David Saffir waited 45 minutes in this underground canyon for just the right light. In his discussion about this picture with fellow photographer Sally Wiener Grotta, David explains how he chose his exposure to define the sense of space, texture and movement.In addition, they explore the various elements that make it such a successful picture.
Image © David Saffir
(Video is part of the Light, Line, and Color series © 2012 by Sally Wiener Grotta and David Saffir.)
February 28 – March 6, 2010, Santa Fe, NM
FOLLOW THIS LINK FOR MORE DETAILS AND REGISTRATION
Our third year! Make your photographic vision come to life in this Advanced Photography Experience/Digital Lab workshop.
Join two accomplished photographers and fine art printmakers, Jack Duganne and David Saffir for this exciting, hands-on journey from a photo shoot on-location in the Santa Fe area, through high-intensity classroom sessions in image processing and editing, all the way to printing your new color or black and white images on brand-new state-of-the-art HP pigment-based inkjet printers.
We will spend most of our time in the digital lab, and travel out for a photo shoot or two during the week.
Topics will include, but are not limited to selecting vantage points and times of day for shooting, options in image composition, use of on-camera controls to enhance image quality, choice of digital file formats, importing and evaluating your images, processing images to maximize quality and artistic impact, and creating exhibition-quality color and black and white prints. We will wind up our week with an image critique and discussion of preparing for success in print competition.
On the last day, we have a festive evening reception and dinner – AND prints from the class will be shown on exhibition.
This is a work-group style class, with frequent one-on-one work. This limits the workshop to a dozen or so participants, so enroll early and reserve your spot.
Prospective students are requested to bring an open mind and their film or digital camera for a week of exploration and learning. Use of a camera tripod is strongly recommended. Film processing and scanning will be available. Applicants should have a working knowledge of Photoshop. Bring a portfolio box too, because you’ll want to take these images home.
About the Instructors
David Saffir is an internationally-recognized, award-winning photographer, author, and printmaker. He has taught in many venues, including the West Coast School Super Sunday, WPPI, Clear Focus Studios, the Hasselblad PowerPro Tour, HP Dreamcolor Seminars, and the Arles Photo Festival in France (Recontres d’ Arles).
He is also the author of Mastering Digital Color”, published by Thomson Course Technology. He is one of the principals of the Artists’ Showcase of Santa Clarita, and past president of the Santa Clarita Valley Photographers Association. He has written numerous articles for Great Output, Rangefinder, AfterCapture, Professional Photographer, Digital Imaging Tech, and others. http://www.davidsaffir.com
Jack Duganne is an internationally-recognized photographer and a world-renowned fine art printmaker. He is one of the founders of Nash Editions, and now heads Duganne Atelier in Santa Monica, California. He has taught advanced classes throughout the US, and in Europe. His web site is http://www.duganne.com.
Join us in Santa Fe for a week of photographic creativity and camaraderie!
Best regards,
David and Jack :)
Link to Santa Fe Workshops Registration
or telephone: (505) 983-1400 ext 11
In Boston yesterday and today for discussions about partnerships in a number of areas. More exciting, starting to move forward toward representation from one or more galleries here in the Northeast, and the the Southern US for my work in scenics and images from the natural world. We’ll see how it goes!
Offshore Breeze, San Simeon Sunset
I’ve received a number of emails and comments regarding changing attitudes among photographers regarding medium format digital vs. DSLRs. Seems to me, first of all, that it’s not about the equipment. My daddy used to say, “it’s not the car, it’s the nut behind the wheel”. That said, I find that I can often see the difference between medium format (MF) images I’ve created, and those taken with a DSLR. My own approach has changed quite a bit; I think it is fair to say that I use my MF cameras much more nowadays than the DSLRs.
Some of the things I notice are sharpness, resolution, acutance, dimensionality, subtleties in tone transitions, and detail in shadow/highlights. In some cases, a MF lens will also show a difference in bokeh (smoothness of out of focus areas). In all of these, excluding the last item, I feel it is a combination of factors that makes up one’s perception of “difference”. For example high acutance coupled with low resolution looks much different than a situation where both are high. (a typical look for the former is a so-called “over-sharpened” image with that crispy look with lots of edge halos).
At the end of the day, images I’ve made with my MF cameras usually look quite different than those from the DSLR world – this is particularly the case when I’ve made a large print. The image below communicates some of these in spite of the limitations of computer screens. In print, it has amazing depth and dimensionality, and impressive detail in the leaves and textures in the rocks.
Columbia River Gorge
Hasselblad H-series camera body, P25 back, 100mm lens, f/11, approx one second exposure. It is true that one can make a very “sellable” image using a high-end DSLR. But can one achieve that look, that feeling of a unique image or print that one can almost walk right into? Doesn’t this affect both creative approach and one’s competitive position in an environment that challenges us all? And what about client’s perceptions? Haven’t many of use had the experience of a client choosing a photographer who owns MF digital vs DSLR? Does this set one apart from the pack? Thinking back, it’s made a difference for me – I’ve made far more money with MF than I ever have with my DSLRs. I’m working right now on a tour of seven cities, teaching use of MF digital cameras, high resolution printers, fine art printmaking, and art reproduction. The interest from photographers in MF is intense – something of a wake up call, in fact. More to follow.
Here’s a recent review of the Mamiya AFD III with the Leaf Aptus digital back.
A quick thought which I’ll write more about later in the week: in the latest series of workshops, I am getting a lot of feedback from photographers that they are re-evaluating the usefulness of medium format cameras vs. 35mm format DSLRs.
Prices are converging – for example, Mamiya is offering a 28MP digital back along with their state-of-the-art AFD III camera with an 80mm lens and Capture software for around 10-11k. The image quality pretty much kicks 35mm to the curb – and that competitive edge, along with the new pricing is getting a lot of attention.
Not too long ago I wrote a review of this camera, which you can see here.
I have had the Westcott Spiderlite TD-5 lighting system in the studio for testing for the past couple of weeks. I’ve used them for art reproduction, still life/product photography, portraits, macro photography, and more.
We will have these lights with us during the upcoming Fine Art Printing and Art Reproduction seminar series and Tech Expo, starting later this week in Colorado, moving on from there to New Mexico and Arizona.
NEWS BULLETIN, JUST IN TODAY AT 1 PM PACIFIC TIME: X-Rite, one of the sponsors of the seminar series will provide an iOne Display 2 as a door prize/raffle gift at EACH seminar event. Seminar attendees are eligible to win this gift. One device will be given away at each event (approx retail value just under $200).
I have used three cameras with these lights: my Hasselblad H-series with Phase One back, the Mamiya AFD III with Leaf digital back, and the Nikon D3. All did well.
The lights were provided in a kit, consisting of a transport bag, light stands, light heads, soft boxes, and a few accessories.
They provide great “window” lighting using the provided daylight corrected florescent bulbs, which are, according to the manufacturer, set to 5500K. I measured them myself with an iOne spectro, and both came in at 5400K. This is an absolutely insignificant difference, in my view.
The lights can also be adapted to other lighting – for example, strobe heads or tungsten halogen bulbs are easily installed.
The light heads are easy to adjust; the soft boxes rotate easily from landscape to portrait orientation, and multiple switches on the back of the light head permit use of varying light levels. The soft box mounting ring is built into the light head – very convenient.
My most color-critical application is art reproduction. Color in artwork is usually so complex that “getting it right in the camera” is extremely important. The even illumination of the lighting system, combined with correct color temperature makes this element of production much easier – and of course minimizes post-production woes.
We also recently held a “Hot Car and Motorcycle” photo shoot at the SCV Center for Photography. The TD-5 lights did a great job of rendering the color in our “guest” Porsche Carrera S convertible. (see earlier post). Also recently used them for some macro work - see below – same level of performance.
Dennis Halley (http://digital2you.cc) and I will have these lights with us on the Focus 09 seminar tour (fine art printing and art reproduction, plus tech expo) starting later this week. We will be working in Arizona, Colorado, and New Mexico. Join us for these seminars – you just might find a new way to improve business!
I recently received a Mamiya 645AFD III medium-format camera to test, accompanied by a Leaf Aptus II DL-28 digital back, and several lenses.
I’m going to report on my experiences with this camera, starting with an overview and first impressions in this post. In subsequent posts, I’ll cover a variety of shooting situations (in studio and on-location), image quality, and the Leaf Capture software and its performance. Note that this is one of the cameras we will be using on the upcoming Focus 09 Fine Art Printing and Art Reproduction Seminar Tour October 2-21.
The camera arrived in the original packaging, which is well designed, protecting the camera quite well.
Ergonomics are top-notch; the camera is well balanced, and controls are logically placed and fall easily under one’s fingers – in short, it just feels good.
Camera, lens, and digital back build quality is excellent. This is clearly a pro-level camera, robust materials and construction.
In the next image, basic features are marked by the numbers. Number 1 is located next to the shutter release, and shutter controls: single, continuous, mirror-up, and lock. Number 2 shows the settings screen, which indicates battery life, aperture/shutter speed, and the like. Number 3 shows the dial which controls shooting mode – Aperture priority, shutter priority, program/auto, manual, X, and custom function. Number 4 indicates the digital back, 5 the stylus used to activate controls on the back.
Controls on the front of the camera include depth of field preview, and a focus mode selector (single, continuous, manual).
The camera is powered by AA batteries, which is a plus in terms of cost as compared to camera bodies which require more expensive 123 batteries.
Mamiya lenses have a strong reputation for build and image quality. Focusing rings are well-dampened, and autofocus lenses are quick and quiet.
Some specs on the digital back: 28MP, which produces a >150MB file @ 16 bits. The sensor size is 44x33mm, and offers ISO ratings of 50-800. Pixel pitch is 7.2 microns, which is larger than, for example, the Nikon D3x which features 5.9. Dynamic range is reported to be 12 stops.
So far, I’ve used the camera mostly in-studio, with a couple of short sessions outdoors. To this point, the in-camera meter has been accurate, handling high-contrast situations accurately. More to follow on this topic.
The camera may be used shooting to a CF card, or tethered to a computer. The days of using an attached hard drive are gone. The battery mounts underneath the camera back, which I find convenient as it helps balance things when using longer lenses.
The digital back shoots at 1/fps. It has an excellent, bright viewing screen, 6x7cm, which has very good contrast and color. It can be viewed outdoors, but direct sun is a challenge. In-studio it is, in a word, stunning.
A feature of the Aptus digital back is it not only provides a preview and histogram of the image – it is a touch-screen controller for the camera, controlling quite a few functions.
In short, one can set up the parameters of the shot, from color space to pre-sharpening to pre-set camera profiles – all with a tap of the included stylus.
Now some have criticized this for being “too complex”, or “too fancy”, and I just can’t agree. It is much quicker than push-button driven controls, and the menus are clear and pretty easy to follow.
For example, one can set up the camera to provide a simple image preview, image preview with histogram in the corner of the image, or histogram overlaid on the image. Quite flexible and useful.
RAW file format is now compatible with Photoshop, Lightroom, and Aperture. I applaud the company’s approach to open architecture – makes it much easier to work in a variety of circumstances and locations. We don’t always have control of the resources available to us in the field!
Image quality is excellent. Although the camera provides ISO settings up to 800, as a practical matter image quality begins to suffer at 400, and has significant color and luminance noise at 800, even in bright light. To be fair, this camera was designed for lighting-controlled situations – ie, ISO 50-100.
I used the camera in studio to capture some macro shots of an orchid. We used the new Westcott Westcott TD-5 lights with daylight-balanced fluorescent bulbs installed. (a check with a spectrophotometer shows these to be dead-on at 5500k).
The macro lens is a 120mm f/4 model, updated with a 16-bit CPU. The focusing ring is smooth, perhaps a little heavy to turn. I’d like to see a little less pressure needed, and a better turn ratio for close focusing – after all, this is a manual focus lens. Having said this, I had no trouble at all focusing the lens. (There is a very accurate focusing indicator in the viewfinder).
Image quality is superb. On macro shots, I recommend using a sturdy tripod or studio stand, and mirror-up mode for maximum clarity.
The image below shows an orchid photographed in-studio, with a cutout at 100% to demonstrate sharpness. The white “fuzz” you see isn’t sharpening artifact, it’s part of the flower!
I’ll be photographing a number of subjects this week, including some acrylic paintings for a fine art reproduction project that just came in. More to follow!
*****
We’ll be working live with this camera, among others, at the upcoming Fine Art Printing and Fine Art Reproduction seminars in Arizona, Colorado, and New Mexico. These one-day intensive sessions start at the beginning of October 09. For more information, go here.
New Blog Announcement
Focus 09: Digital Fine Art Printing and Art Reproduction Seminars
Focus 09: Digital Fine Art Printing and Art Reproduction Seminars
Instructor: David Saffir
In October 2009, we begin a new tour and seminar series: Fine Art Printing and Photographic Reproduction. This series provides an in-depth review of the subject from several viewpoints: first, for photographers wishing to make fine art prints, and second, for curators, galleries, and other organiztions in dealing with artists and their work in the context of creating open- and limited reproduction editions of their artwork. Third, for artists who wish to expand their marketing efforts and created editions of their work for exhibition and sale.
Beginning October 2, 2009, and continuing through October 20th, the Tour covers seven cities in three states (Arizona, Colorado, and New Mexico).
Designed for photographers, artists, galleries, printmakers, students, and organizations this series provides a number of learning experiences: read more.
Instructor: David Saffir
In October 2009, we begin a new tour and seminar series: Fine Art Printing and Photographic Reproduction. This series provides an in-depth review of the subject from several viewpoints: first, for photographers wishing to make fine art prints, and second, for curators, galleries, and other organiztions in dealing with artists and their work in the context of creating open- and limited reproduction editions of their artwork. Third, for artists who wish to expand their marketing efforts and created editions of their work for exhibition and sale.
Beginning October 2, 2009, and continuing through October 20th, the Tour covers seven cities in three states (Arizona, Colorado, and New Mexico).
Designed for photographers, artists, galleries, printmakers, students, and organizations this series provides a number of learning experiences:
We will have the summary business session the evening before the main seminar event. The main event, held the next day, runs from 9 am to 5 pm. In Denver, for example, we will have the Tech Expo on October 2, summary business session on the evening of Oct 2, and the full day seminar session on Oct 3rd.
The schedule:
Denver, Colorado
Friday, October 2nd Tech Expo and Summary Business Session
Saturday, October 3rd Fine Art Printmaking and Art Reproduction Seminar
Location: Denver Pro Photo Studio Complex,
235 S. Cherokee St. – Denver, Colorado
Glenwood Springs, Colorado
Monday, October 5th Tech Expo and Summary Business Session
Tuesday, October 6th Fine Art Printmaking and Art Reproduction Seminar
Location: Glenwood Recreation Center,
100 Wulfsohn Road – Glenwood Springs, Colorado
Santa Fe, New Mexico
Thursday, October 8th. Tech Expo and Summary Business Session
Friday, October 9th. Fine Art Printmaking and Art Reproduction Seminar
LOCATION : Holiday Inn-Santa Fe,
4048 Cerrillos Road – Sante Fe, New Mexico
Flagstaff, Arizona
Monday, October 12th,Tech Expo and Summary Business Session
Tuesday, October 13th, Fine Art Printmaking and Art Reproduction Seminar
LOCATION : Flagstaff Ranch Golf Club Community Center
3605 So. Flagstaff Ranch Road – Flagstaff, Arizona
Phoenix, Arizona
Wednesday, October 14th, Tech Expo and Summary Business Session
Thursday, October 15th, Fine Art Printmaking and Art Reproduction Seminar
LOCATION : Hampton Inn & Suites ,
16620 North Scottsdale Road – Phoenix, Arizona
Tucson, Arizona
Friday, October 16th, Tech Expo and Summary Business Session
Saturday, October 17th, Fine Art Printmaking and Art Reproduction Seminar
LOCATION : Sheraton Four Points University,
1900 East Speedway – Tucson, Arizona
Albuquerque, New Mexico
Monday, October 19th, Tech Expo and Summary Business Session
Tuesday, October 20th, Fine Art Printmaking and Art Reproduction Seminar
LOCATION : Holiday Inn & Suites Airport,
1501 Sunport Place S.E. – Albuquerque, New Mexico
For registration links, go to the Digital2You.cc here or CALL FOR DETAILS 303-934-2777.
Just back from some consulting gigs in the Southwest. What a summer!
In this issue:
New how-to articles, new Photoshop classes in California, upcoming seminars and workshops in San Diego, New Mexico, Arizona, Colorado, Chicago, and New York.
NEW ARTICLES:
Quick Portrait Retouch in Photoshop, Part I
Managing and Archiving Your Photos, Part II, guest author Robert Ash
Getting It Right In The Camera, Part I: Managing Depth of Field, guest author Ted Dayton
Turbo Portrait Retouch, Landscape Images, Personal Book Publishing
This multi-session series will enable photographers and other artists to use Adobe image editing products effectively and efficiently. I use a goal-oriented, hands-on approach.
Sessions are divided into segments that focus on important, practical issues. You can attend one, or all. You’you’ll go home and get results!
•Session 1, Photoshop: Turbo Portrait Retouching, 7/19
•Session 2, Photoshop, Landscape & Scenic Imagery, 7/26
•Session 3, Design and Create A Photo Book, 8/16
Click for details and registration.
Santa Fe Workshops: Digital Intensive: Fine Art Reproduction, Nov 2009
This three-day hands-on intensive is for photographers, artists, printmakers, curators, and gallery owners or managers interested in making fine- art reproductions for themselves or providing this service for others. Covering both the technical and the business aspects of fine-art reproduction, participants work through all the essential steps in the digital reproduction of works of art, from handling and capturing artwork to managing the artist’s expectations and profitability. Click here to see more and register
NEW WORKSHOP SERIES: The Art and Business of Fine Art Reproduction
New Mexico, Colorado, Arizona, October 2009
Join us for a day-long intensive seminar on techniques for capturing, editing, printing, and finishing fine art reproduction, plus a detailed review of managing limited editions and making this into a sustainable business. Geared toward photographers, galleries, artists, interior designers, framers, and more. Cities will include Phoenix, Denver, Albuquerque/Santa Fe, and others. Exact dates and locations TBA; stay tuned for details! If you want to be placed on the update list, email me: davidsaffir(at)mac.com (insert @ sign, please).
New photo tour: Fall Into New England (FINE), taught by April Bielefeld, Friday Oct 9- Saturday Oct 17
Here’s some info on April’s annual New England Photo Workshop: “October is not complete without our annual guided photo trip to New England. Autumn in New Hampshire, Vermont and Maine is a feast for the eyes and the senses. The brilliant reds, the early morning frost on the leaves, bright yellow school buses filled with children….” (click on link above to read more)
News at deadline:
I will also be presenting and teaching at Print 09 Sept 11-16, in Chicago, and PPE Oct 22-24 in New York.
Techno Reviews: Watch my blog in August for a review of the Mamiya AFD III and their new 56-mp digital back!
