Next weekend I’ll be in Cartersville Georgia to attend the the opening reception for Robert Glenn Ketchum’s latest show. This will be the second largest exhibit of Ketchum’s career and he’s done a very nice writeup describing the show for people who can’t attend:
I’m honored that five of the 48″x66″ Fuji Crystal Archive prints my team at West Coast Imaging made will be featured in the show. Seeing them hanging in this setting is going to be spectacular.
I’ll also be participating in the gallery walk to talk about the process and answer any questions.
Ketchums long time Cibachrome printer Michael Wilder will also be in attendance and I’m looking forward to meeting this master of the craft. Wilder’s client list is a who’s who of modern photography, and I anticipate he will have many valuable insights into the craft.
It’s going to be a great celebration of Ketchum’s vision and the legacy he has worked so hard to create by preserving our wild places.
Most photographers I know are just fudging on their exposures. We all talk about Expose to the Right (ETTR) and try and read the histogram, and look at the highlight warnings to make a decision, but mostly we’re relying on the wide exposure latitude of our cameras to make it work. And it mostly works…until it doesn’t.
When it doesn’t, we have blow out highlights, lost shadow detail, and increased noise in our images. On my most recent Exposure workshop, we had cameras that were metering up to two stops off.
There has to be a better way!
Fortunately there is! And it’s easy enough for a beginner, but accurate enough for a pro.
This workshop is going to give you more certainty in your exposures. With a simple process, we’re going to calibrate your light meter so that it becomes more accurate than judging histograms or highlight warnings (blinkies.) Once your camera is properly calibrated, you’ll have the tools to get the best exposure any time, any where.
I want to invite you to the the opening for Robert Glenn Ketchum’s latest exhibition. The opening includes a unique opportunity to hear Robert Glenn Ketchum speak on his long career and the influence Elliot Porter had on his use of color and use of photography as a vehicle for preservation of wilderness.
One of the “masters” of landscape photography, Ketchum’s book “The Tongass: Alaska’s Vanishing Wilderness” helped define the modern genre of conservation photography. He continues to be a defining influence in landscape photography as he pushes the bounds of the medium with new work that explore abstraction and new means of presentation. This exhibit is a rare chance to see how his vision has evolved over his career.
The exhibit consists of three rooms, starting with works by Elliot Porter, then moving to a comprehensive retrospective of Ketchum’s career. Print processes from dye-transfer to Cibachrome and Fuji Crystal Archive prints will be on display. I’m very proud to say I had a part, with my team at West Coast Imaging, in producing the large Fuji prints.
For the student of photography, this opening is quite the trifecta as it explores the vision of these two photographers, the process, and the effective use of art for preservation. Ketchum’s passion and understanding of art, photography, and conservation is infectious, and my many conversations with him over the years always leave me with new insight and inspiration. That’s why I highly recommend making the trip to hear the artist talk and gallery walk that are part of the opening reception.
The Booth Museum is about 3.5 hours from Nashville, in Cartersville, Georgia. Atlanta is about an hour south of Cartersville.
Saturday March 21, 10am—4pm Technology Engagement Center 306 Minerva Drive Murfreesboro, TN
Fee – $75 per student
This lab session is a companion to my Color and Black & White Processing classes. It offers you an extended time to apply the techniques I’ve shown you, and to have more printing time.
Expect a very hands on class. You’ll be processing and printing the entire time, and I’ll be bouncing from student to student, working one-on-one with each of you to evaluate prints and make processing recommendations.
Lab sessions are about working on your photographs, while tapping into my guidance and insight. Through the feedback loop of process, print, and evaluate, we can troubleshoot the issues you are having and improve your processing and printing. This is not a structured and systematic walk through of techniques like my other classes. Rather, it is like a practice session, where you have extended time to apply what you know and refine your understanding of processing in the best way I know how, through applying them to your photographs and making prints.
A major objective of these sessions is learning to see how your photograph can be turned into a great print. By improving a photograph through a series of prints, you see the potential of the process, which improves your processing techniques as well as your prints.
Working alongside other photographers is another enriching part of the experience. Seeing what others are working on and how they are working is a learning experience unto itself, and provides a prospective that goes beyond what we get working alone when we are at home.
This class is open to any photographer at any level. There are no pre-requisite classes, but you should feel comfortable working in the editing/processing software of your choice. You don’t need to be an expert, just eager to improve and learn.
Print materials will be provided to make 5-7 prints, as time allows. The library has computers with Lightroom and Photoshop available, or bring your own computer.