Newsletter - Rocky Mountain School of Photography

Thank you to the RMSP newsletter readers who took part in our May/June Macro Assignment. The images are stunning and the answers are quite informative. Visit the gallery to see the images and responses to the questions from the assignment. Be sure to check out the July/August assignment below --Page Orb

Summer is in full swing and session one of our Career Training program, Summer Intensive, is already at the seven week mark. We are over halfway through our twentieth year of Summer Intensive. As we reflect on years of students and their successes, Neil looks back even further. In this month’s Neil’s Corner he recalls the summer he spent as a student of none-other than Ansel Adams.

Summer 1973 Three Weeks in California with Ansel Adams

Thirty-five years ago I spent an incredible portion of my summer studying with the famed photographer Ansel Adams in northern California. As a fairly new professional photographer and photographic teacher, the timing was perfect—who better than such an esteemed master to lay the foundation?! What I didn’t realize then was that my time with Ansel would not only change the way I take photographs, but also the way I see photographs and photographic possibilities—and, in turn, the way I see the world.

It was the summer of 1973. I had just turned 30 and been teaching photography for a couple of years in Atlanta. I was drawn to black and white, so when I got wind of Ansel’s workshop in the Zone System of exposure and using large-format cameras, I didn’t hesitate. In early June, I packed my bags and headed west. From the moment I arrived, it was one spectacular backdrop after another—Yosemite Falls, Merced Grove, Tuolumne Meadows. The park was our classroom and some of the craft’s greats— Morely Baer, Steve Crouch, Henry Gilpin, Ted Orland, and Al Weber—were our teachers.

Indeed, three and a half decades have passed since my time in Yosemite and I can still recall the bright blue sky and warm summer air—it’s pretty fair to say I was impressed. In that relatively short period of time my approach to photography changed from nonchalant to very exacting. What follows are some of the main points I learned that summer and continue to teach today –and that I still consider as the foundation of my own art.

Pre-visualization. One of the most important things I learned was how to pre-visualize, or see the final image in my mind before taking the photograph. On the first day of class we were out in the field for a shoot. Ansel came up to each one of us and gave us a viewing frame—a 4 X 5 piece of white mat board with a small rectangle cut out of the middle. We were then asked to hold up our frames and look through them at our subject. We could move it closer or farther to see what length lens would best capture the shot we liked. We were also told to change our position to see from what angel to shoot. This is a method I have used for the last 35 years to view my subject before I take a photo in scenarios that are not time-dependent. This slows me down and helps me find a great rather than just fine photo. In the digital age, many photographers are getting even quicker at shooting. And though they may take more pictures, quantity doesn’t necessarily translate to quality. Ansel taught us to slow down and spend the time with each image.

Critique & Presentation. A second eye-opening experience was watching and listening as Ansel critiqued his own work. He discussed the reasons he liked certain images but spent even more time talking about what he could have done to make them even stronger. As Ansel told us, and I always tell my students, “…in a good year, I feel fortune to get five great –that is portfolio quality— photographs.”

In this critique process he taught us to display a photograph using only a white mat board with a fair amount of white space. He advised us to use a simple frame so that your image, not the presentation, stands out. Finally, he signed his work in pencil as to not take away from the photograph with the heavy mark of ink. Even today, one of the most important things I tell my students during critiques is to present your work in the most simple, clean and clear way. My manner of critique follows Ansel’s lead. Suggestions should be strong and clear; tone should be gentle and encouraging.

Refining. Technically, Ansel changed my photography in many ways, mostly by showing me how every detail is carefully calculated and executed. This was a complete shift in photographic practice. Up to that point I wasn’t as aware of each detail, I was much more casual. For example, when Ansel worked in his darkroom, he would play with several different interpretations of the same shot. We watched him for hours, take students’ negatives and make average looking, straight prints. From there he would experiment, taking the same image and print it again and again, each time adding new small elements, and employing new techniques, improving the image. In one case, he ran a student’s first print through the Dektol developer for 2 minutes, which is what Kodak recommends for good prints. Then, to my surprise, he placed the print into SELECTOL-soft developer for seven minutes and then it went back into the Dektol for another 2 minutes. This was seven more minutes of development time then I’d ever used or considered in my printing. In that one step, he gave the print a more dynamic tonal range.

Ansel Adams teaching in the field.

Ansel’s quest for good photographs was tireless in its experimentation. This is a mentality that I have brought with me from film photography into digital photography. It is essential to constantly work on refining images. In the field the viewing frames compel me to compose and re-compose without even picking up the camera. In Photoshop® I work and re-work images. I had never been as exacting with the way I composed my photographs, exposed, processed and printed my work. I learned to slow down .

The time I spent with Ansel was enlightening—for me and the other participants. We came away with a new way of seeing. We became familiar with Yosemite, as well as each other and the inspiring brood of teachers. We were introduced to new concepts and other notable photographers. Our group was even invited to celebrate the famous photographic historian, Beaumont Newhall’s 65th birthday at Ansel’s home in Yosemite. Hungarian photographer, sculptor, and filmmaker Brassai was also there. After the time with Ansel Adams came to a close we all went our separate ways. I went on to teach much of what I learned, while other students in my class took their newfound knowledge and forged their own path. One of my classmates turned out to be one of the best known black & white photographers living today. John Sexton teaches photography workshops in black & white printing and the Zone System. That time in the summer of 1973 certainly changed my life.

Beaumont Newhall's birthday party. Brassai is on the left and Newhall is on the right.

Photograph like a Professional.
Neil experienced something that most photographers only dream of—learning from a Master photographer. While there may be opportunities to work or learn from your favorite photographers, for many of us this is not a viable option. In lieu of stalking your idol, you can learn a lot about a photographer by studying their photographs. When looking carefully at a collection of photographs from the same person, look for compositional similarities. The more you understand the style of photography that you are drawn to the more you will understand how and why you photograph. Try it. Go out and find a collection of photographs from a photographer that you like and figure out what you like and why. With the web at our fingertips and photography books galore, this is a pretty easy task....click here to download the full assignment.

For this month’s look into workflow I asked Heath Korvola, a phenomenal photographer, graduate of Summer Intensive, to share his process. Heath specializes in active, lifestyle photography and his clients range from Backpacker Magazine to National Geographic Adventure. This summer Heath is teaching a Professional Studies course for RMSP. Besides his status as an instructor, I visit his Web site at least once a month—he’s diligent about updating his images—to get ideas and inspiration for my own photography. I study his style, use of light, people and focus. He is one of the professionals I learn from and I’ve never even met him. --Page Orb

Capture
What are the steps you take to get ready to photograph (the night before, or hour
before you go)?
Pre-production can be basic or involved depending on the style of shoot. Check over equipment, charge batteries, etc. Look into necessary permits well ahead of time. Send out confirmation email with team information including contact numbers in case of last minute emergencies, as they will happen. Grab a few fun props. Previsualize. Breathe. Leave yourself the freedom to work with what you’ve been given.

Right before you take a photograph, do you work slowly, deliberately, set up each shot? Or, do you work more spontaneously and just go out and shoot?
Again, this will depend immensely on the shoot. Personally, I’m known for mixing it up after a prodigious amount of prep.

In general, do you pre-visualize and pre-compose or do you find your photographs as they happen/you happen upon them?
Depends on the project. If you work with limited time editorial subjects or a stock shoot you may have to plan everything out. If it’s a longer travel piece or personal work then you might be able to allow the happy accidents.

How often do you photograph?
As often as possible. I’m taking shots right now as I type ….

What is your greatest challenge when photographing?
Stopping.

Process
Briefly describe your process after downloading your images from the camera and before you get into local adjustments? What software do you use? Do you edit right away? Etc.
I’m a total believer that the products you use only matter as much as you are comfortable with them and can provide what you’ve signed on for. For me that's Lightroom, CS3, Bridge and my brain. There’s great info out there on workflow but maintaining simplicity and efficiency is key. Start with an alpha-numeric naming convention based on the date so that the software does all the heavy lifting of organizing everything for you. Then build a solid flow that works the same every shoot – metalog, edit, submit, backup, archive.

How do you name your files?
See above – I’m a huge proponent of date based naming conventions. It allows the machines to order every shoot you have in an easily identifiable method. I’m always blown away by the variations that exist - why would you go with random terms that may make sense at the time of shoot but mean nothing in a year or two much less for your office manager?

How do you organize your files?
Building off of individual shoots create catalogs by year in Lightroom and you’re off to the races. You can always search via metalogged parameters – rating, label, caption, keywords, etc. The current version of Lightroom only allows a certain number of images per catalog (less than 40,000) so breaking down by year or half year is a logical way to work within that limitation while maintaining your basic workflow structure.

Do you do much work on your images in Photoshop or do you perform the basic adjustments (contrast, saturation, and crop) and call it good?
Depends on the client. Obviously the most efficient way to create images is to shoot the image as best you can in camera. From there I usually do basic adjustments and leave retouching to the professionals – hire good people and get out of the way.

How often do you edit your images?
Typically I customize edits for each client be it assignment or stock.

What are your greatest challenges when processing your images?
Maintaining a smooth workflow from capture to archiving – particularly when working across locations, with various clients and/or with different staff.

Output
What is your most common form of output: print, web or multimedia?
My workflow includes all three at times but as the majority of my work is editorial or commercial, web or multimedia output is the most common.

Explain your web presence.
Do you have a website? Who/What company created your web site?
As I believe every shooter should these days I do have a website. However, I think this is very different from my ‘output’ as I’m not shooting for my website. Of course selects do get uploaded there as work updates but as a commercial and
editorial shooter I’m working for clients that require digitial files. So my output would be based on their use specs but typically run along the lines of 240 dpi 8 bit tif image in a specific size and color profile.

Are you a member of photography/artist social networking sites?
Can’t say photo specific sites but in the evolving web 2.0 world there are definitely creative connections and outlets that one can harness. Examples include LinkedIn.com, photoserve.com, current blogs, online forums such as t-op-a.com, and of course more formal organizations such as ASMP, EP & APA.

Do you maintain a blog? What is the web address?
You’re either on it or can find it here – http://heathkorvola.com/blog

How often do you go through your output process?
Everytime I shoot, there is no set schedule.

What are your greatest challenges during the output stage of your workflow?
Editing. Culling images can be a challenge when you are extremely tied to the work or your client has needs/tastes that are quite different from your own. In the end, you run your business like a business and provide the service you’ve been contracted to provide – this means distancing yourself from the work and that is challenging. (That doesn’t, however, mean you didn’t manage to work a few personal creative images in for your own selfish self during the shoot that no one needs to see.)

What’s your favorite tool, gadget, resource or website?
It’s a constantly evolving list – I’ve posted a recent spool here - http://www.heathkorvola.com/blog/2008/03/07/tech-tips-2/

If you are a lover of Ansel Adams and enjoyed Neil’s story here are a few more resources for you to check out.

Description of Ansel Adams life and career: http://en.wikipedia.org/wiki/Ansel_Adams
Listing of Ansel Adams published books, articles and photographs: http://www.historicphotoarchive.com/big/ansel.html
Websites to find and purchase books: http://www.anseladams.com/index.asp?PageAction=VIEWCATS&Category=12
http://www.photosecrets.com/books.anseladams.html

If you are only going to buy 1 of Ansel Adams books, which one should you buy? A discussion on photo.net. http://photo.net/medium-format-photography-forum/00A74P

Interested in a workshop that brings some of Ansel Adams into your world?
Black and White Master Print with George DeWolfe- October 26-31, 2008
Photoshop for the Landscape Photographer with Tim Cooper- October 19-24, 2008

Thinking about a get-a-way to enjoy the fall colors?
Join Doug Johnson for Indian Summer on the Upper Peninsula, Michigan –September 27- October 3, 2008.

Beautiful sunrises, cool mountain water, stunning sunsets…summer in Montana…come see for yourself!
Sunrises, Sunsets and Flowing Water, August 9- 15, 2008 with instructor, Doug Johnson

2009 Career Training Information now available!
Call our office 800-394-7767 or email Bob bobm@rmsp.com or Marie marieo@rmsp.com for more details.

Gallery Saintonge invites all RMSP students, instructors and friends to submit work for our first ever JURIED EXHIBITION!

This is an excellent opportunity for emerging to established, North American photographers and artists working with any form of photographic media to submit work for review and to participate in a group exhibition in Missoula, Montana.

Detailed information can be found on www.gallerysaintonge.com. For questions please email us at gallerysaintonge@rmsp.com.

Thank you and we look forward to seeing your work soon!

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