2011 Call for Proposals • SPE WEST CONFERENCE

SURVIVAL~ Society for Photographic Education WEST Regional Conference

November 18th&19th, 2011 • Cabrillo College –  Santa Cruz, CA

Submissions Due: By midnight on Sunday, September 18th, 2011

For More Information Visit: SPEWEST.ORG

CALL FOR PROPOSALS: IMAGEMAKER PRESENTATIONS – LECTURES – WORKSHOPS – PANELS – TEACHING WORKSHOPS

The conference will invite image-makers, theoreticians and historians to propose papers and workshops that consider the notion of Survival. Survival, as endurance, can describe the sustainability of a custom or belief. Survival, as evolution, can investigate a natural process resulting in change. Survival, as individuals, can illuminate an inner-journey. Works may also address survival on a local or global level as an artist, photographer, educator, professional, community, species, culture, or environment. Questions that explore the survival of the current state of the medium of photography, including both traditional and new genres, in relation to artistic practice, commercial use, and photo-education are welcomed. All proposals are peer reviewed by the SPE West Board.
* The conference also strongly invites educators to propose workshops related to teaching.
** Proposals not specific to the theme WILL be considered.

FORMAT: Image-maker presentations – lectures – workshops – panels

  • Lecture or panel – historical or theoretical on a theme or another artist’s work (specify 30 minutes or 60 minutes).
  • Image-maker presentation – Image-makers may work in photography, film, video installation or performance (specify 30minutes or 60minutes).
  • Workshop/Round-table Discussion – a ‘how-to’ or information sharing forum led by one or more educators. Please specify materials, space requirements and estimated time needed.
  • Student Presentation: A shorter length presentation of your work and the program you are enrolled in (30 minutes).

SUBMISSION FORMAT: Image-maker presentations – lectures – workshops – panels
Please submit as ONE PDF document – the following information:

  • Name, address, phone, email, title of submission, additional speakers/panelists, and website if appropriate.
  • A 250 – 500 word abstract detailing the presentation or work submitted.
  • A 50 word biographical summary for each intended participant.
  • A portfolio of images ca. 10 – 15 images relevant to the theme or artist presentation (video artists please also submit a link to online video files). Please keep your image files small –recommend maximum width 1000 pixels @72ppi.
  • Choose a 30 minute time slot OR 60 minute time slot OR a 90 minute timeslot (for large panels) OR a Workshop format (specify time needed).
  • Please submit all submissions and address all questions to Julia Bradshaw Bradshaw.julia@gmail.com   Please include the word PROPOSAL and your name in the SUBJECT field.

Questions about B&W Conversion Workflow:

Relating to B&W Conversion Handout for B&W Printing Workshop – Photo68b:

Dodging & Burning Techniques:

  1. Which is a more effective method for dodging and burning? Using Method #1 (Layer>New Layer>Overlay, X Fill 50% Gray w/ Brushes) in B&W Conversion Handout OR using Curves Method #2 (see Two techniques here:  Using Curves to Dodge/Burn Option#1, when using this Curves Technique, be sure to make Blend Mode on Curves Layer: Luminosity as to not alter the color of image when D&B, OR Using Curves to Dodge/Burn Option #2-Faster TechniqueANSWER: Sorry, there really isn’t one answer here. It depends on your image and the time you have. I find it faster to use the Overlay and Fill 50% gray. When using Curves Technique #1, it takes some time but with the Luminosity Blend Mode set, you won’t alter the color of your image. I also like the impact of the “S-Curve” for contrast in this method.  With Method #2 for Curves you will get some color saturation when you Burn).

  1. TIP for Dodging and Burning for Method #1  – You can now use the Dodge & Burn tools (instead of Brushes) to Dodge/Burn on your Overlay, 50% Gray Layer (used to be that D&B tools would paint with color or gray, they improved that). For Range in Options Bar, typically you will concentrate on the midtones. Keep Exposure low, at 5%-30% or so. This technique is not as dramatic as when you use Paint Brushes and it can be good for Dodging/Burning Faces.  Zoom into 300% for more control on smaller areas. Zoom out often to see entire image.
  2. TIP for Dodging & Burning for Method #2 w/ Curves – when using Curves Technique, be sure to make Blend Mode on Curves Layer: Luminosity as to not alter the color of image when D&B

B&W Adjustment Layer:

  1. Is it OK to use Hand or Target Adjustment Tool (Hand Icon) in B&W Adjustment Layer? It is just fine to do this, just try not to go to extremes with the sliders as that is what really will harm your image. You can get harsh transitions between areas, banding. To avoid this, keep your eye on the image as you drag the sliders or hand. Leave your Histogram Palette open as you drag the B&W sliders to make sure you aren’t clipping (or losing information) in your image. See bottom of this page: “Keeping an Eye on the Histogram”.

Using Lightroom for B&W Conversion

  1. B&W in Lightroom: This is from the Pictage.com blog.  I use Pictage for my wedding and portrait business to upload and sell images. They often have interesting Tutorials.  Check it out: B&W CONVERSIONS IN LIGHTROOM!

Some B&W Printing Profiles for Epson 3880 & 3800

* Read suggested Paper Type Settings and Special Print Profile Settings on same pages as profile downloads

Summer 2011 – Photo Workshop: Large-Scale Black & White Digital Printing Workshop

Foothill College – Summer 2011

PHOT 68B.01 Digital Topics in Photography
Large Format Black & White Digital Printing Workshop

Instructor: Lesley Louden

1 unit Short Course (For Price – Go to Foothill College)

from “Evelyn: Nothing Fancy” © Lesley Louden

In this workshop we will explore various black and white aspects of digital imaging. This will include special experimentation of color to black and white digital conversions and sharpening methods with Digital RAW files in Adobe Photoshop. Then we will prepare our files for large format printing on our Epson 4880, 3880, 3800 printers. Various fine art and traditional papers (larger print sizes 11×17, 13×19, 17×22), known for their attributes in printing black and white images, will be utilized to achieve the beautiful larger format black and white digital prints.

Contact Lesley Louden for more information: loudenlesley@foothill.edu

SCHEDULE:

Thursday, June 3oth, 6pm-7pm – Foothill College – Room 6107 or Studio

Saturday, July 16th, 9am-4pm – Foothill College – Room 1211 – Idea Lab

-Online Tutorials & Demos. will be presented for creating B&W images.

Final Crit. – July 26th, 6pm-8pm – Foothill College – Room 6107 or Studio

  • More Information for Workshop:

First Meeting:  Thursday, June 3oth, 6pm-7pm – Foothill College – Room 6107 or Studio
• B&W Conversion Demonstration & Paper Option Sharing:
The first meeting will include a B&W Digital Conversion demonstration (also available as an online tutorial for your later viewing) and paper type sharing as well as information concerning our printing workshop day. I will be showing my favorite paper-type examples for B&W digital printing at this first meeting.  This will help you decide which paper to purchase based on what you want to try printing on and the imagery you are working with.

* At first meeting you may want to find out if anyone wants to share a box of paper with you or swap a sheet or two with you to be able to try various paper types.

Independently Before Next Workshop Day:

TO DO LIST:

Convert Images to B&W Prior to Workshop Day Based on Demo. from first meeting & Online/Digital Tutorials: Online Tutorials will be given to you with the instructions for converting your images to B&W in Photoshop. You will then convert your images (4 Images, any of your choice) to black and white prior to our Saturday printing day in the lab (it is best if you have all conversions complete by the day of the workshop).  If you do not have Photoshop, you can download the 30 day trial for converting your images to B&W at home on your computer.

Purchase Paper @ Keeble & Schuchat in Palo Alto, Monterey Bay Photo-Supply in Santa Cruz, or Online through Amazon or Adorama (11×17, 13×19, or 17×22 paper)

  • Update your Foothill College Student ID OWL Card OR get a Foothill Student ID OWL Card from the Smart Shop on Campus (Campus Center Room 2016 – Hours for Summer Quarter: Monday – Thursday 8 a.m. – 5 p.m. Friday: Closed) – Then load money (Cash only – at least $6) onto your Student ID Card in the library or student center so that you can print images in the Idea Lab on our workshop day (About $2 a print, for larger prints).  http://www.foothill.fhda.edu/campuslife/smart.php

Bring images to work-on, for while you are waiting your turn to print.  We will be utilizing four different large format printers in our Lab and we will each be printing one image at a time.  So, it is to your benefit to have other things to work-on in the lab while you are waiting for your printing slots (we have 30 mac computers in our lab for use).

• Print out Epson Printing Handout that I will give you prior to our workshop day and bring it to class.


Workshop Day:
Saturday, July 16th, 9am-4pm – Foothill College – Room 1211 – Idea Lab

• Instructions will be given on loading larger fine art papers and the proper print settings for Black & White Digital Printing on Epson Larger Format Printers
• Main Focus of Workshop Day is printing, however, assistance with B&W Digital Conversions of color files in Photoshop will be possible.
• Printing all day in lab

* Bring lunch with you as nothing will be open on-campus that day.

 *Bring projects/images to work-on while you are awaiting your slots to print!  We will have four printers running for at least 6 hours.

Critique Day:  Final Crit. – July 26th, 6pm-8pm – Foothill College – Room 6107 or Studio
• DUE:  One B&W Print: 17×22, 11×17, or 13×19 Prints (not mounted or matted, just loose prints – (with printer name, paper type, any special settings written on back edge of paper)
– These may be prints you made the day of our workshop OR prints you make at home after our printing workshop day (or even larger ones from Costco for comparison if you like).

Questions about B&W Conversion Workflow:

Dodging & Burning Techniques:

  1. DODGING/BURNING TECHNIQUE QUESTION: Non-Destructive Which is a more effective method for dodging and burning? Using Method #1 (Layer>New Layer>Overlay, X Fill 50% Gray w/ Brushes) in B&W Conversion Handout OR using Curves Method #2 (see Two techniques here:  Using Curves to Dodge/Burn Option#1, when using this Curves Technique, be sure to make Blend Mode on Curves Layer: Luminosity as to not alter the color of image when D&B, OR Using Curves to Dodge/Burn Option #2-Faster Technique)               ANSWER: Sorry, there really isn’t one answer here. It depends on your image and the time you have. I find it faster to use the Overlay and Fill 50% gray. When using Curves Technique #1, it takes some time but with the Luminosity Blend Mode set, you won’t alter the color of your image. I also like the impact of the “S-Curve” for contrast in this method.  With Method #2 for Curves you will get some color saturation when you Burn).
  2. TIP for Dodging and Burning for Method #1  You can now use the Dodge & Burn tools (instead of Brushes) to Dodge/Burn on your Overlay, 50% Gray Layer (used to be that D&B tools would paint with color or gray, they improved that). For Range in Options Bar, typically you will concentrate on the midtones. Keep Exposure low, at 5%-30% or so. This technique is not as dramatic as when you use Paint Brushes and it can be good for Dodging/Burning Faces.  Zoom into 300% for more control on smaller areas. Zoom out often to see entire image.
  3. TIP for Dodging & Burning for Method #2 w/ Curves – when using Curves Technique, be sure to make Blend Mode on Curves Layer: Luminosity as to not alter the color of image when D&B

B&W Adjustment Layer:

  1. Using the Hand or Target Adjustment Tool (Hand Icon) in B&W Adjustment Layer: It is just fine to do this, just try not to go to extremes with the sliders as that is what really will harm your image. You can get harsh transitions between areas, banding. To avoid this, keep your eye on the image as you drag the sliders or hand. Leave your Histogram Palette open as you drag the B&W sliders to make sure you aren’t clipping (or losing information) in your image. See bottom of this page: “Keeping an Eye on the Histogram”.

2011 SPE West Regional Conference “Survival” • November 18-19 • Santa Cruz, CA

SOCIETY FOR PHOTOGRAPHIC EDUCATION WEST

SAVE THE DATE for the  SPE West 2011

Regional Conference Survival, taking place November 18-19, 2011 in Santa Cruz, CA.

Featured Speaker: Liz Cohen
Honored Educator: Brian Taylor

Hosted by: SPE West, Cabrillo College – Santa Cruz, CA

© Liz Cohen - Grinder ("Bodywork") 2006 Galerie Laurent Godin, Paris

©Brian Taylor Detail of "The Good Wife"

Friday Afternoon, Nov. 18th: Artist/Photographic Workshops & Teaching Workshops
Friday Night, Nov. 18th @ 8:30pm – Informal Portfolio Sharing • Wine & Cheese Party @ Sesnon House (for registered participants of conference) – After Honored Educator Talk

Coming Soon – MORE INFORMATION ON:

CALL FOR PROPOSALS: IMAGEMAKER PRESENTATIONS – LECTURES – WORKSHOPS – PANELS – TEACHING WORKSHOPS – ARTIST WORKSHOPS

The conference will invite image-makers, theoreticians and historians to propose papers and workshops that consider the notion of Survival. Survival, as endurance, can describe the sustainability of a custom or belief. Survival, as evolution, can investigate a natural process resulting in change. Survival, as individuals, can illuminate an inner-journey. Works may also address survival on a local or global level as an artist, photographer, educator, professional, community, species, culture, or environment. Questions that explore the survival of the current state of the medium of photography, including both traditional and new genres, in relation to artistic practice, commercial use, and photo-education are welcomed. The conference also invites educators to propose workshops related to this topic as well as topics related to teaching. All proposals are peer reviewed by the SPE West Board.

Submissions Due: September 18th, 2011

Conference Co-Chairs: Jessica Hayes & Lesley Louden


The Documentary Portrait vs. The Outdoor Commercial Portrait Workshop: Spring 2011

PHOT078C.01 Documentary Field Study in Photography
Instructor: Lesley Louden

Foothill College – http://foothill.edu/photo/photo68-78/

1 unit Short Course (For Price – Go to Foothill College)

The Documentary Portrait vs. The Outdoor Commercial Portrait

©Lesley Louden for BUILD.org

©Lesley Louden for lesandjessphotography.com

Description:
In this course we will explore the creative, conceptual, and technical
differences between the documentary portrait and the outdoor commercial
portrait. We will compare and contrast the varied visual and technical
appearances of both genres of portraiture and embark upon individual
portrait projects after the lecture, discussions, and technical
demonstrations. Explorations will include the documentary portrait and
various conceptual and stylistic approaches from the past and present in
the history of photography. We will then examine attributes of the outdoor
commercial portrait approach currently popular (such as the senior
portrait, environmental portrait, wedding/bridal portrait genre). Various
equipment needs will be discussed. Bring your camera on Saturday Shooting & Demo. day ready to shoot in the afternoon!

Schedule:

Spring, 2011

First meeting: Wed. April 6th@ 6-7pm

Demo. Day: Saturday, April 16th- 10-5pm

Critique day: Saturday May 7th, 10am-12noon


Getting Started with Lightroom

You can have a rocky start with Adobe Lightroom if you don’t prepare first.

  • Read the questions and watch the videos about Lightroom below. Answer each question as you go to best prepare yourself for starting out with Lightroom.

  • What is Lightroom? (Watch this Video) • Will Lightroom be a useful tool for your photographic practice?

What to think about before you start using Lightroom:

  1. What computer is your “main” computer? Desktop OR Laptop or Both? It is strongly suggested to choose to have one main External Hard Drive to start off with in order to use LR on one or both computers (must be a large External Hard Drive such as a Terabyte Drive or start with 500GB and gradually move-up as you need more and more storage space for your library of photos).  This means your Lightroom Catalog File (info. about your photos … see below for definition) & Library of Photo Files will be stored on this External Hard Drive.
  2. How much storage space do you have available on this External Hard Drive? You will want to think about how many photographs you intend to import into your Lightroom Catalog in the future.  Do you shoot RAW and have very large file sizes? You will want a LOT of space on your “main” External Hard Drive or you will want to figure out if you need to get a new larger external Hard Drive.  A mirrored Hard Drive is not a bad idea (automatically copies your files to a second drive when you save them onto the “main” External Hard Drive).
  3. What will your file Backup system be? Will you use a mirrored Hard Drive like I described above? Will you use a website that you pay a fee to as a way to store the second copy of your images on a remote server service somewhere?  Will you make DVDs with important images to store in a third location?   The rule is to have your files backed-up in at least three locations with the 3rd location being off-site.  Your Hard Drives will fail sooner or later. ASMP’s 3-2-1 Backup Rule.
  4. What will your file/image cataloging system be? A main PHOTOGRAPHS FOLDER > 2010 FOLDER, 2009 FOLDER, 2008 FOLDER (with subfolders of photos inside titled by the date, location, OR subject).

Name one special instance where you might use two catalogs.

Lightroom Files:

  • Catalog File: is a database that tracks the location of photos (where your folders of photos are located) and information about them such as how you edited the photo, cropped it in LR etc…

  • Folders of Photographs: stored in folders somewhere on your computer Hard Drive or on an External Hard Drive.  If you don’t define where your photos are saved on your computer, they will automatically get put (MAC: Pictures Folder – PC -Pictures Document)

Example:

—-

FAQ (Answers from: http://kb2.adobe.com/cps/333/333736.html):

How can I use my catalog on multiple computers, such as a laptop and a desktop?

Keep your catalog on an external drive and set the preferences in Lightroom to use the external catalog. If you keep your photos on the same external drive, you can edit them in the Develop module as well as use them in the rest of the application. If your original photos are not available to Lightroom, you can use all modules except the Develop module.

Can I store my catalog on a network?

No. There are too many variables in a network configuration to guarantee that the catalog will not become corrupted.

How many photos can I have in a catalog?

There is no specific maximum number of photos you can store in a Lightroom catalog. Your computer might run out of address space for your photos between 100,000 and 1,000,000 photos.

How do I transition from iphoto to Lightroom?

This is video tutorial: Moving from iPhoto to Lightroom 3.

Lightroom Resources:


Evelyn: Nothing Fancy – Photo/Video Piece – Showcased on Burnmagazine.org

Evelyn: Nothing Fancy by Lesley Louden

Evelyn: Nothing Fancy by Lesley Louden

See Essay & Comments on:

www.Burnmagazine.org