AC Johnson Photography Education

You Might Be Surprised

Alec — Wed, 18 Aug 2010 13:39:27 +0000

We just finished our 4 glorious days on the North Shore of Lake Superior. Great participants, great weather, great accommodations, great photography from all. Wow. What a treat to be able to do this. THANK YOU to George, Chris, Marek, Chet, Gary and Sam!

I don’t formally shoot during workshops, but I’ll carry around my 5D Mark II to document participants and moments with still images and video. Here’s a smattering of what I captured. The first three are of an old Ford Edsel, or as my dear friend Matt Gibson said, “The new Antelope Valley,” (shot before the workshop with tripod), with a 24-70mm lens.

Everything else was captured without a tripod and using the exact same lens, a Canon 100mm macro, which I can’t imagine actually choosing for many of these circumstances. Its what I had on my camera the entire workshop. Upshot: teach yourself to see with a lens you seldom use. You might be surprised.

Welcome to my New Photography Site

Related posts brought to you by Yet Another Related Posts Plugin.

I bet my HDR can beat up your HDR

Alec — Wed, 04 Aug 2010 18:37:42 +0000

I’m writing this post just a few days before I start teaching a landscape workshop to remind myself that HDR for HDR’s sake does not equal good photography. Like two litttle kids comparing who’s dad is tougher, some photographers compete with each other to produce more graphic, more over the top HDR images with a total loss of focus on the photography. Maybe I’m one of them some days.

There’s no substitute for the right quality of light, the strongest compositions and a clear of idea of what you want to say in your image. Now, if what you want to say is that you know how to sit at your computer and pull the sliders far to the right in Photomatix, then continue doing what you do. I love producing graphic HDR images of cliche subjects which usually arise out of opportunistic moments to shoot – as much as the next person – as evidenced by the following cliche truck shots created in the middle of the day, just because I happened to be there. Not because the light was great and not because I had anything new to say about nostalgic old trucks or a better day gone by.

ANY CHARACTER HERE

But I don’t see many writing about or discussing use of HDR processes to create more photo-realistic images where the HDR work compliments, not dominates, the image. So these next two images I feel fit much closer to complimenting the image.

ANY CHARACTER HERE

In both of these landscape images I used multiple HDR conversions, some more realistic than others, to manage the overall effect and flow of the final image. I do a number of other processes to help HDR compliment an image as well. Several different techniques (high pass filter) to improve contrast and use of Lab Color mode to finish the color work. In both cases I did one HDR conversion for the sky/treeline and another for water and rocks. In the first there is substantial dodging and burning to get the read of the image just right and if you really want to get this shot you’ll have to wade into the Baptism River, up to your chest with expensive camera gear and steady yourself against a giant piece of ancient granite at 9:45pm to get it, praying that the one cloud in the sky sits tight while you get the shots.

So, I wonder…what is your preference for work dominated by HDR process vs. work complimented by HDR processes? As a photog, do you think about this difference and if so, how and when do you choose one style over the other?

Preparation H

Related posts brought to you by Yet Another Related Posts Plugin.

You’re So Limited!

Alec — Sun, 27 Jun 2010 16:46:30 +0000

The following quote came up in a conversation with a friend, John Benzik, yesterday; “In an almost classical sense, U2’s guitarist has turned limitations to his advantage, using simple techniques and abundant imagination to produce one of the freshest styles in years.” This is an excerpt from Guitar Player Magazine, 1985 interview with Edge, guitarist for U2.

This quote made me think a great deal about how we see limitations, how we let them affect our photography work, our career work and our life work. One could invoke several long-standing cliches that capture the same sentiment: “take lemons and turn them into lemonade” or “play the hand you’re dealt,” etc. It also got me thinking about a topic often discussed in art and I’ve written about here before; finding your voice. The quote really brought a lot together for me.

My voice for black and white landscape photography is, for the most part, shaped by limitations. What are those limitations? The most significant is that I love shooting over water and Lake Superior, but I don’t live near the lake so I can’t take advantage of ideal conditions. I go to Lake Superior when I can and shoot the hand that Mother Nature deals to me. If I want to shoot, then I often find myself seeing the landscape differently, pushing my technical creativity to capture a mood of the landscape in the specific conditions. My compositions often get distilled into very simple messages and ideas in an effort to manage what I see as endless possibilities for competing/busy subject matter. Does this result in a fresh look at the Lake Superior landscape? I believe so. This voice routinely shows up in other landscape work as well.

You should train yourself to work with what’s given to you, not to shy away from it to wait for better circumstances. Its this willingness to push yourself in moments that are uncomfortable or less than ideal, to just play with the subject at hand, that helps to shape your voice and style. This is true of today’s image from Lake Superior.

I’m not fully satisfied with the overall composition of this image, but I’ll revisit it in different conditions soon and see if I can get a result I like even more.

These limitations are a sturdy force for positive growth and creation as a fine art photographer, musician or in any aspect of our lives. What limitations do you have in your photography? Have you figured out how to leverage them to your advantage?

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.

Get Divorced!

Alec — Tue, 08 Jun 2010 16:33:35 +0000

WARNING! THIS IS A LONG POST ABOUT THE BUSINESS OF PHOTOGRAPHY. TO JUST SEE GREAT IMAGES GO TO BOTTOM OF PAGE.

I was on a commercial architecture shoot in Emmetsburg, Iowa last weekend. Much to my surprise and pleasure two divorced women I met at lunch tried desperately to get me out to the local casino for some dancing and drinks. I politely declined, but it got me thinking about the challenges I and many others have faced in the transition to a career in photography. As a professor in entrepreneurship I often discuss with my students the need to divorce from the idea and focus on execution, and a former student recently turned me on to a Scott Adams (Dilbert) blog post titled, “Ideas are worthless, execution is everything.” Where folks appear to struggle in the career transition to photography is too much focus on the idea of being a photographer and not enough focus on the execution of a photography business. If you’re in this transition, then you’ll be well served to divorce yourself from the idea and wed the execution of your business.

The Idea of Being a Professional Photographer - You love the creative process, the feedback and validation of friends and family. You love the independence, the spontaneity, the production of an image. You appreciate the joy it brings others, and in return it brings you. You enjoy being in charge, making key decisions that directly impact the result whether it be a landscape shoot, taking pictures for a class project or photographing your friend’s baby. Its become a very satisfying experience that generates and great level of joy and energy for you. Its a direct extension of your existence, personality and energy. Now all you have to do is start charging for it and you’re off to the races!

For me, none of that goes away as a commercial photographer. I haven’t lost the idea of being a photographer and I’m not suggesting anyone should, but I have moved my focus to more important and equally rewarding aspects of a photography business.

Execution of the Photography Business -I’ll focus on three universal themes (though there are many more to address):

1) What is your Unique Value Proposition? You might be tempted to answer “great photography, of course!” Wrong. As a commercial/professional photographer your work has to meet some minimum bar of excellence and that bar is always rising, but the bar is relevant to your subject matter, location, competitive environment and financial needs. If you live in a small town, you’re the only family/baby portrait photographer and its a second income then the bar is relatively low. If you live in a larger metro area with a hyper-competitive photography services market and you want to shoot ad campaigns because that’s the only route for you to have photography as a primary income, then the bar is relatively high. Regardless, you need to at least meet the minimum bar and your Unique Value Proposition must go well beyond this. As an architectural photographer, I know my UVP because I ask my clients about it. Here it is in a nutshell: “I solve problems for my clients, not create them.” The client doesn’t want to hear me whine about problems, they are paying me to solve them.

2) Who is your customer? You might be tempted to answer, “Everyone!” Wrong again. The broader you define your customer the larger your potential market, but it will be less clear what you’re selling and to whom. The narrower you define your customer the smaller your market becomes, but potentially the more lucrative and easier to define yourself. A related question is what you want to be known for in commercial photography. I can be a jack of all trades, but the market generally doesn’t reward that right now. If you’re a wedding photographer, be one. Don’t try to be an architecture photographer at the same time. Otherwise you’re not likely to be the top of your class in either. That’s ok, just be aware that there are trade-offs. I thought early on that real estate agents might be a good customer base for me. Boy, was I wrong about that. To them, everything is a commodity and photography has a very limited value lifespan and the bar for quality is low, commensurate with what they’ll pay for it. On the contrary, working for developers and architects reduces my market size considerably, but they pay a much higher fee, they DEMAND great work and provide great projects. I’ve have an excellent reputation in this market and clients know exactly what they get from me. That also means I’m not for every client in this market, but it all gets sorted out fairly quickly without spending much at all on marketing/branding issues.

3) What is your product? You might be tempted to answer, “Photographs, duh.” Wrong again. There is a big difference between features and benefits of your product. Features may include first rate facilities, great cameras and excellent equipment, top notch website, super personality and organizational skills. Those are features. Features can open the door, but not close the sale. What does your client buy? In my studio the client buys the intangible benefits of fun, comfortable environment that lasts in their mind as a great experience. Images that conjure up warm feelings and great memories. My architecture clients benefit from being made to look good, ease of communicating their product or service, problems being solved, not created. Customer’s buy you on benefits, but consider you on features.

There are so many more themes to continue with, but I leave it here with a quote from my good friend Dan Hanlon about the secret to business, “Do what you said you would do, when you said you would do it, for what you said it would cost.”

And now, some personal images from Emmetsburg, Iowa. The first six are HDR images of a 1948 (?) Buick Eight with my own secret sauce of post processing. The last is an HDR black and white landscape of a Poet Ethanol plant I caught just before the sky cleared. I hope you enjoy them.

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.

Preparation H

Alec — Wed, 19 May 2010 20:03:38 +0000

Consistent, quality photography is generally not an accident or product of happenstance. Its a product of management and preparation. I now spend less than 1% of my time on any shoot actually pushing that silly little shutter button.

I recently had a teaching client in my studio working on a shoot. I had worked with this client previously, watched his behavior and listened to his words. His behavior was anxious, nervous, uncertain, lacking confidence. His words were, “I don’t like pre-visualization, I just like to go with the flow.” I’m not judging this behavior as poor; its a natural part of the learning process, but can regularly lead to less than optimal outcomes. So this time around I forced him into the studio the day before his shoot for several hours of preparation. Check lighting with props, nail down some camera settings, anticipate HOW you want to shoot, work with computers and software so your process is clear. The outcome of the shoot was amazing, some of the best work he has done yet, in which he was able to focus on the model and shoot and eliminate dealing with pre-shoot issues. He has become a fan of what this really means and a blog post started brewing in my head. Then good friend and outstanding photographer, Matt Gibson, stated recently in his blog post, “My job as a photographer is to continually revisit subjects… refining my composition and learning my environment. When conditions arrive, I’ll be best able to ‘react’ and head right to the spot to capture the masterpiece.” Matt is actually saying the exact same thing only relating it to a different subject matter and environment.

I hated learning this lesson. I learned it while assisting another amazing photographer, Bryan Allen, on some wedding shoots. The man will drive any reasonable person bat-shit insane with his preparation for a shoot (or a workshop or a trip to the store). Scout the location 76 times, go through lighting possibilities for hours, walk the property again in the blazing heat and humidity, go over equipment, count batteries, make sure everything is packed just so, have his system down for backing up files (I still owe you for that hiccup Bryan:)), consider all possibilities for how and what he might want to shoot or “pre-visualize,” and have the gear and assistants to accomplish those ideas. Oh, but he produces great photography all the time and I finally found the cure for that nervous, uncomfortable, itchy, burning, anxious feeling I had going into shoots: PREPARATION H(elps). Using a little will allow you to more consistently produce better work.

Here are three broad and related categories of PREPARATION H for you to consider in your workflow:

ANY CHARACTER HERE

1) The Scout – Do you need to scout in your studio? To some degree, YES. Location portrait and Landscape, absolutely. Its all about getting familiar with your surroundings, shooting angles, opportunities and threats to the shoot; test shoot to anticipate problems and opportunities that the casual walk through may not reveal.

ANY CHARACTER HERE

2) The Timing – If I’m working with a model, how much time do I have? When does the shoot begin and when should the model arrive so hair, makeup, wardrobe, etc is managed to fit in the time frame allowed? If I’m on location I want to anticipate light conditions, weather conditions, driving time, time to haul gear and get set up. Is any of this happening in the dark? Do I have flashlights? Have I walked it in daylight to anticipate any dangerous areas of travel? Is there parking for everyone involved? The Scout is a very helpful in this process; If its a wedding, have I gone over with the bride exactly what the schedule is and when/where formal portraits will be shot? What’s the light in that spot at that time and what do I need to control it?

ANY CHARACTER HERE

3) The Needs – What gear do I need, photography and otherwise, right down to bottles of water and power bars, to keep me in the best creative place? Does my client have the gear he or she needs to be successful for the shoot? Does someone have a physical limitation that will impact the shoot. Can your assistant handle the weight and awkwardness of studio gear? Is there a need for an assistant who has GREAT people skills with a particular client/shoot?

Consistently shooting better work is not about pressing the shutter button. Its about management and preparation for the shoot.

Related posts brought to you by Yet Another Related Posts Plugin.

Did Your Photo Workshop Suck?

Alec — Wed, 05 May 2010 18:58:51 +0000

Hi Gang,

I’m sure a number of you reading this have a few stories you can tell about photography workshops. Some good, some not so good, some maybe a little embarrassing (Matt Gibson and Bryan Allen, if you’re reading this don’t say a word). A few months back a friend and former workshop participant called me while he was returning from another workshop. He called to tell me that he wanted to take my workshop again and that he appreciated how I did things. He didn’t appreciate the workshop he just attended, primarily because the instructor was not in a good mood. Then I recently took a workshop in which the instructor was incredibly nice, talented and accomplished, but lazy and very wasteful of our time, and there was a bit of a mismatch between how the workshop was pitched and my skill level. Back in October of 2009 I assisted a friend with his workshop and it was clear that all the participants thought it was an amazing experience.

And let’s not put it all on the instructor’s shoulders. Have you done everything in advance of the workshop to make it a great experience? Here are 5 issues that I think are very important in considering your next (first??) workshop (and I’m sure there are more you can share in the comments section):

1) Does the instructor have a good reputation as a teacher? If you haven’t heard it before, hear it now. A very well known and talented photographer does not necessarily translate into a great workshop instructor. Educating, inspiring, and motivating individuals organized into a group is a special talent. A GREAT workshop leader will create multiple opportunities for you to learn, practice and reflect on the process, seeing and drawing out into the open your strengths and weaknesses.

2) Does the instructor spend time shooting for him/herself? Not everyone is bothered as much by this behavior as I am, but it really sends a message about the instructor’s intent and concern for your experience. In a landscape workshop, for example, if I’m shooting for myself then I can’t be giving you any attention, assistance or support. In a portrait workshop, I may need to shoot to illustrate a teaching point. In any event, don’t be afraid to ask the instructors if, as a matter of practice, they will shoot for their own portfolio during the workshop and decide for yourself how you feel about it. You pay a lot for workshops – you deserve a lot in return.

3) Does the instructor’s personal or professional work and vision inspire you? This issue helps you decide if there is something you can learn from the instructor. Its easy to image that the more advanced you are, the fewer people are out there who can actually teach you something new. The instructor’s vision and talented will most likely be reflected and shared throughout the workshop experience. This is far from a deal killer for any particular workshop, but its important to consider on your own workshop journey.

4) Have you considered what you want from a workshop? Here is a laundry list of things you MIGHT want from a workshop: building/improving upon your eye for the subject matter, new field techniques, basic and creative technical skills in post-processing, building your confidence and inspiration with a new subject, networking, exposure to a new subject (ie. the north shore of Lake Superior or Fashion Photography), or maybe you just want a fun vacation. The list could go on and not every workshop and workshop leader is going to provide a one-stop experience for you, but at least you can begin thinking about what you want from your experience and set priorities that fit with a workshop.

5) Are you prepared to receive it? This may be as important a factor as the instructor - and maybe more so. Its critical to do the following things, if possible: get plenty of rest ahead of and during a workshop. The better instructors will push you mentally and physically (within reason I hope) and rest will allow you to absorb the maximum from the experience. Also, have your equipment ready. Is your computer and software ready to handle the raw files your new camera produce’s? Do you know HOW to use your camera or have your owner’s manual close at hand? Do you have the ability to bring backup camera/computer equipment? Have you double checked with the instructor about equipment, computer and software requirements of for the workshop? Things are tight and its tempting to skimp on critical items to save a few bucks. Budget and save for your next workshop so you can be as prepared for the experience as possible.

No doubt we can add to this list. Feel free to do so in the comments section of the post. If you’re looking for a workshop on location portrait photography, then I urge you to consider:

Bryan Allen Photography – a premier educator and amazing photography talent.

Studio Fashion Shoot

Related posts brought to you by Yet Another Related Posts Plugin.

Rush City Grain Elevator

Alec — Fri, 30 Apr 2010 19:34:05 +0000

Yep, another grain elevator shot. Whew, how many of these can any of you take? Well, we’ll find out. I’m going to start including a short video on my thoughts regarding the WHY of the image post as well as the HOW of it. Today is the first of these. Please feel free to post any questions or comments about the image and/or video.

THANK YOU.

Rush City Grain Elevator from Alec Johnson on Vimeo.

Related posts brought to you by Yet Another Related Posts Plugin.

Space Series #3, Painting with Light and Exhibition

Alec — Thu, 22 Apr 2010 19:10:57 +0000

Hi Gang,

Today’s series of images was with my client, Mary Jane. She is my favorite type of client because her only objective was to have fun and document this moment in her life. One of her defining characteristics is a love of flowers. She has her own side business designing floral arrangements and her favorite flower is the, umm, whatever is in these photos. I forget. So, a flower theme was part of our shoot and I want to share some of those images. You are now familiar with the panoramic format on white I’ve been using lately and have some ideas of where it might go, but I am generally enjoying this finished look. Mary Jane and I then went a little astray and decided to try some painting with light. I taped to her finger tips some small LED lights I got from Radio Shack, along with these little flat batteries, and went to work experimenting and playing. I’ve included two of those images as well.

Landscape Exhibition Opening

Tomorrow night, Friday April 23rd, is the opening reception from 7-10pm at the Minneapolis Photo Center. Click here for Google Map. I have one image from Duluth Harbor on display. Please come join me for an evening of viewing great landscape photography.

Related posts brought to you by Yet Another Related Posts Plugin.

Evolution and Voice: Space Series #2

Alec — Mon, 05 Apr 2010 14:38:18 +0000

Hi Gang,

What does it mean to find your voice in an endeavor, be it artistic, business, personal? I’d like to hear your thoughts on this.

Today’s images are of Christian and Diesel shot in the studio and I want to use them as a setting for some photography issues that have emerged lately. In a recent post/shoot, I used a white background and produced the images in a panoramic format, 2.5 to 1 ratio, to be exact. I was experimenting with space and subject, and white space in particular. This came out of a very important push from a high paid consultant to “find my own voice.” So, the Space post was about just that. Working with a portrait subject in a way that isolated an existence, attitude or energy into some simple elements.

This most recent shoot represents an evolution of sorts. After the Space post, my good friend Miriam (amazing painter and graphic designer) suggested I read a book titled, “Geometry of Design: Studies in proportion and design” by Kimberly Elam. The book is about the golden mean which many photographers understand and apply, but extends the idea of proportion in design much further than PHOTOGRAPHERS tend to consider these days. So, after going through the book I found that there was a proportion of design I felt drawn to: the panoramic in a 2.23 to 1 proportion. This is the square root of 5 and has stronger aesthetic qualities than the 2.5 to 1 ratio. Small evolution, but evolution nonetheless.

While photographing Christian and Diesel I asked Christian, “As a musician, have you found your voice yet?” He replied quickly (and I paraphrase here), “No. I’m always evolving as a musician.” It has me considering an number of the entrepreneurs I know. I don’t think any of them are known for just one thing, like a particular industry expertise. As I consider them, what occurs to me is that they honor their voice by moving forward, changing, adapting and creating. Its never about the singular idea; its seems more about the process that’s true to them. One of my biggest influences in photography, Jill Greenberg, is known for a look, but every time I visit her site she has a NEW idea she is working on and I can tell some get dropped and others move forward. She is constantly evolving.

Enough said. On to the images.

Related posts brought to you by Yet Another Related Posts Plugin.

Is Photography Over?

Alec — Thu, 25 Mar 2010 14:04:28 +0000

“Is Photography Over?” is the title of an upcoming symposium at the San Fransisco Museum of Art. Since many of you reading this probably can’t be there, I thought I’d post the symposium description here and see what you think.

“Photography has almost always been in crisis. In the beginning, the terms of this crisis were cast as dichotomies: is photography science or art? Nature or technology? Representation or truth? This questioning has intensified and become more complicated over the intervening years. At times, the issues have required a profound rethinking of what photography is, does, and means. This is one of those times. Given the nature of contemporary art practice, the condition of visual culture, the advent of new technologies, and many other factors, what is at stake today in seeing something as a photograph? What is the value of continuing to speak of photography as a specific practice or discipline? Is photography over?”

I can imagine many perspectives on these questions. I’d love to hear yours here.

No related posts.

Related posts brought to you by Yet Another Related Posts Plugin.