Photo Technique 20120708

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ROBERT HIRSCH ON STEPHEN BERKMAN: PHOTOGRAPHER OF THE MIND
FLYING WITH
RED BULL
WORKFLOW
THAT WORKS
Christopher Vanderyajt
Monitor Calibration
Post Processing
PS, LR & Nik Plug-ins
Micro Four Thirds >Wireless
Transfer>iOS Workflow
Making Great
Inkjet Prints
An Overview:
TRADITIONAL
B&W FILMS
A CALL TO
PHOTOGRAPH:
ERIK LAURITZEN
Tillman Crane
July/August 2012
Nolan Preece
Paulette Tavormina
NATURA MORTA
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THE WORLDS NEWSSTAND
_____________________
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CONTENTS:
On Photography
3
Stephen Berkman:
Documentary Photographer of
the Mind
Robert Hirsch
Preservation & Archiving

12
A Call to Photograph:
Erik Lauritzen
How One Photographer Preserved His
Lifes Work For Future Generations
pg. 26
Nolan Preece
15
FfPP: Foundation for

Photographic Preservation
Life and Death: The Importance of
Preserving Photographs
Al Weber
Image R. Michael Walker
Portfolio
21
Natura Morta
Paulette Tavormina
Gear, Apps & Good Stuff

33
41
Flying with Red Bull

Apps
TrueDoF-Pro Depth of Field Calculator
Adobe Photoshop Lightroom
Lighting Notebook by Kevin Kubota
Technique
7
Gear
Keystone ECO MarineCase
Leaf Credo Digital Camera Backs
Traditional Black & White Film

Overview
What You Need to Know About NonDigital Capture
Tillman Crane
Books
Concert and Live Music
Photography by J. Dennis Thomas
16
Monitor Calibration
Using the Spyder4ELITE by Datacolor
Steve Anchell
The Artists Guide to GIMP

2nd Edition by Michael J. Hamme
26
Reader Assignment
52
JPEG vs. RAW, Sharpening, Color Space,

Printing with Profiles & More!
Two Twilights are Better

than One
R. Michael Walker
34
David H. Wells
Workflow for Making Great

Inkjet Prints
Page 56 Donna Foster
A Post Processing Approach

with Photoshop, Lightroom &
Nik Plug-ins
Develop a Routine that Works for You
Red Bull Air Force Pilots: Mike
Swanson, Miles Daisher
Image Christopher Vanderyajt
On the Cover
Steve Dreyer
46
Micro Four Thirds Meets

Wireless Transfer to iOS
Workflow
Using Eye-Fi in Your iOs Workflow
Dan Burkholder
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FROM THE EDITOR
July/August 2012
One of my many finds at yard sales was a beautiful old pastel drawing I bought for
eight dollars. I liked it the minute I saw it. Recently I decided to take it apart, clean the
glass and polish the wood frame. I found a signature I hadnt noticed before. Who was
the artist? Maybe there was a story behind the drawing. A little searching on the Internet
came up with a few people with the same name. I took a chance on emailing the most
likely one based on geography, and the artist, a former math teacher now 84 years old
emailed me back. He was delighted to know I gave his drawing a good home, but had
no idea how his work ended up in a yard sale. Have you ever thought about what will
happen to your photographs when you are gone?
Vol. 33 No. 4
Publisher S. Tinsley Preston III

Editor Wendy Erickson
Creative Director Lisa Cordova
Production Roberta Knight
Online Content Coordinator Bree Lamb
Newstand Distribution
Nolan Preece writes about Erik Lauritzen in A Call to Photograph, who arranged for his
lifes work in photography to be archived for future generations. Erik was a close friend
and he was well loved in the photo community. Also on this topic, Al Weber introduces
FfPP, the Foundation for Photographic Preservation he created to facilitate preservation of
the works of photographers.
This expanded issue also gives you serious summer reading on digital workflow:
the word that no one wants to think about. With four in-depth technical articles that
highlight workflow that works, starting with Monitor Calibration by Steve Anchell, Post
Processing with Photoshop, Lightroom and Nik Software Plug-ins by Steven Dreyer, Micro Four
Thirds > Wireless Transfer > iOS by Dan Burkholder, and Workflow for Making Great Inkjet
Prints by R. Michael Walker.
Weve also added a new feature, Reader Assignment. David Wells gives an overview and
tips on the technique used to complete the first assignment Two Twilights are Better than
One and photo technique is offering subscribers a special discount on a personal review of
your photographs made for the assignmentyou can do the assignment, upload up to 10
photographs to the Photo Synesi website and get a personal written and voice review by
David of how you did. Its a fantastic opportunity to get feedback on your work. Look for
more Reader Assignments from different photographers/reviewers in upcoming issues.
But its not all about digital is it? In the traditional photography arena, Tillman Crane
provides a comprehensive overview on black and white film technology and the lineup of currently available black and white films, and Bob Hirsch interviews Stephen
Berkman who works in the historic collodion wet-plate process.
Also in these pages are two outstanding portfolios, Paulette Tavormina discusses her
exquisite still life photographs from the portfolio Natura Morta; and Flying with Red Bull,
where Chris Vanderyajt shares notes from his journal and his action packed photographs.
Wrapping up the issue is Donna Foster, who takes us for a walk with the dogs on Page 56.
The next time you pass by a yard sale this summer, stop. You could find a discarded
modern treasure, relive the angst of being an art student by rescuing a photograph from
the 70s, or find an image that is of significant historic value. What about making those
nameless faces on tintypes and discarded cartes-de-visite prints part of your family?
Think about it. Perhaps in the future someone will rescue your photographs too.
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photo technique.
Mention of any photographic formula/ product does
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Wendy Erickson
Editor, photo technique magazine
wendy@phototechmag.com
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STEPHEN BERKMAN: DOCUMENTARY PHOTOGRAPHER OF THE MIND ROBERT HIRSCH
The Songbird and the Sharpshooter, undated. 11x14 inches. Albumen print
from wet-collodion negative.
Stephen Berkman:
Documentary Photographer of the Mind
Robert Hirsch
I am interested in photographys first 40 years because it was at its zenith right from the start.
Photography has not improved much; its just gotten more convenient. I like the visual code of the
nineteenth century, the formality of it, the way things looked, and the mix between art and science.
In an age when digital imagery often disrupts our expectations about photographys traditional role as a
witness to outer reality, Stephen Berkman does so using the collodion wet-plate process. Berkmans enigmatic, time-traveling images demonstrate how an
understanding of our world can be acquired through
fabricated methods, thus revealing the multidimensional nature of photography and multiplicity of meanings and possibilities photographs can generate. The
following are highlights from our recent converstions.
Robert Hirsch: Describe how you conceptually utilize history.
Stephen Berkman: I see history as being still malleable rather than being a closed circuit. Following this
premise, what is being created is a nineteenth-century,
visual panorama featuring a cavalcade of character
types and their stations of life into which I insert or
recover what has been lost to time.
RH: Do you admire any nineteenth-century photographers?
SB: My model is Nadar (Gaspard-Flix Tournachon).
The scope of his work, the range of people he photographed enthralls me. His staggering body of work
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ON PHOTOGRAPHY
The Exhibition, undated. 11x14 inches. Albumen print from wetcollodion negative.
Lessons Lost, undated. 11x14 inches. Albumen print from wetcollodion negative.
led me to investigate the wet-collodion process. This

discovery spurred me to begin my quixotic quest into
nineteenth-century photography.
gets mixed up and then exported back out. My ideas

come unexpectedly while I am meandering through
my life. They just seep-out at unexpected intervals,
unannounced and unadorned. The French mime
Marcel Marceau once said, The solution is simple,
but you have to find it first. I always find myself going
through blind alleys, cul-de sacs, and the wrong way
on one-way roads to find my way through the work.
RH: What writers have influenced you?

SB: Recently, I have been spending time with Herman Melville and Edgar Allan Poe, but prior to them,
it was Jorge Luis Borges and Franz Kafka. I find perplexing things to be engaging, and that is what I strive
for in my images too. Most photographs show you
what is there, but Im more interested in photographs
that show you what is not there: things that are alluded
to, ideas that can be reached only by following clues
left behind. Sometimes, I feel like Im creating a novel that is missing a few key chapters. I think there is
merit in an elliptical narrative style. The seminal Beat
writer William Burroughs thought the role of an artist
is to dream for the public, although in his case it might
be considered a nightmare for some.
RH: Why are nineteenth-century processes essential

to your work?
SB: The work acts as a coda to the nineteenth century.
Time is paramount, as I am interested in time sweeps
and time currents, the things that wash over our society; what is of interest, what is of value, and what
changes. My desire is to create work that is both timely and as relevant to 1863 as possible. I make images
that are simultaneously very specific and very vague,
which allows the photographs to be fastened to reality
yet open to possibilities.
RH: What other factors drive your work?

RH: How do you envision and realize your work?
SB: I love anonymous nineteenth-century photography. Being an artist is like being in the import/export
business. I am consuming everything all the time, both
in terms of aesthetics and information, from books to
films to music to road signs. All this subconsciously
SB: Usually the idea and conception is almost instantaneous. Frequently its just a word, as I feel my work is
often language driven. I tend to divide photographers
into two camps. The first is writers who are photog-
photo technique J/A 2012
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STEPHEN BERKMAN: DOCUMENTARY PHOTOGRAPHER OF THE MIND ROBERT HIRSCH
Obscura Object, undated. 11x14 inches. Albumen print from wet-collodion negative.
raphers and the second is the photographers who are

photographers. For example, Walker Evanss work has
the narrative element that communicates a story. A
writer would have to expend many words describing
what Evans photographed simply and concisely. On the
other hand, Minor Whites images are about the visual
space, the surfaces and textures that convey feelings.
My work is heavily narrative in its construction, but I
leave ellipses in the images to keep them engaging. I

see myself as a documentary photographer, though in
my case Im documenting the interior of the mind.
RH: Describe your working studio.
SB: I photograph under natural north light, utilizing a
large format view camera with a Dallmeyer lens from
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ON PHOTOGRAPHY
RH: How does history affect your endeavors?
SB: We are the beneficiaries and victims of history.
Think of different political actions that occurred over
100 years ago that we are still trying to overcome. We
tend to look at the past as being preordained, but I
dont think that is the case. Making these pictures is
how I examine this phenomenon. I find it fascinating
how we got to where we are today.
RH: What do you want to achieve with your work?
Images Stephen Berkman
The History of Dread: A Guide for the Perplexed, undated.

11x14 inches. Albumen print from wet-collodion negative.
SB: The writer Thomas Pynchon said, You know

what a miracle is? It is another worlds intrusion into
this one. I aspire to create work that transports one
into a realm of the imagination, a real and direct experience. Each photograph acts like a portal into another world. I am fascinated with the idea that as soon
as an image is taken that world almost immediately
vanishes. The real value of a photograph is often not
known until 40 or 50 years down the road. The more
the world being depicted vanishes, the more interesting the photographs become because the resonance of
time is added.
RH: Do you teach photography?
1864, whose glass is covered with nineteenth-century

dust, which is probably why my photographs look the
way they do. A typical exposure is between 30 and 40
seconds, without a posing stand, which introduces a
slight amount of blur. The albumen prints complete
the wet-collodion process.
RH: What role does concealment play in your work?
SB: I dont consider it to be concealment; I just let
viewers draw their own conclusions. However, the
downside in a world full of upside is that my existence
betrays the images.
RH: Why does the nineteenth century fascinate you?
SB: I am interested in photographys first 40 years
because it was at its zenith right from the start. Photography has not improved much; its just gotten more
convenient. I like the visual code of the nineteenth
century, the formality of it, the way things looked, and
the mix between art and science. What intrigues me is
getting inside the minds of people from another time
and the feeling that their times, what we now consider
the past, was at one time contemporary. The nineteenth century acts as both an anchor and a foil to my
photographs.
SB: I teach film at Art Center College of Design in

Pasadena, CA, where I also studied. Had I studied
photography I would have been making films right
now. My work has been described as single-frame
films, in that they are highly cinematic images.
RH: What is important to consider when making images?
SB: One must have a unique and singular point of
vision. This entails making work based on your own
perspective and way of seeing that only you can do.
Next, you need a eld large enough to plow, a theme
that is extensive enough to encompass your vision.
Working with nineteenth-century photography provides me inexhaustible subject matter.
Editors Note: You can view more of Stephen Berkmans images at
stephenberkman.com.
Robert Hirsch is author of Exploring Color
Photography: From Film to Pixels; Photographic
Possibilities: The Expressive Use of Equipment,
Ideas, Materials and Processes; and Seizing the
Light: A Social History of Photography. Light and
Lens: Photography in the Digital Age, Second Edition
has just published by Focal Press.
Hirsch heads Light Research, a consulting service
that provides professional services to the fields of
photographic art and education. For details about his visual and written
projects visit: lightresearch.net. Article Robert Hirsch 2012.
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TRADITIONAL BLACK & WHITE FILM OVERVIEW TILLMAN CRANE
Traditional Black & White Film Overview

The reports of my death have been greatly exaggerated.
-Mark Twain
Gauges, Chestnut Hill Pumping Stations, MWRA, Boston, MA, 1992. Film: Kodak T-Max 400
Tillman Crane
With ease of use, sophisticated computer control for
focus and exposure and the speed that an image can
be electronically available, why would anyone choose
to make photographs with film? An outstanding black
and white silver print from one of the masters of photography looks different from almost any digital print. A
big reason for this is because the materials are different.
To photograph with film involves a different discipline,
skill set and way of working. Film requires you to slow
down and pay more attention to light because film is
less forgiving than digital capture. You have to learn to

work more economically with your exposure because
at most there are 36 exposures on a roll and for each roll
or sheet of film there is the required time processing in
the darkroom. Furthermore, you will have to master
darkroom skills (learning papers, developers and
toners) to make final prints. Film cameras come in a
variety of formats not available in the digital camera.
Finally, you arent working on a computer (which for
me is an advantage).
phototechmag.com
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TECHNIQUE
Staircase, Portland City Hall, Portland, ME, 1992. Film: Kodak T-Max 400
Is it better to do it this way? No, just a different way of

working, and one that will be a good match for some,
but not others. Whether you are new to film-based
photography or returning after a hiatus, you might be
curious about the black and white films available today
and what you need to know to use them.
Film speed
Film comes with an ISO rating and each type of film
will have a different rating. The higher the ISO number
the more sensitive to light the film is. The first thing
a photographer switching from digital to traditional
film will notice is that a roll of film is exposed at the
same ISO throughout the roll. Unlike a digital camera,
you cant change the ISO between shots because the
entire roll of lm is processed at once. You have more
flexibility with ISO in sheet film, as single sheets can
be exposed and developed differently.
Youll find because of the limited number of frames

on a roll of film or working sheet-by-sheet that you
are more frugal with your exposures, making film
more demanding. Also, if you shoot 10 rolls of film
(360 images) then 10 rolls of film have to be processed
(and possibly proofed) before editing and printing can
begin.
Film Formats
There are a variety of film formats and film stocks.
Start with the format you want to work with: 35mm,
medium or large format. Each format has different
groups of film available and not all films are available in
all formats. Film availability is dependent on the manufacturer and the projected sales of a particular film.
The most common film formats are 35mm, 120, 127,
4x5, 5x7, 8x10. There are a variety of sheet film sizes
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Leng Memorial Chapel, Fife, Scotland, 2003. Film: traditional film emulsion
available, including Ultra Large Format such as 14x17

and 16x20. (Sheet film is measured in inches).
Types of Film
Panchromatic films are the most common black and
white films. They are designed to reproduce a realistic
rendition of what the human eye sees. These films have
three different types of emulsions: classic, traditional
and flat grained. Note that some lms are made by various manufacturers as private label or house brands.
Generally the manufacturers of these films are not revealed, but the film goes through testing to make sure
it is of high quality.
1. Traditional emulsions have a silver-rich, single layer
of light sensitive emulsion. The general ISO range is
25 to 100. Traditional films are based on the coating
technology and emulsion formulas of the 1940s. These
emulsions are very forgiving and flexible and can be

processed in almost any traditional black and white
developer. These films are available from Fotokemika
Efke (Efke KB 25, Efke KB50 and Efke KB 100) and
Adox (CHS 25 ART, CHS 50 ART, CHS 100 ART).
2. Multi-layer Classics are based on a multilayer technology developed in the 1950s and are continually being improved. Light sensitive silver and bromides are
combined in the emulsion. The film is coated with two
layers of light sensitive material, generally a high-speed
emulsion coated over slow speed emulsion. The fast
400 ISO films were created with this double emulsion
formula. Kodak Tri-X, known now as 400TX, is the
best known of this type of film. Ilford HP5 Plus (Hypersensitive Panchromatic) and FP4 Plus (Fine Grain Panchromatic) are exceptional films in this classic film
category. Arista EDU films available exclusively from
phototechmag.com
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TECHNIQUE
Freestyle are also in this category. Foma also produces three films in this category: Fomapan 100
CLASSIC, Fomapan 200 CREATIVE and Fomapan
400 ACTION. And finally, Fuji Neopan 400.
3. Modern emulsions are based on a new silver halide
technology of the 1980s1990s. Kodak introduced
Kodacolor 1000, the first T-Grain technology film in
1982. In 1986 they introduced the first T-Grain black
and white films, T-Max 100 and 400. Ilford soon followed with its own high technology grain structure
(Core Shell Crystal Technology) film in the Delta series
of films, Delta 100. 400 and 3200 Professional. Fujifilm
followed in the 1990s with its line of Neopan and
Acros film.
These films are also multi-layered emulsions with flatter silver halides and thinner physical depth. These thinner and flatter silver halide crystals have greater light
gathering surfaces than traditional irregularly shaped
silver halide crystals. These are professional films with
very little latitude for exposure or development errors.
This new silver halide technology allowed Kodak,
Ilford and Fuji to introduce black and white negative
emulsions with previously unheard of film speeds:
Kodak T-Max 3200, Ilford Delta 3200 Professional.
Fujifilm Neopan 100 Acros uses new proprietary Super
Fine Grain Technology, using fine grain alignment.
Swimming Hole, Redwood Road, 1800 North, Salt Lake City, UT, 2006.
Film: traditional film emulsion
These traditional films are readily available in a variety of sizes.

Photo courtesy of Freestyle Photographic Supplies
10
Specialty Films
1. Infrared Film is sensitive to visible and invisible
wavelenghts of light near the red end of the spectrum.
Special filters are required to take full advantage of
its unique qualities. Warm skin tone will appear white
and blue skies will go black. Generally it must be loaded in very subdued light or better yet, in total darkness. Efke makes several infrared films in various
sizes. Rollei offers an infrared film, as does Maco.
Ilford makes Ilford SFX (extended red sensitivity) film.
SFX is not a true infrared film but when used with a
deep red filter can produce infrared-like images.
2. Orthochromatic film is sensitive to only blue and
green light. Blue objects appear lighter and red ones
darker. It can be used to create photographs that
look as if they were made before the introduction of
panchromatic films (early 20th Century). Wet plate
photography uses an orthochromatic emulsion. Ilford
makes Ortho Plus, which is available in sheet film
sizes. ADOX makes ADOX Ortho 25 (available in
both 35mm film and sheet film) and ADOX Ortho CT
and ADOX Display film, both available only in sheet
film. Efke makes Efke PL25 ORT in various formats.
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Calanis Standing Stones. Film: traditional film emulsion
All Images Tillman Crane
3. High-resolution films are usually a single layer

emulsion, one grain of silver thick. They produce
extremely fine grain and high-resolution images. They
are very slow emulsions, ISO 10 to 25. ADOX makes
CMS 20 High resolution film in 35mm and sheet
film sizes. The 35mm version is a specialty film that
has been spooled for use in 35mm cameras. These
emulsions were intended for other uses but with proper
processing can be used in traditional photography.
niques so that you can consistently create images that

are distinct and unique for you. Its a much slower way
of working but for those attracted to such a pace there
is no better way to work.
You can start with a film camera as simple as the
Holga or as complex as a view camera. When you add
different films stocks to the wide variety of developers
available for processing black and white film and
then add the option of many different photographic
papers to print on, the options for creating different
and outstanding images are limitless; and all the films
mentioned here are readily available for purchase at
local camera stores and on the web. I hope that a few
of you reading this article will take a chance on this
expressive traditional form of photography.
4. Chromogenic films are specially designed black and

while films that are processed in C-41 color chemistry.
They yield a black and white negative. They were
created to allow photographers to drop their film off
at a local photo lab to get back black and white negatives. Ilford makes XP2 Super 400 in 35mm and 120
film sizes. Kodak offers Kodak BW400CN in 35mm
size. These films cannot be processed in traditional
black and white chemicals.
Tillman Crane is a large format photographer

specializing in platinum prints. He describes his
work as using 19th century materials with a 21st
Century aesthetic. Tillman teaches a number of
location workshops (ND, MT, NY, AL) in addition
to view camera and platinum printing classes.
He has four books of photographs and he sells
these and his prints through his gallery in Maine.
tillmancrane.com
Photo Richard Barnett
The advantages of working with traditional black and

white materials are many. The digital photography
world offers many advantages too and we are fortunate
to live in a time of so many choices. Using film and
large format cameras like I do can be a lifelong learning
experience. Youll develop a greater understanding of
f-stops and shutter speeds, of metering and light quality,
more discipline in composition and more insistence on
getting the exposure right because its more difficult
(or impossible) to fix later. You will learn to process
your film consistently. You will master darkroom tech-
Editors Note: Want to learn more about traditional black and white
processing and printing? Please let me know!
Resources
Films: Adox - _____
adox.de, Arista ED - freestylephoto.biz,
__
__________ Efke - free
stylephoto.biz,
freestylephoto.biz, Fujifilm - fujifilmusa.
______
________ FOMA - __________
com,
ilfordphoto.com, Kodak - kodak.com,
free
__ Ilford - _________
______ Maco - __
stylephoto.biz,
rolleifilm.com
________ Rollei - ________
phototechmag.com
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PRESERVATION & ARCHIVING
Erik Lauritzen: A Call to Photograph
The Gem, 1989
Nolan Preece
Throughout the history of art there have been artists
who have struggled with chronic illness or addiction.
From the Greeks to Van Gogh to Modigliani in more
recent times, illness has played a part in the growth
and stimulation of artists.
Erik M. Lauritzen was one of those courageous artists. A photographer, Erik suffered from polycystic
kidney disease his entire life. Erik was born in Illinois
in 1953, but later moved to California with his family when his father took a position of Professor of Art
at California State University, Northridge in 1960.
Both of his parents, Martha and Fred, were graduates of Cranbook Academy of Art in Michigan. They
recognized Eriks artistic and musical talents early
on, encouraging him in the arts. He graduated from
San Francisco Art Institute with a B.F.A. in 1977, and
12
from California State University, Northridge, with

an M.F.A. in 1980. He became an accomplished artist who exhibited his work consistently from the mid1970s in galleries throughout California and Nevada
and in cities across the continent. Most of his work is
now archived at the University of California, Santa
Cruz, but his photographs are also in well-known
collections throughout the United States, including
the Kresge Art Museum in Lansing, Michigan, the
Carnegie Museum of Art in Pittsburgh, the Los Angeles County Museum of Art, the Museum of Contemporary Art in Los Angeles and the Johnson Museum in Ithaca, New York.
Erik held a position as Professor of Art at Truckee
Meadows Community College in Reno, Nevada,
where he was an excellent teacher. Students loved
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ERIK LAURITZEN: A CALL TO PHOTOGRAPH NOLAN PREECE

him for his acute criticism. He could dissect an image and explain in minute detail both its merits and
aws. Eriks career as a photographer and teacher
was cut short in 2007 when he died at the age of 54.
He had lived 50 years longer than the doctors had
predicted. Despite his debilitating disease, he managed to maintain a very high standard of teaching
and a consistent drive for photographic excellence.
He was a functioning artist who created numerous
portfolios and thousands of images.
The Work
The one thing that stands out most in Eriks many bodies of work is his choice of subject matter. He focused
on the types of common subjects that most photographers find ordinary or uninteresting, for example
gravel pits and construction sites. Marianne Murray
drew the analogy between Eriks work and visual
deserts in the exhibition catalog for his Under
Construction series that was presented at the Nevada
Museum of Art in 1993. To Lauritzen, the desert represents a place that is vast, open, seemingly empty,
seemingly without a great deal of life. Yet, on close,
intimate examination, one discovers that this is a
place where there is a greater diversity of life than
anywhere else in this world. These empty walls and
planes become the deserts that he offers to us. As we
quietly observe their implacable empty surfaces, we
begin to encounter a shift in our awareness, a finetuning. Details start to rise and fall. Colors, forms,
tricks of plane and perspective, all gently show themselves in his subtle theater. Like the delicate, dancing
webs of rebar, the curious marks of colored paint and
chalk, the translucent veils of protective plastic which
emerge in Lauritzens images, so ideas and insights
begin to form, delicately against the planes of our
calmed mind.
Erik had studied the works of the painters Rothko
and Kandinsky. He had talked about the influence
that their work had on his photography, and it is expressed well in Marianne Murrays writing. The vibrancy of Rothkos large color field canvasses is powerfully transmuted in Lauritzens intensesomehow
atmosphericvision of the grey cement surfaces of
the construction sites. This macro-view would seem
to be at odds with the playful details of Kandinskys
work, but overlay these two views: the huge cement
planes; the vibrant energy of the visual details such
as ladders, rebar, arrows, fragments of color and texture and the result is a compelling dimensional interplay. The openness of the underpasses in Portfolio
One, the close ups of scratched metal in Making Light
of It, the blank walls of alleys in L.A., or close ups
Cathedral Gorge (Lincoln, Co. NV), 1986
of rusty train cars at the train yard in Portola, CA,

are all examples of Eriks way of seeing. He paired
masterful photographic technique with banal subject
matter to create a type of visual contradiction.
One of Eriks signature pieces is a photograph of the
Gem theater in Pioche, NV titled The Gem, 1989, that
shows the depth of Eriks photographic expertise.
This unique photograph combines four sequential
exposures of both natural and articial light on the
same sheet of film. This image has been exhibited nationally and was published in Exploring Color Photography by Robert Hirsch (1989-2006) with a detailed
description of how it was made. The scenic landscape, Cathedral Gorge (Lincoln, Co. NV), 1986 also has
been exhibited nationally and published in several
books and periodicals, however, one of his most
beautiful yet little known landscape series is his gelatin-silver prints in the Lake Lahontan Reservoir Series,
1996 which focuses on the Nevada desert. Although,
Lake Lahontan Reservoir might appear desolate and
commonplace to many photographers, once again
Eriks interpretation transcended the ordinary.
The Archives
Erik spent most of his life building a fairly impressive
oeuvre, and he understood the importance of preserving his work in some type of museum permanent
collection or archive. Rita Bottoms, then the Head of
Special Collections, University Library, University of
California, Santa Cruz, recognized the value of the
work and she and Erik began talking about the possibility of an archive. Because Erik had served as an
assistant to many of the masters of photography
such as Ansel Adams, Pirkle Jones and Morley Baer,
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PRESERVATION & ARCHIVING
All Images Erik Lauritzen
Military Balls, 2004
there was a direct connection to work already housed

at UC Santa Cruz. Currently, most of Eriks work resides in the archives at UC Santa Cruz.
14
A special thanks to Christine Bunting, Head of Special Collections,

University Library, University of California, Santa Cruz for her
assistance and permission to publish this article.
Photo Jan Pietrzak
Eriks life and his photographs are exemplary of what

can be accomplished by someone with a debilitating
disease. One of his last portfolios featured his routine
encounter with dialysis, and portrayed his disgured
body with huge stitches and swollen stomach shortly
before his third kidney transplant. His struggle to create and then preserve his work within the connes
of his illness may be one of Eriks greatest legacies to
photography. Erik once said: A successful photograph
raises questions of who we are, where did we come
from, and why are we here pointing a box at what we
see in front of us, therefore separating ourselves from
the very reality that we choose to record. Making a
photograph does so without resort to the vocabulary of
the literary language, returning us back to the source
and the impulse to communicate about all life. A camera is a means of communication but only when operated by someone who knows how to communicate
without one to begin with. It is stronger than words at
times and weaker than language when it tries too hard
to make a statement.
Many photographers have the same concerns about

preserving their work. As individuals age or become
ill, there is a concern that the value of the work will not
be recognized and that it may be discarded after their
death. Recently, organizations have been formed for
the purpose of acquiring and preserving work. The
Foundation for Photographic Preservation in Carmel,
CA is one such organization. Their goal is to preserve
the signicant work of career photographers; identify
suitable archives for bodies of photographic work; and
to assist photographers, their families and their estates
in preparing collections for placement.
Nolan Preece is an emeritus professor of art at

Truckee Meadows Community College, Reno,
NV. He currently lives and works in Reno, NV.
nolanpreece.com
Resources
foundationforphotographicpreservation.org; eriklauritzen.com
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FOUNDATION FOR PHOTOGRAPHIC PRESERVATION AL WEBER
FfPP
Cinderhenge, Avon, NC, 1993. John Scarlotta. The photograph is from a case study of photographer John Scarlata. FfPP advisor Ben Garfinkle was
able to organize Johns work prior to his cancer-caused death. Every little bit means something.
Al Weber
When Carmel photographer Steve Crouch died in
1984, his work was headed for the dump. A telephone
call from Huntington Witherill alerted me as to what
was happening and I was able to persuade his son to
let me have the whole archive. I didnt have a clue as to
what Id do with it. Three years later I was able to talk
the University of California, Santa Cruz into placing it
in their Special Collections. That was the start.
Were not a large organization. We only handle what

we have time for. We continually attempt to alert others
to the importance of preserving work. Its working. Its
unpredictable. No two cases are alike. Each body of
work has to be dealt with individually, because were all
different. Onetime beautiful prints are found wrapped
in newsprint. Some are found stored in damp or humid
places. Mold is common. And there are duplicates and
duplicates and duplicates. Yet, what remains, and it is
substantial, deserves to be preserved. FfPP cant do it
all. We do what we can. What we would like to do is
raise the level of awareness in others and maybe persuade them to establish a similar organization in their
own area.
I found to my surprise that the majority of photographs

from deceased photographers end up in the dump.
Family and heirs frequently have no interest in what
was a lifes work. Only a few high profile photographers
have work that interests collectors, libraries, universities,
museums, etc. Yet, all photographs have a potential
value. Everything is not just fine art. Historical information can be gleaned from surprisingly obscure nooks.
If a photographer has been diligent in recording their
work, it has more appeal to the academic world.
Photo Stephen Johnson
As time passed, I helped other photographers organize

their work and in some cases, find a repository for it. The
phone started ringing. Can you help me was a common
question. It got to the point where I couldnt handle the
load. I needed to get others involved. The outcome was
FfPP. Foundation for Photographic Preservation. FfPP
is comprised of a few hand picked reliable friends, people with a variety of expertise, people who cared and
understood the importance of preserving photographs.
As a traveling workshop instructor, I have seen countless sacks of family prints. One time in a small Nebraska town a woman brought in a sack full of family
tintypes. Gorgeous little gems, now damaged through
carelessness. But salvageable, and a key to her ancestors.
Irreplaceable. So that is what FfPP is about.
Al Webers photography is exhibited in the
Art Institute of Chicago, the Museum of Fine
Arts in Kyoto, Japan and in many regional
museums. He has taught photography
since 1963, as instructor for Ansel Adams in
Yosemite, at his own Victor School, CO and in
workshops including those with David Vestal
at the Photographers Formulary in Montana.
He was Educational Chairman at Friends of
Photography in Carmel, CA.
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TECHNIQUE
Monitor Calibration
Steve Anchell
Do you really need to calibrate your monitor? Perhaps you dont. Read the following scenarios and see if
they fit.
Scenario #1
Youve just captured the worlds greatest landscape.
When you released the shutter the light, color and
composition were perfect. Never mind that your camera wasnt calibrated, youll fix it in Lightroom. You
work on the image in LR until its perfect, color, saturation, contrast, shadow detail, luminous clouds with
subtle detail in a blue sky. You write it to disk and take
it to a really good lab to print. Never mind that your
monitor wasnt calibrated. The lab can fix that.
When you pick up your print it is darker than it appeared on your screen. And the colors arent as saturated. What gives? You ask the lab owner. He shows you
the image on his calibrated monitor; it looks exactly
like the print. Is your monitor calibrated? He asks.
Scenario #2
You purchase an Epson printer with a K7 inkset. You
heard this was the best inkset out there. Now youll get
a good print. Print #1 is too dark, just like the one
from the lab. No problem, you punch up the exposure.
Print #2 is better, but the clouds are a little too bright,
so you add +60 Recovery for the highlights, and the
shadows are, well not quite black enough, so you add
+20 Black. In print #3, the clouds are a little gray,
and the shadows lack detail, but youre getting closer.
You notice that the sky in the print isnt the same hue
as it is on the screen, and the reds on that pickup truck
parked in front of Mt. Shasta just arent as saturated as
they look on the screen, either. Print #4, add hue and
saturation, increase the contrast; while youre at it add
+3 magenta. Print #5, too much contrast, youve lost
shadow detail; better add some Brightness, or perhaps
Fill light; back off the magenta...
By the time youre finished, somewhere around print
#10 or #15, you are ready to accept the variations in
color and contrast between what you see on the screen
and in the print. Even if the print doesnt match the
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original on the monitor its every bit as good in its own

way, right? After all, nobody will know but you.
If any or all of the above sounds familiar, you need to
calibrate your monitor. Monitor calibration requires a
reading and measuring device, either a spectrocolorimeter or a spectrophotometer, and software to match.
These devices are available, respectively, from either
Datacolor or X-Rite. Datacolor calls theirs the Spyder
and X-Rite calls theirs the ColorMunki. Datacolor
introduced Spyder4 this year and X-Rite introduced
their latest version, ColorMunki Display. Both of these
are for monitor calibration only, though both companies offer complete calibration packages, which include both monitor and printer calibration devices
and software.
Datacolor has learning videos on their site and X-Rite
has a series of webinars on color management and
calibration. You do not have to own or use their product to benet from the wealth of information on both
these sites.
I have been using the Datacolor Spyder since version
2. For this demonstration I will be using the Spyder4
ELITE, which has the most complete set of controls in
the Spyder lineup for custom calibration. However, both
devices, Spyder4 and ColorMunki, work equally well.
Monitor calibration is as much about contrast and
brightness as it is about color. For that reason it is important to adjust the ambient light levels surrounding
your workspace. The higher the ambient light the
brighter your screen will need to be, and the lower
the apparent contrast. This will impair your ability to
visually judge contrast (think of the LCD screen on the
back of your camera; in low light you can turn down
the brightness to conserve battery power, but in bright
sunlight you need to turn it all the way up in order to
see the image).
Spyder4 software opens with a checklist of things to
do prior to calibration. The first is to be certain your
screen is warmed up for at least 30 minutes.
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MONITOR CALIBRATION STEVE ANCHELL
(Figure 1) Begin your first full calibration (FullCAL) using the recommended defaults. At the bottom of the dialog box is a link to Advanced Settings, also
known as the Expert Console. Go to the Expert Console and make certain the Ambient Light test is enabled (see Figure 2).
The second is to check that no intense light is falling

directly on your screen. Whether it is or not, it is always
a good idea to use a monitor hood to reduce eye strain,
aid in consistent color calibration accuracy, and reduce
flare from doors and windows. You can purchase
monitor hoods online for any size LCD screen from
photodon.com or you can make your own from black
foam core and tape. It should have a depth of about 8"
and completely cover the sides and top of the screen
(the bottom can be left open). In my homemade foam
core hood I have cut a hole large enough to drop the
Spyder calibration device through.
However, an increasing number of photographers are

using either laptops or Macs which use software controls for brightness, with no control over contrast. Using
Windows 7, go to Control Panel > Display > Adjust
Brightness (Power Option). At the bottom of the dialog
there is a brightness adjustment. Move it all the way to
the right before beginning calibration for the f irst time
(it should not need to be reset for re-calibrations).
On a Mac go to System Preferences > Display. Set the
brightness slider in the center. Finally, make certain
the device is plugged into a powered USB outlet. Click
Next.
The third is to reset your monitor settings to their

default before beginning calibration for the first time
(once your monitor has been fully calibrated the first
time it is usually only necessary to do a recalibration;
this means you do not have to reset the defaults before
each calibration).
At this point you have the choice of using the Step-byStep Assistant, (Figure 1) or the Expert Console. The
primary reason to use the Expert Console, is to manually change the Black Luminance value. Everything
else can be changed in Calibration Settings.
If you are using a professional quality monitor, such

as the LaCie 324i, you will have access to external
controls on the monitor itself.
My suggestion is to start with the recommended defaults the first time through (Gamma: 2.2; White Point:
6500K; Brightness: 120). If you feel you need more
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TECHNIQUE
control you can switch to the Expert Console (see
the sidebar, White Point, Gamma, Black Luminance,
White Luminance).
Gamma, White Point,

Black Luminance & White Luminance
These are the four values we use when calibrating a
screen. They are affected by the level of ambient light
and the quality of the screen. Better monitors have higher
denition and are generally of lower contrast. If you are
not able to reach a medium light level, Spyder4ELITE will
recommend a new target value for White Point and White
Luminance. These four values are easily understood.
Gamma: Although it is an entire course of study to fully
understand gamma and to plot gamma curves, for our
purposes gamma is simply a measure of contrast. The
higher the gamma the higher the contrast. By contrast is
meant the number of gray tones between the lightest areas
and the darkest areas. The more gray tones the lower the
contrast. If the contrast is too low, the image appears to
be flat, lacking pizazz, for want of a better word. If the
contrast is too high the image loses detail in the shadows
and highlights. With a medium level of light and almost
any good quality monitor made today, a gamma of 2.2
is typically chosen. If the ambient light is too high it will
lower the screens apparent contrast, and a higher gamma,
such as 2.4, should be used.
White Point: Is the color temperature of the monitor.
This is also affected by the ambient light level. White
Point is also affected by the color space. A color space
using Adobe RGB (1998), most often used in Photoshop
and Lightroom, uses a color temperature of 6500K. For
this reason we generally select a White Point of 6500K.
However, if the room light is too low, it is often better to
lower the color temperature to 5800K. Whenever possible,
it is better to raise the ambient light level.
Black Luminance: Is a measure of the blackest black on
the screen. A value of 0.0 would be as black as the screen
can get, but a black luminance value of 0.0 will invariably
result in lack of shadow detail on the screen, resulting in
overcompensation, resulting in low contrast blacks on
the print. A black luminance level between 0.2 and 0.3
is preferred. However, unless you are using a high-end
display you may have to rely on the color calibration
device and software to set the black luminance value.
White Luminance: Measures the screen brightness. The
preferred brightness level is very much affected by the
ambient light level. If the ambient light is too high the
screen needs to be brighter. If too low, the screen needs to
be darker. In a medium level of ambient light the White
Luminance value should be set around 170 to 180; in low
levels between 120 and 130; in high levels 200 to 220.
However, because light is transmitted through the image on
the screen and reflected off the surface of the print, there
are some who prefer to use a lower White Luminance,
around 90, which more accurately simulates what the
image will look like on paper. This is a perfectly good
working method but in order to make the best use of this
technique the ambient light should be lower than medium
and the White Point lowered to 5800K. I will personally
guarantee that eye strain and fatigue will result.
18
The first time through the process you will want to do

a full calibration. Always start a full calibration with
an ambient light check. At the bottom of Calibration
Settings is an Advanced Settings option. In the Advanced Calibration Settings dialog be certain that Ambient Light is turned on (Figure 2). Return to the Basic
Settings and click on Next.
(Figure 2) Ambient Light test is enabled. Return to the Basic Settings Wizard.
To check the ambient light you will need to place

the Spyder4 device in its cradle in front of the screen
(Figure 3). Ideally, the results will read that the light is
within a medium range. If so, continue. If not, take the
appro-priate steps to adjust the ambient light or shield
the display, then retest. If you cannot bring the ambient
light to a medium setting, then accept Spyder4s recommended settings (see White Luminance sidebar).
(Figure 3) Try to get the ambient light level to where the result reads medium. You
may find that the default settings have been changed. In this case the recommended
White Point is still 6500K but the recommended White Luminance value has been set
at 180.
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MONITOR CALIBRATION STEVE ANCHELL

Next brings you to the calibration screen.
Youll need to remove the measuring device
from its cradle and hang it over the top of the
display; adjust the counterbalance to hold it
in place. Be certain the screen is tilted back
slightly so that the sensor is ush against the
screen and no stray light can get between.
Click Next to begin calibration.
The calibration process will pause when it
comes to the White Luminance (brightness)
screen. (Figure 4). On the right side of the
white target it will display the target brightness,
the higher the value the brighter the screen.
Below that is the measured brightness of the
screen. If the measured brightness is within
4% of the target, click Continue. If not then
this is where you readjust the brightness you
previously set to its default. If your monitor
has manual controls, use these to adjust the
brightness. If not, use the software controls
built into the operating system.
(Figure 4) After reading the ambient light Spyder4 recommended a White Luminance value of
180.0. The Spyder4 photocolorimeter read 174.0. Clicking on the Apple icon at the upper left of
the Mac screen allowed the choice of System Preferences>Display. In Display I was able to move
the Brightness slider to the right and update the reading until it was 181, within the allowed 4%
tolerance.
With a Mac click on the Apple icon and go to

System Preferences > Display and move the
Brightness slider; left to reduce brightness,
right to increase. Unfortunately, the slider
is not calibrated so it is a hit-or-miss thing.
Back on the White Luminance screen click
on Update at lower right.
Give the Spyder a moment to read the new
value and then check it on the screen next to
Current. Readjust as needed until you are
within the 4% range, then click Continue.
(Figure 5) When calibration is complete you will be prompted to accept the default name (Apple
iMac-1) or customizing the name to something more meaningful. I add the date at the end and get
rid of the Apple for brevity (iMac-1-02012012). Dont leave any spaces between letters, numbers,
or symbols.
With Windows 7, follow the same procedure

through the (Start > Control Panel > Display),
using the Brightness setting to make the
luminance adjustment.
The rest is automatic until the end. When you
see the Save Prof ile screen you can accept the
default name (Apple iMac-1) or change it to
something more meaningful. I like to add the
date of the calibration. Out-of-date calibrations
can be deleted at any time (Figure 5).
Now that your monitor is calibrated you need
to keep it calibrated. For me, that means calibrating at the beginning of every month (easy
to remember), or before I process an important project. In other words, I usually end up
calibrating every few weeks. In any event, I set
(Figure 6) The final screen is a soft proof of the calibrated screen. You can switch between before
and after at the lower right side. Notice that the color and brightness change over the entire
screen, not just the test image.
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TECHNIQUE
All Images Steve Anchell
This is how the image appears on an uncalibrated iMac.
This is how the image appears after calibration.
the reminder at one month, though I rarely make it

that long without recalibrating.
The final screen is a soft proof. The first time I used
Spyder I wondered if this was really a before-and-after
image or if Datacolor had simply inserted an out-ofcalibration image to make the new one look good.
Then I noticed that the color and brightness on the
screen changed along with the before and after image
in the dialog box. Now Im mostly convinced.
So, the question: Do you really need to calibrate your
monitor? The answer is actually quite simple. Do you
take control of the process, or do you allow the process
to control you?
_____________________________________
Photo Marcia Brenden
Steve Anchell has been a photographer, writer,

and teacher since 1970. He teaches both
film and digital workshops, internationally and
from his home in Salem, Oregon.
He leads a workshop for Photographers to
Cuba twice a year. For more information, visit
steveanchell.com
Resources
______________________________
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Datacolor: datacolor.com, spyder.datacolor.com; Photodon:

photodon.com; X-Rite: xritephoto.com, xritephoto.com/ph_
learning.aspx?action=webinars;
__________________ LaCie: lacie.com
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Natura Morta
Paulette Tavormina
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PORTFOLIO
Paulette Tavormina Yellow Cherries and Crab Apples, After G. G., courtesy Robert Klein Gallery, Boston
Wendy Erickson: I am drawn into your images when

I study themI can almost smell the fragrance from the
flowers. Your photographs are extraordinarily warm
and invitingI get the feeling these are extremely
personal photographs.
turn was grafted and given to my father and in turn

given to my brother. Snails on the branches are from
my cousins villa in Palermo, Italy.
WE: How were you introduced to photography?
Paulette Tavormina: They are intensely personal to

me as they all tell stories of the fragility of life and love,
the fine balance of emotions, passion, vulnerability
and the sorrow one feels that life and beauty can be
so fleetingtempus fugit. Being a sentimental person,
photography is a way to capture and savor a moment.
PT: I studied art history at school and later worked

at Sothebys Auction House in New York. There I was
surrounded by priceless paintings and sculptures from
all over the world. Much like working in a rotating
museum, I was inspired by the beautiful works of art I
was exposed to every day.
I pour myself into these images when I am creating

them. Typically, it will take me three days to a week
to set up and shoot an image and get it to the point
where I love it. In the process, Ill make hundreds of
shots, tweaking and refining until I get each element
in place and the lighting kissing each surface exactly
as I want it.
My interest in photography began to develop in the

1980s, but I soon realized that I needed to develop
my skills and so attended a class at the International
Center of Photography in New York. I was intrigued
and began shooting whenever I had a chance.
The photograph entitled Figs and Dragonfly, After G.F.

expresses my Sicilian family history. This image reminds me of my grandfathers original fig tree that in
When I moved to Santa Fe a few years later I took a

black and white darkroom course to strengthen my
understanding of the technology behind image making. A friend asked if I would photograph his collection of historic Indian pottery for a book he was
Previous Page: Paulette Tavormina Figs and Dragonfly, After G.F., courtesy Robert Klein Gallery, Boston
22 photo technique J/A 2012
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NATURA MORTA PAULETTE TAVORMINA

publishing. For the next year I shot images of historic
Indian pottery and Navajo jewelry and my career in
photography was launched.
WE: Tell me about the inspiration behind Natura
Morta?
PT: Although I shot many still life images for commercial publications over the years, I really just began
my fine art career four years ago. It was at that time
that I combined my love of 17th Century Old Master
still life paintings, allegories of life and my passion for
photography. I set about creating my Natura Morta images inspired by the sumptuous detail of Old Master
painters, highlighting the food as much as the lavish
table settings. Painters such as Francisco de Zurbarn,
Adriaen Coorte and Giovanna Garzoni were very
influential.
WE: Some of your photographs pay homage to
Spanish painter Juan Snchez Cotnwere there
technical difficulties in making these images?
PT: I had long been attracted to the niche and suspended fruit imagery of Juan Sanchez Cotn, ever since
seeing his work in my Old Master still life books and
then later in museums. Once I began my Natura Morta
series, I pondered over how best to create photographs
inspired by those elements. I designed a niche, which
a friend built for me and I painted, and then began
experimenting with methods to compose the images.
It was certainly painstaking and required every ounce
of patience I could muster. Working with the strings,
suspending the fruit, balancing the compositions, and
getting the lighting right took endless hours.
Paulette Tavormina Grapes and Yellow Melon, After J. S. C.,

courtesy Robert Klein Gallery, Boston
ing glories and pitcher plants to name just a fewdo

you have a garden?
PT: I live in a Manhattan apartment and dont have a
garden unfortunately. I find most of the flowers, fruits
and vegetables from the ower market and farmers
WE: There are insects and shells, objects and vases in

your photographsare you an avid collector?
PT: I have always loved the magic of objects and have
collected things for years whether they are shells or
antique dice or antique glass. I have amassed a large
collection of butterflies, insects, shells, dried owers,
as well as lots of dishes and glasses from my food and
prop styling days for cookbooks and motion pictures.
Sometimes I will find an insect on a sidewalk in New
York City or ladybugs on the beach. Other times I
buy them in a wonderful taxidermy shop in Paris and
carefully carry them home. Sometimes I borrow 17th
Century Dutch dishes from a friendly antique store.
WE: Your choices of flowers are not typical of those
found at most local florists. Love lies bleeding, morn-
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PORTFOLIO
Paulette Tavormina Peonies, courtesy Robert Klein Gallery, Boston
24 photo technique J/A 2012
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NATURA MORTA PAULETTE TAVORMINA
Paulette Tavormina Peaches and Morning Glories, After G. G., courtesy Robert Klein Gallery, Boston
markets in New York City. I have come to know several

of the vendors over the last few years and when I have
a particular idea, I will ask them to be on the lookout
for specic things such as grapes with the their vines
and leaves attached. When I needed fig leaves and
fragile morning glory flowers, I bought a fig tree and
a morning glory plant and set them on my apartment
windowsill and later harvested them for the Fig and
Peach photographs.
WE: What cameras and software do you use to make

your photographs?
WE: For still life images, these appear very lifelikeI

sense there is great care in setting up these scenes.
PT: I think the only thing that I would say for advice
is to find what you are passionate about, stay focused
and dedicated to that passion and make it a priority.
Incredible things can happen.
PT: For an example, shooting the strawberry image,

I spent day and night of the 4th of July weekend just
setting it up. As soon as I had cut the leaves from the
stems, they wilted and died, so I had to cut more leaves
and had to recompose constantly. I had to steam the
large insect to soften it so with tweezers I could separate the legs and the antennae that were stuck together. When I placed the insect in the composition,
the strawberry above it came crashing down and broke
off one of the antennae (that would have happened in
nature too, I suppose).
PT: I use a Canon 5D Mark 11 Camera with 100mm

macro, 70-200mm and 50mm lenses. I also use Photoshop to tweak out spots and make color corrections.
WE: Do you have any advice for photographers finding their way in todays world?
Paulette Tavormina lives and works

in New York City. Represented by
the Robert Klein Gallery, Boston,
her work is widely collected. She
has exhibited her work in Boston,
Chicago, Los Angeles, Miami, New
York, Palm Beach and internationally in
Moscow, Lugano, London and Paris.
To view more of her photography
visit tavorminaphotography.com and
robertkleingallery.com
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WORKFLOW
FOR
MAKING GREAT
INKJET PRINTS
R. Michael Walker
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WORKFLOW FOR MAKING GREAT INKJET PRINTS R. MICHAEL WALKER

How many of you are happy with your digital workow?
Are your results repeatable? Are your camera, lenses,
monitor, scanner and printer calibrated? If so, you
are on your way to making great inkjet prints. Here is
what I will be covering in this article:
s*0%'VS2!7
s3HARPENINGTECHNIQUESFOROUTPUT
s7HATCOLORSPACETOUSE
s(OWTOLOADANDUSEAPROlLE
s#REATINGANDSAVINGPAPERPROlLES
s$RIVERINTERFACESETUP
s6IEWINGTESTSANDMAKINGCORRECTIONS
JPEG vs. RAW In The Field
Getting your image as near perfect as possible in the
eld should be the goal of any serious photographer.
In reality, this is step one in the printing process.
Errors made there will denitely affect your printing.
Try to pre-visualize your finished print when shooting
and make as many adjustments there as you can so
that you can achieve the print you want. Over/under
exposures, shortened tonal range, noise, color artifacts
all make your job harder. A sharp eye for detail and
the technical knowledge to control these factors in the
field all add to the quality of the final print.
JPEG compression shortens color graduations, preserving luminance. Although JPEG is 8 bits of each
color, most cameras capture 11 bit (or more) in RAW.
More information is always better when you enter
post production. Its hard to get back what you didnt
capture. With RAW editors like Lightroom and Camera RAW, you preserve the RAW files for future
revisionssort of like unlimited undos and opportunities to rework your prints as your processing skills
improve over time.
While it is true inkjet printers cannot handle all the
information we throw at them, do you really want
them to make the decisions about what information
can be cut? Anything applied in camera cannot easily
be undone in post. The most benign of JPEG processing
in camera still tosses data and most add sharpness.
Sharpening In CS5
When it comes to digital photography, my personal
mantra is Correct density first, color second, sharpen
last. You cant accurately adjust color until you have
the exposure (density) correct. Colors shift as you
adjust exposure. And any other post work you want
to do needs to follow both this and color corrections.
But however little (or much) you do, dont sharpen
until output.
(Left) 1975-Allie, Sadieville, KY
________________
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TECHNIQUE
Its important to note that sharpening for the screen is
different than sharpening for the print. It all has to do
with something called dot gain. When the droplets
of ink hit the media, they spread in accordance with
the media's absorption characteristics and to the
type of printer as well. This is why paper choice is
so important when making fine art prints. Assuming
you are using a mid to upper level printer, no matter
what settings you use or your post production skills,
the media you are printing on will make the largest
difference. If you follow all my instructions and insert
a piece of plain paper into your printer you will see
what I mean. Like color, this is all subjective so you
should try out a number of different papers to find
what looks best to you. I mostly print on ILFORD
GALERIE Prestige Gold Fibre Silk. Using it, I feel I
not only get the longer tonal range I am looking for
but also the look and feel of the classic silver based
photo paper. All my limited edition fine art prints are
made on ILFORD GALERIE Prestige Gold Fibre Silk
now that Ive gone completely digital in my workflow.
The paper has a very tight dot gain pattern due to its
great absorption properties.
I do all my basic corrections in Lightroom 4. From
choosing the best images to work on and adding keywords for later searches, to color, contrast, density and
cropping (as a rule I dont crop but you might), and
just about everything except sharpening and printing.
While the tools are there to do that too, I find CS5
fits my needs for those steps the best. The main reasons are my extensive use of layers and my need for
localized adjustments. Basically, I just get more control
in CS5. And while I love the new sharpening tools in
Lightroom, I always sharpen after everything else is
done and Im ready for output.
Figure 2. 1975-Pearl and Allie, Sadieville, KY
Figure 1 is a good example of sharpening for the print.

It was layered in Photoshop to make the adjustments I
wanted in post. The original image on the left is rather
flat, but contains the long tonal range I strive for.
Through layer manipulations for contrast, brightness
and sharpness (here I used Unsharp Mask), I achieved the look I wanted, all from a single file. On the
cutouts you can see those adjustments. The grey layer
is a High Pass Filter done in Overlay mode for the final
sharpening step. I did a set for each person because
they needed different amounts of corrections. Figure 2
is the final image with the layers added. You can see I
did a few additional manipulations to the background.
Figure 1
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Definition Of Terms
Color Modela system to numerically describe
colors
Color Spacea specific range of colors within a
color model
Gamutthe complete range of colors used by a
device
ICC Profile(International Color Consortium) a
file that describes how a device reads and
reproduces color
Choosing Your Rendering Intent
Rendering intent tells the printer what to do with outof-gamut colors. I always shoot RAW at the highest bit
the camera allowsthen work in Pro RGB Colorspace.
Perceptual Rendering attempts to preserve the visual
relationship between colors. Colors that are in-gamut
may change as out-of-gamut colors are shifted to reproducible colors. Perceptual rendering is desirable
when your image has many out-of-gamut colors.
Relative Rendering preserves all in-gamut colors and
shifts out-of gamut colors to the closest reproducible
color. The Relative option preserves more of the original color and is desirable when you have few out-ofgamut colors.
Managed by Printer. If you select this option in the Print
Job panel, you hand over control of how the color
is handled to the printer driver software. Be sure to
choose the proper printer and the paper size and type
you are using.
match to your printers gamut than some version of

Pro RGB. This color space is smaller than what your
printer can handle. Pro RGB is larger. If you make
this conversion right before you print you will see any
noticeable changes on your monitor. Better than 9
times out of 10 there will be none. If there are and you
cant live with them then you hit undo and readjust
your image palette. Consider this a form of soft proofing. For me its the ONLY soft proofing I do. Since
I create my own printer preferences for each paper
my prints are VERY consistent. I made prints for a
show at Butters Gallery in Portland back in January
and some of those images were last printed years ago.
They still matched. Older images which were never
printed via inkjet prior to that show only took one test
to get dialed in.
CS5/Epson Driver Printing Steps (Epson 3800)
Here is a step-by-step walk through using the Epson
Driver from CS5.
s&ROMINSIDE0HOTOSHOPCLICKhPRINTvINTHE
file menu.
s3ELECTYOURPRINTERFROMTHEDROPDOWNLISTATTHE
top center of the page.
s3ELECTh#OLOR-ANAGEMENTvFROMTHEDROPDOWN
menu at the far right (Figure 3).
s4HENEXTMENUDOWNISh#OLOR(ANDLINGv3ELECT
Printer.
s5NDERh2ENDERINGINTENTv3ELECT2ELATIVE
Colorimetric.
s4HENCLICKTHEh0RINT3ETTINGSvBUTTON
Custom Printer Profiles from the manufacturers. To add
these, place the profile in your computers Colorsync
(Mac) or Color (WIN) folder. On the Mac this folder
is found in the Library folder. On Windows the Color
folder harder to find so just do a search for the .icm extension to find it. After placing the new profiles in the
folder restart CS5, and when you restart the program
the profile should appear in the list. If you use a custom
profile, its very important you go to your printer driver dialog box and turn off color management. You
dont want the custom and printer management to
BOTH manage your colors.
My tip here is to convert your color space to sRGB.
While this sounds counterintuitive to keeping the most
quality throughout the process, it is actually a better
Figure 3
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TECHNIQUE
s3ELECTh0AGELAYOUTvTOSELECT,ANDSCAPE
or Portrait mode.
s4HENRETURNTOTHEMAINMENUBY

clicking it in the top tab of the layout
menu. (If you had selected OK after
setting your layout it would have sent
you back to the Print screen).
s#HOOSEh3ELECT3ETTINGSvTOLOADA

downloaded manufacturers profile or
you can create your own custom profile.
Youll notice in Figure 4, that I have made
several custom settings of my own. As I
said earlier, I mostly print on ILFORD
GALERIE Prestige Gold Fibre Silk, but
youll notice that I have a Luster (ILFORD
GALERIE Prestige Smooth Pearl) and a
Glossy (ILFORD GALERIE Prestige
Smooth Gloss) setting. Those are mostly
for commercial prints from my fashion
and beauty work. Each gives a different
look (and feel) to the finished print. Most
manufacturers provide ICC profiles for
their paper. Select the printer and paper
you use and download the profile. If you
are beginning to set your own custom profiles, youll need to go into the advanced
mode and set each aspect individually.
Here is how I handle that:
Figure 4
s!FTERENTERINGTHEhADVANCEDMODEv)
select Color Mode Epson Vivid for my
work. If you want more subtle colors
choose Epson Standard (sRGB). If you
dont convert to sRGB for printing
then choose Adobe RGB (Figure 5).
s3EThGAMMAvTO
s)FYOUNEEDTOMAKECORRECTIONSTHISIS
where they are made. Test at all neutral
settings and then make corrections as
needed after viewing the print. When
you get what you want, save the profile.
You can also choose from a Color
Circle or a Slide bar here for your
adjustments. Choose the Slide Bar
to enter numbers for greater precision
than using the graphical interface.
Figure 5
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s5NDERh1UALITY/PTIONSvMOVETHE
slider all the way to the right (Highest
1UALITY 4HENSELECTYOURhPRINTING
quality to match your printer. Turn
Micro weave to on and Select Finest
Detail. Edge Detail is only useful if
you have text in your photo. I leave it
off (Figure 6).
sh(IGH3PEED0RINTINGvISANOTHER

subjective setting. Most will tell you to
turn it off. My OPINION is that you
should test it both ways to see if you
can discern a difference. If you cant,
then leave it on.
s4HENCLICKh/+vTORETURNTOTHE
previous menu.
When this is done go back to the settings

menu and then go to Page Layout. At the
top of the page you will see Select Setting.
To the right you will see a Save/delete
button. Click on it and give your settings
a unique name and save them. Next time
you just have to call them up instead of
going through all this again. This will let
you adjust your output according to your
own taste. I mentioned a calibrated system
earlier. Like viewing transparencies and
the print made from them in an analog
system, there are always discrepancies between what you see on your screen and the
final print. Light passing through an image
vs. being ref lected off a print are different.
Figure 6
If you are not using the highest resolution

monitor the difference can be substantial,
even on a calibrated system. Adjustments
made after judging a test print under controlled lighting are used to create (and
save) your own printer preferences. If you
are happy with your image on-screen but
the resulting prints are a bit off, this will
fix the problem.
s9OURIMAGESHOULDHAVEBEENSCALEDTO
fit your paper in Photoshop but if it is a
minor adjustment or scaling DOWN
you can do it here in the Scaled Print
Size window.
Figure 7
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TECHNIQUE
All Images R. Michael Walker
Figure 4. 1976-Pearl on her front porch, Sadieville, KY
s7HENALLTHISISDONECLICKhPRINTvANDWAITFOR
your latest masterpiece to roll off your printer.
s)FYOUARENEWTOALLTHIS)WOULDSUGGESTTURNING
on Print with Preview back in the main printing
window (Figure 7). This adds an extra step where it
displays the image and crop prior to printing. The
advantage here is if you mismatched your paper
size or layout it will show BEFORE
you waste any materials.
32
After graduating with a BFA in Photography from

the University of Kentucky in 1971, Michael made it
his mission to meet and study with his favorite fine
art photographers, including Ansel Adams, Robert
Heineken, Wynn Bullock and others. This, combined
with his 12 years directing TV, college fine art training
and 45 years making images about things and people
close to him, has given him a unique perspective on
the world reflected in his photography. View more of Michaels work on
Facebook. Search: R. Michael Walker Fine Art Photography.
Resources
Websites: ilford.com; epson.com; adobe.com
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GEAR, APPS & GOOD STUFF
Apps
Adobe Photoshop Lightroom:
Available for First Time in
Mac App Store
Adobe has announced the immediate
availability of Adobe Photoshop
Lightroom 4 for download in the Mac
App Store, marking the first time the
software has been available through that
channel. Lightroom is the essential digital
photography workflow solution helping
amateur and professional photographers
quickly import, manage, enhance and
showcase their images.
TrueDoF-Pro Depth of Field

Calculator
TrueDoF-Pro offers advanced
depth of field calculations
and differs from other DoF
calculators in that its algorithm
for calculating depth of
field includes the effects of
diffraction. This gives the user
a more accurate indication of
how sharp the image will bea
major advance in depth of field
calculators. Available from iTunes
for $6.49 apple.com/itunes
Lighting Notebook
by Kevin Kubota
View, search, and watch
videos of all 101 setups from
the Lighting Notebook on your
iPad or iPhone. Its a lighting
reference on-the-go. Take the
app on a test drive with a FREE
download from the App Store,
which includes five lighting
scenarios. The full-version
upgrade with all 101 scenarios
is available for $14.99.
apple.com/itunes
Books
Adobe Photoshop Lightroom 4 is

available in North America only and
can be purchased and downloaded
immediately from the Mac App Store for
US$149.99. ___________
apple.com/itunes
Gear
Keystone ECO MarineCase

A new fully submersible Swim
Suit for iPhone 4S/4 lets you
take it 20-feet below the waters
surface and keeps it 100% dry
and safe at depths of up to 20
ft/6m underwater. You can capture
video at an underwater reef and
share it through YouTube or post to
Facebook even before you surface.
Available at amazon.com.
Concert and Live Music

Photography
New from Focal Press and
Author J. Dennis Thomas,
this book is a must-have
for aspiring concert
photographers. With
work appearing in Rolling
Stone, SPIN and Country
Weekly, Thomas shares tips
on lighting, etiquette and
problem solving for making
photos in a variety of
venues. focalpress.com
_________
The Artists Guide to GIMP,
2nd Edition
New from No Starch Press is this
full-color guide to GIMP 2.8s extensive
capabilities. GIMP is a remarkably
powerful program that easily rivals
Photoshop, but it can be tricky to
use, said No Starch Press founder Bill
Pollock. The Artists Guide to GIMP
gets readers up to speed with GIMP
quickly. Author Michael J. Hammel was
a contributor to the early development
of the program. _________
nostarch.com
Leaf Credo Digital Camera Backs

The Leaf Credo series of digital camera backs deliver
legendary Leaf image quality along with speed and versatility
that are second to none. All Leaf Credo digital backs deliver
exciting new features including a 3.2" high resolution
(1.15MP), bright touch LCD with a viewing angle of 170 to
elegantly display detailed images. mamiyaleaf.com
__________
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TECHNIQUE
Final processed image
A Post Processing Approach With

Photoshop, Lightroom and Nik Plug-ins
Steve Dreyer
Photographers want to spend most, if not all of
their time making photographs. Even though postprocessing is a fact of digital photography life, they
sometimes shudder at the thought of developing a
routine approach to it.
I admit that I once fit into the above category. While
I loved making photographs, I was often frustrated by
the amount of time spent in the digital darkroom. One
day I decided to explore ways in which I could create
the images to match my vision at the moment I pressed
the shutter, but in less time and with more consistency.
An efficient digital photography workflow allows me
to do just that without sacrificing flexibility. You can
apply the same or similar approach, even if you use
34
different software. Its not difficult to have a consistent

workflow, and the benets are huge.
When reading about software, the steps can appear to
be more complex than they are in practice. But the process described in this article can take under 30 minutes
to complete. Sometimes I just use parts of it and in less
than 15 minutes I have the photo I want. Read through
the steps and try themthe more you do, the less time
it will take in the future. I use this every day, and wont
go back to my old ways.
The Basics: RAW Capture and Monitor Calibration
Use the RAW format for your photos. Just about every
modern digital camera has this option. RAW images
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POST PROCESSING WITH PHOTOSHOP, LIGHTROOM & NIK PLUG-INS STEVE DREYER
have much more information than JPEGs because
cameras strip data from a RAW image to produce the
smaller JPEG files. You will have better images at the
end of your workf low if you work on photos that have
more data.
Periodically calibrate your monitor to ensure that your
printed image will be as close as possible to what you
see on your monitor as you go through the workf low.
Step-by-Step Workflow
My workflow always begins with Lightroom and
Photoshop and includes Nik Software plug-ins, which
save me incredible amounts of time. The algorithms
and f lexibility are nothing short of amazing.
Original image before processing
Step 1: Lightroom
Lightroom is the first step in my digital workf low. It
has Adobe Camera RAW processing built-in, so you
are working with a lot of digital information, not a reduced-data JPEG. These are some of the key steps that
are musts for me:
s)MPORTPHOTOSFROMMYCAMERAS#&CARD
sh0ICKvTHEPHOTOSTHAT)WANTTOKEEPANDEDIT
Simply click on each photo and press the P key.
s3ELECTAPICKEDIMAGEADDKEYWORDSANDGIVEIT
some number of stars for ease of finding/selecting
it at a later time. I use five stars for simplicity.
s-AKESOMEEDITSWITHSLIDERSTOIMPROVETHE
histogram, such as exposure, and getting rid of
clipped bright and/or shadow areas.
s)NCREASE#LARITY4HISELIMINATESSOFTNESSINTHE
image which is common in a digital file.
s-AKEMINOREDITSSUCHASINCREASINGORDECREASING
Hue, Saturation and Luminance if necessary. I dont
always do this, since I can use Photoshop and Nik
software with more flexibility. Its there to use and
Adobe has added new features in Lightroom with
each release.
Figure 1 shows Lightrooms right-side of the Library
panel where you can add keywords.
Figure 2 shows the Develop panel where the sliders
are adjusted to improve the histogram and the clarity
of the image.
(Figure 1)
(Figure 2)
Lightroom helps me prepare images for later stages

in the workow, but there are also other ways to do
that (including Aperture or Adobe Camera RAW). All
of the edits are non-destructive, so I can undo my
changes without changing the original photo.
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TECHNIQUE
(Figure 3)
Lightroom also helps me organize my images, and

equally important, find them on my hard drive based
on the pick and star system that I use. Just know that
if you use Aperture or Camera RAW, the Nik plug-in
part of the workflow will work with them too.
Step 2: Photoshop
I dont necessarily use Photoshop on every image.
There are times when I will send my Lightroom-adjusted images directly to the Nik plug-ins (this works
great). However, Photoshop does allow me to do more
complex edits when warranted. Lightroom makes it
easy to use Photoshop:
s7HILEIN,IGHTROOMANDWITHYOUREDITEDPHOTO
open, select Edit in Photoshop from the top Photo
menu item. Youll be presented with some options.
Make sure you edit with Lightroom adjustments to
include what, if anything you did in LR.
s9OUNOWHAVEYOURIMAGEOPENIN0HOTOSHOP
These are some of the things I might use Photoshop
for:
36
s5PSIZEDOWNSIZEANIMAGE
s5SE#ONTENT !WARE &ILLTOTAKEANOBJECTOUTOFA
photo if it detracts from the image.
s5SELAYERMASKSTOADJUSTVARIOUSPARTSOFTHEIMAGE
that I wasnt able to adjust in Lightroom.
Figure 3 shows the Lightroom-edited image in Photoshop and the use of Content-Aware-Fill to take a
distracting part of the wall out of the photo (do this in
pieces for best results).
Truth is, with the latest features of Lightroom, and the
flexibility with Nik plug-ins, I find myself doing less
and less in Photoshop. But the Photoshop step helps
me when I use Nik for adjusting my images because
each Nik plug-in becomes a layer in Photoshop!
Step 3: Nik Software Plug-ins
I consider using Nik Software as an essential part of
my workflow. The plug-ins are fast, incredibly easy to
use, and integrate perfectly with the rest of my postprocessing approach.
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Each plug-in is a separate product, but the user
interfaces are so similar that using one of them makes
it easy to use all of them.
An important feature of this software is its unique U
Point technology which allows you to use Control
Points to edit selected areas of a photo. This allows you
to point to an area on the photo and adjust sliders such
as brightness, contrast, structure, etc. to effect only
the area that you want adjusted. For example, you can
apply a highlight to a face or brighten the eyes without
impacting anything else in the photo.
Those well-versed in Photoshop might say that they
can do everything that Nik does in Photoshop with
layers and its other tools. And there is truth to this.
However, everyone is not a Photoshop expert, and
even if they are, why not spend a few minutes with
Nik instead of more time with Photoshop?
First a summary of the plug-ins and what they are
used for, in the order that I use them:
s$FINE2EDUCESNOISE
(Figure 4)
s6IVEZA3ELECTIVELYCONTROLSCOLORANDLIGHT
If I want/need more localized reduction of noise (perhaps with major color or luminance noise in dark
areas of the photo), Ill use manual mode. This allows
me to select areas of the photo, measure the noise and
reduce it.
s#OLOR%FEX0RO0ROVIDESCREATIVEEFFECTS
s3ILVER%FEX0RO#REATESBLACKANDWHITEEFFECTS
s3HARPENER0RO3HARPENSFORTYPEOFOUTPUTYOU
can also use it on the RAW image).
Now for the workflow, with the photo open in
Photoshop:
Reduce Noise With Dfine
Noise is a fact of digital photography life and even with
todays high end high ISO cameras there are times
when you will have it. I always want to see if Dfine
sees noise, because you might not be able to see it on
your monitor.
To check for and reduce noise, select Filter > Nik
Software > Dfine. This sends the photo to Dfine (see
Figure 4).
You can use Dfine in automatic and manual mode (for
more localized noise reduction). The automatic setting
works well to reduce noise for a large percentage of my
photos, and I use it about 90 percent of the time.
In either case I can compare the before and after image without leaving Dfine. When Im satisfied, I click
okay and the de-noised photo is sent back as a layer in
Photoshop. I can do more in Photoshop at this point
(including reducing the effect with the Opacity slider,
applying Dfine to certain masked areas, etc.)
Control Color and Light with Viveza
I use all of the Nik plug-ins, but I have to say that this
one is one of my earliest favorites and I use it on just
about every image.
Im now back in Photoshop and if I decide that some
localized adjustments are necessary then Viveza
comes to the rescue.
In Photoshop, select Filter > Nik Software > Viveza to
open the photo in this plug-in.
I generally begin with global adjustments using the
sliders to adjust the whole image. I might change the
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TECHNIQUE
(Figure 5)
brightness, saturation, structure (which enhances

detail and texture) and other sliders.
s0RO#ONTRAST
s4ONAL#ONTRAST
The magic of Control Points comes in after I use

the global adjustments (Figure 5). Click on the
Control Point button, then on the photo in an
area you want adjusted, and youll see sliders that
apply only to that area (you can change the area
of inuence with the size slider). Ill use Viveza to
darken areas of an image, reduce brightness and
increase contrast in skies, and even create a focal
point for the image while adjusting depth of field.
After doing my before and after comparison,
I send the photo back to Photoshop on its own
layer.
Creative Effects With Color Efex Pro
If I want to do some color enhancements or apply a creative effect, my go-to plug-in is Color
Efex Pro. This plug-in has tons of preset filters,
including these out-of-the-box favorites of mine
(you can create your own favorites with your
unique adjustments, too):
s"RILLIANCE7ARMTH
38
s$ARKEN,IGHTEN#ENTER
s$ETAIL%XTRACTOR
By the way, the Detail Extractor is new with Release
4, and can give you an HDR type effect, although
Niks HDR Efex Pro is more full-featured.
For each filter you can make further adjustments and
while the presets are good starting points, I never
leave Color Efex without applying my own style with
the sliders (which offer different options depending on
the preset). With Release 4 of the plug-in you can add
lter upon lter before going back to Photoshop.
I also apply these filters to different areas of the photo
with the same Control Point technology discussed
earlier.
Figure 6 shows the image in Color Efex after applying
the Tonal Contrast and Darken/Lighten Center filters.
As usual, I do my before and after comparison, and
when satisfied, I send the photo back to Photoshop.
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(Figure 6)
Sharpening for Print

As a last step in the workflow I generally
use Niks Sharpener plug-in. Most digital
images need a little sharpening before
printing. This program lets you sharpen
based on a number of variables, including the type of printer and even your
estimate of the distance that the photo
will be viewed from (Figure 7).
Black & White Photography With
Silver Efex
If I want my image to be black and white
I use Silver Efex Pro. Silver Efex is so
good that I use it for almost every photograph I want to convert to black and
white. The plug-in uses the same style of
interface with presets on the left and fine
adjustments on the right side.
_________________
When thinking about black and white,

there are at least two important things to
remember:
s!LWAYSSHOOTINCOLORDONTDOBLACK
and white in-camera). This is
important when using Silver Efex.
(Figure 7)
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TECHNIQUE
All Images Steve Dreyer
(Figure 8)
The plug-in uses the color in the file to provide the

best effects.
s9OUCANALWAYSTRY3ILVER%FEXINTHEWORKFLOW
since it too creates a layer in Photoshop. You can
adjust or delete it if you prefer the color version.
Your process may be different than mine, but the

most important thing is to have one. Once you create
your workflow you will begin to see the benefits very
quickly. One last point. I have found that the above
process works so well for me, that I regularly use it on
photographs that I took years before deciding on the
workflow. Maybe you will too.
One interesting feature is the ability to make a photo

black and white, while bringing out color in parts of
the photo using Control Points (Figure 8).
Steve Dreyer is a New York-based

photographer, educator and writer
specializing in fine art color and black &
white images. His work, which includes
landscapes, street photography and
portraits, has appeared in numerous art
exhibits.
Final Steps
The final step is to print your work of art!
I save the photo in Photoshop, which sends it back to
Lightroom. There I can always do more editing, have
the photo in my catalog for printing, send it to the web
or in an email, and with version 4, create a book.
Im a fan of printing from Lightroom so this final
step is important to me. I save the file in a Lightroom
collection, so I can easily find it and print it again
and again.
40
Steve also delivers workshops

and creates eBooks on a variety
of photography topics, including
composition, digital workflow and
post-processing software. For more
information, visit his web site at
stevedreyer.com and his blog at
stevedreyerphoto.com
Resources
Websites: adobe.com, niksoftware.com
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FLYING WITH RED BULL CHRISTOPHER VANDERYAJT
(Left to right) Red Bull Air force Pilots: Miles Daisher, Jon Devore and Mike Swanson
Flying with Red Bull

The Journal of an Action Sports Photographer
It is 4 a.m. and I have just finished packing my car with
camera gear. Im driving to Readington, NJ, the location of
the annual QuickChek Festival of Ballooning. Each year
for three days hundreds of hot air balloons soar through
the sky while spectators by the tens of thousands watch the
amazing display. Although I am driving to the festival, hot
air balloons are not my focus, because this year Red Bull is
an event sponsor and the Red Bull Air Force Team is going
to be putting on their own show.
By 5 a.m. the sun is still not up yet and I am wandering

around a large field, coffee in hand, trying to find the Air
Force Team for our scheduled pre-jump meeting. I finally
meet up with the group, as well as Keith, the Red Bull event
coordinator for the New Jersey area. After introductions, we
go over the flight schedule and scheduled jump times for the
day. Ive been skydiving before, but this is the first time I
will photograph skydiving, BASE-jumping and proxy flying
(although I am not permitted to jump). The Air Force Team
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PORTFOLIO
Safe Landing. Red Bull Air Force Pilot: Jon Devore
heads off to grab their parachutes as Keith and I go over the

shot list he needs for the day. Im told I will be joining the
team in the plane and I will need to climb out onto the wing
to photograph the jumpers as they exit the plane. I look at
him with a blank stare and he simply looks at me with half
smile and says,Hey man, youre shooting for Red Bull now.
Dont worry, those guys know what they are doingand they
have a parachute for you in case you fall off the wing.
This is the point where I get Johnny Utahed, starting first
with John Devore, head of the team. He asks, Have you
ever skydived before? Have you ever been in a small plane?
I responded yes to both questions and he tosses the parachute
to me and I put it on and tighten all the straps. He walks
over, checks everything and says, Perfect. If you fall out just
pull this cord, and points to one located on the left side of
my chest. As I nod, another member of the team walks up
and tugs and grabs a few of the straps and says the same
thing. Good, just pull this cord if you fall out, got it?
Except, he is pointing to a completely different cord. At that
moment, the last team member walks up and laughs and
says, No, no dont listen to him. Before you pull the cord
count to ten, then pull this one as he points to the very first
42
cord. Everyone is laughing because I am sitting there with

the most confused look on my face and realize that they were
all just giving me a hard time. Not for one second did I take
off that parachute.
At this point the plane is ready. There is only one seat for the
pilot, the rest of us sit on the floor of the plane. I am the last
to get in and I sit next to the pilot with my back to the cockpit
facing the rear of the plane with the exit door inches from
me on the left. The pilot hands me a seat belt of sorts and
instructs me to wrap it around the harness of the parachute
on my thigh to prevent me from falling out of the plane. He
then states, If you do fall out I am cutting the strap and you
will have to pull your chute because there is no way you will
be crawling back in. I just nod my head at the door next to
me as we make our ascent into the sky.
We are about 4,000 feet up and the pilot looks at John
and shouts Two minutes! The team double checks their
rigging and pull themselves to their knees as they open the
door directly to my left. At this moment the door slams up
and locks against the wing and a rush of cold air flies into
the plane. I look out the door and all I can see is brown
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Red Bull Air Force Pilot: Miles Daisher, Proxy flying past hot air balloons
Red Bull Air Force Pilot: Miles Daisher
Red Bull Air Force Pilots: Jeff Provenzano, Luke Aikins
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All Images Christopher Vanderyajt
Rider: Dave Smutock; Trick: Superman Seatgrab; Location: Northeast Kingdom, VT
and green patches of ground and the landing gear to the

plane. John instructs me to put my back against the inside
of the door, my left foot on the landing gear while anchoring
my right foot on the inside of the door and as I follow his
instructions, to my surprise, I find myself in a pretty stable
locked-in position safe from falling. I have about a minute
before they jump. I just sit there with almost half my body
hanging outside a plane, parachute on, looking at the ground
nearly 4,000 feet away, with a smile on my face from ear to
ear thinking about what Keith said to me before I got in the
plane, Youre shooting for Red Bull now.
My professional career in action sports photography
began mainly because of friendships I had with many
professional mountain bikers that I often photographed and rode with. The first advertisement I shot was
for Fox Racing, featuring Aaron Chase, a professional
Red Bull sponsored mountain bike rider.
I was asked to submit my portfolio to a representative

at Red Bull New York at the request of Red Bull
Photofiles, which is a professional service for the
international media provided by Red Bull. After I
submitted my portfolio, I received an email that said
I was approved by Red Bull Photofiles and was also
asked if I would be interested in shooting for Red
Bull on a freelance basis as a Photofiles approved
photographer. Ever since I have been shooting for
Red Bull on a monthly basisits opened so many
doors for me and has allowed me to photograph the
best action sports athletes in the world.
Editors Note: The 2012 QuickChek Festival of Ballooning takes place
July 27-29. __________
balloonfestival.com
Having the opportunity to shoot for such a wellknown company in the Industry landed me an ad in
some of the biggest mountain bike magazines in the
country. That opened the door for more editorial and
advertising work.
Christopher Vanderyajt, an accomplished

action sports photographer, has captured
images of some of the biggest action
sports athletes in the world. Photographing
everything from mountain biking to
skydiving, he has a keen ability to record
the excitement and beauty of the moment.
His work has been published in print
and online in Decline Magazine, Dirt UK,
Bike Magazine, and The Red Bulletin. To
view more of Vanderyajts work, visit his
websites: christophervanderyajt.com and
nobreakschris.blogspot.com.
(Left) Rider: George Ryan; Location: US Open of Mountain Biking, Mountain Creek, NJ
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TECHNIQUE
Canoe on Frozen Lake; Captured with Olympus Micro Four Thirds Camera and Edited on iPhone 4S
Micro Four Thirds Meets Wireless

Transfer to iOS Workflow
Dan Burkholder
Connected, thats the word were hearing more and
more in our digital lives. Connected via email, Facebook, Twitter, the Cloudyou know the drill. Most
recently, Samsung has begun hinting that an explosion
of cloud related storage and sharing options might
accompany new cameras with built-in WiFi and 4G
protocols. Yep, its not hard to envision the day when
we can permanently retire sync cables and card readers from our photographic lives.
But why wait? We crave smallerbut full-featured
cameras now. And we want to move images from our
cameras to our iPhones and iPads now, with currently
available technology. The good news? Its easy.
46
Why Micro Four Thirds?

There are many occasions when I go out the door with
just an iPhone as my main camera. Theres a spontaneity and informality about shooting with the iPhone
thats fun and liberating. With inexpensive apps that
tackle everything from HDR to image stitching, its
tempting to feel we can do anything with an iPhone
in our pockets. A recent Wall Street Journal article even
asked the rhetorical question, Is the iPhone the only
camera you need?
The iPhone isnt ideal in all situations. Sometimes we
want an ultra-wide lens (wider than the iPhone 4Ss
28mm equivalent); other times we need noise-free
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MICRO FOUR THIRDS MEETS WIRELESS TRANSFER TO iOS WORKFLOW DAN BURKHOLDER
Abandoned House above Finger Lake
long exposure performance in low light. Forget about

wildlife shooting with a long telephotohonestly, anyone who hangs one of those absurd giant lenses off the
corner of an iPhone is a glutton for punishment.
DSLRs are big. Yes, youre right, I am getting old,
and the older I get the less stuff I want to schlep
around. But Im fully convinced that todays DSLRs
are tomorrows Speed Graphics. In time youll see
these monster Uzi cameras (capable of 10-12 frames
per second with giant file sizes) relegated to sports
photographers and professional photojournalists only.
For the rest of us, a smaller camera will be a friendlier,
easier companion that fits in a pocket or small case.
What is Micro Four Thirds?
Olympus and Panasonic jointly pioneered the Micro
Four Thirds format in 2008. With a smaller sensor and
no mirror or pentaprism, these cameras can be compact yet accept just about any lens with appropriate
adaptors. In fact, one of the big plusses of Micro Four
Thirds (M4/3) cameras is the vast array of lenses, both
native lenses (30+ lenses and counting) and non-native
optics that are used with adaptors. You can mix and
match Olympus and Panasonic glass at will. And with
Sigma and companies like Voigtlander producing

specialized lenses, youre unlikely to desire a prime or
zoom you cant find.
Finally, just as the cameras themselves are smaller, as
you build a system with multiple lenses, your space
and weight savings are leveraged accordingly. Its easy
to reduce the weight of your system by more than half.
Lets see how we can take advantage of shooting with
a M4/3 camera combined with wireless transfer to
iOS devices for editing and stylizing. You might call
it, shooting and editing with no wires, no computer,
and no software that costs more than five dollars.
How to Transfer Images Wirelessly
Our stated goal is to shoot with a M4/3 camera and
wirelessly transfer the images to an iOS device where
we can use a vast array of inexpensive apps to edit and
enhance our images. The transfer is handled by Eye-Fi
Cards, conventional SD memory cards that have WiFi
transmitters built-in.
Will My Camera Work with the Eye-Fi Card?
The first gizmo in your workflow is the camera itself.
Because Eye-Fi cards only come in the SD (Secure
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TECHNIQUE
(Figure 1) Checking for Eye-Fi/Camera Compatibility
(Figure 3) Cormorant, shot with Olympus 75-300 lens at 150mm,

stylized on iPad
Three Models of Eye-Fi Cards

See Figure 2. There are three models of Eye-Fi cards
let me save you some time by recommending the Pro
X2 card. Not only does this model support Direct Mode
and Automatic Geotagging, it also supports RAW file
transfers. For more information about the card differences, scrutinize the chart in Figure 2 or investigate
the information provided on the Eye-Fi website.
(Figure 2) Eye-Fi Card Comparison Chart (courtesy Eye-Fi)
Digital) format, choose a camera that uses this type of

card. All M4/3 cameras fall into this category.
If you remain skeptical of my enthusiasm for the M4/3
cameras, all is not lost. Although there are Compact
Flash adaptors that let you insert an SD card into an
otherwise CF Card-only slot, users report spotty success at best. If youre going to use an Eye-Fi card, its
wise to start with a camera thats made to natively
accept SD cards.
The majority of todays SD-equipped cameras will
work with Eye-Fi cards and theres an easy way
to find out if the camera you have nowor the one
youre about to purchasewill work properly with
Eye-Fi. Figure 1 shows the Eye-Fi websites Camera
Compatibility page. In this example, I searched for
Olympus cameras in general and the Pen E-P3 in
particular. Any of the three flavors of Eye-Fi cards will
work in this Olympus M4/3 camera.
48
Direct Mode
Our main concern in this article is Direct Mode. This
cleverly-named feature lets us send images from camera to iOS even when a WiFi network is not present.
Figure 3 shows a final print using my workflow. You
could be in the most remote forest of Alaska and still
transfer your M4/3 images to your iPad where you
could start editing and enhancing. No wires, no card
readersits sounding good, isnt it?
The Setup Steps
To get your Eye-Fi card ready for image transfers,
you must go through a few setup steps, much like any
wireless data system. There is nothing difficult in the
following steps but the order in which we do them can
make a big difference in successful transfer of images.
You Need a WiFi Network for Your Initial Setup
A first step is to register your new card with Eye-Fi.
Your computer and Eye-Fi-equipped camera must have
access to a working WiFi network. Easy step-by-step
instructions accompany your Eye-Fi card. Heck, they
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(Figure 4) iOS WiFi Settings for Card Setup and Transfer
even include a compact card reader for the steps that

involve mounting the Eye-Fi card on your computer.
Once the card setup procedure is complete, you wont
need a WiFi network again to work in Direct Mode.
Pairing your Eye-Fi Card with your iPhone or iPad
Figure 4s first panel shows my iPad connected to our
studio WiFi network. In panel #2, Ive turned on the
Eye-Fi equipped Olympus camera and the iPad sees
that signal.
When selecting your Eye-Fi network, dont be alarmed
if the little spinning gear indication never goes away
(circled in red in panel #2). Though you might hope
for a standard check mark to indicate a successful
connection (circled in panel #1), my experience is that
a spinning gear is just fine.
The Eye-Fi App
Keep the Eye-Fi app handy for rapid access. In Figure
5 youll see that I created a folder of sharing-related
apps; this folder method helps eliminate clutter. The
iPad3 (shown here) lets you put 20 apps into a folder;
on the iPhone youre limited to just 12 because of the
reduced screen size.
Settings on Your Camera
Unless youre using an Olympus E-P3 too, your camera
settings will look different than what Im about to describe. The numbered panels in Figure 6 should give
you an idea of how youll make camera-setting changes
to ensure a smooth Eye-Fi transfer experience.
(Figure 5) Dans Photo Sharing Folder and Eye-Fi App
1. On the E-P3, the Settings menu (circled in red) is

where the Eye-Fi action is buried. Once in Settings,
scroll to the Utility submenu and press OK.
2. and 3. A straightforward toggle turns on Eye-Fi.
Why not leave Eye-Fi on all the time? Because youre
basically powering a WiFi transmitter, your battery
life can take a hit if you leave it running constantly.
4. Now Eye-Fi is up and running.
With these steps complete, your Direct Mode image
transfers should be automatic assuming the following:
s9OUHAVESETUPYOUR%YE &ICARDPROPERLY
s9OUHAVETURNEDON%YE &IONYOUR-CAMERA
and your camera is turned on.
s9OUHAVESELECTEDTHE%YE &INETWORKONYOUR
iPhone or iPad.
Transferring from M4/3 to iPad
Once you initiate the transfer, your iOS device indicates the progress in the Eye-Fi app and lets you know
when all your images are transferred.
Note that Eye-Fi tags transferred images, so if you
finish a transfer in the morning and then shoot more
during the afternoon, when you launch a second EyeFi transfer session, only the newer images will download to your iPhone or iPad.
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TECHNIQUE
files as well as JPEGs and videos. This sounds good
but should you really do it if your goal is to edit images
on the iPhone or iPad? The answer is, no. Currently,
our iOS devices are JPEG shooters and JPEG editing
platforms. Look at Figure 8. Here I transferred both a
RAW file and the JPEG (of a common Catskills Sasquatch) to the iPad. The RAW file is actually smaller
than the JPEG! How could this be? The RAW file
is smaller because the iPad is really only using the
embedded JPEG within the RAW file; youre not seeing the real RAW file at all. By the way, to check the
file sizes in Figure 8, I used the most-excellentand
freePhoto Size app by Danny Goodman.
(Figure 6) Activating WiFi on the Olympus E-P3
(Figure 8)
Shouldnt there be a way to dictate which file types

are transferred from your M4/3 camera to your iOS
platform? Certainly, and there is. Lets examine
Figure 9 to see how we use the Eye-Fi app to choose
which file types to transfer.
(Figure 7) Eye-Fi App shows Transfer Progress
iOS Screen Feedback

Your iPhone or iPad will also keep you informed on
the status of the image transfer as in Figure 7. If you
see the same image appear to download twice, it means
you have set both JPEG and RAW files to transfer.
JPEG or RAW?
Remember, one of the benefits of using a Pro X2
version of the Eye-Fi card is the ability to transfer RAW
50
(Figure 9) Managing File Types for Transfer to iPhone or iPad
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The author and Jill with 1960 NSU; shot with Olympus E-P3 and 25mm f/.95 Voigtlander Lens and edited
on iPad3
1. Launch the Eye-Fi app on your iPad or iPhone.

Make sure Receive Media is turned On, as it is here.
Clicking Advanced Settings takes you to the EyeFi website (again, this will work if youve properly
registered your card).
2. Here Ive selected RAW and have selected None for
transfer. That prevents smaller, redundant embedded
JPEGs from cluttering up my iPad Photo Library.
3. Photos are set to transfer to the iPad. Personally, I
dont shoot videos with the Olympus (though it does a
fine job) so the only transfer option I want is for JPEG.
Endless Memory?
There are lots of additional tasks you can perform with
an Eye-Fi card. One Eye-Fi feature that you might
ap-preciate for your M4/3 to iOS lifestyle is called
Endless Memory. It intelligently creates extra space on
the card as your card fills. By tagging images that you
have transferred to your iOS device, Endless Memory
(if activated; its optional in setup steps) deletes those
already-transferred images to make room for new
photos. Any images you have not transferred will not
be deleted.
And over the Horizon

When I began using the iPhone as a serious creative
tool in 2008, the first jolting awareness was that there
was no longer a special place where I edited digital
photos. Instead of skulking back to a desktop or laptop
computer, I could start editing images right in the field
using an amazing array of apps.
Well guess what? Now with a Micro Four Thirds camera, Eye-Fi card and iPhone or iPad, you can extend
that power and ease exponentially. Its the best of all
worlds. Yes, its a magical time to be a photographer!
Dan Burkholder has a long history of

looking over the photographic horizon to
see, learn, create and teach the next great
thing in the medium. You can learn more
about Dans workshops and fine art prints at
DanBurkholder.com
Resources
Websites: apple.com, dannyg.com, eyefi.com, olympus.com,
panasonic.com, sigmaphoto.com, voigtlander.com
phototechmag.com
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READER ASSIGNMENT
READER ASSIGNMENT:
Two Twilights are Better than One
Reflection or a bars neon sign in the bar window in Missoula, Montana
David H. Wells
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I photograph a lot at twilight at the end of the day. It

is arguably my favorite time for photographing. The
other time of day that I love photographing is in the
early morning light. Though most photographers talk
about afternoon light as their favorite, I am not one
of them. I like the afternoon light as much as the next
photographer, but twilight and early morning, those
are the best.
compelling element of neon lights, street-lamps, campfires or other light sources, typically in the foreground
of an image. The interplay between those two light
sources and their respective two color palettes is often
what makes a great twilight photograph. The art of
twilight photography is getting all of those elements
together at just the right time and at just the right
exposure.
The ideal twilight photograph has magical color in the

sky, usually, blue or purple though sometime it can be
orange too. This sky usually plays off of an equally
Most photographers know how swiftly fleeting that

time window is, when the sky is just right and the
exposure for both the sky and the light source are
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READER ASSIGNMENT: DAVID H. WELLS
Carnival ride in Warwick, Rhode Island
about the same. Photographing earlier than this exact

moment yields an image with the correct sky exposure
but the lights will be too dark. An image made much
later, with a good exposure only for the lights, will have
nice lights but the sky will be solid black. Knowing
exactly when to photograph at twilight is definitely a
learned skill. Over the years of doing twilight work I
have figured out a couple guides that have helped me
and will help any photographer.
The other guide I use is what I call the first and second
twilight. We all know the sun sets in the West and that
is where the twilight magic I am describing actually
happens. But if you look to the East (as the sun sets in
the West), you will see that Eastern sky going through
an abbreviated version of the twilight first, evolving
Knowing that you have two twilights to work with can

vastly improve your photography if you plan accordingly. By that I mean you can use the first twilight to
think about your exposure and practice. For example, in Missoula, Montana there is bar with a fabulous neon sign that I have photographed a few times.
The bar sits on a nearly perfect North-South axis so
the neon sign can be photographed against both the
first and the second twilight. This is a great way to
practice the shot with the first twilight and master
the final image during the second twilight.
Photograph baileyphoto. com
Usually during the twilight at the end of the day, by the

time the sky looks good it is too late. That means that the
smart photographer starts to photograph the twilight
scene with the great sky and great lights earlier than
what seems right, just when the sky appears a bit too
light. If that same photographer continues to photograph the twilight through the time when the sky goes
darker then black, he or she will note, upon reviewing
their images, that the photos made earliest in the
process, before the sky looked best to the naked eye,
those are the ones that appear best as photographs.
from blue to purple to black. The first twilight, the one

to the East, is similar to the second one that you will
see a few minutes later in the Western sky.
David H. Wells is a freelance

documentary photographer affiliated
with Aurora Photos. See his work at:
davidhwells.com. He specializes in
intercultural communications and the
use of light and shadow to enhance
visual narratives.
Twice awarded Fulbright fellowships
for work in India, his photography
regularly appears in leading international
magazines. Wells has been selected as
an Olympus Visionary to produce images
and provide feedback on new product
lines. A frequent teacher of photography
workshops, his blog, The Wells Point,
appears at http://thewellspoint.com.
phototechmag.com
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READER ASSIGNMENT
work on a tripod or try very carefully to make sure all
the images are made with the same composition.
2. Photograph the first of the two twilights. Make a
few exposures a few minutes before the sky gets to the
deep purple that you think of as the best color. Then
photograph a few minutes later, as the lights and the
background come closer together (in terms of exposure.) Following that, make a few photographs when
the sky and the lights look equally bright and finally,
photograph a few minutes after that meeting point.
Move around to the other side of the lights and line up
the lights with the twilight sky. Then repeat the exact
same process photographing the second twilight.
Subscribers may submit up to ten images for a discounted Snap Review. The ideal submission will have
approximately five images made looking at the first
twilight and five images made looking at the second
twilight.
All Images David H. Wells
Ferris wheel at the Union County Fair in Union, Maine
READER ASSIGNMENT
photo technique and Photo Synesi (photosynesi.com) have
teamed up to offer subscribers a discount on an individual portfolio review by David Wells based on the
assignment Two Twilights. Subscribers can get a $9 off*
a $19 Snap photo review. To get your $9 off coupon
code, look for the special code that begins with PTPS
on your mailing label. Digital subscribers will find
their code on the Editors letter page.
After you make the images, visit photosynesi.com to
participate in the assignment and review process. The
coupon is only applicable to this particular assignment.
Select reader reviews (written and audio) may, with
the photographers permission, be featured on the new
phototechmag.com website so other subscribers may
pick up some tips from a pro!
1. Find a situation where you can see both open sky
and some kind of lights/neon/etc. against that same
sky. Do this on an evening when the sky is clear so you
get the deep blue/purple/orange that make for the best
twilight images. In the best of all worlds, the lights will
be in the foreground and the sky in the background.
To learn the most from the assignment, either do the
54
What to Submit
Please submit the JPEGs right out of the camera. Do
not do any post-production on your imagesin the
best of all worlds, they will be around 1500 pixels
(approximately) on the long dimension. They can be
bigger or smaller but try not to make them bigger than
5,000 pixels on the long dimension. Though you may
normally shoot RAW files, for this assignment you
will learn the most by shooting RAWs and JPEGs and
submitting only the JPEG images out of the camera.
Keep in mind that this is a learning process. You may
or may not make masterpieces. If you find the right
venue with the ideal combination of lights and twilight sky you will make images that will really help
you understand the magic that is possible when photographing at twilight.
FREE OFFER! We also are giving away 10 FREE SNAP
REVIEWS FOR THE ASSIGNMENT! To enter the rafe
for a free review, send an email before August 1st, 2012 to:
________________ with the heading FREE REVIEW
RAFFLE.
Editors Note: Although anyone can participate in the
assignment, the special discount is for subscribers only.
Please visit phototechmag.com to subscribe now! Are
you in a camera club or Meetup group? Please share
this assignment! Watch for the next assignmnet in our
September/October issue.
*The deadline for submitting the assignment is August
31, 2012.
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Marketplace
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Go to https://phototech.magcs.com/subscribe and use

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PHOTOTECH to receive this special rate.
Sneak Peek: September/October 2012
Look for Us
on Facebook!
Paul Bride
Participate in discussions, giveaways

and network with other photographers
worldwide.
David Vestal
Technique
John Reuter - Scanning and Processing Recovered
Fuji FP 100C Negatives
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David Saffir- Determining Optimal Digital Camera Settings:
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Portfolios
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review for subscribers
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Page 56
Daisa and Madison Donna Foster
When I created this portrait it was the first time I had photographed Boxers. As I was editing and
staring at my computer monitor, all of the sudden I realized I was laughing out loud. Over and over as
I looked at the images I was laughing. These boxers had such personality.
When Im working with dogs, some will lick my lens and surely all will stick their wet noses right
into it. I know Ill get lots of kisses, some slobbery and some not. As a photographer, I explore and
capture the relationship and the affection between pets and their companions. My goal is to produce
a photograph that reflects the personality and emotional connection of both. I want the viewer to look
at one of my photographs and feel as though he or she is looking at the soul of the animal or at the
essence of the relationship between the pet and person. Depending where we are on location well
end up with grassy knees or sand between our toes. All in a days work.
Donna Foster, an award winning photographer, is based in Charlotte, NC and seasonally in Marthas
Vineyard, MA. She owns a boutique style portrait studio where she specializes in portraits of pets
and their people. Donna also stays busy with fine art projects and has developed a line of note
cards. donnafoster.com
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WATCH FOR THE UPDATED photo technique WEBSITE!
Free content and article previews for all visitors and exclusive
subscriber only content using log in and password
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Later this summer, look forward to:

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Participate in discussions, giveaways and
network with other photographers worldwide.
Find us at: facebook.com/phototechnique
phototechmag.com
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Photographs shown by Kat Kiernan, Lisa McCarthy and Igor Kraguljac. See their portfolios at phototechmag.com>galleries.
_________
See some amazing work by emerging photographers...

The next photographer featured might be you!
Submit your portfolio at phototechmag.com
underexposed
[emerging photographers]
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Contents

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ROBERT HIRSCH ON STEPHEN BERKMAN: PHOTOGRAPHER OF THE MIND

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Preservation & Archiving

FfPP: Foundation for

Image R. Michael Walker

Gear, Apps & Good Stuff

Flying with Red Bull

Traditional Black & White Film

The Artists Guide to GIMP

JPEG vs. RAW, Sharpening, Color Space,

Two Twilights are Better

Workflow for Making Great

Page 56 Donna Foster

A Post Processing Approach

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Image Christopher Vanderyajt

Micro Four Thirds Meets

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FROM THE EDITOR

Publisher S. Tinsley Preston III

Curtis Circulation Company

Advertising Sales Manager

photo technique (ISSN 1083-9070) is published

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Canadian Publications Mail Agreement #40030346

PRINTED IN THE U.S.A. by St. Croix Press Inc.

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STEPHEN BERKMAN: DOCUMENTARY PHOTOGRAPHER OF THE MIND ROBERT HIRSCH

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led me to investigate the wet-collodion process. This

gets mixed up and then exported back out. My ideas

RH: What writers have influenced you?

RH: Why are nineteenth-century processes essential

RH: What other factors drive your work?

photo technique J/A 2012

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