This weeks interview is with Keith Taylor, a photographer out of the Atlanta area. Keith has done a bit of everything and his insights into getting started as a photographer are fantastic. Take a few minutes and view his work, and his words and meet this talented shooter.

Meanwhile over on Lighting Essentials, we have a new “Model Behavior” article by Briana, a tutorial on using the sun as a backlight, and a fun article with some images Briana and I did on our big east coast tour. I hope you take a look and like what you see.

Now, on with the interview with Keith Taylor, Atlanta. Be sure to visit his site and blog. Their links are at the end of the article.

How long have you been in business? Was it a slow transition or did you just open shop?

I have been shooting on a professional level since 1999, which is when I started being paid to shoot weddings and portraits. I moved to Atlanta in 2001 and spent two years in the commercial photography program at The Creative Circus. After graduating I assisted for various commercial shooters here in Atlanta for about 2 1/2 years. In the fall of 2006 I was all set to move to Austin, Texas and really pursue things as a shooter. I was offered a full-time job as a staff shooter for a local marketing firm here in Atlanta while in the process of moving — the salary and benefits offered was enough to make me move all my stuff back. I spent a little over a year at that firm until going freelance again in March of this year.

How did you get started? Any mentors or great stories here?

My Dad had a camera around my neck by the time I was eight. My family and I moved to Germany when I was nine and traveled a lot while over there. My dad and a couple of his co-workers were very much into photography. Both of these guys my father worked with had worked on a professional level in photography in the past. Well, we would all get together when our slides got back from the lab and have slide shows. I would always sit and listen to them critique each other’s work as well as mine. They would look through my shots and compliment some of them and tell me how I could make others better. My father would get aggravated when I would do an abstract shot of something like moss growing on a rock — he saw it as a waste of film since he was more of a documentary-type photographer. Well, the other two guys would tell him that he should not discourage this and that it was great that I saw things that way. One of the two guys (Don Farra) gave my dad a Canon T70 with a 28mm F2.8 and 100 mm F2.8 prime lens as well as a Canon 277t dedicated flash that he had laying around. He told my dad to give it all to me as a Christmas gift when I was in fourth grade and mentioned that my father should encourage me if I ever decided to pursue photography as a profession.

I moved back stateside when I was fourteen and did not touch my camera for years until an ex-girlfriend needed headshots for a beauty pageant. She didn’t feel like paying a professional photographer at the time to do them, so I mentioned that I use to be a pretty good photographer. I took her out one day with my 100mm portrait lens and shot four rolls of film with her. Got them back from the lab and maybe 90% of them came out looking really nice. Nice enough that I had other professional photographers tell me that I should maybe look into photography as a profession. Before I knew it, I had people paying me to shoot weddings and portraits for them. Here I am — still at it almost ten years later. I have been lucky to have had a few great teachers and mentors since then.

Describe an average week at your studio.

95% of my work is location work, meaning that a studio space would be an unnecessary overhead expense at this point. When studio space is needed for a job I rent one out by the day.

I work out of my home and when not shooting I spend a good bit of my time in front of the computer doing post-production work, and if I am lucky I will be either invoicing for past jobs or getting together estimates for future jobs. Following up with clients and looking for more work via phone or e-mail is another big part of things. Just trying to get your work in front of Art Directors and Designers can be a huge job in itself.

I think I am going to try and start setting aside one day per week to go out and scout for new locations for future shoots, and just shoot for fun. Leave the business side of it alone for the day and enjoy the creative side of things.

Why Atlanta? Have you considered anywhere else?

Well, as I mentioned above I had planned on really going after things in Austin due to the music industry there and having a couple of AD friends in Texas that really encouraged me to move out that way. Austin is just a great town, anyway.

Nashville has been another thought. Huge music industry and also a great town.

At this point, though, I am thinking I am going to stay here in Atlanta. It is a pretty happening place and I have made all kinds of contacts since moving here 7 years ago… I’m not sure at this point if I could afford to totally start over in a different place — especially with the economy being where it is at this point. It is also only a four-hour drive to my folks’ place in Florida from Atlanta. It’s nice being close to home and getting to see my family and old friends on a regular basis — moving further away would hinder this. I am just comfortable here, I guess. So I may relocate later in my career but Atlanta is good for now.

What motivates you, or gets you going? What do you use for inspiration?

What motivates me is seeing bill after bill come in the mail –
and then actually opening and reading them gets me going.

What do I use for inspiration? A number of things inspire me including (live) music, movies, and being around other creative people. Life in general can be a source of inspiration. There is no reason for not being able to find inspiration on a daily basis if that is what you seek… it’s all a matter of perception.

What is it you like the most about being a photographer?

I love the diversity that goes along with being a commercial photographer and being able to work with so many different types of people. Shooting a portrait of a doctor one day in an operating room and then a pilot on a tarmac the next. I never know what is coming next. You may get a boring job or difficult client to work with… but knowing that you are not going to have to work with them day after day all year long is nice. You just kind of suck it up and look forward to the next cool job.

One really cool job in ten makes the other nine boring jobs and/or difficult clients worth it in the long run.

Are there any downsides to being a commercial photographer that you would like to change? How would you change them?

Yes… but aren’t there downsides to any profession? The only thing I can do to change them is to try and educate people about them. Educate clients who think I make a few thousand dollars for few hours of work, like it appears to them. I try and let them know what all goes on behind the scenes in order to get that few hours’ worth of work and make them aware that this might be a couple weeks of planning and postproduction when they are not around. I try and educate people and let them know that “digital” is not synonymous with “free” and that there are expenses that go along with shooting digital.

As great as digital photography can be, it seems to have destroyed the craft and perceived value of what we as professional photographers do. Digital is here to stay and I can’t change that –but I can wish that it wasn’t.

It think that there was a lot more appreciation for the work photographers did and a job well done by them in the film days.<

What was your most memorable assignment?

Probably one of my most memorable and toughest assignments was a funeral. A close friend of my brother had his two-week-old daughter pass away in the hospital from a blood infection. The father of the little girl was a friend of mine as well. He and his wife asked me to do portraits of the little girl and actually cover the viewing and funeral like you would a wedding… only with more respect. My heart wept for them both so I agreed to do it. It was so heartbreaking seeing this tiny pink coffin when I went to do the portraits, and then having to try and document the viewing and funeral afterwards. The only thing that kept me from breaking down emotionally while covering it all was my camera and being focused on doing the best job I could for them.

I put all my heart into it… my camera just acted as a shield. I ended up having a handmade wedding-type album for the shots made for them, covered with a baby blanket just like the one she was wrapped in when she was buried. The parents seemed so appreciative when I gave it to them but it sure was the toughest job I have ever done. I have no desire to ever attend or photograph a baby’s funeral again if I can help it. The little girl’s name was Sara, by the way.

Any ‘war’ stories you would like to share? You know, the ones that always start with “There was this one job where….”

Well, when I was still assisting I worked a job for 24 hours straight. We were photographing large machinery in a dead-silent room all night long — just another assistant, the photographer, and me. Coming back the next day to finish up was not an option, so we had to get it done. Another job that comes to mind was a location shoot in NYC with the same photographer… multiple locations per day in the fashion district of the city over the course of a few days. I was the person responsible for driving the twelve-passenger van around in Manhattan — what a blast that was. At least I was working with fun people, though. We always had a great time on those trips but it was some very long days we would put it. That’s all part of the business though.

What would be your ideal assignment?

I would love to have somebody pay me well to travel around the world for maybe five or ten years and do portraits of the most interesting looking people I could find. It would be nice to try and make them feel special and interesting while doing so… people that may have never had anybody pay attention to them. Kind of like Avedon’s “In the American West” series… but not being confined to the American west. Maybe spending a year or so on each continent just traveling around, looking for and capturing different personalities. A translator for each area would be great too so I could include written info about each person I photographed.

The only other thing that comes to mind is a full-time position as a staff photographer for something like Rolling Stone, SPIN, Paste or Blender magazine.

Future plans for Keith and his photography?

To be as successful as possible while still enjoying life.

Tell us a little about your new work…

Over the past couple of years I have worked almost exclusively as a portrait photographer and don’t see this changing. I am always willing to shoot just about anything — but working with and shooting people is what I love. Shooting somebody and making him or her feel great about themselves is far more rewarding than photographing some inanimate object to me.

Oh, and what is on the music box right now at your studio?

Right now I have Massive Attack playing, but some other favorites while I am working are: Sonia Leigh, Pink Floyd, The Wood Brothers, Sean Costello, Dire Straits(and Mark Knopfler’s solo stuff), Corinne Bailey Rae, A Perfect Circle, Jack Johnson, The Decemberists, Miles Davis, Norah Jones, Beck’s “Sea Change” album, Bilie Holiday, The Black Keys… I can go on and on for a while, but you get the picture… I love music.

Visit Keith Here:

Website: www.keithtaylorphotography.com

Blog: http://www.keithtaylorphotography.blogspot.com

Flickr Account: http://www.flickr.com/photos/keithtaylorphotography

MySpace Photography Account: http://www.myspace.com/keithtaylorphotography

We spent a lot of time with Laurie when we did the Tampa workshops. Laurie helped put them together and get everything set up for a smooth couple of days. Even the weather somewhat cooperated.

Laurie spends a lot of time with her business and her photography and it shows in the quality of her images. Long before I met Laurie my 11 year old daughter claimed her as “most favorite photographer.” I can remember going through her website just amazed at the creative ways she has with animals.

LEMagazine recently sent Laurie the current 12 question interview and she has spent some time answering the questions so that we could get a glimpse into the vision of a world class animal photographer.

How long have you been in business? Was it a slow transition or did you just open shop?
According to the IRS, I’ve been in business for four years. In reality it started long before that. I just didn’t realize it was happening.

How did you get started? Any mentors or great stories here?
My official business started when I shot some pet portraits to hang in the lobby of my husband’s animal hospital. I had never photographed anyone’s pets but my own. I had no idea about studio lighting or even using flash properly. I picked up some construction lights from home depot and some fabric to set up a makeshift studio. Thinking back, it was pretty crude but it worked. I never intended it to go anywhere but after hanging the photos, I started getting requests from clients to photograph their pets. A friend and fellow photographer introduced me to some photo editors which has led to regular editorial work. I started selling images through some stock sites as well. Things just took off from there. Well, it wasn’t quite that easy. It was (and still is) a lot of work now that I think about it.

As for mentors, there are too many to list here. I’ve had a lot of help along the way. I’ve been tremendously fortunate to meet and learn from some truly talented artists. I think most experienced photographers are happy to pass on the lessons they’ve learned. I’ve made it a point to listen. My father is a composer and my mother was a dancer before she married. They set a great example for following a dream, even when others are telling you to be sensible. My sister is a designer and my harshest critic. She pushes and encourages me as well

Describe an average week at your studio.
There really isn’t an “average” week. Some weeks are solid shooting, others spent mostly in front of the computer editing photos, preparing print orders and working on editorial submissions. This past week was devoted to getting my office in order and working on tax stuff. I managed to get out and shoot for a few hours, working on a personal project. Next week I’ll be focusing on a book project that has been collecting dust for far too long.

Why Florida? Have you considered anywhere else?
I was born and raised in Florida. I love it here. It’s home. I’ve considered other places but for now, this is where I want to be. I love the wildlife, the beaches, the rivers and swamps. People save up all year to vacation in a place I get to enjoy everyday.

What motivates you, or gets you going? What do you use for inspiration?
Mostly, I just love picking up the camera and shooting. It forces me to see things more acutely, even when my eye isn’t plastered to the viewfinder. I’m pretty easily inspired. I just put myself in the company of things that make me happy or I find exciting. Nature shooting is a no-brainer. I love being outdoors. When it comes to shooting pets, it’s the pet and the human-animal bond that inspires me. Something magical happens to people when they interact with animals, myself included. Humans let their guard down and animals become relaxed and playful. It’s a great way to get to know people, as well as pets. I just work on finding my own bond with the subject(s) as I shoot. When the connection happens, that’s inspiring. That’s when the real shooting begins.

What is it you like the most about being a photographer?
I love the interaction. My background is in painting and drawing but they’re mostly removed from the subject. With photography, whether shooting nature, people, or pets, there’s an interaction and immediacy that’s like a drug for me.

I also get really jazzed when I see the faces of my pet portrait clients as they view their final prints. It sounds corny but even the most challenging shoot is worth the effort when the client smiles from ear to ear and gives me a big hug. It’s a very rewarding experience.

Are there any downsides to being a commercial photographer that you would like to change? How would you change them?
I certainly wish I didn’t have to spend the last week working on taxes, organizing my image files, and entering client demographics into a new database. Commercial photography, by it’s nature is treated as a commodity. The thing is, it doesn’t fit neatly into that category as it’s a service, a craft, and an art, all at the same time. Photo Editors and clients, necessarily have budgets, deadlines, and their own ideas of what they want. Their budgets and their expectations don’t always jive. I’m lucky to be in a position to turn down work if the terms of the project don’t meet my expectations. Still, it can be frustrating. Copyright violations are another thorn in my side. My images get pinched on a regular basis. Sadly, it’s a growing problem in the industry with no clear solution except never showing my work in digital format.

What was your most memorable assignment?
I’ve certainly had more exciting assignments and more lucrative assignments but the one that stands out in my memory more than most was a pet portrait shoot. From time to time, I’ll have a client call requesting a “final” portrait sitting for an aging or sick pet. These shoots are always bitter sweet. One in particular continues to stick in my mind. This client had two dogs, both coincidentally diagnosed with terminal cancer in the same week. Since the client and the dogs loved the beach, we scheduled a beach shoot. We spent several hours shooting and playing. The dogs appeared perfectly healthy, were happy as could be chasing seagulls and fetching balls thrown in the water. The results of the shoot were terrific. Still, it was really hard editing the set knowing neither dog would be around in a few months. As hard as it was, I am so glad I was able to provide the images for the client who obviously loved both dogs dearly. I’m not sure why this one touched me even more than the others. It just did. There are several images from the shoot that are really special to me.

Any ‘war’ stories you would like to share? You know, the ones that always start with “There was this one job where….”
You mean like the one where I shot the entire studio portrait session on ISO 800 the whole time amazed that I was getting all the light I needed from my strobes set at such a low power? Or how about the one where I didn’t realize the puppy licked my lens causing a blurry blob in the middle of most of the frames (I thought my glasses were just fogging up as it was hot and humid)? I guess my worst war story was the dog in the pool shoot. It was an editorial shoot. It was one of the first times I shot outdoors with off camera flash. The day was as still as could be, not even the slightest breeze.

I set up an SB800 bounced into an umbrella on one side of the pool, and an SB600 bounced into an umbrella in the other side for some cross lighting. Without warning (actually, all I needed to do was turn around and look at the storm clouds moving in) a gust of wind knocked the SB800 into the pool and the SB600 crashed to the pool deck. I immediately pulled the SB800 out, dumped the batteries and drained as much water from the unit as I could. The flash tube in the SB600 was toast. Luckily, I had two back ups and quickly set them up (without umbrellas this time) and finished the shoot just before the solid sheet of rain hit. Amazingly, despite the fact that the SB800 was flooded, both top and bottom, after drying out for a few weeks, it still works fine. I don’t rely on it for anything important but three years later, it hasn’t yet failed.

What would be your ideal assignment?
Very large studio and an Elephant. Just kidding. Actually, I’m not kidding. That would be cool. The truth is, I get to shoot my ideal assignment on a regular basis. I really love what I do, appreciate my clients, and always have alot of fun. Good things seem to come my way and I think it’s important to recognize them as they’re happening instead of looking for something bigger or “better”. The joy is in the little things, the nuances, the moments in-between. If we’re always chasing down the next big thing, we miss out on the great things right in front of us.

Future plans for Laurie and her photography?
Keep on keeping on. I’ve been working on two book projects, one on photographing pets and one that’s more of a photo book with images and stories. The whole process is a bit daunting as I’m not really a writer. I’ve recently published a few articles which has been a great segue to the book projects. I’m fortunate to have a family member and several friends who are writers that have offered to give me some guidance. I also have several personal photo projects that I’ll continue to develop.

Tell us a little about your new work…
Lately, I’ve been working on including more people in my pet portraits. As I mentioned earlier, one of the things that motivates me is the human-animal bond. It’s a personal goal to find ways to express that bond in each and every shoot.

For my personal work, I’m in an abstract/impressionist frame of mind these days. I love playing with form and color. Taking advantage of slow shutter speeds and camera movement, I’m using my camera more like a paint brush, shooting and seeing familiar scenes in a new way.

Oh, and what is on the music box right now at your studio?
Sting’s “The Shape of My Heart” just finished. Procol Harum’s “A Salty Dog” is now playing. After that, I think I’ll pop in an album, Nuevo Bugaloo, by the Iguanas, a band based in New Orleans.

Website: www.lmeimages.com
Blog: www.lmeimages.com/blog
Email laurie@lmeimages.com

Jay B Sauceda is a hard working, creative shooter in Austin Texas. I have seen his work for some time now and occasionally catch his exploits on my Twitter. Jay has a nice business going there near the heart of Texas, a place he dearly loves, and we thought it would be nice to talk to him a bit.

Jay’s work combines whimsy and color to make a statement that is at once original and comfortable. He has been working in the creative areas most of his life, so making cool images is just second nature to him.

Come on in and meet Jay B Sauceda.

I thought about 12 questions would cover it. Welcome Jay…

How long have you been in business? Was it a slow transition or did you just open shop?
I have been in the creative industry for a while now. I worked at an advertising agency, on a couple of documentary films, and as a creative consultant on some political campaigns. The transition to photography full time has been a slow one and has definitely taken me through some random places. I still get contracted out to freelance on different creative projects that don’t involve photography, but I still primarily work out of my studio in east Austin.

How did you get started? Any mentors or great stories here?
I heard Harry Benson speak my sophomore year of college. He came to the random photojournalism class I had taken (I was a government major) and I thought he had lived the coolest life ever because of the access that the camera had given him. People open up to a still camera in a way that really fascinates me, so immediately I became more drawn to it after hearing all of his cool stories. That wasn’t the moment I picked up a camera and started down this track, but it definitely was a turning point as far as focusing on trying to work in the creative industry. The next week we heard from Andrew Shapter, who was a local fashion photographer for a long time. I dug how humble he was about his work so contacted him and asked if I could assist. Years later here I am. In a roundabout way, Shapter has had the largest impact on me being able to freelance at my age. He really opened a lot of doors for me by letting me follow him around for a couple of years.

Describe an average week at your studio.
An average week here at my studio is generally pretty interesting. Some of the connected offices and loft spaces that we have in our building are rented out to designers, architects, and writers so there are generally lot of really interesting people coming in and out of the space. Each week is really different because of the randomness of my clients though. I shoot editorial stuff for local magazines, but also do a lot of random commercial work for ad agencies and companies. Some weeks are all product, some are all personal work, while others are strictly shooting people. During the summer there are a lot of days that we take off from the studio early and hit up the Deep Eddy wading pool in West Austin to throw the disc around.

Why Austin? Have you considered anywhere else?
I came to school here at the University of Texas. If you’ve ever been to Austin you know why I stayed. It’s a gorgeous city. I consider going to New York for a summer occasionally but I’d prefer to reside here. Austin is on the up and up with the creative industries. So many people from L.A. and New York move here so its easy to make those connections. I guess I just don’t see myself living in any other state. Us Texans are a little obsessed with our state.

What motivates you, or gets you going? What do you use for inspiration?
I’m inspired by movies most of the time. I try to shoot everything as though it were a scene in a movie. Shapter taught me that a long time ago and it has stuck in my head ever since. I’m inspired by other photographers and the people I see daily too. I try to keep my head to the ground and check out other people’s work a lot. My office definitely keeps the creative juices flowing. There’s good energy up here with all the people I surround myself with.

What is it you like the most about being a photographer?
I love the flexibility and instant gratification of photography. Granted I can’t instantly see the images when I shoot film, but you get the point. It’s definitely my hobby too though. The clients I work with a lot normally give me a lot of flexibility in my concepts, so its rare that I feel bogged down by the work I’m doing. People get hobbies when they get bogged down with what they do with the rest of their time. Luckily I love what I do with most of my time. I don’t know if that makes sense….

Are there any downsides to being a commercial photographer that you would like to change?
It’s a little harder to get rolling doing commercial photography. You definitely can’t just start up and say that’s what you want to do. The hardest advice I have ever had to stomach is that you need to focus on one type of photography to be great. Clients that are willing to drop the kind of money that commercial photography brings want to hire a person that shoots a style. It’s hard to convey your style if you shoot a lot of random things. I had to make my transition slowly because if I had just jumped in I would have been broke. It took a while to get to the point at which I can charge what I charge as a day rate. But on the flip side I had to turn down a lot of little projects so I could avoid being labeled as a “fill in the blank” photographer. I love shooting everything so it was hard to turn work down, but in the long run I have definitely benefitted.

What was your most memorable assignment?
I drove out to the West Texas desert to photograph a portrait for Austin Monthly last year. It was a photo of a Texas Santa who is really active here in Austin. We got out there on location and there happened to be a guy riding a beautiful white horse. We asked him if we could borrow it for the shot. He obliged and I ended up with a really nice and quirky portrait for their December issue.

Any ‘war’ stories you would like to share? You know, the ones that always start with “There was this one job where….”
I’m pretty selective about what I’ll work on because of the amount of other creative work I get so I get to avoid a lot of potentially bad clients. Generally my war stories have to do with people taking forever to pay. I am a young guy and don’t have many wrinkles on my face so sometimes people will jerk me around. The worst was when a client printed my images in two separate ad campaigns yet still dragged their feet on payment. I should have gotten money up front but didn’t. All it took was a letter from my lawyer buddy reminding them of the legalese on my invoices and contract to get them to send a check over later that day (two months past due).

What would be your ideal assignment?
I’m going on my ideal assignment next week. I’m spending a week in West Texas again to shoot a personal project for my next show. I love just traveling and shooting random people that I meet. West Texas, or more specifically, Alpine Texas is a great place for that.

Future plans for Jay and his photography?
I take work a week at a time so its hard to say. I am making a bigger push to shoot more national editorial stuff though. I’m about to start looking for a rep too. I think that’s the next biggest step for me being here in Austin and needing to make more connections.

Tell us a little about your new work…
My work has a tendency to be really random but the photos with the orange wall are some of my favorites. It as a shoot for Jelly NYC and The Boxing Club ad agency. They used the images to do an ad for Fader and SPIN magazine. Everything else is just a random collection of stuff I have shot recently for pleasure and for hire.

Oh, and what is on the music box right now at your studio?
(yes, it was supposed to be 12, but what the heck…)
Ha, this is a good question. My answers are going to seem like I only listen to Austin folk. Earlier today we were listening to Spoon but now I’m listening to Ben Kweller.

Thanks Jay.

Jay B Sauceda

What a cool selection of images. Signs from the old hotels, motels, gas stations and other roadside vendors that many of us knew from our youth. The diving girl into the neon pool was one of my favorites from when I was a kid. I wanted to play in a real pool too.

Jimi Giannatti takes us on both a nostalgic, and yet very current view of the signs that were so much a part of our cross city or cross country adventures. Sitting in the back of the station wagon we could mark our route by neon, stucco and paint.

We took some time over the weekend to talk about his images, how long he has been working on them and what to do when a labor of love becomes a true passion. His fashion and beauty work keeps him busy, but this soft, thoughtful side of his imagery is coming into its own.

Thank Jimi for the images. These are really a special set of photographs. What made you start shooting these signs? Was it an assignment that kept on growing?

Well, that’s a good question; I’m just now putting the finishing touches on my new book containing over a hundred and sixty signs and I’ve been doing a lot of reflecting about the early photos, and what got me interested in them to begin with. Growing up in the late 1970s in Phoenix AZ, there was a stretch of road, East McDowell, which had obviously seen better days. The road had actually been part of the famed Route 66 and was home to a group of aged motels built in the late 1940s and early 1950s, catering to the truckers and tourists traveling the interstate. Many the signs had names and designs that were as colorful and unique as they were dilapidated and rundown. Sporting names like: The Liberty, The Lazy A, The Sandman, The Trail’s End, and The Arizona; the signs dotted the roadside and stood in direct contrast with their newer, shinier franchised counterparts such as: Best Western, Motel Six, and Holiday Inn. I was struck by the one-of-a-kind quality that each sign, or sometimes facade, had; and how they differed from each other; one relied on humor, another on its indigenous surroundings, and another on fantasy, etc. Later, in the early Eighties, after relocating in New York City and working as a freelance photographer, I would find myself on various locations around the country and I would spot a variety of old signs: liquor stores, bars, stores, gas stations, you name it — and it just all started, pardon the pun, clicking.

How long have you been working on this project?

Well, as mentioned before, I started noticing the signs in Phoenix as I was growing up in the 70s, but I didn’t really start shooting them until I was traveling around the country, working on different assignments, and that was around 1981, so it’s been – wow! – 27 years! But at first it was just my personal fetish, like any collection, not a photo assignment. I would find myself in places like Fond-Du-Lac, Wisconsin, or Laramie, Wyoming, and I knew I wouldn’t most likely be back there again, so I would shoot the cool signs just to keep for myself.

So it’s safe to say that a lot of these aren’t even around anymore? After that long, ‘progress’ comes along and stuff like this is torn down.

Oh yea! They’re being torn down every day. That’s probably one of the reasons why I started taking my “little hobby” a bit more serious and began searching out new signs and facades whenever I found myself in a new city or town. Without over-sentimentalizing the whole thing, I started revisiting some of the places I had shot earlier and the signs would be missing! Gone, or painted over with a new name. One of my favorites, The Missile Motel, in Oxnard, CA, had its neon ripped down and whitewashed with Tapitio painted across it. You would never know by looking at it today that it was ever the cool sign it had originally been. I’m not condemning the new owners and businesses as if they don’t have the right to do this, I mean it’s the nature of things right? Change happens. Whenever I run across a sign that has been torn down, or painted over, I lament the loss, but I also feel grateful that I have a record of the original that we can all enjoy.

I know that your main subject matter has always been fashion and beauty. Is this something you do to relax from that rigorous, intense world?

Right, that’s what I was doing in New York, working for fashion, fitness, and music magazines such as, Seventeen, Young Miss, McCall’s, Self, and Spin etc. My magazine assignments put me on location all around the U.S. giving me entrée to many cool local signs. BUT! I have to clarify something here – whereas my job put me in proximity of the signs, it wouldn’t necessarily mean it would actually allow me the time and means to access them. I was there to do one job, and I would have to figure out how to do the other one. So I developed a system to accomplish both goals. I would use the fist day scouting locations for my magazine shoots, and I would write down the names and addresses of the signs I would pass on the way. Also, keep in mind that as in all photography, lighting is probably the single most determining feature for technical success (something I know you know quite a bit about!). Early morning and late afternoon usually give me the best lighting I need, so while the models slept, or just before dinner while they were back in there rooms getting ready, I would quietly slip out and do my thing. Although, I would be less than honest if I didn’t tell you that we would often pull into a diner or café for breakfast, lunch, and dinner, that would “just so happen” have a name like “Mom’s” or “Loveless” or “Horseshoe.” Sometimes being the photographer has its perks. As far as shooting signs as a way to relax, well sometimes yes. But more often than not, I have found myself with very limited time at a location without the luxury of scouting. So I’m forced to ask the concierge, desk clerk, gas station attendant, or random guy walking on the street, to where I need to go. Now here’s where it gets tricky – most of my signs and facades are found on the old Interstate Highways that were once popular in the nineteen forties and fifties before the freeways and turnpikes. More often than not these businesses are found on the outskirts of town, and as mentioned before, have seen better days and are now referred to as “seedy,” “rundown,” or, “the bad part of town.” Just as often, these same locations are home for some pretty nefarious businesses and can be down right scary. So now imagine me pulling up in my rental car with my cameras strapped around my neck; getting out and laying on the ground shooting skyward at some random motel sign in front of a place frequented by crack addicts and prostitutes that just happens to be named “The Half Moon” and sporting fantastic yellow and purple neon. It can get at times, a bit dicey and testy and I’ve had to do many “hit and runs” where I have metered another safer sign down the street and then drive right up and “click, click, click!” then get back in the car and drive off . But more often, it’s as simple as me driving home from somewhere and just happening across a fabulous vintage diner and getting out and shooting it from every angle I can imagine. It’s a lot like the feeling I suppose a big game hunter gets when he looks up and is eye to eye with a lion, only my lion is an old pink and blue Frosty Freeze and doesn’t bite. Maybe its not like that at all.

How big is your current collection of these signs?

Well, finished and ready for viewing: around a little less than 200. But I have a lot in the queue that I always look for the time to work on. Sometimes I’ll go back and re-shoot a sign under better circumstances, and sometimes I’ll reprint and rework something I printed ten years ago.

These are traditional silver halide prints, and I know you have some secret processing solutions, but can you share a little on how you achieve this look?

Well if I do, I’ll have to kill you — no! It’s a bit on the slightly-complicated side – mostly because it’s a very unforgiving process – its really straight-up old school darkroom stuff — I print on an old Omega enlarger, on Seagull Oriental fiber-based, multi-grade paper; using a one-to-one mixture of Dektol and water. Often, trying to makeup for harsh or inadequate lighting, or errant wires and stray palm prawns, there is lots of dodging and burning and masking. What makes these prints particularly tricky is that before I fix them, I meticulously wash it, and then aggressively hand-bleach it (I get it deep into the bleach, using constant agitation; manipulating localized areas with my fingers; isolating areas dipping and rubbing, etc.). Then I again rewash it thoroughly and then submerge it into a generous bath of selenium toner. The toner doesn’t seem to like the bleach and you can see the silver permeate to soup. It actually gives the signs and facades an aged, bleached look that (I hope) gives the viewer the same visceral feeling I get seeing the sign in person. The fading, peeling paint; the flaking finish; the rough weathered look that only comes from years and years of sun and bad weather; the seasoning, if you will, that comes from neglect. All of this is important to try to convey to the viewer in the print medium. I think I got it down.

So each print is a unique item? With that much handwork, no two could really be the same, right?

No, you’re right – each print has a quality unto itself. It’s about a six to one ratio for prints I discard to the ones I keep. Because the bleaching process continues or overlap throughout the washing and toning processes, it can get tricky – you have to “lead” each print as you go through every process; removing it seconds before it gets to your preferred finish. In other words, if you wait while it’s in the bleach to reach your desired finish, by the time you take it out and wash it, the bleach will have kept accelerating and it will be over bleached before the toning process. Once it’s in the selenium toner, I have to monitor it closely, because with each print toned, the strength of the toner denigrates, so each print time in each solution is independent of each other – whew! That’s was actually a mouthful! The only thing I may have left out is the cacophony of curse words coming out of my darkroom while I do this process! It does keep me honest though! You know I actually don’t like technique that gets in the way of the image. I often say that the true beauty of the signs is the sign themselves. Just like shooting supermodels in bathing suits in Barbados, it’s hard to mess them up.

You also sell these as Inkjets after scanning the image. Do you scan multiple images or do you choose one and make the scan from it?

Well, the B/W fiber prints are scanned and then I try my best to be true to the color and contrast value as the original. But around eight years ago, like most of my professional comrades, I’ve forgone the most part shooting film and began more and more shooting digitally, and in doing so I’ve ventured into shooting many of my new sign in color. I always hated the way the signs looked in ektachrome, they never achieved the look I wanted. And kodachrome looked pretty close but printing costs were prohibitive. So I’m pretty happy with digital. The lack of shadow detail is quite similar to the pushed tri-x process that use for the B/W. I try to approach the color shots in Photoshop using the same spirit and style as I did with my earlier B/W shots. I try to use a variety of Photoshop techniques as a way to influence the images to have a “quality” that will conjure the visceral feeling I have when standing in person in front of the sign. I print these images using Epson Premium Luster Photo Paper, on my Epson 2000P photo printer. Some of these are quite stunning. Because of the lack of variants, as stated in the before description of my B/W process, this makes it a much more affordable medium for me to sell.

What do you look for when you see a sign? I take it you are still involved in the project?

What do I look for? Well, it’s funny to say out loud, but I honestly have to say the signs and facades speak to me – now stop looking at me that way – they do! They just jump out at me as I’m driving. Sometimes it’s the neon, or the name, or the painting, or the shape, or even the state of decay; whatever! A friend once asked me which sign was my favorite and I answered, “The next one I shoot!” My poor wife and family are used to me slamming on my brakes and cranking a big u-turn so I can go back and check out the sign I just passed! I want people to keep in mind that whereas these are one-of-a-kind items that have a certain amount aesthetic quality, they were after all, intended for the most part, to pull people off the road and spend their hard-earned money at their establishments. I see the signs as the byproduct of “grassroots capitalism.” These are examples of a time before corporate logos and international franchises. I try and imagine the thinking process that went into each sign; the creative and business decisions made by each mom and pop business as they tried to figure out what best to call their place, and how to showcase it on the highway out front. Do they put girls in bathing suits elegantly diving into a pool? Or do they go with a wagon wheel or sombrero? Do they call their business a name drawn from the local area? Or do they name it after their daughter? I continue to appreciate the arbitrariness of the names, designs, and shapes of each sign, and truly dig the rarity of each one.

What is your ultimate goal for this collection… it is wonderfully broad and diverse?

I never started this with a particular goal in mind. But a while ago, around the time I moved to New York, I made a decision to try and always shoot with the idea of using whatever I shoot in context of being part of something larger. What I mean is, instead of shooting hundreds of images that are disjointed and unrelated; I try to contextualize what I shoot as being part of something bigger (whether it’s a collection, a show, a book, magazine editorial etc). As well, I have recently been showing and selling prints up in Ojai, CA in the park which was, at first, outside of my comfort zone; but it has since opened me up to a whole new group of fans that love signs! One of the coolest things about my sharing these images is that I get such positive reactions from total strangers. They share stories with me about specific signs they remember. People recognize signs I have and tell me anecdotes about staying at one of the motels, or eating at one of the restaurants when they were six, etc. A lot of people love old signs. This all has led me to thinking about expanding their presence on my website, or possibly even creating a completely unique home for them on their own dedicated website. It would be great to offer a more interactive presence where people could share their own shots and stories.

Tell me more about the book

I hope to have it out before July – and it’s been quite an undertaking editing down and organizing everything for the final cut. I’m very excited about it all. Although I have to admit, it’s a bit strange lining up photos I shot 20 years ago next to ones I shot two months ago! It gives me a chance to showcase some of my all time favorites, as well as share some of the more esoteric and eclectic ones. It’s actually been a lot of fun!

That’s great! Thanks for taking some time to talk with me about your work. And in full disclosure, JimiG is someone I have known “his” entire life… However he has not known me for my entire life.

And you’ve never missed an opportunity to remind me.

Thanks Bro…

No, thanks to you!

To see more of Jimi Giannatti’s work, visit his site.

I have known Jim Cowlin for, well, way too many years to count. Jim is a staunch defender of our public lands and environs, so it is not unexpected that he is also a fantastic landscape shooter with a love of panoramic images. (There is a great article on shooting and creating a panoramic image after the canyon article… you should check it out.)

Jim’s project is now the road that goes from Canada to Mexico, vertically through the amazing southwestern America. He is founder of the US 89 Appreciation Society, and has been photographing along this route for many years. He lives in Ajo now, and spends a lot of time traveling the ol’ 89.

This post is a glimpse into one of the more interesting places in the Southwest, Paria Canyon.

A Wilderness Adventure
Reprinted with permission of James Cowlin and the US 89 Appreciation Society

I had been thinking about this hike for months. A friend had invited me to join him and a few others on a 5-day backpacking trip down the Paria River. Actually, I have wanted to do this hike for years. The Paria River is a tributary of the Colorado River at Lee’s Ferry and I had been told that it ran through one of the most spectacular canyons on the Colorado Plateau. It is also a remote wilderness area. Once you enter the canyon at the Whitehouse Trailhead off US Route 89 in southern Utah, you have little choice but to complete the 38-mile hike. Five days seemed manageable although carrying 50 pounds on my back was a rather daunting prospect.

Twenty years ago when I did my last long backpacking trip I carried my medium format camera and four lens to the bottom of the Grand Canyon and back. But at 30 pounds, I knew that I wasn’t going to carry it this time. I opted for my digital camera with one extra lens. I also brought a light-weight tripod and the newest addition to my equipment, a panoramic tripod head. I have been experimenting with the technique of making panoramic photographs from multiple digital files stitched together. It was time to see how practical it would be under not exactly ideal conditions.

Hiking the Paria River Wilderness

Hiking the Paria River is one of the premier wilderness experiences to be found along US Route 89. Details about obtaining permits and what to expect are available at the Bureau of Land Management Paria Canyon/Vermilion Cliffs Wilderness website.

I want to thank US Route 89 Appreciation Society member Pete Sevin for inviting me and Doug and Rhonda Forsha for making all of the logistical arrangements. I also want to thank Holmes Dumez, Jeremiah Polynone, Cliff Pohlman, Paul Chadwick, and Jan, Bernie and Kelsey Becker for their companionship and encouragement along the way.

Digital Panoramic Photography

In theory making a digital panoramic photograph is straight forward-take a series of shots of a scene and stitch them together in a photo editing program to form a single image. In practice, there is a bit more to it than that. Let me briefly describe how I made the panoramas on the Paria.

Equipment:
I used a Canon 20D digital single lens reflex and a 17 to 105 mm Canon zoom. The zoom was set at 17 mm most of the time, but occasionally, I would set it at around 24 mm. I use a Gitzo tripod that I have had for years specifically for backpacking. Although it is light weight, it is very sturdy and makes a stable platform. (If you are serious about landscape photography, I recommend buying the best tripod you can afford. There is nothing more frustrating than a wobbly, hard to adjust tripod. Next to lenses, it is the most important investment you can make to improve your photography.)

I use a special tripod head designed for making panoramic photographs, the Nodal Ninja. The purpose of this is two-fold. First, it allows me to adjust the camera lens’s “entrance pupil” (also called the “nodal point”) on the correct rotational axis which eliminates parallax error when shooting images side by side. Without parallax error the digital files can be seamlessly stitched together to form the single image. Second, the Nodal Ninja is fitted with detent rings that offer click stops at various degrees of rotation depending on the lens in use. This allows the camera to be quickly and precisely rotated without having to line up each shot manually.

This is the first time I had put the Nodal Ninja through its paces in the field. I was very pleased at how quickly and precisely I was able to set it up. It worked flawlessly and only added marginally to the weight of my pack. I am pleased to have Nodal Ninja as a business member of the US Route 89 Appreciation Society. They are offering a $20 discount to anyone who mentions US Route 89 when ordering.

Capturing the Image:
Once the camera is set up on the tripod, it is important to make sure it is level both horizontally and vertically. The Nodal Ninja’s built-in bubble level made that easy.

I always set my exposure manually. Each frame should be exposed the same. I use Program mode to take a light reading from the most important part of the scene. I note the f-stop and shutter speed, then switch to Manual and enter the values.

The same is true of focus. I turn off auto focus and focus the lens manually. Focus is usually not a problem since I am shooting wide angle where the depth of field is greatest. Image stabilization is also turned off. This should always be done whenever the camera is on a tripod. I also set the while balance that is appropriate for the scene, not on auto.

I prefer to shoot in RAW format rather than JPEG. That way I can use Camera Raw in Photoshop to make any necessary adjustments before stitching the files.

Composition is the tricky part. I am learning the strengths and limitations of this technique and did several compositions on the Paria that didn’t work very well. The wonderful thing about digital is that I am only limited by the amount of storage capacity available. Every time I set up for a panorama, I would try two or three variations, setting the lens at different focal lengths, changing exposure, including more or less in the scene.

Finally, I captured a series of frames each overlapping the next by 20% to 30% to make it easy for the software to blend them together.

Processing the Image:
I do all of my image processing in Photoshop CS3. PhotoMerge in CS3 is vastly improved over its predecessor in CS2. I download the files to the computer and review them in Bridge to select the ones I want to use. I open all of the files to be used for a panoramic in Camera Raw at the same time. Just as it is important to use the same exposure and focus for each image, it is important to make exactly the same adjustments on all of the files.

I select the center photograph and make adjustments to exposure, color, contrast, etc. Then I click on the “select all” button and synchronize the files. At this point you can select the files to be used in Bridge or switch to Photoshop. From either program, open the files with the PhotoMerge command. Click on the OK and let Photoshop do its magic.

The major consideration throughout the process of shooting and processing photographs for a digital panorama is to make sure that all of the files are exposed and processed the same. That ensures that whatever software you use to merge the files will be able to make a seamless blend. For the sake of brevity, I have left out some of the details in this process. If you want to give it a try and have specific questions, feel free to send me an email and I’ll do my best to steer you in the right direction.

Support the “Slow Road” Movement:
Join the US Route 89 Appreciation Society

US Route 89 Appreciation Society

You love driving the two-lane highways that keep you close to the edge of the road so you can see the land at a leisurely pace. You think nothing of stopping along the way to admire the view and smell the fresh air. You seek out unique places to eat where the special of the day depends on what’s in season at the nearby farm. You already appreciate the opportunities offered by a journey on US Route 89.

You are not alone in your passion for a trip on a “slow road.” There are many others like you. Together we can spread the word of the joys of leisurely travel. Join the US Route 89 Appreciation Society and you’ll receive an official membership certificate and button to attest to your belief in the “slow road” movement.

General Membership: $5
Benefits:
· Membership Certificate
· Membership Badge
· Email Newsletter
· Invitations to all project events

See the US 89 Appreciation Society for more information.

Bill Simone is a photographer based in Pennsylvania and focused on national clients. His work ranges from people to still life to product and the well managed studio is capable of turning out top notch images for all kinds of projects.

This image was shot for the studio book and Bill and Shana, his studio assistant, thought it would be great to share the making of this image with all who are interested. It is a well constructed shot with lots of photography and Photoshop blended to end up with this stunning image.

Here is the beginning of the post, read it all here:

” The Boxer

Shana and I thought her readers might enjoy a detailed description on the making of this photograph.

My first step is always a solid visualization of the photograph, complete with rudimentary sketches which are so bad I won’t even bother to show them. But I believe this is such an important skill to develop. If you can visualize the finished photograph, and progress to visualizing the set, and subsequent steps, you are then able to solve many of the problems of the shoot before they occur. This always contributes to smooth shoots.

So I wanted a model that looked “tough” enough to be a boxer yet had a note of sex appeal about her. Athletic and pretty. Longer hair that could be pony tailed with random strands and frizz escaping to contribute to the working out look. Hands taped in boxing fashion, drenched in sweat.

The model would be positioned leaning over the top rope looking directly to the camera. I planned to shoot her in the studio so as to control a number of factors.

While I could have sought a boxing gym itself, I planned to composite her over a separately shot background as my visualization for the background was overly rough and worn. That thought was inspired by an old third floor I had the opportunity to see about three years ago which once housed a boxing ring. It was ravaged by 40 years of decay and had quite alot of character.”

Bill continues with a well constructed, layer by layer Photoshop tutorial.

If you are interested in this kind of work, this is a wonderfully written, well done article for you.

I think it is wonderful when a shooter like this lets people see the backend of a shoot like this. So much goes into the creation of images, even ones that look somewhat simple, that isn’t seen. Young photographers don’t get a glimpse into that world unless they get a chance to assist, or work for, an established shooter.

For those of you interested in still life shooting, Bill and Shana take you through an amazingly complex image from conception to reality here.

Thanks Bill and Shana for letting me link you up. Visit Bill Simone’s Web Site here.

David Alan Harvey has turned his cameras on America with a fresh idea. Instead of having a producer find the American subjects, he wants Americans to find his subjects. And by doing so, becoming part of this unique project.

Creating a personal vision sometimes means taking risks. He acknowledges that the idea is still fledgling and that it could crash around him. Such is life. But I think he will do this, somehow, someway. It is such a compelling idea.

David Alan Harvey’s Site. Read the whole Blog post here: Off For A Family Road Trip.
The family is us…

“for the last several months , i had been planning to cross the U.S.and work on the project so explained below…yes yes a “portrait” of America….sure, done before…..and done very well before…Frank, Kerouac, Thompson, Winogrand, Twain, Steinbeck,Least-Heat-Moon, Pirsig, just for starters…i think about these authors… i light a candle to all those writers whose books i devoured and made me both question and respect, or those photographers whose work has given me a “lust” that has driven me for a long time…

it is with this “lust” (and i cannot think of a synonym right now) that i now will spend the better part of this year and maybe next, photographing my country through its families!…vignettes…portraits…fantasy…reality…..med format film…b&w and color neg…..supplemented maybe by SX-70 or disposable camera snaps…anyway, i am planning the exhibit before the first roll of film has been processed…very big prints, snapshot board, home movies, etc etc…and maybe one hand made album for exhibition purposes only….

so i am off….ROAD TRIP !!! i will look in the rear view mirror of course…but, looking down the road ahead, knowing for sure that the unexpected will happen (guaranteed) , a “treasure” uncovered, is where i want to be..

“road trip” , especially a coast to coast trip, is an American teenager’s fantasy…i guess some “adults” stay stuck on the concept as well..

in any case , here is a letter i wrote about my project to our Magnum staff a few weeks ago:

“My plan is to literally drive zigzag across the country from New York to California. I will meet, photograph and video tape a conglomerate and representative demographic of the U.S.. For example, I could photograph a wealthy socialite family in the Hamptons , a New Orleans gay couple raising a baby, an Iowa farm family who lost a daughter or son in Iraq, a Native American family at a powwow, an exhiled family from Tibet, a Mormon wedding , a Bar or Bat Mitzvah family scene , a Vietnamese fishing family, a Muslim executive with her husband, a Mexican Quinceanera fiesta , Buddhist monks, a Sufi with three wives, a West Virginia coal miner and his wife, and a surfer dude with his tattooed 15yrs. old bride and Frisbee catching Lab retriever.All of the people that make this immigrant country “tick” in the first place. Anyone will quickly see that my American Family will be (if it works), in fact, a “stylized portrait” of our simmering international stew….”

You should read the whole thing, bookmark his extraordinary blog and think about participating somehow.

Information for today’s photographer. From novice to pro, LE Magazine has it all.

We are seeing an amazing thing happening. And if you know me, you know that I have very strong political views that are not very often mentioned on this or any other site I write on. But let me say that the situation we find ourselves in, with a congress of stupid, intellectually lame, and power hungry politicos with nothing but their own pocketbooks in mind being in charge of the rights to our work… Good God, what is that?

There is a powerful power and rights grab afoot folks. While I can see there being some value to the so-called “Orphan Works” idea, the thought that some huge company can simply plant an ownership flag is simply insane. If they were talking about orphaned works going into public domain, that may change some of the situation, but it seems they are opening the door to the imagopolises of Getty and Corbis to simply claim it is theirs… even if it is yours. Screw you.

We will attempt to make a compendium of links to check and bookmark as this hideously corrupt rights grab from the small artist to the big corporations winds its way through the hallways where a member of the communications committe referred to the internet as a set of tubes… Yeah, that’s what I mean.

Six months after the last version of an Orphan Works bill died in a Congressional committee, a new Orphan Works bill is being drafted for consideration in the 2008 legislative session.

Fortunately, a coalition of associations representing the interests of the image licensing community has come together due to our collective concern on this issue. The goal of our “Imagery Alliance” is to present a coordinated response.

Orphaned Works Blog

Bookmark and read. Lots of links there.

Here is a site by the ALA with lots of links on Orphaned Works Legislation.

Here is a site that you have to read:

Since 2005, efforts have been underway to solve the Orphan Works problem. Public Knowledge and many other organizations have proposed that the law should allow use of an orphan work if the user searched for the copyright owner in good faith and with reasonable diligence but failed to find the owner to ask permission. The copyright office recommends a similar solution, differing only in how the remedies would be limited. Groups of copyright holders, mainly photographers, illustrators, graphic artists, and textile designers, have opposed both specific aspects of our proposals and the Copyright Office recommendations and any attempts to permit use without consent. Public Knowledge and other proponents of an orphan works policy are hopeful that, working with other copyright holders, we can work toward a common policy goal of making sure orphan owners are found.

Over at a site interestingly titled: Center for the Study of the Public Domain you will find a lot of links and interesting views. You may not agree with all that is there, but you damn well should know what is being said on all sides.

“Orphan Works” probably comprise the majority of the record of 20th century culture. These works are still presumably under copyright (only works published before 1923 are conclusively in the public domain), but the copyright owner cannot be found. The default response of archivists, libraries, film restorers, artists, scholars, educators, publishers, and others is to drop copyrighted work unless it is clearly in the public domain. As a result, orphan works are not used in new creative efforts or made available to the public due to uncertainty over their copyright status, even when there is no longer anyone claiming copyright ownership, or the owner no longer has any objection to such use.

ASMP is working hard to make sure there are some safeguards:

Our analysis

It has become clear is that some Orphan Works law is likely to be passed sooner or later. Key members of the House and Senate want it; significant user groups such as museums, academic institutions and publishers want it; and the general public wants it. ASMP understands the need for, and welcomes, a solution to the Orphan Works problem. Our objective has never been to defeat Orphan Works legislation as such. Rather, our goal is and has always been to make sure that any Orphan Works bill is fair to visual artists. In addition, it appears that the political environment this year is substantially more favorable to creators than it is likely to be over the next few years. These factors make it important for ASMP to help craft an Orphan Works bill that treats photographers and other visual artists fairly, and to support the passage of a fair and workable bill in this Congress.

This blog presents a view that should be read. Right? Wrong? Read it.

But Mark Simon apparently believes that enacting legislation to handle orphaned works in a way that protects people who legitimately try to find the original copyright holder, but can’t, will lead to the effective invalidation of copyright on ALL UNREGISTERED ART EVERYWHERE OMGZ CALL OUT THE CAVALRY. His article, which I linked above, is miserably poorly researched, jumps to completely illogical conclusions, and, most retardedly of all, implores artists to letterbomb Congress in protest of proposed legislation which does not actually exist. Someone please tell me where this guy is getting the crack he’s smoking, because I want to avoid that streetcorner and everything in a six-block radius, kthx.

So, here are six misconceptions that are making the rounds about orphaned works, and a short explanation of why each one is a misinterpretation or just a flat-out lie. I also give links to useful supporting material, and resources you can use to keep track of this issue as it evolves.

Here is the Mark Simon article referenced above.

This older article has some good points to ponder. Ponder them now.

So what has prompted the Copyright Office to raise this issue now? After all, problems caused by the elimination of formalities have been recognized for many years. The case of Kahle v. Ashcroft, however, may be the cause of the Copyright Office’s current interest in the topic.

In March of 2004, several plaintiffs filed suit against then Attorney General, John Ashcroft, in the U.S. District Court, Northern District of California. The plaintiffs, Brewster Kahle, the Internet Archive, Richard Prelinger and the Prelinger Film Archive, operate websites that serve to distribute public domain work over the Internet. The suit seeks a declaratory judgment that the current U.S. system of copyright is unconstitutional. The plaintiffs in Kahle focus on what they term the “orphan class” of creative works, which their complaint defines as “work that the author has no continuing interest to control, but which, because of the burdens of the law, no one else can effectively and efficiently archive, preserve, or build upon in the digital environment for a term now approaching almost a century.”[3]

Information for today’s photographer. From novice to pro, LE Magazine has it all.

If you have found some good articles and commentary on this new “Orphaned Works” legislation, please add them in the comments area. BTW, we do not spam our members with offers of refinancing their homes or creating an aura of alpha male that drive women mad. We only require registration so we can keep the site orderly and without the spammers.

Steve takes a very careful approach to the method. This would work great if you had to create a brochure and had to mix images from several shoots or locations into one cohesive look. Take a look at how Steve does it and give it a try.

Feel free to download the PDF and make it part of your arsenal. (Download Here)

Photoshop training is more and more popular due to the ever-expanding power of our favorite program.

Here is a post on Photoshop tutorials at Smashing Magazine. Have fun and get ready to be knocked out by all the incredible things you can do with Photoshop. Enjoy and share some of the new images you create with us here at Lighting Essentials Magazine.

ISSUU (www.issuu.com) is a cool little place where print magazines are turned into a ‘page-flip’ Flash tool. The format is exactly as the print piece you upload and the impact is pretty cool. You can also share the file with others over email, send it to your blog, embed it into your social networking site or web site.

Simply create your document in InDesign, Quark, Word, or whatever you use, save as a PDF and upload it. They have statistics, sharing, that goofy ‘friend’ thing (everyone has those… I just don’t get it), and other ways to get your publication in front of people.

Information for today’s photographer. From novice to pro, LE Magazine has it all.

I think this will be a great way for photographers and designers and others to create a different kind of marketing tool. One that is more editorial than a ‘promotional’ piece. Groups of artists get together, choose a theme, do the work as a magazine format and distribute it electronically through email and social networking and online promotion. All for nearly free. Here is a magazine I have embedded.

There are other players in this field. I am currently using ISSUU, but will try these out soon.

ZMags (www.zmags.com/us) has a more corporate feel to their site, but the app looks similar. They offer tracking as well.

E-Book Creator (www.ebookcreator.net)has been around for quite awhile. They offer a publishing solution that is desktop based. Featuring several levels of security, E-book Creator is one that I also use. It is great for making deliverable or distributable ebooks.

Finding ways to get your work out there has never been easier. Check into these solutions for showing your work.