pan de huevo!

MOBILE PORTRAIT STUDIO

2006-03-05T09:52:00.000-08:00

Lance Rosenfield Creates "Studio" Portraits in the Field Background: For two years now, Lance has been traveling to a small delta town to photograph their Mardi Gras celebration. The main objective of the celebration seems to be for men to don costumes, travel on flat bed trucks or horses to local farms, drink lots of beer, try to capture chickens released by farmers, drink lots of

ALL ROADS PRESO

2005-09-28T21:27:00.000-07:00

Cameras and Cultures: The Myth of Objective Documentation Background: This panel discussion at Stanford University included Chris Rainer and Reza both photographers from the National Geographic Society, Andy Patrick whose organization “Fifty Crows” provides grant money for projects by documentary photographers, and four photographers from different countries telling their local

WORKFLOW - RAW DIVERSION

2005-05-08T13:11:00.000-07:00

There has been some talk about the disagreement between Thomas Knoll at Adobe & Nikon over the encryption of some meta-data in the RAW files for Nikon's new cameras. As it turns out, all camera manufacturers have been encrypting or at least scrambling some portions of their RAW files. This is just the first time it's become so public. For a good account of the issues, check out the DP Review

DIGITAL WORKFLOW – PART ONE

2005-05-02T09:17:00.000-07:00

In our workshop in November, 2004, 20 out of 23 photographers shot slide film and three of us shot with digital SLR’s. We were all very excited to see David Alan Harvey’s pictures from Kenya that he shot with the Nikon D70. Since our workshop, many of us have switched to digital SLR’s or are thinking about switching. In just March of 2005, I heard that other National Geographic workshops had

FINAL ESSAY

2005-05-01T17:30:00.000-07:00

The final essay edited by Raul Touzon includes 130 pictures with work from every photographer who attended National Geographic Expeditions: On Assignment in San Miguel de Allende, Mexico with David Alan Harvey, Kent Kobersteen and Raul Touzon in November, 2004. Kudos to Everyone for Being in the Book! It is truly amazing that we have pictures from every photographer who attended our workshop!

MAKING A BOOK - PART THREE

2005-04-15T16:38:00.000-07:00

I am feeling very pregnant with this book project. I'm over the morning sickness -- too many emails and blog entries all over the place. I'm through the first trimester and with the edit, I feel like I seen the sonigram -- it's taking shape. But, now it's settling in that I have several months ahead of very hard and uncomfortable work. Now that we have the book edit...let's review what we've

IS IT A COMMERCIAL BOOK?

2005-04-15T16:22:00.000-07:00

As he publishes some wonderful books and offers workshops to create commercial books, I asked Harvey to comment on Raul's edit from the perspective of a commercial book. He encouraged me to share his comments... Comments from David Alan Harvey, provided with his permission: “.... and, of course, i have many more thoughts and so little time to share them.....and remember i am not doing an edit

THE BOOK EDIT

2005-04-05T08:17:00.000-07:00

Beatrice – ve por favor el primer el comentario, “comments,” para una traducción española de este mensaje. Note: Images from scanned slides are not at their final quality. To save time, we did a quick scan with no clean-up or color correction on the very large number of slides to create the 800x600 JPEGs Raul used for his edit. Before we make a book, David Burnham has generously offered

SOLO JOURNALISM

2005-03-04T09:45:00.000-08:00

Came across a story in Wired Magazine (March 2005, p. 91) about Kevin Sites who is a photojournalist with a blog. Wired claims he's rewriting the rules of war reporting. Kevin Sites is not only a good photographer, he's also a good writer. Worth checking out his blog which includes personal experiences dealing with the aftermath of the Tsunami disaster. He and his 17-year old translator on a

INPUT FOR BOOK TEXT

2005-02-23T22:07:00.000-08:00

Your help is needed to prepare text for the San Miguel de Allende class book. Please write your responses to the topics below. Try to limit yourself to no more than 150 words per topic. Be candid. Often the first thing that comes to mind is the best and most authentic. Your comments, along with those of the rest of the class, will form the core of the text that will accompany our photographs

ARTICLE ON SAN MIGUEL

2005-02-17T14:29:00.000-08:00

Post from Jack Coffman The February/March issue of Camera Arts magazine leads off a series of occasional articles on recommended destinations for photographers with a look at San Miguel de Allende written by photographer Mary Ann Lynch. There are several fine photographs from San Miguel de Allende by Ms Lynch and a number of other photographers who have visited the city. You will recognize

DEVELOPING AN ESSAY

2005-02-10T08:36:00.000-08:00

Following Kent’s advice on editing photographs, I’ll take you through my first time to edit an essay which happened at the workshop. In San Miguel de Allende, I watched Kent take a light table full of really good photos of Lance’s and turn them into two amazing essays. Click here to see Lance’s essays. I wanted to do this too, but I was lacking the large amount of really good raw material

KOBERSTEEN ON EDITING PHOTOS

2005-02-09T11:48:00.000-08:00

Editing Photographs from Kent Kobersteen "Most photographers think editing a group of images is some sort of magic, nearly impossible process. It’s really quite simple, but requires degrees of discipline, experience and ruthlessness. First, several things are needed: Raw material (photographs) Ability to make decisions Criteria based on knowledge of the uses of the photographs

COPYRIGHT NOTICE

2005-01-28T15:53:00.000-08:00

This work is licensed under a Creative Commons License.