I've been working on a project for the last year, and I've just been very slow about it, but what kinds of ways can you actually take both of these mediums and meld them together? I think this becomes kind of interesting. One of the things I've been working on is an image that I took with my iPhone on a train, okay, I was coming home from work one day, and shut this image it's very blurry, it's a gentleman reading a newspaper and you see down the aisle, as an image I really liked and what I wanted to do is actually a darker imprint that I made basically from an image that I took off my iPhone.

This entails getting it into Photoshop, scan table, what's our scan sorry you need to get into Photoshop clean it up and adjust your levels, and what you do is you basically turn it into a negative. This is just from an inkjet print that's printed onto a transparency paper. The trick here, there are people online who have figured this out, and I'm trying to do it slow, because I want to learn from it, but there's a lot of adjustments that you have to do with contrast, because paper and digital or two kinds of very different mediums.

And so, anyway, just it's kind of interesting that you end up having to kind of go in and do a lot tweaking. Make another negative, it's a contact print that didn't go on enlarger, that's actual 8 by 10 print, that just was contact, so there's not a lot of burning, you're dodging, you do all that digitally. So, anyway, all this to say is you know we're talking about product and if you're trying to get better, if you're trying to figure out what's next for you, if you're trying to push your limits as a photographer, not that this is a great project, but it's these kinds of things that end up for me pushing my limitations further, and knocking down walls sometimes.

Because you never know where they're gonna lead. And I think sometimes it's easy or it's easy to kind of think about what is your product, what is what is it that you're producing, whether you're a professional photographer, whether you're an amateur photographer, it doesn't matter, are you making prints, are you making stuff that's strictly for the Internet. And if you're finding yourself heavily in one too, you'll either scam's you know try to combine them or try to switch and do the other one.

If you're a dark room guy go work with digital for a while. I remember a couple months ago somebody gave me a half broken battery was dead didn't work for about more than about 20 minutes but a little law Canon point shoot there was a digital camera early one, and I had more fun breaking that and trying to get to do things that wasn't supposed to do for the next month until it finally died on me. But anyway, but it's that kind of experimentation that is going to get you to the next level, whether or not you like the results.

The point is to learn something, and the point is to try to cross mediums a little bit if you're a digital photographer and you don't print your work out very much, order some inkjet prints again, an inkjet printer do you do them yourself. It's fairly easy and inexpensive to get fairly large prints online.

"WEBVTTKind: captionsLanguage: eneverybody welcome back once again to another episode of the artifact ography my name is Ted Forbes today I want to talk about photography as product and what is your product what is the end result you get and the reason I'm bringing this up I get emails from time to time from people that are asking me usually I think the common interest of the typical person who watches this show is they're seeking how to get better at what they do they're seeking how do I get better as a photographer they're looking less for the gear reviews because I don't do a lot of those unless they're old defunct gear but really what I'm interested in on here is talking about how you get better as a photographer and I think we're in an interesting transition period in the history of photography with the emergence of digital and the fact that you still have film out there so there's several different mediums that you can choose to shoot on which is very interesting to me one thing I found though that with digital images if you look at the pre digital age everything was always tactile there was always a negative that was a physical negative that you could hold the print was something you could hold and see and in the modern age with between cell phone cameras digital cameras DSLRs and really it seems like the main method of display these days tends to be the internet and there's nothing wrong with that I think you can consider if you put an image on Twitter and you tweet it out that's almost a medium in a way that's the product that's what you're putting out there and so I think you know images obviously can hold a wide variety of different kinds of things i if in past episodes highly encourage people to print their own work from time to time even if you're shooting digitally you just need to see it print it out you look at it differently you size it up more objectively there's a lot you can do with that and another thing I always recommend to people is you know where is your balance between kind of old mediums and new mediums I know a lot of people don't want to get into film because you know it requires some equipment and a darkroom and some patience and a big learning curve but what's interesting about learning how to do darkroom prints is that you know there's a whole different philosophy that goes into that like so for instance when I'm in the darkroom yeah I'll spend you know hours just getting one image to print correctly yeah you know a lot of people will ask me what wouldn't be easier to stick it on inkjet printer well it probably would be yes it would probably less time consuming but what I'm doing is I'm making something and I'm also learning a lot about what I do I'm learning about contrast I'm learning about focus I'm learning about composition because I'm forced to kind of get in there and meditate and review an image I think it's also interesting to see the most I mean obviously most film photographers also put their stuff on the Internet too so it has kind of a dual function that you can scan and and bring it into the digital realm at some point so anyway all this to say I think it's fairly interesting one of the things I've been working on for the last year so and I've just been very slow about it but what kinds of ways can you actually take both of these mediums and meld them together and I think this becomes kind of interesting there's a print that I did a while back and I don't think I've ever shown this on the podcast but this is an image that I took with my iPhone on a train okay I was coming home from work one day and shut this image it's very blurry it's a gentleman reading a newspaper and you see down the aisle and as an image I really liked and what I wanted to do this is actually a darker imprint that I made basically from an image that I took off my iPhone what this entails is you need to get it into Photoshop scan table what's our scan sorry you need to get into Photoshop clean it up and adjust your levels and what you do is you basically turn it into a negative and print that on a piece of transparency paper so this is just from an inkjet print that's printed onto a transparency the trick here and there are people online who have figured this out and I'm trying to do it slow I figured out for myself because I want to learn from it but there's a lot of adjustments that you have to do with contrast because paper and digital or two kind of very different mediums and so anyway just it's kind of interesting that you end up having to kind of go in and do a lot tweaking make another negative and it's a contact print that didn't go on enlarger that's actual 8 by 10 print that just was contact so there's not a lot of burning you're dodging you do all that digitally so anyway all this to say is you know we're talking about product and if you're trying to get better if you're trying to figure out what's next for you if you're trying to push your limits as a photographer not that this is a great project but it's these kinds of things that end up for me pushing my limitations further and knocking down walls sometimes because you never know where they're gonna lead and I think sometimes it's easy or it's easy to kind of think about that is what is your product what is what is it that you're producing whether you're a professional photographer whether you're an amateur photographer it doesn't matter are you making prints are you making stuff that's strictly for the Internet and if you're finding yourself heavily in one too you'll either scamp's you know try to combine them or try to switch and do the other one if you're a dark room guy go work with digital for a while I remember a couple months ago somebody gave me a half broken battery was dead didn't work for about more than about 20 minutes but a little law Canon point shoot there was a digital camera early one and I had more fun breaking that and trying to get to do things that wasn't supposed to do for the next month until it finally died on me but anyway but it's that kind of experimentation that is going to get you to the next level whether or not you like the results the point is to learn something and the point is to try to cross mediums a little bit if you're a digital photographer and you don't print your work out very much order some inkjet prints again an inkjet printer do you do them yourself it's fairly easy and inexpensive to get fairly large prints online and I think also parenthesize is another thing to consider usually people want to get friends of mine myself included tend to go with very big prints whenever I've done shows I try to get the largest prints that can possibly do and I've kind of taken back I saw a show recently on some photography that was done in the 20s and the best pieces in the entire show were some little Paul strand pieces that were just like you know little contact prints the size of 35 millimeter or medium format and there was just something about the the size of the images and the fact that they were small and they were put into fairly large frames but it's sometimes bigger isn't always better sometimes smaller ends up with a bigger effect so anyway these are things to try and to think about but anyway I guess the question for today is to ask yourself what is your product and how can that change how can it morph and how can it get better so anyway know that's some heavy philosophical talk today but once again this has been another episode of the art of photography and thank you for watchingeverybody welcome back once again to another episode of the artifact ography my name is Ted Forbes today I want to talk about photography as product and what is your product what is the end result you get and the reason I'm bringing this up I get emails from time to time from people that are asking me usually I think the common interest of the typical person who watches this show is they're seeking how to get better at what they do they're seeking how do I get better as a photographer they're looking less for the gear reviews because I don't do a lot of those unless they're old defunct gear but really what I'm interested in on here is talking about how you get better as a photographer and I think we're in an interesting transition period in the history of photography with the emergence of digital and the fact that you still have film out there so there's several different mediums that you can choose to shoot on which is very interesting to me one thing I found though that with digital images if you look at the pre digital age everything was always tactile there was always a negative that was a physical negative that you could hold the print was something you could hold and see and in the modern age with between cell phone cameras digital cameras DSLRs and really it seems like the main method of display these days tends to be the internet and there's nothing wrong with that I think you can consider if you put an image on Twitter and you tweet it out that's almost a medium in a way that's the product that's what you're putting out there and so I think you know images obviously can hold a wide variety of different kinds of things i if in past episodes highly encourage people to print their own work from time to time even if you're shooting digitally you just need to see it print it out you look at it differently you size it up more objectively there's a lot you can do with that and another thing I always recommend to people is you know where is your balance between kind of old mediums and new mediums I know a lot of people don't want to get into film because you know it requires some equipment and a darkroom and some patience and a big learning curve but what's interesting about learning how to do darkroom prints is that you know there's a whole different philosophy that goes into that like so for instance when I'm in the darkroom yeah I'll spend you know hours just getting one image to print correctly yeah you know a lot of people will ask me what wouldn't be easier to stick it on inkjet printer well it probably would be yes it would probably less time consuming but what I'm doing is I'm making something and I'm also learning a lot about what I do I'm learning about contrast I'm learning about focus I'm learning about composition because I'm forced to kind of get in there and meditate and review an image I think it's also interesting to see the most I mean obviously most film photographers also put their stuff on the Internet too so it has kind of a dual function that you can scan and and bring it into the digital realm at some point so anyway all this to say I think it's fairly interesting one of the things I've been working on for the last year so and I've just been very slow about it but what kinds of ways can you actually take both of these mediums and meld them together and I think this becomes kind of interesting there's a print that I did a while back and I don't think I've ever shown this on the podcast but this is an image that I took with my iPhone on a train okay I was coming home from work one day and shut this image it's very blurry it's a gentleman reading a newspaper and you see down the aisle and as an image I really liked and what I wanted to do this is actually a darker imprint that I made basically from an image that I took off my iPhone what this entails is you need to get it into Photoshop scan table what's our scan sorry you need to get into Photoshop clean it up and adjust your levels and what you do is you basically turn it into a negative and print that on a piece of transparency paper so this is just from an inkjet print that's printed onto a transparency the trick here and there are people online who have figured this out and I'm trying to do it slow I figured out for myself because I want to learn from it but there's a lot of adjustments that you have to do with contrast because paper and digital or two kind of very different mediums and so anyway just it's kind of interesting that you end up having to kind of go in and do a lot tweaking make another negative and it's a contact print that didn't go on enlarger that's actual 8 by 10 print that just was contact so there's not a lot of burning you're dodging you do all that digitally so anyway all this to say is you know we're talking about product and if you're trying to get better if you're trying to figure out what's next for you if you're trying to push your limits as a photographer not that this is a great project but it's these kinds of things that end up for me pushing my limitations further and knocking down walls sometimes because you never know where they're gonna lead and I think sometimes it's easy or it's easy to kind of think about that is what is your product what is what is it that you're producing whether you're a professional photographer whether you're an amateur photographer it doesn't matter are you making prints are you making stuff that's strictly for the Internet and if you're finding yourself heavily in one too you'll either scamp's you know try to combine them or try to switch and do the other one if you're a dark room guy go work with digital for a while I remember a couple months ago somebody gave me a half broken battery was dead didn't work for about more than about 20 minutes but a little law Canon point shoot there was a digital camera early one and I had more fun breaking that and trying to get to do things that wasn't supposed to do for the next month until it finally died on me but anyway but it's that kind of experimentation that is going to get you to the next level whether or not you like the results the point is to learn something and the point is to try to cross mediums a little bit if you're a digital photographer and you don't print your work out very much order some inkjet prints again an inkjet printer do you do them yourself it's fairly easy and inexpensive to get fairly large prints online and I think also parenthesize is another thing to consider usually people want to get friends of mine myself included tend to go with very big prints whenever I've done shows I try to get the largest prints that can possibly do and I've kind of taken back I saw a show recently on some photography that was done in the 20s and the best pieces in the entire show were some little Paul strand pieces that were just like you know little contact prints the size of 35 millimeter or medium format and there was just something about the the size of the images and the fact that they were small and they were put into fairly large frames but it's sometimes bigger isn't always better sometimes smaller ends up with a bigger effect so anyway these are things to try and to think about but anyway I guess the question for today is to ask yourself what is your product and how can that change how can it morph and how can it get better so anyway know that's some heavy philosophical talk today but once again this has been another episode of the art of photography and thank you for watching\n"