I thought I had one but she became camera shy.
The creative part cries out in silence but yet some can hear it.
Frustrating as I want to feed it and therefore not let it die within.
I do not want yet another corpse held down by remorse within me.
I feed it what I can and promise that every day I awake I will bring it something even if just a taste.
I feel I cannot even give away my images for those that do not want me to even have their number/email.
How can I give away a part of me to someone that does not even trust me?
My art is a child of my soul!
How can I cast them/it into hand too cold to hold another person’s art with any value but free?
Thank you for all the kind words, Kim.
I can be intense or so it seems but when I am quiet ‘they’ ask why but when I speak they do not listen.
So that is why I cry in silence and my dreams turn to taciturn reflections off a broken mirror.
RastaRican

Some subscribe to the “Western Classics” and other to “eastern Knowledge” base.

I take in knowledge like the air that breathe and the basis to my words.

Before I speak I take a breathe of air and form the words to convey my thoughts that were shaped by the knowledge that my eyes, ears and Soul have retained.

via pixelation » Blog Archive » Correcting Skin Color / Skin Tones in Lightroom.

via Tych Panel by Reimund Trost.

This is not a registry that allows anyone who wants to to sign up. You can’t just pay a few bucks and list yourself as a Professional Photographer and reap the benefits of extra links and visibility. This registry is monitored, and each business who would like to be included must fill out an application, meet our standards, and be approved before being listed.Those standards are: Be in business legally! for at least three years. Why? Because studies show that 50% of small businesses fail in the first year, and 85% don’t make it to 5 years. If a photographer has been in business for at least three years, they’ve made it past the first big hurdle and are well on their way to passing the second. Additionally, we believe that experience counts. The first few years in business involve a lot of on-the-job learning. A photographer who has been in business for 3+ years has done the grunt work and gained valuable skills in a variety of photography and business aspects.

via What It Takes To Be In Our Registry | Take Off Your Mommy Goggles.

via Adobe Photoshop Lightroom 3 Setup and Catalog Creation on Vimeo.

This is our first post from photographer Lynn Clark who will be a regular contributor to the blog. Thanks, Lynn!

What I learned About Light From Hobby and McNally

Since I took my first photojournalism class in college, I’ve been shooting with available light. I rarely turned on the flash on my early point-and-shoot digital cameras because I hated the harsh shadows and quality of light. If I wanted your portrait, I moved you to a window or to open shade. Not enough light? No photo.

I’ve recently dipped my toe into lights–small flashes with remote triggers, stumbling along as I learned how to use them on the fly. My favorite resource: the venerable strobist.com blog, authored by David Hobby. Hobby is the god of small flash photography. Following his tutorials and doing his assignments, I’ve gotten the hang of the technical aspects of using my flashes.

And yet something has eluded me. I can expose a photo just fine, but the effect is, well, kind of blah. Flat. Boring. I want to learn how to bend the light, make it dramatic.

That’s why I ponied up $99 and attended Adorama’s Flash Bus Tour on March 22, which featured Hobby in his khaki shorts and legendary shooter and author Joe McNally. I haven’t yet applied what I learned–my brain hurts too much. But I can’t wait to try.

I learned that the reason why my images look one-dimensional is because I’ve been using light like I’m a 4-year-old drawing with crayons. Pros use light like a sculptor.

1. Light is like salt. You add it to taste.

Hobby layers on light in four stages. That way, he says, when something looks horrible he knows exactly what to fix. He shoots in manual mode because that’s what he prefers. (I prefer it too, I’m finding.)

* Assess for ambient. Expose for the background, then light your subject.

* Add a fill light for “legibility” of the details–often two stops down from the key light.

* Add the key light, modifying it with everything from a small softbox to a silk Japanese lantern–speedlight dangling inside by an eyebolt and hung with fishing wire.

* Add accent light: a splash across the background to separate it from the subject, a pop along an architectural or sartorial detail to add dimension. Sometimes add a kicker, flashing light to open up eye sockets.

via Photogs4Photogs.

By Fiona Graham Technology of business reporter, BBC News

Advertising in Times Square, New York Advertising overload? What can content producers do when ads aren’t paying their way

These can be difficult times for publishers and content providers in this brave new digital world.

Many are struggling to work out how to make their websites pay their way. Advertising revenues may not cover the bills, and are dependent on the amount of visitors to their site.

Newspapers like the New York Times and The Times are putting up paywalls, with critics quick to point out that so far this has only worked for niche publications like the Wall Street Journal, or the FT.

But is there another way?

via BBC News – Beyond banners? Making content do the talking.