Phluxt

A Photography Website
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The Precious Object

August 19th, 2009 by epo

Alkemie Jane I have been thinking a lot lately about the end product of photography. It’s hard to sell photographs at a premium because people know you can just make another one.
It always sounds cold and somehow degrading, but when it comes down to it selling your work is the difference between professional art and hobbyism. There is a quote from andy warhol that I throw around a lot “until it is sold it’s not art, it’s just a storage problem.” This is sent home pretty easy by looking at all the paintings just leaning against the wall in my studio.

But with paintings sold or not, they are a precious object, one of a kind. If you buy it you have it. Sure a print might exist but it is not the same. You have the original hand made object on your wall. Film photography gets around this with hand printing. The nature of film printing makes one of a kind objects to some extent. But, especially with digital the prints I make are just that, a print. I can run one or a hundred and they will all be the same, and I will still have the original work to run more after that. In film part of the work is the print. In Digital the work is the image and the print is just a process for display.

Sleep To DreamI have had a couple discussions about the ethics of running another print of a photo after you have sold it. Part of me feels like this is a wrong thing to do. But, it does not really seem like anybody else sees it this way. People will run numbered series, but if it sells out they will just run a second edition of that series.

There are two solutions to the problem. One is to sell your work really cheap. Which I cannot really afford to do. The other is to create precious objects with your photo. Unique ways of framing, hanging, or even printing your work. Right now I am leaning toward creating hand decorated frames and mattes to go with each image. There are images this will work with and images it will not. The issue then of course becomes when it stops being a display piece and becomes a complete mixed media artwork with the photograph now just a component. Of course does that matter?

What are your thoughts on purchasing or selling prints of photography? I am interested in the strategy of others…

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Bring Me the Head of Springheel, Part One: Shooting and Lightroom

July 28th, 2009 by epo

Bring Me The Head of Springheel (by Eric Paul Owens)I approached Lola about doing a photo of her and her husband, an amazing photographer that goes by Springheel, at a photo event this summer.  After tossing some concepts around we settled on a homage to this David and Goliath painting. Springheel is best known for his horror works and I thought it would play well as a fun portrait.
This is the first of what will be two or three posts to walk through my process in creating the image.  In some ways it could easily be seen as a tutorial.  I am not calling it a tutorial though.  This will not be step by step, nor will it be completely instructional.  I have already made the image and I am just walking back over what I have done.
I use adobe photoshop and adobe lightroom.  Though in theory the methods are translatable into other software.
This first post is going to cover how things were shot with the camera.  And the initial processing in Lightroom.
I think of Lightroom as developing. I try to do as much of my actual adjustments to photos there. Then editing is done in photoshop. I like the tools in lightroom better for adjusting the files, and it seems like a nice logical break in the process.

Shooting Lola
000_lolacamera (by Eric Paul Owens)
The above are the settings for the shot I eventually settled on.  I was shooting at ISO400 more for the head than anything else.  I shoot with a D50 and ISO400 has a little bit of noise when you push the shadows in post process I wanted the noise to go with the eventual grungey brushing I would be doing.  I am shooting wide (20mm) and from a low angle so that her hand would be exaggerated and I could have the head take a significant place in the frame.  I was shooting at 9.5 hoping to keep things sharp.  In actuality her two closest fingers are not nearly as sharp as I had hoped but they end up hidden in the shadows in the final image so all was well.
Lola Source image (by Eric Paul Owens) Springheels Head Raw Source (by Eric Paul Owens)
Both Lola and Springheel were lit with a SB25 speedlight at 1/2 (or 1/4) power using a DIY beauty dish made from a turkey pan.  I handheld the light and tried numerous angles.  The beauty dish provides a directions soft light that fades off quickly Which is nice whe you want things to “emerge” from the darkness.
000_camera (by Eric Paul Owens)
Springheel was shot with very similar settings.  I tried to keep in mind the angles of light I had for Lola and give myself as many options as possible as far as heads to choose from.  He wore a black shirt and another was wrapped around his neck in order to isolate his head as much as possible.
000_selection (by Eric Paul Owens)
This is all the images from the shoot. I went through and marked picks and rejects. The rejects are marked greyed out here. One of the nicest features about Lightroom is the options it offers for going through and editing down a shoot. I mark things with flags and stars to make selections and then I use colors to denote other things. For instance above the final completed piece is labeled in blue. I will also use colors sometimes for alternate crops of pieces or older/newer edits.
000_selection3 (by Eric Paul Owens)
After a couple of passes I narrow my selection for the Lola image down to three, they are marked using stars, and using filters I narrow my view to choose one to work on. The Survey view is great for this, its like having all the images laid out on a table and narrowing them down. Its nice to be able to see them all at once. (The survey view button is circled above in the lower left.)

004_lightroom_splittone (by Eric Paul Owens)During the selection process I applied a base color adustment to all the files. For the purposes of this review I had removed it from the Image of Lola I used, this is why the color is different from the other two above. The color adjustment is the result of a downloaded preset, that I have then edited to make my own version. The majority of the effect comes from the split tone slider adding some warm gold color into the highlights.

Lola Source image (by Eric Paul Owens)
The rest of the adjustment process for Lola’s image is pretty straight forward the majority of the sliders used are above. The blacks are pushed up to knock out detail from the background and the lights are pushed up to bring her out of it. There is not an exact science to this I just play with it until I get what I like.

The adjusted image is then moved into photoshop so I can use it to compare heads. This process was straight forward and it took 3 tries. I would bring an adjusted head into photoshop and move it around to see how it looked. We are skipping it here so that we stay in Lightroom. I will show some of it in the later post.

Prepping the Head
Springheels Head Raw Source (by Eric Paul Owens)
A similar set of concerns and goals existed for the head so the sliders look similar here.  In both cases the exposure is pushed way up and this brings more noise into the shadows.

002_lightroom (by Eric Paul Owens) 003_lightroom_Springheel adjustment Brush (by Eric Paul Owens)
I also used 3 adjustment brushes. Two outside his head to get rid of parts of the shirt that had caught light, and one to add light to the side of his head. I did this initially to make isolating his head in photoshop simpler, but I like the look of it and so it stayed that way even after cutting the head out. The red you see is the brushing for that adustment and then the accompanying sliders for it.

So That is pretty much it for Lightroom both of the resulting below images were then moved in to make the composite, which we will cover in the next post.
Springheels head Adjusted Source (by Eric Paul Owens) Lola Source image (by Eric Paul Owens)

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Group Shoots: a Primer

July 27th, 2009 by epo

Untitled (by Eric Paul Owens) Gummie (by Eric Paul Owens) DSC_1308-Edit (by Eric Paul Owens)
I attend a number of “GroupShoots” each year.  New people often ask me advice and such about attending them.  So this post is a primer, my thoughts on what these events are and what to expect.

The term “Group Shoot” means something different to different people.  Some will be more of a workshop atmosphere with all photographers shooting off one set-up with one model, learning from either each other or the host.  Some follow a theme and all the shoots for the day relate to one another.  Most of the shoots I attend bring people together at a venue where they are free to make their own schedules and plan their day as they choose.  This is the type of shoot we will focus on.  The ones I attend are organized through Model Mayhem.com but, the ideas translate elsewhere of course.

Untitled (by Eric Paul Owens)Keep the concepts simple.
An important thing to remember as you go along, the primary purpose, in my mind anyway of a group shoot is networking.
When I first started attending these events I would formulate complex concepts, and I would stress about trying to make them happen in the hour.  Your time with people for shooting is short at a shoot (typically an hour, after meeting up and getting things organized and such really about 45 minutes).  I started to enjoy myself a lot more once I started to keep most things simple.  I will still do some more involved things but I either have 2 hours to shoot or a break beforehand to prepare.

Spend some time talking to other Photographers and models.

An important part of networking is the actual talking thing.  You will find people very open and sharing at these events.  I have learned so much from them.  I have gotten leads on opportunities as well.  See a widget you have never seen before? Ask about it.  Be sharing yourself as well, we all shoot different and all learn things from different sources.
Some people will schedule in breaks in their day for time to socialize, there is usually a central meeting place.  Some events will even have a scheduled lunch where people are not supposed to not schedule shoots so there can be a potluck of sorts.  I also try to bring some form of print portfolio, even a 4×6 book, to pass around and show people my work. Bring business cards too.

What to Bring?
One word to think about when you make every decision about what to bring: Portability.  I try to avoid bulky things, remember depending on location your likely going to have to carry it around all day, or your assistant is.  I really recommend battery powered speed lights and such for lighting at these things.  Electricity is scarce in some locations and you are competing with others for it.  In the end your concept determines what you need.  But if you want to bring an 8ft octobox and big lights you are going to eat a lot of time moving your set up over time.

Untitled (by Eric Paul Owens)Move your setup.
Right now some of you reading the last bit are saying, “Sure, but if I set up in one place all day I only have to haul my lights in once.”  This is true. But, while their are exceptions hanging in one location all day is considered rude to others who may want to use the location.  Camping in one location is often against the rules of the event as well.   Every event is different and you will have to use your judgment as to whether camping would be ok.

Make-up
Make-Up Artists are often available, they will charge a nominal kit fee, which is to cover their costs.  Make-Up takes time.  Sometimes a lot of time.  If you ask for something more than a basic beauty face, dont expect more then 20 minutes shoot.  Look at the portfolios of make-up artist.  They can make your photo work but they can also ruin it.

Scheduling
Especially when you are new you need to go through the participation list and contact the people you are interested in shooting with.  Don’t expect everyone to want to or need to shoot with you.  If they say no or don’t respond move on.  If your schedule is not full don’t stress, you will pick up open people at the event.
Personally I think it is a good idea to post your schedule publicly.  That way models can see if you are open when they are.  Some people will not post schedules.  Sometimes because they feel it is no ones business, and sometimes so they can just tell people they don’t want to work with they are booked.  How you handle your schedule is completely up to you.
Typically, the day is broken down into one hour blocks.  If you schedule something different you may find your schedule hard to mesh with others.  You may want to block out a lunch or a break.  I typically avoid schedulling the first hour.  Shoots during the first hour rarely work out.  People arrive late, and in general the check in and arrival eats into the time.

Untitled (by Eric Paul Owens)Have a Plan
Try to plan each shoot with the model and MUA (if needed) before the event.  The more everyone is one the same page the smoother things run.  So many waste time going through clothes with the model looking for what to wear.  Have a concept in mind discuss clothes before hand and you don’t lose that time.
The more you have discussed the less chance there is for conflict as well.  Make sure any plans as far as nudity, props, make-up are discussed beforehand.  I also send a copy of my release to the model so that they are informed as to what is in it.

People will flake
When it comes down to spending the money and showing up, some people always tend to not make it.  You will see a lot of cancellations in the days before the event.  Cancelling is not flaking, flaking is not showing up while scheduled, both happen though.  Some due to emergency, some not.  Expect it and don’t let it upset you.  Just find other people to shoot with during those times.
I give people a couple chances at group shoots.  Many people wont work with people who flake on them.  I usually give it another try.  Your policy is up to you.

Send out the photos swiftly
A large part of networking is about reputation.  One of the biggest problems models run into with photographers from these events is when they dont send them photos.  These are trade events, the model is giving you their time, you are supposed to be delivering photos.  If you are new and upset because you feel they are not very good, send them anyway.  Every model I know of will give a second chance to a green photographer who gave them photos before they will a seasoned one who gave them nothing.  This is a learning event to and in the end your less than great photos let them evaluate themselves if nothing else.

Untitled (by Eric Paul Owens)

Keep it Simple, Take it lightly, have fun

When it comes down to it you will get out of these events what you put into them.  Think about logistics and planning, spend some time getting to know the people, and fulfill the obligations you have, and over time you will be a better photographer for it.  A long the way you will learn a lot of things and develop some good relationships with some talented people.

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Yummy has a blog!

July 23rd, 2009 by epo

Yummy is a show I will be participating in next month about food.  One of my bacon photos with Crash will be there.  The show is a fundraiser for the Mid-Ohio food bank and 40 artists are participating.  Be sure to come check it out.

They posted a blog which you can check out here.

August 14 – September 13, 2009
The Matchbox Gallery
@ Junctionview Studios
889 Williams Ave.
Grandview Heights, OH 43212

Opening Night Party:
Friday August 14, 6 pm – midnight
Please bring a non-perishable food item or a monetary donation for the Mid-Ohio Foodbank

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Protecting your copyright

July 21st, 2009 by epo

Layers Magazine has a great article about what you as a photographer should do to protect your creations.  The internet has really changed they way we think about intellectual property such as movies and music, but it really hits photographers hard as well.  People don’t think twice when sharing a photo.  Most of us are small businesses and amatuers so without the RIAA or MPAA behind us we have to defend our own work however we can.

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Lighting the Ice

July 4th, 2009 by epo

Alkemie on The Rocks Alkemie on The Rocks Alkemie on The Rocks

When I shot Alkemie Jane for my Foodiepo project, I wanted to do something a little different. The other shoots are done against a bright colored but solid backdrop. But, with Ice, I wanted to try and do something to push the concept. In the end Alkemie would not be able to do a whole lot with the ice so more of the concept had to come out of the set up.

DSC_7159

I ended up creating a “Light Chamber”. What I have done is to set up a grey seemless. about two feet in front of that I hang a clear plastic sheet. Just a simple disposable dropcloth from the hardware store. I hosed the plastic down with Baby Oil and then spritzed it with water to create a “wet look”

DSC_7158Three flashes are gelled blue and put between the sheet and the grey seemless. Another two gelled flashes are on the floor to light the ice. (My sync wasn’t working right in the picture above so two flashes are there but not firing.) Then a softbox above lights Alkemie who was a good sport to sit on 200 pounds of ice for me.

I haven’t had any other project that I have tried this light chamber with yet, but I really do enjoy the look of the light in the photographs I got from it.

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5 Resources for Fireworks Photography Tips

July 4th, 2009 by pwc

How to Photograph Fireworks Displays by Darren RowseDigitial Photography School

Do you want to know how to photograph fireworks? With 4th July just days away I thought I’d refresh this article in which I give 10 Fireworks Photography tips to help you get started.
http://digital-photography-school.com/how-to-photograph-fireworks#ixzz0KJ0bAsZy&D

How-to-Photograph-Fireworks-Displays_1246722017535Do you want to know how to photograph fireworks? With 4th July just days away I thought I’d refresh this article in which I give 10 Fireworks Photography tips to help you get started.

Photography Fireworks Wired Wiki Article – Wired Online

Photograph-Fireworks---Wired-How-To-Wiki_1246722455309Is your city puting on a massive pyrotechnics display this weekend? Or maybe just your neighbor Carl? Either way, you can learn how to capture the moment in all its noisy, exploding glory with a digital camera.

Fireworks Photography Guide by Sebastian Szyszka – PhotographyReview.com

Fireworks-Photography-Tips---PhotographyREVIEW.com_1246722875175Let’s get the big secret out in the open – fireworks are simply one of the easiest, and arguably most boring, things one can photograph. Making a great fireworks photo is easy, and that means there’s a glut of great shots out there. But that makes it that much harder to create something that stands out from the rest. And therein lies the challenge. In this guide we’ll cover the technical side of taking fireworks photos that aren’t a blurry, grainy mess.

Photographing Fireworks – Kodak.com

Photographing-fireworks_1246723368089Whiz, boom, sizzle! Fireworks paint the sky with a myriad of colors. You too can light up people’s faces when they see what great shots you’ve captured. These “tricks” will help you get great photos

Quick Tips: Photographing Fireworks – Canon

Canon-Digital-Learning-Center---Quick-Tips_-Photographing-Fireworks_1246723563340Fireworks are one of the most inspiring, photogenic, yet challenging subjects to capture. And unfortunately, this is one of those shooting situations where fully automatic exposure and focusing may not help. However, with these tricks up your sleeve, perhaps a few accessories, and a willingness to experiment, you’ll capture amazing fireworks photos this Fourth of July!
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Photo of the Day #2

July 3rd, 2009 by pwc



July 4, 2008

Originally uploaded by Madison Guy

Great perspective in this 4th of July photo. You’re part of the crowd watching the great fireworks display. A nice capture with pretty crisp fireworks.

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Photo of the Day

July 2nd, 2009 by pwc
Photograph by Stuck in Customs

Photograph by Stuck in Customs

Today’s photo of the day is sticking with the 4th of July theme of this week.  Stuck in Customs is know for his HDR images on Flickr, and this one is a good example of how the technique does not have to be gaudy.

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Hello and Welcome to Phluxt!

July 1st, 2009 by epo

A Bucket of Conflict

This post is just a little hello and introduction.  My name is Eric Owens, and I am an artist and photographer currently living in Ohio.  My work is a bit varied you can see a lot of it here.  I have a B.F.A. in studio art and I have worked professionally in graphics for more than a decade.

My goal on this blog will be to share my experiences in photography with you.  This includes shooting, DIY equipment, purchased equipment, and post-process/retouching.  I experiment with techniques often some times it works and sometimes it does not.  I look forward to sharing both those successes and failures with you.  Maybe we will all learn something along the way.