Intro by Skip Cohen
It's Marketing Monday, and while this might seem a little off the topic, from my perspective, it's right on target. Anybody can market well enough to get their first client - the challenge is getting that client to keep coming back, as well as telling all their friends to check you out.
That boils down to creating images that leave people in awe of your skills. Sure, it's about creating an experience and being fun to work with - but in the end, you have to create images beyond expectations.
I've recently shared a few of Seth Resnick's posts from Facebook because he's writing outstanding content. He's posting information to make you a better artist, regardless of your specialty. I loved this post because it hits one aspect of adding POWER to an image.
I've written a lot about your galleries as past Marketing Monday posts. Every image in your gallery should be a "Wow" photograph. It needs to be so powerful that you'd only need to show that one image to get hired, or have a picture editor want to look at more of your work.
When was the last time you cleaned up your galleries? Is there work there that anybody's Uncle Harry could shoot? Are you sharing too many images and not showing your very best?
Seth needs to be on your radar. He's regularly sharing great information covering a wide variety of topics on his Facebook page. And he's only a click away.
by Seth Resnick
The silhouette from yesterday reminded me of the concept of balancing technical knowledge and aesthetics. There are photographers like the great “god” Jay Maisel who could care less about a lot of technicals and there are photographers who are so technical that they place the technical merits over the aesthetics.
The answer for me is almost like a right brain, left brain combination or rather meshing together both aesthetics and technicals.
All of this comes to mind as I think back to the days of Shadowland and the beginning of Lightroom. I remember some of the lead engineers thinking how to process a raw file and looking at all files as if they were the same only caring about technicals. Along comes my dear friend Greg Gorman and the engineers are blown away that the blacks in some of his images have no detail. They question whether this is correct and Greg explains how he intentionally slammed the blacks. For all the rules it is critical to understand that the first rule is that there are no rules that are always 100%.
Crushing blacks is the process of taking relatively dark areas typically shadow areas and making them even darker by increasing contrast in those areas. It removes any areas of light within those dark areas.
For photographers who grew up with darkrooms we talked about toes and shoulders where the highlights block off to white and the shadows block off to black on a given tonality curve so to speak. The toe would be the bottom part of any curve and the shoulder the top part. I remember discussing with the engineers what we were going to call curves in Lightroom. When we raised Toe, and Shoulder we got "huh" because while some of the engineers knew a ton about programing and pixels they weren’t necessarily photographers.
In fact one camera manufacturer automatically did this intentionally in their processor because it minimized seeing noise in the shadows.
I remember when I worked at the Syracuse Newspapers that we would have to fight like mad with the executive editors when we shot a silhouette because the art department was instructed to airbrush and open up shadows. The idea being quite literally that silhouettes don’t exist because shadows need detail.
Anyhow, my point is silhouettes can make very powerful images and the crushed blacks do not need to be opened up……..
Check out "Why?" one of the most popular features on the SCU Blog. It's a very simple concept - one image, one artist and one short sound bite. Each artist shares what makes the image one of their most favorite. We're over 100 artists featured since the project started. Click on the link above and you can scroll through all of the episodes to date.