Typography Tips and Tricks…

A student (Chris Uran) share this one via FB. Great article (although some of the tips I am not 100% onboard with) but by and large its "on" and a great resource read. Thanks Chris!

An Interview with a Creative Soul {it got me thinking}…

“There’s often a disconnect between being an artist
and actually working as an artist. It’s one thing to 
be creative and not get paid for it—you can create until 
your heart’s content—but when money gets involved, 
it’s a whole different animal.”
                                             -Ike Edeani

---

I came upon this really good quote while reading an interview by Tina Essmaker with photographer Ike Ediani. To {way} over-simplify: Ike is a creative soul. Like many before and after him, he balanced this "love for creativity" initially by being "practical…" which lead him to an education and career as an Architect (arguably one of the highest paying of all the creative careers)… then later an art-director / graphic designer… and then eventually a photographer.

I think the quote by Edeani gets to the heart of some of the discontent behind those pursuing visual communications. You may be doing wonderfully innovative work when it is scholastic or a self-commisioned (or perhaps even self-indulgent) work. The fact is that in all probability career-wise, you often trade off  unfettered creativity for the much more confining reality of a steady job. The "no-limits, open-budget, avant-garde-euro-fashion-magazine cover job" you've dreamed of is in reality the "monotonous-but-steady" job where you generate forms and business cards in a preset format.

Times used to be that kids who wanted to be artists, but worried about steady employment, went into visual communications (or 'graphic design') to meet those goals. It seems the modern equivalent has become kids who want to play video games all day. There is another thread here in that ones loves cannot always equate to the reality of compensation to do what you want. You have to find the balance that fits you (and that you can live with). 

Regardless, it seems to me there has to be a moderation of what the centrally motivating factor is for the individual with a creative soul. Some will move between careers or employers until they find the balance they can live with. Others will transition out of their desire to"work in the field," and instead work at a job/career that can more adequately provide them with money, while practicing what it is they truly love on a personal level. There is no one correct answer.

I recently met up with some college friends, and found one of them was now in a financial career. One of our [well-intentioned perhaps] classmates commented that it was "a shame she couldn't work in design."

She had mentioned trying to work in design, but hating it. The creative profession she had dreamed of during her studies had became yet 'just another job.' After trying different agencies and scenarios, she figured she may as well work at a job that paid her more while requiring less of her time. 

Through happenstance, she began processing payroll and handling investments. After several years and a few promotions,  she had doubled what she made in design while working an actual 40 hour week (design insiders will get that one).

Now she is able to do painting and photography on her own terms, (which was why she originally pursued design studies in the first place–as a compromise to pursuing fine arts more fully) and had even had several joint/group shows of her work, and an a few individual shows at a local galleries (something neither I nor our "well-intentioned" classmate had puled off).

She figured out that, for her, being a creative soul didn't necessary mean working in a creative career.

What Photographers* Really Should Be Learning in School

Note the asterisk. (We'll come back to that later)
I came upon an article in PHOTOSHELTER that caught my attention. The article started out by referencing a previous article where multiple "big time pro photographers" were interviewed about what they feel should have been taught in photography school.

While that direction with the article was interesting (and arguably of the greatest interest for pure photographers), it is certainly subject to the lead established by the interviewees. That article could easily be re-written 100 different times with equally as many different citations of educational grievances  or regrets based on any given professional's perceived deficiencies. (and BTW it has been written a million times)

Instead, it was something else in the article that pushed the conversation into a slightly more "universal" direction that I found the most interesting. The author mentions attending a lecture  by Dr. Yong Zhao.  [HERE COMES THE ASTERISK] This goes waaaay beyond photography to general education (as the author asserts) in Creative Professions.

This turns much of what you've accepted as education upside down, and may explain why some folks can attend the same institution as others, and come out with so much more apparent 'educational benefit' than the student in the chair next to them.

• It’s not about what schools should be teaching, it’s about what you should be learning
• Students should figure out how they can be of value to others
• Problem identification is as important as problem solving
• Traditionally useless people are now useful (and vice versa)
• Realize that people consume psychological and spiritual products.
• Create your own job

If you have the time, I M O  it's definitely worth a read.

ARTICLE:
http://blog.photoshelter.com/2014/11/what-photographers-really-should-be-learning-in-school/

Junk Food News

Another burger alert!
Yeah I know. It's really not the best stuff for you. But I also know as a former college student that cheap and fast is a premium. It is with relative happiness that I stumbled upon the Jalepeño crunch double cheese at McDonald's.
It wasn't a bad burger (probably not great for you if you eat one every day…but tasty). My only wish was that the peppers piled on it were heated up, versus fridge temp. Two bucks at a McD's near you while offer lasts.

"We present information visually"

I was reading a book that included quotes and discussion from some current industry design voices, when part of a proclamation by Paul Sahre caught my eye.
It wasn't even Sahre's main point that caught me, but rather a part of what he said that effectively articulates something I hold to be true as a visual communicator:

“…my role as a designer involves ordering, 

clarifying, and sometimes even prettying-up 

[information]…”

the information has a wide and variable definition. It could be a solitary image, or a full document layout. But whether you are an illustrator or a publication designer, you are effectively: ordering, clarifying, and "prettying up" a visual message of some sort.

It's Camera Season ...

If you know me, you know I love Photography as both a personal form of artistic expression, and as a professional, visually-communicative endeavor. I try to do both as much as possible.

You also know that photography ain't cheap (although I am a little bit cheap).

Every fall (run up to Xmas) Canon has big sales on their refurbished cameras and lenses. Nikon does as well, but since I have the APSC-sized Canon lenses, I amtypically looking towards Canon. [BTW—If I potentially switch to a full-frame camera, Nikon may be a MUCH bigger part of my life– a new investment in glass would be in order anyway, and Nikon's price point on both is lower]
Whether FF or ASPC, I am always looking to save on equipment.

One of the biggest ways to save is FACTORY REFURBISHED equipment. I was always hesitant to buy refurb until I met one of Canon's CS managers from Virginia. She had shared that her son ( a pro PJ ) shoots a 5DIII (the mac-daddy of Canon's line) that he purchased refurb. She mentioned that they inspect and bench test each unit thoroughly (as compared to new where every fourth or fifth off the line is inspected). They also carry a warranty.
At any rate, I have not (with 2 cams and 2 lenses through the program) yet had any issues.  I have also saved a ton over retail and even some "used" sellers.

I have NOT had any refurb dealings with Nikon yet, but heard similar praises from colleagues who have.

Some of the Cameras you may be interested in:
Canon Full Frame:

• the 5DIII (their "top-of-the line") 
• the 6D (less cross-focus pts and different build)
• the 5D II (a few years old now, but still excellent)

Canon APSC ("crop sensor"):
The 7DII is driving the prices down a bit on their upper-tier APSC, and I may wait for the 7DII personally.

• the 70D (which, while it is APSC, has more cross-focus points and is preferred by many "general subject shooters")
• the 7D (sports, and bird shooters... I am a bit leary as the 7D had some issues, but it is a really affordable Camera with the 7DII release, and with a lot of nice features. I heard that on some a simple firmware update eliminated early issues).

NIKON FF (FX):

• the D800 or 810 line (if I did go full frame, I would seriously consider Nikon for features/price ratio)
• the D600 or 610 (the prices are dropping in October on all their refurbs btw)

NIKON crop sensor (DX):

• the D7100 or 7000
• the D5300 or 5200

 

[click on the appropriate image to go to the Canon or Nikon sites]

NOTE: I have NO AFFILIATION or interest with either Nikon or Canon USA, just sharing... 

Do you REALLY want to Visually Communicate?

I think many who go into this field are frustrated fine-artists in their hearts. That's not necessarily a problem as long as you can differentiate the practice of fine art from the profession of visual communication.

Many folks know how I feel about the discipline of being a "Visual Communicator." I shy away from the popularized 1980's term "Graphic Designer," which (beyond being a bit dated) tends to look 'inward' versus 'outward.' Visual Communications feels like a richer and more diverse term for what most professionals in the field engage in.

It's also pretty concise— you are communicating using visual language versus purely written words. Written words are a part of the arsenal, but they are not necessarily the first line of attack.

You are also communicating "on-task" versus self-indulgently. That doesn't preclude you from inserting your unique personality or style as long as you can stay on the communicative message, and be the most effective advocate for your client's message. In fact, that is the primary objective on any assignment. Like a Realtor legally entrusted to represent the best interests of the seller, we are ethically bound to be the best advocate for a client's message.

In my opinion, the actual "verby" activity of the whole process is brand communication; as long as you don't get too bogged down by defining brand in an overly restrictive sense.
I always tell my students to think of brand simply as personality. That can be a person, a product, a company, a service, or even a "sense of ______."

If you are not encapsulating what the assorted target audiences of your communication messages need to know about the brand, you are off the mark.

The Humble Waffle Iron…

I submit for your approval, the humble waffle iron.
Chances are you can pick one up on sale somewhere, or likely inherit one from someone in your family for free. I got mine in a neighborhood near UWM. A bride had a rummage sale nearby and I picked a new one up for 8 bucks.

I'd recommend the kind with adjustable heat setting. I'd also recommend you get a pizza pan larger than the waffle iron to catch any spill-over (especially if you make bacon) and be prepared with a wet towel to wipe up any spillage.

I've made a complete breakfast in the thing: first made the bacon (be prepared with a wet rag to hit the sides of the waffle iron and a pizza pan beneath it to catch the grease), then scrambled eggs, tater-tots pressed into waffle-hash browns, waffles (of course)...and even brownie mix for a midday snack.

Of course, the list has a few more things, and even a few recipe tweaks.

[click the photo to be taken to the ANSWERS.COM "top ten list."]

Beautiful Classic Film Photos to share...

If you know me, you know that I am a graphic designer by educational preparation (BFA). I am also an illustrator by both education and profession, and a (albeit not professional) photographer by choice ;-)

Every once in a while I'll come across something from one of those disciplines that I find interesting, and I'll share it.

In this case, my wife found this site, and shared it with me. I was so captivated by the painterly eye that this photographer held while shooting film. The "urbanscapes" of cities like New York and Chicago are something that I find breathtaking. Check out the  link (click on the photo below) to see what I mean. Shots from the "El" (which those of us with Chicago family roots may know is the Elevated Rail (which converges with the subway system also as a part of mass-transit).

Microwave Cookie

Dorm life. In the day it meant quite a bit of hotpot and microwave cookery. Most dorms had an oven that you could reserve, but baking cookies seemed like too much work for most guys. Along comes this recipe (modified from Molly Alice's recipe blog) to make  chocolate chip (or raisin, or peanut, or whatever) cookies accessible.

ingredients

1/4 c quick-cooking oats
1 tbsp brown sugar (or agave syrup or honey)
1 tbsp peanut butter (or any other nut or seed butter, or coconut oil if you are allergic to nuts)
1 tbsp plain Greek or soy yogurt
1 tsp cornstarch
1/4 tsp baking powder
1/4 tsp salt
1/8 tsp cinnamon
1 tbsp optional mix-ins — chocolate chips, raisins, craisins, chopped nuts, etc… get creative!

directions

1. In a small bowl, mix together dry ingredients (oats, sugar, cornstarch, baking powder, salt, and cinnamon). Add wet ingredients (peanut butter or coconut oil, yogurt, and vanilla) and mix to form a thick dough. Fold in any mix-ins.
2. Line a microwave-safe plate with a small piece of parchment paper. Scoop the dough onto the paper and pat it into a 3-4″ disk.
3. Microwave on high for 45 seconds to a minute and 10 seconds, or until just cooked (cooking time will vary depending on the strength of your microwave — don’t overcook, or it may be dry and crumbly or slightly hard). Let cool for two minutes--this is important to making the cookie more solid.

This won't be your traditional cookie, but it will be a satisfying (reasonably healthy) alternative.

CHEESE TALK...

I love cheese.  Heck-- I am a Wisconsinite.

While I am not necessarily a connoisseur, I do have a few cheeses that I heartily recommend that you give a taste. To me, these cheeses have superb flavor, and appeal to the broadest possible group. I would not hesitate to snap them up when you are at the store.

While some cheeses can be remarkably tasty, they sometimes have very limited appeal due to a variety of factors; scents, flavors, bacteriological effects, etc.  (think: Bries, Camemberts, Limburgers, Fontinas, Stiltons and Bleus). The short, unscientific list that I have here represent (IMO) populist "good cheese."


1. SARTORI, BELLA VITANO MERLOT
one of my friends joked that this cheese was "life changing."
It turns out that is not just hyperbole. A damn fine cheese with Merlot flavor.

2. KERRYGOLD IRISH "DUBLINER"
A firm, nutty, delicious cheese (very faintly parmesan-esque with a cheddar back note). This is also one of the cheapest on the list, and an all-purpose crowd-pleaser.

3. PRIMADONNA MATURA AGED GOUDASmooth, tasty aged gouda. 

4. COLLIER'S POWERFUL WELSH CHEDDAR

A great cheddar cheese (and despite the name not overpoweringly sharp IMO). Not incredibly pricey either for an imported cheddar.

5. WHITE CHEDDAR (SPECIALLY SELECTED AGED RESERVE)
I put a curveball on this list, but it definitely belongs here based on its taste and value. Believe it or not, this is an ALDI only cheese (ALDI/TRADER JOE'S) and is the absolute cheapest on the list, yet beats some far more expensive cheeses.

Goodbye Signor Vignelli...

Massimo Vignelli passed earlier on May 27. 2014, after a long illness.

Many of my students will know him from the movie "HELVETICA," where he was presented as the elder-statesman for the camp of modernist design voices in the film who were outspoken in their support of the helvetica font.

To me he was the guru of branding in communicative design, and a contemporary extension of the clean and efficient aesthetic expressions of guys like Rietveld and van der Rohe.

I remember (from the early days of computer-driven design) hearing the story of how Vignelli insisted that all designers start their work with a moleskin idea book—pencil and paper first—before even touching the computer. Whether that was apocryphal or canon doesn't matter. It represents a 'clarity of thinking and ideas' (as Vignelli expressed in some interviews) that resulted in a design solution that effectively and efficiently communicated.

RIP  Mr. Vignelli.

check out the Times article on  Mr. Vignelli's passing.

Equivalent Exposure Rule…

Have you ever marveled at an experienced photographer who can nail exposure pretty much right off the bat?

Well, they got that way by first learning (in fact memorizing) some of the exposure equivalencies, and then doing a buttload (years) of shooting and applying that knowledge in real world scenarios.

I once met an advertising photographer they teasingly called "Old Oneshot." Back in the days of film, they used to provide a polaroid of the shot to you while they processed the medium format transparencies. Old Oneshot prided himself on being able to nail a shot with one polaroid (although he did fire off a minimum of three bracketed shots after nailing the exposure to be honest).

A little basic knowledge can go a long way.  Knowing the fundamentals of exposure equivalencies can really help your technical game. While you may not memorize them (ala Zak Arias or Jared Polan–many of the pros who have attended photo school for four years memorize these), you will be more technically skilled.

Check out the full lesson (click on the image link).

Rainy Day Photography Idea: Water Drops

Upon viewing my attempt at this exercise, my twenty-something son mentioned it could quite easily be: paint, milk, or pig's blood (yech). Whatever you use, a great rainy-day activity is to set up a mini studio and shoot water drops (the cleanup of water is easier than those others). You'll actually get very 'in-tune' with your equipment doing this exercise. You'll have to figure out manual focus, exposure, and of course TIMING.

The world of digital makes for a much easier time doing all of this. I remember trying something like this in college (when we shot film) and developing 71 exposures of crappy shots, and 1 passable, yet blurry shot. The ability to make adjustments on the fly while viewing your shots on the LCD or tethered lightroom computer makes it much easier, but still a great learning experience.

I used a boom stand with a ziplock sandwich bag as my water drop source. A simple paperclip near a tiny hole in the bottom of the bag was my regulator. The bag was binder-clipped to the boom arm.

I used a glass dish (yeah… I know there was a pyrex logo on mine…but you could easily use one without the logo, or a plastic tray if you prefer). The reason I used glass was so I could slide colored paper underneath, and we only have pyrex bakeware in the kitchen. For an exercise its OK.

I also used an off-camera flash (580-style knockoff) and some colored paper folded in a "V" so it could stand up across from the flash. I used a small paper reflector near camera as well. The camera really needs to be steady--so a tripod is a must.

You'l also need to manually set everything–including focus. To focus, I used a piece of styrofoam on a skewer where the water was hitting, and then removed it after I set focus (auto will NOT work with this). My speed was set between 1/100 and 1/200 (sync speed for flash). Aperture was based on exposure, since dof was not a huge issue in such a small zone. 

I used a wireless trigger set between the flash and camera, but could easily have used a flash cable. For every successful shot I had, there were four or five crappy ones (but the odds are MUCH higher than with film). Try it and let me know your results!

HYPOCRISY? COGNITIVE DISSONANCE

I have dealt with increasing numbers of people who have mentioned dealing with "cognitive dissonance" in their lives in some way. Some may simply refer to this as "Hypocrisy," or hypocritical behavior—which I believe is sometimes too much of a simplification of things.

Here is a great article, in fairly simple language, that deals with the topic.
Check it out when you have time for a good read.

MACRO on the cheap… (wit' a couple o' TIPs).

I'd love to have a macro lens to play with (–anyone have one they'd like to give me?). I just don't have the cash at this point. If I  COULD make it pay for itself, I'd probably consider buying one. In the meantime, I'll try the time honored method of photographers-on-the-cheap everywhere, and use a decent set of aluminum macro tubes.

I bought the pair that I used in these photos for about 10 bucks. Back in school (80's), there were guys who did the old (turn the lens around) trick… and  a few who crafted reverse lens mountings using mailing tubes. These were always great for fiddling around with macro, but clearly not a solution that you'd want to use with paying accounts.

I'd highly encourage the tubes at their minimal 10$ price tag. For about 75 bucks, I could have purchased some with the proper EF lens contacts for my Canon. [but hey..who am I? Rockefeller?]

Just a few tips from my afternoon with the tubes.

Boy! Coins sure are dirty close up.
I wound up using a “nifty-fifty” lens on the end of the tubes.  You can see slight chromatic aberration on the coins and oatmeal when shot against a black glass surface. I played a bit with the aberration-correction in Adobe C.R.E., but can still see the slight fringe on the left and right.

You can also see that by the time I got to the dime I had opened the windows more in my living room, and used my hands to reflect light onto the dime (may also want to try a very small piece of paper).

The lens is very tight to the objects, so the light is sometimes tricky.
Because of the lighting, you may wind up setting your shutter for as long as a few seconds, so a TRIPOD and using the camera's shutter timer or a remote is probably good form on these.

You can also see in the quarter how really shallow your depth-of-field will be. "IN GOD WE TRUST" is just trailing out  on the E and the T, and you can see on the front end STATES is outside the plane. Your aperture is not "communicated" through the cheaper tubes. It will read "0" and revert to your fastest stop (on my equipment at least).

I learned from others' posts on using these simple tubes that you can use the aperture lock on your camera with the lens mounted as normal…then unscrew the lens while aperture lock is still depressed, then quickly attach the tubes to hold the aperture at its last setting.  I used f 8 as a starting point with this "locking" technique that will give you more depth of field (as in the dime), but require more light and potentially exposure time.

The mandarin orange wound up a bit dark, so I fiddled with aperture and exposure time to get the texture. Its a bit dark (which I don't mind terribly given the light "valley" in the skin crease behind it. 

The rolled oats had a bit of the aberration on the farthest oat against the black background glass. I noticed you get almost "bokeh" effect of reflective items on the glass if the exposure is too high, so this exposure is the combo of acceptable aperture and focus against the moderated speed (1/6 sec).

To recap: 

these macro tubes (photodiox) are fun to experiment with…but I don't think that anyone doing macro with a proper lens is going to bother with these (even the higher end ones that do communicate between  your camera and lens).  A macro lens is just easier and more expedient in more diverse use scenarios.

You'll also need to have a tripod! No way to hand hold on some of these.

A  decent understanding of aperture, shutter-speed, iso and focus (and the dexterity/ability to manual focus while adjusting your tripod for distance) is also a must. 

If you don't have a good window letting light in, you'll also want good constant light as well (I use a CREE 6500K LED work light I picked up on sale at the hardware store, and use it on other items as needed).  OVERALL, it's well worth the 10 bucks to experiment with though.

Photography Two-cents…

I am a “graphic designer who does photography…” and not a pure photographer by training.

I  teach photography regularly, and I have always told my students that, first and foremost, I am a graphic designer. During the time that I went through school (early 80's), a part of my training included some basic fine-arts photographic preparation (and the world of darkrooms and black and white film). I feel comfortable around the medium (Although I had to adjust to digital like many of the old salty-dog photographers out there).

At any rate, I always feel compelled to make this distinction because there is occasion for Designers and Photographers to sometimes view things differently. The vast majority of the time though, it is a very complementary relationship, with the added experience and expertise of  each party resulting in a solid visual product. The experienced photographer typically plays a pivotal part in helping an AD achieve a communication goal.

Occasionally, with a media-driven process, there can be differing viewpoints. This is when my design background comes out. My message (the brand, the idea, the concept) has to be king. If it means cropping that photo much tighter than the photographer would like—so be it.

I also appreciate great photographic equipment (while I myself cannot afford it). It's awesome to shoot on a pro's 5DmkIII with pro L lenses! It makes sense for the pros to have great equipment, but anyone who cannot make a return on the cost of investment is not really getting what its all about. An old friend in Arizona  repeated the well recited mantra to me: “ beginners worry about gear, pros worry about light (and money too).”

Too often I also feel that equipment can often become an excuse for students not mastering the fundamentals or understanding basic technique. I have had more than a few students claim their work was subpar because they didn't have “camera X ” or “gadget Y…” as well as a handful with D800's shooting entirely in AUTO.

Learn the camera you have! Master the exposure triangle and light, and figure out stops to light ratios. Take great shots and set up interesting composition and angles.

Once you've mastered the fundamentals (and if you have paying gigs), dropping 5K might make some sense.

The Bestest Way to Reheat a Pizza

I have been posting so much about pizza that I figured I better add another category label. At any rate, this is a really short post about (IMO) the best way to reheat leftover pizza.

First you gotta wrap up the leftovers. It doesn't matter if its foil or wrap, but you don't want the leftovers to get that hardboard quality from being stored in the box (or – god forbid – even open on a cardboard disc in the fridge acquiring the cumulative flavor funk of your fridge.

DO NOT use a microwave. I'll concede it is faster, but it leaves the pizza kinda limp, and as it cools the crust gets a sort of toughened quality (and eventually hard).

While I cannot say I invented it, I've been doing this since I was a teen with great results.
The method you have to try is using a frying pan, set to a medium low heat. Place the slices crust-side down, and place a lid (I have the tempered glass lid pans which is nice). Heat em until the cheese starts to melt on top and the top gets hot. The bottom crust will be crispy (and keep an eye on it-- you don't want to burn it). For my oven its abut 15 minutes (on electric burner set to 3.5 /9).

Studio Lights…

Quite a few friends and students have elevated their hobby interest in digital photography to a higher level. In simpler times, a 35mm SLR film camera, a few lenses, and an on-camera hot-shoe flash was what constituted a "pretty serious enthusiast."

Nowadays, I have the occasional student with full sensor pro-level DSLRs! These are NOT NECESSARILY practicing pros either! Some also have pretty intense studio setups, with Profoto or Einstein strobes.  Students with multiple SB 800s are also not uncommon.
(I'm still the kind of guy who uses some home-brew lighting —see the video link below on using Hardware LEDs… but I do use some inexpensive mono-lights/cheap soft-boxes as well).

It is great if you can afford it, but without the knowledge of how to properly utilize them (or experience with the nuances that come with years of using the equipment), the impact won't be as great as it could be.

One of the first things I did was look at shots that had lighting diagrams included. This lets you dissect/reverse-engineer a shots appearance. I've included a few links below to sights and blogs that can be really good resources.

 Strobox will allow you to search amongst a collection of photos, diagrams, write-ups, and videos for a desired lighting situation. It is also run from donations.

 Portrait Lighting.Net is a site that contains the shot and the lighting diagram that provides the desired result. The interface shows you options for the number of studio lights you want to use (1 to 4, natural), which contain links to the various  results.

Using a blog entry format, this site simply posts a shot with a brief lighting diagram beneath it. Any anecdotal or additional notes are attached to it.

LOCAL FRO-ZA (fer 'dem kidz over by 'dere)

I hit the polarizing topic of 'sliders' a while back. Frozen pizza is another one of those issues that hit close to the nerve.

I also think that frozen pizza (along with mac 'n' cheese and ramen) are another one of those "college experiences" that have a lifelong impact. When I was in school, most appliances were illegal in the Madison dorms. Friends with apartments had freezers and ovens, and those folks seemed to be the keepers of frozen pizza.

In Milwaukee, a few dorm rats had the small, boxy, portable pizza ovens that were easily hidden under loft beds or in closets (which made their rooms magnets among the "2 am" crowd).

I recall buying a brand from the local supermarket near campus that was 1.29 apiece (it was economy over taste in those days, and often filling a craving with junky stuff was enough to  satisfy the palette).

Flash forward 30 or more years, and I am STILL a fan of the frozen-za…just a bit more discriminating with which I buy.

Here's my current hit list:

Jimm's frozen pizza*
Jimm's is actually one of the more expensive brands out there, primarily because they do not get the leverage of big vendors (like Kraft or GFI). But it is a Racine-made pizza that has really pretty good flavor when prepared correctly. It is a thin crust offering, in a variety of toppings (I prefer plain freshmade sausage or sausage and mushroom). It is a thin crust variety (which I like in frozen) *And it is LOCAL! I'll concede that boosts it up in ranking in my opinion.

Dino's Classic Frozen*
Another relatively pricey pizza because they are the little guys (like Jimm's) and produce a limited amount of units, with limited shelf space and no umbrella brand leverage over retailers. A slotted or screened pan following the directions, and it is a tasty treat. It is a very thin, crackery crust (similar to other thin frozens) that doesn't hurt the pizza quality too much. Their handmade sausage is a fave. (and yes *LOCAL!)

Home Run Inn
A Chicago taverna brand that is really good. I'd advise baking it on a pan, or a slotted pan. I LOVE the brands that use the UNCURED pepperoni-- the flavor is so hard to get with the cured varieties, and their sausage is flavorful too. The crust has almost buttery texture, and when you prepare it right tastes decent for fro-za. They have national distribution, so it should be fairly easy to get.

Connie's Frozen
The cornmeal bottomed crust (with chemical leavening to give it a nicer texture). Its a bit more substantial than a thin crust, but not one of the self-risers… and the toppings on Connie's are wonderful. I know they changed the formulation slightly since I first started eating 'em, but Connie's still makes my list of frozens on its overall quality and flavor. Like the others, slotted or pan recommended for at least part of the cooking time.

World Table Sicilian
This last one is for those who like a thin crust with a bit of spiciness to it. I am not the biggest fan of Walmart as a business, but on occasion I will invade their frozen pizza aisle for this one alone. It is the perfect summer compliment to a good cold brew (or root beer), and has toppings like: pepperoncini, capocollo,  sliced sausage, hard salami, and a five cheese blend.






HONORABLE MENTIONS:

• EMIL's PIZZA (somewhat similar in crust style to Jimm's and Dino's). It probably is my #2 or 3, but wanted to list a variety of crust types Annie's Natural (really close to my top 5)
• Amy's Organic
• Gino's East frozen pie (cook carefully or break teeth)

ADDENDUM:

 Thanks to Laron Taylor-Lai Lida for reminding me to add EMIL's (Watertown) to the list. A really good sausage and mushroom frozen if you haven't had the pleasure yet.

WHEN YOU START

An instructor of mine, Steve Quinn, shared this great video on Facebook. It really does apply to any discipline, and is one of the truest things that I have heard.  It is imagery set to the frank introspection shared by Chicago Public Radio Personality Ira Glass.

BE A SHOKUNIN

I've recently seen the movie JIRO DREAMS WITH SUSHI. For those with attention deficits, it may not always be the "easiest" or "action packed" movie to watch to the end, but hang in there and stick with it. The payoff will be if the lightbulb goes off for you.

The documentary is about a man who runs the world's greatest sushi restaurant. If you aren't a fan of sushi, please understand that the reason I'd like you to watch it has little to do with sushi… in fact sushi is the backdrop for the true story. The real story is about being a Shokunin.

Other bloggers have written far more eloquently about this movie (btw I enjoy this one).  Perhaps it is the circumspect that comes from getting old. But I find the pursuit of excellence to be the root of vocation. I don't know if 95% of us ever achieve it… but the pursuit is a part of the whole process.

This quote from Orate (also featured on the Wilson Hoo site)

"… a literal description does not fully express the deeper meaning{of SHOKUNIN}.  The Japanese apprentice is taught that shokunin means not only having technical skills, but also implies an attitude and social consciousness. … The shokunin has a social obligation to work his/her best for the general welfare of the people.  This obligation is both spiritual and material, in that no matter what it is, the shokunin’s responsibility is to fulfill the requirement.” 
– Tasio Orate

I have a standing "extra credit" offer to any students who stumble upon this entry: Watch the movie in it's entirety (don't lie about watching it, don't watch parts of it or give it partial attention while you work on a computer or type, and don't look up a synopsis or google someone else's ideas). Really watch it. I watched this over the course of three late nights (because I fell asleep before the end). I watched it, then continued until I saw the entire movie and processed its message. Then I watched it again.

Watch the movie--really watch it, and do a writeup of what you think. What are your impressions? Are you pursuing the path of the shokunin? Why not?

RULE of THIRDS WEB "BOOKMARKLET"

If your in a digital photography section, you likely know about the "RULE OF THIRDS." Here's a slick little "web-thingy" that will allow you to see the rule-if-thirds in web images. For Photographers, this may be a neat way to check out those images online that you really dig. For web developers, this may give you ideas (and perhaps a bit of starting code) to do something wild.

TRENDS in WEB DESIGN

I am slightly weary whenever I hear (or see) the word "trend." TRENDS may (or may not) be capricious, whimsical, and even sarcastic—at any rate they may or may not be based upon successful design ideas.

However, trends are not to be ignored necessarily either. Trends may be as simple as the foothold into a new methodology, or the bellwhether for reactions to upcoming changes in paradigms.

I came across this (relatively old by web standards) article on WEB TRENDS. While web trends seem to have a relatively short "shelf life," I have noticed this continuing past the articles 'freshness date.' (anyone else notice the trend towards corporate and commerce websites looking a bit like TUMBLR of late? Heavy on the squared grids).

What do you think?

HABITAT

Those who know me are well aware of my fascination with good design–regardless what the design discipline (or sub-discipline) is.

I have been particularly intrigued by the "tiny house" phenomenon. Its very counterintuitive to the accepted "american paradigm" of palacious homes ( in all honestly, I  love those too); so a lot of these sorts of projects tend to be more centered in Europe and Asia. Land has been more of a premium, and the emphasis on social interaction is much stronger. The idea is that you are out and about more, and interacting with others, while still having your own living space. The smaller homes actually introduce a stronger community and  more active lifestyle.

I found this idea of interest as well. The  10-square "student" unit. In Madison (as with many college communities), the dorms were quite small, and encouraged communal activity. The nature of university housing was to push the student  to engage with the campus. You would study at a library, attend classes during the day, go to events with friends, and the room was more a stop off point throughout  the day, a place to sleep at night, and the occasional respite from community (save the roommate). The result is that most people were more engaged during those "dorm years."

If that concept were applied to living communities, would the result be the same?
[click image to link to the original site on student habitat]

ALL ABOUT LENSES

Photography is one of those passions that has grown to epic proportions. Nowadays everyone seems to have a passion for photography–which is great… just be sure you have the knowledge and expertise as well.

I got my first SLR at 13, and shot film in college a little bit. I've had digital cameras since the 90's, but I am pretty clear to represent that I am a Graphic Designer who does photography (and not a photographer). "Real Photographers" often go to photo school, and assist or apprentice other pros for years before hanging their shingle out.

One thing that can help you on your way (whether it be hobby/sideline, or aspiring vocation) is the plethora of internet educational sites and resources. Its still no swap for true experience, but these resources can help you on your journey through photography. There are so many great resources to assist you: The Strobist, F-stoppers, Peta-Pixel, Creative Live, and Lynda.com are just some of my faves.

One of the issues I personally grapple with is lenses and lens quality, looking with an eye towards video as well. One of the basic "101" resources is this great video (see YOUTUBE video below). I think the production is superb, and it does a great job of communicating an overview of what you'll need.

Check it out.