Webinar on Photography for non-professional photographers

FREE Webinar for Non-Professional Photo Enthusiasts

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I teach professional photographers around the world the best post-production methods to help them get their job done.  But there are so many more photo enthusiasts in the world, who need help organizing, editing and sharing their images and these courses are sometimes a little too pro-centered.  So I have developed an online workshop for you all!  Here it is…

Starting Wednesday, June 25 through Friday, June 27, I will be teaching a webinar on photo organization, editing and sharing for non-professional photo enthusiasts.  If you are a mom, dad, photo student, nature lover, or anyone who has a camera and needs help navigating the organizational nightmare of saving photos on the computer, this is a great opportunity for you.  The webinar is FREE.  Just go to www.creativelive.com (look on the CRAFT channel) and sign up for LIGHTROOM FOR SCRAPBOOKERS.  You can watch for free starting on Wednesday at 9AM Pacific Time.  You can watch this on your computer, your iPad or even your phone.  The course is FREE when you watch it LIVE.  You can purchase anytime access to the course for only $59.

Don’t worry, if you are not a scrapbooker, that’s OK because we are talking about photo organization, editing photos and sharing them.  It’s not all about scrapbooking.  It is all about photos and just happens to be the right fit for people like scrapbookers who want help wight heir photos.  So join me on creativeLIVE, no matter who you are and get a super easy, basic, nuts and bolts look at a workflow for personal photography in Lightroom.

 

Webinar: On Location with Profoto

Profoto Webinar with Jared Platt from Jared Platt on Vimeo.

 

Tomorrow (April 23, 2014 at 10 AM PDT) begins a series of Profoto webinars with me as your host.  We will be tackling challenging problems with light with minimal gear.  Our first photo shoot takes place in a dramatic desert landscape near Phoenix, Arizona.  We create beautiful light with one B1 Profoto Off Camera Light and a variety of light shaping tools.  Don’t miss the webinar.  Ask questions live.  See you tomorrow online!

 

Watch live (and sign up) at Profoto.com/live

Images taken in Budapest, Hungary by Jared Platt

Thoughts on Images from Budapest and Vienna

I taught a photography workshop in Vienna and Budapest with Clay Blackmore and David Ziser through MZed.  This year we will be in Barcelona, Spain [LEARN MORE HERE].  The experience is fantastic.  Great people, great food, models, shooting locations, great instructors, and wonderful staff.  It was such a pleasure to spend days, rather than hours with students (working professionals) who are thirsty for knowledge.

Here are a few images from my week in Budapest and Vienna.

Enjoy.

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On our first full day in Budapest we were allowed to photograph in an ancient and still operational bath house.  What a fantastic start to our photographic journey.  The place was absolutely full of textures and color.  My lighting was accomplished with three Canon Speedlite 600RT flashes on their included flat foot stands (as I did not want to carry light stands with me to Budapest).  I’d say they turned out very nice.

We spent a few hours wondering through the underground labyrinths under the streets of Buda Hill. These were apparently the dungeons that held the likes of Count Dracula himself (the real live person, not the vampire). It is fun to wander with a group of friends, but when those friends include photographers, every random streak of light through fog becomes and event. Unfortunately for my wife, she was the only non-photographer, so she became the subject of many a posed photograph. I am sure there will be a number of eery silhouettes of the lovely Danielle in the coming months on a few photographer blogs. She was a great sport about it all, and we had a lot of fun wandering in the shadowy underworld.

The photo I have chosen to show, however was one that kind of fell in my lap rather than needing to be set up. As Jeff led the way through the foggy tunnel, the mood lighting made a perfect and unexpected silhouette of him and his camera. I told him to freeze! Which he did. I then positioned myself for the best possible separation for his head, his face and his camera. We all worked on the shot a bit as Jeff dutifully stayed frozen in position. Carlos Martìn must receive credit for closing the gates just a bit, which I didn’t even know were there until he pulled them in. I was too focused on Jeff’s position. The gate gave me a lot to play with in the corners of the shot.

These kind of moments happen more often that we realize, but many times we pass them by in favor of getting to dinner on time, continuing our conversation, or just inattention to the moments and details. Sometimes we just let something beautiful pass us by and perhaps we regret not getting the shot. The world would have been just fine without this photo in it. Jeff didn’t even know the photo opportunity existed, and neither did anyone else in our group. I think he would have lived without it, but I know he is excited to have the image.

Many times, the moments in our lives are far more important than grabbing that great light or that perfect moment on camera. I have often told photographers in lectures to take a little time off from the camera, and live life rather than document it. It’s hard for us to do sometimes. Case in point… later that evening, we ended up in a cafe on the edge of Buda Hill watching the sunset, hot-cocoa in hand, listening to a unique little string quartet, when the violinist approached us and asked for a request. After a bit of thought, we requested Ave Maria (one of my favorite songs) and he began to play like he was born to play that song. It was very romantic.

Danielle describes what happened next by saying, she now has conclusive proof that I can handle about ninety seconds of romance and beauty before I have to pick up my camera and document it. It wasn’t until she began making fun of me that I realized what I had done, at which point, feeling a bit foolish, I set the camera down and enjoyed the next song without the camera in my hand.

The question then is, did I need my camera to enjoy the music and the moment? Was there even a beautiful shot to be made? I suggest not! This image is only worth the memory spark to tell a story about my own foolishness. And I can say for certain that I enjoyed the music far better with my wife’s hand in my hand rather than a camera. So why the gut reaction to pick up the camera to document everything? Is it a sickness? A habit? An obligation? I will spend my entire life attempting to understand it. In some instances, it is a blessing for my wife because our children’s lives are very well documented. But, it can interfere with life experiences as well. They say recognition is half the battle, the other half is doing something about it. I have found that I can be a far better date without a camera in my hands, so I will often leave my camera at home and just practice experiencing life. Sometimes it is painful to see beautiful moments happening knowing that they will only be available in my memory, but at least I will have experienced the moment rather than simply having observed it.

When we are traveling, the task of capturing the experience falls on me (or maybe, I take it on myself), so I feel I must carry a camera, but that doesn’t mean I must carry a large professional camera.  And more importantly, I have to be able distinguish between a moment that is to be captured and a moment that is to be lived.

 We took a day trip to Vienna on Friday and I swear I spent thirty minutes debating whether to take my pro gear or my point and shoot with me. Danielle questioned the wisdom of taking my point and shoot to such a beautiful city, but in the end, I am so happy I left all the pro gear in Budapest and walked those beautiful streets with nothing but a tiny camera in one hand and my wife’s hand in the other (see my notes above).

A small (manual) digital point and shoot camera is the perfect middle ground. When you are carrying heavy pro gear, it just gets used more. Maybe just to justify the weight of the gear. A small pocket camera, on the other hand, can be ignored until something critical presents itself, and as long as it is a quality camera, I can walk the streets and enjoy the experiences I am having until something truly needs documentation. And let’s face it, without some kind of a camera, a photographer might go crazy, so it is just nice to have one around.

Everything I shot in Vienna was done with the Canon G15 (a manually adjustable point and shoot camera) and many of the shots were taken at 1600 ISO or higher. So the camera holds up very nicely in most circumstances. Even in the catacombs, where incidentally, a small point and shoot is preferable, when photography is prohibited…

And yes, at the very least, an iPhone makes an acceptable camera to scratch that itch.

 

FYI.  In this next image, the lights were not on.  It was daytime.  But I thought they would look better on, so I turned them on in Lightroom.  Just thought you might find that interesting.  So yes, it is not absolutely accurate.  But it is more beautiful.

I saw a moment that called out to me, I suppose it was the light, angle of incident, the strange juxtaposition of a glowing telephone in a dark cathedral, the loneliness of the old man using it… but the photo looked nothing like this when I found it. It was cluttered with people passing through the shot, some were from my group and the rest the throngs of tourists moving in and out of the church. But I knew my frame and got my exposure set. I found a place to secure my camera against a column to steady it during the long exposure and waited patiently as my wife and friends left the church (I assume they thought I was with them).

As people left the frame, others entered, but I waited for the moment I knew would eventually come. A fraction of a second presented itself where everyone in the cathedral was just outside my frame, so in the hustle and bustle of a heavily trafficked church, was a moment of complete vacancy and solitude for my subject who feels completely alone. This is why I always tell people that photography is at best incapable of telling the “truth” and at worst an outright lie. The moment I am presenting here never occurred, not even for a fraction of a second. My subject never experienced the solitude you see here, maybe only in his mind was he alone, maybe he felt this way in his heart at the time, but I have no doubt that I only forced my vision of the scene on him.

In the end, any photograph will tell you more about the photographer than it will tell you about the scene or person in front of the camera. When we have our artist hats on, this suites us just fine. Like in this instance, I saw a metaphor, not the truth. So that is what you get to see. The problem becomes that you, the viewer don’t know when the photographer’s intention was to present the truth or just a metaphor. In most cases, the viewer is always better off assuming they are looking at and should treat every photograph as a metaphorical statement made by the photographer… even (especially) when the image is printed in the newspaper.

It was raining.  We had umbrellas.  The light was perfect.  I am a bit of a theatrical show off.  So it was only natural to start a “Singing in the Rain” musical number bit for the cameras.  Right?

These next two images were taken by Cable Notebloom.  Thanks Cable.

Budapest is home to a number of beautiful cathedrals. Danielle and I took the long climb to the top of St. Stephen’s cathedral in the middle of downtown Pest and while the top afforded us a great view of all of Budapest, my favorite image came from the design of the circular staircase. Which only further solidifies the adage that it is not the destination, but the journey…

It’s not a little thing that we were given access to the Budapest Opera House for a four hour photo shoot. I have to give Jeff Medford (the workshop’s brilliant coordinator) credit.  This was an amazing experience for everyone, students and instructors. I spent most of the time there with a few students on Canon Speedlite control. We shot setups with just one off camera Speedlite and setups with up to five. While I don’t have very many of my own images from those setups, because I was simply advising students, I was able to make a few images as examples while I was setting up and explaining my light strategies.

This next shot required a total of five Canon Speedlite 600RT flashes and a small 24 inch softbox. One Speedlite with a soft box lights our model, which was the last light to be placed. The remaining lights were used to create depth in the shot. Each cross hallway is lit with a Speedlite, as is the very back corner of the hallway (which would be a black hole without the lights. There are a few windows in the shot which may appear to be illuminating the hallway, but on their own do very little. The Speedlites are doing most of the work, augmenting the natural direction of light provided by the windows.

The important thing to take away from this shot is that without a set of strategically placed flashes that fit in a small shoulder bag, this brilliant hallway would have been very dark and almost unusable. And the entire setup did not take very long. It is a prime example of pre-visualization. You have to see the possibilities in the hallway to select the location in the first place. Then, there has to be a clear vision for the shot to build in the lights quickly and set the scene, otherwise, the exploratory process is too long and takes up valuable shooting time. Wedding photography is a job that requires vision, skill and speed. So I spent a lot of time with Kam and Cabel (my students of the moment) explaining how to build the lighting into the shot quickly and with purpose. I think we got some great imagery.

 

Cabel then asked a very important question. “What if I only have a limited amount of time and can’t build a shot with five lights?”

So we went into bare bones mode. What if I only have one light? What is the best most efficient use of that light? At this point we had a lot of students gathering around the grand staircase as we discussed the shot. At one point, Clay Blackmore wandered in to shoot some video of our couple walking down the staircase.

Well, with one light pounding into the marble off camera right by about 20 feet, we were able to softly light our models and fill in any unwanted shadows in the room. Even though the original light source is a few small inches, the resulting bounced light makes our light source about 40 feet wide, which means we get very soft light… I think the results were fantastic.

 

I also spent a little time teaching a group of students about efficient use of a second shooter during a portrait session. I acted as the second shooter to the students who were shooting with the lights in the primary position. By working together, both the primary photographer and the second shooter are able to achieve completely unique and valuable shots. This represents the second shooter’s artistic shot that I made, as the primary shooter (a few students) made traditional portraits from the primary position. I also had a few students in the secondary position with me. It’s all about efficient use of time and recognition from the both the primary and secondary shooters of the other photographers position and shot needs, and working together to shift the pose back and forth to work for both camera positions. Of course, the subject is rarely aware of the second shooter’s efforts because the primary shooter is the only one directing her movements and actions.

Before leaving the Opera House, we were allowed to peek into the main Opera House and sit in the boxes for a few minutes.  Danielle, posed for a snap shot memory of the box seat experience.  Carlos Martín, prone to doing whatever he likes, found his way past the do not enter signs and velvet ropes to the King’s box (where the King or President would sit).  You can see him and Coralee in the box behind Danielle.

There is an effort under way in Vienna to clean the stone faces of some of the buildings. Clearly, they could use a good scrubbing. Over the years, these brilliant white surfaces have become grey and in some cases even black. So, like every city I have ever traveled to, the best buildings are scafolded on one side or another. I was struck by the remarkable difference between the sides that have been cleaned and those slated for a future scrubbing. But as I photographed St. Stephen’s cathedral (in Vienna – there is one in Budapest too), I found myself wishing they would just leave the building alone. The soot has created a beautiful contrast to emphasise the sculptural elements, enhancing the dimensions and the textures. As a photographic subject, the building is far more interesting as a faded, dirty, raw old building than it is in its sparkly clean glory.

Sometimes we want so desperately to clean thing up, buy new things, streighten the books on the shelf, fuss with the wedding dress and the veil, spray the hair until it is locked perfectly in place, and yet, often times, perfection is far less interesting and beautiful than the natural state of things. Irving Penn warned that working on perfecting a subject for too long, often kills the life of the photograph. Imperfection is life. Time ages people, building and everything in this world. I love imperfections and weathering because it tells a story and that is what makes the photograph intriguing. Clean up this building and this photograph becomes far less interesting. Cleaning out the cobwebs make a place more livable, but not necessarily more beautiful.

 

 

On the very last day in Budapest, Danielle and I walked along the Danube River.  We crossed beautiful bridges, admired fantastic architecture and bought trinkets, but our destination was the memorial for those who’s lives were taken by the Nazis in mass murders on the river’s edge. The memorial is a simple, understated line of bronzed tattered shoes. The shoes face the river as though they are prepared for their end and walking bravely to meet it. I think the direction of the shoes is also a powerful indictment of the cowardice of the Nazi’s, who slaughtered millions of innocent men, women and children (suggesting the act of shooting them in the back). I don’t know if the victims were told to face their assassins or not, but their despicable treachery is well condemned here. And more importantly, as we quietly took in the scene, the innocence of the victims, their humility, bravery, strength, fear, sadness and faith in deliverance hung around us in the air.

I asked Danielle to choose a pair of shoes and I watched her walk amongst the shoes and wondered which she would choose and why? Would it be a father’s boots, who struggled every day to make a living and feed his children and who now faced his murderers wondering what would become of his family? Would it be a set of tiny shoes that belonged to a helpless little child, separated from his parents, not even aware of what was to come? But as she pointed out a small set of simple boots standing side by side with her mother’s modest heeled dress shoes, tears began to form and we talked of a mother and her little girl standing on the edge of a beautiful river, in a beautiful city and we wondered how and why another human could have seen these two innocent lambs holding hands and done anything but run into the group, hold them both and suffer that fate with them… I wonder what the mother told her child. What did the father say to his son? Empowered by faith in God and with hope in his eyes, I hoped he would have had the strength to smile and say, “I will see you in a few minutes, son. We will be just fine.”

I struggle to write this in a blog that is usually filled with happy unions, beautiful moments with care free children and careless discussions about the importance of f-stops and shutter speeds. But while we stood there on the Danube, we had a chance to stand, not in, but near by others’ shoes and I could not help but feel I learned something about family and about God, who must have stood their that day with open arms on the other side to give his tormented sons and daughters a very real and very long embrace. And I just hope that as I enter difficult times of life that are full of fear, that I can hold my little girl’s hand and say with a reassuring smile, “we will be just fine.”  And then step off into that river and await the unknown and the embrace that comes after the extreme trials of faith and hope. And while life is good, and while we are blessed with plenty and peace, this is the time to hold those I love close, build them up, teach them strength, conviction, faith and hope and above all to show them love.

I teach a lot of photographers about workflow and software and f-stops and shutter speeds, but the most important thing I can tach any photographer, or any person for that matter, is the importance of filling your mind and your heart with inspiration ( joyful and sorrowful).  One cannot produce inspiring work from an empty well.  And that is something that was so fantastic about the Budapest Master Class, it was more than an opportunity to learn technical photography, it was an opportunity to become inspired and experience life from another perspective, in another culture, to meet new and interesting people and see things in a completely different way.

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If you would like to join us in Barcelona in October of 2014, go to www.MZed.com and mention JARED PLATT to receive $150 off your tuition for the class.  I hope to see you there.

 

Mystic Seminars – Early Bird Special

I am speaking at Mystic Seminars on January 26, 2014.  This is a down to earth wedding photography seminar where everyone tells it like it is.  Four days of serious creative and business advice from the best in the business.

The EARLY BIRD SPECIAL ends on the last day of November.  So book now to save $120!

www.mysticseminars.com

I look forward to seeing everyone at Mystic soon.

 

VEGAS Workshop at WPPI: Get Your Lucky Ticket!

Lightroom Workshop at WPPI in Las Vegas

I am speaking at WPPI this year as a Platform Speaker. My presentation, “The Photographer’s Eye” will be on Sunday the 20th of Feb at Noon. Thanks to Pictage for Sponsoring this event!

And since I am there anyway, along with thousands of other photographers, I thought it would be a good time to offer a Lightroom Workflow Workshop. There are many of you photographers out there who have missed my workshop when it came into town, so this is your chance to take the workshop now.

Tuesday, February 22, 2011, there will be two sessions from which to choose, each session lasting 4 hours. This way you can still catch a few speakers throughout the day on Tuesday, but still get the most valuable information you can get at WPPI. How to cut your workflow in half! And a whole lot about Lightroom 3.

Sign up for the Tuesday Morning Lightroom Workshop Session: 8am to 12noon
Sign up for the Tuesday Afternoon Lightroom Workshop Session: 2pm to 6pm

Both sessions are the same. Sign up online for the early bird special of $100. The door price is $200.

Or, since we are in Vegas, you can try your luck and go to WPPI, go to my sponsor’s booths and ask for a LUCKY TICKET. Each LUCKY TICKET has a price of either $120, $60 or FREE on it. Bring that ticket to the door and pay the price on the ticket. I hope you find a free one! That would be your lucky day!

SPONSORS with LUCKY TICKETS: Pictage, KISS Wedding Books, Triple Scoop Music, Shoot Q, Shoot dot Edit and RPG Keys.

Boston’s Elegant Pass Time

It was great to be in Boston again.  I have always loved Boston.  A number of years ago, I sent a few days here at my best friend’s graduation from Harvard.  It is such a beautiful city.  One of the things I find most alluring about the city is the crew and sailing culture.  Out west, we like to boat, but it is a different kind of boating.  We drag skiers behind power boats.  Here it is a much more refined activity.  It’s like the difference between playing Hungry Hippos and Chess.  Both are fun, but one is just a lot more elegant.

Anyway, it was a pleasure to visit.  I am so grateful to Calumet Photographic for allowing us to hold the workshop there.  It is a fantastic store with a great sales staff.  Thanks so much Calumet.

This visit, I had a few minutes to walk along the river and found a big sailing school.  It looked like a lot of fun, but alas, I had to leave for New York City for my next PUG Lecture and Lightroom Workflow Workshop.  Someday, I think I would like to learn how to sail.

 Boston-MA-1

Dust Storm Rising: Coolidge, AZ

A Dust Storm Rising: Takes Me Back Home

Living in the desert is a unique experience.  Forget about the 120 degree summer days and the horribly unfriendly plant life.  To me, the weather is quite fascinating.  I love the monsoon rainstorms and the lightning is fantastic.  Other places in the world have their own challenging weather situations, many much more dangerous.  There are tornadoes, hurricanes, earthquakes, blizzards, etc…  and none of these options are very appealing to me, which is why I prefer my native state of Arizona.  But we do have our own unique weather effect: the dust storm.

I was traveling back from a job in Tucson and took a back road route home (rather than the freeway).  I enjoy doing this because everything goes by so quickly on the freeway and there is no inclination to stop and look at anything (and of course, it would be illegal to do so).  So the back roads are much more enjoyable as road trips go.  On my way home, I saw an approaching dust storm and immediately pulled off the road and pulled out the camera and went hiking.  The Arizona dust storm has a beautiful effect on our world.  It creates a ghost of anything in the distance if not, it completely obscures it.  Like a blizzard, it creates a thin sketch of the landscape with little to no contrast.  I am generally haunted by vacancy in an image.  I am not sure why, but of all the photographs I would select to hang in my home, it is those filled with quiet and solitude that appeal most to me.  That doesn’t mean that I choose to photograph this way all the time, but it has the deepest emotional affect on my soul.  I think it is because that is who I am at my core.
 Dust Storm Rising: Coolidge, AZ

If you are drawn to a particular style of photography, or art, and looking at that work brings you home, you can be sure that that attraction says a lot about you as a person.  In fact, weather you like a photograph or don’t, says less about the photographer or the photograph and more about you as a person.  Which is why, I think, that I get along so well with my clients.  They have selected me as their photographer based on their emotional and intellectual response to my work.  Which means that they, in some way, deep down at some root level, are like me.  We agree on what gives us peace and brings us home.

When I got home and started working with this image, I asked my wife about this image.  “Am I off base, or is this image extremely haunting and beautiful?”

“I can see what you are attracted to in the image,” she replied, “but it’s not all that great!”

No, I wasn’t devastated by her comment.  I just decided she was wrong.  It is great, but perhaps only to me and people like me.  Remember, her reaction to the photograph says more about her, than it does about the photo.  In contrast, I think my friend Isaac Bailey would like it.  But I think we share a common love for solitude (or perhaps it is a sullen longing for sleep).  My wife grew up in the city with all of its distractions and noise, I grew up on the prairies of Northern Arizona where the only noise is the constant wind.  So, my wife’s take on this photo was an instructive reminder to me.  My wife is a good judge of a photograph, which tells me that this image is different, my attraction to it isn’t just about some other brilliantly employed compositional strategy, I didn’t make this picture to sell something or even to make a statement.  I made it because something inside me wanted to go home for a little while and relax there in the shadow of the Zuni Mountains and look over the endless flat land, smell the dust, swap stories with my brothers and wait until dark for a ride back into town.  This was a free ticket back to Bitter Springs after the long climb through The Gap to witness the brilliant view from the tops of the Vermilion Cliffs.  Sometimes photography isn’t about the subject in front of us at all.  The subject is just a catalyst for memory, a sort of psychiatrist’s couch for introspection and self discovery.  And sometimes, a photography session reminds you of who you are.

These introspective moments almost never happen while the camera is in your hands.  They come in the quiet times in the darkroom, or the Lightroom as you study the results.  And while my mantra is always about efficiency in post production. When I feel that prompting, I do my best to slow down, and examine my work closely without distractions or deadlines and find out what it is, I have been trying to say to myself.

A few more images from the series that I think you might enjoy.

 Dust Storm Rising: Coolidge, AZ

 Dust Storm Rising: Coolidge, AZ

 Dust Storm Rising: Coolidge, AZ
 Dust Storm Rising: Coolidge, AZ

Tech Talk: All of the images in this post were completely processed in Lightroom.  They were never opened in Photoshop.  Tones, grain and vignettes were all added in Lightroom without the use of any additional plugins etc.  Below is a video about creating custom vignettes in Lightroom like those you see above.  This video is also on iTunes and on the Pictage Blog.  Check out more of my podcasts at iTunes and more blog posts at Pictage Blog.

Creating Custom Vignettes in Adobe Lightroom 2.6 from Jared Platt on Vimeo.