Luminous Landscape Forum
The Art of Photography => User Critiques => Topic started by: tim wolcott on December 14, 2009, 08:14:45 pm
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Inspiration comes from many sources. I spend 20 hours a week minimum, looking at art and photographs so I can be inspired when I go out to create my next image. Whether it comes from paintings or photographs, there is always something to be moved by.
I recently released a book called "Along the Waters Edge". Its about my thoughts and what inspires me to keep creating great imagery.
Nature inspires our hearts and captures our souls.
I'm sorry you will need to have powerpoint to see this but I'm not a software geek. Hope you like and inspires you.
Sorry the software softens the images, but you get the point.
Sorry will not let me do a pps file.
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Thanks, Tim. If you save the file as a PowerPoint Show (.pps instead of .ppt), you won't need PowerPoint to see it.
Here... allow me.
Well, maybe not: "Upload failed. You are not permitted to upload this type of file." But apparently you can.
Mike.
Nice work, BTW!
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Inspiration comes from many sources. I spend 20 hours a week minimum, looking at art and photographs so I can be inspired when I go out to create my next image. Whether it comes from paintings or photographs, there is always something to be moved by.
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As a plodding amateur the problem I have with this statement is if I look at an image that I have no hope of capturing then how does it inspire me? For example if I see a shimmering beach in Australia and look about the area of Scotland that I live in then all I see is garbage strewn sand on coastline then how do I relate to that? In other words surely you have to look images that you can go out and photograph that closely relates to what you can see. In a nutshell there isn't any point of looking at images of alligators if there aren't any in Scotland? As to paintings they IMO don't reflect reality, only someone's imagination?
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Thanks for sharing…
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Sorry the software softens the images, but you get the point.
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I think the effect is good. Very nice images. This is the first time that I have seen this kind of presentation and I am impressed.
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Thanks, Tim. If you save the file as a PowerPoint Show (.pps instead of .ppt), you won't need PowerPoint to see it.
Here... allow me.
Well, maybe not: "Upload failed. You are not permitted to upload this type of file." But apparently you can.
Mike.
Nice work, BTW!
Wolf very nice thanks, I may know how to invent a lot in photography inventions, but, I may not be very smart in software. Thanks again Tim
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Inspiration comes from many sources. I spend 20 hours a week minimum, looking at art and photographs so I can be inspired when I go out to create my next image. Whether it comes from paintings or photographs, there is always something to be moved by.
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As a plodding amateur the problem I have with this statement is if I look at an image that I have no hope of capturing then how does it inspire me? For example if I see a shimmering beach in Australia and look about the area of Scotland that I live in then all I see is garbage strewn sand on coastline then how do I relate to that? In other words surely you have to look images that you can go out and photograph that closely relates to what you can see. In a nutshell there isn't any point of looking at images of alligators if there aren't any in Scotland? As to paintings they IMO don't reflect reality, only someone's imagination?
Stamper, I'm sorry you feel that way. But I was not born into money, I worked my butt off so I could travel and pay for my gear. For nearly 18 hours a day I was training as pro runner and working for pro photographers then my friends and I would blast to wherever to find pure nature. But nature comes in many forms. Surely the light on some of these images can be found on the light of a single tree or flower ect. If you can't find that light is always changing and creating things of beauty in front of us. Then I don't what to tell you. You need to find inspiration because without it there is no real hope!!!
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Tim - Nice set of images, especially the dogwoods and redwoods. The saturation is a bit strong for my taste in some of them, but I feel that way about a lot of Velvia film images that others like so maybe that's just me.
As a plodding amateur the problem I have with this statement is if I look at an image that I have no hope of capturing then how does it inspire me? For example if I see a shimmering beach in Australia and look about the area of Scotland that I live in then all I see is garbage strewn sand on coastline then how do I relate to that? In other words surely you have to look images that you can go out and photograph that closely relates to what you can see. In a nutshell there isn't any point of looking at images of alligators if there aren't any in Scotland? As to paintings they IMO don't reflect reality, only someone's imagination?
Surely there's more to learn from the work of others than subject selection? The use of light and shadow, composition, etc?
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Tim - Nice set of images, especially the dogwoods and redwoods. The saturation is a bit strong for my taste in some of them, but I feel that way about a lot of Velvia film images that others like so maybe that's just me.
Surely there's more to learn from the work of others than subject selection? The use of light and shadow, composition, etc?
Jeff the images shown are not saturated by nay means. The images were shot with P45 phase one camera and I had to lower the saturation of the images because the late spring snow storm caused the colors to be extra strong green and yellow green. i dropped the yellow green by about 23 points to get to what I liked.
I was teaching a workshop at the time and the colors were insane.
That is a very sad comment and is trouble by nature. I remember driving all night just to get some time to shoot and get away from everything that creates stress and give yourself some pleasure.
Nature has a surprise around every corner. TW
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Stamper, I'm sorry you feel that way. But I was not born into money, I worked my butt off so I could travel and pay for my gear. For nearly 18 hours a day I was training as pro runner and working for pro photographers then my friends and I would blast to wherever to find pure nature. But nature comes in many forms. Surely the light on some of these images can be found on the light of a single tree or flower ect. If you can't find that light is always changing and creating things of beauty in front of us. Then I don't what to tell you. You need to find inspiration because without it there is no real hope!!!
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There seems to be a little over reaction? The post wasn't a personal attack on you! I couldn't fathom out how you could relate with other person's paintings and images and then go out and be inspired? This is a problem that I have and I find that advice difficult to fathom? It is obvious that my imagination is lacking? If I am out on my travels with my camera then I can only relate to what is there whether it is landscape, buildings etc etc. The light is constantly changing so I can't relate to what I have seen on my computer or magazines ? Surely most of what you capture is by instinctive means or subconscious experience?
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Tim - Nice set of images, especially the dogwoods and redwoods. The saturation is a bit strong for my taste in some of them, but I feel that way about a lot of Velvia film images that others like so maybe that's just me.
Surely there's more to learn from the work of others than subject selection? The use of light and shadow, composition, etc?
If I see a good image of something in my area then I will go out and try and better it. I find this a good exercise because I am trying to get a better composition or angle or light but not copying it for the sake of it? If the image is from a part of the country or world that I don't have any hope of taking a image of then how do I get inspiration from it? You may know how it can be done but I don't. Ultimately the difference between a good photographer and an exceptional one - apart from technical ability - is imagination? Can that be taught?
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If I see a good image of something in my area then I will go out and try and better it. I find this a good exercise because I am trying to get a better composition or angle or light but not copying it for the sake of it? If the image is from a part of the country or world that I don't have any hope of taking a image of then how do I get inspiration from it? You may know how it can be done but I don't. Ultimately the difference between a good photographer and an exceptional one - apart from technical ability - is imagination? Can that be taught?
Stamper, the first thing is not to look through your viewfinder in your camera. I'm not sure why photographers got a way from shooting this way. But I was taught by a friend of Ansel's Adams. He always said get your self a system, by using a framing card "this is a 11x14 black card with a hole cut in it to match the way you frame and exhibit." By looking through the hole it allows you to see everything in real light not diffused by your camera's viewfinder.
It will allow you to see and compose at a much higher level and really fine tune what you are shooting.
The other thing I teach is make notes or draw your images out from things you see. Everything I see whether its paintings or photo's give me ideas of things I've like to see and create. Lighting, composition, trees, ponds, lakes, mountains ect get throw together in my head and then I draw them as reminders of images to be created. Sometimes it has taken me 7 years to find the image, sometimes it not exactly that but a mixture of 2 images put together and everytime I go out to shoot I refresh my mind.
I teach this in my workshops I teach. You don't have to be a good drawer. I will launch a set of images called "Ode To Monet" I love Monet and sought out to find and capture what I thought if Monet was a photographer how would he capture it and create the image.. I will do this a week or so. Hope this helps.
Its still about Lighting, Composition,depth of field, choice of lens, angle of shooting and Imagination and Passion.
If your on Skype and you want to call my user is tdwolcott. I happy to help anyone. Tim
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The other thing I teach is make notes or draw your images out from things you see. Everything I see whether its paintings or photo's give me ideas of things I've like to see and create. Lighting, composition, trees, ponds, lakes, mountains ect get throw together in my head and then I draw them as reminders of images to be created. Sometimes it has taken me 7 years to find the image, sometimes it not exactly that but a mixture of 2 images put together and everytime I go out to shoot I refresh my mind.
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I think that - no disrespect - this is beyond what most photographers understand and are prepared to do? If you are saying that this is necessary to advance to a good level then myself and others will be toiling? To me images are what I see in reality when I am out with my camera. Visualising what isn't there and trying to "create" an image from my mind isn't imo photography? I look and see what is there and if I like it I will bracket several shots from different angles and exposures and enhance them on the computer to make up the deficiencies of my camera, a Nikon D300. You are taking photography well beyond an art form?
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The other thing I teach is make notes or draw your images out from things you see. Everything I see whether its paintings or photo's give me ideas of things I've like to see and create. Lighting, composition, trees, ponds, lakes, mountains ect get throw together in my head and then I draw them as reminders of images to be created. Sometimes it has taken me 7 years to find the image, sometimes it not exactly that but a mixture of 2 images put together and everytime I go out to shoot I refresh my mind.
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I think that - no disrespect - this is beyond what most photographers understand and are prepared to do? If you are saying that this is necessary to advance to a good level then myself and others will be toiling? To me images are what I see in reality when I am out with my camera. Visualising what isn't there and trying to "create" an image from my mind isn't imo photography? I look and see what is there and if I like it I will bracket several shots from different angles and exposures and enhance them on the computer to make up the deficiencies of my camera, a Nikon D300. You are taking photography well beyond an art form?
I don't see why you are putting limits on yourself. The equipment is just a tool, meant to capture what you have put in front of it. Great lighting takes amazing amount of time and discipline. It takes a lot of patience, to wait for the right light or to hike back to the same place until the scene is where I want it.
Maybe I do take it to the extremes and pain is just part of the game to hike 80 pound pack back into the woods day after day. But as I've said a thousand times before I'd rather come back with one image that is great than one that is average.
If you wait for the right light, you don't have to expand the saturation. I lecture against that, NO AMOUNT OF PHOTOSHOP WILL OR CAN MAKE UP FOR NATURAL LIGHTING, COMPOSITION, PICKING THE RIGHT FOCAL LENGTH LENS, CHOOSING THE RIGHT DEPTH OF FIELD AND THE RIGHT ANGLE TO SHOOT IMAGE.
ITS NOT ABOUT TECH, ITS ABOUT THE PERSON BEHIND THE CAMERA.
But please give the framing card a chance. There is a reason why the master's used it before us. Try to capture it one shot, envision what you want and create it.
We have better tools for capturing photography than ever before, wider range of light, more resolution, software to control the image, and inkjet printing equipment to print it. There should be very little guess work involved.
And for God's sake never ever say the thing I hate most "let's see what I've got now" when you have shot a scene.
Start with a simple trial. Get a framing card and then single white tulip. Put that under a open shade porch so no direct light is on the tulip. Walk around the tulip with a black framing card, at one point or two the tulip will come alive with beautiful lighting. Then is you want add some background color to the shot with fabric ect. you have just started to envision the shot.
The God's every now and then give a magic in the woods, we are just there to receive and capture it. I hope this help,
My goal is always to "Capture light at its most intimate moment" have fun Tim
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I think stamper has more than a point; I lived in Scotland for decades and the huge bulk of my calendar shoots was done away in the sunshine somewhere else, one of those somewheres being Spain. Now, living here but well past my commercial days, I can't do the stuff I used to do here. It has nothing to do with seeing, nothing to do with inspiration. It has everything to do with finance. Who's money is gonna pay the model is the name of the problem. So no, it isn't all in the head by any manner or means.
As for spending time looking at photographs and paintings, well, I did most of my paintings gawping when I was in my teens. The photography bit came towards the end of that time via US photographic magazines and particularly Popular Photography Annual and Color Annual. Now, it's the turn of the web. But I don't look there for inspiration because I don't need it; it is already there but stifled because of the finance. I look at the sites because I still love pictures.
As for teaching - well, I abandoned photo night-school fairly quickly when I realised it had nothing to teach me that I wanted to know. I have never believed you can teach photography as the art, but I have no doubt that you can teach an ape the mechanics.
Rob C
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Tim the thumbnail you have in your last post. Was the saturation in it that vivid when you shot the image? Your methods obviously work for you but for most photographers it would be too much work! I think we can agree to differ on this subject? LOL
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Thanks Tim, both for your advice and the ppt of the book! Awesome images.
Christian
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I was trying to find a hotographer the hav this photo, to get some inspiration, but I can't find anyone.
Special with the bird the just land when I was taking this photo
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Tim the thumbnail you have in your last post. Was the saturation in it that vivid when you shot the image? Your methods obviously work for you but for most photographers it would be too much work! I think we can agree to differ on this subject? LOL
Yes that image was taken straight, I had waited for 3 hours for the light to stream through the trees to create this effect. I don't use filters, I like natural light slightly filters by a cirrus cloud. I find that that is the best lighting, When I post my Ode to Monet series you will see some amazing colors. I was showing some people who live near there how to create this effect with the lighting and choice of depth of field and lens.
Thanks Tim
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I don't subscribe to use of a framing card, except perhaps as an aid or tool for teaching. There are whole books on teaching "Visual Design" and "the art of seeing." However, I do agree, that no amount of post processing is going to help your work if it is not good to begin with. Nowadays, what I call "photo illustration" often gets by as photography. I don't think we will escape this blurring of disciplines and the marriage of the arts in the digital age. It is here to stay.
JMR
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I don't subscribe to use of a framing card, except perhaps as an aid or tool for teaching. There are whole books on teaching "Visual Design" and "the art of seeing." However, I do agree, that no amount of post processing is going to help your work if it is not good to begin with. Nowadays, what I call "photo illustration" often gets by as photography. I don't think we will escape this blurring of disciplines and the marriage of the arts in the digital age. It is here to stay.
JMR
Not to keep badgering the idea of using a framing card, but if the masters who shot before us, used them. Who are we to say otherwise. But I will say that a framing card by far is the best way to subtract the elements away from what you are really trying to compose. There is no way to otherwise block out what is truly important to your images you about to create. You get to see it in real light, see exactly the balance of your image. And by looking through the black whole you can see the delicate lighting and hue shifts when you are waiting in that special place focused on the right lighting.
This why sport players use the black paint under their eyes, why golfers use there hand and dark clothing to block out everything around them. There is great video of Ansel having students using this method, not that he is the end all and judge. But clearly, it helps. I teach everyone to use them and I have never had anyone not try it and love it, it helps them refine their images perfectly. I suggest everyone try it and stop looking through the dark view finder of the camera. Look thru the black whole and see it in natural light and fine tune your image and then set your camera up to that composition. I'm sure it will help, but if don't like it find what works for you. Tim
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Well, to play devils advocate one reason Ansel used the framing card is because setting up the 8x10 view camera and looking through the ground glass took too much time.
I do agree that some sort of abstraction into a 'frame' is useful, but not necessarily for the seemingly obvious reason of showing how the composition will be framed. More importantly, it helps us to see the scene in 2-dimensions instead of 3D, and will give us a better idea of what the actual photo will look like. The frame takes what you're shooting out of the context of its 3-dimensional surroundings.
But it doesn't have to be a framing card. It could just as easily be a director's viewfinder, an SLR viewfinder, live-view on an LCD, heck some people can get by closing one eye and using their hands to frame (we've all seen that cliche of movie directors doing this).
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If I see a good image of something in my area then I will go out and try and better it. I find this a good exercise because I am trying to get a better composition or angle or light but not copying it for the sake of it? If the image is from a part of the country or world that I don't have any hope of taking a image of then how do I get inspiration from it? You may know how it can be done but I don't. Ultimately the difference between a good photographer and an exceptional one - apart from technical ability - is imagination? Can that be taught?
There's more to learn from an image then just the subject. You can learn about leading lines, the use of light and shadow, repeating patterns, complimentary colors, unusual perspective, etc, etc, etc. It doesn't have to be about shooting _that_ mountain or _that_ tree. Just look at images, and when you see one you like, study and figure out _what_ you like about it, and how you might incorporate that into your future work.
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There's more to learn from an image then just the subject. You can learn about leading lines, the use of light and shadow, repeating patterns, complimentary colors, unusual perspective, etc, etc, etc. It doesn't have to be about shooting _that_ mountain or _that_ tree. Just look at images, and when you see one you like, study and figure out _what_ you like about it, and how you might incorporate that into your future work.
Jeff, great couldn't say it any better. The lighting of a great nude is the same kind of light on a tree or flower. Its all relevant. Perfect, thats the comment I was looking for. You can shoot with me anyday. Tim
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Nicely done Tim! I too am, and have always been, deeply inspired by our natural world. Rather than a book I've started making individual unbound folios of individual series of images.....after studying the Lenswork DVD on making folios! I also add optional selectable music on my site as I'm also inspired by combinations of music and images sometimes. eleanor
I recently released a book called "Along the Waters Edge". Its about my thoughts and what inspires me to keep creating great imagery.
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Nicely done Tim! I too am, and have always been, deeply inspired by our natural world. Rather than a book I've started making individual unbound folios of individual series of images.....after studying the Lenswork DVD on making folios! I also add optional selectable music on my site as I'm also inspired by combinations of music and images sometimes. eleanor
I recently released a book called "Along the Waters Edge". Its about my thoughts and what inspires me to keep creating great imagery.
Eleanor, Like what your doing. The old clothes are very nice they have that feeling of stepping back in time.. Very nice. Tim
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I recently released a book called "Along the Waters Edge". Its about my thoughts and what inspires me to keep creating great imagery.
Sounds intriguing, Eleanor. Do you have any links or samples of your book?
Mike.
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Mike I am doing "folios" which are like an unbound book but with small original prints. here is a link to what I'm doing:
http://web.mac.com/eleanorbrown/ELEANOR_BR...own_Folios.html (http://web.mac.com/eleanorbrown/ELEANOR_BROWN_PHOTOGRAPHY/Eleanor_Brown_Folios.html)
Eleanor
Sounds intriguing, Eleanor. Do you have any links or samples of your book?
Mike.
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Mike I am doing "folios" which are like an unbound book but with small original prints. here is a link to what I'm doing:
http://web.mac.com/eleanorbrown/ELEANOR_BR...own_Folios.html (http://web.mac.com/eleanorbrown/ELEANOR_BROWN_PHOTOGRAPHY/Eleanor_Brown_Folios.html)
Eleanor
Eleanor,
That is very elegant and beautiful work. I'm looking forward to the extended LensWork.
Eric
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There's more to learn from an image then just the subject. You can learn about leading lines, the use of light and shadow, repeating patterns, complimentary colors, unusual perspective, etc, etc, etc. It doesn't have to be about shooting _that_ mountain or _that_ tree. Just look at images, and when you see one you like, study and figure out _what_ you like about it, and how you might incorporate that into your future work.
If only everyone would stop spending time pixel counting or trying to learn tech things that want help you shoot better and just listen to what I have said and Jeff. He's a smart man. Tim
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I have to tell love what you did with the presentation. The writing sure fits the story line. This is quite unique and beautiful. Are all these images from california or the west coast. Can you tell if you don't mind where these were taken. Great portfolio, one of the nicest I have ever seen. You should put these into Lenswork. JP
If only everyone would stop spending time pixel counting or trying to learn tech things that want help you shoot better and just listen to what I have said and Jeff. He's a smart man. Tim
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Some of these images are from Sequoia, some from Mossbrae, trinity forests near Shasta, and Kruse Rhododendron. But most are just thos by looking at the trees to see how they are going to bloom but don't really have a name. I simply grid the forest and walk up and down to see what parts of the forests look great and come back when they are at their best. If you have specific questions please don't hesitate. Tim
I have to tell love what you did with the presentation. The writing sure fits the story line. This is quite unique and beautiful. Are all these images from california or the west coast. Can you tell if you don't mind where these were taken. Great portfolio, one of the nicest I have ever seen. You should put these into Lenswork. JP
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Mike I am doing "folios" which are like an unbound book but with small original prints. here is a link to what I'm doing:
http://web.mac.com/eleanorbrown/ELEANOR_BR...own_Folios.html (http://web.mac.com/eleanorbrown/ELEANOR_BROWN_PHOTOGRAPHY/Eleanor_Brown_Folios.html)
Eleanor
Those are very nice Eleanor. Do you have the folios diecut and embossed or do you do all the cutting yourself?
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Not to keep beating the horse but great presentation Eleanor. I don't have the time to make my own, so I ordered some danecreekfolios.com. Will let everyone know how I like them when I get them. If anyone knows of any others that sell them please let me know. I'm really looking for much bigger ones.
Thanks Much Tim
Those are very nice Eleanor. Do you have the folios diecut and embossed or do you do all the cutting yourself?
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Tim, would like to see a folio done with that set of images. Any plans. Had to look at this again. Simply amazing. Now this is what photography is about. Creating images that inspire the soul. Thanks again it brings tears to my eyes.
Would like to take one of your photo workshops. I understand that you will be announcing some on Michael's site. Is this true. JP
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Not sure where you heard this, but I will be announcing some on Michael's site. We will be going to Alaska, Utah, Pennsylvania, Maine and some parts of California. Mostly where I have shown you some of the images from on the website.
Glad you have enjoyed them. T
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Gee, I guess what we said in this forum was just what George had said in his. Learning from other photographers and artists. I think nearly everyone that responded to this article did a good job. George also said it very well. Its exactly what I have been trying to say from my first posting. Knowledge of art and its influences is the key. Tech is just tech. Thanks Guys and gals
Tim
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Hi alain, sorry to be so late in answering but I just came across your question. I started out hand cutting with a very sharp blade on Neenah cover weight paper 100 lb. I still hand cut some covers too ( I'm added more folios) but also I've bought some wonderful die cut covers from www.danecreekfolios.com. There are really beautifully designed and are reasonably priced. These die cut covers are embossed around the edge of the front window. see this link to see what I've done with these danecreek folio covers.(see bottom of the sample images)....eleanor
whoops forgot the link! here is it:
http://web.mac.com/eleanorbrown/ELEANOR_BR...own_Folios.html (http://web.mac.com/eleanorbrown/ELEANOR_BROWN_PHOTOGRAPHY/Eleanor_Brown_Folios.html)
Those are very nice Eleanor. Do you have the folios diecut and embossed or do you do all the cutting yourself?