Artists Sunset – Ken Whitmire in Pacific City Oregon. Fall 2011 by Gavin Seim.
It was one of those Sunsets. The ones with stunning clouds and radiant colors that seem to last forever. Like a great song that keeps on playing. I was on a road trip to the Oregon Coast with Ken Whitmire, the renown portraitist. Ken was working with a family on the beach in Pacific City and I assisted, while getting images and video for a project we were working on.
About halfway through Ken was on his ladder, having this family of five walk down the beach. I just stood back and watched. A bit envious of the amazing portraits he was going to take home. It was a stunning evening. I took in the incredible ocean landscape with some awe. In between video clips, I decided to go vertical and try to illustrate Ken as the working professional in his environment. I hoped for a sort of memorable feel that that artists and photographers could relate to.
This has been really well received. I admit, I did not realize it would strike such a chord, but I’m glad it did. To me this says something about creative craftsmanship and taking your time. It reminds us to take the extra steps up that ladder to make an image Great. That’s what Ken Whitmire has done for over fifty years and I’m glad I got to be a small part of that.
Our road trip was a memorable one in more ways than one. In fact by brother and I wrote a short short story about this trip. You can read that here on the Brothers Seim blog.
Release details: Prints available. Contact the studio. Learn more about prices. Available prints…
The new Silver Shadows 2, black and white toolkit for Lightroom is now available from Seim Effects Photo Tools. SS2 is a complete black and white preset system that’s been refined and rebuilt from the ground up for stunning silver conversions without leaving LR.
V2 contains over 100 refined easy-to-use black-and-white presets that address the subtleties of digital silver conversion, photographers can easily mix and match, customize and tweak to create artisan quality black-and-white images without leaving Lightroom. I uses the Seim Effects workflow structure that permits both large batches and single images to be processed quickly and accurately without leaving Lightroom.
The cost is Silver shadows is just just over $50 for the entire collection. You can find out more on the Seim Effects website. Silver Shadows 2.
They have just not gotten to know me. Truth is, I’m just a guy in my late twenties, and it was not that long ago that I was starting out. I know what it’s like. I study a lot, know a lot of the hassles that can be avoided, and I see what’s happening in photography today. So I won’t simply play the part of a feel-good guy who says everything is great no matter what. We all deserve honesty.
Encouragement is a valuable thing, but there’s a lot of patting on the back going on because people don’t have the guts to be honest with their peers. In the end, the truth often comes out in the fact that they can’t make it in business. I say going bankrupt is terrible way to realize how hard photography is. Best to get to the hard truths right off, so you can make a business plan that works.
So that said, here are some thoughts–some observed, some learned the hard way–for newer and aspiring photographers. I’m going to be a little blunt, so don’t take it personally. It’s OK to be starting out. But you deserve honesty, and that’s exactly what you’ll get today.
It’s not like it was. Let’s face it. The standard of excellence is higher than ever. Everyone is doing photography. Yes, you can learn to take “good” photos pretty quickly. But so can everyone else. And with so many people doing just that, nearly as many trying to go into business, and a lot of those working for next to nothing, the market is totally saturated, and the value of photography has been driven to an all time low. But don’t lose heart. There is a market, but you need a brand and something with unique value to offer. You’ll need quality, personalty, and business skill to boot, or you’ll just be working for peanuts producing the same stuff everyone else is.
1. Take the Time.
You won’t be Ansel overnight. Don’t stress about it. Becoming a really experienced photographer takes training–a lot of it. It will not happen overnight. It probably won’t even happen in two or three years. Not that you won’t be taking good photos in that time, but don’t expect them to be the most amazing things every time. If you want to rise above just keep getting better. Keep training. Because you can, and you’ll feel great about that progress.
2. Don’t Rush Into It.
Make a clean, simple site where you can show your work and get feedback. Then keep at it, but take it easy. Don’t feel like you have to rush out and book gigs. It’s OK to be a photographer for the sheer joy of it, just learning, sharing, and having fun. As soon as you start hiring out, you’ll have to spend more time managing a business than making great photos. A lot more. In many ways, it’s actually less enjoyable when it becomes a job, even if you still love it.
This may be the most valuable piece I’ve written on photography. In the last year, I’ve started working with 4×5 film and digital side by side. I’ve also explored extensive exercises in tonal control, truly learned to visualize, and implemented key parts of the Zone System that was developed by Ansel Adams and Fred Archer, both in my film and my digital work, in color and black and white.
The idea of visualizing and using Zones is not promoted heavily today. It seems much of the industry, including many of its educators, arrived at digital and decided that the past 150 years of photographic knowledge were somewhat irrelevant. What I’m about to show you is not taught much, but understanding it WILL change your photography forever. I’m not kidding; once you get this, you’ll never see light the same way again. And I hope you’ll share it with others.
Sunsets Hidden Falls. Yosemite, 2010 - A general look at where I placed the scene elements in relation to the Zones. Each arrow leads to what I see as the zone on the scale.
I’m going to stay simple because these concepts are essentially simple. I have not come up with a new digital based zone system, a stripped down version, or an article full of nerdy equations, white papers, or complex systems. This is not hard, and you can start putting it to use TODAY for film or digital. Since most of us are in the digital world, I’ll focus on that. I’m going to show you how to use the core of the Zone System to make you a vastly better photographer. I’ve also brought along some examples for analyzing the Zones.
To those of you who already know this, kudos. But I challenge you to review and analyze whether you’re really using it, or just buzzing along in digital bliss and fixing things later. Excuse my bluntness, but this is happening to the best of us. We need to get back to basics, visualize, control tone, dynamic range, and image quality.
Originally, the Zone System was a complete approach that included everything from the initial exposure to the final print. Now we don’t use darkrooms much these days, so I’ll focus on the pivot point of the Zone System: the Zones themselves. That said, I would encourage you to study the whole process even if you don’t use film. It will help you gain a better understanding of light and photography. Not only that, but old books like Fred Picker’s Zone VI workshop, deal with it quickly and effectively and can often be had for mere pennies.
1. The Zone Scale.
The Zone Scale lies at the core of the Zone System. It consists of eleven squares that span from clipped black (Zone 0) to clipped white (Zone X). Each square represents a change of one stop. The first part of using Zones starts before you release the shutter. Truly visualizing your image is like nothing else. Once you master it, you see the image you plan to make, including your edits and refinements, in your mind before you ever take the photo. It changes everything about how you photograph and how refined the resulting images become.
Brilliantly simple, the Zone scale allows us to visualize all our light from complete black to complete white in one stop increments.
To begin, look at your scene. What’s outside your window right now? Visualize what zones in which the things around you fall. Then imagine you’re taking a photo. Imagine where the zones would be if the image came out exactly as you wanted. It does not have to be what you “see” but what you “visualize” for the finished image. How do YOU want to make it?
Think about what Zone levels on various objects in this scene would most complement your main subject as well as your supporting cast of elements. Sometimes it helps to begin by trying to visualize a scene in black and white, even if your final image is going to be color. Thinking in terms of only tones can be helpful, especially early on in the process.
by Gavin Seim: Panasonic seems to be making a statement with this ad they released earlier this year before infamous Nikon Page Fail. I’m seeing a pattern in the industry. The Lumix spot insults skilled photographers everywhere & mislead consumers into thinking skill and experience is irreverent as long a you have a good camera.
Perhaps it’s meant to be funny, perhaps it’s creatively done, but if you understand photography and how much work it took you to master it, I think you’ll know how insulting this this really is. But it’s not just this ad. It’s the whole mindset and it’s part of the attitude that is breaking down this industry. Watch it, then lets talk.
The photography world is inundated with the idea that experience is not necessary and it’s breaking it down. This promotes that and that promotes the idea that a photograph is of no value. Anyone can do it.
It’s not true. A great photographer cannot be clueless about how they made a photo or how their equipment works. That’s a snapshooter. Understanding shutter speed, aperture and beyond are the most basic essentials to consistent quality. People who don’t understand the basics often think it’s not critical because of marketing like this. They are wrong.
Photographers that have spent years and even decades mastering their craft are shown in this ad as irreverent. As if their saying “Those skills don’t matter as long as you own a good camera.
The man here is portrayed as doing a showcase to his peers. He’s the expert. Yet in the real world you won’t get accolades by snapping photos that are only as good as your camera can make them. Anyone can do that.
Great is no longer great when everyone else is doing it. A camera can have good quality, but without skill you just have quality snapshots. That’s what everyone else, including many so called pro’s, are making today.
So this is targeted consumers. What’s the big deal right? Wrong. This is also targeting would be photographer, but that aside this mindset is a big problem right now and it’s really hurting this industry. People are believing this stuff, and those that do are being mislead into thinking that a camera makes a photograph and not a photographer. Some have told me their are great photographers who have no idea how they make their images. I have yet to have one shown to me.
I know this is extreme, but imagine an ad for a scalpel that says “it’s so good, anyone can do surgery”. Imagine a world where everyone claimed to be a surgeon, airline pilot, etc and you did not even know how to find one that was actually experienced. Photographic skills have not really changed over the past 150 years. If you don’t know what you’re doing, you won’t make great images. You’ll just be making images like the droves other consumers and even pros who have bought into the idea that cool gear makes you good. The problem is, it’s not great when everyone else is doing it. That defies the meaning of the word. We need to Raise the Bar.
