Earlier this year I talked about a couple of people who I know impacted by brain tumors, and the work of the National Brain Tumor Foundation.  While I talked about Venu and Christina in that post, I also keep hearing of more people being diagnosed with a brain tumor.  Just a couple of weeks ago, my parents mentioned to me someone down the block from where they live was just found to have a brain tumor.  This follows another neighbor in the cul-de-sac where my parents live passing from a tumor not that many years ago.  I am sure as you are reading this you can think of someone you know who has been impacted as well.

The brain is a delicate organ in our body and research becomes expensive in order to prevent these tumors from happening and also to learn more about how to treat them.  In an effort to help with this effort the National Brain Tumor Foundation and Brain Tumor Society have merged to becoming more effective in helping patients and providing money for research.

One of the events which takes place each year is the Brain Tumor Walk and Angel Adventure in various cities.  In a couple of weeks it will be taking place in Phoenix where my friend Jason will be walking not only in memory of his wife Christina this year, but also Christina’s father who passed from a tumor just a few months ago.  If you wish to sponsor his walk you may do so on his walk page, or you may support NBTF directly from their website as well.

Learn more about Venu and Christina in my prior NBTF post.

With a voice vote the Orphan Works legislation (S 2913) passed in the Senate late Friday night.  At this time the Orpan Works legislation is just being pushed through without thought due to the many other pressing issues being addressed in Washington, and this is not fair to anyone.  The Senate version which was heavily lobbied by the American Library Association will make it easier for them however severly hurt photographers.

The next step is for the House to take up the measure.  Currently there is a bill in the house which is better, as the language is much more suitable to photographers and should be kept as is at this time.  Due to these other considerations in Washington, the House may just gut their bill and take the language from the Senate bill for passage this session.

From what I recall the representives we elect for Washington are there to represent their constituents in their district and not just blindly let legislation go through since they are working on other items.  It is not a question of if an orphan works bill will pass into law whether this year or next, but the langauge in the bill needs to be good for all parties and the Senate bill is not.

Last week I showed an image taken at Rainbow Curve in Rocky Mountain National Park earlier this month.  This week I made another trip to RMNP and took this image near Bear Lake.  Using multiple exposures in the camera I created this image of the golden aspen leaves just off the Flattop Trail.

This is just one of the images taken in the park recently.  Look for a new gallery of images from Rocky Mountain National Park next month.  If you would like to receive a e-mail update when new categories are posted to the gallery, be sure to sign up for the Images from Neil Corman Photography mailing list .

This weeks photography tip is titled workflow, but it won’t cover the step by step instructions of what  you should include in your workflow.  There are many other valuable resources to discuss this depending on the products you use.  Instead we will look at why it is important to have a digital workflow which works for you.

I started shooting digital two years ago, after I decided it was more practical then using film.  It was at that time in late 2006 where the main switch from film to digital took place almost overnight as the technology and costs were at a point which let it happen for a lot of people.  When I switched to digital, one of the first things I needed to do was determine a workflow which would work for me when handling the images created with my DSLR.  Just around this time the first beta of Lightroom was made available and it was something I looked into to determine how it could work for me, instead of using Adobe Bridge and Camera Raw to process images in Photoshop.  As I was new to the whole digital at this time I found Lightroom easier to learn than Bridge and Camera Raw.  Based on this I attempted to learn this product on my own, but it wasn’t until last summer with some training I really understood the whole product and how to use it effectively.  By putting off learning the product to the best of my ability I lost valuable time in my digital workflow process.

My example is just one of the many stories you will hear on why it is important to have a workflow process which works best for you, the value of time.  You may want to follow an established professionals specific workflow, but you need to ask yourself how will it benefit me and improve my production.  Everyone has their own steps they follow as they shoot in the field, go to the grocery store or many other things in everyday life as it is what suits them best.  A digital workflow process is the same thing.  The following bullet points are some things to consider when selecting and refining your workflow, which will be a ever changing process.

• Learn the primary product you will be using in your workflow.  If this is Adobe Photoshop Lightroom, Aperture, iPhoto, Adobe Photoshop Elements, Adobe Photoshop or something else there are good classes out there to help you get started with the basics.  Some of these classes will be at a local community college, photography or art school or from certified professionals.  By investing in the initial training you will be able to hit the ground running in your workflow and know the primary process you will want to use.
• Don’t be afraid to hire a certified professional to help you refine your process as well as work on some images.  These people have passed a test to become certified, but more so spend many hours in front of the computer working on the product and training others.  Prior to hiring someone for one on one time, be sure it is the right person for you.  There are times when it is difficult to work with an instructor or expert and it is not the fault of either party as the sync is just not in place.
• Make sure the product you are using can provide all of the functionality you will need.  If you need to provide a TIFF file can you do so?  Is it possible to do localized adjustments?  Will you need to use channels in your editing?  These are just some of the questions you should be asking yourself now instead of six hours prior to a deadline.
• Once you have learned the product continue to educate yourself on how to do more with the product.  If you use Photoshop, there is always more available to learn.  Most products have an 18 month lifecycle meaning there will be new features in upgrades you will learn as you use the product.  Some photos or projects will force you to use these items which you haven’t utilized in the past.
• Stay current with the product you are using.  Sometimes it is difficult to spend $200 to upgrade Photoshop or $100 for Lightroom/Aperture as it looks the same as before, but there are new features which you will use at some point.  Also the learning tools available on the internet or bookstores will be for the current version.  If photography is a business or serious hobby, you should have the tools you need to do the job correctly and more so efficiently.  You wouldn’t cut corners on the equipment you need for a shoot or in the field, and you shouldn’t do so in your workflow as well.
• Join a professional organization if it exists for your product.  The largest one out there is the National Association of Photoshop Professionals.  NAPP provides members with tutorials, tips and tricks, discounts, a subscription to Photoshop User magazine and many other items which easily pay for the membership price.  One of the benefits is 15% off Adobe products, but the main benefit is the wealth of information available online to members.
• Network with fellow photographers.  Sometimes you have a simple question about how to do something in a product.  If you know other photographers using the same product they can be a great resource where an e-mail, instant message or quick call will get you through the simple problem.  Of course you need to be careful not to take too much of their time as well.
• Use licensed software.  It is amazing at how many photographers complain about images of theirs being “stolen” because of the internet, but yet use pirated versions of software to avoid paying the cost.  If you want to take a stand on copyright violations for your images, it only makes sense you respect the copyright of others whether it is software, music, movies, or anything else.
• Use what works best for you.  Not everyone will use the same workflow, as there are many options available in the marketplace.  Photographers have also developed their workflow process at various times and may be well entrenched in a particular approach.  If you were an early adopter of digital you may use Photoshop/Bridge/Camera Raw versus a recent convert finding Lightroom being the best solution for them.  Mac users may use Aperture, while that is not an option for PC users.  Your best friend may try to have you convert, however the workflow which works best is the one you are comfortable using.

In Photoshop for some tasks you can do it in many different ways, which is the same for your digital workflow.  The important step is to get the image you captured to match what you envisioned when you pressed the shutter release.  With digital we now have stacks of hard drives on our desks and the need to have an efficient workflow process.  This process will be fine tuned over time, but it should always be a process which works for you in order to bring efficency when processing your work.

This month’s featured f/22 photographer is Evan Prince.  Evan is a photographer I met last summer while in Missoula, and he now resides in his beloved Austin, Texas.  It was great to get to know Evan as the areas of photography we focus on is quite different.  Evan enjoys the lights of the studio, while I prefer the natural light.  Needless to say when getting to know other photographers you start to learn some of their techniques and embrace a bit of their style in your own work over time letting you grow as a photographer.

How long have you been photographing, and what got you started?

I got involved in photography when I was 16 years old. In high school I needed to choose a fine art elective and based on a friend’s recommendation, I went with photography.  It was a pretty basic photo course based around darkroom printing.  We didn’t really have assignments, but we were encouraged to photograph anything we liked and I think that freedom was pretty attractive to me since almost every other class you take in high school is forced upon you.

What is the current focus of your photography and where do you want to see it going in the future?

Currently most of my work is editorial portraiture. I’ve gotten a taste for commercial work and I would really like to get more involved in it. Sometimes editorial assignments are really run-and-gun. You show up and have to quickly scout the location and then sometimes you only have half an hour ( or less ) with the subject. It can be exciting but it’s definitely hectic. Commercial work allows you to be more of a perfectionist and it is also more collaborative. You work with a stylist, hair and make up artist, models, assistants, etc. so it becomes a team production and everyone contributes to the final images. I should also mention that commercial jobs have much higher budgets and everyone earns more which is nice when you aren’t booking as many jobs as you’d like.

In the past year you have helped out all over Texas as an assistant on photo shoots. What have you learned from assisting photographers on location, and how would you suggest people interested in assisting find photographers willing to bring an assistant to a shoot?

When I moved back to Austin from Missoula I thought of assisting as a natural continuation of my photo education as well as a source of income while I was trying to book my own jobs. One thing about assisting is that it can mean a lot of different things. Some photographers want you to be really hands on while others want you to set up and then leave them alone until the shoot is over. It’s nice to work repeatedly with a few photographers and develop a relationship with them so you know exactly what they expect from you on set. It can be a great learning experience watching how other photographers light scenes or interact with subjects and I’ve had a chance to work as an assistant on editorial, commercial, fashion and stock shoots so I’ve seen the photo industry from a lot of different angles. Some of the most important things I’ve learned however are the little aspects of a photo shoot that you don’t learn in school. Like how to work with an Art Director, how to book models or stylists, how to prepare for shoots, how to deal with egos, and how to get your equipment from your studio to a set in another city. I’ve been lucky to work with some great photographers in Austin who have taught me a lot about professionalism as well as teaching me that each photographer has his/her own way of doing things. I have been fortunate to work with guys like Randal Ford, Brent Humphreys and Matt Lankes among others who all make great images but shoot in very different ways, using different equipment. I’ve also learned that not all photography goes on in New York or Los Angeles. as I’ve done jobs in such unglamorous locations as Pampa, Elgin, and Waco, Texas. Being persistent is also very important since most people go with assistants they know and can trust so you have to work your way up. Most of the people I work with now I had to call/email every couple of weeks before they gave me a shot and that’s because their normal guys were unavailable. Just stay after it and make sure that everyone knows you’re still out there and interested in working for them. The most important thing about assisting however is to remember that you’re goal is to become a pro photographer not a pro assistant. Make sure you have time for your own projects or assignments and continue your growth as a photographer so that one day you’ll be the one teaching your own assistant.

With the focus of your work being portraits do you find that you enjoy working in your studio more, or to be out creating environmental portraits in the subject’s natural surroundings?

Working in a studio is nice because it’s very controlled. All your equipment is there, you can control the environment, you know that you’ll be able to work there and get the job done. However, I definitely like working on location too. It can be very challenging if you are headed into a location that you haven’t scouted beforehand and you don’t know if there are power outlets, if there will be space for lights, of if there will be a place to shoot which looks good. The truth is that I like both. Photographing a person in their own environment can create a compelling portrait but taking someone out of their surroundings and shooting them against a back drop can be just as interesting (just ask Richard Avedon).

In looking at your images I notice a style in the studio work, is this something you continue to carry on or do you just find it comes natural with your subjects and the thought of how the images will be used?

As far as style is concerned, I think in my case it comes from experimentation and creativity. For me it’s always changing as I come up with new ideas or am influenced by new photographers’ works. I like to experiment and try lighting portraits in new ways but I know that I can always fall back on everything I’ve learned or tried before in order to make an image. I should also say that my style is somewhat unconscious. I do like to plan shoots in advance but at the same time I take pictures a certain way because that’s how I’ve learned to do it and when I’m working quickly I fall back on what I know and can count on.

Do you have any personal projects you are currently working on with your work and what was the thought process behind selecting these projects?

The big project I’m working on now is getting my portfolio printed. I’m a bit of a perfectionist so I’m always tinkering with the images I want to put in so now I’ve just given myself a deadline to get it printed otherwise I’ll go back and forth on it forever.

What photographers do you follow on a regular basis, and what about their work inspires you?

I follow a LOT of photographers. I’m a big fan of looking at other photographers work. I think it influences you and can motivate you during uncreative periods. It’s also an a great way to see what other photographers have done before you and what kind of images are/were popular during a given period. I check out any photo book I can from the library as well as looking at a lot of websites and magazines. I definitely look at the blogs/websites of other RMSP grads as well as all the guys that I assist for but on a more national level some of the people who’s work I really like would include Dan Winters, Chris McPherson, Jeff Lipsky, Platon, Mark Seliger, Norman Jean Roy, Matthew Rolston, Peggy Sirota, Michael O’Brien, and Peter Yang. This list could really go on and on but I think everyone gets the idea that I look at a lot of other people’s work.

Is there any one lesson you have learned while pursuing a career in photography which others can learn from as well?

The main lessons I’ve learned are you have to be persistent. You have to keep calling people, putting your work in front of them, improving your work etc. I’ve recently become very goal oriented. Instead of just saying I want to work more I come up with specific goals that I want to accomplish that way I can always be sure I’m working towards that goal and not just spinning my wheels. The other thing I would stress is know what you want to do, that way you don’t waste any time. If you want to shoot fashion don’t waste time showing your portfolio to a lifestyle magazine. If you can be specific about want you want to do then it will be easier to work towards that goal and you’ll see results a lot faster. Don’t get disappointed, just keep working and things will start to go your way.

Some of Evan’s Work

Copyright Evan Prince, all rights reserved

Copyright Evan Prince, all rights reserved.

Thank you Evan for taking time and being the f/22 photographer for this month.  You may checkout more of Evan’s work by following the links below.
Website: http://www.evanprincephoto.com
Blog: http://www.princephoto.blogspot.com/

Look for another f/22 profile in October.

This weeks linking the site may be a flashback to the days of cracker jacks for you, as Panamap builds on a technique which could be find in one of the prizes.  You may recall when you would get cracker jacks there would be a prize, of course over the years the quality of the prizes diminished but one of the items which I recall was a little piece of paperboard which when you moved it would change what it showed.  Panamap is basically the same premise, a map which by shifting it a little bit will change to a different view.

At this time, there are only two maps available in the Panamap format.  These maps of New York and Chicago show you the street map, subway /"L" system , as well as the neighborhoods and landmarks in each city.  An example of how Panamap works may be found on their website.

Using technology to help elminate the needs for additional maps and making them less confusing could be interesting moving forward.  One question I have is how well will they hold up to wear and tears as well as the ability to throw them in a pocket to look less obvious.

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Earlier this month I was in Estes Park and Rocky Mountain National Park as part of Hike for Discovery .  After the event, I stayed an extra day and photographed in the park.  In the next couple of weeks I will add a new gallery with the Rocky Mountain National Park photographs, however as a preview the below image was taken on the morning of September 8th at Rainbow Curve.

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It happened this morning with a boom, followed by beeps from the backup power unit in my office.  I didn’t ask to go off the grid it just happened unexpectedly.  At the moment the power went off I was working and was little startled from the boom which I would later would find out was about 50 feet away from my window.  Once I realized what happened, the first thing I did was shut down all of the electronic equipment which was still operational due to the power backup system.  It is nothing huge, but gives me enough time to safely shutdown items and help prevent any damage with my systems and files in instances like this occur.

You are probably wondering why a backup power system is needed especially with most people using laptops as their primary computer these days.  The reason I have one is to allow me to control the shutdown of the external items connected to my laptop which are critical to my business.  If you look around your office you will find many items which operate on electricity and wouldn’t be critical, but there are a few were an unexpected shutdown could result in some damage especially with storage devices.  I ave my external drives connected to the backup power as well as my external monitor to ensure I still have the displays I normally would use to safely shutdown applications I am working in at the time and then power down in a normal state.  If you are using a dual monitor system it just makes it easier to see the whole application during shutdown.  In most instance backup power is used just for this and not to continue running your business during a brief power outage.

The current system on the market which is close to what I am using is a APC Back-UPS ES allowing as I mentioned above to shutdown the items I am running at the time of power loss.  Based on the items plugged into my unit I could last probably 5 minutes, but it is something I have not gauged at this time.  If you feel you need more than this, you could upscale from this level giving you some additional work time during a power loss. I just figure that is too dicey when the goal is to protect your work and not try to extend the amount of time you are able to work.

I have been using APC products in my home for about five years, and when I was working at a mail order company in Tucson managing their information technology during college we also used APC products.  Based on this experience this is why I mention APC in this post, however there are other companies out there providing solutions for the home.

In case you were wondering, it took Xcel Energy two hours to come out and restore power which included trimming the branches away from the power lines (the cause of the outage).  Now I get to find all of the clocks in my house and reset them, which will be good practice for daylight savings time in early November.

Copyright protection with photography and other mediums has been in the news within the past year due to the Orphan Works legislation in front of Congress at this time.  Both the House and Senate have their own versions of the bills which are in committee.  More specific information on the Orphan Works Act may be found at the US Copyright Office as well as by reading the proposed bills H.R. 5889 or S. 2913 in their current state.  If you don’t want to read those, I will say in short this legislation states copyrighted work becomes an orphan work if the copyright owner is unable to be contacted.  If the work is then released into public domain is something still to be decided by the proposed legislation.

So what can be done in order to help maintain your copyright with your work.  Once you click the shutter of a camera in most instances you have a copyright on that image, however until you register it with the United States Copyright Office you do not get full protection.  One of the main instances where you do not have the copyright is if you are hired as Work for Hire, in this case the hiring party owns the copyright however you should seek additional information to see how this applied to you.  If you do have the copyright and are able to register your work with the copyright office, if you ever come across a misuse of your work you may file a lawsuit asking for damages.  While registering with the copyright office will give you the additional protection, it is still your responsibility to find the parties which infringe on your work.  This can be difficult in these days especially with images being on the internet.

When registering your images you must group them together by published and unpublished works.  If you are able to submit your images quickly you will be able to batch them together as unpublished which is a little bit easier.  More information on this can be found at the Copyright office as well as at the sites mentioned below.

While at first the process to register your works may look difficult it is pretty straight forward if you use some of the tutorials available on the internet to guide you through the process.  One such site is the American Society of Media Photographers which provides a tutorial telling you why you should register your images and walk you through the various steps including what can be done if you do find an infringement of your work.  The Editorial Photographers website also provides some helpful information and should be checked out.  Both of these are available to non-members at no cost.

Registering a work has just become easier with the roll out of the Electronic Copyright Office allowing you to pay the fee and upload your submission versus sending it to the office.  Works submitted online will be processed sooner than those by mail as well, in addition to receive a $10 savings at the time of this post.  One thing to watch out for if you use eCO is the session for the upload will timeout after 30 minutes.  If you are sending a good amount of images it is best to compress them into multiple zip files and upload those files at the same time to get around this timeout issue.  Once you register the images and they have been processed and accepted you will receive a certificate in the mail, however you should also print out all of your documentation during the process to have as backup as well.

The above information is just a quick overview on copyright registration.  Another helpful website you should check out and add to your RSS reader is Photo Attorney .  Here you will find blog posts about relevant legal topics and if you search on copyright in the archives you will find a wealth of information.

Lastly, the information found in this post is only informational and should not be considered legal advice.  I recommend you do additional ressearch with some of the sites listed above as well as talk to your own attorney if you have specific questions.  Also for those readers not in the United States the laws in your specific countries will differ and you should check with your own copyright office or attorney to find out the details which you should be aware of in regards to your work.