Star ratings are one of the two most powerful tools we have in our digital workflow (the other being keywords)!
Suck that sentence up for a few seconds. Do you know why?
Basically, it’s because with keywords and star ratings, a database (catalog software, Lightroom library module etc) can sort our photos in a matter of seconds in the most powerful manner possible. With a couple of clicks we could sort 20,000 photos and filter them down to our absolute ‘best of’ folio collection or find those priceless photos of our dog eating our shoes. Without keywords and ratings, we have 20,000 photos to look through…
So they are very powerful. But HOW they are applied is equally important, and it is this subject I want to expound upon, after seeing some very famous and influential photographers (Scott Kelby and more recently David DuChemin) totally stuff it up. The influence these guys have is expansive, and not something I can compete with obviously, but I have to do my bit to remedy the situation…. More after the jump.
Continue reading star ratings
 If I give this photo the title "Marriage" is suggests a story I’ve been interested in all forms of communication for as long as I remember. From songs, stories, poems, books, movies, photographs and other visual arts, I was always engaging in art and story. But not all forms of communication are the same. Anything but, in fact. Indeed, the differences are often greater than the similarities.
Take writing. Over a decade ago I undertook a communication degree at the University of Technology Sydney (UTS), majoring in Writing & Contemporary Cultures. I absolutely love writing. It’s very specific. It’s full of details. It evokes imagination. It creates and peoples amazing worlds. During my degree I also took photography electives to rekindle my slightly lapsed but lifelong love of the static image as an art form. And I found it was very interesting to study writing and photography at the same time. The differences intrigued me. They were so utterly at odds with one another.
A few years later I was again drawn into going back to school, this time to take a Diploma of Photography. I wanted to dig deeper into that form of communication as I had done as a teenager, only this time in a more structured way. To make a long story short, I thrived with this form of communication, and now enjoy it as much or more as writing. And here we get to my subject for today’s rant. More after the break…
Continue reading The role of ambiguity in visual communication
I have to admit, I am seriously impressed with the Digital Photography Workflow website dpbestflow.org. An initiative of the American Society of Media Photographers and funded by the American Library of Congress, it is a fantastic resource for all digital photographers worldwide. It is mainly the work of Richard Anderson and [...]
In a way I suppose it’s partly jealousy. After all, Scott Kelby is the author of many international bestsellers, all of which focus on the art and craft of photography. I could be so lucky. Or clever.
But I do have other, more valid reasons to think less of Scott’s latest book. And it’s this: he has SUCH influence and he’s peddling rubbish. With influence comes responsibility!
 I’m trying to plough through his latest book on Lightroom, the incredibly long-winded “the Adobe Photoshop Lightroom 2 book for digital photographers“. Now while I’m no expert on Lightroom, I do know a fair bit about digital asset management, and over the course of the last 4 years or so, my views on the subject have been largely informed by the world’s leading expert on the subject, Peter Krogh. Digital Asset Management is a broad subject that covers the management of images from the time they come off the camera all the way through to their permanent homes in our archives.
Lightroom is of course an application that covers a lot more than digital asset management, but if you use it, it does have a large role in that process, so it’s good to understand the basics behind DAM to get the most out of it.
And it’s here that Kelby’s book falls over for me. It covers all aspects of Lightroom, and I’m quite happy with what I’ve read in the other sections, but the first section, the section on the Library, is what I’m struggling so much with. It is in there, understandably, that all “digital asset management” type functions occur.
Continue reading Why Scott Kelby doesn’t know a DAM thing
As we all know the advent of digital photography has changed photography enormously. Not only has it fundamentally changed the way photography businesses operate, and how professionals are perceived, it has changed our whole relationship with photography. And by ‘our’ I mean everyone’s.
What once was a very simple relationship, both in nature and in volume, and which might have been called ‘me and my photo album’ is now a complex web of relationships with a vast array of both print and digital media. Through this over saturation of imagery, we have become sophisticated consumers of visual communications, and we consume imagery voraciously on a daily basis, but still the vast majority of people don’t look past the surface impression and still don’t have a good understanding of what makes a professional photographer a professional, and an amateur just that.
It is clear, that in many ways photography is being devalued. Online, the $5 stock library sites, like istock.com are a good example. Getty Images and other traditional image libraries look to be surviving, but their market has decidedly shrunk. Some will say this is just natural selection, and in a strict sense they are right, but the implications of devaluing photography goes a lot further than getting a bargain stock shot.
And it’s not just the digital revolution that’s getting us in trouble. Sheer media overload is causing problems as well. Attention spans are getting smaller. Research tells us that at a photography exhibition, we can expect to hold people’s gaze on a single image for no more than 3 seconds. The images had better be good if you are going to hold them longer than that.
In educational institutions teaching photography there are also massive changes. Out with the traditional darkroom skills, in with Photoshop. Yet by its very nature, digital photography can be a poor teacher, with its wide latitude of error, instant feedback and cost efficiencies. Digital doesn’t help students learn to ‘get it right behind the lens’, because they know they can just ‘shoot the shit out of it’, and fix it in Photoshop if it’s ordinary. But of course many of these same things are the positive benefits of digital. Being able to rattle off hundreds of frames without thinking of cost is amazing, and Photoshop is just a fabulous new fangled digital darkroom. ( There is a big hint in this if we will listen. As is often the case, mixing the best of the old ways with the best of the new is a smart way to do things…)
Continue reading After the shutter has fired, then what?
In an earlier post, I spoke about back-up and the need to develop a system that does what it needs to do – save your data from all potential loss, and allow you to get back up and running in the quickest possible time.
Photographers have special requirements with regards backup. They generate huge volumes of data in a very short time. It would be in no way unusual that in one photo shoot, I might generate from up to 4GB of data. And this is data, that if lost, is totally irreplaceable. The sheer size of it as well precludes online backup strategies for most, as upload speeds are too slow, and adsl account limits are often 20GB or less (this is of course only an issue if your ISP includes uploads as part of your allowance).
Continue reading The Perfect Backup Strategy Part 2
One of last year's Category Winners.
The other main highlight of PMA 2008 was watching the judging of the 2008 AIPP Canon APPA (Australian Profesional Photography Awards). Firstly, I went to the AIPP stand and acquainted myself with the book from last years awards – and found 2 of my own [...]
 As I write, there are no doubt a lot of people getting drunk. It’s Sunday night, and the PMA Australia 2008, held in Brisbane, is finally over. I was only there for two of the four days, and I didn’t even go to a single paid conference event. I was there in a role as a professional photographer come consumer, and as such I was there to suss out future directions, trends, and all the latest gear. It’s a highly personalised experience going to such an event, due to the incredibly diverse nature and levels of professional photography. I hang around the lower levels as it is, but that doesn’t make my perspective any less interesting. Here’s what I thought were some of the interesting bits.. (I’d be here for days to discuss it all)
Adobe – They placed nearly ALL of their focus on Lightroom 2 Beta. Sure, they plugged CS3 and a few other bits and pieces, but they seem obsessed with Lightroom. I am only just today evaluating the product for myself, but to me it sits awkwardly between and on top of other Adobe products. It’s not a full on cataloguing software like iView Media Pro (now Microsoft Expression v2, and more of that later), and neither does it have the browsing power and functionality of Bridge. It handles raw and dng files, and it does some local adjustments and non destructive editing, but in no way does it replace Photoshop. So what does it do? Well, I think the best explanation I got was from well known Photoshop author Mark Galer, who basically said that it was a work flow solution for some photographers, in some situations. To me it feels like it’s aimed at consumers as opposed professionals, but I’m still to really figure out how it works. What I do know however is that my test catalogue of some 3500 images (mostly jpgs and a few hundred raw files thrown in as well) fills up some 3.46GB of space. The images themselves only fill 8.45GB. Admittedly I have 1:1 previews built in to the catalogue, but it’s a whopping catalogue nonetheless. My old iView Media Pro catalogues covering over 10,000 images with full size previews were only 1GB! Go figure… I do like the design of Lightroom however, and I look forward to discovering exactly where it sits amongst the plethora of photographic software now on the market. All I can say however, is that Adobe are going real hard on this one, so I assume they see such a product as filling a very important niche or future direction.
Continue reading PMA Australia 2008
Sometimes location is not very important at all in photography. For a lot of portrait photography for instance, the main ingredients are nice light and interesting colours in the background. With the lens opened right up, the background disappears in a lovely blur of colour and bokeh, and so any park or beach [...]
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