Ask Harriete

Can Photos of Your Work Compete When Surrounded by Visual Pollution?

This photo of is a great metaphor. The wires pull in all directions. It is an example of our "visually polluted climate dense with optical smog" (quoted from Suzanne Ramljak's lecture in Photography in Flux- Editor's Persepctive.) We look at, look through, look around, and/or simultaneously overlook these kinds of scenes every day.

Can the photos of your art or craft work compete with the exceptional images  on consumer packaging, in advertising, magazines, signs, billboards, television and online?

What makes a good photo for our art or craft?
In the past the graduated gray background was the standard. Now some makers prefer complete white or solid black backgrounds for the photos of their work. The influence of the highly charged images in advertising includes colored backgrounds.

What is a fabulous photo? Is there a new standard? We all want one direction, one recommendation, one correct answer.

 

REALITY CHECK: There is no ONE answer for everyone. No straight path to exceptional.

A photo of your work needs to fit the art/craft and the situation.

The style of the photo for art and craft needs to fit BOTH the style of the work and the context. One photo is unlikely to fit all situations. If your photo goes beyond the standard graduated background using white, black, colored, a stylized background, or a model, the context for the photographic image becomes even more important.

The key issue:
Does the photo convey the message intended or is the intended message distracted, confusing, or lost?

Other factors to make your photo amazing . . .

Is the composition dynamic?

Is the image of the work memorable?

Does the image describe work accurately?

What other criteria would you add?

Send me one photo of your art or craft. Describe the audience for your work and the context for using the photo. Let's talk.

Harriete
P.S. All images above by Philip Cohen, Oakland CA.

PPS. This discussion also assumes that the focus is perfect and exposure is 100% correct.

Philip Cohen photographing my installation Pick Up Your Pencils, Begin. Photo Credit: Aryn Shelander

Professional Development Information - Live, Online, and In Person

"Pencil in" professional development to boost your career with free information.  Two opportunites, the first, an ONLINE interview, and the second, a in-person discussion in SAN FRANCISCO.

ONLINE
Andy Cooperman, Harriete Estel Berman, and Brigitte Martin in conversation on Thursday, April 5th, at 3PM Pacific Time/ 6PM Eastern, on ‘Metalsmith BenchTalk on BlogTalkRadio’ with Jay Whaley.
Audience members can listen to the archived podcast.

San Francisco
PROFESSIONAL PRACTICES: Questions and Commentary with Andy Cooperman and Harriete Estel Berman    
Monday, April 16, 2011 7-8:30p.m.
(More information below.)

The details:

ONLINE podcast with Cooperman,  Brigitte Martin and me, Harriete Estel Berman as we open the pandora's box of shipping problems and solutions. Originally broadcast on Thursday, April 5th we  discuss the upcoming shipping topic for the Professional Development Seminar that will be held during the SNAG Conference.

 

 

Last year's SNAG Professional Development Seminar program can be viewed online at any time. The original PPT slides with audio as presented at the 2010 Conference have had over 22,000 views! The program from 2010 has had nearly 10,000 views.! Find the podcasts and handouts with presentations on the SNAG web site or my web site.

 

Professional Practices in San Francisco
Professional Practices with Andy Cooperman and Harriete Estel Berman will include a short presentation by Andy and myself. Then we will jump right into questions and answers by asking each other a couple of tough questions about the "road to success".

This event occurred on Monday April 16th at Academy of Art University
sponsored by the Academy of Art and the San Francisco Metal Arts Guild. 

This program was videotaped and will be available as a video presentation online....so check back, and I will let you know how to find it.

Harriete

Links to information mentioned on Jay Whaley Blog Talk Radio with Harriete Estel Berman

I'm live with Jay Whaley Blog Talk Radio on Thursday, January 5, 2012. The first interview of the New Year starts at 3:00pm. California time (the center of the universe or the edge of a rift, depends on how you look at it.)

Below are links to information that were mentioned on the radio show. A one stop resource for our conversation.

If we mentioned anything that isn't listed here, let me know.

Normally, I don't show a link in the text,  but it is listed here so you can copy the text easily and share it with a friend.

Let me know if you need anything else.
What's on your mind?

Harriete

“Pencils Make a Point” in American Craft  Magazine is a two page centerfold featuring the very personal and political side of craft. Harriete Estel Berman worked for four years collecting pencils from all over the United States and internationally as a  commentary about the impact of standardized testing on education. The bell curve curtain is 15’ ht and 28’ wide.
Read this informative article from the December/January 2012 issue of American Craft on line: http://www.americancraftmag.org/article.php?id=12761

Do you wonder "How This Article in American Craft Came to Be" featured in American Craft magazine?   Lots more is happening including the beginning of a new video about this work, tune in to find out more.http://askharriete.typepad.com/ask_harriete/2011/12/how-the-article-in-american-craft-came-to-be.html

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Are you interested in learning about the assembly of this bell curve of pencils? There is an extended page on my web site with images of the fabrication from the last four years showing.  http://www.harriete-estel-berman.info/sculpt/pencilPage.html

                

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Are you interested in the design and fabrication of Harriete Estel Berman’s work in tin cans. She recently finished new work for a show at the Contemporary Jewish Museum that opens in February.  Along the way, she created a Flickr album so you can view, step by step how Harriete designed this Seder Plate from concept through every step in the fabrication. http://www.flickr.com/photos/harriete-estel-berman/sets/72157627467970893/
View the finished work on her web site at: http://www.harriete-estel-berman.info/juda/TuBishvatSeder.html

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Harriete Estel Berman is teaching
Prepare for Success
April 28-29, 2012
http://www.revereacademy.com/s/masters-symposium/prepare-for-success-with-harriete-estel-berman.html

This class is part of the Revere Academy Master’s Symposium series. If your interested there will also be a Skype level participation  for the first time ever at Revere.

 

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Forging Communities

 

 

 

 

The essence of success by Sienna Patti
http://askharriete.typepad.com/ask_harriete/2011/11/the-essence-of-success-by-sienna-patti.html

The Difference Between a Goal and a Wish by Brigitte Martin.http://askharriete.typepad.com/ask_harriete/2011/11/-the-difference-between-a-goal-and-a-wish.html

 

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Did you know that the SNAG 2011 
Professional Development Seminar is available on line? Recorded during the Houston SNAG Conference you can watch and listen to all six segments on the SNAG Professional Development Seminar page. http://www.snagmetalsmith.org/.docs/pg/10571
Or
http://www.harriete-estel-berman.info/profguidelines/ProfDevSeminar.html

         
NICHE MARKETING and PHOTOGRAPHY IN FLUX were the themes.
This informative programming is available online at no charge courtesy of the NEA, MJSA and SNAG.

Issues include:

• How to develop new markets for your work.
• Ideas for marketing your work and visibility for your blog.
• The importance of photography in marketing.
• Are new standards emerging for photographic images?
• Are the images representing your work well crafted and compelling?
• What makes a good cover photo?
• What camera features should I look for before I buy?
• What are the ethics of Photoshopping images of my work?
• Who owns the rights to the photograph?
• What kind of "master image" should my photographer provide?

Additional discussion of all topics continues on ASK Harriete:
http://askharriete.typepad.com/ask_harriete/professional_development_seminar/

Here are the links to individual topics:.
Niche Marketing link
http://www.snagmetalsmith.org/.docs/pg/10571#Niche%20Marketing

Digital Images File Extensions
http://www.snagmetalsmith.org/.docs/pg/10571#Digital%20Images

Photography in Flux – Three photographers
http://www.snagmetalsmith.org/.docs/pg/10571#Photography

Digital Photography Handouts
http://www.harriete-estel-berman.info/profguidelines/PDS2011DigitalPhotographyHandout.pdf

Photography in Flux – Editor’s Perspective
http://www.snagmetalsmith.org/.docs/pg/10571#Photography2

How to Build a Better Drop Shadow
http://www.snagmetalsmith.org/.docs/pg/10571#PhotoShop

Questions and Answers about Niche Marketing and Photography in Flux
http://www.snagmetalsmith.org/.docs/pg/10571#2011QA

 

Professional Development Seminar 2010

Not Just Another Pricing Lecture
http://www.snagmetalsmith.org/.docs/pg/10571#Pricing

How This Article in "American Craft" Came to Be.

When I see something amazing happen for a fellow artist or maker, I wonder how it happened or what they did to make that happen.  Do you wonder the same thing?

Recently, my work was featured in American Craft Magazine -- two pages in the Craft in Action section about Pick Up Your Pencils, Begin. While there was an increment of good fortune, it was actually years of making, along with taking every day actions that readers of ASK Harriete could implement for greater visibility for their work.

In this case, a quote of Louis Pasteur comes to mind, "Chance favors only the prepared mind."

Since I knew that this project was going to take several years, I started a page on my web site very early in the project to document each stage.

The web site was updated frequently with pictures of work in progress.

I also posted a link to this page on the home page of my web site (shown below). The link was an eye catching yellow of #2 pencils.

While there are no guarantees for anything in life, the article in American Craft came about in part because of the ongoing four years of communicating each milestone of the project.  I took the time to give the project visibility on my web site.

It seems Julie K. Hanus, Senior Editor of American Craft Magazine, is like many editors who "troll" the web for ideas, information and new work whenever they have a chance. I heard the same comment from Marthe Le Van, Editor at Lark Books in the presentation she gave during the Professional Development Seminar.

Photography in Flux (Editors Perspective) from the SNAG PDS 2011

View another webinar from Harriete Estel Berman

The lesson learned here is that your web site is a window to the world for people to see your work. While I use many other social networking platforms....your web site is paramount.  Even though I would wonder how many people were looking at my web site, all the work that I put into my web site did matter after all!

The article in American Craft happened because of hard work and my web site!

My words of wisdom to everyone is that YOUR WEB SITE IS YOUR MOST VALUABLE TOOL to promote your work.

Learn how to update and maintain your own web site.

Update your web site on a regular basis.

Harriete

Would you like two days of tips and information to improve your art/craft business practice?

I am teaching a workshop at Revere Academy. 
PREPARE FOR SUCCESS

Forging Communities - Information, blogging and notes from An Intimate One Day Symposium for Networking and Information

Forging Communities - An Intimate One-Day Symposium was an amazing success. Sponsored by the Metal Arts Guild of San Francisco in honor of it's 60th Anniversary, a whole day of lectures, panels and discussions presented revealing, cohesive and interesting information.

For those interested in catching up on the information presented during the symposium, Tara Brannigan typed as fast as 10 fingers can move for the entire day. Her herculean typing efforts offer everyone a stream of information on Tumblr.

 

With this in mind, here is a quick summary of the information and links mentioned during the day.

Metal Rising: The Forming of the Metal Arts Guild, San Francisco, California, 1929-1964 presented by Jennifer Shaifer was followed by a conversation with Imogene Tex Gieling, merry renk, Florence Resnikov (each founding members of MAG). I wish we could have heard more of their entertaining stories. I loved looking at the vintage photos.

FYI: There is an upcoming exhibition of jewelry by Margaret DePatta at the Oakland Museum titled, Space-Light-Structure: The Jewelry of Margaret de Patta which will travel extensively around the U.S.

 

 

Blue Moon sculpture
Artist: merry renk
MAG Permanent Collection

MAG founding member merry renk and Margaret de Patta also have work in an exhibition at the L.A. County Museum of Art titled, "California Design, 1930–1965: "Living in a Modern Way".  I really want to see this show (collecting objects from the 1950's and 1960's are my passion).

 

What does Success Look Like in the Jewelry World? with Sarah Turner, Brigitte Martin, Lola Brooks, Sienna Patti.  Each presentation covered the topic with a different style and original content. (More about this in another post.) I recommend that you take time to read Tara Brannigan's Tumblr post. Here are four quotes about success borrowed from Tumblr.

“For me success also includes audience. I mean thinking partners, collaborators, people with skills that I do not have”

“When I say audience I also mean field. A field with permeable boundaries” “That’s partly why I work in education” “Higher education is not the only platform, there are guilds and fablabs and craftshows and makerfaires, and shops and museums.”
Sarah Turner

 

“I’ve always thought of success as some distant destination that someone might eventually arrive at” ....“I have always been far more interested in the splendor of the journey itself”
Lola Brooks

“I just want to clearly state what a goal for success actually is, because I think there’s a big problem people have with understanding: I think there’s a difference between a goal and a wish.
Brigitte Martin

“One day I went over to visit [Eric Carle] and he told me to wait downstairs, that we should go out. He got in my car and we were off.  He just had to get out of the studio.  He said he was depressed and needed to get out.  His new book wasn’t going well and he was stressed out.“

“I was totally horrified.  It felt so personal to me.  He was a grown up and I was still young enough to believe that this sort of thing just went away when you got older.”

“And this to me is the essence of success: Getting up and getting on, moving onwards and upwards.”
Sienna Patti

 

 Professional Practices: Conversation, Questions, & Commentary with me, Harriete Estel Berman and Andy Cooperman via Skype. Co-president emiko oye said, “It’s kind of an Oprah moment, we’re Skyped in with Andy Cooperman”.

Unlike a mere mortal on stage, Andy's voice filled the room as if he were an immortal god. The audience asked their questions and participated in the conversation.

My presentation "Lighting Shiny Surfaces for Quality Photographic Images" in 16 steps will be the next post on ASK Harriete.

Here are the RESOURCES mentioned during my presentation:

• Professional Guidelines
• ASK Harriete
• Professional Development Seminar
  Digital Images File Extensions
  
  Photography in Flux – Three photographers
  
  Digital Photography Handouts
  
  Photography in Flux – Editor’s Perspective
  
  How to Build a Better Drop Shadow
  
  Questions and Answers about Niche Marketing and Photography in Flux
  
  

The Maker Faire Phenomenon – Engaging Community and the Next Generation of Makers with Dale Dougherty (Founder of Make: Magazine and Maker Faire) enthusiastically showed videos of invention, inspiration and creativity. There was also a more serious message about the profound importance of brainstorming and hands on problem solving in education.

The Extreme Craft Roadshow presented by Garth Johnson was full of surprises. Craft that you might have never expected. Garth really went out of his way to show examples of what he considered Extreme Craft at the Oakland Museum. I think that this inclusiveness is part of his key to success. So many curators go around with judgement and a critical eye, whereas Garth goes to the opposite extreme, literally, finding the wacky and extra-ordinary. He left our audience with open eyes to the possibility of the future in craft.

 

 

Plan The "Money Shot" Photograph of Your Art or Craft.

As mentioned in the previous post, Use Your Camera As An Impartial Opinion - A Third Eye, that post reviewed ways to get a fresh perspective on your work while the making is in progress. Your digital camera is a quick, easy, and effective tool for impartially looking at your work.

Here is another valuable use of your camera while your work is in progress ....

Use your camera to experiment for the final photographic images of your work.

While I am constructing my work, I am also planning the "money shot" or final image after completion.  The "money shot" is what my photographer, Philip Cohen, considers the one superlative image that best captures the essence of the piece; the one image that will be used most often to represent this piece for gallery and exhibition applications and likely be used on postcards, announcements, or in the exhibition catalog.

While you are most intimately engaged with a piece, right from the very beginning, start thinking about and planning this all important image. Think about the angles of your work along with the theme and content. Think about what you want this photo to say. Don't wait until the last minute behind the camera to make this decision.

It is a bit of an eye opener when we think about this: 
More people will see the photographic images of your work than those who will ever see the work in person. 

Once you realize this fact, the photographs of your work take on much more significance.  So, think about your money shot in advance.

Artists usually have a mental vision of such an image.  In reality, when a camera lens can only take one image at a time, it can be difficult to predict exactly which angle or shot will come close to capturing that mental expectation.  But a little planning and experimentation will help.       

Take test shots. As the work nears completion, take test shops to experiment with the best vantage points and angles that capture the most information.

Where should your camera be to capture the best part of the piece? Where should the viewer's gaze be to emphasize the most interesting aspects? What vantage point captures the theme or concept of the work?

As an exercise, scroll back to the top of this post and look at the photos of my Seder plate in progress.

The last four photos in this post were all test shots that I took quickly on a Sunday morning. The black background isn't the best for this piece, but a small black art table in the kitchen was the perfect size to set up the Seder plate and walk around taking some quick shots....pick your favorite position and your favorite photo.  Then continue from here to see the final "money shot" below.

What do you think? Agree or disagree? Remember, 90% of the time this image will be the one image that will represent the work. Catalogs, magazines, publicity, postcards,....and more will use this one shot over and over.

Below is the money shot from photographer Philip Cohen.

What do you think? Ideas? Comments?

Harriete

Previous posts related to this topic:

Guidelines and Tips for Working with Photographers - Handout by Doug Yaple from the SNAG Professional Development Seminar

Finding a photographer? Working with your photographer? Getting the shot you want.

Hula Hooping, Jumping Through Hoops and Improving Your Business Practices

Harriete at the New Jersey Shore. Polar panoramic by Aryn Shelander.

The last days of summer are over.  Our family vacation to the beach was cut even shorter by Hurricane Irene.

The fall season is the time to renew dedication to our work. The business of art and craft can seem like jumping through hoops. So much to learn, so much to do.  It is just like learning how to hula hoop. It takes practice and a little encouragement to keep that hoop going. 

I've  learned lots of tricks. So can you, if you practice.

The SNAG Professional Development Seminar offers 21 lectures and handouts created especially for Artists and Makers who want to learn how to jump through the hoops of art and craft business practice. Learn from seasoned professionals and go with proven ideas.

 

TIME TO OPEN YOUR laptop or tablet to CHECK OUT these resources:  

Digital Images - File Extensions (2011)

Niche Marketing for Artists and Makers (2011)

Photography in Flux - Three Photographers' Opinions (2011)

Photography in Flux - Editors Perspective (2011)

PhotoShop Tutorial - How to Build a Better Drop Shadow (2011)

Niche Marketing and Photography in Flux Q&A with Audience/Speakers(2011)

Not Just Another Pricing Lecture (2010)

The Art of Selling and Pricing Your Work (2010) Handout

A Dialog About Pricing Your Work Q & A with Audience/Speakers(2010)

Submitting Work to Galleries & Retail Establishments HANDOUT(2009)

New Marketing Trends Resource List HANDOUT (2008)

Navigating The Web 2.0 HANDOUT (2008)

Artists Opening Galleries HANDOUT (2008)

Commissions HANDOUT(2007)
 

 

I'm doing a hula hoop trick called "Wild West."

Learn lots of tricks for improving your art/craft business practices. Read the archive of ASK Harriete columns in the left column. ASK Harriete your questions.

Subscribe to ASK Harriete for automatic updates or be my friend on Facebook.

NEXT Tuesday's post on ASK Harriete: Step by step examples for how I find exhibition opportunities for Pick Up Your Pencils, Begin.

 

Make Work YOU WANT TO MAKE and then... THE WORK Will Find a SHOW

Harriete,
I have spent the afternoon reading Ask Harriete.  Often times, I see a show I feel my work would fit into...due to the subject matter, title, etc., however, there is NOT enough time to create a piece and get it submitted in time .  After reading what you say in the interview (from Etsy Recycler's Guild  , I am surprised to see, that you most likely enter shows after the work is done. 

Or as you once told me, you shop the work around in order to find an exhibition space.  So, what can you offer to those of us who have the problem?  

Mary Anne Enriquez

This issue often causes artists and makers to feel overwhelmed.  Your schedule is already full and then an opportunity arises that would demand even more time. Who can just drop everything and start
                                                    something new?

Although I do make work for some shows (and will show some examples in the next post on ASK Harriete),  I prefer to make work that I want to make based on my long term goals.

I recommend that all artists and makers make the work they want to make.

Measuring Compliance Poster
portrays sculpture by the same title.
Measuring Compliance © 2006
Recycled materials, 3rd grade desk,
3rd grade chair, banners, custom made
straight jacket, yardstick, rulers.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

It is the artist's or maker's responsibility to bring  important or significant ideas to fruition without the dictates of a theme, exhibition or invitation. Maybe these ideas are big, expensive, demanding, or even scary. So what if it takes a year or more to finish because you have to put it down, work on your day job or other art work that makes money. Just keep working with the big goals in mind.

If you wait for a show invitation to start making something big or important, you may never get around to creating significant artwork. Too often, I have heard from artists expressing disappointment that they didn't  get invited to be part of a particular exhibition even though they had been thinking about making something that would have been "perfect" for the show.  Don't wait for a show to prompt the making . . .  start making.  By waiting to make something "for a show" ... they lost an opportunity.

The emphasis is on making work that is challenging, significant, and stands on its own . . .  not making work that fits into a show in a few weeks.   Make work that you will be proud of for a lifetime.  Sooner or later a show or some other opportunity will turn up that is right for your work -- not the other way around.

HERE IS AN EXAMPLE:
I just finished the project Pick Up Your Pencils, Begin. It took the better part of five years. I often had to put it away until  I had time or help available to work on it.

Most often, the bigger or high risk projects aren't necessarily the ones  that will sell, but they may become the "show stopper" that establishes your reputation years later.

Here is my real life example.    The  day before I finished Pick Up Your Pencils, Begin, a major magazine emailed about writing an article on a topic highly relevant to this work! Wow!!!!! They need photos of the installation, so now I need to find an exhibition space.

This wasn't magic. I have also been working on documenting the construction of this artwork, writing about it on my web site, Facebook, my blog, Crafthaus and other social networking sites.

The editor had become aware of this project from my web site. I've had a link on my HOME PAGE ever since I started the project.

Apparently editors and writers spend some of their time "trolling"  the internet for ideas and new work. Marthe Le Van, editor for Lark Books talked about this during her presentation for the Professional Development Seminar. A lesson to all of us to keep making your work, documenting your progress, never give up...steady progress wins the race!

MAKE WORK YOU WANT TO MAKE and then... find an exhibition space.

Anyone know of an exhibition space for Pick UP Your Pencils, Begin?

I'd love to hear your ideas! There are 3-4 weeks before the article goes to press.

Harriete

You can see the documentation of Pick Up Your Pencils, Begin on my web site.

NEXT POSTS on ASK Harriete:

• Is it fruitless to even think of creating something fast to get into a show?

• How Do You Find Exhibition Opportunities For Finished Work?

Behind the Camera: Secrets Revealed in a PhotoShoot with a Model

A photographic image with a model is the most challenging photo session ever. It takes at least three, preferably four, people at a minimum. Take my word for it.

Below are two sets of recent photos, one the "money shot" followed by the "behind the scenes" reality.

Money Shot #1

Now a behind the scenes revelation. We had five people working; the model, photographer, stylist/lighting, gaffer and documentary photographer. The day we took the photos was less than ideal as it was very windy, and getting windier, but we wanted to be outside with natural light. We had to make it work! Everyone had already scheduled the four hour time slot. 

Photo by Alyssa Endo      Model Jen Ohara

We were all fussing over the model. Even so much as one hair out of place looks terrible in a photo. I must have put a ton of hairspray on the model's hair. The jewelry photos are filled with warm glowing sunlight, but in fact, we were all freezing including the model.

The photographer is leaning in to check exposure up close so the camera is not tricked by reflected light.

Below, two people (me and Ace Shelander) are both holding panels to bounce the light (indicated by white lines and arrows) on to the model. I am using a flexible hoop that is metallic on one side and white on the other. Ace has white foam core.

Photo by Alyssa Endo.

We also had two mirrors (outside of the camera's view) bouncing light into the eaves above the model. This showered the model from above with beautiful soft white light. On the ground, below the model, are large sheets of white foam core bouncing light up into the eaves of the house.


Photo by Alyssa Endo.

The light bounced from the foam core is very white, soft and subtle. This is why it works so well - no harsh shadows, just warm glowing light. Of course, because the sun keeps moving, you have to frequently move the mirrors and bounce cards to maintain the light.

Photos by Francois Duhamel © 2008
DREAMWORKS LLC.
All Rights Reserved.

Bouncing light is not for the lighthearted. The entire movie, Revolutionary Road, with Leonardo DiCaprio and Kate Winslet was filmed in a small Connecticut house. They constructed huge bounce cards to push soft white light from outside into a small house. (left photos)

To maintain the consistent feel of natural light outside the Connecticut house, giant 12' x 12' ultrabounce reflectors and large muslin sheets were arranged to bouce light into the scene.


 
 
Photo Credit: Alyssa Endo

Everything counts for a great shot. So much can go wrong when using a model. Above, the shirt is too wrinkled. We are are all looking at the angles of the model, the bracelet, the slightest angle of the hand, her fingers, wrist, arm, body, clothing and jewelry. We tried to fix the shirt in the photo below.


Photo Credit: Alyssa Endo

The photographer, stylist, and gaffer are all responsible for spotting problems.

 

Money Shot #2

Photo by Alyssa Endo

I am using this amazing shot (above) for an outdoor billboard.  

Below, check out the reality.

Photo by Alyssa Endo

I had two jobs during this shoot, bouncing light on to the model, while trying to "see" what the camera sees. The photographer only gets to look through the camera. The stylist and the assistants need to see what is going on around the model and the camera. What is happening with the light? Everything counts when doing a shoot with the model.

 

Money Shot #3

Photo Credit: Alyssa Endo

In the above image of jewelry by emiko oye, the model glows serenely. The necklace looks fantastic! The reality was a lot less polished, until we got it right.

Below, you can see how we were meticulously and precisely placing the necklace. Every link of the chain had to lay just right....or it looked terrible. We spent a lot of time, while the entire crew waited, trying to fix the necklace chain just right - so many shots were rejected because of the chain not laying right.

The model doesn't look too happy, the light is shining in her eyes.


Photo by Alyssa Endo

Here I am are taping the necklace to the back of the model with masking tape because it needed to lay a little higher on her chest. The light is glowing....but in fact we were freezing (which is why the model is wearing sweat pants). It was getting more windy by the minute. The model had to stand in the shade while we bounced sunlight into the photo and into the model's eyes. The model can't let any of this show.

Money Shot #4 

Photo Credit: Alyssa Endo

Look closely at the photo above, the bracelet looks like it is poking the model.We have to see this during the shoot and fix it.

Photo Credit: Alyssa Endo

We used a white sheet as the background. I ironed the sheet which we stretched and thumbtacked to the house, but it still had wrinkles. Next time I am going to try a sheet of white laminate.  

The fabulous shot below.

Photo Credit: Aryn Shelander

Did you wonder why the model is not standing in the sun? If the model stood in the sun, the lighting would be too harsh with strong shadows. Soft, diffuse, and glowing light is one of the secrets to success.

There are a number of things you need for a photo shoot that don't cost much, but help lead to success. Stay tuned for the next post.

Harriete

HOT TOPICS! Questions From the Audience at the Professional Development Seminar

The AUDIENCE asked the questions that they wanted answered! The energy was immediate and electric! The questions on target for what artists and makers deal with every day. 

Discussion was further sparked by the interlaced perspectives and recommended strategies of the Niche Marketing and Photography in Flux speakers during the 2011 SNAG Professional Development Seminar.

Now you can listen online to the ENTIRE PDS LUNCH DISCUSSION.

Below are TWO SAMPLE QUESTIONS discussed on the podcast.

AUDIENCE QUESTION:
"What camera should I buy?  There are so many, it is kind of confusing."
"There is a growing number of digital cameras out there. Rather than suggesting specific brands," Roger Schreiber suggests "looking for 'certain features.'  It is absolutely important that you be able to control the focus, that you be able to control the aperture, and you be able to control the  shutter speed. You should be able to tell the camera what color balance you want to use. And all the major manufacturers make those kinds of cameras. You should also be able to shoot in RAW. You don't necessarily have to have interchangeable lenses."

"I would totally ignore Megapixels. More pixels don't necessarily make for a better photograph.  I would think in terms of the size of the sensor. There are some cameras with full size sensors."

"Look at the features and look at the sensor size.  'Point and shoot' cameras have an absolute tiny sensor in them that is less than 1/2" across. Some are packed with 14 megapixels. You are never going to see the details and shadows without a larger sensor. The handout by Roger Schreiber [Download Schreiber_Photo resources] lists a number of web sites. "A couple of them will lead you to sites with camera reviews."

Do some research first. Learn what the terms RAW and sensor mean [so you understand the features described in the camera reviews].

emiko oye suggests renting a camera and lenses from your local camera store for a day. You don't need to spend $5,000 to get a professional camera. Her favorite lens is a 24 to 104  mm (which is like a portrait lens).  She adds, "jewelers you should definitely buy a macro lens."

 

AUDIENCE QUESTION:
"How do you decide which work should be photographed by a professional photographer?"
Doug Yaple advises, "Look at your work and pick out the  strongest pieces. If you have a really low budget,... pick out the five strongest pieces. And if you want, when you go to the photographer, take more than that, and talk about them ALL with the photographer. See what will translate into [the best] image. It may not be the piece you think. Work it down to fit your budget and then use those images as long as you can."
 
Christopher Conrad says: "Only use the images that are good. If you put out poor images of your work, it reflects on your work. If you can only afford two good shots, only put up two good shots. Don't put up five bad ones."

Hilary Pfeifer says: "I think it takes a lot of time when you're first starting out from school to get a good body of pictures. I remember it felt like four or five years for me until I could pick from the cream of the crop, but it is an investment. It's a really, really important investment to have professional photographers take the most important pieces."

Many more great questions . . . .
Below are a few highlights from the lunch discussion.  Take time to listen to the entire podcast.

Is there a new standard emerging for photographic images?

What are the ethics of PhotoShoping your work images? Where do you draw the line between taking out dust specks and filling in a solder gap?

Who owns the rights to the photograph? What about "use fees" for a cover shot?

What kind of "master image" should you receive from your photographer?

Where do you find your market?  Etsy, web sites, or traditional galleries?

Ideas for marketing your work and visibility for your blog.

Harriete

* The podcast refers to the following documents:

Model Consignment Contract in the Professional Guidelines.

Roger Schreiber Photo resources with photography links.

Handout for the Photography in Flux speakers.

DIGITAL IMAGES File Extensions a quick tutorial
PPT and HANDOUT.Digital Images from the SNAG Professional Development Seminar 2011

View another webinar from Harriete Estel Berman

Is There A New Standard in Photographic Documentation of Art and Craft?

This is the critical question Andy Cooperman, Brigitte Martin and I were trying to figure out when we organized the program Photography in Flux for the Professional Development Seminar.

Is there a new photographic standard emerging in the photographic documentation of art and craft?

After an entire morning of excellent PowerPoint presentations Andy Cooperman asked the first question at the Professional Development Seminar lunch discussion,

"Is there a new photographic standard emerging?

"What I have been calling verity," sometimes called authentic,  "grunge meets Etsy, meets D.I.Y.. Companies like Banana Republic are spending a lot of money to look spontaneous."

Marthe Le Van, Editor of Lark Books had a articulate response that captured the morning, "I think rather than a [new] standard, it is an expansion of the boundaries." "Rather than changing standards, they are just expanding." It has to be looked at on a "case by case situation, when it works, I think it works really well, but some- times it doesn't work." 

Photographer Christopher Conrad added, "also more people are doing their own shots. So one out of 99 might really work."

Roger Schrieber, professional photographer, continued the conversation with a reference to his theater background. "There is the old theater adage, if it works leave it in. I approach photo shoots with the artists not focusing on the latest trends, but I want to shoot the best picture I can of that art."

Jewelry by Hanna Hedman
Photo Credit: Sanna Lindberg
Photo shown during Marthe Le Van PPT

"And the art usually tells me what it wants to look like. I was really impressed with the photographs that Marthe was show- ing us from Sweden. Very, very interesting stuff, but there are a lot of juries that wouldn't want to see that; but you've got to know what the juries want to see. You have to read your mail. You have to know what the juries are looking for. If that works, do it."

 

The above comments were taken from the recorded audio of the Professional Development Seminar. I have listened to all the lectures and discussion very carefully.  For hours I edited the audio recordings minute by minute. I learned so much from the speakers.



While it is pretty scary to dictate absolute standards, I think some suggestions might help artists and makers veer away from mistakes toward better photographs of their art and craft.

So here are photo recommendations:

STYLING OF PHOTOGRAPHIC IMAGES SHOULD MATCH THE WORK.

KNOW THE JURY OR AUDIENCE FOR IN THE PHOTOGRAPHIC IMAGE.

AVOID WRINKLED OR DRAPED FABRIC. It looks over stylized and like a manufactured jewelry ad.

AVOID TEXTURED OR EMBOSSED PAPER. The background becomes distracting.

BACKGROUNDS SHOULD NOT HAVE A THEME . . . such as water, water washed rocks, sand, moss or leaves. These backgrounds distract attention away from the work and tend to look commercial at best.  Thematic backgrounds rarely translate well in a juried  situation.

COLORED BACKGROUNDS SHOULD BE USED WITH CAUTION. It can be eye catching or inappropriate. Think about three issues before adding color backgrounds: the work, the audience, and the color. It needs to be the perfect combination. While colored backgrounds may be fine for something fun such as a postcard special graphic, or online marketing they can look out of place in other contexts. Another problem with colored backgrounds is that they can look dated. The trend setting color for the decade, screams passé in a few years. Avoid colored backgrounds if this is your only professional quality shot. Your photos need to be an investment with a timeless quality.

BLACK BACKGROUNDS ARE VERY CHALLENGING. Many people think that black backgrounds are automatically a good choice for light, white or silver work. The reality is that most black backgrounds looks like a black hole with no shadows except in the hands of the most skilled photographer. If you want black, lay down a sheet of glass on top of the black background to soften the appearance and create a subtle reflection.  Another option is dark gray instead of black as a safer choice.

A FINAL WORD OF ADVICE. The competition for people’s attention is enormous. The general public has become far more sophisticated in judging quality photography by seeing professional quality photos every day in advertising, books, magazines and online. The quality of the photo is the perceived quality and status of the art or craft.  Your image sends a very powerful message. Make it the best messenger possible for your work.

Two documents in the Professional Guidelines may help you with your images.

GUIDE TO PROFESSIONAL QUALITY IMAGES

WORKING WITH DIGITAL IMAGES EFFECTIVELY

Are you wondering if you images are good enough? Would you like me to look at your images? Contact me through Facebook or Crafthaus. It is an easy way to share your images with me. Maybe we can work together to improve your images? ASK Harriete

Photography in Flux Editors' Perspective - Are You Creating a Captivating Image?

Photography in Flux - Editors Perspective starts with Suzanne Ramljak, Editor of Metalsmith Magazine, writer and curator. It continues with Marthe Le Van, Editor of Lark Books. The recorded program is now available for you to hear on line with the original Powerpoint from the SNAG Conference.

As I edited the audio from the SNAG 2011 Professional Development Seminar I hung onto every word. I learned a lot about the editors perspective on the qualities of the best photos, and mistakes they see every day.

This newsstand is an example of visual pollution in our "media saturated culture". Suzanne Ramljak, Editor of Metalsmith Magazine, presented this as an establishing image in her lecture for Photography in Flux

How appropriate for a magazine editor to consider how the magazine competes on the newstand with many other publications, candy and packaging, all at the same time.

Did you ever think about how  photos of your art work compete with the "5,000 ads" people look at every day?

  Irving Penn still life photo

Suzanne Ramljak offered many fabulous quotes:
"The still life photographer makes the photo as compared to takes the photo."  

Are you making the photos of your art work fantastic, or are you merely taking a photo? Ramljak reinforces that "artists need to create a captivating image."

"There is no neutral background in a photo."

"Artists need a captivating image to compete with the visual noise without sacrificing the integrity of the object."


Click for more examples of The Art of the Reproduction on line.

Suzanne declares: "The web poses new challenges. Anything can happen to your images and does." Just consider this compilation of the painting, Birth of Venus, by Botticelli. Each square is from a different web site. The variances represent the half truths, misrepresentations, and lack of control artists, photographers, and editors have when images leave their computer and travel at the speed of light on the Internet.

The Photography in Flux- Editors Perspective continues with Lark Books Editor, Marthe Le Van. Among the many issues addressed were the questions: What is a good cover photo? Is there a national, European, Asian or international style to jewelry photography? 

Getting down to the nitty gritty of photos on the Internet, Marthe confronts us with the reality of small postage stamp size images on a gallery website or social networking site. Do the photos of your art or craft have a strong enough graphic quality to get a viewer to click through on the image?

Le Van answered a question that I have always wanted to know. What makes a good cover shot? What do you think? 

Earrings by Beate Klockmann  from the
book 21st Century Jewelry edited by
Marthe Le Van

 Is it possible to break all the rules and still have a great photo?

What are your questions? Can ASK Harriete offer answers? Open the discussion.

Listen and learn from the opinions and experiences from both of these experienced editors in Photography in Flux.

 

 

 

 

 

Photography in Flux (Editors Perspective)
from the SNAG PDS 2011

View another webinar from Harriete Estel Berman

 

Jewelry on the Model - Skin, Skin, Skin

Marthe Le Van, Editor of Lark Books, says that the best background for jewelry is skin, skin, skin!!!! By this she means that jewelry on the model produces a very effective photo.

Spanish Collar by Peter Hoogeboom; Photo by Henni Van Beek

During Le Van's lecture for the Professional Development Seminar she showed some of her favorite images with models from the new book, 21st Century Jewelry, The Best of the 500 Series. In this post on ASK Harriete, I have borrowed a few images from her PowerPoint and offer a preview to next Tuesday's post.


Rebato by Jesse Mathes; Photos by Michael Cavanagh & Kevin Montague

Next Tuesday, ASK Harriete will include the SlideShare PowerPoint with audio from the SNAG 2011Professional Development Seminar. You can see Marthe Le Van's and Suzanne Ramljak's Powerpoint and hear the audio recording from the 2011 SNAG Conference.

Hear what both editors have to say about the best and worst photographic images. What makes a good cover shot? What is the future of print?

 
Resin Droplet Neckpiece by Seainin Passi; Photo by Richard Boll

Marthe Le Van said that a book of photographs with page after page of standard photographic backgrounds would be really boring. The model shot brings jewelry to life and a more exciting book!


Floating Brooch by Kayo Saito;

When I first saw her lecture in May, I had not seen the book 21st Century Jewelry.  Now sitting on my desk, this is the most beautiful jewelry book to date from Lark Books and a must for EVERYONE interested in contemporary jewelry.

The range of jewelry goes from traditional gold and diamonds to irreverent plastic, crotchet and found materials. No matter your inclination or interest, you will find examples that will excite your passion about jewelry.

The embossed hard cover of the book focus on the book as a precious object in itself.

Camino de Santiago by Rebecca Hannon

On occasion a model is the only way to show work effectively as in the body adornment by Rebecca Hannon (above photo).
 

"How to make a rabbit from a sock" to
"how to make a necklace from a frock"
Fran Allison © 2004-2005
Fabric, silver, steel cable, resin.
Photo Credit: Deborah Smith

However, nothing is more challenging than getting a great photo with the model. So much can go wrong; hair, make-up, clothing, eyes, mouth, posture, hands, jewelry placement, plus all the usual issues of background and lighting. The list goes on...

 

Mardoll II by Lori Talcott; Photo by Doug Yaple

Stay tuned for a future post on ASK Harriete about using the model with tips for getting a better photograph. In the meantime,  I can hardly wait to share Photography in Flux - Editors Perspective (next Tuesday). While editing the entire audio I heard it many times.  

Bead Embellishment Bracelets by Harriete Estel Berman
Photo Credit: Philip Cohen
 
In the interest of full disclosure: I was invited to be one of 85 guest jurors to select work for 21st Century Jewelry. Some of my descriptions and quotes were used in the book along with an image for three of my bracelets.

Harriete

Photography in Flux - 3 Photographers Offer Tips and Tricks for Quality Photos

Doug Yaple, Christopher Conrad and Roger Schreiber all offered solid information with tips and tricks for producing quality photographic images of art and craft. Now EVERYONE can benefit by watching and listening to the same PowerPoint presentation given at the 2011 Professional Development Seminar during the SNAG Conference in Seattle.

Here are a couple of highlights from the photographers commentary followed immediately by the SlideShare presentation. "Learn how the visual language of photography can represent your work most effectively."

  Photo by Doug Yaple of glass goblets
  with a more "classical" approach to the
  background.

QUOTES from DOUG YAPLE:

"The market and the audience should drive the decisions in how to photograph your work."

Ask yourself, "What is the image to be used for? Online advertising, articles in print, cover shots, jury submission?"

"Make the story come out in your photos."

Doug Yaple was very articulate in describing his photographic images and why they are so effective. Listen to the Photography in Flux presentation and learn.

            *****

Photos by photographer Christopher Conrad

QUOTES from CHRISTOPHER CONRAD:

TIP 1. WORK WITH GOOD LIGHT
Be careful about colored walls and mixed lighting sources when photographing your work.

TIP 2. USE TOOLS TO SHAPE AND MODIFY THE LIGHT
He makes a couple of suggestions for bouncing light into the photographic image.

TIP 3. BUILD A SOFT BOX FOR DIRECT SUNLIGHT.
Conrad tells how.

TIP 4. USE A TRIPOD
Did you know that a "lower ISO reduces noise"? I didn't.

TIP 5. A TRICK FOR SHOOTING PAINTINGS, QUILTS OR LARGE FLAT GEOMETRIC OBJECTS. It's so simple! Listen to Photography in Flux and learn. 

 

          *****

Close up photographic image by Roger
Schreiber of ceramic by Carol Gouthro

Photographer ROGER SCHREIBER says ask yourself:
"Who is your audience?"
"Do you have enough time?"

 

He continues: "Everything that falls within the frame is part of the photograph. Shadows, highlights and background are all part of the picture." He is so right. When looking at something in person, the human eye has a natural tendency to edit. The photographic image is another thing entirely. Everything has equal importance in the flattened picture frame. This makes even the tiniest flaw look like a major distraction. Here is an interesting article about the Camera vs. The Human Eye.

 

          *****

Photography in Flux (Photographers PPT) from SNAG PDS 2011 Gl from SNAG PDS 2011

View another webinar from Harriete Estel Berman

Finding a photographer? Working with your photographer? Getting the shot you want.

 

RECYCLE White w/Black © 2011
Post consumer recycle plastic
Artist: Harriete Estel Berman
Photo Credit: Aryn Shelander

Deadlines for new opportunities are always on the horizon so there is no time like the present to prepare for future opportunities.

Are you ready with amazing, quality photographic images?

Photo by Roger Schreiber
Glass by Jim Mongrain

Photographer Roger Schreiber says: "Quality sells" and "Remember more people see the photographic image of your work than ever see it in person."

Would you like to know the tips and tricks of professional photographer?

 

Next Tuesday's post on ASK Harriete features
Photography in Flux.  Recorded during the 2011 Professional Development Seminar this SlideShare presentation with audio includes the three Seattle photographers who tell us how to create better photographic images. Stay tuned, put it on your calendar.

 Williams Sonoma Bracelet
  from the California Collection
  Photo Credit: Philip Cohen

Your images need to be spectacular!

Wondering how to find a photographer?
Study the photos in the 500 Lark Books, top quality publications or look on the SNAG web site for a list of photographers. Another idea is to contact local art schools for graduating photo students.

   California Collection  © 2009
   Recycled tin cans
   Artist: Harriete Esetl Berman
   Photo Credit: Philip Cohen

Look for a photographer that takes great shots in your media, and style. You can also use the Professional Guidelines document titled, Guide to Professional Quality Images, to evaluate the photographer's portfolio before you ask them to photograph your work.

  California Collection © 2009
  Recycled tin cans, wood, paper
  Artist: Harriete Estel Berman
  Photo Credit: Philip Cohen

WORK WITH your photographer.
By that I mean, discuss in advance the type of image you want, the angle of the piece, and the side or view that you prefer. Photographer Doug Yaple wrote an excellent handout for the Professional Development Seminar during the SNAG 2011 Conference titled, Guidelines and Tips for Working with Photographers. Download DougYaple

  Fulsome Game
  Photo Credit: Philip Cohen

I often make a sketch of the image that I have in mind for my photographer, Philip Cohen.  He is welcome to experiment with his own ideas, too, but I usually have a good idea of what I want to see in the final image and make every effort to make my expectations clear.

 emiko oye suggests:
"If you aren't a skilled photographer (yet), best to hire a professional studio photographer and ask if you can observe the shoot. Some won't mind if you quietly look on while they shoot your pieces, but it's best to ask."

"Do your homework before your appointment and look at magazines and books for the type of shots that you are attracted to and bring these to the attention of your photographer so they know how to style your shots."

Get the shot you want!
During the PDS, Doug Yaple said, "Don't overlook getting in tight to accent something critical."  Your detail image should be able to stand alone on its own merits AND be a companion image to your full view. Carefully consider the meaning, content, story, or inspiration behind the work and try to capture this in the detail photo. 

The time and money required to produce professional quality images is relatively small in comparison to all the work you put into a finished piece.  It is an investment. The pay off comes from the free publicity, visibility and long term credibility that you can receive when you are included in a exhibition, book or magazine!

ACTION PLAN:

Read GUIDE to PROFESSIONAL QUALITY IMAGES  in the Professional Guidelines. 

Find the photographer for your work.

Plan the photographic image while you make the work.

WORK WITH YOUR PHOTOGRAPHER to get the best shot.

Do you want to learn how to take your own photography?
Next Tuesday's post includes tips and tricks from three professional photographers from the Seattle 2011 Professional Development Seminar. They generously offer advice on how to improve your photography. Stay tuned, put it on your calendar or subscribe to ASK Harriete.

 Harriete
www.harriete-estel-berman.info

Shooting with a model:
Images to the above left show a recent photo shoot for my RECYCLE series. The top photo shows the entire team it takes to get a great model shot. Left is photographer Aryn Shelander. I am holding the reflector (right), but also worked as the stylist for the photo shoot. The model was Jen Ohara.  Both photos by documentary photographer Alyssa Endo. More information soon on important tips for shooting with a model.     

NICHE MARKETING - 3 Presentations Offer Great Information

The Professional Development Seminar from the 2011 SNAG Conference was recorded and is available for listening and viewing!

Now you can see the same presentations and hear what our niche marketing experts had to say.  I enjoyed the real time events but learned even more when I was editing the audio....and I think you will too! Here are a few highlights, (then scroll down for the SlideShare presentation with audio).

Alexander Girard mid-20th century
dolls sold to adults were a stylistic
influence on Hilary Pfeiffer new line
of wedding toppers.
Photo from H.Pfeifer PowerPoint.

Our first speaker, Hilary Pfiefer, describes her "Bunny with a Tool Belt" line that keeps her going in this tough economy.

Hilary explains that her  childhood interests evolved into her wedding cake toppers sold on Etsy (left photos). She says these are among the few things that people keep and display in their homes after the wedding. Every one of her wedding cake toppers delights...check out success by looking at Bunny with a ToolBelt!

 

Next up, the Professional Development Seminar continues with emiko oye.  Watch the SlideShare and take notes. No matter what your medium or style, emiko offers solid information that translates to success from gallery exhibitions to Etsy.

 emiko's TOP five tips
for Getting Your Business Out There!

1. Professional Quality Photography
This is THE MOST IMPORTANT TIP for getting exposure for your business. First impressions are everything so why not wow people's socks off from the get go!

2.Take Risks Don't Get STUCK: Balance
Even though you may sell a ton of one design in one style, don't get stuck just putting all your focus on making the same thing over and over. 

Balance: I'm a staunch believer in making important exhibition pieces (right images) as well as production, ready-to-wear. The exhibition work definitely helps sell the production work and gives broader exposure.

3. Take Note & Be Accessible
Pay attention to how people respond to your work, feedback helps define your niche market. Be Accessible: means have a web presence. As I've said in my lecture, "If you aren't online, you don't exist". Get involved in social media with Facebook, Twitter, and  Crafthaus.

  All jewelry (above right) by emiko oye
  from repuprosed LEGOS
  The Tire Earrings are included in new
  Lark book 21st Century Jewelry

4. Be Ready Set Go!
When opportunity strikes, you must be ready with line sheets, images, bios, and artist statements. Flickr and your web site are great for being ready for the press.

5. Get Involved.
While we love to hole ourselves up in the studio and make to our hearts content, it's important to get involved in your community, local, & national arts organizations.

emiko is posting a more detailed information  about each tip on her blog this week.

 

Our third Niche Marketing speaker, Deb Stoner, has a multi prong approach to support herself which includes teaching workshops in  eyeglass fabrication, custom designing and fabrication for Donna Karan, along with her jewelry & photography. She keeps it fresh by being open to opportunity. Read the Handout Deb created for the PDS about Niche Marketing.  Download DebStoner_Final

 

                      *******

Niche Marketing from SNAG PDS 2011

View another webinar from Harriete Estel Berman

The Professional Development Seminar was organized by Andy Cooperman, Brigitte Martin and myself, Harriete Estel Berman. We had a strong program brimming with information and over 500 attendees but the Internet offers the opportunity to share this programming with a much larger audience.

Please feel empowered to share this SlideShare or post on ASK Harriete with your fellow artists and makers (with  proper attribution, of course).  If you want the HTML code to paste this NICHE MARKETING SlideShare into your own blog, web site or organization newsletter, just write to me at:  bermaid [at] harriete-estel-berman [dot]info. It is super easy to do.

Our sponsors include the NEA, National Endowment for the Arts, MJSA, and SNAG.  Stay tuned for more SlideShare presentations with audio from our PDS programming.

Photography in Flux- Guidelines for Photos of Your Craft

The recent Professional Development Seminar in Seattle highlighted some of the shifting trends in photography. Artists and makers are looking beyond the photographic standards of the graduated gray background and blurring the line between craft images and product photography.  Yet regional and topical preferences – or biases – still exist.

For the PDS, three professional photographers and two editors were invited to bring their insights and discuss their opinions in front of an audience of 500 people.  The PDS committee (Andy Cooperman, Bridgitte Martin, and I) wanted to reveal any new standards and resolve the best choices for professional quality images.

What we discovered is that there is no universal standard.  What works for one person’s work, may not work for another style of art or craft. What works for an on line marketplace  will not be a good choice for a juried show.  It is possible that the personal style of the work and the style of the photography may produce a signature style image.

Does this sound confusing? Certainly, and all the emerging capabilities make photography more in flux than ever. Marthe Le Van, editor from Lark Books, even went so far as to show rather unusual images of jewelry on the model (left image), and a few minutes later describe her idealized standard photo for the cover of a book. They are not the same.

So even a best case scenario with excellent quality work that is visually and conceptually appropriate for the cover of a book, a maker now has to consider different photos for other media that reflect varying degrees of personal style.

It may be prudent to produce a range of professional quality images each of which could be appropriate for a particular situation or an intended audience.

A great publicity shot may be eye catching with an unusual model or brightly colored background.  A great image for a juried show may not be the same as a fantastic image for publicity. 

The photo to the left from Niche Marketing speaker Hilary Pfeifer is fabulous!  The photography matches the style of her work. Would this work for everyone? Definitely not. Does she use this photo for everything?  No. She also has images with a more neutral background.

 
Fantastic images are an investment in your work.

Here is what Roger Schreiber said about this photo of Carol Gouthro's work. "The question of a piece looking better in a photo than in "real" life comes up often when talking to artists. It's all about careful lighting and isolation. Isolating the art work from surrounding distractions always makes anything look better. But it is still the same piece. Nothing has changed. Eliminating all the light and putting it back where I want it shows texture and form. And it gets rid of window reflections and ceiling light reflections."

If you can’t afford professional photography for ALL your work, then have one professional level photograph of your best piece for the year or the best piece from a series. That will be your “publicity shot” that represents your work for postcards, business cards, and publicity.    

Another option is buying or renting a professional quality camera.  Take a class and learn the variables of manual settings ...  and  use a tripod.(If you listen to the PowerPoints with audio Robert Schreiber makes recommendations for features that a good camera should have.)

Now that several experts have declared that almost any approach can possibly produce a good photo, here are a few tips that I would recommend as gospel to get a photograph that will be appropriate 95% of the time.

BACKGROUNDS:

Avoid backgrounds that distract from the work.

Backgrounds should not have a theme such as water, water washed rocks, sand, moss or leaves. These backgrounds distract attention away from the work and tend to look commercial at best.  They do not translate well in a juried show or juried book situation.

BLACK BACKGROUNDS ARE VERY CHALLENGING. Many people think that black backgrounds are automatically a good choice for light, white or silver work. The reality is that most black backgrounds end up looking like a black hole with no shadows. Try dark gray instead of black as a safer choice. Another option is to lay down a sheet of glass on black to soften the appearance and create a subtle reflection. 

LIGHTING
LIGHTING SHOULD BE FROM ONE SOURCE. Do not mix lighting sources. All daylight, for example, or all tungsten, but not both. Do not use fluorescent, CFL’s or incandescent lightbulbs. Daylight on a foggy day is the easiest full proof white light.

USE THE WHITE BALANCE IN YOUR CAMERA. Take a photo of white paper. Does it look bright white? If your test photo isn’t looking white, something is wrong with your lighting.  This apparent color cast will not produce good photos.

WEBSITE PHOTOS SHOULD BE CONSISTENT IN APPEARANCE. It is fun to experiment with unusual backgrounds or models, but be sure to take a few shots with more standard graduated gray to white background.  Ideally, a group of photos should present a coherent theme; not just a bunch of photos.

FOCUS, Focus, focus. Learn to use the manual settings on your camera to produce the longest depth of field. If this topic is too technical, then take a photography class.

Read ASK Harriete for multiple posts about creating quality photographic images. 

A final word of advice. The competition for people’s attention is enormous. The general public has become far more sophisticated in judging quality photography by seeing professional quality photos every day in advertising, newspapers, bulk mail advertising and online. Any lesser quality images will diminish the perceived quality of the art or craft.  Your image sends a very powerful message. Make it the best messenger possible for your work.

List of Photos starting from the top:
Digital Images from PowerPoint at the PDS.  (To be published soon.)

Roger Schrieber's photo of glass by Jim Mongrain

Hilary Pfeiffer wedding topper from her PowerPoint presentation at the PDS. (To be published soon.)

Photo of Model from Marthe Le Van's PowerPoint presentation at the PDS. (To be published soon.)

Recent Metalsmith Magazine cover from Suzanne Ramljak's PowerPoint presentation at the PDS. (To be published soon.)

Images from emiko oye's PowerPoint presentation at the PDS. (To be published soon.)

Hilary Pfeiffer elephant topper from her PowerPoint presentation at the PDS. (To be published soon.)

Roger Schreiber photo from his web site of Carol Gouthro's ceramic

Deb Stoner Glasses from her PowerPoint presentation at the PDS. (To be published soon.)

Camera

Anonymous photo found online with bad background.

Anonymous photo with black background found online.

Traveler Chocolate Flower by Harriete Estel Berman

Graphic.

Promoting YOUR art or craft at ZERO COST with Professional Results

One of my favorite online tools for visibility is SlideShare.

What is SlideShare? SlideShare is a FREE site where you can upload PowerPoint Presentations.  You can add MP3 files to your presentation to have audio along with your visual presentation. SlideShare also works with Keynote. 

My primary purpose was to create more visibility for my artwork and to provide additional content links for my website.  The SlideShare presentations can easily be embeded on social networking sites, your own web site, or blog posts. Here is just one sample of a SlideShare presentation (below).

California Dream Teapot

View another webinar from Harriete Estel Berman

An extra benefit is that many (and perhaps even
most) of the people watching my SlideShare presentations are discovering my work from
SlideShare itself or some other social networking
site. 

Here is a link to my page of SlideShare PowerPoint presentations. Go ahead and explore the SlideShare site.  You’ll see that SlideShare presentations cover a really wide spectrum of topics using a variety of approaches. There are some fantastic presentations that don't even use audio at all! How easy can it get!

A SlideShare Profile page is very easy to create and personalize. It is very similar to creating a Profile on any other social networking site.

Tags for your presentations are just like any other social networking sites, but they offer a great visual.

 

I just uploaded a new SlideShare tutorial about How to Build a Better Drop Shadow by Christopher Conrad from the SNAG Professional Development Seminar 2011.

While working on more SlideShare presentations from the 2011 SNAG Professional Development Seminar, it reminded me of how effective this can be for your own work.

Stay tuned for upcoming posts from ASK Harriete and step by step tips for your own SlideSHare.

In the meantime, here are some dazzling statistics!

The SlideShare from the 2010 SNAG Professional Development Seminar at the Houston SNAG Conference has exceeded 5,800 views!   

The “Not Just Another Pricing Lecture" PowerPoint presentation was uploaded to SlideShare initially. Then an audio recording was edited, uploaded and synchronized to the PowerPoint so that people can view and hear the exact same program as the Conference attendees!

Subscribe to ASK Harriete or check in regularly so you don't miss one post in this series. Learn to make your own SlideShare presentation without spending one penny.  

Harriete

CODE in Color Backgrounds for Art and Craft Photography

The background color for photography of art and craft is a hot topic with cool imagery.

The professional photographers and the editors at the Professional Development Seminar during the Seattle SNAG Conference gave this trend a very mixed answer, "yes" and "no".

A color background extends the canvas with which to create an expression. The color of the background can set up the context and communicate a broader message in the photograph. Let me repeat that with emphasis, a color background is sending a message whether the subject is food, cars, or artwork.

Photo by Christopher Conrad

In Christopher Conrad's photo above we read the cool blues and purples as mouth watering and refreshing. The work and the background are both sending a tightly coordinated and integrated message. To the proper audience the photo can be fantastic!

In the Metalsmith Magazine cover to the left the icy blue creates a dramatic color background. This color blue is crystalline like the brooch. They echo each other in a different way. The purpose of the cover is to be eye catching on the newsstand. The colored background is editorial, and opinionated, definitely not neutral....but the question remains whether this particular color background is sending the message that the maker wants to send about their work.  

While an editor may prefer an unusual color background for the cover of a magazine, the same answer will not be appropriate for a juried show, an Etsy listing, or gallery advertising.  It can be a total turn off to a judge or jury, and still a great choice for only one particular situation.

Let's look at a few examples with color backgrounds ........

People often associate color with emotions. It you want people to think your work is girlie or lighthearted, think pink, or pastel as in the photo to the right from Hilary Pfeiffer's Etsy shop.

Red is emotionally charged and often represents seduction, anger or power. Think Ferrari red, but then... it really isn't thinking at all. Red is emotional. Red is often used in restaurants from McDonald's, to high end exclusive eating establishments because colors in the warm color family mildly excite the metabolism.

Blue can be a calm emotionally restorative color as in the baby blue to steel blue range, whereas, darker navy blue is business, conservative, or elegant as in the photo to the right with a classic sensibility by Doug Yaple.

These brown backgrounds from Christopher Conrad food photography work perfectly. The background says chocolate. Notice how the soft lighting even gives a halo around the glass on the left further focusing the eye on the object. 

In contrast, the next photo on the left, shows an ineffective brown background. The texture is distracting and fails to accentuate the object. The chocolate brown color has nothing to do with the jewelry. (I obscured the actual pendant to protect the identity.)  Do you think this background feels attractive, looks professional or enhances the work? The brown texture reminds me of dirt, mud, painted sand paper or sh*t. This is an example of how a poorly chosen color background diminishes the effectiveness of the photo.  A standard graduated grey background would have served better.

In David Huang's photo to the left, the graduated background color resonates perfectly with the top lighting and the colors of the sterling silver vessel and the root/fibrous forms.

What happens when the background and the object are not working in concert? The results will be confused....and the viewers are left wondering why, why, why.

Choose careful or experiment with variations.  Know why you have selected a color background whether green, blue, teal, or red.

What is the purpose? What is the artist/maker trying to say?  Ask your friends for critique.  The risk is that photos are rejected from books, magazines, exhibitions or juried opportunities just because of a poor quality photo.

What works for one person’s work, one cover or postcard may not work for another situation, artwork, or artist's style of work.

Are you wondering what your color background says.....?

Harriete

Hands in the Photograph -The MAGIC Is ALL In The Hands,

The world of art and craft is no "slight of hand" magic show.

Yet, there is a growing trend for including hands in photographs displaying jewelry, accessories and clothing. This increases the need to pay attention to the hands used as props.  

A poorly chosen hand prop can detract from the work in the photo and ruin any chance of being accepted in a book, magazine, show or exhibition. The harsh reality is that a bad photo is summarily dismissed as bad work. Conversely, a good photo is assumed to include good work until proven otherwise.

During the Professional Development Seminar (SNAG Conference 2011) several speakers mentioned the hand in photographic images.

 Marthe Le Van, editor at Lark Books, showed us three example photos (left) with cut-up artist's hands, wrinkled skin and chipped fingernail polish. Needless to say, these photos were not included in a Lark Book.
 
Even a brief look online delivers an overabundance of BAD photos that include regrettable choices of hand models or awkward hand positions. I have resisted the impulse to show more bad photos -- they are too easy to find.  I think you get the idea.
 
Great skin, unblemished hands and a perfect manicure with light to neutral nail polish is the first requirement for a hand model.

The gesture of the hand is equally important.

I secretly watch America's Next Top Model (please don't tell anyone) to learn about using models in photography. One of the primary issues when they critique the photos is the gesture of the hand. Avoid the claw shape hand position or a clenched fist. (Perhaps the photo to the upper left is an attempt to be forceful, to hide dirty fingernails, or maybe the ring doesn't fit, but it isn't working.)

   Bracelet and Necklaces by  Reware
   Artist: emiko oye
   Photo Credit: emiko oye
   Model: Jen Ohara

   Bracelets by Reware
   Artist: emiko oye
   Photo Credit: emiko oye
   Model: Jen Ohara

Graceful hands are your best choice to help viewers focus on the work.

In the photo to the right, a graceful hand gesture effectively holds an entire handful of necklaces. What a great way to capture the variety in your line or work.

Can't you just see these photos BLOWN UP LARGE in the back of a craft show booth. What a way to attract an audience!

In the photo to the right, a stack of bracelets on the model's wrist with a few in her hand displays a whole group of work. Both of these photos are effective ways to showcase multiple pieces at the same time. They would be a great postcard, advertisement or publicity shot.

Would I send these shots for a juried show?  Hmmmm....that is a risky decision. Some shots, however fabulous, are not appropriate for every situation. It depends on the opportunity.

  Bracelets and Necklaces by Reware
  Artist: emiko oye
  Photo Credit: emiko oye
  Model: Jen Ohara

While these shots look simple, there were more than 30 other shots that were rejected from the same photo shoot. Plan on taking 20 to 40 shots of each pose, position, or idea.....then adjust the lighting, the bounce card, the model's hand, and the jewelry/accessories/clothing  until the photo is just right.

How do I know?  I was there as the "photo stylist" and emiko oye was the photographer. It was a lot of seemingly repetitive effort, but in the end, a magical day.

Harriete

Photography in Flux - BAD Backgrounds Yield BAD Photos - Don't Let This Happen to Your Work

While our panel of experts from "Photography in Flux" at the recent Professional Development Seminar (SNAG Conference Seattle) did not declare a "standard" for photography backgrounds, they did make it clear that BAD BACKGROUNDS create BAD PHOTOS. 

To the right are two examples of bad backgrounds from Marthe Le Van's (editor of Lark Books) Power- Point presentation.

In the following photos, I have concealed the identity of the jewelry item so that you can focus on just the bad backgrounds (and to protect the identity).  A short description of the PROBLEM and suggested SOLUTION follows each photo so that you can avoid such problems in your photos.

PROBLEM: In the photo above the texture of the background is too similar to the texture in the metal. (I would swear this is a dirty paper towel, but I could be wrong.) Additionally the silver metal is very close to the color of the background. There is not enough contrast between the earring and the background.
SOLUTION: A plain background without texture would have improved this photo. Perhaps a darker grey background may have provided more contrast between the earring and the background.

 

PROBLEM: The background in this photo has a distracting crease. When photographing jewelry, any defect in the background is simply too obvious.
SOLUTION: If your cardboard or paper background is damaged, do not use it. It will ruin your photo along with ruining any chance that your photos or work will be accepted.

 

PROBLEM: There is too much background in this photo. It appears that the necklace might be draped over a round ceramic container. The glaze has a moderately distracting pattern and a shiny reflective surface. The reflected "hot spot" on the container makes the photo not so good.
See the bright white reflection on the upper right? It ruins the overall image because it distracts the viewer from looking at the necklace. Obviously this photo was taken with a single strong light source (not diffuse lighting) because the same hot spot is on the necklace.
SOLUTION: A plain background would be much less distracting. In addition, a diffuse or softened light source can be created by using a translucent paper or by bouncing strong light off a foam core for a softer light.

PROBLEM: This necklace appears to be draped over the bottom of the same ceramic container. In addition to all the problems described above, we are distracted by looking at the random pattern of the unglazed ceramic bottom which is unfinished and unattractive.
SOLUTION: Do not drape your jewelry over bowls, cups or plates of any kind, ever. This never looks like a professional quality photo because professionals don't do this. Find another solution.

 

PROBLEM: The background for this photo is inconsistent and distracting from the pendent. The highly reflective surface creates dark shadows and washed out highlights.
SOLUTION: A plain simple background allows your work to shine, without competing with the background.

PROBLEM: Do not use draped fabric for your background. It always looks commercial and corny.
SOLUTION: Plain paper or a photographic background is a conservative but safe choice that will work for most situations.

 

PROBLEM: These earrings are draped over the rim of a cup. While this is a common practice, it is NOT a good photo. What do earrings have to do with a cup or bowl? Nothing! Professional photographers don't drape earrings on a cup or bowl. In addition, the background behind the cups is even more distracting with color, light and reflection.
SOLUTION: Earrings can be laid on a piece of paper, or hanging from a model or mannequin like this earring photo on the left by earring by Andy Cooperman.

 

 

 

 

 

PROBLEM: The dark shadow on the left side of pendent and the pendent blend together. It creates a dark left half to the photo lacking interest. In addition, the pendant is dwarfed by too much background and the background has a touch of green in the upper right hand corner. Why? This is not O.K.

SOLUTION: Your background needs to be consistent within the entire frame. Also bounce light into the dark side of the pendent with foam core or aluminum foil over cardboard. See below for an improved photo.

SOLUTION: I fixed this pendent image in Photoshop, lightening the left side of the photo enhancing the pattern and texture. Also by cropping off the green bit of background the pendent becomes the sole focal point of the image.

Bad photos are not limited to jewelry. The challenge of getting quality photographic images is very difficult for all media. Artists and makers should take it to heart that quality photographic images are interpreted as quality items, and vice versa, bad images are interpreted as poor quality work. Great images can lead to professional success.

A BAD background sends an unintended message. This message may be amateurish, commercial, over-stylized, or a dated appearance.

Most of these images were selected off the Internet without permission. In most cases I obscured the actual item to avoid embarrassment by the maker.

Stay tuned to ASK Harriete for the next photographic issue raised during the Professional Development Seminar program Photography in Flux. The PDS was brought to you by the NEA, MJSA, and SNAG.    

 

Looking forward to the next post.

Harriete

Photography in Flux - We Have a Twitter Question!

During the Professional Development Seminar as part of the SNAG Conference we had "live blogging" by Tara Brannigan AND we had a Twitter question!

The question was addressed to Niche marketing speaker emiko oye from Tonya Davidson. Since we ran out of time during the PDS, she has answered it on ASK Harriete.

 “emiko, What tips do you have on finding models and determining costs?”

emiko says: When shooting your jewelry on models, it is important to select models that will not be distracting and that will be as complimentary as possible to your pieces.

 

 

 

 

 

Good skin and posture is first and foremost.

As we heard Marthe Le Van comment during the Photography panel, as an editor she is very much turned off by body hair, cuts, bad manicures, and other distracting blemishes.


While it is permissible to Photoshop out pimples and blemishes, you're better off starting with a healthier skinned model, especially if your Photoshop skills are less than expert.

  Academy of Art fashion show hires
  professional models for showcasing
  student work. Necklace by Elliot Gaskin
  

Dancers, yoga practitioners and actresses/actors are the best models. They are most aware of how they hold themselves in their bodies. Dancers and actresses are most comfortable in front of the camera, plus know how to apply their own makeup.

 

 

 

Don't know any yogis, actresses or models? Post signs at dance and yoga studios, find the studios on Facebook and comment until someone replies. Ask your friends who they know, friends of friends are better contacts than cold-calling.


Photo shoot with emiko oye as photographer. It takes a whole
crew to work with a model.

Tips from emiko before shooting your work on a model:
1. A manicure prior to their shoot time is important if you're shooting closeups of hands. Pay for the model's manicure or offer to reimburse them.  

2. Makeup is essential, even if it is just pressed face powder, mascara, and lip gloss, the application of these makes a huge difference, especially in closeup shots.


3. Control flyaway hair with hair product or have the model pull their hair back into a bun or ponytail.
 

 

Necklaces by Curtis Arima
Do you think the nipples are distracting?

4. Try to avoid complete nudity unless absolutely necessary for the piece and unless your model has the most perfect body. Nipples are distracting.

5. Think about the clothing your model will wear and either ask them to bring several pieces to choose from, or provide something that will fit them.

Payment
I pay my models by the hour, including dressing/makeup prep time. It doesn't hurt to ask yourself what kind of wage would you want to earn? What is the cost of living in your city (NYC, NY models will cost you more than Des Moines, Iowa models, for example).

How strenuous or difficult will the shoot be? (Is your work cumbersome or uncomfortable and thereby wearing it for over an hour a real chore for the model?)

Friends may prefer to trade for your jewelry, but I always offer to pay as an alternative, because people will work harder for you knowing they're getting money in exchange. Don't take advantage of friends, those favors only go so far--just think how you would want to be treated if the tables were turned!

Photography by emiko oye
Extremely Curly Recycled Bracelet
Artist: Harriete Estel Berman

Remember to take many, many photos from all angles, change up the lighting, and have a surgeon's eye for detail during the shoot. You do not want to have to recreate this shoot!
Have fun!

Thank you emiko for answering this question on ASK Harriete.

How to Build a Better Drop Shadow in Photoshop - A Step-by-Step Powerpoint and Handout

The recent Professional Development Seminar during the SNAG Conference offered an informative program titled "Photography in Flux." One of the pressing issues in art and craft photo is the growing popularity of the stark white background, often with a stylized shadow near the work.

As part of the Professional Development Seminar, Photographer Christopher Conrad prepared a Step-by-Step HANDOUT and PowerPoint for "How to Build a Better Drop Shadow" in Photoshop. Now both of these are available on line for you to download and practice.

Both the PowerPoint and the Handout are step-by-step color images of this process in Photoshop. There is no complicated text, but beautiful didactic images so that you can do this yourself to improve the photographic images of your work with a soft and subtle shadow.

Find the Handout from the Professional Development Seminar How to Build a Better Drop Shadow - A Photoshop Tutorial by Christopher Conrad from the SNAG Professional Development Seminar on my website. It will also be posted on the SNAG web site soon.

Below is the Step-by-Step Photoshop Tutorial as a PowerPointHow to Build a Better Shadow - A Photoshop Tutorial by Christopher Conrad

View more presentations from Harriete Estel Berman

Harriete

The issues surrounding the white background for art and craft photography was discussed extensively on ASK Harriete several months ago. You can find the posts about shadows below. Your comments are welcome either on this post or the previous posts. Your experience and opinions can help other artists.

Previous posts in the series Side by Side Comparisons of Different Photos:
 Side by Side Comparisons - the White Background, Can You Cut It?

Side by Side Photos - Website Backgrounds Should be Consistent

Side by Side Photos -Clean or Complex Backgrounds?

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

HANDOUTS from the Professional Development Seminar include tons of information

Survey results from the Professional Development Seminar attendees indicates interest in topics that have been covered in past years. This reminded me of the information and HANDOUTS already available.

Below are links to all the handouts from the
SNAG Professional Development Seminar starting with the oldest at the top. 

COMMISSIONS from PDS 2007
                    
ARTISTS OPENING GALLERIES from PDS 2008

WEB 2.0 TECHNOLOGY PDS 2008

NEW MARKETING TRENDS PDS 2008

SUBMITTING WORK to GALLERIES and RETAIL ESTABLISHMENTS - A four part series.

Galleries: Are They Right for You?
by Don Friedlich

Introducing Your Work to a Gallery
by Harriete Estel Berman

The Nuts & Bolts of the Gallery.Artist Relationship
by Andy Cooperman

Galleries: Issues to Consider After Your Work Has Been Accepted  by Andy Cooperman

The Art of Selling and Pricing Your Work PDS 2010

NICHE MARKETING AND PHOTOGRAPHY PDS 2011




Digital File Extension Tip Sheet PDS 2011 (above)

A Plethora of Information at Your Finger Tips.

The last few days have been a whirlwind of information at the SNAG Conference.

Today's post will share information already available on line. Stay tuned for more information and blog posts about issues raised at the SNAG Conference, along with podcasts and SlideShare PowerPoints of the actual conference content from the SNAG Professional Development Seminar .

Here are the links for today.

There was LIVE BLOGGING by Tara Brannigan of:
A Smaller Conference Experience lunch discussion with Glenn Adamson and Lola Brooks

AND

The Professional Development Seminar. This includes three hours of programmng and the lunch discussion.

If people want to read from the very beginning, including the lunch discussion with Lola Brooks and Glenn Adamson, they should go to pdsnews on Tumbler and read from the bottom up.
 
If people want to read just the PDS and follow-up Q&A, they should go to the bottom of page four on pdsnews on Tumbler and read up until they reach the top of the first page:

Tara asked me to tell you that she did her best to ensure the content was accurate, but her fingers were flying fast and furious. She was typing the entire time!!!!!!!  She says, "Some sections are paraphrased or perhaps lacking a bit of context, just due to the limitations on how fast I can actually type."

IF you have any questions about what was said, leave a comment on ASK Harriete. I will do my best to contact the speakers directly.

There are THREE HANDOUTS from the SNAG
Professional Development Seminar. At this time they can be found on the Professional Development Seminar page on my web site.  

The Professional Guidelines  offer two documents that are also very helpful and related to this information:
GUIDE TO PROFESSIONAL QUALITY IMAGES
WORKING WITH DIGITAL IMAGES EFFECTIVELY

A Blog Talk Radio interview with Niche Marketing speaker Emiko Oye and me, Harriete Estel Berman, can be found on Jay Whaley Blog Talk radio. (The very beginning is a little garbled for about a minute....keep listening.)

The Professional Development Seminar is "GRRREAT!"

I've just finished organizing the Professional Development Seminar HANDOUTS and PowerPoints from our speakers. I get a sneak preview and they are "Grrrrrreat"!!!!!!!!

The handouts are available early for people who would like to print their own copy before, during or after the SNAG Conference. We are printing 500 copies, but expect our audience to be much larger!

The handouts are available on line even if you aren't going to the Conference for those who would like to prepare for the live blogging during the Professional Development Seminar.

One of the handouts is a Step by Step Tutorial for Adding a Drop Shadow in PhotoShop. This handout, prepared by Christopher Conrad, has over 80 images showing how to create your own fabulous images.

Photographer Doug Yaple created a three page handout, Guidelines and Tips for Working with Photographers. This is just the frosting, with no flakes, and the beginning of the "Grrrrrreat" information that will be happening at the PDS.

Photographer Rober Schreiber and our Niche Marketing speakers emiko oye, Hilary Pfeiffer, and Deb Stoner have prepared informative PowerPoints that are also a "Grrrrrreat" visual feast. I can't wait to hear what each one of the speakers has to say.

Suzanne Ramljak, editor of Metalsmith Magazine, asked for more time for her lecture! Marthe Le Van from Lark Books will give us the inside scoop behind the scenes of art and craft book publishing.

Harriete

P.S. I leave early Thursday. See you in Seattle, or stay tuned to Twitter ,Facebook or ASK Harriete for updates.

Listen to Jay Whaley Blog Talk radio on Saturday 3:00-3:15 for live interview between me and Jay Whaley.

Funky revelation below:

Here I am in 1975 kissing my Grandfather. He is wearing a classic 1975 leisure suit during a party for my sister. I will be wearing this same dress and earring (I can only find one) at the 2011 SNAG Conference 1970's party in Seattle. Imagine that. A sight not to be missed!

RGB or CMYK, web or print? Get ready for the Professional Development Seminar!

Get ready for the Professional Development Seminar this Saturday.

One of the topics is Photography in Flux: Technical Issues, Media and Style. The issues are complicated.

 

The world of photography for art and craft is changing rapidly. Is your photography up to date? Does it represent your work effectively?

Just to be sure that there is no confusion (before we hear the opinions of three photographers and two editors), I am giving a short tutorial on digital images. Did you read the last post on Digital Image (extensions) - Or alphabet soup? A quick tutorial.

Next:
Do you know the difference between RGB and CMYK?

Both RGB vs. CMYK define the specific color space of a document. By assigning, or tagging, a document with a color profile, the application provides a definition of actual color appearances in the document.

RGB is for web/screen viewing.

RGB is a digital camera’s original format.

RGB stands for the colors of light: red, green and blue.

RGB is for web/screen viewing but some digital printers use RGB, so it is always best to ask which format they prefer.

 

 

                                                        Photo Credit: Emiko Oye

CMYK is for print. 

CMYK stands for the ink colors cyan, magenta, yellow and key (black).

Don’t convert your images to CMYK unless instructed to do so by the printer.

Converting to CMYK results in lost data unless your Photoshop Layers are flattened first.

Stay tuned for live blogging from the PDS at the following locations:
http://PDSnews.tumblr.com and http://www.twitter.com/PDS_news this coming weekend.

You can print your own copy of the Handout early.  ASK Harriete will post an announcement. (The handouts are amazing by the way with lots of good information from our speakers.)

Learn more about the Professional Development Seminar this Saturday with our photographers Douglas Yaple, Roger Schreiber, and Christopher Conrad along with editors Marthe Le Van of Lark Book and Suzanne Ramljak, Metalsmith Magazine.

Topics include:
• Are you being judged by the style of your images?
• How much post production is acceptable and who should do the work?
• Current trends in background and composition.
• The model or the pedestal?
• And much more....

More information about WORKING WITH DIGITAL IMAGES EFFECTIVELY and GUIDE TO PROFESSIONAL QUALITY IMAGES is available on line from the Professional Guidelines.

Harriete

 

LIFE Flower Pin by Harriete Estel Berman will be show at the SNAG Trunk Show
1900 5th Avenue, Seattle, WA
Sunday, May 29th from 3pm - 5pm

LIVE BLOGGING for the Professional Development Seminar in Seattle, WA

FOR OVER A YEAR Andy Cooperman, Brigitte Martin and I (Harriete Estel Berman) have worked on planning for the
Professional Development Seminar...
and it is almost here!

This is scheduled for Saturday, May 28, 2011
9:00 AM -12:00 noon...followed immediately by a brown bag lunch discussion.

We will cover two topics:
Niche Marketing with:

• Hillary Pfeifer
• emiko oye
• Deb Stoner

Photography in Flux with three photographers and two editors:

• Christopher Conrad
• Robert Schreiber
• Doug Yaple
• Marthe Le Van, Lark Books
• Suzanne Ramljak, Metalsmith Magazine

The Professional Development Seminar is part of the SNAG Conference, but it is also open to the public.

Anyone can come and listen to this information for $40 at the door.

No pre-registration is necessary. If you live in the Seattle area or know anyone who does this information is not to be missed by any artist or maker.

This year we're trying something new with the Professional Development Seminar!

We know everyone can't all be there in person, so we're bringing the PDS to you! 

Tara Brannigan will be blogging live during the Professional Development Seminar with quotes, links, photos and more at the following locations:
http://PDSnews.tumblr.com
http://www.twitter.com/PDS_news
 
Check it out and stay tuned as we kick off this year's PDS
on Saturday, May 28, 2011, 9:00 a.m. to 1:15 PT! 

In the next few days, I will be offering background and information about the upcoming  Professional Development Seminar.

Wait till you see the handouts! They are fantastic!

Wait till you see the PowerPoint presentations from our speakers. I am working on putting them together now! The information is fabulous.

Stay tuned for sneak previews!

 Did you miss the previous posts about photography. ASK Harriete worked through some of the challenging photography issues for artists and craftspeople? Scroll through the long list of posts. Quality photographic images are the #1 most important issue for artists and makers.

The PDS is sponsored by  the NEA and MJSA.

What's in a Name? Is Your Artist Identity LOST or FOUND in a sea of names?

Harriete,

Should I have a business name?  I’m stumbling and struggling on how to come up with a name.

Signed,
A reader in search for a name!

While this question is a condensed version of questions from readers, it represents a fairly frequent issue. It also highlights concerns that are relevant to the Niche Marketing theme for the upcoming Professional Development Seminar  at the Seattle SNAG Conference.

PDS speakers include:

Hilary Pfeiffer who uses her own name for her serious work, but calls her wedding toppers business "Bunny with a Tool Belt".

emiko oye refers to her jewelry line as Reware (though I noticed that the web site name is actually "reware style.")

Deb Stoner has always chosen to do her work under her own name as her artist identity.

What I want to ask all our speakers and readers of ASK Harriete:

"Why did you choose to operate under a fictitious business name rather than your own name as an artist or maker?"

"How did you pick this particular business name?"

My primary concern with a business name is the difficulty that most people have developing even one artistic identity, let alone two. In most cases I believe it splits awareness you have built and confuses potential customers or your online network.

It would seem to be a lot more focused to keep one name for your web site, email, Facebook, LinkedIN, Flickr, all 2.0 social networking and on-line marketing . One name, or a variant of your name, constantly reinforces one singular identity. Repeated consistently at every site helps the one identity to gain recognition.

There are many examples of companies in all industries who are well known under an individual name such as Jack Lenor Larsen, Ralph Lauren, Tommy Hilfiger, Vera Wang (right) and Thomas Kinkade.

To add further emphasis to the idea of one name, it is considered a strong marketing advantage to have a singular identity to represent a brand. Examples include Aunt Jemima, Mr. Clean, Dear Abby to Papa John's, or personal testimonials that create intimacy with a brand such as Keira Knightley in advertising for Channel.

Artist's already have a name to associate with a product. Why would we dilute this asset by creating a company name?

Here are some practical suggestions about names that may enhance the effectiveness of an identity.

• Is the spelling of the name unique in some way?

• Would your middle name or maiden name create a more unique name?

For example, my mother made up her own spelling for Harriete when I was born. At this point, it works really well to differentiate my Harriete from all more common spellings of Harriet, or Harriette. Look up Harriete on a Google search with an "e" at the end. Tell me what happens.

Think about your identity name carefully.  If you are making up your own business name, make it memorable. It seems to me that "Bunny With a Tool Belt" is wacky enough to be memoralble. That is good marketing. On the other hand, on her postcard (above right) Hilary Pfeifer did not put her name anywhere on the card. "Bunny with a Tool Belt" is the business identity.

I admit to being confused by this approach. All the name recognition gained for either your business or your own name doesn't really benefit the other...unless you market them together.

PRACTICAL CONSIDERATIONS FOR YOUR BUSINESS NAME should avoid using a term in your business name that has many other associations. Ironically, "reware" (used by emiko oye for her web site and business identity) has many other search results (shown to the left) from reware clothing, to a reware business for solar bags, solar backpacks, computer parts,  and software. Starting out with a business name with many other search associations just makes it harder to stand out as a singular identity in any niche market for your business. (Try typing in Reware in an image search to see what happens.) 

If there is a list of competitors with the same or similar business names, it is hard to get a top search engine ranking for your business.

 

So in summary, I'd suggest working with your own name and making it distinctive and memorable.

What is your solution to this deliemma and why? I'd like to hear what the readers of ASK Harriete have to say to add insight to this issue. What are the search results for your name, business name and web site? Are you Lost or Found?

Harriete.

Future posts will be about Tag lines and improving SEO for your images and web site with easy suggestions.

Discovering Your Niche Markets for Increasing Web Site Visibility.

The Professional Development Seminar is sponsoring an hour of discussion about Niche Marketing.  Questions for our speakers include the following:

• How to discover a Niche Market?
• Should you use your name or a business name?
• Should you have a tag line?

These three issues are interrelated and applicable to all artist and makers. The topic is enormous! Everyone has a niche audience (or even several niche markets), we just have to figure out who they are and how to tap into the potential.

In a series of posts, ASK Harriete will tackle these issues and how they impact web site visibility for artists and makers. This series will include tips for Search Engine Optimization (simple and easy to understand) without technical talk offering ideas that you can readily implement to bring more visibility to your web site.

This post is devoted to Discovering Your Niche Markets for increasing web site visibility.

Driving traffic to our web sites is not a passive activity.  It isn't effective to simply put up your web site and wait for traffic.  "If I post it, they will come" is a hollywood dream.

Driving traffic to your web site takes some effort to find niche markets.  This is the creative part but, we need to raise our consciousness to see the opportunities. It all revolves around, What will interest other people?

Don't just look at the art and craft world for interested viewers. The identifiable art/craft world is small and rarefied.  However, if you think about all your activities and topics, I bet you will find multiple niche markets for your work.  Somewhere out there in the Long Tail of the Internet, there are people who don't know your work and how amazingly relevant it is to their interests.

Here is a recent example of discovering a niche market and then driving traffic to my website that actually prompted this post.

I am in the final phase of a four year project constructing a gigantic bell curve entirely out of pencils -- quite literally, thousands of real pencils. The work is a commentary about the impact of standardized testing on education.

A few weeks ago, a curious looking pencil caught my eye and I happened to do a quick Internet search.  To my amazement, I learned that it is a "collectible" pencil.  What a surprise?  It never occurred to me that one pencil may be worth $30 to $45!

Then I realized another of my pencils was printed with a pencil collector's name, address and the American Pencil Collector Society.  Now looking further online, I learned that there are blogs about pencils and pencil collectors! Who would have thought that this pencil niche existed!!!!!!  This is the Long Tail in the shape of a long skinny pencil!

My first Internet search discovered pencils.com.  They normally feature a pencil artist every Monday. They said, "Although you're not drawing art with these pencils, you are creating art right out of pencils!" This resulted in a feature post on their website about my artwork titled, "Pick Up Your Pencils, Begin."

If you read their short post about my pencil sculpture, you will see more niche marketing.  Pencils.com used the blog post about the featured artist (me)  to bring more visibility to two of their "niche markets" - collectible pencils and an link to selling pencils for taking standardized tests!  

While the artist feature post on Pencils.com about Pick Up Your Pencils, Begin  may or may not result in a purchase of my work or an exhibition opportunity, you never know. Maybe someone will invite me to exhibit my pencil bell curve at their pencil convention. Now that my awareness of pencil associations is raised, I looked online. There are pencil conventions all over. Imagine that? More untapped niche markets.

In addition, the blog post on pencils.com is driving a bit of extra traffic to my web site. The more traffic to my web site, the higher my ranking. The higher the ranking the more people will see my art work about pencils....

The web has a Long Tail, and I am going to ride that long tail where ever it goes.

How can you make The Long Tail work for you?  Can you think of a material, color, design, subject, or any other aspect that is unique to your work? Try doing a search. The blossoming of so many blogs and web sites about the most arcane of topics means that they are looking for entertaining ideas for their readers.  Your work may become the subject of an upcoming post! 

Seriously, time to put your thinking cap on. Have you considered the many possibilities to find your Niche? Are you ready to ride the Long Tail? You might find new customers, clients, collectors or exhibitions for your work that you never expected.  

Harriete

Stay tuned for more ideas and discussion for niche marketing, business names and tag lines. Pro and cons please get ready to weigh in with your opinion.

The Long Tail is an affiliate link and definitely recommended reading for learning how closely connected the internet and niche markets really are for you work.

Nudity, Nipples or TMI in Your Photos

TRUE CONFESSION: I am NOT trying to sell a new car, TV, or any other consumer product with the allure of sex. But is this tactic from consumer advertising as effective in the art and craft community?

Recently during the photo series on ASK Harriete the subject of nudity, nipples, or TMI ("too much information") in photos of jewelry, clothing and small objects was raised by a number of readers.

Andy Cooperman commented about the juror's dilemna when judging photography submissions. "While jurying exhibitions, I have invariably come across images in which the work (usually a neckpiece) is featured frontally on a nude (usually female) model. "

   "Propagation/Production"
  Sterling Silver, Copper, 18k
   © Curtis Arima

He continues, "While this offers certain benefits, it is most often a turnoff to me as a juror because I feel that there is a manipulative aspect to the image. Am I responding to the work or to the body? Am I responding as a man or as a juror? The work had better be VERY good for me to get past this feeling and accept it. No one wants to feel that they are being manipulated."

 

"Spiculum Necklaces"
and "ball and chain necklace"
Sterling silver, and 18k gold
© Curtis Ariman

Brigitte Martin from Crafthaus added: "Andy's point regarding the choice of model and how much skin is revealed to manipulate a buyer or jury is spot on. I would not put certain 'tactics' above some artists. In a world loaded with information, why not add a little something to be noticed.... I am sure it is done on purpose. "

 

She adds: "Can I as an artist use this to my advantage? Should I be employing this technique at all?  Is it ethical and under which circumstances does this work?  Most importantly, when and where does it not work? Oh boy, what a can of worms."

I agree with both Brigitte and Andy. From my perspective, the nude in a photograph of jewelry, clothing or three dimensional objects is problematic for lots of reasons.

"Spiculum Necklace"
Sterling silver, 18k
© Curtis Arima

Considering the difficulty of getting a great shot with the model that does NOT distract from your art or craft, is it better to focus on the work with less of the body, nudity, or nipples?  At what point is the model distracting or enhancing?

What do you think?

Is this TMI?

Harriete

Thank you to Curtis Arima who has allowed images of his work to be used in this post on ASK Harriete.
Find more of Curtis Arima's work at his web site or visit his studio at: the SawTooth Building, 2547 8th Street Studio 30B, Berkeley,CA 94710.

Participate in our photography discussion during the  Professional Development Seminar.

Photo Styling - "Reality" or Getting Real - an Authentic Opinion

We've been discussing photos for almost two months, there is so much to consider. Your photos are the MOST IMPORTANT tool in the artist's or makers tool box.

 

 

Your photos are like Superheros traveling at the speed of light, working 24 hours a day, shrinking and expanding at the touch of a button. The folks at Search Engine People sum up this discussion about images perfectly:

“The old adage is that you can’t judge a book by its cover. But you do it anyway, so it’s useless to pretend that others don’t, as well. Content may be King, but Appearance is the horse it rides in on, be it a magnificent steed or a gimpy nag.”

One of the hot button topics is photo styling which will be discussed at the Professional Development Seminar in Seattle.  Photo styling as in the stylistic appearance of the photos for your work.

The question we are all asking is, "What attributes make an effective photo in documenting art or craft?"  My observation is that there is a shift in the marketplace toward the concept of somehow "capturing authenticity."

Advertising and marketing increasingly strives toward "real" and "just like me".  Even when models are used, the models are presented with a less formal appearance, almost moving to ordinariness. Advertising is suggesting a more "authentic" context or "back story", instead of glamor or seduction.

But let's not be fooled. The models, however "real" in their appearance are still models. They have just spent hours in hair and make-up, their photos are taken by professional photographers with 10 assistants to make sure that the "authentic" look doesn't look fake. But this "real and authentic" look is still fabricated, and the photos are still airbrushed.

I am still amazed that television has successfully coined the phrase "reality show" to describe completely synthetic scenarios populated by selectively skewed "ordinary" people who are thrown into bogus competitions. Or what about commercials that LOOK like they are REAL testimonials? Is a "behind the scenes" Victoria Secret Fashion Show really real?

Art and craft photography is trending right along side this current style in marketing. To quote Martin Lindstrom from the book, Buyology: Truth and Lies About Why We Buy. "What we're beginning to witness in the advertising world today is a fascinating marriage between the world of the airbrushed supermodel and the world of the ordinary consumer -- a blurry union between perfect and not so perfect."

As the selling of "authenticity" grows, the marketing of art and craft will continue to evolve.  However, I am concerned by an overemphasis on enhancing reality with artificial authenticity.  

The handmade object remains as authentic as it gets. Art and craft doesn't need to dumb down our work or reduce the quality of our images to enhance reality. We are still selling the one thing that can't be mass produced, the touch of the hand, the quality and craftsmanship from personal care and attention by artists and makers that really do care.

What do you think? Do makers need to enhance authenticity or style reality in the photography of their very real work?  How do you photograph and sell the authenticity of your work? 

Harriete

I will be giving a business workshop for artists and makers on April 9 & 10 , 2011 in the Harrisburg, Pennsylvania area. The Workshop information can be tailored to your interests and  is not media specific. I hope you will be able to join the workshop and ask your questions in advance so I can tailor the program to your needs.

Click here to learn about how you can attend the Professional Development Seminar programming and discussion for only $40. 

Side by Side Comparison - The Whites of The Model's Eyes? Issues and Answers

The previous post titled, Side by Side Comparison - Do You Want to See the Whites of Their Eyes When Photographing the Model?  attracted some excellent comments. A super gigantic "THANK YOU" to everyone who left their opinions.

Let's start with three related questions:
Do you like seeing the models eyes -- or are the model's eyes a distraction?
Do you prefer seeing the models entire face?
Does looking at the model's face and eyes distract you from looking at the necklace?

Original Photo                Version 2 Cropped w/Photoshop
"Lucia's Poppy Necklace" 2010   © Bruce Metcalf.
Mixed mediums, wood, paint. Model: Natala Covert.

Option A                                  Option B
Recycle Necklace © 2010   Harriete Estel Berman
Photo Credit:(left) Liz Hickok         (right)Emiko Oye 

First, let's diagnose the images and issues involved. To begin, the human brain is genetically programmed to look at eyes. Advertizers know this and this is why model's in advertising usually stare into the camera, and "smize with their eyes" to quote super model Tyra Banks. The model catches the viewer's eye and STOPS the viewer. High impact and high risk. Brigitte Martin from Crafthaus said in her comments, "For marketing/PR, I would most likely go with the shots where the full face can be seen."

In contrast, most of the comments from readers  preferred the images that were cropped above the lips so that the focus was entirely on the necklace. These shots were considered more appropriate to highlight the work, especially for jury slides.  The model's eyes are percieved to be a powerful distraction from the jewelry. Andy Cooperman also pointed out that when "including the model's portrait, the amount of the frame occupied by the actual piece becomes much smaller." GOOD POINT!

As an alternative, a common practice when using the model in art and craft photography is to divert the gaze. The model either casts their eyes down (as in photo above of Bruce Metcalf's necklace) or diverts their gaze to the side as in Marjorie Schicks Spiraling Over the Line  (left photo). 

AVOID THE GUILLOTINE: If you don't want to include the entire profile, then crop the photo just above the lips.  This eliminates the guillotine/amputation problem discussed in a previous ASK Harriete post where cropping a photo cut off at the hand (or the head) which looks weird.  Cropping above the lips also eliminates any distraction of the eyes, hair, forehead, or ears. Much less to worry about, Phew! Even a stray hair in a photo can be really distracting.

Brigitte Martin from Crafthaus addressed the most important issue when considering a model. "Ad agencies everywhere use specific model types for specific reasons, you will not find a sexy model advertising cleaning supplies.  And "granny" won't be able to convince you to buy perfume.  The choice in model, no matter how generic the shot, will ALWAYS influence the viewer, even if you try very hard to stay neutral.

  A stylized model shot victimized by the
  amputated head approach to jewelry
  photography.
  Don't let this happen to your photos!
 

It's human nature to react to images of people and to form a subconscious opinion on the spot (DNA remaining from our Neanderthal past). That's why Kate Moss makes the big bucks."

WORDS OF ADVICE: If you decide to use a model, try to align the style of your model to the style of the work. Focus on the objective of the photo. The intended purpose, whether postcard, print, online, jury, or advertising may influence your decision on the best photo.

Harriete

Discuss these photographic images and more at the Professional Development Seminar.
Super charge your art career.

Side by Side Comparison - Do You Want to See the Whites of Their Eyes When Using a Model?

When using a live model instead of a mannequin there are so many issues to consider. Today we will look at side by side comparisons of photos from Bruce Metcalf and my own work.

Metcalf had a discussion brewing about this image on his Facebook page. He has graciously allowed me to show the original photo and a modified version for this discussion on ASK Harriete.

Now, pretend that you are a juror and you have 5 to 10 seconds to make a decision to accept or reject.  Go with your gut reaction and make an immediate decision.

Here are the photos. Below are the questions:

Original Photo     V.1      Version 2 Cropped w/Photoshop
"Lucia's Poppy Necklace" 2010   © Bruce Metcalf.
Mixed mediums, wood, paint. Model: Natala Covert.

A second set of photos illustrates a similar issue. This time the model is looking straight at you. Same necklace, different models, different poses.

Option A                                  Option B
Recycle Necklace © 2010   Harriete Estel Berman
Photo Credit:(left) Liz Hickok         (right)emiko oye 

Which photo do you like best?

Which photo better presents the necklace?

Do you like seeing the model's face or eyes? Or is too much of the model distracting?

Do the model's face and hair add important information about the necklace or is it a distraction?

Do you think the skin color is better in the Metcalf Original Photo or in Version 2?

Are there other questions that you would like to ask?

Please give your comments and opinions. 

No answers  from ASK Harriete, today.  I don't want to bias your opinion. I will aggregate a consensus in the next post.  Please leave your opinion in the comments below or on Facebook, or email me directly.

Plus, I am going to include a short Photoshop lesson soon about using Levels for photo "magic."

Discussion of the model issues will continue on Thursday when a range of opinions will be expressed.

DISCLAIMER: Obviously, the photographic images illustrating Bruce Metcalf's "Lucia's Poppy Necklace" are not the same size because I cropped a vertical shot, cutting off the model's face right above the lips. The original rectangular image is now a more square format.

I compensated a little by making the Version 2 image a little wider. If I had the original image, I could have played with the proportions a little better, but it does bring up an important point. Square images often appear more pleasing on the Internet whereas just a few years ago, a square image would have been very unusual.

Harriete

A Hand in the Photo Holds Lots of Problems - I hope these aren't your photos?

In this post, a dedicated reader of ASK Harriete submitted a group of photos where the "hand in the photo holds lots of problems."  These were selected from the Internet as "worst case" examples.  Below are 5 common mistakes and solutions to improve your photos. 

 MISTAKE #1
Hands holding jewelry.
Don't use your fingers or hand to hold a piece of jewelry or sculpture.  The fingers or a hand are always a distraction. In this example, I am betting the person held the brooch over a scanner bed, hence the black background and light on the finger tips.

A similar problem exists in the next photo where the jewelry is cradled in the hand. While the hand may have been an attempt to provide scale, this hand is distracting at best. The fingers are wrinkled and dry, the skin color distracts from the clarity of the glass, and the partial background of white aquarium stones is problematic. Notice that this is a left hand, the right hand is probably trying to hold the camera and shoot at the same time. It's not working. This is not a good photo of the jewelry.

SOLUTION: Avoid holding jewelry if a plain background will work much better. Options include pinning a brooch into a plain piece of paper or cardboard. Earring posts or ear wires can also go through the background paper.

Another solution is to use Museum Wax or Earthquake Hold to temporarily hold or "stand up" the beads, rings or jewelry on the background.

Avoid being your own hand model. Lay the necklace, beads or jewelry on a neutral background and do your best photography with two hands!
To establish scale: Write the dimensions of the jewelry/object in the description.

MISTAKE #2
Fingernails that look like talons.
Obviously, carefully manicured fingernails are important, but  these long fingernails painted in a dark, high contrast color are a distraction. Describing these fingernails as talons may be overly harsh, but you get what I mean.

SOLUTION: A lighter, less dramatic nail color may have fixed the problem. This example also demonstrates how important it is to focus on the art or craft work in the photo and avoid distractions.

MISTAKE #3
The Stiff Hand or Arm
The arm (above left) looks stiff, flat, and awkward.
SOLUTION: Have the hand in a more natural position (near the body), clothing behind the arm should not have any pattern to work as a "neutral background."

MISTAKE #4
Model not appropriate to jewelry.
In the next photo (right), the arm is too large for the size of the small, delicate bracelet.  For some reason the bracelet seems like it is in the wrong place on the arm.

SOLUTION: Jewelry should always be displayed on a model appropriate to the work. Delicate work should be displayed on a small, delicate model. Sophisticated work on a sophisticated model, etc.

MISTAKE #5
Amputation of the hand.
Cutting off the hand at the wrist is always a bad composition. (The hand may not be relevant to the work, but cutting it off never works.)

SOLUTION: Either include all of the hand or don't put the jewelry on a model's arm.

The previous post (about photographing 3-dimensional objects, clothing or jewelry) described a few of the issues when including the hand in photos. This is part of an extensive series about photography as a foundation for the upcoming Professional Development Seminar.I hope to see you there. Ask your questions in advance by sending them to me.

Also ask your questions at a workshop with me in Pennsylvania sponsored by the PA Guild of Craftsmen. April 9th and 10, 2011.

Harriete

Previous posts in the series Side by Side Comparisons of Different Photos:
Photo Magic or "POOF" Photo Disaster - The Hand as a Prop in the Photographic Image

The model or the pedestal? Which is the more effective image?

Breaking the "Rules" with Style AND Perfection - Photos that work!

Side by Side Comparisons - the White Background, Can You Cut It?

Side by Side Photos - Website Backgrounds Should be Consistent

Side by Side Photos -Clean or Complex Backgrounds?

Side by Side Photo Comparisons - Backgrounds with Texture or Pattern?

Side by Side Photo Comparisons: Colorful or Discordant?

Side by Side Comparisons of Different Photos: Black Hole or Super Sophisticated?

Side by side comparisons of different photos - the graduated background. Stunning or stupefying?

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

The model or the pedestal? Which is the more effective image?

Photographing jewelry, sculpture or clothing intended to be worn on the body presents specific challenges. The biggest question is what is the most effective  photographic image-- a model or a more "neutral" background without the figure? This is one of the topics to be discussed at the Professional Development Seminar.

Spring Green Necklace
Painted papeier mache
© 1993 Marjorie Schick
Photo Credit: Gary Pollmiller

Using a mannequin can be a striking solution, midway between a live model and an isolated object. This photo (left) of work by Marjorie Schick uses a mannequin that is stylistically consistent with the work. It works perfectly!

Don't confuse this dramatic solution with a headless muslin sewing mannequin that was "found" at a flea market. It is NOT the same thing.

On the other hand, a live model is sometimes the only solution to bring out the best for your work, but a model in the photo adds multiple levels of complexity.

If using a live model, begin with the Model Release Contract from the Professional Guidelines. At least this contract lets you be comfortable knowing that your model is allowing you to use their image in your photos.

  Scrap Leaves: B Wear Necklace
   © 2005 Boris Bally
  Constructed  from street signs.
  Artist: Boris Bally
  Photo Credit: Aaron UsherIII

 

Next decision, use a model consistent with the type of work. The appearance of your model has a HUGE IMPACT on the artwork being photographed.  Boris Bally's work on the right made from street signs finds context with a model right out of the urban environment.  If a professional model is outside your budget, use a dancer, athlete or yoga participant. Their body positions are often more graceful.

  Photo shoot
  emiko oye photographer

Lighting is KEY to great photos. Bounce cards with natural lighting is the easiest way for amateur photographers to get better "fill light" with or without a model.

 

Bounce cards can be plain white foam core, a mirror or aluminum foil over cardboard. You can also buy professional level photography umbrellas, etc. but the "homemade suggestions" work just fine.

At the shoot with a live model, be prepared. You need at least one or two extra people to hold bounce cards when you try to capture the right moment of sunshine.

For example, the photos in this post were from a recent "home grown" photo shoot.

I must confess that I've learned a lot about shooting models from watching America's Top Model. Laugh at me all you want, but if you need to use models to photograph your work, then watch this show for helpful insights. (Cycle 16 premieres Wednesday, Feb. 23!) Listen to the experts critique the photos, learn from their voices of experience. While fashion photography is not the same as photographing art and craft, there are many tips you can carry back to your own photography.

When using models, be prepared for a long photo shoot. Working with models always seems to take at least twice as long as you plan. Hair, make-up, clothing, lighting are all a significant factor. Adding the problems involved in the way the jewelry, clothing or art actually fits (or doesn't fit) on the model, is a very complex puzzle.

 

What do you think? The model or the pedestal?

The next post will be about the problem with hands in a photo shoot. Don't shoot yourself in the foot, or should I say hand. Do you know how to get great hand model photos?

Harriete 

Recycle Plastic Bracelets shown above by Harriete Estel Berman constructed from post consumer recycled plastic. Photos by emiko oye. 

Looking for a beautiful book with amazing images of the manequin and the model. Marjorie Schick's book about her art to wear offers 100's of images that might inspire your next photo shoot.

 

Watermarks on photos - Not Good, The Bad and The UGLY

   Abstract Plaid #1
   © 2010 Marie Kazalia
   Artist Oil and Alkyd Paints on Canvas

What do you think of digital watermarks and such? I cringe when I see them.
Maria Kazalia

Maria,

This is a good point to bring up during this photography series on ASK Harriete.  When you say digital watermarks, I want to focus on the watermarks on images of art or craft -- not about the digital watermarks on STOCK PHOTOS intended to drive purchase of the photo (like the left image). 

I wrote about watermarks once before, but I wanted to bring this up again and be very clear. Putting a watermark, icon, signature on top of, over, near, or in the corner of photographic images of art or craft is a huge mistake. Don't do it.

When I see a watermark on a photo, I refuse to try to look through it or past it.  The photo is ruined.  Instead, I move on.  And I believe most people react similarly.

That's my opinion.  Now here is a more rational consideration. 

The greatest value of posting images online is to get more visibility. All of the many possible venues (whether on Facebook, Crafthaus, Flickr, or your own website) help to expose your images to a larger audience.  The Internet is based on the exchange of ideas and images, yours included!  Based on the concept of the Long tail, the Internet is a fabulous opportunity to enable a widely dispersed audience to find, appreciate, and share your work.

Goof Off/Goof Up Flower Pin
 © 2011 Harriete Estel Berman
Recycled tin cans, screws.

A watermark on a photographic image discourages any blog, web site, writer, or online marketplace from copying and sharing your images. Watermarks disfigure the images. It is akin to putting the images in a virtual closet with the door shut!

 

Hand Pick Flower Pin
© 2011Harriete Estel Berman
Recycled tin cans, screw,

If the purpose for a watermark on your photos is to  "protect" them from being stolen or copied, then the Internet is the wrong place for your images.  This is the wrong approach to protect your work.

There are many more effective options for protecting your work:

• Create a unique unmistakable signature style; 
• Develop a technique that is not used by other artists or makers;
• Pursue recognizable subject matter that establishes your reputation;
• Pursue unique content issues;
• Continue developing your techniques and style so that impostors are always behind you.
• Create a strong identity for your name and your work (then impostors will be seen as just that, impostors). If a person wants to buy a Zac Posen dress, they will buy Zac Posen. If a person wants a Harriete Estel Berman, they will buy a Harriete Estel Berman. Copycats are "also rans."

Other options for protecting your work are: 

• Post smaller images (e.g.200px x 200px x 72dpi). This is not recommended, but it is a better alternative than a watermark on your images. 
• Use FLASH for your images. FLASH images are more difficult to copy. This is not recommended either. Flash can not be rendered by most phones, or I-PAD type technology. Thus your web site is not viewable online by the new mobile technologies. (A future post will provide more information on this issue.)

OK you got it! Watermarks on photos are OUT!

  Fantastic Flower Pin
  © 2011Harriete Estel Berman
  Recycled tin cans, screw,

QUALITY PHOTOS are your secret to success.~ Your photographic images can travel at the speed of light, work 24 hours a day, shrink to the size of a stamp, and expand to super viewing size.  

Harriete

We will be discussing photographic issues at the next Professional Development Seminar in Seattle with three noted photographers, and editors Marthe Le Van, Lark Books, and Suzanne Ramljak, Metalsmith Magazine. Join our discussion! 

Previous posts in the series Side by Side Comparisons of Different Photos:
Breaking the "Rules" with Style AND Perfection - Photos that work!

Side by Side Comparisons - the White Background, Can You Cut It?

Side by Side Photos - Website Backgrounds Should be Consistent

Side by Side Photos -Clean or Complex Backgrounds?

Side by Side Photo Comparisons - Backgrounds with Texture or Pattern?

Side by Side Photo Comparisons: Colorful or Discordant?

Side by Side Comparisons of Different Photos: Black Hole or Super Sophisticated?

Side by side comparisons of different photos - the graduated background. Stunning or stupefying?

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

Breaking the "Rules" with Style AND Perfection - Photos that work!

Recently, post after post on ASK Harriete has talked about the attributes of quality photographs to help artists and makers develop more effective photos to represent their work.  The "rules, standards, or conventions" are there because they reliably produce aceptable images for a wide range of situations.  Well, there are also exceptions!  I recently ran across a photograph that breaks some major rules, and it's fantastic!

The photo and artwork to the right below is from Krystal Speck.

Work by Krystal Speck at Chicago's
One of a Kind Show

Why does this image work so well? How can this artist break such fundamental rules so successfully? The answer is that it perfectly combines both personal style and accuracy.

• The exposure of the photograph is perfect.
• Focus is precise,
• Colors clear.
• The ceramic has a slight reflection to indicate a smooth surface but it doesn't wash out the work,
• The standard graduated background balances the applied graphics,
• The irreverant flower drawings parallel and reinforce details within the photo,
• Overall, a very personal style that is memorable but doesn't obsure the work.

Rickson on Crafthaus commented about this photo saying, "I love the image as it shows the whole creative process from inspiration, to drawings to finished product." The graphics are not extraneous.  They add meaning in her photos because they offer insight into the decorative elements in her work.

Now taking a look at the website for Krystal Speck, the graphics in her photos also match the web site styling perfectly. Krystal Speck establishes an identity with each photo that she carries forward into her web site. A recurring graphic (left above) is the header for every page.  A consistent header or style on every page of a web site helps develop a clear identity within the web site.

Krystal also has the more standard photos to represent her work (right below). Again the photo quality is superb. The graphics on these ceramic items match the web site graphics. This complete approach to every detail of her work and web site defines a very high level of professionalism.   

Yet, some conventions remain reliable.  The standard graduated background photos demonstrate that she is ready with her jury submission photos.

[The one criticism that I would raise about her web site is that there is no information about the work. Even when you click on the images, there is no descriptive text. I hope she adds this information soon.]

In the meantime, I hope this exceptional example offers insight into how breaking the photographic rules with style and perfection can really set you apart from the crowd.

Harriete

We will be discussing photographic issues at the next Professional Development Seminar in Seattle with three noted photographers, and editors Marthe Le Van, Lark Books, and Suzanne Ramljak, Metalsmith Magazine. Join our discussion! 

Previous posts in the series Side by Side Comparisons of Different Photos:

Side by Side Comparisons - the White Background, Can You Cut It?

Side by Side Photos - Website Backgrounds Should be Consistent

Side by Side Photos -Clean or Complex Backgrounds?

Side by Side Photo Comparisons - Backgrounds with Texture or Pattern?

Side by Side Photo Comparisons: Colorful or Discordant?

Side by Side Comparisons of Different Photos: Black Hole or Super Sophisticated?

Side by side comparisons of different photos - the graduated background. Stunning or stupefying?

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

Side by Side Comparisons - the White Background, Can You Cut It?

A white background in a photographic image has some very practical advantages. The pure white background (#000000) works very well to embed the photo across a variety of other media such as text documents, line sheets, combining images in print or creating a cohesive presentation on a web site. Here are examples in the illustrations below:

The white background in a photo image allows text to move around the image eliminating the grid format. Using InDesign or Illustrator the text can be placed around the image in an interesting format. It allows a little more creativity and interest in the layout of the page as in the example to the left from Departures Magazine.

With this idea, you can create great Artist Statements. To see an example of one of my Artist Statements with a embedded images, here is a PDF version to download.  Download Historicalteapotscoffeepots.

On a similar level, the white background allows artists and makers to create attractive line sheets with a clean professional layout. (Learn more about a line sheet in a future post, but essentially this is a list of your "line" or the production items that you sell.)

The white photographic background also provides a consistent look in groups of photos on web sites, juried applications, and on the printed page.

An example of a beautiful web site with images on white backgrounds is photographer Steven Brian Samuels.  A diverse group of works blends well into a cohesive, dramatic and up to date presentation.

Adorn © 2008
Book by Amanda Mansell
Artist:
Photo Credit: Philip Cohen

The white background has been used very effectively in the jewelry book Adorn. If you enjoy looking through a  beautiful book, this is perhaps one of my favorites in part because of the immaculate white background layout.

Adorn © 2008
Book by Amanda Mansell
Page 151
Artwork by Harriete Estel Berman

All of the jewelry in the book is on a white background. It makes the images (from a wide variety of makers) look incredibly cohesive. There is NO patchwork of the photographic background grid since all the backgrounds are removed.

In this book, I know all the work didn't arrive at the author or publisher with white backgrounds. Many of the images were cut from their photographic backgrounds (including mine) to create this very attractive layout.

Adorn © 2008
Book by Amanda Mansell
Page 85  Red Orbit Necklace (left)
by Harriete Estel Berman, (right) by
Dougehum Lee titled Draw

The amount of effort involved to cut out the images must have been really challenging. Can you imagine cutting out all those fine lines in my work?  I've included my original photo (below) just so you can see the comparison. I think they did a fabulous job on the shadows. They don't look fake.

I can see real advantages to the white background. What do you think?

Harriete

Adorn © 2008 by Amanda Mansell Page 136-137. Left: Kiroki Iwata, Wishes of leaves & Expression of Plants. Left Center Andrea Wagner, House with a White Picket Fence. Center Top Right:Castello Hansen, Untitiled. Far Right: Lucy Sarneel, Untitiled. Right Center Bottom: Lesley Strickland, Metal.

Previous posts in the series Side by Side Comparisons of Different Photos::
Side by Side Photos - Website Backgrounds Should be Consistent

Side by Side Photos -Clean or Complex Backgrounds?

Side by Side Photo Comparisons - Backgrounds with Texture or Pattern?

Side by Side Photo Comparisons: Colorful or Discordant?

Side by Side Comparisons of Different Photos: Black Hole or Super Sophisticated?

Side by side comparisons of different photos - the graduated background. Stunning or stupefying?

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

Side by Side Photos - Website Backgrounds Should be Consistent

When showing a group of photos, be sure the backgrounds are consistent. Practically speaking, if the backgrounds and/or photographic style changes from photo to photo on your web site or portfolio (or even in a juried application), it does NOT look good.

I recently studied a variety of web sites a few weeks ago for example photos.

For this post, let's look at the Anthropologie "Cabinet of Curiosities page (shown to the left) since they have a wide range of small scale 3 dimensional items. In the first example, the photographic images have an eclectic, stylized appearance, but notice that every photo has the the same background of bleached, faded wood. The web site works to pull the photos together as a group with identical backgrounds.

While the landing page for each category may be eclectic or have a stylized background, move to any other page of inventory on the Anthropologie web site and you will see that every item is photographed on the same background. While not a solid color, it has a very muted, soft pattern. The background does not distract from the work. Each item is isolated.  None of the photos confuse the customer with earrings hanging off of teacups, necklaces draped over plates, or pendants pinned on wrinkled fabric.

Each and every photo conforms to the general style of the web site and clearly portrays the work.  The photo portfolio creates a clear identity for the business with a consistent style.

Artists and craftspeople can learn a lot from major retailer web sites and their professional merchandising schemes.  Keep backgrounds and the style of photography consistent. Applications for shows, submissions to juried opportunities, or even the appearance of a web site or online marketing should look like one cohesive identity with clear emphasis on the work.

Go to any retail web site, from Tiffany to Crate and Barrel.  While they may have initial landing pages with multiple items offering mood, "warmth" or connection with their customer, when it comes to showing the merchandise, they don't confuse the customer.

 

 

Each item is shown without additional mood or clutter. Clarity about what they are "selling" is a top priority.

The same principle should apply for artists and makers. Mood, "warmth" and connection with your customer should be separated from representation of the item.

I am not saying that you must adopt the retailers' style completely. What I am asking is ....... Have you separated your merchandising from the photographic representation of your work? Do your backgrounds present a cohesive body of work?

Stay tuned to see more backgrounds issues!  Are there ways to break the rules of the graduated background with style and perfection?

Harriete

anthropologie

Previous posts in the series Side by Side Comparisons of Different Photos:

Side by Side Photos -Clean or Complex Backgrounds?

Side by Side Photo Comparisons - Backgrounds with Texture or Pattern?

Side by Side Photo Comparisons: Colorful or Discordant?

Side by Side Comparisons of Different Photos: Black Hole or Super Sophisticated?

Side by side comparisons of different photos - the graduated background. Stunning or stupefying?

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

Side by Side Photos -Clean or Complex Backgrounds?

Backgrounds with additional items or content are said by advocates to be more interesting, offering mood, style, warmth or appeal to the viewer and potential customers. In the photo to the right, the jewelry is displayed on a marble table with a jar, shell dish, and other objects all in a warm brown color group. The photo was scanned from a recent Departures magazine.

As a photograph it is very well done. The exposure is balanced with no strong highlights or dark shadows obscuring the work. Focus at all levels and distances throughout the focal plain is perfect. The circular arc of the table is a very effective device for framing the work.  So, is this a good photo to represent the work?  Does the viewer know where to focus attention?  Is this photo appropriate for all situations?  

This is a really important aspect to consider.  A number of artists and makers are showing their work with similarly styled backgrounds and groupings.  This may draw a particular audience in a particular scenario, but is it an effective representation of the work?

Photos like these are an editorial style. They can be used effectively in certain situations. 
The style of these photos adds information that shifts the viewer's evaluation of the work.  The image in its entirety establishes a narrative that may detract from or obfuscate the work. The photo now demonstrates the creativity of the stylist and the photographer as much or more than the work of the maker.

If you submitted any one of these photos to a jury for a book or retail craft show (as just two examples), the risk of REJECTION is significantly elevated. The photos are not a clear and accurate representation of your work.

A juror wants to see the art or craft clearly without editorial or extraneous styling.  A photo for a jury evaluation should fill the frame without complex backgrounds, marble texture, waterwashed stones, grids, any other distraction.

Jurors typically must make snap decisions.  Don't give them any superficial reason to pass you over.  There is just too much competition.

What do you think?  Do you take photos like this? What is your intent? Are complex photo backgrounds effective merchandizing? Do they accurately represent the work? Are you consciously selecting your backgrounds to reach different audiences?

Harriete   

Previous posts in the series Side by Side Comparisons of Different Photos:
Side by Side Photo Comparisons - Backgrounds with Texture or Pattern?

Side by Side Photo Comparisons: Colorful or Discordant?

Side by Side Comparisons of Different Photos: Black Hole or Super Sophisticated?

Side by side comparisons of different photos - the graduated background. Stunning or stupefying?

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

More posts in the series are coming....including images on your web site, and "breaking all the rules with style and perfection." 

Side by Side Photo Comparisons - Backgrounds with Texture or Pattern?

Over the last few weeks we have discussed art and craft photography and some of the tried and tested variables. The current arguments consider the impact of the "standard" graduated background or going for a bolder statement in the photograph with non-standard backgrounds.

Today's post discusses backgrounds with texture or pattern. To avoid offending any particular artist or maker by selecting their photo for critique, I searched for example images of colored backgrounds with texture and pattern in high end magazines.

This purple background with a contrasting reflection of "leatherette texture" came from a recent Departures magazine. Obviously the photographer and jewelry manufacturer thought this was a great photo that effectively showcases the pendant.

The photo is excellent. The pendant is properly exposed without strong highlights to wash out the color. There is just a hint of glimmer to let you know the enamel and metal is shiny and smooth. A little darkness below the pendant gives it a strong foundation. It does not float but clearly lays on the fabric.

Now consider the purple colored background with a textured appearance. This textured background is no different than using felt, wrinkled fabric, stones, leaves, or wood. The background is something the photographer choose carefully to complement the pendant. But will the viewing audience like or dislike it?

The background material certainly adds a significant element to the photo.  The viewer is driven to consider the background in addition to the the work. Is it a distraction? Is this a fabulous photo,  or too much personality detracting from the work?  When your photos include a patterned or textured background, will people judge your background before the work when they have 2 seconds to look at the image?

The next photo uses a brilliant red background with a thematic element that echos the diamond pendant. In this case, it is a Cartier flower pendent with similar flowers in the red background. The general parallel would be photo backgrounds consisting of water scenes, moss, stones, grainy wood, or leaves -- any background that adds information. Is this added information an enhancement or a distraction? You may like it, others may not.  Regardless, the background is now part of the like or dislike assessment.

A thematic background may be well done, but is it appropriate to art and craft photography. Step back and ask yourself: Is the background essential to the presentation of the work AND TO AUDIENCE?   What is this photo going to look like during a juried review or on a web site with 20 other photos?  

Examine the red photo more carefully.  One may wonder what an expensive diamond pendant has to do with tropical orchids besides the form.  As a marketing device, perhaps it is trying to sell a lifestyle in which the work is promoted as a signature accessory.  Or like car commercials that show us the lifestyle of "wind in the hair" or driving fast like a "professional driver on a closed course."  "Do not attempt at home."  Maybe the lifestyle sells better than the work. The addition of the word and brand name Cartier to the photo is a "marketing device" that I think artists and makers should avoid. 

Artists and makers have been trying all varieties of colors, patterns and textures to add warmth, style, or other desirable dimensions to their photos.  In whatever form, it adds information to the photo.  Is it a distraction? What message does the background say about the work?  Does the background help sell the work? Will your background be judged instead of the work? Does a background pigeonhole your work into a specific context? Is that where you want to be?

Harriete

These issues and more will be discussed at the Professional Development Seminar titled, Photography in Flux: Technical Issues, Media and Style.

DATE:           May 28, 2011
TIME:         9:00 AM to 12:00 noon
                 (followed by brown bag lunch discussion)
LOCATION: The Westin Hotel,
                 1900 5th Ave,
                 Seattle, WA.

Free with SNAG Conference registration or $40 at the door (for the PDS only).

More information can be found on the SNAG web site.

Does the background become overly dramatic, maybe even looking more like a  fashion magazine ad than a serious piece of art jewelry? Is there a prejudice toward colored backgrounds because the colored background is not serious enough? Is the colored background colorful or disconnected to the more serious conceptual content behind this art jewelry?

Previous posts in the series Side by Side Comparisons of Different Photos:

Side by Side Photo Comparisons: Colorful or Discordant?

Side by Side Comparisons of Different Photos: Black Hole or Super Sophisticated?

Side by side comparisons of different photos - the graduated background. Stunning or stupefying?

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

More posts in the series are coming....

Side by Side Comparisons of Different Photos: Black Hole or Super Sophisticated?

In this extended series of side by side photo comparisons we have discussed the white and the graduated background. The black background is the polar opposite of the white background. Just to clarify here, I am referring to the digital #000000 black, or total black. It has many of the same problems as white, few benefits and is even more problematic for capturing a great image of art and craft.

There are some makers who regularly photograph their work on a solid black background holding the opinion that the black background highlights light colored or silver work.

Chicken Ring  ©2009 Andy Cooperman
This photo is not a solid black back-
ground, but uses the reflection not
give the work a foundation.
Photo Credit: Andy Cooperman

On solid black backgrounds, the work may be lost, or fade into the background. The dark edge of the work becomes hard  to see, if not impossible. Capturing the edge with precise lighting is essential.  Another problem, especially if the work is silver, is that the reflections in the work are dark or black.  Thus the photo ends up extremely dark overall.  

This issue is more acute on the Internet where the images are often smaller and with less information. The dark or black background all too often loses the nuance of the printed images and becomes a dark hole. The artwork ends up looking like it is being sucked into the background.

Black and White Identity Necklace
© 2006 Harriete Estel Berman
Post Consumer recycled tin cans,
vintage plastic, polymer, electrical cord,
magnetic catch.
Photo Credit: Philip Cohen

If you want a dark background, there are two options that may help. The graduated dark background. or black with reflections/shadows under the work (left images).  With proper lighting you can still get light on the work with shadows/reflections to give a solid footing to the work.  Assuming the work is properly lit, the image will look much better.

Side by Side Comparison (cropped for exact comparison of two photos.) NOTE: I noticed in Photoshop that the right photo with reflection is a little lighter/brighter in some areas, yet, the handle is a little too dark. This is the way I recieved it from the artist so I didn't change this exposure. (The post continues below...)

The black to very dark background is sometimes considered neutral, arty, or sophisticated. The Museum of Art and Design has a large portion of their collection photographed on black (as in the image to the left). The images are then placed on a black web site background. The edge of the black background photo disappears into the background of the site. Unfortunately, it makes the entire site seem rather dark and dreary.

Some of the work on the Museum of Art and Design web site is photographed on the solid dark gray background.  This isn't much of an improvement.  I know because of an image of my bracelet (above right). For some reason the photograph of the work is dark and muddy.

I created all the images above in Photoshop transitioning the background from solid black #000000 to solid white #FFFFFF. While the center photo is not the traditional graduated background, it is considerably softer in appearance that either absolute white or black.

Any opinions about your preference?

What do you think? Do you have a comment or insight to add to this discussion? If you don't agree with me, please share with me your SOLID BLACK background images along with a comparable shot in a graduated or lighter background. I'd love to compare the images side by side.

Next post is about colored backgrounds.

 Harriete

Previous posts in the series Side by Side Comparisons of Different Photos:

Side by side comparisons of different photos - the graduated background. Stunning or stupefying?

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

More posts in the series are coming....

As this year closes and we reflect on the past, present and future of craft, I recommend the book Makers: A History of American Studio Craft. This is practically required reading if you're wondering what is the current direction and the economic picture of craft. In particular, the comments about the economy of craft over the past 150 years are insightful. This tome is not easy reading....nor something to balance on the treadmill. Carrying the book is more like a weightlifting activity, so pace yourself for months of interesting insight.

This link to the book Makers: A History of American Studio Craft is an affiliate link. Purchasing this book may provide this blog with a few pennies.

Side by Side Photos - The Graduated Background: Stunning or Stupefying?

The graduated background has been around for quite a while as a standard professional quality photograph for three dimensional work (over the past 30 years).  At one time, the graduated background was the demarcation of the professional photographer since the appearance was only possible through careful lighting. This is no longer the case as paper printed with a graduated appearance has made the graduated background within the grasp of less experienced photographers.

The graduated background can be light to dark, or rotated, dark to light.   With careful lighting of the artwork, it is relatively easy to create a light shadow so that the work is firmly grounded. With careful placement on a graduated background, the work stands out from the background, avoiding the problems of totally white or black backgrounds (where the work sometimes dissolves into the background). The graduated background can be manipulated effectively to give 3-dimensional work a solid foundation highlighting the work.

At this point the graduated light to dark background has become an industry standard for art/craft  photography. Looking through recently published books and magazines reveals graduated backgrounds in all its variations, page after page. This can be both good and bad.

The good side is that the graduated background is considered neutral, easily assigned to the background and ignored adding little or no commentary to the artwork. We have become accustomed to its appearance and for this reason it is perceived of as "neutral."

The opposite point of view is that the graduated gray background may be considered boring, old-school, or even out of date by some groups. This seems to be especially true for the D.I.Y. community that appears to prefer projecting a new identity outside of the mainstream. Rejecting the orthodox or standard graduated background for colored or eclectic backgrounds is an attempt to give the photographs energy and pizazz.  

   Scan from the book Manufractured
  (Clockwise from top left) Kathryn Spence
   Paper Towels 2003; Sonya Clark
   Twenty-One 1998; Laura Splan Prozac,
    Thorazine, Zoloft 2003; William Sistek
    Bubbleware #1 2007
  

Groups of photographs with graduated backgrounds are another issue.  Good or bad, the delineated square or rectangle of the photos create a grid of images (see image to the right). If the backgrounds are not identical, the grid appearance may looked mismatched. 

Page from recent American Craft
Magazine, Page 060 Dec/Jan 11
Images of clay and fiber work by
Hannie Goldewicht
Photo Credit: Douglas Kirkland

Page 99 from the book Manufractured
All images cut out from the graduated
background of their photos by the graphic
designer Gregory Hom of fishbowl design.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

 

 

 

The graduated background also looks much better when all images have a similar background. In the image to the left, the works look like a cohesive body of work by one artist. A definite plus! You don't want the background of your photos to compete with the artwork or look like a crayola box of colors. 

 

 

A downside to the graduated background is that much more editing skill and time may be required to remove the background from the photo to isolate just the object on the page (right.)

 

 

 

 

An important factor that may dictate use of a graduated background for photos is the background color of your web site. I've noticed that graduated backgrounds look better on web sites with darker colored backgrounds. The photo backgrounds appear to complement the style of the page.

We still have more to discuss about  photographic backgrounds. What about the black background favored by many? Does it make your work "pop", or is it a black hole that sucks in light? The issues about photographic backgrounds are varied and complex.  But I hope to raise awareness of what works well and what detracts from your artwork.

Stay tuned for the next post.
Harriete

 
Previous posts in the series Side by Side Comparisons of Different Photos:

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

More posts in the series are coming....

Example photos in the series  Side by Side Comparisons of Different Photos are repeated below for easy reference.

Image 1 a.                         Image1 b. 

 The brooch in the above photos is “Sleeper Cell” © 2009  Andy Cooperman. Burl wood, sterling, gold leaf, stain. The left photo is by Doug Yaple. The right photo is by Steven Brian Samuels.
 

Image 2 a.                             Image 2 b. 

 The brooch in the above photos is “Potter” ©2009 Andy Cooperman. Burl wood, sterling, 18k, stain. The left photo is by Doug Yaple. The right photo is by Steven  Brian Samuels.

Image 3 a.                         Image 3 b.  

Pendant in the above photos: Black Heart ©2009 Jennifer Hall  Sterling silver, silk ribbon. Both photos by Doug Yaple.

Image 4 a.                          Image 4 b. 

Ring (above) ©2009 Andy Cooperman. Sterling, gold, copper, copal amber. Both photos by Doug Yaple.

Image 5 a.                         Image 5 b. 

Necklace in above photos by Marcia Meyers.©2009 "Homage to Sliced Green Pepper",  reticulated silver, sterling and coral. Both photos by Doug Yaple.

Image 6 a.                            Image 6 b.

Octangonal Bracelet ©2009 by Harriete Estel Berman (left image) Photo Credit: Philip Cohen. 
Oreo "Unlock the Magic" © 2009 by Harriete Estel Berman (right image) Photo Credit: Steven Brian Samuels.

  
Image 7 a.                         Image 7 b. 

Orbit Black and White Identity Necklace #2 (left image) by Harriete Estel Berman
Photo Credit: Steven  Brian Samuels.
Orbit Black and White Identity Necklace #1 (right image)by Harriete Estel Berman
Photo Credit: Philip Cohen.

 Image 8a.                                Image 8b.

Patchwork Quilt, Small Pieces of Time ©1989 by Harriete Estel Berman (left and right images) Photo Credit for both images: Philip Cohen.

 PHOTOGRAPHER CONTACT INFORMATION LISTED BELOW. Click on their names to go to their web site.

Philip Cohen, Photographer
Oakland, CA.
email:  phil [at]lmi.net

Steven Brian Samuels, Artist/photographer
New Jersey.
Phone 845.300.9693
email: steven [at] stevenbriansamuels.com

Doug Yaple Photographer
Seattle, WA.
email: dyaple [at] comcast.net 

 

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

The white background in the photographic image is the "new" look. When discussing a white background, we are talking about pure white...absolute white....#FFFFFF in HTML or Photoshop. You can see this in the left photo and below in photos 1b., 2b., and 6b.

We are NOT talking about a graduated white, with foamcore "white," or "almost" white as shown (to the right below and below in 3b and 4a).

White photographic backgrounds are a stylistic influence from Europe and facilitated by the availability of photo editing technology like Photoshop and FotoFuze. (If you haven't looked at a FotoFuze online demo, you should!)

The super white photographic background with the "fake" shadow starts with pure white photographic background  during the photo shoot but is facilitated with photo editing software. It is almost impossible to get a pure white any other way. The tool, i.e. the technology, has become a style.  

One advantage of the white background is that it is really easy to remove the art or craft object from the background for print. Thus the layout for postcards, books or magazines can depart from a grid format with a smaller investment of time or skill.

Another factor is that white is the default background for many social networking sites like Facebook (the largest photo sharing site on the Internet), Flickr, Etsy, and other online marketplaces.  They make the photos look attractive. There is little or no demarcation between the edge of the photo and the site.  White background images generally look good to great on these sites.

In contrast, white background shots do not look so good on web sites with dark backgrounds.  My web site is a spectrum of greenish, grey backgrounds. I consciously did not want a white background web site.  And I must admit that pure white background photos do NOT look that great on my web site.  See examples of three types of backgrounds - with a graduated, light, and white photographic backgrounds on this page. 

On the negative side,  I don't think white backgrounds show all work to the best advantage.  Some work just doesn't look that great on pure white with high contrast between the work and background.

For example, the dark wood in Andy Cooperman's jewelry (left) doesn't look as attractive on a stark white background. The grain of the wood becoming a focal point demanding more attention than desired by the maker. (See photos 1b. and 2b. below.)

A major concern with white background shots is that the shadows and reflections on the background look fake.  Some people who like the white background also like the artificial shadow. This "artificial" appearance is part of the new and trendy style.

White backgrounds can also make the work look like it is floating thus the necessity of the shadow to prevent the white or light area of the work from being lost or melting into the background (such as in the photo to the right and 7a. below). Notice that the white cord of the necklace gets lost in the background. 

What do you think about white background shots?

Photos pertinent to this discussion are shown below.

Harriete

Image 1 a.                         Image1 b. 

 The brooch in the above photos is “Sleeper Cell” © 2009  Andy Cooperman. Burl wood, sterling, gold leaf, stain. The left photo is by Doug Yaple. The right photo is by Steven Brian Samuels.
 

Image 2 a.                             Image 2 b. 

The brooch in the above photos is “Potter” ©2009 Andy Cooperman. Burl wood, sterling, 18k, stain. The left photo is by Doug Yaple. The right photo is by Steven  Brian Samuels.

Image 3 a.                         Image 3 b.  

Pendant in the above photos: Black Heart ©2009 Jennifer Hall  Sterling silver, silk ribbon. Both photos by Doug Yaple.

Image 4 a.                          Image 4 b. 

Ring (above) ©2009 Andy Cooperman. Sterling, gold, copper, copal amber. Both photos by Doug Yaple.

Image 5 a.                         Image 5 b. 

Necklace in above photos by Marcia Meyers.©2009 "Homage to Sliced Green Pepper",  reticulated silver, sterling and coral. Both photos by Doug Yaple.

Image 6 a.                            Image 6 b.

Octangonal Bracelet ©2009 by Harriete Estel Berman (left image) Photo Credit: Philip Cohen. 
Oreo "Unlock the Magic" © 2009 by Harriete Estel Berman (right image) Photo Credit: Steven Brian Samuels.

Image 7 a.                         Image 7 b.

Orbit Black and White Identity Necklace #2 (left image) by Harriete Estel Berman
Photo Credit: Steven  Brian Samuels.
Orbit Black and White Identity Necklace #1 (right image)by Harriete Estel Berman
Photo Credit: Philip Cohen.

This is another post, is the series titled:
Photographic Comparisons Side by Side

Previous posts include:

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

More posts in the series are coming....

PHOTOGRAPHER CONTACT INFORMATION LISTED BELOW. Click on their names to go to their web site.

Philip Cohen, Photographer
Oakland, CA.
email:  phil [at]lmi.net

Steven Brian Samuels, Artist/photographer
New Jersey.
Phone 845.300.9693
email: steven [at] stevenbriansamuels.com

Doug Yaple Photographer
Seattle, WA.
email: dyaple [at] comcast.net 

 

Are You Being Judged by the Style of Your Images? Side by Side Comparisons of Different Photos

Patchwork Quilt, Small Pieces
of Time
©1989 by Harriete Estel Berman
vintage steel doll houses
Dark background example
Photo Credit: Philip Cohen.

The previous post, The Photographers Revealed! Photograph Comparisons Side by Side showcased a series of images as a comparison of different back- grounds.  ASK Harriete will evaluate these comparisons from several directions.  Two consensus opinions have already stood out: first, one type of background is not effective in every situation, and second, YES, you are being judged by the style of the photographic images!

Patchwork Quilt, Small Pieces
of Time
©1989 by Harriete Estel Berman
vintage steel doll houses
1990 Cover photo for Metalsmith Mag.
Photo Credit: Philip Cohen.

Image backgrounds are becoming a stylistic issue (or "trend", if you want to call it that).  In fact, the choice of backgrounds for a photographic image may even be placing your work into a "category" of the art or craft world.  This may be an unpopular opinion, but I think there is ample evidence.

Octagonal Bracelet
Harriete Estel Berman © 2001
Recycled tin cans
Graduated background with reflection
Photo Credit: Philip Cohen. 

 

Multiple observations were formed while I was studying  the previous post , comments by readers, and in discussion with Brigitte Martin and Andy Cooperman (as we prepare the Professional Development Seminar).   Now there are too many remarks for one post.

Oreo "Unlock the Magic" 
 ©1989 Harriete Estel Berman
Recycled tin cans, 10k gold,brass
Photo Credit: Steven Brian Samuels

 

 

My plan is to discuss the pros and cons for each type of background:

- White
- Graduated
- Black
- Colored

Each photographic background will be discussed, one per post, over the next four posts.  If you have a comment, write your comments below or email  me directly as the posts continue.  

Harriete

This is the third post, is the series titled:
Photographic Comparisons Side by Side

Previous posts include: The Photographers Revealed.

  

The photographers are revealed! Photograph comparisons side by side

Today's post reveals the photographers in side by side comparisons of photos of identical content with different backgrounds.

Here are some issues to consider:

Does one background really fit all work?

Does the color of the background contribute to the emotion or vocabulary of the work?

Does one background work for all situations such as online marketplaces, social networking, jury review for shows, books and magazines? What about your web site?

In a side by side comparison of two images by two different photographers, how much original content does the photographer add? Are we seeing creativity from the photographer or skill? Who do you think owns the copyright of the image?

What about the reflection of the work? The shadow? Do these add a foundation for the work? Or are they a distraction?

Are we becoming influenced by what can be done in PhotoShop?  Has PhotoShop as a tool, become a style?

What other issues come to your mind when you look at these images? You're welcome to comment about the photos so that your opinion can be included in the future posts.

On Thursday's post, comments and discussion will begin on the topic.

Disclaimer: The images in this post may have been cropped or re-sized in an attempt to make the objects in the photos a similar size for side by side comparison.  The merit or demerit for leaving more or less background space around the object will be discussed in another post as a separate issue.

Image 1 a.                         Image1 b. 

The brooch in the above photos is “Sleeper Cell” © 2009  Andy Cooperman. Burl wood, sterling, gold leaf, stain. The left photo is by Doug Yaple. The right photo is by Steven Brian Samuels.
 

Image 2 a.                             Image 2 b. 

The brooch in the above photos is “Potter” ©2009 Andy Cooperman. Burl wood, sterling, 18k, stain. The left photo is by Doug Yaple. The right photo is by Steven  Brian Samuels.

Image 3 a.                         Image 3 b.  

Pendant in the above photos: Black Heart ©2009 Jennifer Hall  Sterling silver, silk ribbon. Both photos by Doug Yaple.

Image 4 a.                          Image 4 b. 

Ring (above) ©2009 Andy Cooperman. Sterling, gold, copper, copal amber. Both photos by Doug Yaple.

Image 5 a.                         Image 5 b. 

Necklace in above photos by Marcia Meyers.©2009 "Homage to Sliced Green Pepper",  reticulated silver, sterling and coral. Both photos by Doug Yaple.

The next photos compare similar items on different backgrounds.
Image 6 a.                            Image 6 b.

Octangonal Bracelet ©2009 by Harriete Estel Berman (left image) Photo Credit: Philip Cohen. 
Oreo "Unlock the Magic" © 2009 by Harriete Estel Berman (right image) Photo Credit: Steven Brian Samuels.

In the images below, the two necklaces are not the same but very similar.  "Orbit Black and White Identity Necklace 1 and 2" © by Harriete Estel Berman .  I did my best to make the images the same size, but obviously, the photographers chose different angles for capturing this necklace. Which approach do you like better? Does the shadow or reflection work more effectively?
Image 7 a.                         Image 7 b.

Orbit Black and White Identity Necklace #2 (left image) by Harriete Estel Berman
Photo Credit: Steven  Brian Samuels.
Orbit Black and White Identity Necklace #1 (right image)by Harriete Estel Berman
Photo Credit: Philip Cohen.

As a result of a comment following the previous post about the use of "colored backgrounds" in photographic images, I have added the images below. The photos below are predigital.Yes, the left photo was actually photographed on a yellow background.

Image 8a.                                Image 8b.

Patchwork Quilt, Small Pieces of Time ©1989 by Harriete Estel Berman (left and right images) Photo Credit for both images: Philip Cohen.

In the third post in this series on Thursday,  I will discuss the difference in backgrounds, angles, lighting. Does the color of the background contribute to the emotion or vocabulary of the work?

The world of photography is changing rapidly.  Is your photography up to date? Is it an effective tool?
 
• Are you being judged by the style of your images?
• How much post production is acceptable and who should do the work?
• Current trends in background and composition.
• The model or the pedestal?
• and much more……

These issues and more will be discussed at the Professional Development Seminar titled, Photography in Flux: Technical Issues, Media and Style.

DATE:           May 28, 2011
TIME:         9:00 AM to 12:00 noon
                 (followed by brown bag lunch discussion)
LOCATION: The Westin Hotel,
                 1900 5th Ave,
                 Seattle, WA.

Free with SNAG Conference registration or $40 at the door (for the PDS only).

More information can be found on the SNAG web site.

PHOTOGRAPHER CONTACT INFORMATION LISTED BELOW. Click on their names to go to their web site.

Philip Cohen, Photographer
Oakland, CA.
email:  phil [at]lmi.net

Steven  Brian Samuels, Artist/photographer
New Jersey.
Phone 845.300.9693
email: steven [at] stevenbriansamuels.com

Doug Yaple Photographer
Seattle, WA.
email: dyaple [at] comcast.net 

 

Compare and contrast photography styles. Be the judge and jury.

The issues surrounding professional photographic images has become increasingly more complex and diverse in recent years. From the accelerating evolution of digital images to the ethics of image manipulation, the world of photography is changing rapidly. 

In the last few months, I have been discussing these issues extensively with Andy Cooperman and Brigitte Martin as we plan the Professional Development Seminar.

In the spirit of exploration and experimentation, this post will compare examples of jewelry on white and graduated grey-to-dark backgrounds. The photographs are side by side. Some pairs of images are by the same photographer. Other pairs are by two different photographers.

I will show you the images without commentary or photo credit to avoid any bias in your evaluation of the images.  Please add your comments below.

In the next post (on Tuesday) the photographers will be revealed along with questions for further consideration.  

On Thursday's post one week from today, commentary on the images  will be discussed. You're welcome to comment about the photos for a whole week so that your opinion can be included in the final post.

Disclaimer: The images in this post may have been cropped or re-sized in an attempt to make the objects in the photos a similar size for side by side comparison.  The merit or demerit of leaving more background space around the object will be discussed in another post as a separate issue.

Here is the first pair:

Image 1a.                        Image 1b.

 The brooch in the above photos is “Sleeper Cell” © 2009  Andy Cooperman. Burl wood, sterling, gold leaf, stain.
 

Image 2a.                        Image 2b.

 Brooch in the above photos is  “Potter” ©2009 Andy Cooperman. Burl wood, sterling, 18k, stain.

Image 3a.                        Image 3b.

Pendant in the above photos: Black Heart ©2009 Jennifer Hall Sterling silver, silk ribbon

Image 4a.                        Image 4b.

Ring (above) ©2009 Andy Cooperman. Sterling, gold, copper, copal amber

Image 5a.                        Image 5b.

Necklace in above photos by Marcia Meyers ©2009 "Homage to Sliced Green Pepper",  reticulated silver, sterling and coral.

The next photos compare similar but not identical jewelry on different backgrounds.

Image 6a.                                Image 6b.

Octagonal Bracelet ©2009 by Harriete Estel Berman (left image)
Oreo "Unlock the Magic © 2009 by Harriete Estel Berman (right image)

In the images below, this is not the same but very similar necklace "Orbit Black and White Identity Necklace" © by Harriete Estel Berman .  I did my best to make the images the same size, but obviously, each of the photographers chose different angles for capturing this necklace. Which approach do you like better?

Image 7a.                        Image 7b.

As a result of a comment about the use of "colored backgrounds" in photographic images I have added the images below. 

Image 8a.                                Image 8b.

Patchwork Quilt, Small Pieces of Time ©1989 by Harriete Estel Berman (left and right images)

In the next post, Tuesday (next week), I will reveal the photographers' names for the images (along with links to their web sites).

In the third post in this series on Thursday, I will discuss comments from the readers including the differences in backgrounds, angles, and lighting. There are many issues potentially to consider in these comparisons.

These issues and more will be discussed at the Professional Development Seminar titled: Photography in Flux: Technical Issues, Media and Style.

DATE:           May 28, 2011
TIME:         9:00 to 12:00
                 (followed by brown bag lunch discussion)
LOCATION: The Westin Hotel,
                 1900 5th Ave,
                 Seattle, WA.

Free with Conference registration or $40 at the door (for the PDS only).

More information can be found on the SNAG web site.

Harriete

 

Who Owns the Photographic Image?

The most recent posts have discussed some really serious issues surrounding the use of photographic images. The answers are not easily found.

To foster greater understanding, the theme of the upcoming Professional Development Seminar will be, Photography in Flux: Technical Issues, Media and Style.  Organized by Andy Cooperman, Brigitte Martin and myself,  We have spent hours discussing a range of current issues surrounding photographic images.

Here is another one of the serious questions we've been discussing:

Who Owns the Photographic Image?

Let's assume that the artist made the artwork and owns the copyright to the artwork. Then a photographer is hired by the artist to photograph the artwork.

Who owns the copyright to the photographic images?

The answer isn't as simple as it first appears.  Is it the artist who hired the photographer?  Or is it always the photographer?

When an image is to be printed in a book, whose permission is required? The artist, the photographer, or both? Can a permanent agreement between the artist and photographer allow unrestricted use by either party? What if the image is altered?

What if your artwork is photographed by a photographer hired by a museum or exhibition? Who owns the copyright to that photo then? The artist, the photographer, or the musuem/exhibition sponsor?

These are just two examples. I am really confused.  I want an answer, a real answer, not just my opinion. Does anyone really know? 

Obverse Obsession © 2005
Post Consumer recycled tin cans,
aluminum, sterling silver, 10k gold
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

In the spirit of cooperation, we all benefit from the publication of images. The artist benefits by sharing their work with a larger audience. The photographer recieves visibility and recognition for the quality of the photogrpahic image (and possibly potential business photographing more work). The art/craft world benefits from the exhange of images and ideas. But who owns the photographic image?

If you have a clear answer please leave a comment.

Do you have a source for your information?

Hopefully, there are practical solutions, but what is the correct answer? We hope to have a solution at the Professional Development Seminar on May 28th, 2011.

Photography in Flux: Technical Issues, Media and Style.

DATE:           May 28, 2010
TIME:         9:00 to 12:00
                 (followed by brown bag lunch discussion)
LOCATION: The Westin Hotel,
                 1900 5th Ave,
                 Seattle, WA.

Free with Conference registration or $40. at the door.

More information can be found on the SNAG web site.

 Harriete

Business Advice on the Internet

These days there is so much advice on the Internet, I mean tons....some good, and some that seems a little ,,,well....shallow, self-serving, or half-baked.  Penetrating through this fog, there is one person who I recommend, Alyson Stanfield. I have followed her for years. Her professional experience at the museum level is well grounded, yet her very down to earth approach helps artists get their work out of the studio to develop promotional visibility and a market for their work.

I read her book, "I'd Rather Be in the Studio" which reveals practical ways to market your art or craft more effectively.  It is definitely worth reading.

Alyson Stanfield also has a free newsletter. This week she is offering a gift for the subscribers to her newsletter. The gift is some GREAT information about using SlideShare to promote your art and craft. (I know what it says because I wrote it!)

A super short summary on how to get started on SlideShare is included on Alyson Stanfield's ARTBIZblog. The SlideShare site is FREE at the basic level. This is a truly easy, inexpensive, and effective tool.  There is so much you can do with it.  As examples, links to two of my SlideShare presentations are itemized below (the links paste right into my blog or an email). I also use them in several locations on my web site.

Why not subscribe to Alyson Stanfield's free newsletter to receive tips for your art career development.  I read it regularly to perk up my outlook.  

If you sign up now, new subscribers get the step-by-step instructions (that I wrote) to make your first SlideShare presentation.

Harriete

Here are two links to my presentations from SlideShare.  The first one is about my chocolate pot, Obverse Obsession.  The second one is a presentation from the Professional Development Seminar at the SNAG Conference in Houston.

Obverse Obsession

Professional Development Seminar NOT JUST ANOTHER PRICING LECTURE

View more webinars from Harriete Estel Berman.

Affiliate links on this blog may provide me with a few pennies to help defray expense and keep on going. Thanks for your support.

Van Houten Cocao Flower Brooch by Harriete Estel Berman constructed from post consumer recycled tin cans. Retail Price is Pin $485. See a preview of the Flower Brooch collection on Flickr.