when I read “Digibabble, Fairy Dust, and the Human Anthill,” one of his essays in Hooking Up. Wolfe is fascinated by the thinking of Edward O. Wilson, whom he calls “neuroscience’s most extraordinary figure.” According to Wolfe, Wilson believes that, regarding the question of the importance of nurture versus nature in human development, “inbred traits will trump upbringing and environment every time.” In short, Wilson is a nature man. He believes that we were born to be what we are.

Even if you are not interested in the role that genetics plays in character, you will appreciate the analogy Wolfe shares from Wilson, which sums up the thesis Wilson put forward in the final, “now famous Chapter 27″ of Sociobiology: The New Synthesis, published in 1975. Wolfe writes:

“Wilson compressed his theory into one sentence during an interview. Every human brain, he said, is born not as a blank slate waiting to be filled in by experience but as ‘an exposed negative waiting to be slipped into developer fluid.’ The negative might be developed well or it might be developed poorly, but all you were going to get was what was already on the negative at birth.”

It’s a nice analogy, but not as strong as Wilson probably meant it to be. As we photographers know, “developer fluid” can be contaminated to the point off being ineffective, or simply stronger or weaker than expected — greatly altering the “at birth” (at exposure) potential of a latent image. This is what I thought when I read Wolfe’s synthesis of Wilson’s thesis.

I’m not arguing with Wilson’s thoughts about genetics, nor am I being nit-picky about his analogy. But I did like Wilson’s analogy in regard to the nature versus nature debate that stirs up so much emotion. He meant to make a clear statement but presented a analogy that, to photographers at least, it open to interpretation.

Capa Versus Adams

Wolfe/Wilson got me thinking that the processes of different photographers might be seen as fitting into an analogous spectrum with “Nature Photography” on one end and “Nurture Photography” on the other.

Robert Capa survived his landing on Omaha Beach on June 6, 1945. However, even if he had not (and his film had) we would still be able to see the iconic images he made on D-Day. With each release of his shutter, Capa’s image-making process was fundamentally complete. This is an example of what I am calling Nature Photography, not to be confused with photography of nature.

Ansel Adams is well known for the painstaking processes he went through to create his images after he exposed his film. Yes, a darkroom technician could have created a print from Adams’s negative of “Moon and Half Dome,” but it would not have been Adams’ vision. This is an example of what I am calling Nurture Photography. Continue reading “Nature or Nurture: What’s Your Image-Making Approach?”

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Feb 07 2011

Older Photographers: Wiser Images

Category: Creative Process, ViewpointEthan G. Salwen @ 1:51 pm

AfterCpature Blog_110207_Older Photographer_BB King_Stewart Cohen-1Last week I suggested that older photographers see in profoundly deeper ways than younger photographers. This raises an obvious question: How (or does) this deeper sense of seeing translate into richer images?

I am not proposing a “better” or “worse” competition. Clearly, there are young photographers making amazingly wonderful images. And, of course, youthful vision has its own, unique advantages. However, I wonder if it is possible to see a different quality in the images made by more experience photographers.

Now that I write that, it sounds kind of absurd, but at the same time it does not. Kids picking up a camera and snapping away have a tendancy to take surprisingly fresh images. But it seems that older photographers are on special ground when making images with more depth.

For an example of how older, more experienced photographers harnesses their experience in unique ways, I return to Stewart Cohen, who I mentioned last week. In the blog post “My afternoon with B.B. King,”Cohen shares a story in which he plays a game of “cat and mouse” with the blues legend, in an attempt to make a unique image for his book Identity:

I was going for something very natural and wanted his personality as a human being to show through, not his showbiz personality.

Cohen’s challenge was that B.B. King would rather go to the dentist than have his picture taken — at least without his guitar. And, as B.B. King really hates going to the dentist, and as Cohen really wanted to photograph him without his guitar, the photographer had a real challenge on his hands.

Cohen’s challenge went far beyond the mastery of photographic techniques or the ability to see in the purely visual sense. He had to see his vision for photographing B.B. King in a non-”showbiz” manner, and he had to see a way to achieve this, which was not easy. (See his post for details.)

I would never argue that Cohen’s image of B.B. King is the “best” out there, but it certainly is a unique vision of a highly photographed subject.

Ultimately, I think what makes the images of more experienced photographers more interesting is that the photographers have become less interested in the images themselves, less interested with the process of photography itself.

Do you find that older professional photographers make a different kind of images than younger pros, or am I just waxing poetic here?

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Feb 02 2011

Illustration Is About Planning, Fine Art Is About Discovery

Category: AfterCapture & Rangefinder Articles, Creative ProcessEthan G. Salwen @ 2:22 pm

“Illustration is about planning, and fine art is about discovery,” David Julian told me when I interviewed him for “Strange Beauty.” What a great sentiment. Julian, a deeply curious artist who loves to experiment, explained that he must approach his commercial photo illustration assignments very differently than his personal fine art projects.

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For commericial illustration work — clients include SmartMoney, MacWorld, The Los Angeles Times and Microsoft — Julian must work fast and efficiently to reach a client’s goal: planning is key.

For fine art work — projects include “Taken From The Heart” and “Explorations” — Julian must let his imagination run free, digging up answers to questions that he has not even fully articulated: success is in the willingness to discover.

As Julian shared his different processes for creating a number of images, I realized — not surprisingly — that his commercial work depends on discovery as well as planning, and that his fine art requires planning as well as discovery.

Without an openness to discover, illustrations would fall flat. Without the ability to plan, fine art would never come into existence.

The Discovery (and Planning) of “Transformation”

In the same issue of AfterCapture for which I wrote “Strange Beauty,” I wrote the “What’s Inside?” column featuring Julian’s “Transformation,” a personal fine art image. Although Julian emphasized the very fluid, open-ended process of discovery that lead to “Transformation,” his process is testament to the fact that planning was critical to his success.

My “What’s Inside? David Julian: ‘Transformation’” article begins:

“Transformation.” This was the word running through David Julian’s mind as he left a creative support meeting of a group he founded with other artists in Seattle. The challenge: create an image based on this single word. When completed and added to Julian’s online portfolio, the image would be licensed for the book cover of Debra Lynne Katz’s book Extraordinary Psychic. “Transformation” is representative both of Julian’s commercial photo illustrations, as well as his fine art work. “Illustration is about planning, and fine art is about discovery,” Julian explains.

“I imagined a woman going through a dream of personal transformation,” Julian says. “I feel that the metamorphosis from cocoon to butterfly is one of the most visible transformations we can hope to witness.” Julian made a rough pencil sketch of a winged woman rising above a town with a full moon above. This was Julian’s planning. His discoveries took place as he worked in Photoshop CS4.

[Continue reading to see how Julian's process unfolds, or download the "What's Inside?" PDF to better see the layers that make up "Transformation."] Continue reading “Illustration Is About Planning, Fine Art Is About Discovery”

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Jan 26 2011

Older Photographers: Richer Creative Lives

Category: Creative Process, ViewpointEthan G. Salwen @ 10:16 am

AfterCapture Blog_110226_Older Photographers_1-1The majority of photographers I interview are between 45 and 55, and they possess a depth that younger photographers do not. Yes, there’s something wonderful about the raw energy of the younger photographers I meet. It’s just that this energy might fizzle out.

If it doesn’t fizzle out, something very special happens. As photographers continue to work through their decades, they push themselves to embrace new technologies, to redefine their business models in evolving markets, and to take on new creative challenges, even if their clients don’t demand it.

We always say that learning photography is really learning to see, and this is true. But we tend to express this sentiment in relation to a very limited sense of seeing — the visual sense. Older photographers seem to continue to learn to see on a much deeper level, in terms of what it is to be a working artist and, most important, how this relates to their continual growth and satisfaction as an individual.

I share this thought because once again I find myself thinking of something Stewart Cohen told me when I interviewed him for “In Search of Identity” for Rangefinder. I closed the article with this memorable sentiment:

“I’m 49 and I haven’t done anything else except photography since 1983. I was once like any other typical 30-year-old, hotshot photographer — having exploded onto the scene, thinking I had made it. My Identity project has helped me see that, in the arc of my career as an artist, my true style is only just beginning to come out.”

Older photographers seem, almost inevitably, both wiser and more creative and yet also more humble. Like Cohen, they seem to look to the future with more excitement. They are less concerned with the fleeting satisfaction of the external rewards of money or recognition. More than anything, they seem to want to open new doors that will help them continue to develop their sense of vision.

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Dec 23 2010

Walk More Slowly and Listen

Category: Creative Process, ViewpointEthan G. Salwen @ 7:11 pm

I received David Julian’s email holiday card today, and I really enjoyed the sentiment, gently asking me to “walk more slowly and listen.” A photographer, illustrator, sculptor and educator who exudes a contagious sense of Artist as Explorer, Julian’s sentiment seems just right for the coming year. So many of us are trying to run faster, make more images, figure out. . .

Whoa!

Walk more slowly and listen more carefully. This is definitely something I would like to do more of. And I find it encouraging that as I look back on 2010, I can think of number of photographers who have mentioned the critical importance of putting down the camera, listening, reading, experiencing the natural world, getting to know their subjects better.

Ian Shive and Stewart Cohen come to mind, but there have been many others. Like David Julian, they all make wonderful images and are wonderful to listen to, so they must be on to something.

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Dec 15 2010

Which Jarvis is Better: With or Without Photo Surveys?

Category: Business & Marketing, Creative ProcessEthan G. Salwen @ 8:11 am

AfterCapture Blog_101215_Chase Jarvis Comments“Which Photo is Better: A or B?” The name of Chase Jarvis‘ latest blog post gives a good sense of its content. The 830 comments readers have posted in less than 24 hours speak to why photographers might want to get clients and fans involved in a Web 2.0 editing process.

Yes. 830 comments!

Jarvis tends to average between 15 to 75 comments per post, which is major, but not as super-massive as 80o+. Clearly, people like to share their two cents — especially when it comes to picking photo A or B.

But it’s not just that.

From experience, Jarvis’ readers know that their input will acctually influence the photographer. They also know that Jarvis will blog about his reader-influenced process — making them feel as involved as they truly are.

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Nov 05 2010

Forget “Right,” Adjust Images To Be “Not Unnatural”

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Is this color balance "right"? Who the hell knows!

“I’m not going to go too far though, because it will make the image look unnatural.” This is Chris Orwig discussing his use of the recovery slider in the Lightroom develop module, and his choice of words relates to a critical approach to developing images — using any adjustment in any program. It’s not about making things “right” as much as it is about making things “not wrong.”

When I am processing images, I often feel like I am in a vacuum. I am making the tiniest of adjustments as I try to make an image look right. But what is “right”? Right often feels like a moving, confusing target. It’s much, much easier to focus on making an image look “not wrong,” not unnatural.

Overdo It To Do It Right

After setting his recovery slider to achieve a natural effect, Orwig moves on to the contrast slider, and says, “I’m going to exaggerate for a minute.” This exaggeration is to help him see what’s really going on. As he plays with each control, he goes to extremes to clearly see how his actions affect him image.

Exaggerating with each control helps Orwig fine tune adjustments as he focuses on avoiding what looks unnatural, which is, arguably, the only way (through relative comparisons) to identify what is natural.

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Now I see! The same image looks more "right" when compared to what's clearly unnatural.

Chris Orwig Focuses on Being Reasonable

These thoughts occurred to me while checking out Chris Orwig’s great “Photoshop Lightroom 3 Essential Training” at Lynda.com. (The specific tidbit came  in his “Basic Develop module workflow” — Chapter 26.) When Orwig arrives at the contrast slider, he explains that as he increases the contrast, he also increases color saturation. “So now that warmth is way too warm,” he says. “Too warm” is another way of saying “unnatural.”

Avoiding unnatural warmth is a lot easier than achieving “correct” warmth, which, of course, is totally subjective. Orwig says, “So let’s bring this contrast back down to something more reasonable.”

In photographic processing, as in life, being reasonable is a lot easier than being right.

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Oct 18 2010

Multiple Set Ups Keeps Subjects Comfortable and Candid

Category: Creative Process, In-Camera Techniques, PhotographersEthan G. Salwen @ 12:30 pm

AfterCapture Blog_101018_Cohen Tip_1During portrait sessions we should always be sure to photograph subjects in multiple locations with different lighting set ups. Yes, this gives us more images to select from, but the biggest benefit is that it helps keep our subjects relaxed — a real maker or breaker in people photography.

This great advice comes from Stewart Cohen, whose life and “Identity” book project are the focus of a recent article by yours truly, in Rangefinder. I write:

For his still portrait work, Cohen uses multiple locations whenever possible and sets up a variety of lighting situations, even when time is tight. “This makes such a difference when working with people,” Cohen explains. “People react differently in different situations. It keeps the interaction flowing, keeps the subjects involved. Shooting frame after frame of a person in the same situation can be awkward for the subject.”

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