Newsletter from Kim Westerskov

Size: px

Start display at page:

Download "Newsletter from Kim Westerskov"

Meredith Ursula Green
5 years ago
Views:

1 Please forward this to anyone you think might be interested and, of course, if you d prefer not to receive future newsletters from Kim, please just Reply with Unsubscribe please as the subject. Thanks Newsletter from Kim Westerskov kimsworkshops@gmail.com Web: 20 Greerton Road, Tauranga 3112, New Zealand Phone Newsletter #32 October-November AN OCTOPUS S GARDEN 2. PHOTOSHOP FRIEND OR FOE? 3. LAST WEEKEND S WORKSHOP 4. QUOTES OF THE MONTH 5. GOOD LINKS 6 GOOD PHOTOS ANYWHERE, ANYTIME workshop 8 November 7. PHOTO IMPRESSIONISM workshop 22 November 8. IN-DEPTH PHOTO EVALUATION EVENINGS 9. KIM S PHOTOS & COFFEE EVENINGS 10. PRIVATE TUITION This newsletter goes out to many photographers in New Zealand and overseas - and to anybody who asks to go onto the mailing list. If you know anybody who would like to be on the mailing list, please get them to me. It s free and they can unsubscribe at any time, of course.

1. AN OCTOPUSES GARDEN I'd like to be under the sea In an octopus's garden in the shade He'd let us in, knows where we've been In his octopus's garden in the shade We would be warm below the storm In

George would later re-write much of Ringo s original words in the studio before recording began, but full credit was given to Ringo. Ringo had been a guest on Peter Seller s boat in Sardinia.

He told me that they hang out in their caves and they go around the seabed finding shiny stones and tin cans and bottles to put in front of their cave like a garden.

2 1. AN OCTOPUSES GARDEN I'd like to be under the sea In an octopus's garden in the shade He'd let us in, knows where we've been In his octopus's garden in the shade We would be warm below the storm In our little hideaway beneath the waves Resting our head on the sea bed In an octopus's garden near a cave So sang Ringo in this much-loved Beatle s song. George would later re-write much of Ringo s original words in the studio before recording began, but full credit was given to Ringo. Ringo had been a guest on Peter Seller s boat in Sardinia. I stayed out on deck with [the captain] and we talked about octopuses. He told me that they hang out in their caves and they go around the seabed finding shiny stones and tin cans and bottles to put in front of their cave like a garden. I thought this was fabulous, because at the time I just wanted to be under the sea too. Some years ago I was briefly involved with the making of a New Zealand documentary about octopuses, taking still photos for the cover and marketing. One reviewer of the documentary said By the end of it I had decided that the octopus is not nearly such a cute little creature as I had originally thought - it is in fact much nearer to a hired assassin. That sounds about right to me - fascinating animals and inquisitive to the point of aggressive at times. They seem attracted to bright, shiny and light coloured things, including pale European skin and cameras. During a dive on the Wellington coastline I was minding my own business as usual as much as photographers ever mind their own business when out of the kelp came a large octopus straight for me. The first bit of me it got to was my Nikonos camera, which I let it have, though I

don t remember having much choice really. Nikonos cameras are very tough, so I wasn t worried. But ten minutes later I was getting concerned.

Dropping large rocks on it made no difference they just floated gently down and were totally ignored. Eventually I got the Nikonos back and continued my dive.

Funny thing happened to me he recounted as we stood together in the shallows A big octopus attacked me. Wrapped both legs tightly together and wrapped my left arm to my body.

My insurance man gave me the Best Story of the Year prize well not exactly, but if there was such a prize I was definitely a finalist.

3 don t remember having much choice really. Nikonos cameras are very tough, so I wasn t worried. But ten minutes later I was getting concerned. Mostly I m careful not to anthropomorphise [giving human attributes to animals] but this octopus seemed angry. It was certainly doing over my Nikonos, and wasn t letting it go. Dropping large rocks on it made no difference they just floated gently down and were totally ignored. Eventually I got the Nikonos back and continued my dive. Later back on shore I met up with my buddy we d been buddies using the timehonoured starburst buddy system so I hadn t seen him since the start of the dive. Funny thing happened to me he recounted as we stood together in the shallows A big octopus attacked me. Wrapped both legs tightly together and wrapped my left arm to my body. If it had wrapped my right arm up too and pulled out my regulator it could have got interesting. Interesting indeed, I agreed. The story had legs. My insurance man gave me the Best Story of the Year prize well not exactly, but if there was such a prize I was definitely a finalist. The story later featured in the School Journal and in children s magazines in North America and Europe. It was illustrated by photos I d taken with a second camera I had with me you just never know when you ll need a spare camera. Octopuses or Octopi? Octopuses is definitely OK and is the most commonly used in edited

writings, including scientific writings. Octopi is technically incorrect, but has been around so long that most authorities say it s old enough and common enough to be considered an accepted variant.

4 writings, including scientific writings. Octopi is technically incorrect, but has been around so long that most authorities say it s old enough and common enough to be considered an accepted variant. Octopi was created out of a mistaken belief that octopus is Latin and hence the plural of octopus should be octopi. But octopus comes from Greek, and the Greek plural form Octopodes is sometimes used as well. So the choice is yours. So now you know. You never know what you ll find in these newsletters, do you? PHOTOSHOP FRIEND OR FOE? Should you get everything right in the camera or are you allowed to take your photos into Photoshop or Lightroom [or other photo editing programs] for post production? You ll get a wide variety of answers to this, depending on who you ask. I know of some photography teachers who insist that you must get everything right in the camera, and that Photoshop is cheating. There s a good point being made here. All too often lazy photographers will say - or at least think - No need to be too careful. I can fix it up in Photoshop later. Definitely get your image as right as you can in the camera, but. I have yet to see a photo straight out of the camera that couldn t be made better photo in Photoshop. Maybe just a small amount of tweaking, or maybe a major makeover. But Photoshop [or Lightroom, or both] is an indispensable tool for countless photographers, professional and amateur, myself included. As Photoshop has got better and better over the years, it has also become very deep [complicated]. Lightroom was developed partly to address this, but Lightroom has become rather deep too. To make life simpler for photographers, especially amateurs, what camera manufacturers did was essentially put a lot of Photoshop s tools INTO the camera itself, so you could dial in much of what you want before you press the shutter. Shooting a landscape? Most cameras have a Landscape Mode where sharpness, contrast and saturation are all relatively high. The end result looks good. Photographing a person close up? In Portrait Mode, sharpness, contrast and saturation are typically lowered, giving a more pleasing result. Want to play around with the level of sharpening or contrast or saturation etc? In many cameras you can do that too. This is all as long as you re happy to be producing JPEGs. And for many maybe most photographers, the high quality JPEGs delivered by today s cameras are indeed all you need. Many wedding photographers shoot just JPEGs. As a professional photographer, I shoot in RAW, and so I have to take all my photos into Photoshop anyway, but I m happy to do that [apart from the time it takes]. I was reading recently about the making of the Lord of the Rings trilogy. In this book it said that for Peter Jackson there is no post production. Everything is production. The

actors and film crew may long since have all have gone home, but the work continued.

is just part of production. I liked that. That s pretty much how I work.

Well yes and no. It depends. There is a line in the sand.

careful not to cross the line in the sand and to create an untruthful photo.

amazing tools that Photoshop gives me. So where is that line in the sand?

with other photographers, the better a feel you ll get for it. Restraint and subtlety are good.

5 actors and film crew may long since have all have gone home, but the work continued. For Peter Jackson, the digital wizardry, musical score and everything else needed for the final version is just part of production. I liked that. That s pretty much how I work. I m happy to consider anything will help create a great final image. But isn t that cheating? Well yes and no. It depends. There is a line in the sand. For real photos [documentary photos, the kind I would take for New Zealand Geographic], I am very careful not to cross the line in the sand and to create an untruthful photo. But if I m in a playful Photo Impressionism mode, then I happily cross the line and use some of the amazing tools that Photoshop gives me. So where is that line in the sand? It s not easy to be exact about it, but the more you get into your photography, and the more you talk with other photographers, the better a feel you ll get for it. Restraint and subtlety are good. The response you want from someone viewing your photos is something like Wow! Great photo you re definitely a good photographer. What you don t want to hear is Wow! Great photos you re definitely good in Photoshop. 3. FROM LAST WEEKEND S WORKSHOP Alison Shrimpton [left and above]

6 Glenys Eaton [three portraits above] Samuel Boroughs [three photos above and right] Oxana Repina [two photos below]

4. QUOTES OF THE MONTH Some quotes from Michael Nick Nichols, one of the great National Geographic photographers, and now the overall winner of the 2014 Wildlife Photographer of the Year competition.

I knew I could be a voice for things that can t talk I want people to remember the pictures, not my name Photography can change the world - and the world needs change. http://proof.nationalgeographic.

7 4. QUOTES OF THE MONTH Some quotes from Michael Nick Nichols, one of the great National Geographic photographers, and now the overall winner of the 2014 Wildlife Photographer of the Year competition. I became completely obsessed with photography. It s completely giving up everything else. Obsession is the way you get really good stuff. I knew I could be a voice for things that can t talk I want people to remember the pictures, not my name Photography can change the world - and the world needs change SOME GOOD LINKS Amazing! GOOD PHOTOS, GREAT PHOTOS ANYWHERE, ANYTIME One day workshop Saturday 8 th November Will that overseas trip to Africa or Europe or anywhere make you a better photographer? Probably not. You ll take more photos than usual, but will they do the trip [the expense, the time, the effort, the early starts] justice? Those big trips are precious, so you owe it to yourself to bring back the best photos you can. The best approach is to become the best photographer you can BEFORE you leave on your big trip. A new camera or lens may or may not make much difference either, but a collection of new skills definitely will. And that means getting to know your camera better, the principles of photography better, and most important of all developing your vision being able to see photos everywhere. There is no simple secret setting for this but it can be learned. That s what this workshop is about seeing photos wherever you are. Finding photos wherever you are, whatever the light.

Or within walking distance or 30 minutes drive at the most.

only I could go to Paris or Africa or Antarctica.

We explore the idea of seeing photo possibilities, seeing

are. LOTS of techniques, approaches, tips, ideas,

try. Full course fee [which includes workshop, follow-up,

8 This brand new workshop will explore the idea that you can find and take [or create] good photos wherever you are. Right where you are at the moment! Right here, right now will do just fine. Or within walking distance or 30 minutes drive at the most. We will dispel the myth that I would get great photos if only I could go to Paris or Africa or Antarctica. or anywhere interesting. We explore the idea of seeing photo possibilities, seeing and getting good [and sometimes great] photos wherever you are. LOTS of techniques, approaches, tips, ideas, inspiration, lists of get yourself going ideas for you to try. Full course fee [which includes workshop, follow-up, handouts, and Vivienne s yummy catering] only $295 [or $245 Early Bird if booked by 1 st November]. Yes, I ve extended it by a few days. Fulltime students $150.

7. PHOTO IMPRESSIONISM WORKSHOP Saturday 22

00pm plus assignment and follow-up evening 2-3

everyone]. The follow-up can be by email.

already know about Photo Impressionism will

It s liberating in many ways - it lets out your

days and places where nothing much is happening

grey [or even drizzling], there s no interesting

9 7. PHOTO IMPRESSIONISM WORKSHOP Saturday 22 November Saturday 22 November 9.00am 5.00pm plus assignment and follow-up evening 2-3 weeks later for evaluation [at a time that suits everyone]. The follow-up can be by . I m predicting that quite a few of you who don t already know about Photo Impressionism will really like it. It s liberating in many ways - it lets out your inner artist much more than normal photography allows. It s fun. As photographers, you ll know that there are many days and places where nothing much is happening photographically the light is lousy, the day is grey [or even drizzling], there s no interesting subjects around.. The thing I m noticing about Photo Impressionism is that on any such day I can easily create good impressionistic photos pretty much anywhere.

Photo Impressionism is an exciting area of photography, and one probably new to most of you.

This is photography inspired by Monet, van Gogh and the other wonderful painters of that time.

Many are remarkably easy, once you know what to do and get your eye in". You will very likely impress yourself!

Kim takes you step by step through the weird and wonderful abilities of the camera, then how to take your

A challenging and rewarding workshop. Tamara Rendell I was thrilled with my photos thank you.

10 Photo Impressionism is an exciting area of photography, and one probably new to most of you. This is where photography meets art, where photography becomes art. This is photography inspired by Monet, van Gogh and the other wonderful painters of that time. These photos are more about feelings and emotions and ideas and colour and movement than the normal or real photos we re used to. I ve learned and developed many techniques, tips and tricks over the years, and I ll pass these on to you. Many are remarkably easy, once you know what to do and get your eye in". You will very likely impress yourself! You'll almost certainly have fun. Kim takes you step by step through the weird and wonderful abilities of the camera, then how to take your imagination and good judgement to the computer and turn those weird happenings into art. A challenging and rewarding workshop. Tamara Rendell I was thrilled with my photos thank you. It opens a whole new world!! The photo impressionism workshop was wonderful. We went to a bleak, midwinter park and created beautiful, colourful photos. Photos full of fun, imagination and mystery. Please thank Viv for the lovely food. See you again soon. Vicki Ostler Cost: Full course fee [which includes tuition, hand-outs, refreshments, Viv s yummy lunch, and follow-up] $295 - or $245 for Early Birds [if you register before 12 November]. Fulltime students $150

11 8. IN-DEPTH PHOTO EVALUATION EVENINGS These run on the THIRD THURSDAY OF EVERY MONTH except December. What to expect: You bring along some photos, ideally 3-6, that you d like constructively critiqued/evaluated, primarily by me, but also by the others attending. If you bring only 3-4 photos, each photo will be given more time than if you bring a larger number. Some of the photos will be brought into Photoshop or Lightroom to show different cropping, tidying or processing possibilities - how they could be improved in post-production, as well as suggesting new approaches for you to try next time a similar subject is being photographed. Cost. $55 for the evening, which runs from 7.00pm to 10.00pm [leave earlier if you need to we ll do your photos first]. The last IN-DEPTH evening for 2014 will be on Thursday 20 th November Book your place by KIM S PHOTOS & COFFEE EVENINGS These friendly, relaxed get-togethers are primarily for those of you who have been to any of my workshops or are thinking about maybe coming on one. But if there s room [as there usually is] then anyone else is very welcome too. There s no obligation of any kind. We meet on the first Tuesday of each month [every month of the year except January], chat informally about photography, and view some of the recent photos we ve taken. No charge [free]. Supper is served. Please me if you d like to come and please only book up to one month ahead. It s always fun and friendly. The next one is: Tuesday 4 th November 2014 starting 7.00pm 10. PRIVATE TUITION I had a great time a few weeks ago, spending four hours with two keen photographers who had driven a long way to come to the Kiss My Arts public presentation I gave, and then the following day spent the afternoon with me. As usual, the tuition was based on what they asked me to cover as well as what I thought would be of most use to them. We covered so much ground I thought they might pull the plug early [ our heads hurt ] but they hung in there, listening, smiling, absorbing, asking questions, picking up their cameras to try ideas I was showing them, going over the two triangles that many photographers have trouble with [and often simply don t get ] the ISO/aperture/shutter speed triangle plus the triangle of the three things that interact to determine the depth of field. Much else was covered, well, a whole workshop s worth really, packed into four hours. As they left to drive home one of them said That was lovely we ll be back! [I look forward to it ] Topics covered can be anything from photography in general to specific techniques, computer workflow, Lightroom, Photoshop Each photographer determines their own agenda, and so each session is unique. Most tuition so far has been one-on-one, but there s no reason why [if you d like to bring a friend with similar questions] it couldn t be for two people at once [making it much less expensive for each person, of course]. Sessions are typically 2-3 hours. We cover a lot of ground every hour. First 2 hours: $80 per hour, after that $70 per hour.

Newsletter from Kim Westerskov. Newsletter #29 July-August 2014

Newsletter from Kim Westerskov. Newsletter #29 July-August 2014 Please forward this to anyone you think might be interested and, of course, if you d prefer not to receive future newsletters from Kim, please just Reply with Unsubscribe please as the subject. Thanks