I like the way that Facebook makes it easy for people to make quick comments and to “Like” specific stories. I will be incorporating some of that functionality into my sites soon because it helps others find content that their friends are reading/watching when they are browsing various Facebook pages and the Web.

Full Day Lightroom Printing Workshops in NJ-8/28 and 8/29, 2010

I’d like to mention an upcoming full day Lightroom printing workshop that I’m giving in Berkeley Heights, NJ on Sat/Sun Aug. 28 and Aug. 29, 2010. Both workshops are the same, and are limited to just 7 attendees each day. I’ll be covering the newest features in Lightroom 3, and attendees will go home with at least one print prepped by me in Lightroom and output on a high-quality paper of their choice. I’ve done about 20 similar workshops at NJ Media Center and I’m really looking forward to this one. For more info and pricing, visit this page, or feel free to send me an e-mail through this page if you have any questions for me.

Readers of The Imaging Buffet who register by August 20 and who mention that they saw the workshop announced here will also receive a 30 minute phone consult with me after the workshop ($100 value). Just send an e-mail through this contact form after you register, and I’ll set up a session with you.

photo copyright Andrew Darlow

There is a very wide range of subject matter from a long list of photographers, including: W.H. Talbot, Roger Fenton, Adolphe Braun, Charles Negre, Charles Marville, Thomas Annan, Maxime DuCamp, Matthew Brady, Alexander Gardner, TH O’Sullivan, William Bell, A.J. Russell, Carleton Watkins, Eadweard Muybridge, P.H. Emerson, Victor Prevost, Samuel Bourne, Felice Beato, Francis Frith, Napoleon Sarony, others, and “anonymous.”

I’d also like to share an overview from the exhibition announcement text:

In this era of the hot and the now, we find value in studying the roots of all that we have in photography today, by examining the first 60 years of the medium’s existence. There we find the sources for the character and the syntax of the photographic image as we have come to know it.  At first it was  all so simple and direct… people, places and history, recorded through the agency of the camera and the processes and technical advancements, which allowed us to see them in the first place. After all, what can’t be done can’t be shown. All the while the very nature (and limitations) of these processes and techniques determined the quality and character of those visions.

Everything seemed to parade before the camera, while the photographers generated and evolved personal style and vision to embellish and enrich their ever-unrolling catalogue of the entire obvious universe…which, in the early days of the medium, is just what they seemed to be doing. In so doing they recorded the obvious of the “near”: births, lives and deaths; the exoticism of the “far”: the wonders from the antipodes of empires.  Then there were the hard and impossible to see worlds of the microscope and the telescope; and the never-were ectoplasmic manifestations of the spirit world. Everything that was unknown suddenly became known, and the wild became domesticated and tamed under photography’s unblinking and withering gaze.  It was no longer necessary to imagine Blake’s “Tyger”…you could see a picture of him!

Although mostly direct records of simple things, not all 19th century vision was naïve. There were photographers who were quite sophisticated and image-savvy. Gustav LeGray and William Henry Jackson, for example were trained painters, and that training shows in their work.  Others lacking technical artistic skills had plenty of paintings to emulate. But the freshest of the group of early practitioners were carried along by the native characteristics of the photographic medium itself. It’s optical peculiarities, the issue of how time gets rendered, the role accident and imperfect composition plays in the finished framing of the image, all were unique to photography, and provided revelations by the thousands, and gave artists a new outlook on picture-making.. Everything changed, to the point where painters like Degas were questioning what they were doing based on what they saw in photographs.

Photography, the picture medium born of the industrial revolution, was revolutionizing the way we saw the world and made copies of it for our own studies and for the transmittal to others, down the street, or down the years.  Photography was somewhat like painting, but radically different all at the same time. The similarities made for recognition…but the differences were remarkable and significant. Picture-making had changed forever, and it is in its earliest days (1840-1900) that we see photography beginning to announce and articulate the terms of that shift.

Another Time, Another Place: Aspects of 19th Century Photography
July 7th - August 20th, 2010
Special Summer Hours:  Wednesday - Friday, Noon- 6 pm or by appointment
511 West 25th Street, #701
New York, NY 10001
212.741.4764

For more information, visit: www.klotzgallery.com

To read my article on FotoTV.com on How to Shoot Better Window Photos (an image from the article can be seen above), visit this page.

Below is some info from the press materials and website:

The ART OF PHOTOGRAPHY SHOW is an international exhibition of photographic art which will take place August 28 through November 7, 2010 at the Lyceum Theatre Gallery, located in the historic Gaslamp Quarter of downtown San Diego, California. This is the sixth year of this major photography competition and exhibition.

CALL FOR ENTRIES:

The online entry process is very easy, simply filling out a short registration form and then uploading your images as JPEG files. Images created via any form of photography will be accepted for consideration. The Prospectus and entry information is available here. Additional details are in the FAQ page here. The entry deadline is June 7th at 11:59 pm (PDT). 

JURIED COMPETITION:
Natasha Egan is the Judge for the Art of Photography Show 2010. Ms. Egan is Associate Director and Curator at the Museum of Contemporary Photography in Chicago. Ms. Egan is highly esteemed in the global photographic community, so it’s a significant honor to be selected by her.

$10,000 IN AWARDS:
         $2,000  1st Place Award
         $1,600  2nd Place Award
         $1,200  3rd Place Award
         $   800  4th Place Award
         $   400  (11) Honorable Mention Awards
Proceeds from art sales donated to AjA Project: Click here to check out the details.

For more information, visit: www.artofphotographyshow.com

The event is PDN’s Virtual Trade Show, and the focus is on wedding and portrait photography. Many topics, including SEO, self-promotion and branding will be covered.

Live show dates are May 24 and May 25, 2010
Live show hours are 10AM – 7PM EST

If this event is like the last one I wrote about in Dec. 2009, the content should be available via download sometime after the event.

UPDATE: I just learned that the content will be available online beginning on 5/26 for those who register for the event. It will then be accessible for two months.

Here is an overview from the conference agenda, which includes some of the featured speakers:

Learn how to approach wedding shoots differently and how to run a more profitable business by increasing client purchases. Explore the virtual expo and find the best suppliers for your needs. PDN PhotoPlusVirtual Events presents exciting Webinars with world-renown photographers and industry experts…

–Laura Novak
–Simon Goble, RebekaFluetand Robyn Pollman
–Catherine Hall
–Allen Murabayashi
–Jim Garner
–Doug Gordon
–Gene Ho
–Judy Host
–Suzan Moody

The main page to learn more or to register can be found here.

I’m looking forward to trying out Content-Aware Fill in Photoshop CS5, primarily for quickly extending backgrounds. It’s very common for me to have to extend a background to create a more panoramic look, or just to add some background to achieve a 4×6 ratio for a client who wants pictures in that very popular size.

Below are direct links to the ten Creative Suite 5 press releases with the headlines of each one linked to the release on Adobe.com (I think that reading the releases is one of the best ways to see some of the highlights of what’s inside each Creative Suite bundle).

1. Adobe Unveils Creative Suite 5 Product Family
2. Adobe Delivers Creative Suite 5 Design Premium
3. Adobe Announces Creative Suite 5 Web Premium
4. Adobe Debuts Creative Suite 5 Production Premium
5. Adobe Launches Photoshop CS5 and Photoshop CS5 Extended
6. InDesign CS5 Powers the Transition to Digital Publishing
7. Adobe Releases Illustrator CS5
8. Adobe Introduces Flash Catalyst CS5
9. Adobe Premiere Pro CS5 Redefines Nonlinear Editing
10. Adobe Helps Prepare the 21st Century Workforce with Creative Suite 5

For a great 45 minute overview of Photoshop by Terry White of Adobe, including a look at the new “mini Bridge,” which is an embedded version of Bridge available as a panel inside Photoshop CS5 and CS5 Extended), and a new Edge Detection tool for selecting challenging images (it looks especially good for hair), click here.

And for a directory of videos covering CS5 applications, visit this page on AdobeTV.com.

All of the Epson 1700 Series Projectors, including the 1730W and 1735W look like this from the front. A sliding lens protector is hidden when the projector lens is exposed (control for it is located just above the lens). Photo courtesy Epson Inc.

Enter the Epson PowerLite 1735W Multimedia Projector. In this review, I’ll give an overview of the 1735W as well as a similar widescreen projector in the line (the PowerLite 1730W), and I’ll cover the topics I believe are most important to photographers and video professionals/aficionados. I’ll end with some overall Pros and Cons and give my thoughts on the product as a whole.

WHY USE A WIDESCREEN PROJECTOR?

If you’ve done presentations using a projector, you’ll know that it’s common to look at a laptop with you facing the audience, while the projector is shining on a wall or projector in front of the audience. Most modern laptops have a native resolution higher than XGA (1024×768). So if your projector can only sync at 1024×768, you’ll be looking at a distorted image on your screen. That’s just one of the advantages of a Widescreen projector like the Powerlite 1735W. You can usually view your screen at its native resolution, or sometimes at a resolution slightly off, but still much better than XGA (1024×768). Believe me when I say that this is a big deal–I have an XGA projector and I now clearly see the advantage of a widescreen projector when teaching Photoshop or Adobe Lightroom. The higher the resolution, the more windows you can fit on the screen.

The Epson PowerLite 1735W and 1730W can both be set to scale to the following resolutions (1280×800 is the native resolution):
640 x 480 (VGA), 800 x 600 (SVGA), 1024 x 768 (XGA), 1280 x 1024 (SXGA), 1400 x 1050 (SXGA+), 1440 x 900 (WXGA+), 1680 x 1050 (WSXGA+), 1600 x 1200 (UXGA)

OVERVIEW & FEATURES

Before I started testing the PowerLite 1735W I had no idea how much technology would be packed inside. If you want to delve deeper than the information I provide here, you can start by downloading the product specs in PDF form for the PowerLite 1735W and the PowerLite 1730W:
PowerLite 1735W specs (PDF)
PowerLite 1730W specs (PDF)

The primary differences between the PowerLite 1735W and the PowerLite 1730W can be seen in the chart below from Epson.com (they are all related to wireless and PC-free functionality):

Some specs for the 1735W are below, with separate info about the 1730W where applicable:

Projection system: 3 LCD, 3-chip system
Dimensions including feet (W x D x H): 11.2 in x 7.9 in x 2.8 in
Weight: 3.96 lbs. (3.74 lbs. For the 1730W)
Lumens: 3000
Lamp Life: 4000 hours in Low Light Output Mode, and 3000 hours in High Light Output Mode
Connectivity: Computer/Component Video: Mini D-sub HD 15 pin x 1
S-video x 1
Composite video: RCA x 1
Audio in: Mini stereo x 1
USB connector: Type B x 1
Audio Output: 1 W mono speaker
Contrast Ratio Up to 2000:1
Fan Noise: High Light Output Mode: 39 dB
Low Light Output Mode: 30 dB

Please note that some additional information and features are noted in the PROS and CONS section below.

The back of the PowerLite 1735W. Photo courtesy Epson, Inc.

IMAGE and VIDEO QUALITY

The Epson Powerlite 1735W performed very well in just about all the tests I ran. Under very low light conditions, test images such as the PhotoDisc Target (download targets here under L2.2) had excellent color and contrast, and the gray tones were very close to neutral to my eyes when projected on a high quality white matte projection screen. For optimum results with any projector, I recommend using a hardware calibration device like the X-Rite ColorMunki or ColorVision Spyder 3 to create a custom projector profile. Video from DVDs and from downloaded files was smooth, and dark areas held a good amount of detail without being washed out.

The projector did an admirable job even in a room lit with some overhead lighting (about the equivalent of 3-50 watt light bulbs). Some other projectors I’ve used are barely usable in these conditions; this is important because instructors and business people often have to use projectors in rooms with a considerable amount of light streaming in from windows or from overhead lighting.

I also tested the projector in a large studio and projected images up to a diagonal width of about 100 inches. The image was sharp and evenly lit without any noticeable hot spot using a roll of white seamless paper as the projection screen. In the same studio, a “high gain” projection screen resulted in images that looked grainy, with an annoying hot spot. I would avoid high gain screens and use matte white fabric screens in all cases with today’s multimedia projectors.

At my home, I used a Da-Lite Deluxe Insta-Theater® 80 inch diameter screen (about $215-300) with a matte white fabric. It is an outstanding screen, and a much better experience compared with projecting onto a paper background or a typical white wall. I’ve also seen the Epson Duet Ultra Portable Projection Screen which is less expensive (about $150), and I can recommend that product as well (see photo below). An advantage to the Epson Duet is that you can adjust it horizontally to fit either a 4:3, 16:9 or other ratio image. It really makes a difference when you can fill the screen with a projected image, especially when projecting video.

Epson Duet Ultra Portable Projection Screen. Photo courtesy Epson.com

I observed a noticeable difference when switching from High Brightness mode (up to 3000 hours of lamp life) to Low Brightness mode (up to 4000 hours of lamp life), but in cases when you want a quieter environment and when you don’t need maximum brightness and contrast, Low Brightness mode does a great job, especially in darkened rooms.

WIRELESS OPTIONS

The wireless capabilities of the PowerLite 1735W are partly what set it apart from so many other projectors. Quick-Connect Wireless mode allows wireless plug and play projection on most Windows Operating Systems with a special USB key. I didn’t test this feature, but below is Epson’s description of how it works: Simply plug the USB key provided into the projector. In a matter of seconds, it downloads the information necessary for setup and tells you when to remove the key. Next, simply plug the key into your computer. Soon, you are wirelessly displaying your presentation. And, when you’re done, simply disconnect the USB key, and your original settings are restored, with no re-configuration required. Now, you can wirelessly project your presentations, hassle-free, without carrying and connecting bulky VGA cables.

Wireless mode allows wireless projection with an installable application on Macintosh OSX or Windows computers. I tested this mode on a Mac laptop, and it worked fairly well (especially after adjusting a setting to allow for faster displaying of content. However, the image quality was not nearly as good as when I was directly attached to the projector via a monitor cable, and I would not recommend wireless mode for projecting images or video when quality has to be its best–connecting the cable really makes a difference.

USB Plug ‘n Play allows most computers running Windows Operating Systems to connect with a USB cable, which is a great feature to have. I tested this with a Dell laptop running Windows Vista and it worked pretty well, but I wasn’t able to get a full-motion video on DVD to play perfectly over the connection (the image and voice were slightly out of sync). The image quality was better than when I was in wireless mode (see last section), but not as good as when I was connected directly via the VGA cable. That’s not to say that you can’t get very good results via USB Plug ‘n Play–I just think that if what you are projecting is important imagery or video, the VGA cable connection will give you the best results.

PC-free presentations are possible by downloading files to a USB key or via USB memory devices which can be a big help for those who’d rather not including hard drives and digital cameras.

ROUND LENS, RECTANGULAR IMAGE

Though the image I was able to project on a screen was almost perfectly rectangular (see photo below), I was unable to get a “perfectly rectangular” image on my screen with the PowerLite 1735W. The folks at Epson assure me that a perfectly rectangular image is possible, and I’m guessing that it might have something to do with the height of the projector relative to the screen. The keystoning controls are very easy to use and can be very helpful, but they should be used only when necessary because they can cause some areas to go out of focus. Below is a photo of the image I was able to display with a few adjustments to the angle of the projector to the screen as well as some minor keystoning adjustments (just the top is slightly bowed):

The projector is not billed as a home theater projector, but there is nothing keeping it from serving as one, except perhaps the fan noise and throw ratio (see below). It has an S-Video port for video input from an A/V device or receiver. I found the fan noise in High Light Output Mode to be a bit distracting in general when placed within about five feet from me. The fan noise is reduced in Low Light Output Mode (30dB vs. 39dB), but it was still louder than I would like if I were sitting near it while on a sofa with a bowl of popcorn in hand. That being said, if mounted high up on a ceiling, I doubt it would be objectionable, especially in Low Light Output Mode. In a classroom setting, unless the room had to be very quiet (and based on experience with other projectors), I don’t think it would be too loud, even in High Light Output Mode. While doing some research on fan noise, I came across this interesting DIY project for building a “hush box” to reduce projector noise. I also learned from www.sleepwellbaby.com that “decibels are measured on a logarithmic scale, meaning that every time the intensity increases by units of 10, each increase is 10 times the lower figure.” High Light Output Mode doesn’t seem to my ear to be 8-10 times louder than Low Light Output Mode, but that’s what the scientists say so I’m guessing they are correct.

You definitely won’t want to use the built-in 1 Watt mono speaker for home theater use. Instead, just run audio separately, like in many home theaters. Just hooking up a few high quality speakers and a subwoofer to a laptop can result in pretty amazing sound to complement video coming out of a laptop.

IMAGE SIZE (PRO or CON?)

The size of the image that the PowerLite 1735W projector projects (known as the throw ratio) can be a positive or negative feature depending upon how you plan to use the projector. In some settings (like a small classroom or conference room), it is usually a positive feature to have the projector throw a large image from a short distance, but in a home theater, it may not be as advantageous if you want to mount it far from the projection wall. The PowerLite 1735W has a wide throw ratio (lens focal length of 16.1-19.3mm). You should be able to achieve about a 30 inch diagonal image at 2.1 feet from the screen, and about a 300 inch diagonal image from 27.1 feet from the screen). I filled my 80-inch-diagonal Da-Lite screen from about 5-7 feet away. The manual zoom and focus controls just above the lens are welcome–I prefer them to fancy electronic adjustments.

This can be visually altered somewhat by changing the output resolution in your computer (the higher the resolution, the smaller the on-screen image will be-it’s like zooming out on an image). However, you may not get sharp text at certain resolutions. Unlike most modern displays, you can get surprisingly good results at resolutions other than the native 1280×800 pixel resolution. I tested about 6 different settings, and had the most success with 1280×800, 1280×1024 and 1440×900 on my 17 inch Mac Laptop. I had similar results on a 15-inch Dell Laptop running Windows Vista, and every laptop will perform differently so I recommend testing a few resolutions to see which are usable. If you plan to project video, you may find that lower resolutions are better, especially if you are playing and projecting a DVD.

This page has an excellent overview of Throw Ratios and Viewing Distances.

PROS and CONS of the Epson PowerLite 1735W Multimedia Projector

PROS

• Native WXGA (1280×800) Widescreen resolution matches current computer aspect ratios well, with the ability to select other resolutions.
• Less than 4 pounds in weight, and very slim (under 3 inches tall).
• Outstanding color quality.
• Excellent brightness and contrast in High Light Output Mode, with easy to adjust settings for movies, text, etc.
• Very good brightness and contrast in Low Light Output Mode
• Very good sharpness (especially when using a high quality projection screen).
• Lamp does not appear to get nearly as hot as many others on the market and cools down in minutes.
• Bulb lasts up to 4000 hours in Low Light Output Mode, and up to 3000 hours in High Light Output Mode (replacement bulbs run about $300).
• Quick-Connect Wireless mode allows wireless plug and play projection on most Windows Operating Systems with a special USB key.
• Wireless mode allows wireless projection with an installable application on Macintosh OSX computers
• USB Plug ‘n Play allows most computers running Windows Operating Systems to connect with a USB cable.
• PC-free presentations via USB memory devices, including hard drives and digital cameras.
• Easy to adjust manual focus and optical zoom controls just above lens.
• Full-featured remote control, with excellent zoom-in controls (just select an area with the remote and start zooming in).
• Well-constructed sliding lens protector located just in front of lens.
• Projector comes with a very well made protective carrying case that includes extra compartments.

CONS

• Some color fringing was observed from close up (primarily in text areas). At normal viewing distances, this issue was either unnoticeable or barely noticeable.
• Fan noise at normal and high brightness could be distracting for home theater use or in some other situations.
• Full motion video may not be possible in wireless mode, and image quality may degrade compared with connecting directly via the VGA monitor cable.
• Full motion video may not be possible in USB Plug N Play mode, and image quality may degrade compared with the direct RGB monitor cable connection.
• No DVI input (only RGB or USB).
• No laser pointer on remote. (My recommendation is to just tape a small laser pointer onto the back of the remote!)

CONCLUSION

In a word, I’m impressed with the Epson PowerLite 1735W projector. It’s hard to believe that such a small and light projector can display such bright and vibrant images and video. Because of its size, it can fit alongside many laptops in a carry-on bag. Even if you just carry this projector around as a backup in case the projector you are asked to use doesn’t cut it (or if a projector bulb burns out at exactly the wrong time), it will be worth the investment. I would not hesitate purchasing this as a replacement for my XGA projector, and now that I’ve tested this one, I’m thinking seriously about buying the PowerLite 1730W (about $1000 street price) since the wireless functionality is not as important to me. However, I would miss the PC-free option that’s standard on the 1735W. It’s nice to know that if I had the 1735W, I could just load some JPEGs or PowerPoint slides onto a USB key, hard drive or camera and display my images anywhere without a computer. I highly recommend the Powerlite 1735W or PowerLite 1730W projector for just about any studio or individual who wants an affordable, high quality lightweight unit for multimedia projection.

RESOURCES

For a lot more information, including full specs and downloadable manuals (and there is a lot of information!) visit Epson.com and search for any of the PowerLite series projectors by typing “PowerLite 1735W” “PowerLite 1730W” or other projector model number in the Search box. Then choose Technical Support on the right side of the screen, and under Documents & Manuals, choose product documentation. From there, you will see just about all the documents related to the products.

You can also go to the main product pages for the projectors on Epson.com and watch some of the videos (below is a still frame from one them)

A very helpful image size calculator for determining how to set up an Epson projector can be found here

-Review by Andrew Darlow, Editor, ImagingBuffet.com

Please consider supporting this site by purchasing from one of our affiliate vendors below:

Epson PowerLite 1735W Product Page on Amazon.com
Epson PowerLite 1730W Poduct Page on Amazon.com
Search for Projectors on Adorama.com
Epson Duet 80-Inch Dual Aspect Ratio Projection Screen on Amazon.com
Da-Lite Deluxe Insta-Theater® screens on Amazon.com

I have three upcoming workshops covering Photoshop, Fine-art printing, Lightroom and Color Management. I enjoy these workshops immensely primarily because each group who joins me brings new ideas, questions, and new images and prints to share with me and the other participants.

Below are descriptions for three upcoming workshops that I’ll be conducting. For the first one listed, I would like to offer a $50 discount for those who register by 3/31/2010 (see below for more information)

Upcoming full day Photoshop/printing workshop in Berkeley Heights, NJ

Fine Art Inkjet Printing with Photoshop
with Andrew Darlow

Dates: April 17th or 18th, 2010 - 10AM-5PM (choose either day)

This full day lecture and printing workshop with photographer, author and consultant Andrew Darlow will include:

-Suggested inkjet printers for quality color and black-and-white
printing (emphasis will be on Canon, Epson and HP printers and their
standard pigmented multi-gray inksets);
-Suggested color management hardware and software for inkjet
printing, and how to produce, install and use custom printer profiles;
-Tips for selecting inkjet papers for color and black-and-white
printing;
-Demonstration of a step-by-step printing workflow using Camera RAW
and Photoshop CS4 (Mac OSX will be used, but Windows-specific
information will also be covered for those who use Windows);
-Specific Photoshop tips for converting from color to black and
white, sharpening, sizing and what to do and not to do before and
after you convert your files,
-Links to and demonstrations of free actions to help optimize print
quality.

Sample prints will be displayed and discussed, and each attendee who supplies a file will have one print of one image printed on either an Epson or HP pigment-ink-based printer. Paper options will include acid-free, high quality semi-gloss, fiber-gloss/semi-gloss and watercolor/matte papers. Each participant will also receive a binder with course materials and a list of resources and materials, as well as a minimum of 50 sheets of letter-size fine-art sample papers and canvases.

Enrollment is limited to only seven participants.

Requirements: Some experience using inkjet printers is required. A working knowledge of Adobe Photoshop is highly recommended.

Tuition for either workshop (April 17th or 18th) is $199 (plus $20 materials fee). Registrations are on a first come first served basis. SPECIAL OFFER: When you mention that you are a reader of ImagingBuffet.com and register by 3/31/2010, you will receive either a $50 discount on the course fee, or a free 30 minute phone consultation with Andrew, a $100 value.

INFORMATION AND REGISTRATION: call 908-790-8820 or email Nancy Ori at nancyori@comcast.net. Directions will be sent upon registration.

—–

Upcoming Color Management Workshop at Unique Photo in Fairfield, NJ

I’ll be conducting an all day workshop at Unique Photo in Fairfield, NJ on Saturday, April 10, 2010 entitled:
Color Management 101 and Inkjet Printing with Lightroom: Workflow Tips
& Techniques

The direct link for this workshop (and a full description) can be found here.

—–

Upcoming Printing Workshop at Peter’s Valley in Layton, NJ

Two-day Fine Art Inkjet Printing w/ Photoshop Workshop
with Andrew Darlow at Peters Valley Craft Center in Layton, NJ
May 15-16th, 2010

Level: Beginner to intermediate
Tuition: $280
Material & Studio Fee: $25

For more information or to register, call 973-948-5200 or view and download the 2010 catalog here:
http://www.petersvalley.org/workshops/index.htm

There is a lot planned during the event, including the following workshops from these noted photographers:

The Joel Meyerowitz Master Class: The Search for Artistic Identity
Kenro Izu: The Sacred Landscape
Lynn Johnson: The Documentary Personal Project
Douglas Kirkland: Portraiture Using the 8×10 Camera
Ed Kashi: Visual Storytelling in the Digital Age
Jack Dykinga: Light in the Desert Landscape
Jock Sturges: The Fine Art Nude
Keith Carter: Personal Style - Finding Your Voice
Frank Ockenfels III: The Signature Style Portrait
Antonin Kratochvil: The Psychological Portrait
Linda Connor: The Importance of Sequencing Your Work
Vincent LaForet: The Convergence Factor: Using the Canon 5-D Mark II for Motion
Nels Israelson: Dramatic Lighting for Dramatic Portraiture
Juergen Nogai: The Art of Architecture Photography
Allegra Wilde: Deconstructing Your Portfolio
Laurie Kratochvil and Carol LeFlufy: The Business of Photography

Below is information about the workshops from the organizers: Our Fifth Year Workshop Program offers intense, remarkable classes with world-renowned working photographers and educators. Most are three full days plus a 4th day morning session and begin on March 29. You will spend three and a half days with your fellow students listening, learning, shooting and comparing notes. Your instructor will work with you, demonstrate his or her methods, explore his or her own work and your own. We also offer one day workshops beginning later in the week, allowing you to choose from special lighting and portfolio organization and presentation classes in addition to your principal workshop, seminars and portfolio reviews.

A listing of the seminars being offered is below:

SEMINAR PROGRAM
•Understanding Color Spaces, Profiles and Calibration
with X-Rite & Digital Color Expert Eric Magnusson
•Digital Workflow for Fine Printingwith Mac Holbert
•Canon Digital SLR: An Advanced Look at Canon Digital SLR Systems
•Social Media Marketing : Keeping Up With the Competition with Rick Sammon
•Adobe Presents: Creating Pixel-Perfect Photos with Adobe Photoshop
•Blurb Presents: The Photographic Book:
•Editing, Sequencing, Designing, Producing and Marketing Your Work In Print.
•Publishing and Marketing Your Photobook
•Western Digital Presents: Photography & the Printed Word with Colin Finlay
•Apple Presents: The Complete Aperture Primer
•Finding Your Audience: Learn the Essentials of Marketing
•Your Photography with Mary Virginia Swanson
•The Convergence Factor: Storytelling With the New Hybrid Cameras: Produce Multi-Media Documentary Films Incorporating Moving & Still Images with Vincent LaForet
•The D.A.M. Seminar: Digital Asset Management: With The Dam Book author Peter Krogh
•The Business of Photography: Surviving in Today’s Print Media Markets with Laurie Kratochvil & Carol LeFlury
•The Convergence Factor: Storytelling With the New Hybrid Cameras: Produce Multi-Media Documentary Films Incorporating Moving & Still Images with Vincent LaForet
•An Introduction to Using Adobe Premiere
•Final Cut Pro: The Basics with Frank Rohmer

According to the information I received, many of the Seminars are free with your daily registration. Seminars are conducted in the form of a lecture, followed by a Q&A session and a registration fee is required for each day of Seminars.

In addition, each night there will be book signings in the Annenberg Theater after the Evening Presentations:
Monday: Joel Meyerowitz
Tuesday: Frank Ockenfels will sign his one-of-a-kind handmade books
Wednesday: Kenru Izu
Thursday: Ethan Russell

The portfolio reviews also look to be a highlight of the event. Information about Portfolio Reviews at Connect 2010 can be found below:

We will offer over 1000 Portfolio Reviews at Connect 2010! You can choose your reviews each morning at our registration office at the Attendee Headquarter hotel, the Hyatt Regency Suites. See museum curators, gallery directors, ad agency creatives, art directors, photo editors, publishers, educators, noted photographers and other experts. For those registering for Portfolio Reviews, the opportunity of presenting work at our Open Portfolio Review on Sunday, March 28 is free. Take advantage of this great way to have your work seen by hundreds of people including our faculty, the public and other attendees. In addition to the above, our program includes our daily Symposium, our wonderful Evening Presentations, our Networking Parties and more.

For complete details or to register, visit the event’s website.

I’ve been hoping to see Wilhelm Imaging Research’s results on the Indigo process for many years, since I have been a longtime fan of the Indigo process (I worked for a company who had the first two Indigo machines in New York City way back in the 1990s). The print quality of recent Indigo Press models is nothing short of outstanding, and from the press release, it looks like HP has decided to position the Indigo not just as a “printing press,” but as a logical choice for photo-quality prints. It should be interesting to see how things progress as companies start marketing the Indigo’s output as “ready-to-frame.”

Below is the full press release-there is so much info, I think it is best presented in its entirety:

HP Boosts Quality and Value of Graphic Arts Photo Printing
HP Indigo photo printing technology gains 45-year permanence rating

PALO ALTO, Calif., Feb. 18, 2010 – HP today introduced two digital press solutions with capabilities that improve photo printing quality and color consistency.

The company also announced that output for HP Indigo presses has received a Wilhelm Imaging Research (WIR) Display Permanence rating of approximately 45 years, the first of its kind for a digital press.(1)

The new press solutions are designed for photofinishers, professional photographers, yearbook publishers, print service providers and other graphic arts professionals.

—    The HP Indigo WS6000p offers professional portrait output quality as a high-quality, low-cost replacement to silver-halide systems.

—    The enhanced HP Indigo W7200 Digital Press improves color management and consistency for high-volume printing of photo specialty products, including photo books.

HP additionally launched a partner solution from M-photo to manage professional lab workflow for HP Indigo presses and silver-halide output devices. HP also announced the general availability of the ARTtrust self-certification system for photographers and artists using HP Designjet Z Series Professional Photo Printers.

“Digital has crossed the gap between traditional and digital photofinishing in terms of quality, productivity and consistency, and now digital printing surpasses silver halide for photo permanence,” said Christopher Morgan, senior vice president, Graphics Solutions Business, HP. “HP’s solutions are accelerating the shift to digital, creating new business opportunities for print service providers, publishers and photographers.”

Display permanence for HP Indigo prints
New print permanence research from WIR – the industry’s most respected authority on digital print permanence – supports the value and image permanence of HP Indigo printing for photography applications.(1)

The study gives pages printed with HP Indigo presses on a Kromekote paper from Smart Papers a WIR Display Permanence Rating of approximately 45 years, which is longer than the best-rated silver-halide photo paper, Fuji Crystal Archive. The HP Indigo rating is also more than twice as long as the WIR Display Permanence Rating for prints on Kodak silver halide photo paper. The study also shows that HP Indigo photo book prints received a WIR Album/Dark Storage Rating of greater than 100 years.

“The permanence ratings from WIR provide an important validation for the use of HP Indigo in consumer and professional photographic markets as well as in the fine art world,” said Henry Wilhelm, co-founder, president and director of research at Wilhelm Imaging Research. “Good display permanence combined with excellent long-term stability, as well as freedom from yellowing for images that are in albums or are stored in other dark locations, are essential to preserving the value of historical photographs, art works and photo books.”

New HP Indigo digital press targets portrait studio market
Expected to be available in July, the HP Indigo WS6000p Digital Press brings HP’s high-quality liquid electrophotographic printing technology to the portrait studio market. Designed to replace silver-halide output solutions, the new roll-to-roll press includes inline lamination for professional portrait output at a low cost.

Unlike other digital presses, the solution includes light cyan and light magenta inks, offering photo-realistic imaging when added to the standard CMYK ink set.

A higher-volume solution for a fast-growing market segment
The launch of the new HP Indigo W7200 Digital Press for photo specialty applications raises the level of quality and productivity for an important market segment.

Photo specialty printing is one of HP Indigo’s fastest-growing segments with:

—    30 percent year-over-year increase in 2009 for new HP Indigo press placements used in photo specialty applications; and

—    47 percent year-over-year increase in photo specialty page output for the segment’s annual, holiday-driven Oct. 1 to Dec. 31 peak-production season.

Designed to meet large photo-specialty firms’ production needs, the enhanced W7200 press prints 240 four-color letter-size pages per minute at volumes up to 7.5 million pages per month. It also includes new, linked color-management utilities on both of its print engines for more accurate, consistent photo prints. Optional finishing systems for the press allow inline cutting, offset stacking of book blocks and lamination.

New production software from HP partner M-photo provides comprehensive workflow management for professional photography labs using the HP Indigo W7200 and other HP Indigo press models. The software, which also works with silver-halide output devices, helps eliminate finishing time and reduces costs with tools to streamline lab management, color correction and image creation.

Self certification for HP Designjet prints
ARTtrust is a simple self-certification system that enables photographers and artists to provide individual identity to any HP Designjet Z series pigment print produced using HP Vivera Pigment inks on compatible media or paper.

A joint development between HP and Prooftag™, and endorsed by WIR, the ARTtrust solution is accessible from a new website (www.arttrustonline.com) that allows registered photographers and artists to activate an ARTtrust Tag, register newly certified prints, provide information and proof of authenticity, and promote their work. Tags and membership cards will be sold on the same website by ARTtrust Company, a subsidiary of Prooftag.

Companies that support and promote ARTtrust include Canson INFINITY, Hahnemühle FineArt, ILFORD Imaging and Innova Art. Early adopters of the ARTtrust system include world-famous photographers and artists who are members of the HP Experts & Mentors program, including Joel Meyerowitz, Thomas Hoepker, Martin Parr, Douglas Kirkland, and Digital Atelier artists Dorothy Krause, Bonny Lhotka and Karin Schminke.

“In this age of refined mechanical reproduction, the temptation to forge photographic works of art is easily satisfied,” said Meyerowitz. “We have been hoping and waiting for a foolproof method of security and maintaining the authenticity of our work. ARTtrust has appeared at precisely the right moment.”

More information about new HP Indigo and Designjet photo solutions, which were announced at the Dscoop5 conference and PMA tradeshow, is available in online press kits at www.hp.com/go/dscoop5 and www.hp.com/go/pma2010, as well as through the HP Graphic Arts Twitter feed.

About HP
HP creates new possibilities for technology to have a meaningful impact on people, businesses, governments and society. The world’s largest technology company, HP brings together a portfolio that spans printing, personal computing, software, services and IT infrastructure to solve customer problems. More information about HP (NYSE: HPQ) is available at http://www.hp.com/.

Here’s how it works (the following text is directly from the press materials): Participants are invited to use the HD video capability of their camera to create short, two to four minute videos that tell a story based on the final still frame from Laforet’s piece, and then from each successive winning “chapter.”  Videos can be submitted to and viewed on a dedicated site within the Vimeo online community before they are judged.

The “Story Beyond the Still” contest provides filmmakers with a unique opportunity to showcase their storytelling abilities in a new style of filmmaking utilizing an HD-capable camera to capture moving images while also demonstrating the social appeal of collaborative storytelling.  To kick off the contest, Laforet collaborated with Grey New York to bring his interpretation of a still image to life in a short film entitled “The Cabbie,” which serves as the first installment of a seven chapter collaborative work in which each participant will be asked to interpret the previous winning photographer/filmmaker’s final still image to start their vision for the subsequent chapter.

In “The Cabbie,” Laforet’s interpretation begins on a still image depicting a teddy bear left on the sidewalk outside of an airport before telling the “Story Beyond The Still” that gives the viewer more to appreciate beyond the original moment the image was captured. Viewable exclusively on Vimeo at http://vimeo.com/groups/beyondthestill/, Laforet shot in stunning 1080p HD image quality utilizing Canon’s new EOS 7D Digital SLR camera.

“The concept behind the ‘Story Beyond The Still’ Contest was to find a way to involve people in the new realm of HD DSLR video,” said Laforet.  “Working with Canon, Vimeo and Grey NY to bring the contest to light, there is tremendous anticipation to see how the story unfolds in this wonderful social experiment in filmmaking.”

Six winners will be chosen (one for each chapter) based on their submissions and will join Laforet on location to collaboratively film the final chapter of the film, In addition, winners will receive a choice of prizes including Canon EOS 7D and 5D Mark II DSLR cameras or select Canon lenses.

For complete rules and to submit “The Story Beyond the Still” videos participants can visit http://vimeo.com/groups/beyondthestill/.  Projects will be judged based on how well participants execute the four criteria including:

1.         Best incorporation of initial still and quality and evocative nature of final still
2.         Cinematography
3.         Storytelling

Each chapter winner will be selected by a three-step judging/voting process including the initial selection of 50 semi-finalists by a three member panel comprised of Vimeo, Grey NY and/or Canon U.S.A employees.  Five (5) finalists will be determined by representatives from Vimeo, Grey NY and/or Canon U.S.A., and a distinguished panel of award-winning photographers and cinematographers (subject to scheduling availability) including:

Vincent Laforet – Director / Canon Explorer of Light Photographer
Russell Carpenter – Cinematographer “Titanic”, and “True Lies”
Rodney Charters – Cinematographer/Director of Photography FOX Network’s “24”
Shane Hurlbutt – Cinematographer “Terminator: Salvation”, and “We Are Marshall”
Stu Maschwitz – Filmmaker/Author of The DV Rebel’s Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap
Rick McCallum – Producer “Star Wars: The Phantom Menace”, “Star Wars: Attack of the Clones” and     “Star Wars: Revenge of the Sith”
Philip Bloom – Director / Director of Photography – Co-owner F-Stop Academy
Blake Whitman – Director of Community and Product – Vimeo
Nick Childs – Director/ Director of Content – Grey New York.

Following the selection of the five chapter finalists, their videos will be posted at http://vimeo.com/groups/beyondthestill/ where members of Vimeo will have five days to view the videos and vote to determine the chapter winner.

Below is a copy of the schedule for the contest from the rules page:

Finlay is one of Western Digital’s Creative Masters, and he’ll be hosting a free live discussion for Western Digital’s LinkedIn Storage Group on Thursday, February 4th from 10:00 am to 12 noon PST (1:00pm to 3:00pm EST) .

The following text is from the event announcement:
For more than 17 years, Colin Finlay has documented the human condition with compassion, empathy and dignity.  He is a six-time winner of the Pictures of the Year International honors for his coverage of war and conflict, disappearing traditions, the environment in both its glory and its devastation, genocide, famine, religious pilgrimage and global cultures.  In pursuit of his passion, he has circled the globe twenty-seven times in search of that one photo that will be a testament to the depth of human will and compassion.

During the live discussion on LinkedIn, Finlay will discuss his career as a documentary photographer, and answer questions from participants.  Finlay is scheduled to leave for Haiti on a humanitarian effort with the International Medical Corps as a photojournalist in mid-February.  This trip will mark the sixth time he has visited Haiti since 1991 where he witnessed political upheaval, a mumps epidemic killing scores of children, and now the devastation from the recent earthquake.

Photo © Colin Finlay 2010  Photo caption: There was a tiny hamlet, maybe six hours outside Port au Prince, filled with the ghosts of small children.  The whole area, not just the village, had been isolated by the Cedras regime, and now three-quarters of the town’s children had died in a mumps epidemic.  Their parents had voted for Aristide in the previous election, and those votes — officially registered in Port au Prince — had cost them dearly under the current military dictatorship.  Add the U.S. embargo, and the people were virtually cut off from the capitol.

The village leader had lost three children of his own; two in one day, and a third he had carried on his back all the way down a long, treacherous road to a health clinic that had been closed.  The military, weeks before, had cleared out all medicine and equipment and taken it back to Port au Prince — more punishment for their Aristide vote.  He made the long trek back to his village — with child on his back — where she later died.

Now his son — his last child — was sick.  This portrait shows this child clutching the hand of his father.  My eyes locked with the village leader for quite some time and knew what he said was very important.  I asked my interpreter what he said and his response was, “please tell the world we are the ones who are suffering.”

To join in on the live discussion scheduled for Feb 4th, visit WD’s LinkedIn Storage Group.

While you are there, I also recommend checking out the past live discussion with Sports Illustrated staff photographer Peter Read Miller. He offers a lot of excellent advice, such as techniques for helping sports celebrities and other subjects to relax when shooting an SI cover or other assignment.

The most recent column can be found here:
http://reddogjournal.com/darlow-27.php

Also, by changing the number above from 27 to a lower number (1 to 26) like this:
http://reddogjournal.com/darlow-26.php you can find all 27 of the columns I’ve written over the last year and a half.

And if you’d like to receive the newsletter portion related to fine-art photography (those news items are not available at this time online-only through the newsletter), you can sign up here for free (I highly recommend it):
http://reddogjournal.com/join.php

I selected this photograph of a magical place (the National Toy Train Museum in Ronks, PA–near Lancaster, PA) as a “virtual card” this year. I photographed it earlier this year on a family trip that I will fondly remember, and I highly recommend visiting the museum if you are in the area or have an opportunity to visit.

Thank you for being a part of The Imaging Buffet family.

Sincerely,
-Andrew Darlow

Queens Economic Development Corporation invites you to the launch of ThisIsOurQueens by photographer Michelle Kawka at the Queens Visitors Center at the Queens Center Mall on Saturday Dec 5 from 12 noon to 3pm. The Queens Visitors Center is located at the Queens Center mall (ground floor) at 90-15 Queens Blvd, Elmhurst, NY 11373 right across from the Applebees.

Photographer Michelle Kawka will be taking photos of participants in front of the wall size map of Queens.

Point out your neighborhood and Smile!

ThisIsOurQueens is a project that highlights the diversity of New York City’s borough of Queens.  Queens County, New York is a borough of over 2.2 million people.  It is the most ethnically diverse county in the world. Forty-six percent of the population is foreign born and over 138 languages are spoken throughout the borough. Showing a series of 200 portraits, ThisIsOurQueens depicts the lives of the people who live and work in her neighborhood, Queens, New York. This Is Our Queens was named one of the best projects of 2009 by the American Society of Media Photographers.

Michelle Kawka is an award winning, internationally exhibited New York-based photographer specializing in portraiture, lifestyle, corporate, fashion, travel, public relations and architectural work for a wide variety of advertising and editorial clients. Her work has been exhibited at the Queens Museum of Art, the City Hall of the 9th Arrondissement, Paris France, the Queens Hospital Center, The Langston Hughes Cultural Center & Library, the Gallery of Social and Political Art in Boston, the New England School of Photography & the Art-o-Mat in Long Island City, NY.

Speaking from experience, if you have a chance to see great photographers like Joel Meyerowitz or Jay Maisel show and speak about their work in a location with high quality projection equipment, I think you’ll be speechless. I know I was.

Below are links to the events:
Events with Joel Meyerowitz
http://www.aperture.org/events/keywords.php?id=legacy
and
The Projected Image
http://www.aperture.org/events/detail.php?id=613

I recently wrote about Joel Meyerowitz’s outstanding new books and exhibition at the Museum of the City of NY here:
http://reddogjournal.com/darlow-22.php

There are other events, including a holiday sale happening in December at Aperture. Check Aperture.org for more info.

On Saturday, November 21, a Benefit Auction and Special Reception will be held at The University of the Arts in Philadelphia, PA. For more information, visit: www.photoreview.org/auction.htm

The Photo Review is an outstanding journal that I receive and highly recommend, especially if you are based in the Northeast U.S. and enjoy visiting galleries in the region. The listings of exhibitions, photo-related events, book reviews and workshops is extensive. Here is a quick overview of The Photo Review from their website:

“Publishing since 1976, The Photo Review covers photography events throughout the country and serves as a central resource for the Mid-Atlantic region. With incisive reviews, exciting portfolios, lively interviews, the latest in books and exhibitions, The Photo Review quarterly journal has earned a reputation as one of the best serious photography publications being produced today.

In past years, The Photo Review has presented previously unpublished images by Weegee, Duane Michals, and Frederick Sommer and cataloguesfor a James VanDerZee exhibition, a show of Lois Greenfield’s dynamic dance photographs, and the exhibition ‘Changing Visions of the American Landscape.’ Most recently, we have extended our coverage to include the European scene, with reports from Documenta and Arles, and regular reports from FotoFest.”

Selected titles of the free webinars are as follows:

Wednesday, December 2
• The Art of Wedding Photography
• The Perfect Print
• How to Master Location Lighting

Thursday, December 3
• Successful Self-Promotion in the Digital Age
• Multimedia and Video: New Opportunities for Photographers

For more information, full webinar descriptions, and to register for this free online event, visit this page.

• Lens selection for different uses
• Ideal sizes for Apple Aperture catalogs (number of images)
• Video techniques with the new DSLR’s that have video, such as the Canon EOS 7D
• How to deal with condensation in cold weather

You can listen to the show and/or read the show notes on the show’s website HERE.

While you’re there, you’ll see a lot of great episodes with Scott Bourne and Rick Sammon, as well as a lot of other helpful advice from folks who’ve “been there and shot that.”

1. LR Fine Art Mounting and Framing (Booth #165)

Have you ever wanted to get your work face mounted to Plexiglas, mounted on dibond (a relatively lightweight and very stable material) or other material? If so, you may know that it is not an easy process to do well. LR Fine Art Mounting and Framing of New York City has large printed and mounted samples, as well as a table full of samples of their mounting processes. One especially impressed me. It was a matte inkjet print mounted on a board, which was then mounted on either aluminum or dibond.

website: http://www.l2mounting.com

2. HP (Booth #136)

The HP booth at PhotoPlus expo is worth a trip just to see the award-winning books from the Photography.Book.Now Winners 2009 competition. Yesterday, I recommended stopping by the Blurb booth to check out their many outstanding book samples. Blurb uses HP Indigo printers exclusively for their books, and all of the books were produced by the company. According to the site, “Rafal Milach, a professional photographer from Warsaw, Poland, was awarded the $25,000 Grand Prize for Black Sea of Concrete. Mr. Milach’s work, shot on the coast of Ukraine, was chosen as the most creative, most innovative and finest self-published photography book by an esteemed panel of judges led by Darius Himes, a co-founder of Radius Books.”

While you’re there, I also recommend seeing Joel Meyerowitz’s limited edition hardcover book printed by HP using an Indigo printer. There is a tipped-in photo on the front which is a look that I really like. The book, entitled The Hallett, is an exclusive limited-edition book exploring the Hallett Nature Sanctuary in Central Park. It includes images not featured in Meyerowitz’s new book Legacy (a spectacular book definitely worth seeing). An archival pigment-ink print made personally by Joel Meyerowiz is also included in the box set available from Aperture (the Aperture.org link below shows the limited edition set and offers a full explanation of its contents).

And I also highly recommend checking out the exhibition of prints near the upstairs entrance to the Javits Center (in front of the registration desk). The exhibition highlights the winners of the Magnum Expression Photography Award.

From the Magnum Blog: “The Magnum Expression Photography Award was established by Magnum Photos and HP with the goal of raising awareness and inspiring change through campaigns using photography as an expressive medium. Its mission is to discover and illuminate compelling documentary photography employed in innovative ways to affect social awareness and propel humanitarian compassion.”

The inaugural theme for the 2009 award was Communities.

websites:
http://www.hp.com
http://www.aperture.org/boxed-meyerowitz.html
HP Magnum Expression Awards websites:
http://expression.magnumphotos.com/
http://blog.magnumphotos.com/2009/02/the_magnum_expression_award.html

3. Nikon (Booth #501)

Nikon has a large stage this year and many noted photographers who are speaking about their work and the Nikon equipment they use. There are a number of huge prints at the booth worth a look–one of which by Rob Van Petten shot with the Nikon D3x of a woman with very long eyelashes is spectacular.

http://www.nikon.com

4. Sony (Booth #618)

The Sony booth is huge this year at PhotoPlus, and the prints in their booth and in lightboxes throughout the show floor should not be missed. Many photographers are speaking at the booth, and most if not all are shooting with the Sony Alpha 900 DSLR. I had an opportunity to see a portion of photographer Matthew Jordan Smith’s talk. He specializes in portraiture and his work is truly outstanding. What’s great about many presentations on the show floor (including Matthew’s) is that photographers often share the story behind the photos they’ve taken, including, for example, learning what a client likes or dislikes so that you can prepare ahead of time.

website: http://www.Sony.com

5. Op/tech USA (Booth #1151)

If you want to see some very nicely designed camera straps that really help keep your strap on your shoulder (or more comfortable when you have a strap around your neck), as well as many gadgets related to keeping your camera dry and more stable while shooting, stop by this booth. The neoprene lens and camera protectors are also impressive.

website: http://www.optechusa.com

In the interest of time (and sleep), I will post photos to go with many of these after the show is over. Until then, here’s a small sampling of what impressed me greatly when I was there on Thursday 10/22/09.

1. Blurb (Booth #361) My mouth was wide open saying words like “amazing” and “holy cow” when I saw the incredible books made by Blurb from imagery and text submitted by their clients. The hardbound wraparound photo covers have such a nice look and feel. Coupled with the high quality printing and impressive design of so many of the books, it was a joy to look at the collections of images.

website: http://www.blurb.com

2. Canon (Booth #120,220) Canon’s booth is huge, and includes a stage with rotating presentations by many notable photographers. Another great thing about this showx, as with many other camera manufacturers, is the ability to hold and try out just about any current model camera body and lens that the company offers. Also, don’t miss the huge panoramic print by George Lepp on the wall. It is an HDR stitched panorama made from 66 images (shot with the Canon EOS 5D Mark II and printed on the Canon imagePROGRAF iPF9100 inkjet printer.

website: http://www.canonusa.com

3. Epson (Booth #805) Epson always shows truly impressive work on the walls, and this year is no exception. One photo on the wall by Stephen Wilkes printed on Epson Exhibition Fiber is so riveting both in content and color that I could not take my eyes off it. Look for the blue photo–it’s not that big, but you can’t miss it. You can also see the new Epson Stylus Pro 3880 17-inch-wide printer, as well as some prints made using the printer. The black and white imagery from the 3880 and the Epson Stylus Pro 7900 and 9900 are pretty spectacular.

website: http://www.epson.com

4. Hahnemühle (Booth #754) The sheer number of fine-art papers in the Hahnemühle booth is staggering. Whether you use an inkjet printer or not, I highly recommend taking some time to look at the following in their booth:

• A truly outstanding black and white portfolio of prints of Japan by Craig Stevens. They were printed on Hahnemühle Photo Rag Baryta. The company recently announced a heavier weight version of the paper–Photo Rag Baryta FB 350gsm.

• A beautifully made sample book (about 11×17 in size and located near the coatings display). It contains most if not all of their fine-art papers, including their new Sugar cane paper.

• Hahnemühle Gallerie Wraps Canvas stretching system.

website: http://www.Hahnemuhle.com

5. Moab Paper (Booth #630) Moab recently unveiled some great looking portfolio books named ICE NINE, in 8×9 and 12×13 inch format. Also, the company has a great sample rack with their entire photo line. I made a print for their booth this year, and the company printed up a card with one of my photos and a partially excerpted tip from my book, 301 Inkjet Tips and Techniques. I also recommend checking out the Moab Somerset Photo Satin 300 paper, as well as the amazing botanical image by Barbara Bordnick printed on the company’s Moenkopi Japanese Washi. Very impressive.

website: http://www.moabpaper.com

The PhotoPlus Expo continues until 10/24/2009 at the Jacob Javits Convention Center in New York City. Visit this page for more info or to register.

Creative Blur has been used from the very early days of photography both intentionally to create a certain look, and because of the inherent characteristics of lenses, apertures and cameras with swings and tilts, such as 4×5 and 8×10 view cameras.

Today we have many options for using blur creatively in-camera and in post production. A popular and innovative family of lenses called Lensbabies allows for creative blur in-camera without the need for any software. And one software application from Alien Skin Software (Bokeh) allows you to take creative blur to a whole new level.

In this tutorial, I’ll show you how you can quickly and easily transform the look of a photo or illustration in Photoshop by introducing blur on various sections of the image. Photoshop CS3 or CS4 are recommended, but you can use other blur tools and other applications to create similar effects.

STEP 1: Open your image and duplicate the Background Layer by dragging the background layer onto the copy layer icon at the bottom of the Layer palette, or by selecting the Background layer and choosing Layer>Duplicate Layer> then name the layer.

Fig. 1: Original Photo, which has been moderately sharpened overall (photo © Andrew Darlow)

STEP 2: Select the Background copy layer. It’s a good idea to rename it to something like “Blur Layer”. Then apply a blur over the entire image using Filter>Blur>Lens Blur. There are many variables and options available in this tool. I used the options shown in Fig 2.

Fig. 2: Lens Blur tool in action (photo © Andrew Darlow)

STEP 3: While the top Layer is selected, create a Layer mask by Option (PC: Alt) Clicking on the Layer Mask icon (Fig. 3). That will conceal the blur and allow you to paint it in selectively.

Fig. 3: Duplicated layer with Layer mask

STEP 4: Select the Layer Mask icon and choose a shade of gray or pure white depending on the strength of the blur that you’d like. Then paint in the shade of white or gray you choose using a soft brush. About 100-300 pixels in size and 0 hardness works well for medium-resolution images (about 8-10 megapixel camera images, or 24-30MB in 8-bit RGB, which is 48-60MB in 16-bit RGB). Experiment to determine the best brush size for your images. I like to use the bracket keys “[ ]” to make the brush size larger and smaller as I work because it is fast. The mask that I created and edited can be seen in Fig 4.

Fig 4: The painted layer mask can be seen in the top of the layers palette, and the final image is shown to the left. (photo © Andrew Darlow)

STEP 5: Examine your work and switch to black in your color picker to paint back sharpness, or switch to another shade to make the blur effect stronger or weaker in any area of your image.

Fremont, CA, October 15, 2009 – Lexar Media, a leading global provider of memory products for digital media, announced today it will host presentations from critically acclaimed Lexar® Elite Photographers Jerry Avenaim, Douglas Dubler, and Rick Sammon during PhotoPlus Expo 2009 at the Jacob Javits Center in New York City. These world-renowned digital photographers will share their latest work, imaging tips and techniques, and best practices with visitors in the Lexar Media booth (#1036) on October 22-24, 2009. Additional information on these and other Lexar Elite Photographers, as well as their photography and techniques can be found at www.lexar.com/dp.

“Photographers worldwide trust Lexar to protect the images that matter most to them. For Jerry, Douglas, and Rick, their images are their passion, and each of these renowned photographers rely on Lexar Professional memory cards to help capture award-winning images,” said Jeff Cable, director of marketing, Lexar Media. “We are proud to have professionals of their caliber in the Lexar Media booth at PhotoPlus Expo to showcase their latest work and share digital imaging tips and experiences with attendees.”

Each professional photographer trusts Lexar Professional flash memory cards and card readers as staples in their respective digital imaging workflows. Celebrity and fashion photographer Jerry Avenaim relies on the speed and dependability of his equipment when photographing A-list actors or world-famous models. Fashion and beauty photographer Douglas Dubler requires dependable gear to seamlessly combine craft and creativity to produce some of the most memorable images in editorial, advertising, and fine art photography. Travel photographer Rick Sammon shoots in exotic locations around the world and must have the most durable and reliable accessories to withstand severe shooting conditions.

These Lexar Elite Photographers will share their work and digital imaging practices with visitors in the Lexar Media booth (#1036) between 12:00 pm and 4:00 pm each day of PhotoPlus Expo. The schedule of in-booth presentations are as follows:

-          Jerry Avenaim –
Thursday, October 22 at 1:00 pm
Friday, October 23 at 12:00 pm and 3:00 pm
Saturday, October 24 at 12:00 pm

-          Douglas Dubler –
Thursday, October 22 at 2:00 pm
Friday, October 23 at 2:00 pm and 4:00 pm
Saturday, October 24 at 1:30 pm

-          Rick Sammon –
Thursday, October 22 at 12:00 pm and 3:00 pm
Friday, October 23 at 1:00 pm
Saturday, October 24 at 2:30 pm

Aimed at professionals in the photographic and imaging industries and held annually at the Jacob Javits Convention Center in New York City, PhotoPlus Expo showcases the latest advances in photography. The annual event provides attendees with the opportunity to explore an inspiring array of photography, design, and imaging products and services – everything from image capture and color management to retouching and storage – all from the industry’s leading manufacturers. The show also offers more than 100 photography and design seminars and hands-on workshops taught by world-renowned experts with a focus on cutting-edge innovations in digital imaging products and techniques.

Follow us online!
Twitter: www.twitter.com/lexarmedia
Facebook: www.facebook.com/LexarMedia

About Lexar Media
Lexar Media is a leading designer, manufacturer, and marketer of NAND flash and DRAM memory products under the Lexar and Crucial® brand names. Lexar offers products in all major flash and DRAM memory categories, including consumer and enterprise-level USB flash drives, industry-leading memory cards for photography, and all popular form factors of memory cards for mobile devices. For computers, Lexar also offers a full range of DRAM computer memory upgrades for PCs and Mac® systems, and solid state drives (SSDs). An industry leader in innovative, patented flash memory technology, Lexar is vertically integrated with Micron Technology, one of the largest semiconductor manufacturers worldwide.

For more information about Lexar, visit www.lexar.com. For more information about Crucial products, visit www.crucial.com, www.crucial.com/uk or www.crucial.com/eu. Lexar Media, Inc. is a subsidiary of Micron Technology, Inc. Lexar Media is a division of Micron Europe Limited, a division of Micron Semiconductor Asia Pte. Ltd., and a division of Micron Japan, Ltd.

Lexar. When Memory Matters.™

About Micron
Micron Technology, Inc., is one of the world’s leading providers of advanced semiconductor solutions. Through its worldwide operations, Micron manufactures and markets DRAM, NAND flash memory, CMOS image sensors, other semiconductor components, and memory modules for use in leading-edge computing, consumer, networking, and mobile products. Micron’s common stock is traded on the New York Stock Exchange (NYSE) under the MU symbol. To learn more about Micron Technology, Inc., visit www.micron.com.

The show runs from Wednesday, October 21 to Saturday, November 14. The Opening Reception is Wednesday, October 21, from 6 to 8 pm at SVA Gallery: 209 East 23 Street / New York, NY 10010 / 212.592.2145

To see images from the show, and/or to get directions to the gallery, visit:
http://surface-tension-exhibit.com

and for more information about the MPS Digital Photography program, visit
http://www.sva.edu/digitalphoto

When: Tuesday, September 15, 2009 - Doors open at 6pm for event. Seminar starts promptly at 6:30pm and runs untll 7:45pm.

Where: Alfa Art Gallery
108 Church St
New Brunswick, NJ 08901

Admission Fee: $10 per person (No RSVP is necessary. Payment will be collected at the door)

Below is the Seminar Description:

Outdoor Photography Tips - Getting the Most From Your Digital Camera.

During this lecture-style seminar, Andrew Darlow will cover the following topics:

- Basic tips for getting great quality images from almost any camera (even camera phones).
- Some recommended software programs that you can use to edit your pictures (some are free).
- Tips for getting great camera angles and expressions from people and animals.
- Tips for using flash outdoors.
- Tips for better motion photography
- An explanation of Aperture and Shutter Priority with tips for how to use some of your camera’s scene modes.
- How to prepare your pictures for photo labs.
- How to eliminate red eye in your photos.

In addition, Andrew will describe some of the techniques as well as the printing processes used for many of the images in his show, East + West (currently on display at Alfa Art Gallery).

Up to 10 signed posters featuring Andrew Darlow’s work will also be given away during the event to attendees

No RSVP is necessary to attend. Payment will be collected at the door ($10 per person).

The fee for either full-day workshop is just $179. I’d also like to offer a $30 discount on either of the two workshops to our readers, which is valid if you register by Thursday, 9/10.

For more information or to register for the Saturday 9/12 workshop (the discount code is embedded), visit this page.

For more information or to register for the Sunday 9/13 workshop (the discount code is embedded), visit this page.

For either day, the page will display “sold out” at the top if all 8 seats have been reserved.

All the best!

Andrew

If you’d like to rub shoulders with Oprah (ever heard of the “Oprah Effect?”), or Conan (did you see the great appearance by microscopic artist Willard Wigan on his show not too long ago?), or get a nice writeup in your local newspaper, you should read the article, which you can find here.

I recently wrote in my column on RedDogJournal.com about how much I’ve learned from artprintissues.com as well as Barney Davey’s book, How to Profit from the Art Print Market. Here’s what I wrote:

I recently finished reading Davey’s book, How to Profit from the Art Print Market. It is a fantastic resource for anyone who would like to sell art. Just the links section in the back of the book is well worth the cost. You can find a link to it as well as a free Chapter download on the Artprintissues.com blog (top right-hand corner).

Below is the show information:

East + West: Photographs of New York and Japan by Andrew Darlow
Curated by Michiko Mull
August 28 - September 16, 2009

Alfa Art Gallery
108 Church Street
New Brunswick, NJ 08901

Opening Reception: Friday, August 28 @ 6:30-9pm
Lecture and Slide Show by Andrew Darlow at 7pm

At 7pm on August 28, I’ll be showing slides from my trips to North America, Europe and Japan over the last 20 years. Following the presentation, I will have 11×14 prints and large posters available for purchase.

I hope to see some ImagingBuffet.com readers there!

For more information, visit:
http://www.alfaart.org/exhibitions_events.php#eastwest

Instead of choosing sections of the release to highlight, below is the full press release describing the book, as well as Timothy Wolcott’s very interesting background. You can see Wolcott’s impressive work at
www.GalleryoftheAmericanLandscape.com. The book also includes essays by Michael Reichmann and Matt Jaffe.

Big Bear Lake, CA (PRWEB) July 15, 2009 — Along the Water’s Edge, published by the Gallery of the American Landscape, is a volume of exceptional photographs made over the past twenty years. Timothy Wolcott, a fine art landscape photographer and pioneer in pigment photography, has captured images of rivers, streams, waterfalls and oceans like you have never seen them. Shooting with medium and large format camera systems, Wolcott’s talents for composition and timing evoke the elusive spirit of a place.

Tim is considered one of the world’s most eco-friendly photographers. He was a co-inventor of Evercolor, the first environmentally sound and virtually non-fading photo printing process. He also pioneered inkjet printing and has served as head consultant for the Smithsonian and the Library of Congress where his photographs have been exhibited. They are also on display at his own gallery, Big Bear Lake Gallery, which was designed in 1996 — the world’s first gallery utilizing exclusively eco-friendly processes including all archival and eco-friendly framing and matting.

Along the Water’s Edge, is an eco-friendly book using only FSC certified paper. Each carefully selected image has been printed to match tonal range of the shadows, brilliant highlights, and luminous color of Wolcott’s hand-crafted exhibition prints. A hexachrome printing process was used to render each image’s richly saturated color and subtle detail.

The images in this book were captured during the past 20 years and represent hundreds of thousands of miles traveled and hours of patient searching for the perfect location, the perfect moment, the perfect light. The book includes a complete list of equipment and technical information.

Many of the original photographs comprising the book’s 79 images have been exhibited in museums, private corporations and fine art galleries worldwide. Wolcott’s work is represented in exhibits at Smithsonian, Library of Congress, Photography West and other Association of International Photography Art Dealers (AIPAD) galleries worldwide.

Along the Water’s Edge is available now in three versions via the web site at:

http://www.galleryoftheamericanlandscape.com/book.html

• Museum Edition with Exhibition Print — First edition of 500 signed and numbered hardbound books in a handcrafted slipcase with a hand made exhibition print signed and numbered by the artist $250
• Collector’s Book Edition — First edition of 500 signed and numbered hardbound books $150
• Trade Edition — First edition hardbound book $50

About Tim Wolcott

Tim Wolcott is a master landscape photographer and eco-friendly artist. Owner of Big Bear Lake Gallery (www.GalleryoftheAmericanLandscape.com), Wolcott belongs to a tradition of American innovation. His ancestor Alexander Wolcott received the first patent for a camera in America and created the first photography exhibition in 1840 and owned the first studio.

Although as Wolcott describes it, photography is less about technology than about the light that creates the image, Wolcott credits Copenhagen-based Phase One (www.phaseone.com) with technical innovations that have permitted him to capture a much wider range of light with beautiful shadow detail and rich white highlights that renders extremely rich colors previously not possible with other camera systems. It’s this combination of shooting styles - mixing the old and the new - that allows him to produce such superior imagery. In the end, he declares, “There are no short cuts. Great photography requires understanding light and composition, vision and patience - simple discipline - simple but never easy.”

As an inventor working with the Evercolor group in 1991, he helped design the world’s first eco-friendly process - using no chemicals or heavy metals — for color photographic prints. To this day no other process has beaten its longevity (250 years with 10% fade). Tim started working with inkjet technology in 1996, trying to make the first pigment inkjet photographs. And in 1995, he helped make the first paper for the process. Since then he continues to help design the right pigments, papers or coatings for what fine art photographers are using today and in the future.

If you qualify for a free subscription of After Capture , it will be delivered to you in hardcopy form. The June/July issue has a number of excellent articles (including one very helpful one about Lightroom, metadata and what happens behind the scenes in the application). I highly recommend taking a look at the website-AfterCapture.com. All the PDFs from the current and past issues can be downloaded there.

If you receive the magazine, I think you’ll agree that this month’s cover image by photographer Jude Goldman is spectacular. The sharpness, image quality and photo is fantastic. You can see the image in the opening spread of the story about Jude Goldman HERE.

If you’d like to download the PDF of my article without having to visit the site, you can do that by clicking HERE.