The Perceptive Photographer

Halloween costumes and simple photography

As fall takes hold and the seasonal changes are in full swing, we find ourself at the end of October and one of our great holidays. Halloween is just around the corner. It has got me thinking. As a kid, I remember being all excited about getting to dress up and head out into the neighborhood getting bags and buckets of candy. As I got older, I still found Halloween to be a big deal. There was always a big party with everyone dressed up like an alter-ego. Over the years, I have been a Blockbuster video, cop, superhero, IT director, a can of beer and the classic vampire and ghost. Each costume allowed a different side of my personality get to come out into the open and get a night to play. I got to thinking about how that same process can impact our creative living. Imagine what type of work you might create if you took a day or two to try and live as your alter ego. What would they photograph and create? What sort of message would they want to convey? In many ways since they are in fact you, what is keeping you from pushing those fringe projects forward? Maybe it might help to find that Halloween costume and a camera and see what might happen when you get all dressed up for the holiday and flex those creative muscles.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

Condition of who we are meant to be

A lifetime ago I was an instructor at a university teaching public speaking and business communication. The students in those courses had to give some presentations. At the core were informative and persuasive presentations. Each of those presentations had a particular formula for what made a successful speech. As each student would get up in front of the room, we had a sheet with all the points they had to cover and the order they were to appear. Of course, as I got older and gave more and more presentations, I learned that the structure we forced on students was often not presented that way in the real world. Sure the concepts were important, but the forced structure was more of a hindrance.

As I got to packing the books for the move this week, I got to thinking about those presentations and how we look at photographs. We have talked at length about what makes a good photo and the types of images one can create. But, as I got to thinking more and more about the pictures in these books, I realized that the pictures and photo stories that mattered were ones that showed us the condition of who we are and who we are trying to become. As you look at your work and the world around you, I challenge you to try and come to a place where the issues, values, and ideals that matter to you are pushed into your work. If you care about sexism, racism, or the environment. Make it a point to have those ideas and stories in your work. It is in your willingness to push those concepts into your work that we as a society can move forward to create more meaningful work. And by that, I mean work that helps all of us to find common ground and understanding of the issues we all face.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

Condition of who we are meant to be

A lifetime ago I was an instructor at a university teaching public speaking and business communication. The students in those courses had to give some presentations. At the core were informative and persuasive presentations. Each of those presentations had a particular formula for what made a successful speech. As each student would get up in front of the room, we had a sheet with all the points they had to cover and the order they were to appear. Of course, as I got older and gave more and more presentations, I learned that the structure we forced on students was often not presented that way in the real world. Sure the concepts were important, but the forced structure was more of a hindrance.

As I got to packing the books for the move this week, I got to thinking about those presentations and how we look at photographs. We have talked at length about what makes a good photo and the types of images one can create. But, as I got to thinking more and more about the pictures in these books, I realized that the pictures and photo stories that mattered were ones that showed us the condition of who we are and who we are trying to become. As you look at your work and the world around you, I challenge you to try and come to a place where the issues, values, and ideals that matter to you are pushed into your work. If you care about sexism, racism, or the environment. Make it a point to have those ideas and stories in your work. It is in your willingness to push those concepts into your work that we as a society can move forward to create more meaningful work. And by that, I mean work that helps all of us to find common ground and understanding of the issues we all face.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

Final things to consider when finishing a photograph for exhibition

After you have spent all that time getting your photograph taken, edited and printed, there are still a few things to consider as you finalize your print for show or exhibition. If you are matting and framing you need to think about the matt and frame color and size. One of the key considerations should be the color of the frame and matt. You do not want a mat or frame color that creates a distraction to the image. If you use a color matt or frame, you need to make sure that it doesn't distract or shift the perception of color in the image. Even the slightest color cast can affect our perception of the colors. You also need to consider the size of the matt. While there is no standard rule for the matt, the matt should support the image and make sense given the weight and size of the frame and matt. You also want to weight the bottom of the mat a little more than the top to overcome the illusion of the image being centered but feeling low in the frame. Although there is no hard and fast rule, you can use the chart below as a starting point for your mat size.

Frame Size

Border Size

8-10"

1"

12-16"

1 1/2"

16-24"

1 3/4 - 2"

24-36"

2-3"

36-48"

2 1/2 - 3 1/2

48-60"

4"

You also need to think about your signature and any other production notes that you want to include. You can sign either the front or the back of a print. If you sign the front it is known as en verso. If you sign the back, it is called en recto. Either way is fine, but many photographers sign the front. If you sign the front, I encourage my students to sign on the white part of the paper rather than within the image. That allows the image to remain free of distraction and the matt can then hide or reveal the signature as requested by the collector.

Other things to consider including with the print information include the number of the print or edition number. You can also include on the back of the mat or frame backing any details on what was used to create the print such as paper, ink, printer and any other details that would make it easier for a curator  to know how to store and treat the print.

Finally, you want to make sure that your signature last so use a pigment pen to sign your images. I use Pigma Micro pens. When signing on a matte surface, I use a pencil or the pen. On glossy surfaces, you have to use a pen. The pencil can damage the glossy surface and often times won't hold the signature.

No matter what you ultimately select to finish your print, just make sure that you give as much detail to these last steps as you have to the entire process.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

Final things to consider when finishing a photograph for exhibition

After you have spent all that time getting your photograph taken, edited and printed, there are still a few things to consider as you finalize your print for show or exhibition. If you are matting and framing you need to think about the matt and frame color and size. One of the key considerations should be the color of the frame and matt. You do not want a mat or frame color that creates a distraction to the image. If you use a color matt or frame, you need to make sure that it doesn't distract or shift the perception of color in the image. Even the slightest color cast can affect our perception of the colors. You also need to consider the size of the matt. While there is no standard rule for the matt, the matt should support the image and make sense given the weight and size of the frame and matt. You also want to weight the bottom of the mat a little more than the top to overcome the illusion of the image being centered but feeling low in the frame. Although there is no hard and fast rule, you can use the chart below as a starting point for your mat size.

Frame Size

Border Size

8-10"

1"

12-16"

1 1/2"

16-24"

1 3/4 - 2"

24-36"

2-3"

36-48"

2 1/2 - 3 1/2

48-60"

4"

You also need to think about your signature and any other production notes that you want to include. You can sign either the front or the back of a print. If you sign the front it is known as en verso. If you sign the back, it is called en recto. Either way is fine, but many photographers sign the front. If you sign the front, I encourage my students to sign on the white part of the paper rather than within the image. That allows the image to remain free of distraction and the matt can then hide or reveal the signature as requested by the collector.

Other things to consider including with the print information include the number of the print or edition number. You can also include on the back of the mat or frame backing any details on what was used to create the print such as paper, ink, printer and any other details that would make it easier for a curator  to know how to store and treat the print.

Finally, you want to make sure that your signature last so use a pigment pen to sign your images. I use Pigma Micro pens. When signing on a matte surface, I use a pencil or the pen. On glossy surfaces, you have to use a pen. The pencil can damage the glossy surface and often times won't hold the signature.

No matter what you ultimately select to finish your print, just make sure that you give as much detail to these last steps as you have to the entire process.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

Five good habits for photographers

It is amazing how easy it is to develop some simple habits that make things easier and better in life. Some habits are engrained since childhood like brushing your teeth. Still, others are learned as we get older. I think there are a few simple habits that you could develop that would make a difference in your photography.

Keeping organized--not just your digital assets but your gear, business files, and anything else released to your photography. It is amazing how much easier things are to do when you know where to find them.

Keeping clean--clean your camera gear after each use and then do a deep cleaning at least once a year. Knowing that your gear is ready a moments notice with clean lens, charged batteries and the proper settings can make a huge difference when it is time to walk out the door

Shooting outside your comfort zone at least once a  month--find some time to push out and photograph what you don't normally photograph. This is a chance to remove the rust and get some new skills. It is also a chance for you to apply some knowledge in ways you hadn't considered before.

Consume more quality photography--Find significant photography and photographers and spend time with the images. Pick a day of the week or month to dedicate to just looking at and diving into photographs.

Pick a day of the month to focus on training--Just like with shooting outside your comfort zone, saving up and doing your training one day a month can help you practice old skills and develop new skills without feeling rushed on the job.

I am sure that there are other habits that can make a difference in your work, and I encourage you to find those habits and make them stick. You might be amazed what you can do with a little consistency.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

Five good habits for photographers

It is amazing how easy it is to develop some simple habits that make things easier and better in life. Some habits are engrained since childhood like brushing your teeth. Still, others are learned as we get older. I think there are a few simple habits that you could develop that would make a difference in your photography.

* Keeping organized--not just your digital assets but your gear, business files, and anything else released to your photography. It is amazing how much easier things are to do when you know where to find them.

* Keeping clean--clean your camera gear after each use and then do a deep cleaning at least once a year. Knowing that your gear is ready a moments notice with clean lens, charged batteries and the proper settings can make a huge difference when it is time to walk out the door

* Shooting outside your comfort zone at least once a  month--find some time to push out and photograph what you don't normally photograph. This is a chance to remove the rust and get some new skills. It is also a chance for you to apply some knowledge in ways you hadn't considered before.

* Consume more quality photography--Find significant photography and photographers and spend time with the images. Pick a day of the week or month to dedicate to just looking at and diving into photographs.

* Pick a day of the month to focus on training--Just like with shooting outside your comfort zone, saving up and doing your training one day a month can help you practice old skills and develop new skills without feeling rushed on the job.

I am sure that there are other habits that can make a difference in your work, and I encourage you to find those habits and make them stick. You might be amazed what you can do with a little consistency.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

How sentimentality impacts our photography

In the process of packing to move to the new studio, I realized how many things I have kept over the years for no real reason other than a sentimental attachment to the object. I have a whole boat load of gear that I no longer use and have not plans to use. Yet, when I look at it and think about giving it away or selling it, I convince myself that it is too important to let go. In the end, keeping all these sentimental objects, thoughts and feelings are anchors or weights from moving forward. We need to spend a little time building the space necessary for new insights, gear, and experiences to happen. If the glass is full, there is no space for the new water to flow.

As you look at your own photographic collection of gear, books, mentors, training sites and more, what do you really need? What can you let go of and never miss? Making a list of what you let go and help find a home can give you tons of karma credits.

Finally, I wanted to give a quick shout out to the amazing and talented photographer David Kelly. I had the privilege of working with David last month on some of his work. He specializes in infrared photography. He has such a unique vision and style, I think you would be highly inspired if you spent a few minutes to check out his work. You can see his current and past projects on his site www.kellyography.com.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

How sentimentality impacts our photography

In the process of packing to move to the new studio, I realized how many things I have kept over the years for no real reason other than a sentimental attachment to the object. I have a whole boat load of gear that I no longer use and have not plans to use. Yet, when I look at it and think about giving it away or selling it, I convince myself that it is too important to let go. In the end, keeping all these sentimental objects, thoughts and feelings are anchors or weights from moving forward. We need to spend a little time building the space necessary for new insights, gear, and experiences to happen. If the glass is full, there is no space for the new water to flow.

As you look at your own photographic collection of gear, books, mentors, training sites and more, what do you really need? What can you let go of and never miss? Making a list of what you let go and help find a home can give you tons of karma credits.

Finally, I wanted to give a quick shout out to the amazing and talented photographer David Kelly. I had the privilege of working with David last month on some of his work. He specializes in infrared photography. He has such a unique vision and style, I think you would be highly inspired if you spent a few minutes to check out his work. You can see his current and past projects on his site www.kellyography.com.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

Thoughts on naming photos

 

In the process of moving to a new studio, I have started to think about the name I want to give the studio. The name should reflect who I am as an artist, what the new  space should feel like and what I hope to accomplish. As I have been painting and trying to come up with that name, I have gotten to think about how we create and name our photographs for a photo series. Naming photos is an important part of the creative process and can really make a difference in the creation of a body of work.

There are a number of ways that we can name a photograph. Two of the more common ways to title photographs are figurative and literal. Literal titles are just what the object is. Figurative are more narrative or story based. Depending on the work, either title can push the work forward, but the risk is that we create titles that are a distraction from the image.

Regardless of how you title your images, the titles should play a supportive role and strengthen the work. If you find the titles a distraction when you show the work or that they don't help the view understand the work, that might be a single to consider for retitling an image.

If you are trying to figure out how to title images go back to your language you use to talk about your work and see how you can use those words as a starting point. In the end remember that the image is the most important thing that we want the viewer to remember not the title.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.