A REALLY good PODCAST!

A REALLY GOOD POSCAST [or two]!

I'm a visual communicator. I got edjuhmacated in the 1980's, when the nom-de-mode was graphic designer. I'll admit that graphic designer  has a certain 'cachet' about it that 'visual communicator' seems to lack.  It somehow implies a discipline that is more purely visual, with less dependency or regard for the mass-communicative (and also 'marketing' goal-based) properties of the field.

That being said, for my undergrad we had two solid years of fine-arts curriculum. So perhaps Graphic Designer is a more appropriate name for what I am. 

I was fortunate enough to attend college when they had a gaggle of Bauhaus instructors– one of my professors actually met Gropius, and another had been a product/disciple of the Black Mountain School. This for the price of a public university education!

So there is certainly a thread of the fine artist that runs through my soul.

You can imagine my joy when, on an afternoon car trip, I got to hear this podcast.
I highly encourage you to check it out.

and in the same vein…

I heard this podcast about the disagreeable relationship between Gropius (the Bauhaus founder) and the wife of Lazlo Moholy-Nagy.

I guess all your creative heroes die.
I learned the truth about Hitchcock a couple of years ago, and now Manet and Gropius join him in the realm of being "merely human." If someone finds some stuff on Hopper,  I will probably sink into a depression.

[link will take you to the article page, click in the "play" triangle in the upper lefthand part of the photo for  the podcast.]

YOUR FIRST HOME PHOTO STUDIO

Photography can be expensive…but it doesn't necessarily have to be.
If your a pro, you more than likely need pro equipment—and it ain't cheap.
BUT
if you are an amateur, or a part-timer (maybe a graphic designer who does a handful of product shots and the odd headshot or two here and there;-) you can set up your studio with some "McGyver" ingenuity and a few bucks.

There are tons of "photo-teacher-celebrities" now on Youtube, Vimeo, and Dailymotion who have some great ideas of how to start. I personally have enjoyed the "stick-n-stones" photo studio guy, Joe Edelman with his T-8 fluorescent (pseudo kinoflo) track panels [and later LED ones btw], and many, many others.

I personally have discovered the joy of reading labels. For example, not any fluorescent tubes can be used! T8 fluorescent tubes (with their higher refresh rate, 85 or better CRI rating, and daylight color-balance  of 5800 -6200K) are best.

The SLANTED LENS offered this one up a while ago, but with several students asking how to get by "on-the-cheap,"  I think it bears re-examining.

F-stoppers article on "HOW TO CRITIQUE"

Anyone who has ever taught a class (or taken one for that matter) can feel the pain of a poor critique.

There is always the one student who "likes it," or "just doesn't like it," without any clarification as to what specifically they are identifying, and as to whether it is a personal preference or an overriding technical or compositional error.

Then there is the other who is worried about being perceived as "the jerk," preferring to identify every single piece as worthy of hanging in the MET… whether that is the case or not.

You often have to give guidelines for critiques, and this article by F-Stoppers' Mark Bowers focuses primarily on photography, but much of it rings true throughout all visual art.

Business Card Inspiration

As an instructor, I post quite a lot of this type of site— the "inspiration sites." I love the craft of designing a business card, and often the examples I refer to  take the format of the business card to completely new dimensions: stainless steel cards, cards printed on wood, innovative shapes, and incredible folding forms.

Every so often though, I like the more restrained. The reality of being a designer is that the vast majority of clients aren't amenable to spending a small fortune to print on custom fabricated fiber-glass and aluminum cards using specially formulated ink. The parameters of the pragmatic job also require occasional external inspiration.

Here's a site that focuses on that.

http://design4users.com/2016/08/03/d4u-inspiration-business-card-as-an-art/

TYPOGRAPHY from the APPLE WWDC

Every so often, the powers that be at Mac have a HUUUGE get together in the form of their Worldwide Developer Conference. While it could be argued that this is a conference primarily for Apple Partners (especially their developers), they have incredibly informative and educational seminars and presentations.

Not that the practical type user thinks about the issues of TYPOGRAPHY in their everyday work life—but those in any graphic communication discipline ought to.

While this presentation goes near the half-hour mark, it includes an incredibly rich introduction to basic TYPOGRAPHY as it is used practically within applications. If you are at all curious about the discipline of typography, and are willing to listen to this introduction, you'll be rewarded with a very good basic introduction to typography (with a bit of application development and the integrated usage of fonts in the mix.

Check it out
[click image for link]

RAW Processing test

I read an article about the differences between the various ways different RAW processors handle files, and decided I wanted to try it with a "backyard shot." The shots lack any compositional or artistic merit, but they have a range of edges and tones that simultaneously allowed me to test a new camera and lens.

I shot the scene in daylight, and then again after sunset (at 3200 iso setting). I also was simultaneously checking the autofocus on this camera and lens combo with the zoom fully wracked out at the 210mm/tele end.

Take a peak at the results and see what you think. It looks to me like Phase1 or DxO gave me the  best results—but you may find another attribute within the photos lacking.
[click image to see the Flickr gallery]

INFOGRAPHIC ON ESSENTIAL WEB PAGE FEATURES…

"INFOGRAPHICS" amaze me. They are the very essence of visual communication…communicating the essential information that you need to know in a quickly processed "chunk of visual deliciousness."
If I had my way, all chapters in textbooks would contain an INFOGRAPHIC at the beginning.

I stumbled upon this infographics for the "50 Features That Every Small Business Website Must Have." 
While this deals with web, it is much more about effective marketing communications, so all designers may want to take a peek. (from B2C)

http://www.business2community.com/infographics/50-features-every-small-business-website-must-infographic-01474284#bd2FwWV9mSgMzdgs.97

FREE DESIGN GOODIES!

I love finding other bloggers and blog ad digest posts with downloads for the "hungry" student. @3 sites with free stuff for you. HEY…you're a student, and there is free stuff out there. 'Nuff said.

http://www.webdesigndev.com/free-design-goodies-download/

An Open Source Workflow for Photographers?

In the 24 odd years of teaching, invariably at least one student will ask if there is an alternative to buying "industry standard software." There have always been alternatives to the industry leaders, but the fact remains that much of the industry has been structurally locked into the leader (and usually with a pretty sound logic behind it).

Let me say that I strongly advocate an industry standard workflow. The standardized plug-ins make negotiating things like color space matching very easy for beginners. And if you are doing anything that will appear in print, there is a whole other dimension to press profiles that needs to be added to the mix.

There are OPEN SOURCE software solutions. This recent PETAPIXEL article about an entire free, open-source workflow solution intrigued me. And to the student/s about to ask me the question on a Photoshop Alternative, here you go.

It really looks quite impressive and comprehensive— addressing most of the concerns in a full-process workflow.

However for me, I'll stick with the 90 plus percent marketshare leader. But I will certainly check this out (and keep it book-marked for those adventurous enough to jump into a full-on Linux workflow.

GREAT PHOTOSHOP RESOURCE

I regularly come across these, and on occasion repost them. They are curated by others (Michael Zhang for Peta Pixel here…or in some other instances a collective of others) and offer many different tutorials and “how-to” guides. This offers 50 “GO TO” tutorials on some of the most frequently required items.
Enjoy!

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/

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.

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).

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.

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.

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.

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.