H&H Lab of Raytown Missouri brought Julieanne Kost to UCM to share some of the the famous Adobe evangelist secrets of happiness and Photoshop. I have attended her presentations at several conventions over the last couple of years (WPPI last year) and she is one of the most fun and informative presenters.
I wanted to call special attention to the great wealth of video tutorials and PDF content shared at her site:
Her episodes on the Adobe TV “The Complete Picture” are great and FREE take some time and let Julieanne teach you something.
Julieanne Kost at UCM
The program centered around Lightroom 2.0 and the new Adobe CS4 suite. The highlight of the visit did not come until after dinner when she revealed her secret new Lightroom 2 preset for the adjustment brush – Add Talent!!
Oh yeah she also told us about this set of youtube videos……
I have been researching contemporary choral work for my walks to school. I have found two composers that are alive and producing important work full of space and spirituality. Arvo Pärt (Pronounced Pairt) a composer from Estonia is here being interviewed by Björk a Iceland artist.
Here is a Youtube of Magnificat – a moving example from this recording.
The other composer that has come to my attention is John Tavener, an English composer who has been a prolific composer of choral music. He is famous for the music that was part of the Princess Diana’s funeral – Song for Athene.
I have purchase a couple of the Tavener Titles but I am really enjoying Darkness into Light
Bead shot setup provide the product against a dark background with a strong kicker to build the edge Highlight and illuminate translucent stones from the rear.
The black mat board doubles as a support that I taped the beads to and a Gobo for the back light. I shot these with two 200w Bowens Flash turned all the way down and a Chimera Small softbox.
The crying baby series is a privately financed personal shoot by Jill Greenberg which was produced as a commentary on the re-election of President Bush. Click the thumbnail above to read her statement about the work. Many of us have seen these images, but you may not know what was the message or the intent of the series. People in the industry however would certainly know her position politically as they would research this photographer for an assignment such as a Portrait for the cover of the Atlantic Monthly.
So here is the cover shot that the Atlantic Monthly chose from the shoot but at the end of the 15 minute session Jill Greenberg turned the main light off and shot some with the light on the floor producing a goolish style of lighting and clearly an unflattering view of John McCain.
She made these to stir up things a little…
“Good. I want to stir stuff up, but not to the point where I get audited if he becomes president.” Jill Greeenberg
She didn’t stop there, she completed several of these images with retouching and captions that are pretty rough.
3. If Greenberg was truly being an “artist”, why didn’t she submit ONLY the second setup, which was the bottom-lit frame, as opposed to her formula-lighting commercial solution? Wouldn’t a true artist submit only their “best statement”? Mark Tucker
Photo District News posted these comments about the situation:
I think this situation is certainly of some interest to the student of photography. What are our rights and responsibilities as photographers and artists? I am sure that it is a complicated issue with the possibility of complicity of the Atlantic Monthly.
I am including a youtube of a shoot with Jill where you see her shooting tethered with the Hasselblad digital camera. One might imagine that the the McCain shoot was also shot tethered so anyone present could have seen the results on the computer as she was shooting.
This is a good behind the scene video showing her kickers and use of a ring light for fill which must be part of her signature look.
