Archive for the 'Black and White' Category

May 06 2010

Vincent Versace Will Be Sowing Every Black and White Conversion technique Know to Man Webinar

Vincent Versace Header

Vincent Versace

Join Nik Software
in an exclusive webinar presented
by famed fine art photographer
Vincent Versace

May 13th at 10:00 am, PST

Register Today

Hosted by Nik Software, follow along with Vincent as he shows you how to make Black & White images that not only rivals Silver Gelatin images but surpasses them. Learn why you should not use every conversion approach and when you really should!

Vincent will show you how to transform a RGB file to black and white replicating the physics of how it would have been recorded if actually shot on black and white film without ever leaving the RGB color space.

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Feb 01 2010

Audio – B&W and Color

Excerpted from John Paul Caponigro’s blog.
http://www.johnpaulcaponigro.com/blog/

morephotosaudiowppi

In this interview I discuss one of my favorite subjects – Color!

Check out my seminar at WPPI Las Vegas March 10.

Check out my workshop the Power of Color.

Learn more with my DVDs.

Learn more in my free Lessons.

MorePhotosRadio – John Paul Caponigro for WPPI
Play: MorePhotosRadio – John Paul Caponigro for WPPI
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Nov 18 2009

A Photographers Interview with Vincent Versace

A Photographes Interview with Vincent VersacePlease tell us about yourself as a person and as a photographer. Where did you grow up and what sparked your desire to photograph? Were you active with the photography department in high school? Where are you living now?

I grew up all over. My father literally was a rocket scientist. He was one of the designers of the zip code machine and system, he was also part of engineering design team for mercury, Gemini and Apollo programs. He was the senior hydraulics design engineer for the crawler, which brings rockets out to the launch pad from the vab (vertical assembly building) it is still in use today. After that he worked on what is now the Abrams m-1a1 tank. So wherever there was a manufacturing/design facility we moved there every six months to a year. Needless to say I had a huge imaginary life and need to fill the time between no friends to new friends. Photography for me was that for me.

3026107826_7e7fe83c38My interest in photography was sparked when I was 6 years old. My uncle frank was stuck with babysitting me and he was a wedding photographer. He had to make some prints so off to the darkroom we went, after my first wiff of fixer I was hooked. I save up my allowance for a year and purchased my first camera, a Nikon rangefinder, in a garage sale. I sold my first picture to the local town newspaper when I was nine. Was paid 50.00. I took my father out to lunch at Woolworths. I remember leaving a 1.00 tip (that was what my dad would do)

I was the youngest person in the photography class in high school and then I wasn’t. Photography was a seniors only class and I was allowed in when I was a freshman. The teach Doug Johnson was really supportive and let me bounce of the walls.

Can you describe the defining moment or image that made you want to become a photographer?

When I knew I wanted to be a photographer, I mean new it in my core, was when I was 15 years old and out to the smoky mountains with my other uncle CJ Elfont. I shot my first “smokey water” waterfall. I watched how the world stopped for him when he shot and the look on his face after he made an exposure with his view camera. I had the “buzz” when I captured my water shot. That was when I knew.

What was the first camera you ever owned and how did you come across it? Was it a hand-me-down, purchased at a garage sale, found on the side of the road?

I purchased it in a garage sale in new Cumberland pa. It was a Nikon rangefinder.

What was your first paid photography job? Did you enjoy it? Were you scared? Did you make any mistakes?

My first paid job was a wedding I shot in high school. I charge 250.00 and it cost 285.00 to process it. No I did not enjoy it, yes I was scared and asking me if I made mistakes is a silly question I charged 250.00 and it cost me 285.00. Noooooo…… I did not make one mistake at all…

Vincent VersaceHow did you decide to make photography more than a hobby? If photography is your full time job, how did you make that decision? What was your backup plan if the photography career didn’t take off? Any regrets? If you are not a full time photographer, what is stopping you? What is your full time job? Any plans to become a full time photographer in the future?

I didn’t decide photography decided for me. I’m a conservatory trained actor and a graduate of USC film school. My uncle CJ gave me a camera for a graduation gift and said, “I’m tired of listening to you bitch about waiting tables. I taught you photography go shoot actors headshots.”

What was the last straw, the final decision maker to make you go digital? What do you miss about film?

I miss nothing about film. There was never a last straw form me. I wanted to go digital before they invented the first digital camera. I was blessed to be both Nikon’s first digital photographer outside of Nikon to be asked to beta test and Epson’s first beta tester of printers.

What is the hardest part of the job when shooting for a client? What is the hardest part of the job when shooting for yourself?

I think shooting yourself is pedantic and narcissistic. I find those types of images to simply be silly. The easiest way to deal with a client is to show no fear. All of that is handled in pre-production. If you let your work always speak for itself you have no worries. I never speak about my work in terms of “isn’t this amazing” i let the images do that. I never doubt my ability to create great imagery. That is what i do. Like a bank manage manages a bank or a baker bakes bread. That is what they do. Water finds its own level.

Do you try to help others learn about photography? If so, please explain how.

Sure do. I write books, produce tutorial dvds teach seminars arround the world.

Vincent VersaceWhat and/or who inspires you in life and photography and why?

Jay maisel. Why? Look at his work, go and listen to him speak.   Josef Sudek. His sensability and use of the simple things of life to show the beauty of the world. That is what we should aspire to.

Do you consider yourself an artist first before thinking about the job ahead of you?

Art and artist are social terms. You can only be an artist or the work you create be called art if people who don’t know you accuse you and your work of being art and you an artist: I simply don’t think that way. People who do that are a wee bit pretentious doesn’t you think?

What is the best advice you would give a photographer just starting out?

First, consider a career in plumbing. Photography is for those people who cannot do anything else. Not that they are not capable of doing other things it’s just that they can only do the one thing express them selve through the camera.

Second, stop taking pictures. Be taken by your pictures. Let the images pull you trough the camera and not the other way around.

Third, master natural light photography first.

The key to creativity is…

Always say yes. Always listen your heart.

What is your favorite camera that you have used or owned? What camera and lens combination do you use most of the time when photographing for a client? What about when photographing for yourself?

The original Nikon d1. I shoot with camera 000001. That camera was magic. My favorite lens is the 70-210d series lens. I use it to this day.

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What is your favorite time of day to shoot outdoors?

From just before sunrise to just after sunset.

How do you deal with rejection of your work, losing a job, not making a sale or a negative comment?

I don’t give a rat’s ass if someone likes my work. I like my work that is the only person who matters. I figure if you don’t like my work i now know something about you.

How do you protect your camera when not in use? When traveling? When on the way to a job? What if it rains?

I use Nikon. The world’s most “vinnie proof” camera ever made. Lowepro are the bags I use, I think they are the best built and they really go out of their way to listen to photographers when they design their bags. A secret to protecting your camera in the rain is to steal the shower caps from hotels. They are the most perfect camera covers ever devised.

Vincent Versace

Do you clean the CCD yourself or send it away somewhere? If you send it away, where to and how much does it cost?

Clean it my self

I recently started a project called 5511 where a client pays $5 for a 5 minute photo shoot when 1 artificial light is used and they receive 1 digital photo. Is this something you would be interested in trying? For me it is something fun and challenging. What are you thoughts on that?

I’m not that type of photographer. I use god as my gaffer, and therefore I shall never want for light. The way I see it is he brings the sun to every shoot for me to use.

What music sparks your creativity? Do you listen to that when shooting a job? Do you listen to music at all? Do you listen to what the client likes?

Sid Page and David Schrealander the DVD is called Odessy that and the sound track by Mark Isham from the movie “The Moderns” both are out of print.

What is your favorite band? Movie? Book? Museum? Website? Who is your favorite photographer? Artist?

Johnny Hartman. Bladerunner. The Foutainhead. The Gugenhiem in NYC. Don’t have a favorite website. Josef Sudek. Pablo Picasso.

What is your favorite photograph you’ve ever taken?

One I haven’t taken yet is my favorite image.

What is your favorite photograph from another photographer?

Dovima with the elephants. Richard Avedon.

Is there something you always ask yourself or think just before you push the shutter button?

When’s lunch.

Vincent Versace

Do you find yourself always looking at the World wondering how it would look as a photograph?

No. I think the world is always waiting to take me. I just have to slow down enough to let it.

Anything you would like to add for our readers?

Don’t worry about what others think of your work. Worry about what you think of your work.

View more photographs by Vincent Versace: versacephotography.com, acmeeducational.com

Thank you for reading the interview. This interview was presented to the photographer with questions asked by me and submissions from other photographers. The photographer is asked to answer only what he/she is comfortable with. If you would like to contribute to future interviews, please submit your your questions to me on Twitter, Facebook or on the Interview intro blog post, What would you ask a photographer?. Thank you for reading and enjoy the interview.

Some questions supplied from the following Twitter users:
@pjtaylorphoto, @ishootinraw, @donkeymaster, @GrfxGuru

Some questions supplied from the following Facebook users:
Brian Walter, Faylin Myhre, Leslie DeLorean, Patrick Connor

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© John Paul Caponigro © R Mac Holbert

Looking for the ultimate digital printmaking workshop?

This premiere workshop is the chance of a lifetime. Learn from two master digital print makers at the same time, fresh off their highly successful tour in the Epson Print Academy, in The Fine Art of Digital Printing. The workshops will be held in the state-of-the-art labs of today’s premier photographic educational institutions.

This workshop will expose you to a world of possibilities

The workshop translates photographic language and practices from traditional to digital and exposes you to a world of new possibilities.. You’ll see, use, and evaluate the latest Epson printers, ink, papers, and profiles. An integrated approach to using Adobe products Photoshop, Camera Raw, Bridge, and Lightroom will all be detailed and practiced. By the end of the week you will have mastered a fine art workflow, understand how it differs from others, and learn a variety of techniques and tools that will help improve and refine both your digital files and prints. You’ll leave with finished prints and the knowledge you need to get the results you’re looking for when you return home. You’ll also leave with a vastly expanded set of possibilities for making images.

Topics include…

  • Color managed workflow from input to output
  • Adobe Bridge, Camera RAW, Lightroom, Photoshop
  • RAW conversions
  • Sophisticated color adjustment strategies
  • Black and white conversions and toning solutions
  • Local correction and masking
  • Sharpening
  • Resampling
  • Noise reduction
  • RIPs and printer drivers
  • Printer maintenance and fine tuning
  • Essential printing tests
  • Substrate surveys
  • Print handling and storage
  • Fine art printing techniques

For more information

and

how to prepare

Brooks

You’ll also get reviews of your work from both John Paul and Mac.

Course handouts include the latest version of John Paul’s Workshop CD with hundreds of PDFs, exercises, actions, and test files. There’s a booklet of paper handouts culled from over 15 years of John Paul and Mac’s writings. You’ll find them to be invaluable resources long after the workshop ends.

Nash EditionsMaster Class

Atmospheric FX DVD
Drawing with Light DVD

Links

johnpaulcaponigro.com
nasheditions.com
JP & Mac—Artist’s on Art

Epson Professional Imaging

brooks.edu
Santa Barbara Visitor Information
santabarbaraca.com

hallmark.edu/facility/
www.turnersfallsriverculture.org/

Level
This workshop is right for you if you want to master digital printmaking and take your digital imaging skills to the next level. This workshop has a strong photographic perspective but is applicable to all types of artists who want to reproduce their work in digital media. Intermediate skill levels with Photoshop are required.

Enrollment
Limited to 24.

Cost
Valued at $1,995, this workshop will be offered at an exclusive price of $1,495 due to Epson’s generosity.

Lab
No Lab Fee–Epson is providing unlimited printing during the workshop with labs open until 11pm Monday through Thursday. Onsite lunch is included to maximize instruction and lab time.

More Information & How to Prepare for Brooks

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Apr 26 2009

Vincent Versace Focus on Nature Interview

Focus on Nature interview with Vincent Versace.
By Einar Erlendsson
Q: Last summer you landed on Iceland for the first time and you are prepared to come again?

A: Better prepared, I think. I know what to expect. I’m also coming with a Nikon D3X

Q: What are you most looking forward to seeing in Iceland?

A: Waterfalls, energy and glaciers

Vincent Versace 01
Photo: Vincent Versace, Iceland 2008
Q: Do you see the light in Iceland as being different in some way?

A: the light appears longer, like at the end of the daylight just before sunset. It also seems to be warmer as well.

Q: What in the landscape inspires you?

A:  3:53 PM the vastness of the expanses

Q: Do you feel that the Icelandic workshop is different or has a character you can explain in few words to participants?

A: No people. It’s all about the landscape. You are forced to see the geometrics of the environment rather than relying on the expressions of people

Q: What’s your teaching style?

A: Immersive. I work with voice as well as technique


Vincent Versace 02
Photo: Vincent Versace, Iceland 2008
Q: During field trips, do you set assignments or how do you influence the workshop participants?

A: I build my classes on a class-by-class basis. I work group assignments and tailor them to the group as well as working one on with the participants.

Q: Do you like to include critic sessions in you workshops?

A: Yes

Q: What are your students mostly likely to learn?

A: To see past the obvious, to explore light, gesture color and time and how to capture them. But most importantly how to be taken by a picture rather simply taking the picture.

Q: When the weather gets challenging what are you most likely to do?

A: Ranger on.

Q: What do you like most about teaching?

A: Watching the epiphany light go off in my students and seeing things in new ways

Q: What characteristic do you feel will be of importance for participants to nurture and develop staying with you out in the country during the Iceland workshop, that should last after they return home?

A: The ability to stop taking pictures but rather to be taken by pictures

Vincent Versace 03

Photo: Vincent Versace, Iceland 2008
Q: How would you describe your photographic approach?

A: I believe that one travels in a circle but does it in a straight line when creating an image. The more you understand about the middle, post processing or what can be done to an image the more informed the decision are at the beginning, when you capture the photograph because you are always in service of the end, the print and the print? It’s inservice of your voice, what you saw at the beginning.

Q: How would you characterize your visual style?

A: I tell the truth and see the pretty.

Q: Do you have a personal concept or future project in mind before you travel to a place like Iceland?

A: There is a short story by Orson Scott Card called “Unaccompanied Sonata” that would best describe my feeling. The bottom line is I show up with no preconceptions and let the place take me were it takes me.

Q: Does it make the difference to have been in Iceland last summer, and if so, what?

A: I’m more excited to return.

Thank you Vincent Versace for taking your time.

Einar Erlendsson,
Project Manager

About Vincent´s workshop:

Vincet’s Vorkshop abstract

Turn ideas into reality


About Vincent Versace:

Computerworld Smithsonian Award Laureate
Innovation: Media Arts and Entertainment

Author: Welcome to Oz: A Cinematic Approach to Digital Still Photography with Photoshop
http://welcometooz.notlong.com

“Best how to book of the year!”
Shutterbug Magazine
http://vatshutterbug.notlong.com

http://flickr.com/photos/vincentversace/

www.versacephotography.com
www.Acmeeducational.com
http://versacephotography.com/workshop.html



Check out Focus on Nature 10%  early registration offer to the end of April.
Save $ 495.

Focus on Nature links:

Focus on Nature 2009 program
Basic workshop program
Image album
Testimonies of students 2008
About Iceland
Focus on Nature News

Facebook group


Register today: E-registration
For priority status contact Einar Erlendsson, project manager
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Dec 23 2008

John Paul Caponigro on the Many Ways to Convert Color to Black & White


There are over 14 ways to convert color to black and white.

1    Raw Conversion
2    Convert to Grayscale
3    Convert to Lab then convert to Grayscale keeping the L channel
4    Desaturate
5    Channel Mixer
6    Black & White Adjustment Layer
7    Dual Adjustment Layers – Dual Hue / Saturation
8    Dual Adjustment Layers – Hue / Saturation with Selective Color
9    Dual Adjustment Layers – Hue / Saturation with Channel Mixer
10    Triple Adjustment Layers – 3 Channel Mixers
11    Gradient Map
12    Calculations
13    Apply Image
14    Channels as Layers

Some of these methods aren’t optimal. Some are equal. Some are superior.
Which should you use?
It depends on the image.
Sometimes a simple solution will do just as well as a complex one.
Sometimes you need the power of a more complex solution.
Here are my four favorites, ascending from simple to complex.

1    Black & White Adjustment Layer
2    Dual Adjustment Layers – Hue/Saturation and Channel Mixer
3    Triple Adjustment Layers – 3 Channel Mixers
4    Channels as Layers

Master these four techniques and you won’t need another.
And you’ll get the very best results possible.