Schedule – Digital Photography and Software Creativity Seminar

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Join Nikon Legend Behind the Lens, Tony Sweet, for a refreshing, fast paced, information packed ONE DAY Digital Photography and Software Creativity Seminar!

8 – 830 Check in

830 – 9 Welcome and opening presentation

9 – 10 Compelling Composition

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Line, shape, form, and flow are only a few of the components which work together to create compelling composition. In this presentation, many compositional techniques are illustrated and discussed, the point being to help you to think in terms of distilling the subject down to it’s essence.

10 – 11 Flower Photography

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Spring is right around the corner. Flowers are a favorite subject with photographers, and visual artists in general. Soft lines, curves, color, and translucency lend flowers to infinite interpretations. Along with many image illustrations, equipment, lenses, and set ups are illustrated.

11 – 12 Panoramic Photography

 Stitched Panorama   

The world of panoramic photography is at your finger tips. First off, it is possible to create great panos hand held, with no tripod. Photoshop’s photomerge can create the composite and you’re good to go. However, for more advanced panoramic photography, hardware is needed and will be addressed, as well as nodal points, amount of overlap needed @ different focal lengths, metering, and multi-layered stitched pans. It is a panoramic world out there

12 – 1 Lunch Break

1 – 230 Image analysis and adjustments

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Images from attendees will be taken from the original, unoptimized state to a finished version using various software (plugins and photoshop) and processing workflow techniques (Lightroom or Aperture not needed). Each image will be discussed in terms of it’s issues and what is needed to enhance them.

230 – 330 Adding emotion with Texture Blends

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Texture blending will be illustrated, taking images shot with texture blends in mind and discussing the texture selection process, then illustrating the texturing process.

330 – 4  Special In-camera creative effects

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Although, software is one of the great driving forces in modern digital photography, there are manly creative effects that can be accomplished in-camera, depending on the camera’s capabilities. Techniques such as multiple exposures, swipes, directional movement, and extreme long exposures will be illustrated.

4 – 430  iPhone and Mobile phone photography

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This final portion of our day will introduce you to the incredible possibilities of using mobile phones for serious work. All apple apps are available on the iPad, so even if you do not have a iPhone, but have an iPad, you can import the photos and have use of all of the incredible apple apps to optimize your images. Essential apps, processing techniques, creative recipes, and printing tips will be shared!

 

430 – 5  Final presentation wrap up and Q&A

 

Contact Susan with any questions.

Seminar Price:
$149 at the door
$135 early registration

Additional Info

We will have discount coupons available for the restaurant in the hotel

If you need to spend the night, the hotel rate will be $89 plus tax per night, please contact Audrey Gildea in Sales to make your reservation (610)521-9600 x1172

Note: if you are coming from I-95 South use exit 9A (not exit 8), take the ramp toward PA-291, turn right onto Industrial Hwy/PA-291, hotel is on the left

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Ok, it's pretty common knowledge that I'm impressionable. I've had to deal with bouncing around from one style to another in all three of my professions (to this point), being pulled and twisted like a piece of turkish taffy.

As a jazz drummer/ composer, for years I would try to emulate giants in the profession until I got to the point where I realized that it was time to stop emulating and time to start developing my own musical voice. At that point, I stopped studying what others were doing, not forever, but for years to give my own musical point of view the space needed to develop and to crystallize.

I became a student of magic as the drummer on the Harry Blackstone national tour, where I had the privilege to play on the first HBO special from the Seattle Opera House and played for the show during it's run on Broadway. I became a student of  close up magic, which is more slight of hand and technique rather than relying on props. After years of studying with Harry, and my most influential mentor, the great Cy Keller, I began to use the numerous techniques that I acquired, re-inventing and re-adapting moves that I had learned to create my own routines.

As a photographer, I had the privilege to work with and learn from my generation's greatest landscape/ nature photographers: John Shaw, Pat Ohara, Galen Rowell, Rod Planck, John Netherton, Larry West, and more than I can recall, as an instructor with the seminal workshop company, The Great American Photography Workshops. And like many of us, whenever I saw great photography of any genre, I began to chase it, wanting to emulate what captured my imagination. And, as with the other careers, I got tired of chasing the visions of others. Although, I wasn't sure what my style was, I knew that it was time to create space, as uninfluenced as possible by others, to let whatever style I had develop in an unaffected manner. After all, it's difficult, if not impossible, to focus when your focus is in a perpetual state of flux.

The question that we all ask ourselves at one time or another is, "What kind of photographer am I?" Granted that most of us photograph  myriad subject material, the main question is, "What is our essence?"  What common thread, permeates all of our photography. In other words, what common, recognizable thread runs through our landscape, wildlife, flower, abstract, cityscape, people, infrared, macro, etal. photography? It's obviously not the wide variation of subject material, so it has to be how we approach the subject material, how we place elements in the frame, and basically, how we see and present our vision to the world.

An example of recognizable style is the great Freeman Patterson. Being familiar with Freeman's work long before I took a workshop with him, I could easily discern a "Freeman" image. Regardless of the subject matter, every image had the same emotional pull, the same "feel." I remember thinking, "how the hell does he do that?" I also remember thinking that it was a process, and in order to get to that place, if even possible, I would have to be more concerned about the feeling of the image, more than the content. So, at that moment, the odyssey began...

I can't speak for everyone, but for me, after a certain point in my development, it was essential to turn off the external stimuli and venture forward on my own. After all, as with any creative endeavor, development of one's style is a function of dedication, consistency, constant immersion, exposure, and the passage of time.

For me, a common thread between the three aforementioned disciplines is the need to communicate emotionally with others. The need to go beyond the surface; the need to engender an emotional response from me as well as from the viewer. As with all things, it's ultimately not about the thing, but about the response or, to be more precise, the emotional impact. And as I look back, that always has been my goal, my common thread, regardless of the pursuit.

Two quotes are always at the tip of my thoughts during any creative process: 

  1. If you can't feel what you're doing, no one else will either, and specific to photography,
  2. It's not about depth of field. It's about depth of feeling.

Keeping these two tenets in mind has gotten me beyond the mere output and more into the feeling communicated in whatever discipline I'm pursuing at the time.

So, that's pretty much it, just another random thought.

Thanks for taking the time and we'll see ya online!

Tony

p.s. Keep an eye out for our year-end Visual Artistry Newsletter, coming soon!

p.p.s. Please share!

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