PJH Studios

Category: Creativity

How things are created, mainly dealing with the process and means of creation

  • Book review: The Passionate Photographer by Steve Simon

    The Passionate Photographer by Steve Simon

    Steve Simon’s book, [amazon_link id=”0321719891″ target=”_blank” ]The Passionate Photographer[/amazon_link], covers photography as more than a hobby.  Broken into 10 chapters, he goes from identifying one’s desire to take photographs to using that desire to share a vision. In between, basic technical issues are discussed related to gear, f-stops, shutter speed and ISO as well as elementary composition techniques.

    Throughout, he intersperses stories and quotes from other photographers, both historical and contemporary. While some photo books only use the authors images, Simon uses others’ images to illustrate points. Each chapter has an assignment for the reader to attempt and how to assess their ability.  Also, Simon uses personal stories to cap each chapter in a “lesson learned”.

    For beginners, Chapter 2, about practice and persistence, and Chapter 3, about ways to keep seeing the world anew will offer the best value. Chapter 6, about how to see light, really shows how to “see” an image–light and contrast creating interesting shapes and forms that are engaging and pleasing to the eye. Chapter 9, details how to go about creating a photo project and executing it, may help all those with ideas of “this would be a cool thing to do…”

    [amazon_link id=”0321719891″ target=”_blank” ]The Passionate Photographer[/amazon_link] is a well sourced and well written book.  Colorful, practical and engaging.

  • The audience

    Stand in front of crowd. A few friends, a gathering of family, a room full of strangers.  Speak a few words. Announce that you’d like to say something. Present a prepared pitch with or without a slide deck as your copilot. In those first, present moments, you have their attention. The group becomes an audience.

    Here’s a secret: 99.98% of the time, when you have an audience, they want to hear what you have to say. They want you to succeed. Know this secret to conquer the fear of speaking to an audience.

    Underwear, and envisioning people in their’s, should remain a secret.

  • Review: The Accidental Creative by Todd Henry

    Todd Henry provides a framework to systemize creativity in [amazon_link id=”1591844010″ target=”_blank” container=”” container_class=”” ]The Accidental Creative: How to be brilliant at a moment’s notice[/amazon_link]. The first three chapters cover “the dynamics” of creative work–what it is, creative team work and things that can sabotage creativity.  These chapters set up the “creative rhythm”, being cognitively aware of the dynamics of creativity to do creative work.

    In the rhythm, Henry discusses being able  to identify what’s important, maintaining healthy relationships, staying healthy to do creative work, one’s environment (or stimuli), how much time to do creative work.  The last two chapters tie his concepts together with examples of his own personal implementation.  The index in the back of the book is useful for further reading, as he cites books he referenced to formulate his ideas.  The book is pretty close to a how to book on being creative as you can get, however, you need ideas to work with, which he discusses and suggests to set aside time each day just to think up new ideas.  Accidental creative starts slow (for me at least) and contains concepts and tips found elsewhere.  I’d recommend this as a starter book and take concepts needed to get stuff done.

  • Review: Old Masters and Young Geniuses by David W. Galenson

    What happens when an economist becomes an art critic? That’s the premise David Galenson writes in [amazon_link id=”0691133808″ target=”_blank” container=”” container_class=”” ]Old Masters and Young Geniuses[/amazon_link] with as he examines numerous artists, primarily from mid 1800s impressionists through mid 1900s modernists. The thesis is that two life cycles of an artist: old masters and young geniuses. Old masters are those that reached their peak later in life, and Galenson believes, due largely to a life of artistic experimentation.  Young geniuses succeed due to conceptual innovation, simplifying previous complexities.  His two metrics to quantify and distinguish artists into either category are the price of an artist’s work from a certain point in their career, or the number of prints, or citations, of their work from a time in their life.

    Galenson also applies his framework for analysis to the Renaissance painters of Michelangelo and Carravagio, 19th century and early 20th century American writers, directors, poets and sculptors. (Photographers are noticeably absent.) The book is dry and reads like a mixture of art criticism and art history.  The depth of research provides an overwhelming, yet comprehensive analysis of creating art, and the citations are provided at the end of the book.  My criticism of the book is probably one of scope.  The artist compared were clumped at particular time periods in history.  What would be interesting would be to see if more contemporary artists fit the same framework for analysis.

    I’d recommend this book as a Kindle read.  I found myself wanting to mark and highlight the book and look up words or research an artist, particularly the poets.  The analysis of poets alone should make someone somewhat informed of Frost, Plath, Eliot and Pound.

  • Review: Creative Black & White Photography by Harold Davis

    [easyazon-image-link asin=”0470597755″ alt=”Creative Black and White: Digital Photography Tips and Techniques” src=”http://ecx.images-amazon.com/images/I/41%2BUp%2BR-BSL._SL160_.jpg” align=”left” width=”128″ height=”160″] [easyazon-link asin=”0470597755″]Creative Black and White: Digital Photography Tips and Techniques[/easyazon-link] by Harold Davis is an excellent starting point for beginning photographers or a good reference for advanced photographers looking to learn new techniques.

    Most valuable to beginners is the first section, The Monochromatic Vision. Davis clearly and concisely discusses basic photographic concepts to make a good picture. These concepts extend well beyond black and white pictures. He gives examples and considerations to take into account for each concept. Also, photographs are provided to illustrate the concept with a detailed caption of how the photo applies and technical information about it, as well.

    The second section, Black and White in the Digital Era, introduces the tools and basic processing techniques for black and white photos. The tools are Adobe-centric, detailing Adobe Camera Raw conversion, Lightroom and Photoshop. These processing techniques can be found in other tools, only implemented differently. Davis emphasizes the power of RAW files and how best to work with them to get black and white images that have contrast, tones and impact.

    The third section, Creative Black and White Opportunities, builds on the previous section to provide steps for effects and tricks like sepia coloring, duotones, soft focus and more. This is where Davis really shows the art in the process of processing an image. There are numerous ways to go, and it depends on the photo to create the desired effect.

  • A biplane on a rooftop

    For things that aren’t what they seem, a biplane on a Manhattan rooftop is one of them.

    Though Kaufman delights in onlookers wondering if a plane did indeed fly in and land on 77 Water Street, the aircraft is actually just an artistic re-imagining of a 1916 British Sopwith Camel, designed by Rudolph de Harak and constructed by sculptor William Tarr. It was hoisted into place by crane in 1969 and hasn’t moved since.

    Art installations on a rooftop seem better than a helipad or air conditioning units.

  • Photo proof you don’t get it right the first time

    Below shows that the best shot isn’t the first one you take. Iteratively and progressively, you build on what worked, and use your knowledge to make it better. Also, stuff happens in post-processing of images. As an aside, I prefer to shoot in aperture priority mode to control my depth of field, and I’ll comment on settings for folks, if they’re into that sort of thing.

    This is with a bare flash (Vivitar 285HV wide zoom, 1/16th power and camera at f 8, aperture priority). The flash is too bright, nuking the army dude with light. Need to soften the light a bit.

    armymen070611

    A few shots later, I put a Wescott mini-Apollo softbox over the flash. The softbox is about 10″x6″ and fits on the head of the flash well. The light is softer and direct, but the image needs something more than an army guy on a table.

    armymen070611

    They defend stuff, right? So I grabbed the salt and pepper shakers, letting the title of “defending the shakers” float in my mind. Ok, it’s somewhat interesting, but white light seems a bit much.

    armymen070611

    I took the softbox off the flash and added a warming gel and reattached the softbox. I really like this…

    P1000689 - Version 2

    …and let’s punch it up a bit in post-processing, changing the levels, tweaking the curves and upping the saturation.

    armymen070611

    Continuing on, I added a machine gunner buddy. Cool, but what if I added some light behind them?

    armymen070611

    I placed a LumoPro 160 (1/8th power, zoomed to 85mm, placed a foot from the army guys). I should have known it would have been too hard (it’s like a flash grenade went off).

    armymen070611

    I moved the LumoPro to a counter top, so now that flash is about 6 feet away with the Vivitar still sitting pretty. Like earlier, the white light isn’t doing it for me.

    armymen070611

    I placed a warming gel on the LumoPro, took a few shots, and this is the one I like. Sharp and warm and with a good angle.

    armymen070611

    …and now punched up in post-processing like above.

    armymen070611

  • Bloom like an artist

    An illustrated parable to growing as an artist by IdaEva.

    So true, and applies all the same to any ability to create something.

  • Cranking

    Merlin Mann tells a moving and personal story about creativity, priorities and life.

    Sometimes the cranking made something special that will be really useful to people who badly need the comfort and help. But, a staggering amount of the time, my cranking has produced joyless and unemotional bullshit that couldn’t comfort, help, or please anyone. Especially my editor. Who is awesome. There’s no point in doing anything if it doesn’t eventually please my editor. Who is awesome.

  • The story of Z. Vex effects pedals

    Z. Vex creates handmade and painted guitar effects pedals, a business that started as a hobby.

    Vex: “My first Z.Vex pedal was an improvement on an Apollo Fuzz-Wah fuzz, which was the Octane. I showed it to Nate at Willie’s American Guitars in St. Paul and he immediately ordered three. I hadn’t planned on going into business, it just happened by accident. I started making a living within about two months after the pedal company started. A meager living, but a living. I believe my apartment was about $300 a month.”