March 8, 2013

This is an article I was originally asked to write for Professional Photographer Magazine, a good read – The problem was that editing department hacked it up so badly that it was barley even my words anymore. Such is life, but I opted to not have it published. Below is the full version of the article with a few extras since I didn’t have a word limit here. Enjoy – Gavin Seim

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I’m going to share a few things that can fundamentally change how we make images. NONE of them are new –  Sometimes it seems we arrived at digital and left behind a hundred and fifty years of photographic knowledge. I spend a lot of time studying classic techniques. Why? Because it’s not new – It’s time tested. It works. In this digital age we can get so caught up in gadgets, software and tools that we neglect how to make images beautiful from the start. I’m from the digital generation – So while I fully relate, I’ve learned to stop looking for buttons and start looking for light.

1. The Tones:

Ken Whitmire once taught me that “Tone” may be the least understood and least utilized factor in composing and finishing images.” He was right. With digital it’s easy to think “that’s easy”. But as a lover of film and digital, I’ve learned they’re not so different. A great photograph is light and shadows – We must see in terms of tone and how it relates to what we want to capture. Exposure, burning, dodging, finishing  – Proper use of tone can literally take the viewer anywhere we want them to go. Now that’s power.

Ken Whitmire on the Oregon coast – I photographed this portrait of him while he was photographing a family. The Tone is essential here. Control of the dynamic range while retaining rich blacks gives balance to the scene.

2. The Zones:

The Zone Scale – A representation from black to white in one stop increments. The language of light.

I’ve been trying to decide how to discuss Ansel Adam’s Zone System in few words. Zones may be the most neglected tool in photography today. They offer a core to how we communicate and photograph light. Zones are not just for film or black and white. Once you truly understand them you never see the same again. The Zone System is broad reaching. But it’s core is the beautify simple Zone Scale, a representation from black to white. Combine Zones with a simple understanding of metering and there is no over, or under exposure. There’s only your exposure. Your intent. I can’t explain it all here, but there’s a free video covering the basics that I posted over at exposedworkshop.com. It’s an excerpt from my EXposed series and will get you started. Don’t ignore Zones because they will change your photography. You can also read my article on using Zones here.

Lost Oasis – I was using large format film here and took advantage of camera movements. Line, tone, space and position were all critical and while in retrospect there’s things I could have improved, taking my time paid off. I took in the full tonal range from black (Zone 0) to just shy of clipping (Zone 10). More on this image here.
The Zone System – Here is an exposure sequence metered on the highlights from Zone 1 to Zone 9. More on this in the Zone System discussions on my site.

3. Space, Position, Line:

Ken Whitemire, the pioneer and master of the wall portrait, showed me the value of tones in relation to space, position and line. He has an amazing lecture he gives about this at the Wall Portrait Conference each year – Essentially we need to think about the aesthetics of our image. For this reason I love studying masters like Bierstadt, Sargent and others. We must start by truly seeing our scenes. Think about the subject. How lines lead. Where are they positioned? Why? Is anything distracting? Should it be lighter, darker? Really – Truly – See!

Morgan’s Song – I had a lot of things happening in this riverside portrait. Controlling the aspects of the scene, the position and the tone allowed me to show a beautiful scene while still keeping the viewers eyes on Morgan.

4. Visualize – Again:

Are you really “seeing” in the minds eye? It’s easy to let this slide in an age of instant previews and post production fixes. But nothing replaces visualizing. Ansel reminds us that “The whole key lies very specifically in seeing it in the mind’s eye”. Regardless of our subject, we must stop, if only for a moment. See what’s in front the lens and decide what the subject needs. Then use space, position, line and tone to make that happen.

This was my turning point in visualizing. I used 4×5 film for this wall portrait that we printed at 40 inches. I needed to keep away the distractions in the space. I only used one frame of color film, but I took a breath first. I truly saw the portrait in my mind before I released the shutter. I’ve added a zone scale for the purpose of tone study.

 5. Finishing:

The image is captured. Win lose or draw we’ve done it. I’ve learned that slowing down throughout the entire process makes me a far better craftsman. That includes finishing. It’s easy to raise the bar in post if we stop worrying about making countless “decent” images and start thinking about how to take the “best” and make them sing. Fulfill that visualization, right up until the print is on the wall. That is mastering the photograph.

Until next time… Gavin Seim

This image was a PPA Loan Collection print in 2011. It’s actually a tone-mapped piece, but more importantly, it had careful attention to detail. Focus on line, tone values and finishing made it work. Planning and execution.
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March 6, 2013

Lost Oasis - Texas
The Lost Oasis – Near the Hot Springs, Big Bend National Park, Texas 2012 – 4×5 film, Linhoff T IV

Warm memories, adventure and hints of times gone past. It took me awhile to finish this one because I liked it too much to do it quickly. This old store sits in the middle of the desert a few minutes walk from the Rio Grande, Mexico on the other side. Down the path a ten minute hike is the ruins of the old Hot Springs, self proclaimed healing waters that made this old resort an attraction.

Now it’s just a dusty path leading to the warm hot tub like foundation that still remains from the old bathhouse and is filled by naturally hot water. The whole family and I went down and we soaked together in the warm spring as a tiny Mexican village lumbered through the day across the river. There a lot of history in this old place and it’s memories are just a little haunting, especially when the tourists disappear for the day and the solitude of morning or evening take over the silent stones.

Release details: Prints Available.. Order Open Edition originals above.. Master prints and Signature Limited Editions are listed below and can be ordered by contacting gallery.

Released prints….

 

Down past the old buildings and to the ruins of the old hot springs building. It's remaining foundation makes it like a hot tub in the middle of the desert. The family and I enjoyed it - This is Cyrus, Asher, Ana and my wife, Sondra.
Notes Snapshot: Down past the old buildings lie the ruins of the old hot springs building. It’s remaining foundation makes it like a hot tub in the middle of the desert. The family and I enjoyed it – This is Cyrus, Asher, Ana and my wife, Sondra.

 

For Photographers. How it was made…

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February 2, 2013

Gavin-Seim-Family-Portrait-2012-880x476Once upon a time there was a guy, his family, a bunch of cameras, a Super Camper and lots of passionate ideas. No sponsors. No backup team – Just the open road, a sense of adventure and three months to take full advantage of.

I’m Gavin Seim. We’re out to explore as we attempt to make images and film that do justice to the beauty America. There’s lots of projects on the menu so we can pay bills and keep gas in the tank. We live mostly by the seat of our pants and enjoy the ride.

On Feb 2nd 2013 we set out for the road trip of 2013 – It’s a tad intimidating but quite amazing. We don’t hang out in RV parks or campgrounds. Months on the road in the Super Camper with my wife Sondra and our kids, Cyrus (5) Ariana (3) and Asher (1). There’s new products to test, new images to make, new stories to tell. Last year the big project was the EXposed Light Workshop. This year we’re working on a brand new film called Photographics. By the way,  you can learn more about our rig and tips on how we camp in this article.

With Facebook pages becoming less effective and the fact that I can’t send out the Light Letter every day, I wanted to share our journey with you in more detail than ever before. So rather than clutter up the journal with endless micro posts, I’ve decided to try something new – A Road Trip Journal.

This journal details our adventures by reverse date. The stuff you normally don’t see. The snapshots, clips, odd happenings and craziness. The things I’m sometimes reluctant to share, being such a perfectionist. That’s what you’ll find here. I hope you join in this adventure. Bookmark this page and come back because we’ll keep updating as long as we can still pound the keys. You can also join my Light Letter below for more updates and stories. Lets roll.

[xyz-ihs snippet=”newsletter”]

FINAL UPDATE: What it’s Like Coming Home Day 89-91 05/01/13 – 05/03/13

Cyrus at Cabelas
Cy likes the shooting gallery at Cabela’s. Teach them early.

It’s bittersweet as I drive down the hill towards familiar grassy slopes and familiar cities on the map. We watch a Spring sunset and flowers spattering green hills. Three full months on the road we’ve been. An adventure of that won’t be forgotten. Yet a part of me feels somehow less for it coming to an end. Like my spirit of adventure is fading because I long for that slow hot shower, a bed where my toes do not hang over the edge and where my wonderful wife’s elbows do not hit me in the side every time she rolls over.

The last few days lacked the grand adventure you look for at the end of a long trip. The kids got a stomach bug and did what you do when you have that. Sometimes we had two going at once – The miles were long and we needed to get home soon for Wall Portrait Conference. We drove hard that final day. Perhaps longer than we’ve ever done. Over five hundred miles from Twin Idaho to Ephrata WA. It took us about twelve hours between breaks, gas and pauses to clean up the mess from sick kids in the back seat.

“What a lousy way to end such a grand adventure” I thought – But somewhere along the road I stepped into the sunlight and realized it was not. Sometimes we get sick, but it passes. Sometimes things go wrong, we have to make repairs, or we come in late. All of those things happened on this trip. More than once. But they’re part of the memories, part of the adventure. They’re surrounded by moments of laughs and wide eyes glistening at the wounder of creation.

The moment I pull in I’m starting a new vacation. We worked hard on this trip. We played hard. It was a gamble too, but our new film PHOTOGRAPHICS is already showing in the black and the trip is all but profitable both emotionally and fiscally. All that time on the road, but so happy to have a place to call home.

We walk in after 91 days on the road and switch on the lights. The house is still here, warm, waiting. Nearly as we left it but for a few extra cobwebs. A bed, a shower, a late night movie with my wife after the kids are finally asleep. We really are home. Next it’s time to process the film, repair the gear, make the prints and get organized.

On Sunday we’re off for a week again to learn and teach at Wall Portrait Conference. But really we’re home right now. It’s only a couple hours away and among people we know. That home feeling is back. It’s odd. Truly surreal to walk down the isle at the store and for once in so long see people you know. Get a hug from your mom when you walk thru a door, or see neighbors wave as you drive down the street. I honestly feel strange not being the stranger here. But that passes and fades into tales of the adventure and silent longing for more.

As the sun shines on our first day home, a breeze blowing, spring flowers popping out, I realize that the world is still alive and that both home and away are something grand. Appreciating your adventure is how you look at it. There’s nothing like a place to call home, but there’s also nothing like the open road, your wife riding shotgun and kids kicking the back of your seat as the road rolls by. This is living, all of it.

Until the next trip, Gavin Seim.

Coming down from the Death Road new Zion. Amazing views.
Coming down from the Death Road new Zion. Amazing views.
Picked up a hitchhiker from France named Tebu who's roaming America. He's headed for Moab. No room in the truck cab, but he fits in the back and his gear in the camper. This guy is hauling way too much weight.
Picked up a hitchhiker from France named Tebu who’s roaming America. He’s headed for Moab. No room in the truck cab, but he fits in the back and his gear in the camper. This guy is hauling way too much weight.

 

An evening at the Salt Flats. It's a stark place. but grand none the less.
An evening at the Salt Flats. It’s a stark place. but grand none the less.

 

The kids are hams. Just like dad.
The kids are hams. Just like dad.
The last sunset, overlooking the hills neat Pendleton Oregon.
The last sunset, overlooking the hills neat Pendleton Oregon.
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December 24, 2012

Gavin is hitting the road again for an early 2013 tour. Visit his website for details. More travel talk in the after show.

Click To Listen>> Photography Podcast. PPS #89

Direct Podcast FeediTunesPodcast Alley

Today’s Panel... Gavin Seim Nina BeheimKerry GarrisonBrady DillsworthMark TeskeyJohn Cornforth

We wrap up 2012 with our annual Christmas roundtable featuring loads of photography tips and gear favorite gear and gadgets of the season. Join the discussion on the PPS forums.

Brought to you by the Seim Effects. And the EXposed Photography Workshop.

Use code: PPSCHRISTMAS to save $30.00 on EXposed before Dec 31st.

PPS #89 Forum Discussion HERE. Share Your Opinions.

Main Time Indexes:

  • 000:00 Introductions.
  • 005:30 – News Highlights
  • 023:45 – The 33 Tips of Christmas
  • 01:12:05 – A Visit with John Cornforth
  • 1:23:55 –  Picks of the Year
  • 1:59:30 – After Show. Sailing & More.

LINKS…

Nikon D5200 looks good. Also the Nikon D600.

The wall portrait article.

Gavin’s LIGHT LETTER

Lytro Light Field Camera

Sony NEX Series

Sigmas 35mm 1.4.

Zone System
Gavin’s articleFree videos.
Crash Plan Backup

Film is Coming Back.

Gavin’s article on signature and branding usage.

Picks…

Kerry
NEX 6
Sticky Filters Lighting Gels
Tripad Laptop Tripod Tether TableDojo Review

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December 3, 2012

 

Winter’s End – Taken a few minutes apart. The mobile image  lacks any fine detail up close and fine detail is totally lost in that pasty look that is common of low end cameras and lenses. The film scan however holds up well. See complete image details here on Gavin’s journal. More examples below.

by Gavin Seim: When I was starting out you we’re not even regarded as a respectable portrait photographer unless you used at least medium format. How things have changed. But this mobile photography for the sake of it is a passing fad.

The camera in your iPhone costs about ten dollars to make – Now I was browsing Facebook the other day I found the above reference photo I posted while on our Spring 2012 tour. I remembered that morning, the light on the trees and how my 4 year old son rode with me to greet the sunrise. It was a good memory. But next I compared it as a photographer to the final print version of Winter’s End. That promoted me to compare others, from both film and digital, comparing them to their mobile counterparts.

A great image is more than the sum of it’s tech specs – But when those details are far below the sum of it’s artistic merit, it brings down the entire work.

What was really illustrated was the vast difference between a point and shoot image and a quality photograph. Even I had not realized how poor the quality was. The phone photo is a good reference and helped me plan and log I wanted to produce. It was also fun travel memory and some might say it was “good enough”. But I’ve learned that “good enough” is not how we produce great images to stand out in today’s market.

I see more and more people acting as if phones are serious cameras. Sometimes even touting it as something special. This bothers me because a low grade camera is not a feature of your art (and make no mistake, your phone camera is low grade). It’s true that gear does not make a photographer. But low image quality can make even the most accomplished photographer look like an amateur. Comparing a phone snap to a professional level camera is a bit like comparing a Prius to a dragster.

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