Photo Notes

November 15, 2018

Courting Chaos-The show, Part 2-Cyanotype Prints

This post includes all the cyanotype images from my current show at Indiana Landmarks. The show is going to be on display until the end of November, so you still have a chance to see the real photographs. I say real photographs because looking at an online version of an image adds a sameness to all images. On your phone or monitor images always about the same size and the color is always affected by your monitor. If you care about photography its a really good idea to see actual photographs, not just digital versions. I used 3 types of prints in the show: silver gelatin prints, cyanotypes and a couple of Kodak color glossy prints. As I mentioned in the last post you can visit this previous post for more information about print types: http://siskinphoto.com/blog/?p=2243. The other images, the silver gelatin and the color glossy images are posted as parts 2 and 3 of the show. Kodak Color Glossy images are at http://siskinphoto.com/blog/?p=3633. The Silver Gelatin prints are at: http://siskinphoto.com/blog/?p=3571

The show has fourty-one images up on the walls, these are the twenty cyanotype images. Each time you make a cyanotype image it is different, even if made from the same negative. The images are for sale. The cyanotypes are matted to 16X20 inches and are priced at $500. The price includes shipping in the U.S. For this and all the other images please contact me directly at john@siskinphoto.com to arrange the purchase. Please contact me for more information about any of these images. These images are copyright by me and are NOT INTENDED to be shared. You are welcome to post the link to this blog, but do not re-post my images. Thanks for your respect.

Cyanotype Images

Wayne #12

Wayne #2

Rubella #5

Rubella #1

Rachel #7

Mindy #7

Jennifer #5

Jennifer #4

Dana #11

Dana #5

Curt #11

Curt #5

Cassie 2 #2

Cassie 1 #5

Cassie 1 #3

Andrea #2

Andrea #1

Alex #5

Alex #1

September 26, 2018

Courting Chaos

Curt #2

I’ve been working on a project involving my 11X14 camera for about two years now. I’ve done more than a dozen shoots with the camera. The first show of this work will take place on November 2nd at Indiana Landmarks (1201 Central Ave, Indianapolis, IN 46202). Images will be available for sale at the show. I may make prints available on line as well. I’ve included small digital versions of the images with this blog. Theses versions of the images are only a shadow of the final prints, so please come to the show if you can.

Wayne #2

These images are figure studies handled with a very unusual and chaotic process described below. Many of them are nudes and several of them are disturbing. I’m writing a lot about the process in this post but I should also share some thoughts about the results. I’ve found the entire project to be a voyage of discovery. I really did not know how the project would evolve when it began. My response to the images continues to change as I prepare them for the show. I am very happy with the way the finished prints look. They have a strong impact. There are a lot of parts of the images, wings horns and make up designs that have symbolic impact. The images seem to invite the viewer to create a narrative from them. My narrative involves ideas about escape. I hope you’ll find them interesting. I’m sure the project will continue to evolve.

I’d like to share some thoughts about the inspiration, the process and the results in this blog. There are a lot of places I could begin this story because this project integrates photographic techniques I learned in high school with image manipulation techniques I’ve learned as recently as a few months ago. The project integrates inspiration from my first trip to Europe in 1971 and continues with images I saw this year. Finally this project requires me to come to terms with allowing chaos to be a co-creator in my photography; as a commercial photographer for more than four decades I’ve been fighting chaos. A commercial photographer wants to control and direct images to produce effective visual communication. In this project I’ve used special processes to push the images into shapes I couldn’t predict or control. The results have been the most surprising images of my career.

Mindy #14

I saw a series of sculptures by Michelangelo called the Prisoners when I was in Europe in 1971. I was about fifteen at the time. At first these images appear unfinished, especially in comparison with the David sculpture, but when I continued to stare at the pieces they seemed to be struggling to escape from the marble. The effect was quite surprising to me at the time: the seemingly unfinished sculpture conveyed movement while other sculpture remained static. It’s now almost fifty years later and I still remember the effect and the details of these sculptures.

I remember seeing an Edward Weston photograph of a pepper just a few years after I saw the Prisoners. This image also had a lasting effect on my development as a visual artist. The design of the image was beautiful, but the medium: a silver gelatin photograph was also gorgeous. Of course I had seen photographs before, but this was a contact print from a large format negative. Over the years, in my classes and in working with photography, I’ve often met people that think photographs are somehow independent of the medium in which they’re presented. So a person might think that they’ve seen “Moonrise Over Hernandez” by Ansel Adams because they’ve seen it on line or in a magazine or a book, but a fine photographic print by Ansel has a different effect than an image from an offset press or a computer display. In order to appreciate a creative work it helps to see the work as the artist intended. Of course there are many posters of paintings by Van Gogh or Monet and so many others, but is seeing theses posters equivalent to seeing the original painting? It was the effect of the actual Weston print that allowed me to see beauty of the medium.

Cassie2 #14

Of course there are so many images that affected my way of seeing, and these images, but the work of Man Ray is really part of this process. Man Ray worked in a variety of media: doing sculpture, painting and photography. My perception of his work changed when I saw original pieces at the Getty in Los Angeles. Many of the reproductions of his work are just poor quality, which affected my understanding of his art. When I saw original pieces I was able to understand the technical mastery inherent in the work. This was important to this project because I realized that he was solarizing his negatives in a way I had never seen before, more about this later. The way that Man Ray integrated creative and innovative technique with creative images is spell binding.

On another level this project began when I purchased an 11X14 inch camera. While it’s not necessarily difficult to think about scaling up a camera “it’s just the same thing only bigger” the reality is pretty impressive. A full frame dSLR uses a sensor that is 1X1.5 inches, regardless of how high the sensor resolution; it’s a small area. The camera for this project has a capture area of 11X14 inches. In addition, while the sensor may have high resolution, film resolution is on the molecular level. The total amount of information you can capture is mind blowing. The costs of the thing are pretty impressive as well; a single sheet of 11X14 inch film costs eight dollars. Adams used 4X5 inch camera much of the time; Edward Weston used an 8X10; Brett Weston did use an 11X14 camera occasionally. The problems of using a camera this size are not just expense and weight, it also needs a lot of light. So when I got the camera I wasn’t sure that I would use it much, maybe just a couple of times to prove I could master the thing. Then, after a lot of thinking, I came up with a way of using the camera to make images that I couldn’t create with any other camera. I decided to explore solarizing (re-exposing) the negatives. I am aware that some people refer to the solarization process as the Sabatier effect, but I prefer to use the term solarization.

Shelby #9

This is similar to what Man Ray did, during the processing of his film he re-exposed the negative to light. This creates a reversal effect. This was a pretty common process when I was in high school, but we solarized prints rather than negatives. When you solarize a print the white area of the print black or gray, which can look pretty compelling. It’s impossible to entirely predict what will happen, and even if you do the same thing twice, the results will be different. The thing about Man Ray’s solarization process is that he turned the black areas of the image white AND he could make multiple prints that were the same. This was because he solarized the negative rather than the print. This creates another big problem-you have to process modern film in total darkness (yes, even black and white film) so you can’t see what you’re doing. When Man Ray did this people used orthochromatic films; films that couldn’t see red light, so he could see what he was doing. I realized that I could shoot 11×14 photographic paper, which can be used under safelight. Since I have an 11×14 inch scanner I could take these negatives, which were on paper, and scan them. This enables me to interpret the images in Adobe Photoshop. The reason that the large area negative is an advantage with this process is that you can choose what part of the image you want to re-expose and you can also choose what part of the image to re-develop. Most of the time I used a Mini-Maglite to re-expose the negative and various paint brushes to re-develop. Of course what actually happens to the image when you re-expose and re-develop is chaotic, almost totally unpredictable. Thus I am courting chaos in making these images.

I did a couple of blog posts when I started this project: http://siskinphoto.com/blog/?p=3401 and http://siskinphoto.com/blog/?p=3207 and http://siskinphoto.com/blog/?p=2871 . These posts detail some of the development this process. One of the first things I discovered was that the material I was using to shoot, Ilford Multigrade RC Glossy, was much more light sensitive than I would have thought. It has an ISO of about 100 when used with strobes. I was able to set up a sodium vapor safelight, which made it possible to move around the studio quite easily when shooting. One of the greatest advantages of shooting the paper is that the processing is quick and easy. You can develop the RC paper in about a minute. Even with re-exposure it was only about 5 minutes from exposing with the camera to seeing the negative in white light. Almost as quick as Polaroid! In addition, since the large scanner was in the studio I could scan and reverse the images in short order, so the subject was able to leave with prints! The entire process was very fun and interactive.

Leslie #6

Part of that interactivity was the team that made these images. Of course that includes the models, but it also includes David Kidwell, assistant extraordinaire, and Julie Powers, makeup artist for angels and devils. Julie did a couple of really remarkable things for this project: first she designed the make-up for all the models. This is tougher than it might appear because the Multigrade paper doesn’t react to color in an even way: reds and yellows are very dark while blues are brighter that you would suppose. Julie also arranged for all the models, THANKS! David managed set up and kept me on my feet all through the shoots. Now that I’m in my sixties I couldn’t have done it without him! Each of the models was special. It can be difficult to come to terms with normal pictures of yourself, it’s more of a challenge when you’re teaming up when chaos. You know that all of the images will present you in unpredictable ways. My thanks and gratitude to all!

In another way this project began at University High School in Los Angeles, specifically in bungalow L79. At sort of the end of the campus was the photography classroom. I first learned about photography in that classroom. The instructor was Arnold Rubinoff. Arnold was teaching things that really weren’t common in high school photography. I remember learning to make color prints from him. One of the things we learned was how to do solarization. I remember that a couple of the students were particularly enthusiastic about the process. There is often a line that defines the transition from a normal tone to a solarized tone, referred to as a Mackie line, and these two students created an image that was nothing but a Mackie line. They used a process that involved a wash, squeegee and a controlled re-exposure under an enlarger, then putting the image back into the developer. I based my process on what I remembered from that time. I remove the print from the first developer after most or all image development has taken place. I rinse the image and squeegee the water off the print. Then I use a Mini-Maglite with a #5 Ilford Multigrade filter to re-exposure the print. I usually do this from a distance with my fingers occluding some of the light. This gives me more time and more control over the second exposure. The filter also changes the contrast of the second exposure. Then I use a variety of brushes to add developer. I usually use a more concentrated developer with the brushes.

Andrea #5

There are a number of important insights that led to this process. Of course one of the first problems that had to be solved was the cost of film. Other people have reached this point and turned to litho film. This is a graphic arts film that is designed to hold only black and white tones, no gray tones at all! It can be processed to hold grays, but there are issues. Particularly the stuff is really insensitive to light. The ISO is around 4. As I mentioned above the Ilford Multigrade is about ISO 100, which is almost 5 stops more sensitive to light. This is the difference between shooting at f11 and f2. Since most lenses that cover 11X14 are f8 or slower you can imagine that the speed of the material is critical. Another important moment was when I realized that I had an oversized scanner. My original thought was to remove the emulsion from the paper and put it onto a clear base, which would have been very difficult. Scanning the images was easy and quick.

One of the ideas I had after I got my first large digital printer was that I could make negatives on tracing paper and make traditional darkroom prints. I did make this work, but didn’t follow it up. The images were fuzzy flat and hard to print. I returned to the idea for this project. While I was exploring the negatives, digital prints from my Canon printer were great, but they don’t have the same impact as a handmade print. I used the printer to make negatives on a clear film from Fixxons. I was then able to use these negatives to make cyanotype prints and silver gelatin prints. I mentioned cyanotypes in the blog post I referred to earlier and in this blog post: http://siskinphoto.com/blog/?p=2243, which is from my last show. This post also describes silver gelatin prints. For this show I used multiple coats of cyanotype chemistry on blotter paper. The images have a very dark maximum tone as a result. Because the prints are hand coated each cyanotype print is different, even if made form the same negative. Cyanotype prints do change over time, which is part of the charm. For the silver gelatin prints I used Ilford Multigrade Warm Tone Fiber base paper. Fiber base papers use a barium clay coating called baryta that produces the white tones. I like this much better than resin-coated papers (RC) that use a titanium dioxide to make the whites. In addition when you air dry a glossy fiber based paper the surface looks fabulous. I also toned all the silver gelatin prints with selenium, which makes a more agreeable print color as well as adding to the stability of the final print. There will also be a couple of large color prints as well. While the actual process is done with black and white material, false color does come in during scanning. I’ve manipulated the images to enhance this effect. Since original negatives are so large the prints can be very large as well, which makes for a very powerful print. One more thing about prints, I believe that the price of a print should reflect, at least in part, the amount of actual hand work done by the artist rather than the size of the image.

Rubella #14

Actually shooting with the camera is pretty tricky. Some things are like working with any large format camera, for instance the image is upside down and backwards on the ground glass. Over the years I’ve become used to that. One problem that particularly affects the 11X14 is bellows extension. The closer your lens is to the subject the further it is from the film. I know this seems exactly backwards, but trust me it’s the way it works. What might not be obvious is that as the lens gets further from the film, there is less light on the film. If you are shooting a head and shoulders portrait with a 35mm camera you don’t have any bellows extension; if you’re shooting with 4X5 film you might have a half stop of bellow extension; with the 11X14 camera you’ve lost about 2 stops of light to bellows extension. This means it’s dark on the ground glass when you’re focusing and composing AND you need a lot of light to make the exposure. Most of the time I was using between 5000 and 7000 watt-seconds of strobe power to make the exposure. My lens was generally set between f11 and f16. While this seems like it would give you plenty of depth of field on a digital camera, on the 11X14 it gives you only a matter of millimeters of focus depth. So focus is critical, which makes it very important for the model to stay in place! Another aspect of bellows extension is the way it affects your lens choice. The normal lens, if there is one, for an 11X14 camera is about 450mm, or 18 inches. If you were shooting that same head and shoulders shot, which is close to life size on an 11X14 camera, you’d need about 1000mm (39 inches) of bellows to bring the lens into focus. That makes the camera really difficult to keep stable and to adjust. So you generally end up shooting with shorter lenses which wouldn’t cover the film at infinity, but they do just fine close to the subject. My favorite lenses for this project were a 12 inch red dot Artar from Goerz (f9) and a 14 inch gold dot Dagor (f8) made by Kern for Schneider. Both are classic formulas. The Dagor was originally introduced in the 1890s, and the Artar in the early years of the twentieth century. Both of these are later lenses that benefit from modern coatings. I use the 12 inch Artar for head and shoulders and the 14 inch Dagor for full body shots. I used a few other lenses on occasion including a 48cm Goerz Dogmar (f5.5) and a 270mm Wide Angle G-Claron from Schneider (f6.3), but they just didn’t keep the subject/camera distance in a good range. When I first got the camera I also got a 24 inch Gorez Artar (f11) but it required too much bellows to be useful in the studio.

The camera itself has some basic challenges. Of course the fact that it’s a working 11X14 camera must be in its favor but… It’s built out of parts from other cameras. It’s built on top of a drawer, like something out of a card catalog. This allows it considerable expansion, but it also means the camera can’t fold into any portable configuration. It weighs a lot, so the tripod needs to be a beast. I’ve used several tripods with it, and now I’m using an 8-foot camera stand. The focus skips out of alignment, which is annoying. The bellows sag. There is a plaque on the camera proclaiming it as the Pernicamera Model Number 0001, built in 1995 to 1997. I’d like to meet the person who built it. I don’t use a shutter with the camera at all. I keep the lens open, but all the illumination, once the paper is loaded, is from safelights. I trigger the strobes with a radio slave to make the exposure. This makes it easier to do multiple exposures and to move the subject between the exposures.

Dana #5

I hope to see you on November 2nd. If you’d like more information about a specific image please let me know.

I hope you’ll also check out my books, use the links below:

One more thing, there are almost 8500 people registered on this blog. Wow! Thanks everyone.

June 8, 2016

Roberts Park Church #6

Roberts Park Church #6

Roberts Park Church #6

Another stair case form Roberts Park Church. I already mentioned that I like pictures of staircases. I did a shoot a Roberts Park Church a few weeks ago. I was there with the 8X10 camera. Used Ilford HP-5 in case anybody is checking. This was the last shot of the day. I know it was taken with the 8.25 inch Gold Barrel Dagor, you can see the lens. Sweet lens. Shot between f32 and f45. There is an inherent composition in a staircase. A good one combines form, function and a sense of time.

set-up #6

I actually remembered to shoot a set-up shot with the phone. I should do this more often. You can see that the shift is used, pretty much all the shift on the camera. Of course this is because I’m only shooting one side of the holder. You can’t really see that the lens is tilted down, which allows the depth of field to follow the bannister. You can see the top of the Ries Tripod, great tripod. My Leica bag with all the accessories, and thither holders is in the background. Oh, the camera is the Toyo 810M. I think I got the camera back in about 1985? Lot of great stories with that camera and these accessories.

I’ve shot a lot of staircases on commercial jobs. I even did work for a client in Los Angeles that specialized in making custom staircases. You can check out a few of the shots: http://www.siskinphoto.com/architecture1q.php, http://www.siskinphoto.com/architecture1s.php and http://www.siskinphoto.com/architecture1u.php.

If you’d like print of this image, I’d like to send you one. The image will be about 14 inches tall and mounted on cotton rag board (the good stuff). If you use the PayPal link below I’ll even include shipping in the U.S. I appreciate your support.


Also don’t forget my workshops: http://www.siskinphoto.com/workshop.php.

I hope you’ll also check out my books, use the links below:


Now over 5000 registered users at this blog!!

June 1, 2016

Roberts Park Church #8

Roberts Park Church#8

Roberts Park Church#8

I did a shoot a Roberts Park Church a few weeks ago. I was there with the 8X10 camera. Used Ilford HP-5 in case anybody is checking. This was the last shot of the day. I believe it was taken with the 8.25 inch Gold Barrel Dagor. Sweet lens. I don’t know why I haven’t gotten around to posting any of the stuff I shot on that day. This shot was made in the choir loft.

I’ve always liked pictures of staircases, especially old stone staircases. Check out A Sea Of Steps by Frederic Evans or Spiral Stairs 1 by Linda Butler. Of course this image is really built around the handrails. There is an inherent composition in a stair case. A good one combines form, function and a sense of time. I’ve shot a lot of stair cases on commercial jobs. I even did work for a client in Los Angeles that specialized in making custom stair cases. You can check out a few of the shots: www.siskinphoto.com/architecture1q.php, www.siskinphoto.com/architecture1s.php and www.siskinphoto.com/architecture1u.php.

If you’d like print of this image, I’d like to send you one. The image will be about 14 inches tall and mounted on cotton rag board (the good stuff). If you use the PayPal link below I’ll even include shipping in the U.S. I appreciate your support.


One more thing I wanted to mention: I’m offering individual workshops at my studio in Indianapolis. I’m calling these One on One Workshops. You can choose the subject and the time. I’m hope you’ll sign up soon. How about a day spent working on lighting, or even large format photograph? I hope you’ll check out the One on One workshop at http://siskinphoto.com/blog/?p=2818. You can see other upcoming workshops on my site.

I hope you’ll also check out my books, use the links below:


Now over 5000 registered users at this blog!!

 

 

 

December 28, 2015

Indianapolis Central Library #1

Indianapolis Central Library #1

Indianapolis Central Library #1

This shot was made at the Indianapolis Central Library. This was the second shoot I did at the library; the first shoot was for my book Photographing Architecture. The library has a classic look in front with a new glass and steel portion in the back, really an interesting location. I was attracted by the classic look of this shot, from the entrance to the reading room. It’s easy to see a shot like this, but it’s harder to capture the image. I did the shot with my Toyo 810M, which shoots 8X10 inch film. I did the shot in 2013, really quite recently. The image was part of a show I did at Indiana Landmarks called Buildings: Birth, Decay, Renewal. You can see some video from the show here. I thought this location was particularly suited to the title, because of the blend of new and old architectural styles. Since I did the shot on a half sheet of 8X10 film the image will print to a very large size. There is a print in my office that is 4 feet high.

According to my notes I made this shot with a 270mm f6.3 Schneider W.A. G-Claron. The exposure was at f32 for 8 seconds. I’m glad no one walked through the shot! This lens was originally on a stat camera. I’ve used it in various configuration, on my 4X5 camera, 8X10 and it’s currently mounted on a board for the 11X14 camera. One of the great things about large format photography is that a lens can be used in so many different ways. This is an extremely sharp and contrasty lens that has very wide coverage. I used my Reis tripod, a constant companion with the 8X10 camera, especially on location. The Reis is a wood tripod, or as I like to call it carbon fiber version 1.0.

I offered this shot in the show (mentioned that above) as a 4-foot print and as a VanDyke print. VanDyke prints are an old process that uses iron to achieve sensitivity, but the final image is actually silver. I’ll be adding more about the older processes as I begin to offer them through these posts and on my site. Currently you can get a fine digital print of this image for only $125. The image will be 14 inches tall and mounted and matted on 16X20 board. The price includes shipping in the United States. This is much less than any price I’ve had on this image in the past.


You can buy one of my books at these links

September 21, 2015

Lighting Workshop-New date posting soon!

Next Micro Workshop -New date posting soon

Samantha 1

Samantha was a model in the last workshop

I’ve made some arrangements for models for the Lighting Workshop. There is a new date; I’ll post it soon. So I have pricing and sign-up information for this workshop below. This workshop is about lighting for still photography with strobe lights. We’re going to work on building the images that you see in your mind: pre-visualizing and creating shots. You can sign up for just the first day of the workshop, where I’ll introduce the tools and explain how to manipulate them, or you can sign up for both days. On the second day, Sunday the 18th, we’ll work in the studio with models and still life shots. You’ll be doing the shooting on Sunday! This workshop is about building images in the camera, but of course we’ll also discuss post-production.

Cassie is also going to model for the workshop

Here are some of the details, on Saturday we’ll start at 10am. The day will be about understanding how light works and how to control light. We’re going to concentrate first on how to achieve the quality of light you want. For this part of the day we’ll see how to modify the light to create hard or softer gradations in the light. Then we’ll work on how to pre-visualize your light: how to build an image in your mind and translate it to your camera. In order to build images for the camera we’ll examine how to balance the light between multiple light sources. We’ll also work with color filtration on the light so that we can change the color as well as the amount of light. We’re also going to discuss how to direct a model so that you can realize your visualization. You’ll get to see professional equipment and how it’s used to create an image in the studio. Of course we’ll also discuss how to build better lighting on location.

F2382346 (1)

On Sunday we’ll be shooting all day in the studio. There will be several sets. You’ll get the opportunity to work with live models, and different lighting tools. This will be an opportunity for you to shoot, so bring your cameras! This part of the workshop is limited to just 6 students, and 3 are already signed up! You can bring your own lights on Sunday, if you’d like to work with them, of you can use my lights. Trust me, I have plenty of lights!

F23D2301 (1)

 You can sign up for just the Saturday demonstration part of the workshop, which will give you new ways to work with light, for just $95. If you’d like to come both days (New date posting soon!) it’s just $395, for both days. Pretty great for a two-day workshop with live models! You can sign-up on my site at http://www.siskinphoto.com/workshop.php.

p37

Please visit my site to see my other workshops and to check out the Free On Line Classes!

Of course, if you can’t come to this workshop, you can still buy my books at Amazon:

September 23, 2014

One On One Photography Workshops!

A lot of class promotions start with the term: learn at your own pace. I’m offering you an opportunity to learn at your own pace, one on one, with the instructor. You choose the material we’ll go over. I provide the studio, the equipment, heck I might even buy lunch! Here’s the deal: A day in the studio with me. One on one. Pick a day. Pick the material. You set the pace. While we could discuss anything I think we should stick to photography, since that’s the subject I usually teach. This is a fabulous deal, and it will only last a short time. Just $425 for the studio, the equipment and me! Keep in mind the studio generally rents for $200 a day, so the studio, the equipment and me is a fabulous deal.

Some people have had schedule problems people with past courses, but now You Pick the Date! I hope we’ll have at least six hours together, but the class will fit your schedule. We could even do a second day for just a little more money. Let me know what you want to learn and when you want to come by. Also if you’d like to bring another person we can arrange that for a little more. Of course there’s no extra charge if you want to bring a model.

For my portrait class at BetterPhoto.com

For my portrait class at BetterPhoto.com

Now I know that you wouldn’t want to spend a day in the studio with just anyone. So I have to tell you about my accomplishments. Anyway I do this it’s going to sound like I’m blowing my own horn, but here goes: I was 15 when I had my first photography job, as an assistant to a commercial photographer in Los Angeles. His name is Steve Berman and he also taught at one of the best photography schools in LA: Art Center. I learned a lot! In the more than 40 years since then I’ve worked as a photographer and taught photography. In Los Angeles I’ve shot for Disney, Munchkin and General motors as repeatedly. Since I’ve moved to Indianapolis I’ve shot for the Hilton, BMW Construction, Mid West Studio and more. I’m currently teaching three classes at BetterPhoto.com: An Introduction to Photographic Lighting, Portrait Lighting on Location and in the Studio, and Getting Started in Commercial Photography. BetterPhoto has sent me students from all over the world. I’ve done two books for Amherst Media: Understanding and Controlling Strobe Lighting: A Guide for Digital Photographers and Photographing Architecture. Both are available from Amazon and also local camera stores. I’ve done a couple of dozen articles for photography magazines including Shutterbug, Photo Techniques, Studio Photography and View Camera. You can learn a lot more about me by visiting my website: www.siskinphoto.com. You’ll find most of my articles on the magazine page at my site. Of course I’ll answer any questions about my experience, just call 317.473.0406 or e-mail to john@siskinphoto.com

I also want to introduce you to my studio, because it is a terrific place to experiment and learn. I have more than twenty strobes, including a strobe powered projector! There are another half dozen quartz lights, various types. In addition there are umbrellas, light panels and soft boxes, even a ring light and a beauty dish. So you’ll have the opportunity for hands on learning with any equipment you might want. The shooting space is 24X45 feet with a 12 foot ceiling. Of course we could also arrange to do a location shoot, even an architectural shoot.

Shot of the Irving Theater for a workshop in Indianapolis.

Shot of the Irving Theater for a workshop in Indianapolis.

This is a custom learning opportunity. You can choose the material we cover. Here are some ideas, these can be a class or a starting point: How Light Works, Portraiture Lighting, Product Lighting, Shooting Jewelry, Commercial Photography, One Light Shooting, Location Shooting and whatever else I can help you with. For many subjects we can begin with a structured program or we can experiment and discover together.

Shot with a group of Ivy Tech students in my studio.

Shot with a group of Ivy Tech students in my studio.

The price for your day in the studio is just $425.


Remember you can choose a date that fits your schedule.
Shot with a class from The Learning Tree University in Los Angeles

Shot with a class from The Learning Tree University in Los Angeles

The pictures are from workshops and classes I’ve presented over the last few years.

If you’re in Indiana I hope you’ll also consider taking my Portfolio Workshop. You can see a little more information about the Portfolio Workshop if you check out this blog post .
 

Please visit my site to see my other workshops and to check out the Free On Line Classes!

July 6, 2014

Changing Your Way of Seeing

My books and my classes give me a reason to keep doing this blog. If you’re in Indiana I hope you’ll consider taking my Portfolio Workshop. You can see a little more information about this workshop if you check out this blog post . I’ve listed my BetterPhoto classes at the end of this post. Thanks so much for your attention.

Frame 16

I see as a photographer, constantly breaking the world into still images. I think that most people who spend a big chunk of life doing photography see a little differently from people who aren’t involved in static art forms. I’ll look at something and think: “I’d shoot that, maybe a little warmer and with more contrast” or maybe: “That was a really great instant” and: “Look at that design.” I think this is part of being a good photographer. I once heard a guy say that he always adjusted a TV to look like Kodachrome, since that was the way he saw the world. Of course this illustrates one of the problems with this way of seeing: you start to see everything the same way. I’ve been known to walk by an interesting subject while thinking that’s not the kind of shot I do. I often make my shots warmer, even my black and white shots, but I can’t remember the last time I made a shot cooler.

Frame 22

So I’m always looking for ways to break out of my way of seeing. I know that many people want to have a style, but not me. I’m a photographer, not a painter, so I can be prolific and do work that’s new. I want to push myself to see in different ways. One of the ways I do this is to work with different tools: cameras, lenses and software. I just got a Horizon Perfekt, which is really helping me to see differently. This camera shoots a 120º image, horizontally anyway. It’s really different from other wide-angle images because the lens actually moves during the shot.Frame 12

 

I shot with a Koni-Omega camera last week. It’s a medium format film camera. This is a manual camera with range finder. Shooting it reminded me of the acronym FAST: Focus, Aperture, Shutter and Think. I think that my digital camera has allowed me to get a little sloppy with technique. Of course shooting with a new camera is not the only way to open yourself to new ways of seeing, but it can be fun as well as enlightening.

Frame 15

I got an 11X14 camera recently, but I haven’t shot with it yet. I still have to build a lens board and order some film, but it should be a quite an experience. Whenever you work with a very large camera the difficulties increase and so does the expense. But if 11X14 is anything like 8X10 getting a good result will be really fun. Sometimes just getting a good exposure can make you feel great. There’s another practice tool I want to work with. I have an old Spiratone 400 mm f6.3 lens. I’ve really only used it a couple of times because I’m more interested in wide-angle lenses. But in an effort to expand my vision I’m going to put in on the digital camera and start shooting. Who knows how that will affect my seeing? By the way I’ve included a couple of panoramas from the Horizon camera and one more from the Koni-Omega. Also I recently updated my website so you can get an idea of how I’m seeing now. Please check it out at www.siskinphoto.com

Of course there are other ways of expanding your seeing, like taking a BetterPhoto course. Here are the three I teach, perhaps you’d like to take another one or share them with a friend.
An Introduction to Photographic Lighting
Portrait Lighting on Location and in the Studio
Getting Started in Commercial Photography
One other note about BetterPhoto: I’ve been in the habit of sending out a private note to all my former students at BetterPhoto (Almost a thousand people!) each month. There’s some sort of hang up in the e-mail system for thst so, for a while anyway, I won’t be sending that note. I hope no one is too disappointed.
Thanks,  John

 

June 16, 2014

Portfolio Workshop November 28th, 2018!

The last Portfolio Workshop went really well. Why not join us  for the next one? We’ve been doing this for a couple of years now, and we’re getting quite good at it! We’ll meet on July 30th at 6:30pm at my studio in Downtown Indianapolis. Read on for more details.
Making photographs might be a solitary experience, but as soon as you’ve made a photograph you’ll want to share it. As you gain experience as a photographer you’ll want to share your photographs more broadly, beyond friends and acquaintance. Of course you’ll be concerned about how other people perceive your work, or at least I hope you will. If you want to present your images to galleries or contests or businesses it’s important to learn how other people see your work. Frankly it’s quite difficult to learn this on your own. I’ve learned this for myself. When I look at my shots I remember the circumstances of the shoot, and this always colors my perception of the shot.

Mosaic

The above shot is a good example I made this shot for a hotel in Beverly Hills. The owners of the hotel and the designer weren’t ready for the shoot and there were other problems. So, while the shot is good, I didn’t put it on my website for quite a while because I remembered the problems when I looked at the shot. So choosing photographs to show is very difficult. When I do a shoot I have certain reasons for the shots, the reasons may be commercial, personal or something else. Because the first time I edit the shots the choices are based on the reasons I did the shoot. I sometimes miss a shot that has other possibilities. This is why I go back to older shots and review them again. That even happened with this shot:

What?

 

The purpose of the Portfolio Workshop is to help you develop skills for editing and presenting your shots. There are different ways to present your portfolio, and presentation is important. I’ve seen a lot of people who only have digital versions of their portfolios. While a digital portfolio is good, I think you might also want a print portfolio; for one thing it helps you sell prints. More important you want to show various ways of presenting images to your client: digital, website print and more. These tools may be important to a commercial client. For instance I had a high end landscaping client that showed very large prints to potential buyers. He told me that he was going to be landscaping a couple of acres of land and you just couldn’t present that with a 4X6 inch print. Of course he knew he needed really good photographs if he was going to show prints that big. I have a 16X20 inch portfolio that I present to architecture clients; it’s been quite successful. I have a couple of portfolios on my tablet and even a few pdf portfolios my clients can see on line: www.siskinphoto.com/aportrait.pdf and www.siskinphoto.com/aarch.pdf. In the workshop we’ll be talking about the most effective ways of sharing our work. We’ll also talk about how to get people to look at our work. The shot below is in my16X20 portfolio.

Mark David

There’s a lot more to this workshop than listening to me pontificate about someone else’s photographs. This is a small group and everyone is encouraged to participate. The idea is to see how several different people react to your images. One object of this workshop is to develop a supportive environment where you can get detailed feedback about your images. Another object is to develop everybody’s skill communicating about images. This is always challenging to photographers because few photographers have a background in design. When you can better describe why an image works you’ll also create better skills designing and building images. Of course we’ll also share technical information about making images, but, in this sort of workshop, technology is secondary to developing our design skills.

I’m asking participants to bring two images to each meeting. This way everyone will get a chance to have an image reviewed and to comment on other people’s images. I’m sure there are people who would like to have just their portfolio reviewed rather than be part of this workshop. I certainly do portfolio reviews, but they cost more than $20. A portfolio review is static, this workshop will help you develop your skills as a photographer over time and build great portfolios. The Portfolio Workshop is a live experience. It meets once a month in my Indianapolis Studio.

You can start attending this workshop with just a few images. We meet once a month so you’ll have the opportunity to create more images for your portfolio and bring them to the workshop. You can use the workshop experience to help you decide what kind of a portfolio to develop, or you can develop several portfolios at one time. I’m always working on several sorts of images at the same time. I encourage everyone to participate, by bringing images and by giving feedback to the other participants. Sign up at the Workshop Page on my site. Please join in!

You can get my books through amazon or other booksellers.

Please visit my site to see my other workshops and to check out the Free On Line Classes!

April 30, 2014

Notes From the Lighting Workshop

Filed under: Indianapolis,Lighting Technique,Photographic Education,Portraits — John Siskin @ 12:22 pm

Please check out my on-line classes at BetterPhoto: An Introduction to Photographic Lighting, Portrait Lighting on Location and in the Studio and Getting Started in Commercial Photography, take a look at my site for workshops in Indianapolis and check out my books:

The Lighting Workshop happened last weekend and it went very well. We spent all day discussing and working with strobes. Since the class size was small I was able to be very responsive to the specific interests of each participant. We set up the strobes to see how the tools work in specific situations as well as discussing the basics of how light works. If you understand the basics of a light: size, color, position and power, you can understand what a light will do. We did a lot of shots so that we could see the effect. Of course the shots were for demonstration so we concentrated on the lighting. In this shot I’m the model, which is not my best talent. I used a light panel with a white cotton broad cloth cover. These are great light modifiers. I wanted to use a hard light in the shot so I set up a strobe with a snoot to the right of the camera. I like snoots more than grid spots because the light spreads more than with grids as you pull the snoots back from the subject. This shot shows the set-up.

The light panel gives a smooth gradation across most of the face. The snoot defines the other side of the face. One of the first things I wanted to demonstrate was how to use a colored gel to change the color of the light. I usually use warm gels, but I wanted to make a change here so I added a CTB gel, which is a blue. The CTB gel is from Rosco and is designed to make a tungsten light act like daylight. The shot below shows how the shot looked at first: not great. The light on my face is a little dark while there is probably too much light from the snoot. It burns out the left side of my face.

In the next shot I made some adjustments. The light on my face is a little brighter, which helps. Also I’ve positioned the light panel just a little more in front of my face; this make the light cover more of my face. The snoot is positioned to keep the light on just the side of my face. This is accomplished by moving the snoot a little more toward the center of the shot. The light from the snoot is still too bright. You’ll notice that since the light panel is still situated pretty far to the side of my face as  there is little or know reflection in my glasses. The further the light panels comes toward the camera position the more reflection there will be in my glasses.

In the last shot I added a 1-stop neutral density filter to the blue gel. This reduced the light on the left side of my face nicely. The light panel is a little closer to the camera position so there is a little more reflection in my glasses. When you use a large light modifier, which makes soft light, the reflection (specular highlight) is larger and less bright, relative to the rest of the light. So the reflection is as strong as a reflection from a small hard light. This works well in this shot. The same thing applies to the catch lights in the eyes, which have a nice size and brightness in this shot.

You can see the two gels on the version of the shot below. They’re held onto the snoot by a very small spring clamp.

I hope you’ll consider taking one of my workshops. The next one is the continuing Portfolio Workshop on June 2. You can find more information on the workshop page of my site. You can also find the books on my site, and I hope you’ll check them out. I’ll be speaking about micro (not macro but micro) photography on June 5 at the Photo Venture Camera Club here in Indianapolis. Finally please don’t forget my classes at BetterPhoto, you can take them anywhere!
An Introduction to Photographic Lighting
Portrait Lighting on Location and in the Studio

Getting Started in Commercial Photography

Here are a couple more shots from the workshop. Thanks Bill!


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