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Publish Your Photography Book

Books, Business  Comment
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Industry insiders Darius D. Himes and Mary Virginia Swanson demystify the process of producing and publishing a book of photographs. They survey the current landscape of photography book publishing and point out the many avenues to pursue and pitfalls to avoid. Himes and Swanson provide an overview of the publishing industry; an intimate look at the process of making a book; a close review of how to market a photo book; a section on case studies, built around discussions and interviews with published photographers; and a final section presenting a wealth of resources and information to aid in the understanding of the publishing world.
Their forthcoming title Publish Your Photography Book also includes a number of additional interviews and contributions from industry professionals, including artists, publishers, designers, packagers, editors, and other industry experts who openly share their publishing experiences.
Read more with my Bookmaking resources.
Learn more in my Pro Portfolio and digital printing workshops.
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PDN Photo Annual 2011 – Deadline 1/25/11

Contests  Comment
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Have your work seen by top photo industry judges.
Plus, the Photo Annual is sent to over 5,000 creatives.
Awards include …
– awards celebration May 2011 in NYC
– work featured in PDN June issue and website
– $15,000 Arnold & Augusta Newman Foundation Prize for Portraiture
– The Marty Forscher Fellowship Fund professional award and student award
– The Sony Emerging Photographer Award:  – camera, cash, article
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Blend It Out

Magazine - Digital Photo Pro, Photography, Software - Photoshop  Comment
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It’s a perfect shot! If only those unwanted moving objects (UMOs, i.e., a person or a crowd) in the scene would disappear. As long as the unwanted elements in your frame move, even just a little, you can make them disappear from your image by taking two or more shots and using Photoshop’s layering and blending capabilities.
You don’t have to retouch your image. Blending is different than retouching. The unwanted elements aren’t covered over with new information by hiding them with replacement information similar to the surround, either from the same source or another. With blends, the information behind the moving subject is revealed. How? It’s contained in the other shot(s).
You even can do this with exposures that are made with slightly different angles of rotation or framing, so you can use this technique with handheld exposures, not just those made with a tripod. Camera motion may make manual registration difficult, but Photoshop automatically will align and, in some cases, distort the separate exposures so that they register precisely …
Read more at Digital Photo Pro.
Learn more in my digital photography ebooks.
Learn more in my digital photography workshops.

Firefly Invisible Ink

Printing  Comment
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Jon Cone’s Inkjet Mall recently introduced Firefly Invisible Ink, an inkiest designed for viewing prints under black light only.
“Firefly™ ink is a sophisticated encapsulated dye ink that is invisible in ordinary daylight. Turn off the lights and expose with a black light and the color is vibrant and life-like. We make Firefly inks in cyan, lt cyan, magenta, lt magenta, yellow and white. Because the inks are invisible and require UV light in order to be seen, images must be printed in a false color in order to appear normal under black light. We produced Firefly™ ink Image Converter software so you do not need to experiment. You can open an image, convert it and save it as jpg or png file to print in any software of your choosing. We also put in some expert tools for those who wish to experiment.”
Kudos for innovation.
All bets are off on longevity.
Learn more about Firefly Invisible Ink here.
Learn more with my online digital printing resources.
Learn more in my digital printing workshops.

My Top 12 Images Of 2010

Images - Annual Top 12  Comment
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Reflection XLII

Reflection XLII

Reflection XLVII

Reflection XLVII

Reflection XXXIX

Reflection XXXIX

Reflection XXV

Reflection XXV

 
Reflection XLV

Reflection XLV

Reflection XXVI

Reflection XXVI

Correspondence - Nocturne - LI

Correspondence – Nocturne – LI

Correspondence XLV - Nocturne

Correspondence XLV – Nocturne

Correspondence XXXXVI - Nocturne

Correspondence XXXXVI – Nocturne

Correspondence XXXV - Nocturne

Correspondence XXXV – Nocturne

Correspondence - Nocturne LII

Correspondence – Nocturne LII

Condensation CX - Prelude

Condensation CX – Prelude

This is a selection of my top 12 images of all time. This selection doesn’t reflect sales, publication, or activities on the web. It simply reflects my opinion. Click on the titles to find out more about each image.
Geography
Antarctica, California, Iceland, South America, Utah.
Process
I practiced my typical 80% composite and 20% straight. Can you tell which is which? I hope it’s not obvious and that during this guessing game you begin to look more closely at looking.
Concepts
Light reveals and interacts with surfaces, which both reveal and conceal, sometimes doing both simultaneously. What the viewer sees depends as much on the context (physical location and moment in time) as his or her mental state (education, emotion, intent, awareness).
Magnificent Moment
The time I spent exploring the Great Salt Lake in Utah, several years before these images were completed, was a particularly intense time emotionally for me, some of I hope is reflected in these images and some of which I hope remains personal. The magnificent moment was inside.

View more of my Annual Top 12 Selections here.

View more images in my ebooks here.

View my full Works here.

View my Series videos here.

View new images in my newsletter Collectors Alert.

Try Setting Your Camera to Preview in B&W

Technique - B&W, Technique - Exposure  Comment
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Many people find it easier to see composition in black and white. If you’re one of them, try setting our camera’s preview to black and white. When you do this, seeing line, shape, form, and relative light and dark relationships may become easier. Doing this will also help you get a better sense of how an image will look in black and white. Remember though, the saturated hues in your image can be converted to black and white as either light or dark, so the relative tonal distribution of your image is quite fluid – and seeing the hues in the image (whether with your naked eye or on the camera’s LCD) will inform you how fluid you can expect it to be, where it will be fluid and where it won’t.
Setting your camera’s preview to black and white will only affect the JPEGs your camera creates; your Raw files will still be in full color.
Find more digital photography online resources here.
Learn more in my Digital Photography Workshops.