September 28, 2014

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Today we take on a simple exercise in Zones that will improve our understanding of exposure. I’ll show you some new helper tool that we made up, free for EXposed owners. If you did not get the update shoot us an email.

Understanding Zones and what you did in past images will help you improve future ones.

You might also want to check out our Lumsit system for Photoshop that brings Zones and tone control together is a whole new way.

Learn more about zones in the EXposed master class.

Enjoy — Gav

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September 10, 2014

I wanted to make this great image of espresso extraction and I wanted it with a single light setup using a light like this. — I used that light to my advantage to get great depth and shadow dimension and in this weeks video we look at how I did it.

This does not just apply to close up objects however. You can use a single light to do amazing things with any subject. I rarely use more than one or two lights, because simplicity gives me flexibility. Enjoy and please subscribe to Photographic School.

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And here is the finished image…

Gavin Seim - Expresso Extraction

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September 6, 2014

A quick PHOTOGRAPHIC School (subscribe on YouTube) for you today. I found myself tinkering with the Lightroom ID plate and hunting for file dimensions, so I made a quick video that covers making and setting up your ID plate from start to finish.

— Gav

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September 2, 2014

Our camera is just an instrument. It’s what happens in our mind that makes a great photograph. When we understand the tools, we focus on the artistry. Sometimes we fall for the scam that we can just fix it later and so we fail to expose well and never get that truly magical light. Today’s tip takes on a simple truth about exposure in the camera. I call it, Doubles and Halves!

Photographic exposure and simple math are one on the same. Don’t run away, it’s more elegant than it seems. F5.6 to F8 doubles or halves your light. ISO 200 to 400 doubles or halves. So does 1/50th to 1/100th and so on. Ditto for Zones and Exposure Value and Ratios. They are all connected. All tools to manage and understand the Stops (flow) of light. Just doubles and halves.

Understanding these terms helps you nail the light and focus on the vision. This video from the first chapters of my EXposed series explains in simple terms. EXposed also covers deeper aspects, so if you love understanding light, check it out here.

— Gav

 

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May 18, 2014

gavin seim mono lakeby Gavin Seim: Today we’ll dig deep into using signatures and branding on images. Both on the web and in print. We’re going to address nearly every aspect representing years of trial and error for me. Everything from using your digital logo and signature to what pens to use on your prints for hand signing. lets start with a question?

How often do you go into a gallery and see a masterpiece not signed?
How often does that same piece have a HUGE watermark across the front?

If your name is not on your images, you lose. The truth is, selling images is not simply having passion, it’s about business. Is your work a piece of paper, or is it a piece if art? Many people who don’t brand their images do so because they lack branding experience, or don’t consider their images of enough value to hang equally next to other art. Some on the other hand some take things too far, ruining their presentation by going overkill. Petapixel did a fun satirical article on this awhile back.

Remember, classy branding on an image generally adds value. How often do you buy a book without the authors name on the front? Even our cars have branding on them. If you bought a Ferrari would you want it without the emblem? I think not. Why then should the art we sell be unmarked! Are there exceptions? Sure, but not many. For example a commercial client may require unbranded images, but they should also expect to pay a premium for that. Artists have been branding their work for centuries and so should you. Lets examine different approaches that I have discovered over years by trial and error.

art-prints
My image of the Seattle skyline shows an example of how I mark images for gallery and print exhibitions. I hand sign my best pieces, as we’ll talk about below. Take the time to work on a great signature. While this one is subdued, people do look at signatures and names. For print preservation a clean signature works well.

What To Do?

This whole topic is fraught with debate. No doubt some will disagree with me. That’s fine. Though I’ve probably slaved more than most in the industry on this. I’ve come to a place where I have an understanding of my brand and my presentation. This is not my random inexperienced opinion. I have gone to galleries, looked at the works of master painters and studied the techniques of others. I sell all my portraits and my fine art using the approaches I’m about to share. I’m always refining however and will update this study accordingly in the future.

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