Nov 01 2010

Niépce Gains Greater, Much Deserved Respect

Category: Photographers, The Industry — Ethan G. Salwen @ 12:56 pm

“But what about Niépce?”

I asked this in a post two years back while pondering who really invited photography and why there seems to be so much confusion about the issue. (Even the typically-stated date of invention — 1839 — seems to blatantly contradict the facts.) In a recent British Journal of Photography article, “New early photographic process to force history re-write,” Olivier Laurent reports that “Joseph Nicéphore Niépce’s contribution to the history of photography has been elevated after the National Media Museum and the Getty Conservation Institute revealed new findings stemming from three of Niépce’s photographic plates.”

Un Claire de Lune, c. 1827 © The Royal Photographic Society Collection at National Media Museum/SSPL.

Un Claire de Lune, c. 1827 © The Royal Photographic Society Collection at National Media Museum/SSPL.

Created by Niépce circa 1827, Un Claire de Lune is the name of the work that’s really got photographic history re-writers excited. Laurent explains that the image — truly beautiful and evocative, hardly a mere photographic experiment — was long thought to be “enhanced with etching” but that “it is actually a photograph without any hand tooling at all.”

To better understand the confusion regarding the early years of photographic history, check out my earlier post and see how Louis Daguerre usually gets pitted against William Henry Fox Talbot, while Niépce seems to get such short thrift because:

1. Apparently he was not able to demonstrate his work to the Royal Society in London. (Something about the organization being in turmoil, says that National Media Museum.)

2. He died in 1833. (Never good for standing up for one’s place in history.)

According to the National Media Museum, these facts left Niépce’s “sometimes collaborator Louis Daguerre to publicly reveal photography to the world in 1839.”

Beauty Beyond Theft

This might make it sounds like Daguerre was an opportunist and a thief, and maybe he was. But as I Continue reading “Niépce Gains Greater, Much Deserved Respect”

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Oct 11 2010

DigitalRetouch Indicted For Killing Super Models

Category: AfterCapture & Rangefinder Articles, The Industry — Ethan G. Salwen @ 9:20 am

AfterCapture_101011_DigitalRetouch_1Actually, no indictment is needed. For one thing, the killing is figurative. More important, DigitalRetouch takes full, gleeful credit for what they have done. All of this I explain fully in an article for the last issue of AfterCapture. In “Transforming Celebrities Into Super Models,” I share the story of how fashion photographers Andrew Matusik and Stewart Price teamed up in 2004 to join the ranks of the elite retouching forces that are ensuring that regular-ole-looking celebrities have nothing to fear from would-be super models.

“If it doesn’t look like we did anything, then we did our job,” Matusik told me, which might seem like an obvious comment about retouching, but which Matusik says is a lesson that many photographers still need to learn. In the article I note that Matusik “believes strongly that any specific techniques are far less important than a retoucher thinking like a photographer and seeing like an artist.”

AfterCapture_101011_DigitalRetouch_2“Transforming Celebrities” was a great assignment. I had already written an article about Matusik for Rangefinder, and I really digged his work, attitude and perspectives. This piece gave me a chance to meet Price, and to learn about the ins and outs of retouching without getting into the ins and outs of specific techniques. Naively, I hadn’t realized there would be so much meat to the critical subject of retouching, and I appreciated the chance to learn and share.

If you are interested in retouching — for relatively light skin correction the most complex composting, of which Matusik is a unique master — you’ll likely enjoy “Transforming Celebrities.”

Excerpt on the Killing

“We contributed to the death of the supermodel,” says Matusik, referring specifically to DigitalRetouch as well as excellent retouchers throughout the industry. “Fashion magazines would always feature models on their covers. Models are freaks of nature—skinny, perfect skin, unusual symmetry.” He explains that Continue reading “DigitalRetouch Indicted For Killing Super Models”

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Oct 06 2010

It’s “raw” not “RAW” — But I’m Not Raw About It

Category: Technology Insights, The Industry, Viewpoint — Ethan G. Salwen @ 3:00 pm

AfterCapture Blog_101006_Raw_1“Unlike JPEG and TIFF, RAW is not an abbreviation but literally means ‘raw’ as in ‘unprocessed’.” This first sentence from the definition for “RAW” in the dpreview.com glossary explains why, if we follow very basic formatting guidelines, we should write about “raw files” and not “RAW files.” Because the word is actually a word — a common noun — and not an abbreviation, it makes no sense to set it in all caps. A raw file is a raw file is a raw file. A RAW file is not a raw file nor is it a RAW file.

Clearly the editors at dpreview.com have a different idea, and it seems that so do the majority of people writing and publishing about raw files. And given the fact that the conventions of editorial styles change more fluidly than the rules of grammar, there’s no problem with this. If The People write “raw,” then it’s “raw.” If The People write “RAW,” then it’s “RAW.” A raw file can be a RAW file if you want it to be, but if you don’t write about COMPUTER files and NEGATIVE film, you might want to tone things done and just refer to raw files as raw files, which are comprised of raw data and not RAW data, even for editors who chose to write about RAW files rather than raw files.

AfterCapture Blog_101006_Raw_2Just as “admin” was peeved by the use of “HD DSLR” instead of “HDSLR,” I used to be lightly, pettly peeved about the use of “RAW” instead of “raw.” This pet peeve was born when I interviewed Adobe’s Tom Hogarty in December 2006 (or December of 2006, depending on your style) for my very first AfterCapture article. Hogarty had read something of mine in which I had written RAW instead of raw, and gently explained why raw file made more sense than a RAW file.

This was before RAW files had become firmly entrenched, and Hogarty was trying to keep raw files raw. Given the fact that we were talking about Continue reading “It’s “raw” not “RAW” — But I’m Not Raw About It”

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Oct 05 2010

It’s Called an “HDSLR”, Not an “HD DSLR” — Really!, I think

Category: Multimedia & Video, Technology Insights, The Industry — Ethan G. Salwen @ 5:25 pm

“I love my new acoustic electromagnetic induction guitar.”

– Professional musician confused about nomenclature.

AfterCapture Blog_101005_HDSLR_1What’s in a name? Sometimes nothing. But when it comes to photographic professionalism, using correct terms is just part of the job. I made up the quote above to illustrate this point. Wouldn’t it be ridiculous if a professional musician didn’t know the name of his instrument? Well, it seems that an analogous situation is plaguing the photography world.

Throughout a recent article I wrote on multimedia and video I refer to “HD DSLRs,” as I have a number of times in this blog. Of course I’m referring to hybrid cameras that, like the Canon 5D Mark II, record both still and video. Sure you know what I’m talking about, but are you aware that this kind of camera is not called an “HD DSLR”? I haven’t known, which is a major oops.

It is called an “HDSLR,” and nothing else would make sense — at least, I’m pretty sure.

“It is a DSLR and not a HD DSLR!” is a brief, clear blog post on Canon5DTips in which “admin” shares his pet peeve about people incorrectly calling an “HDSLR” an “HD DSLR”; explains why it’s called an “HDSLR”; and asks us to “Pass the word.”

Passing the HDSLR Word

Here’s the heart of what “admin” explains:

• SLR = “single lens reflex” camera.

• DSLR = “digital single lens reflex” camera.

• HDSLR = “hybrid digital single lens reflex” camera, as in hybrid still-video capture.

• HD DSLR = a mistake that got introduced somewhere along the line, with “HD” representing “high definition,” which does not make sense because, as “admin” explains: #1. “DSLR already produced high definition images,” and #2, “[The name] does not say anything about the video capability of the camera.”

Makes perfect sense to me. So from now on I’m going to call it an “HDSLR,” and I’m going to ask you to do the same.

Not So HD Fast

I’d love to end this post here, with confidence, but I’ve been doing a bunch of poking around on the Web to confirm that “HDSLR” is as correct as I think. I’ve ended up pretty confused, only 99% sure “HDSLR” is right. Even if it is right I’m not sure what the “H” is stands for.

Why All the HD Confusion?

AfterCapture Blog_101005_HDSLR_2If you do a  search on “HD DSLR” or “HD-DSLR” you will get a lot of results from a lot of professional sources. Many pros clearly think that an HDSLR is really called an “HD DSLR,” just as I did until Friday. I’m assuming that these people are just making a mistake, not giving the matter much thought. And yet, some of these sources are quite influential in the industry. I also can’t ignore the fact that six experts proofed my article filled with “HD DSLR,” and no one commented on this apparent error. Either it’s not an error or it’s one that is quickly getting accepted as either an alternate to “HDSLR,” or as the correct name itself. I suppose there’s a slight chance the two things refer to two different kinds of cameras, but I really doubt that.

I turned to PhotoCineNews to see what term this well-respected site’s authors are using. It was clear that the folks writing for PhotoCineNews know that an HDSLR is an HDSLR and not an HD DSLR. When writers don’t Continue reading “It’s Called an “HDSLR”, Not an “HD DSLR” — Really!, I think”

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Sep 23 2010

Adventures in Motion — The Article

Category: Creative Process, In-Camera Techniques, Multimedia & Video, Photographers, Technology Insights, The Industry — Ethan G. Salwen @ 2:32 pm

ACBlog_100900_adventures_in_motion_salwen_currents_fall2010“The ability to easily distribute video to a worldwide audience via the web is the third factor that has dramatically opened up possibilities in motion for still photographers,” I write in “Adventures in Motion: Nature photographers get serious about capturing video and producing multimedia.” Factor One, I explain, is that hi-def digital video capture has recently become so affordable. Even more critical, Factor Two occurred “in the late 1990s when professional video editing software began to run on the same computers photographers used for their digital still photography.” With this brief historical background, in “Adventures in Motion,” which I wrote for NANPA’s Currents magazine, I dive into a deeply-researched piece in which I attempt to inspire photographers to embrace multimedia and video, and to provide some fundamental advice for doing so smartly.

To get a taste of the scope of “Adventures in Motion,” check out the article’s subheads: “New Frontiers in Video Capture, Editing and Distribution,” “Proceed with Excitement and Respect,” “Having Fun and Learning By Sharing,” “Understanding New Paradigms in Publishing,” “Taking On Video Editing One Step at a Time,” “Listen Up: Sound Is King,” “It’s All About the Story,” and “Beyond the Million-Dollar Question.”

Sounds like good stuff, no? Well, if I succeed with “Adventures in Motion,” it is because I was able to bring to life the experiences the visionary, multimedia-embracing nature photographers who informed this piece: Rob Sheppard, Eric Cheng, Ian Shive, Tony Wu, Ralph Clevenger and Mary Lynn Price.

I deeply thank all of these photographers. During hours of interviews, each one shared their unique perspectives with passion and patience. They also provided invaluable feedback on drafts of the article. While their experiences differ, I was pleased to discover that they are all very much on the same page in terms of what matters for still photographers moving into motion.

Currents’ editor Niki Barrie is the unsung hero behind “Adventures in Motion.” Not only did she assign the article, but she performed some major hand-holding as I worked to refine my mess of a first draft from more than 10,000 words down to less than 4,000. Thanks, Niki!

Check It Out! — A Resource Worth Sharing With Colleagues?

I encourage you to give “Adventures in Motion” a read. Even if you well beyond “newbie” status in your adventures in motion, my hope is that you will find a resource worth sharing with colleagues.

Sooooooo?

I know you’re the opinionated type, so please share your opinionated response to “Adventures in Motion” — in a comment below. More than “Good job!” or “That sucked!”, I encourage you to enter the dialog with your experiences. Expand on what I got right, correct what I got wrong, share any critical advice I left out, pose a question that was raised, or respond to any questions raised below.

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Aug 06 2010

Still Images Are Like Mt. Rushmore, Videos Are Like the Bubonic Plague

Category: Business & Marketing, The Industry, Viewpoint — Ethan G. Salwen @ 2:54 pm

AfterCapture Blog_100806_Viral Photos_aIn the world of new media, still images are like solid, immovable monuments, while videos are like fluid, unstoppable viruses. Given the fact that most of us want our images and ideas to “go viral,” understanding this concept is critical.

I have a lot to say on this topic, but for this first post directly speaking to the strange paradoxical way in which — in the world of the Internet — still images are like Mt. Rushmore and videos are like the bubonic plague, I will simply offer an illustration of the concept.

Let’s start with the little, uncredited thumbnail you see to your upper right. I stole this image from a photographers Web site, I give him/her no credit and I provide no hyperlink back to his/her site. This kind of screen-grab stealing and usage happens 3.4 million times a second, and it’s totally illegal.

Below you see a bigger version of the same image. Now I will tell you it was made by Ian Shive. You will note that I’ve added his copyright stamp, and if you click on the image you’ll see that I’ve created a hyperlink to his site. Further, I will tell you that Ian Shive is a wonderful photographer, a great guy and that you should definitely check out his site and use his services. The fact that I’ve done all this does not change the fact that I what I have done is totally illegal. I have stolen this image from Shive’s Web site, broken copyright law and abused Shive’s right to control his intellectual property. I just can do this with a still image without breaking the rules.

AfterCapture Blog_100806_Viral Photos_1

Now, I’m going to post the five-minute episode one of “Wild Exposure with Ian Shive”, a video hosted on Vimeo.com. This multimedia production by Shive and Russell Chadwick features stunning video by Chadwick, amazing still images by Shive, an original musical score the team had commissioned, and yes, you got it: the same photograph that I already stole twice in writing this post.

Not only am I legally allowed to share this video, I am encouraged to do so by Shive, who enabled the “Embed” button, allowing me to post this video directly into my post. And there is no stipulation that I have to say wonderful things about Shive, or provide a link back to his main Web site. In fact, I’m free to host this video on my “The World’s Shittiest Videos” Web site, and even if this really irritates Shive, there’s very little he can do about it.

While it’s impossible to move Mt. Rushmore, powerful viruses have a way of a way of moving with wonderful, unstoppable speed.

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May 11 2010

The Best Photographers Are People, Too

Category: Books, Creative Process, Photographers, The Industry, Viewpoint — Ethan G. Salwen @ 7:57 pm

AfterCapture Blog_100511_Identity_1“The thing I walked away with from this project is that people are people are people,” Stewart Cohen told me today of his “Identity” project. An excellent and accomplished commercial photographer, Cohen has been working on this personal project for ten years, recently reaching a major milestone by publishing “Identity: A Photographic Meditation from the Inside Out” — an elegant, labor-of-love book that includes 50 portraits of famous people who caught Cohen’s interest. Next to each full-frame portrait are words by each subject, in their own handwriting, commenting on their identity.

For “Identity” Cohen made 130 portraits, editing them tightly for the book. Although all his subjects can be labeled “famous,” they do fall into the any one, easily definable category, such as “musicians,” “scientists,” “Nobel Prize winners,” “activists” or “politicians.” Six of Cohen’s subjects point to the breath of his coverage: Bobby McFerrin, Erin Brockovich, Oscar Niemeyer, Jane Goodall, Stephen Hawking and Jack Kilby. (Jack who? He’s the Nobel prize winner.)

AfterCapture Blog_100511_Identity_2

“Whether your a drifter or bad-ass scientist, the human experience is the human experience,” Cohen told me. “There’s no magic. People become what they want to become.”

Continue reading “The Best Photographers Are People, Too”

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May 05 2010

Seeing Beyond the Still

Category: Multimedia & Video, The Industry — Ethan G. Salwen @ 12:56 pm

The most recent issue of the “The Digital Journalist” (May 2010), which focuses on video, opens with this video by Vince Laforet.

On the vimeo.com page where the movie is hosted, Laforet explains that part of his motivation in creating “Chapter 1: The Cabbie” was to show off “the many strengths of this new breed of HD DSLR cameras, such as the Canon 7D, which we shot this film with.”

There is no doubt that Laforet has succeeded. The production quality of “Cabbie” is simply outstanding, and it will provide inspiration for any photographer exploring the possibilities of video. Laforet explains that “The camera’s low light capabilities and light weight allow you to do things you’d never think to try with traditional cameras.” Continue reading “Seeing Beyond the Still”

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Apr 30 2010

Hitler on Fair Use and Parody in Copyright Law

Category: The Industry, Viewpoint — Ethan G. Salwen @ 6:20 pm

“Speaking of copyright,” a photographer wrote me, “This is so funny. If they haven’t taken it down yet, it’s a must see.” Indeed!

I hope you can see this because it’s beyond funny. Nothing like a crazed Hitler delivering witty commentary on copyright issues, faults of the Google/YouTube empire (”Aren’t they supposed to be all, ‘Don’t be Evil’?”) and pointing out that what might look like copyright infringement might not be or, maybe more to the point, might — when done respectfully — be the best form of promotion benefiting the infringed entity in question. (As Hitler points out, “The movie got international attention because of YouTube users’ hard work.”)

Thanks to Zacqary Adam Green (a.k.a. Plankhead) for his hard work on this one, and for making Hitler, in this scene from “Downfall”, come across as both hilarious and insightful. (Not easy.)

For more info of the viral video parodies made from “Downfall,” see this Wiki entry. (”The film’s director, Oliver Hirschbiegel, spoke positively about these parodies,” but the production company, Constantin Film, “has asked video sites to remove many of them.”)

In case YouTube/Google has zapped the above video (”I mean, they pulled out of China for shit like this.”), keep reading this post to see some key screen shots.

Continue reading “Hitler on Fair Use and Parody in Copyright Law”

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Apr 29 2010

Future Photography Industry Insights (in 50 Words)

Category: The Industry, Viewpoint — Ethan G. Salwen @ 1:11 pm

AfterCapture Blog_100429_Future Survey_1“Future photography industry paradigms we correctly imagine today will be old news in five years, overshadowed by technological and business developments we cannot fathom. The only norm in visual communications will be constant, hyper-accelerated evolutions. Photographic professionals capable and eager to continually adapt will thrive. All others: sci-fi equipped amateurs.”

In exactly 50 words, this was my answer to the following survey question I received today:

“In 50 words or fewer, answer the following question: ‘Where do you see the photography industry going in the next five years?’”

The question was sent to me (and many others) by George Varanakis, publisher of “AfterCapture,” who is working on the July 2010 “State of the Industry” issue of “Rangefinder” magazine. It’s a great question to speculate upon and basically impossible to answer, especially given the bold (in bold) 50-word limit. (The question alone is 13 words.) Continue reading “Future Photography Industry Insights (in 50 Words)”

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