I sat down with photography instructor, Matt Brown, to plan out a photography workshop on Macro photography. As we were discussing the details and a list of equipment, the question that came to my mind was - what is the real definition of Macro photography? How does this differ from just getting close? Should we really be calling this a class on ‘Macro Photography’? After doing some research on the ‘definition’ of macro, I came to the conclusion that this was a workshop on both – macro and getting close.
The dictionary definition of macro photography - mac·ro·pho·tog·ra·phy / ˌmakrōfəˈtägrəfē/ • n. photography producing photographs of small items larger than life size.
This definition seems to imply that any close-up photograph, no matter how it was taken, is considered macro. After all, even close-up photographs seem larger than life size.
I found various ideas of what defines macro vs close-up photography. The common definition of macro photography is - photographing an object with an enlargement ratio of 1:1 or larger. It involves using equipment such as a Macro Lens, extension tubes, close up filters and teleconverters to produce a ‘true’ macro image.
Close-up photography on the other hand means just that – getting close to an object. Usually using standard equipment. Some point-n-shoots have a macro program on it, but doe that mean it is really doing macro photography, or is it just getting close to the object?
The confusion for me was that everyone was using the term macro no matter what equipment was used, or how it was done. It covered any photographic situation where the subject/object was photographed close up. The line of “true macro photography” has become blurred, and I am not really sure how important it is to really have a ‘”true definition” anymore?
To some I am sure it is very important, but for the purpose of this workshop I am going to just call it, “Getting comfortable with getting close”, no matter how you do it. Whether it is a true macro, or just a close-up photograph.
Workshops for creative minds.
Tuesday, July 6, 2010
Wednesday, June 9, 2010
The Planning of the ‘Unleash Your Creative Spirit’ workshop
After months of classes on the technical side of Photography, I realized one day that we needed a class that focused on the ‘creative’ side. I started formulating an idea based around “The Artist’s Way”, the purpose of the workshop was to help the participants find their ‘creative self’ and recognize it. I approached Cheryl Bruemmer, who teaches “The Artist’s Way” locally.
I then approached the Skagit Valley Camera Club with the idea. They thought it was a great idea, but maybe a hard sell based on just the Artist’s Way. One of the board members suggested that maybe we should turn it into a weekend retreat. I took that idea and ran with it. It was decided that Padilla Bay would make a great retreat and location. Not too far, remote, inspiring, and a beautiful location. I contacted them and found a date that worked.
I then started recruiting instructors that I felt would fit the theme of the workshop. I knew that Cheryl would start off the weekend. Her lively and fun spirit was a great way to start the workshop. I then asked Dick Garvey to do a class on the creative aspects of photography. Even though this was a workshop for Photographers, I realized I needed a different point of view, so I approached Al Currier about doing a class on a Painter’s point of view on being creative. I was so excited when he agreed. I then needed a headliner, someone that could draw in participants and would still fit our theme, I approached Brooks Jensen of Lenswork Magazine, with the idea and he immediately agreed.
Now we had a location, a fantastic line-up of instructors, caterers, sponsors and a schedule all that was needed was participants. It was decided to cap off at 40 max. I designed an email newsletter and emailed it out to all the local camera clubs from here to Bellingham. I then designed a poster to hang in various locations in Anacortes and Bellingham. The workshop was also added to That Photo Shoppe’s website, the Skagit Valley Camera Club’s website, and Glazer’s Camera Supply in Seattle’s website.
I had 15 people signed up within the first week. All together we had 30 paid participants, 4 instructors, 3 caterers, 4 sponsors, and 4 volunteers. I received very positive feedback, not only from the participants, but also from the instructors, who stayed for the entire weekend. The instructors not only enjoyed it as much as the participants but learned a lot from each other.
Overall, it was a great success. I learned that my ‘creative’ outlet was organizing and planning events such as these. We all have a ‘creative’ side, sometimes it is hard to realize just what that is.
I then approached the Skagit Valley Camera Club with the idea. They thought it was a great idea, but maybe a hard sell based on just the Artist’s Way. One of the board members suggested that maybe we should turn it into a weekend retreat. I took that idea and ran with it. It was decided that Padilla Bay would make a great retreat and location. Not too far, remote, inspiring, and a beautiful location. I contacted them and found a date that worked.
I then started recruiting instructors that I felt would fit the theme of the workshop. I knew that Cheryl would start off the weekend. Her lively and fun spirit was a great way to start the workshop. I then asked Dick Garvey to do a class on the creative aspects of photography. Even though this was a workshop for Photographers, I realized I needed a different point of view, so I approached Al Currier about doing a class on a Painter’s point of view on being creative. I was so excited when he agreed. I then needed a headliner, someone that could draw in participants and would still fit our theme, I approached Brooks Jensen of Lenswork Magazine, with the idea and he immediately agreed.
Now we had a location, a fantastic line-up of instructors, caterers, sponsors and a schedule all that was needed was participants. It was decided to cap off at 40 max. I designed an email newsletter and emailed it out to all the local camera clubs from here to Bellingham. I then designed a poster to hang in various locations in Anacortes and Bellingham. The workshop was also added to That Photo Shoppe’s website, the Skagit Valley Camera Club’s website, and Glazer’s Camera Supply in Seattle’s website.
I had 15 people signed up within the first week. All together we had 30 paid participants, 4 instructors, 3 caterers, 4 sponsors, and 4 volunteers. I received very positive feedback, not only from the participants, but also from the instructors, who stayed for the entire weekend. The instructors not only enjoyed it as much as the participants but learned a lot from each other.
Overall, it was a great success. I learned that my ‘creative’ outlet was organizing and planning events such as these. We all have a ‘creative’ side, sometimes it is hard to realize just what that is.
Wednesday, May 5, 2010
DOCUMENTARY PHOTOGRAPHY
DOCUMENTARY PHOTOGRAPHY
Telling a story with pictures
Instructor Vince Streano
From the time of Mathew Brady and the civil war, documentary photography has been the primary means of telling the stories of our culture and history. Whether it's the child labor pictures of Lewis Hines, the saga of the Country Doctor by W. Eugene Smith, or the images of the depression by Dorothea Lange, documentary photography is the most compelling means of chronicling the human condition.
This documentary photography workshop will be all about telling a story with pictures. We will begin by looking at some of the great documentary photographers of the past, then discuss what makes a great picture story. We'll talk about capturing the decisive moment, how to put together your own picture story, and the elements needed to complete your story in pictures. We'll also discuss some contemporary documentary photographers, and how they are able to achieve their images.
Finally the class will discuss creating their own picture story,
"A Portrait In Time/Anacortes".
The goal is to produce a photo portrait of the city of Anacortes at this moment in time. Each photographer will be assigned one or more different aspects of life in the city. Assignments will include: night shift with the Anacortes Police Department, ship building, religion in Anacortes, night life, the routine of a typical family with children, Anacortes business community, harbor life around the docks, Anacortes history, the fishing industry, sports, the Cats Meow, and more. Students will also be able to come up with their own subjects. Participants will have two weeks to complete their assignment, at which time we'll gather again for a critique of the images.
Telling a story with pictures
Instructor Vince Streano
From the time of Mathew Brady and the civil war, documentary photography has been the primary means of telling the stories of our culture and history. Whether it's the child labor pictures of Lewis Hines, the saga of the Country Doctor by W. Eugene Smith, or the images of the depression by Dorothea Lange, documentary photography is the most compelling means of chronicling the human condition.
This documentary photography workshop will be all about telling a story with pictures. We will begin by looking at some of the great documentary photographers of the past, then discuss what makes a great picture story. We'll talk about capturing the decisive moment, how to put together your own picture story, and the elements needed to complete your story in pictures. We'll also discuss some contemporary documentary photographers, and how they are able to achieve their images.
Finally the class will discuss creating their own picture story,
"A Portrait In Time/Anacortes".
The goal is to produce a photo portrait of the city of Anacortes at this moment in time. Each photographer will be assigned one or more different aspects of life in the city. Assignments will include: night shift with the Anacortes Police Department, ship building, religion in Anacortes, night life, the routine of a typical family with children, Anacortes business community, harbor life around the docks, Anacortes history, the fishing industry, sports, the Cats Meow, and more. Students will also be able to come up with their own subjects. Participants will have two weeks to complete their assignment, at which time we'll gather again for a critique of the images.
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