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Two Generations Talk : Paul & John Paul Caponigro – Online MMW

Receive this ebook free.       26 images – 26 quotes

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Recorded May 10, 2022 – 1 PM EST

 

Two Generations In Conversation, an afternoon with father Paul Caponigro and son John Paul Caponigro cohosted by Maine Media Workshops. During this captivating hour, the Caponigros, after a brief viewing of images, will share their thoughts about the soul of photography, the joys of printing, and how the two are related. Then we’ll finish our program with a lively question and answer session open to all participants.

Enjoy this shorter video as either an appetizer or a dessert.

Three Simple Lines / Natalie Goldberg & John Paul Caponigro

 

 

Tuesday, May 24 – 6:00 to 7:00 pm MT – Online At The Santa Fe Workshops

Creativity Continues at Santa Fe Workshops when author Natalie Goldberg joins John Paul Caponigro for an intriguing conversation about how words make images and images make words. Natalie sets the tone and the stage for the evening by reading from her newest book, Three Simple Lines: A Writer’s Pilgrimage Into the Heart and Homeland of Haiku. Then John Paul and Natalie discuss the larger themes of how writing and perception are deeply intertwined and how writing can be both inspiring and useful for visual artists. The program finishes with a lively question and answer session — first between Natalie and John Paul and then open to all participants.

Natalie Goldberg, author of 16 books, including the bestselling Writing Down The Bones, a delightfully companionable exploration of writing as a practice of mindfulness. In Three Simple Lines, she highlights the history of haiku poetry, dating back to the seventeenth century; shows why masters such as Basho and Issa are so revered; discovers Chiyo-ni, an important woman haiku master; and provides insight into writing and reading haiku. A fellow seeker who travels to Japan to explore the birthplace of haiku, Goldberg revels in everything she encounters, including food and family, painting and fashion, frogs, and ponds. She also experiences and allows readers to share in the spontaneous and profound moments of enlightenment and awakening that haiku promises.

 

below – a comparison between Basho’s most famous haiku in Japanese and English

 

Recommended Reading On Haiku

Writing & Enjoying Haiku – Jane Reichold
If you only read one book on haiku, start here.
This is the book I occassionally give to my students.

Haiku – The Sacred Art – Margaret D McGee
An accessible western perspective on haiku as a spiritual practice

The Haiku Seasons – William R Higginson
Focuses on the importance of seasons in haiku
Written by one of the west’s great haiku scholars

Haiku: A Poet’s Guide
Paints a broad picture of the diverse practices within haiku
A classic by one of the west’s great scholars

The Haiku Handbook – William R Higginson and Penny Harter
A concise history
A classic by one of the west’s great scholars

A History Of Haiku / Vol 1 – R H Blyth
A History Of Haiku / Vol 2 – R H Blyth
An expansive history
A classic by one of the west’s great scholars

Ikigai And Other Japanese Words To Live By
Details Japanese words/concepts important to their culture’s philosophy/aesthetic
Not a book on haiku but includes haiku
Includes 28 photographs by Michael Kenna

Find Natalie Golberg’s new book Three Simple Lines here.

How To Double Process One Raw File For Optimum Shadow & Highlight Detail

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Colin Smith shows you how to bring out maximum detail in highlights and shadows editing in Photoshop and Lightroom.
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How To Get More Control Over Photoshop’s Content-Ware Fill

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Colin Smith shows you a lesser-known way to easily remove distractions from photos by getting a little more control of Content-Aware Fill in Photoshop.
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How To Avoid Making Viewers Squint At Your Images To See Their Highlights

Highlights are crucial to most images, with a few notable exceptions. If highlights are too dull, the whole image feels flat and suppressed. So, many people try to make them as bright as possible without losing detail. (This is a classic practice that’s part of a style, but some photographers prefer even fuller highlights. Edward Weston and Minor White were two such photographers.) In an attempt to make their images glow more, some people go so far as to make images overly bright, washing out midtone contrast, saturation, and clipping highlights, removing detail at the very top of the tonal scale and producing flat white areas. This is a graphic style more than a photographic style – or at best lo-fi rather than hi-fi solution that often requires additional compromises to image quality to feel convincing. Plus, it renders the frame no longer rectangular.


Don't take ETTR to an extreme.


Do make your exposures light without clipping.


Process your files darker.


If you've got clipping in both shadows and highlights, use HDR bracketing.

Exposure

Good highlight detail starts with exposure. Get it. You have to have it to optimize it. This is one of the two reasons to monitor your histograms during exposure; the other is shadow detail. As long as you don’t “hit the wall” on the right-hand side of the histogram, your file will be fine. Remember, the histogram on your camera is based on the JPEG your camera would produce, while the as yet unrendered Raw file has even more data in the highlights. Don’t take ETTR (expose to the right) to an extreme. At some point, data will be clipped, and just before the point data starts to clip, it will start to lose gradation and shift in color.


Basic Panel


Parametric Curve and Point Curve

Processing

You’ll get more contrast by having something to contrast with; in this case, highlights contrast with shadows. Set them first. The darker shadows are, the more contrast you’ll get. (Losing shadow detail is avoided in a classic style but may be done intentionally for more graphic, gothic, or grunge styles.) Similarly, if you weigh midtones lower, highlights will appear brighter. Every range of tones (shadows, midtones, and highlights) can have its own kind of contrast. To produce more separation in highlights, focus on setting the point where they transition into midtones as low as possible without making the image look too dark. What’s too dark? Subjective. Trust your gut and do it your way.


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The 5 Benefits Of Looking At Other Artist’s Works

“Build a large visual library.” is Howard Schatz’s excellent recommendation for photographers at any stage of their journey. For decades, he has continued to do this himself well into a highly successful career, consuming images voraciously. While he haunts bookstores, he doesn’t mean just buy a lot of books with pictures in them. He means to learn to see (more versatilely, contextually, and deeply) look at a lot of images.

What are some of the benefits of exposing yourself to more images?

1 You’ll see more possibilities.

The amazing variety of images (subject, style, context) will inspire you to try some of the things you see.

2 You’ll see more of what’s been done.

Becoming familiar with a medium through its history, you’ll see the sensibilities of eras, past fads, current trends, and enduring themes.

3 You’ll develop a repertoire.

Identifying successful techniques (composition, exposure, development) that have been repeated by many different artists is the first step to incorporating some of them into your practice. 

4 You’ll see what hasn’t been done.

Once you know what’s been done, you’ll be able to imagine what hasn’t been done and may fill that gap, either with a bit of twist or a giant leap.

5 You may even combine things that have been done into new combinations.

A little of this mixed with a little of that may become a new thing.

There are more benefits to exposing yourself to more images, but isn’t this enough to get started? The principle is simple. If you look more, you’ll see better. I recommend you make it your lifelong practice. It’s a pure pleasure.

Explore more resources on Influence here.