Audience:
Sophisticated
photographers who believe that creative time does
not stop once
the shutter has been pushed. History, portraiture,
family events, architecture, graphics, typography
all are relevant to presentations that will afford
repeated viewing. This seminar is all
about learning to see image gems in the rough and
use a variety of postproduction techniques to create
lasting, tactile, storytelling enjoyment for their
clients - all in the face of today’s
challenging climate in which “good enough” 4x6
reprints are the ruling philosophy. A professional organization could use this class as a
fund raiser, by attracting talented amateurs. Without offering competition for professional jobs,
this potential audience segment would
like to get their work out of the shoe box, out of
computer files, into a variety of readable, dimensional, impactful presentations to share and enjoy
without traditional publishing.
Description:
Every
photographer has stories to tell, yet most stories
remain untold, entombed
in our computers, without audience or appreciation.
The effort to capture fine images
and to optimize them in Photoshop is often so great
that we forget the most important
step of the whole process. To create visual value,
we owe our images the chance to be seen
in an organized, readable fashion. Neither the occasional
opportunity for a gallery show or
single image publication, nor the ubiquitous 4x6
plastic page memory album will bring home
the meaning of our stories to be re-told to anyone
at a moment’s notice.
Learning to disseminate
our photographic stories in convenient, usable, enjoyable
and economical
presentations becomes the validation, the final step,
for everything we do as photographic
artists.
Workshop participants
come prepared with one or more series of related
images, already
color corrected and optimized, which will form the
basis for creating personal, story-telling
presentations. Subject matter is gloriously unlimited,
from travel and photojournalistic images to portraiture, family events and on to topic-driven
photo essays or an historical or genealogical
collection. Techniques for deciding on story direction,
editing images, choosing
format and materials, use of graphics and enhancements
will apply equally to any subject
matter.
Pre-workshop
dialogue of topic/image suitability available to
any participant. A syllabus of
instructions for pre-workshop image preparation and
format, methodological and reading
suggestions in the form of an interactive questionnaire
is to be filled out in advance. Product
source materials and step-by step instructions will
be furnished during the workshop. Participants
must have a lap-top computer with sufficient storage
for original images and large project files, image editing software, preferably
Photoshop CS2 or CS3, with a good understanding
of Bridge, (Lightroom and Aperture nice additions,
but not required), ability to
make CD/DVD, and ability to transfer images via jump
drive or other removable media with
at least 10G capacity.
Outline of Instruction:
2 ½ days of interactive
lecture interspersed with individual project work
and 2 ½ days
of significant individual work, instructor guided,
interspersed with interactive discussion, repetition
of theory and honing of
technical concerns
Each participant
should complete, or close to complete, by the end
of the workshop a presentation on the computer, ready
for book making, printing or electronic publication.
This workshop is not about Photoshop, though many
skills presented deal with Photoshop
and Bridge tools, actions, sharpening, etc. The less
experienced individual will come away
with a simpler project, with full understanding of
basics, and those who have worked more
extensively with editing software will find challenges
both to refine imagery and enhance
interpretation for a more complex essay. However,
full competence with downloading and
securing image files and an intermediate ability
to color correct, crop and size are necessary.
Project scope:
Discussion of topics, approaches,
end goals
examination of samples, dialogue about respective
merits of types of presentations
press books such as NexPress, self-mount books, hand
made books and portfolios, image
boxes and folios, eBooks and screensavers, manufactured
albums
final selection of individual project topic/type
of presentation
Editing Imagery:
Taking a body of imagery from a
picture group into a picture essay or picture story
text segments from Visual Impact in Print (Hurley/McDougall)
and The Photographic Essay
(William Allard)
quantity and style of imagery questions
individual editing choices, with significant work
period and one-on-one time to
properly delineate project direction.
Creating the Story Layout:
Sequencing, sizing, combining for
meaning
further text segments from above sources
interactive discussions by all participants of sample
image sets
continuity of color, graphics, design, approach:
what is it, how to do it
final selection of all elements to be used in individual
projects
significant time to complete individual project layouts
Technical Concerns:
Precision details of sizing, sharpening,
use of graphics, cut margins, image safe areas,
templates, backgrounds
considerations of type and text, geared to meaning
that does not overpower visuals
making a personal library of templates and optimization/enhancement
actions
instructions to use again and again and alter simply
and at will.
Presentation of final projects:
Individual projects, regardless
of intended final product, presented as eBooks for
class
enjoyment and comment
Sara's
web site is photomirage.com
You can reach her at imagination@photomirage.com
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