Joe Baraban’s Digital Photography Blog

Check out my new workshop on the six concepts in the Psychology of Gestalt: Gestalt Workshop link

What do you do if you know you’ve just taken a great photo…a keeper…an OMG shot???? Do you do react differently when you’re alone verses when you’re shooting with someone else?

I teach an online class with the BPSOP, and I also conduct my “Stretching Your Frame of Mind” workshops around our planet, and I just love it when one of my fellow photographers submits a photo that he or she is very proud of.

Is it a series of fist pumps, hootin’ and a hollering, jumping up and down? An end zone really stupid dance? Maybe you’re the discreet or quiet type of photographer that just whispers “yes’ under his or her breath…or just maybe an ear to ear smile to a small smirk with one raised eyebrow.

Here’s how it often happens to me: After a conversation with yourself in the mirror, you’ve decided to set your alarm clock at an ungodly hour so you can get to a location at sunrise that you’ve always wanted to shoot. You load your equipment in the trunk, and after a quick stop at a convenience for a cup of black coffee, your off. As you’re driving, you’re head is halfway out the window looking up at the slightly brightening sky, hoping and praying to see some color and stars towards the area of the horizon where the sun will be coming up; an hour or two later.

You arrive at your destination and everything so far looks good. You still have a couple of minutes before the start of the Blue Hour. This is a great time to work on silhouettes, and I for one love this time of the morning, especially when there’s a little nip in the air.

Now the sun is coming up and the Blue Hour has turned into the Golden Hour. For the next thirty to forty minutes (depending on the time of year and your location) you’re shooting everything and anything that has this beautiful light falling on it. You see an opportunity to shoot something that has caught your attention out of the corner of your eye. Bracketing to make sure you’ve captured a good exposure, it’s now forever embedded in your mind and more importantly on your card. There’s a sensation that comes over you because you know you got it, and it makes you feel really good.

During the drive back home your mind flirts with visions of all the beautiful and different shots you took, but that one, that keeper keeps coming back and all you can do is just smile.

So next time you’re on  holiday, set the alarm clock the night before with all the best intentions of getting up and going shooting, don’t roll over with the pillow on your head because it’s dark outside and there’s a chill in the air. Get up while the others are sleeping, get dressed grab your equipment and tiptoe out; you just never know when something will make you feel really good.

By the way, if you’re interested in knowing where I first heard this phrase, just click on this link: https://www.youtube.com/watch?v=D8JzwrD5dvk

Visit my website at: www.joebaraban.com, and follow me on Instagram www.instagram.com/barabanjoe. Check out my workshop schedule at the top of this blog. Come shoot with me sometime.

JoeB

Check out my new workshop on the six concepts in the Psychology of Gestalt: Gestalt Workshop link

One of my students submitted this photo after reading my post on “101 things to know about photography“. She’s referring to number 42 that says, “The Rule of Thirds is boring”. Since I meant every letter of every word, we’ll move on to her photo and question which is:

“Hey Joe, I’ve been working on using all the techniques I learned in your class.  I have a photo that I would love your input on.  I thought to submit it after reading your “101 Thing You Need to Know Post”, where you said that the “Rule of Thirds is Boring”.

I took the attached photo of my girls climbing on a fence in a neighborhood school yard.  I wanted to give equal attention to both of the girls split by the fence post.  I instinctively chose to put the girls and the fence in the middle of the frame but I’m questioning whether it works?  Perhaps it is not the positioning but the background activity that bothers me.  Do you have any suggestions for a different approach?

I did brighten it up a touch before I deciding to submit it.

Your instinct was right on in my opinion. I really like how you used the fence to divide the page right down the middle. It makes a statement to be sure, and it’s where I would have placed the fence and kids as well. It feels balanced and I also like how each girl is doing her own thing. I especially like it that you have just one of the kids looking in the camera with that great facial gesturing in the form of a big smile. They are the center of interest, so it’s feels right that they’re in the center of the composition.

As I told you in my online class with the BPSOP, and as I tell my students that take my “Stretching Your Frame of Mind” workshops I conduct around the planet, Line is the most important element of visual design (everything that exists has an outLine), and the implied line between the subject’s eyes and the lens can be very powerful…as it is in your photo.

It feels fresh and real. The viewer would never know if you had the girl look at you or she looked on her own. it’s your secret, and whether it was staged or not doesn’t matter; you were making pictures, not taking them!!! As you know from my class, there’s only one thing that can overcome an overcast, gray day and that’s Humor. It’s a funny photo while being one of those sweet moments in time.

Check out my new workshop on the six concepts in the Psychology of Gestalt: Gestalt Workshop link

FDTate, a past student of mine, recently sent me a question to comment on concerning one of the items to remember on my “101 things to know about photography”. Actually it was number 8 on the list: “Always have a roll of Duct Tape and a can of WD-40 with you.

His question was, “A great list, but I’m confused by #8.  I’ve never been on a shoot and thought, “Boy, this would have gone a whole lot smoother if I’d just brought along some duct tape and WD-40.”  Please explain.”

Before I explain why it’s important to carry Duct Tape and Wd-40, I’ll tell you what I tell my online students with the BPSOP, and in my “Stretching Your Frame of Mind” workshops that will simplify things. I tell them, “If it doesn’t move and should, use the WD-40. If it moves and shouldn’t, use the duct Tape!!!

In the top photo, we were in the Southwest part of the US shooting an annual report for a company that’s mostly in the agricultural business. I saw a large field with irrigation equipment and thought it would make for a great shot the next day at sunrise.

The two men seemingly in charge told me that they hadn’t used this equipment for a season, but it wouldn’t be a problem turning on the sprinkler jets so I could backlight them.

Taking their word for it, we showed up the next morning before sunrise and set up; I wanted to get the very first light. When they turned the main valve, nothing happened. Why was I not surprised to hear that the small valves on the jets were rusted and therefore no water.

I sent my assistant back to the car for my trusty can of WD-40. We sprayed all the nozzles and were able to slightly turn them so water would spray out.

And that’s why I always carry a can of WD-40 with me.

In the bottom photo, I was shooting a series of posters for Prince, a manufacturer of tennis equipment.

Remember that this was before the days when you could fix any problem later in post. We  had spread all the tennis balls all over the court and were ready to shoot when a Santa Anna wind came up and blew all the tennis balls off the court.

The wind was too strong to keep the balls in place, so what did I do? I had my crew, the model, and a few people that were standing around secure each one of the balls to the ground with Duct Tape. so, every ball you see has a piece of tape under it.

A true story and the reason why you should have a roll of Duct Tape with you…because  you just never know!!!

Visit my website at: www.joebaraban.com, and follow me on Instagram: www.instagram.com/barabanjoe. Check out my workshop schedule at the top of this blog. Come shoot with me sometime. Don’t forget to bring some WD-40 and Duct Tape with you.

JoeB

Andrew, an online student with the BPSOP,  sent me this photo with the following question. I always like to share exactly what the photographer had to say since so many of you have either asked themselves the same question or have had similar situations. Here’s what Andrew had to say:

” Dear Joe,

Sometimes I shoot the sky from my window. On the attached pictures you can the the original image with houses. Of course the houses are out of interest? so I decided to darken them. I wanted the photo looked like counter light with a “normal” sky.
When I show my photos to my friends? they say “You have a great sky but I see nothing”.  Maybe they do not understand the art 🙂  or am I doing something wrong?  Can you advise me on anything?

Thanks in advance

Regards,
Andrew”

Andrew, take a look at this post on “giving meaning to photos”: http://joebaraban.com/blog/giving-meaning-to-photographs/. I always share it with my online class with the BPSOP, and in my “Stretching Your Frame of Mind” workshops I conduct around the planet. It will help explain why your friends said what the said. Be sure to read the part where it says that a beautiful sunset to you is just another sunset to someone else.

Before I finally click the shutter, I ask myself if the picture I’m about to make will stand the test of time. If in a year, two, three or even four, will my image still be worth keeping? Is there enough “layers of interest” to keep the viewer around longer than six seconds? Is there enough visual interest?

So Andrew, ask yourself, in you photo, besides the sky, is there enough visual interest to keep the viewer around? Will your photo stand the test of time?

Visit my website at:www.joebaraban.com, and follow me on Instagram: www.instagram.com/barabanjoe. Check out my workshop schedule at the top of this blog.come shoot with me.

JoeB

Check out my new workshop on the six concepts in the Psychology of Gestalt: Gestalt Workshop link

As I tell my online students with the BPSOP, and in my “Stretching Your Frame of Mind” workshops I conduct around our planet, light is everything and I’m constantly thinking about it.

That said, I’ve been a professional traveler for almost fifty years, and my job has been to take pictures in the best possible light. That’s what I do, and that’s what I think about all the time…especially when I first research then check into a hotel.

The first thing I think about is the view I’m going to get every time I look out the window. I can tell you from experience that some of your best photos can be taken with your pajamas still on…or even if you sleep in “the all together, in the buff, or in the raw” as some call it.

Here’s what I suggest to my fellow photographers that are traveling on business, pleasure, with a group, or just by themselves:

When checking in ask what direction the rooms face. If you’re an early riser by nature, ask for a room that faces East. If you’re not then ask for a room that faces to the West. A suggestion here would be to take an East facing room over one that faces North or South. That way you’ll at last have a choice as to getting up early or not.

Another factor for me when I have a choice in picking a hotel is the number of floors it has. If you’re only interested in seeing the entire city and taking an overall panoramic, then ask for a room close to the top. If you’re interested in seeing more of a close-up, than ask for something closer to the ground floor.

The absolute best advice I can give you is to ask to see the room first. That way even if you get an East or West facing room, you won’t be disappointed when you pull back the curtains only to see the hotel’s roof top parking lot and/or the air-conditioning units.

Depending on the time of year, a North facing window would be my third choice after East and West. The light will be coming in from the side, which can be a great way to show the textures and the three-dimensional qualities of the city.

I can’t suggest strongly enough to set your clock to at last take a look out the window, you can always go back to sleep if nothing interesting happens. If it does and you get something great, going back to sleep is easy even if you’re only wearing a smile.

🙂

Visit my website at: www.joebaraban.com, and follow me on Instagram: www.instagram.com/barabanjoe. Check out my workshop schedule at the top of this blog. Come shoot with me sometime.

JoeB

Check out my new workshop on the six concepts in the Psychology of Gestalt: Gestalt Workshop link

It was during my Prague workshop when one morning before the sun came up, a woman came up to me to show me her new $60,000 Leica System.

She said, “Now I’m ready to take some great pictures”.  For some reason she thought that because she had the top of the line, most expensive 35mm DSLR camera she would be able to take some ‘wall hangers’.

Even if that were true, it would have been a good idea to learn how the camera works well before the start of the workshop instead before sunrise at one of the locations. I knew it was going to be a problem when she asked me what to do…but we’ll save that for another post!!

But it’s not true. I say we should judge the photographers by their pictures, not their camera equipment.  What I tell my online students with the BPSOP, and the ones that take one of my workshops, It’s not the camera, it’s the ten inches behind it that matters.

When I’m walking around with some of my workshop participants, I have a Canon 5D Mark III with a 17-40mm lens on it over my shoulder, and a small Lumix DMC-LX7 with a 24-90mm zoom around my neck. This gives me a range 0f 17-90mm which covers everything I need.

If you were to look at my website at: www.joebaraban.com, you wouldn’t know what photo was taken with what camera.

I keep thinking about spending a lot of money on a new Canon mirrorless EOS R5 with some lens…around $10,000. I also think about taking that money and using it on a fabulous trip for two somewhere and use my old cameras. I’m pretty sure that the images I take will still turn out pretty good!!!

Follow me on Instagram: www.instagram.com/barabanjoe. Check out any new workshops at the top of this blog. Come shoot with me sometime, and bring your old camera, it will be ok!!!

BTW, the reason you might not see the new workshops posted is that they fill faster than I can post them…but please keep trying!!

JoeB

Check out my new workshop on the six concepts in the Psychology of Gestalt: Gestalt Workshop link

I’m always after visual interest while at the same time generating visual tension. It’s not something I live or die for, it’s just something that’s always in the back of my mind. As I tell my online class with the BPSOP, and in my “Stretching Your Frame of Mind” workshops I conduct around our planet, one of the ways to create visual tension is the use of light.

I go on to say that whenever I see anything that’s translucent I always try to backlight it. This especially holds true for me when it comes to photographing flowers. I just love to see them glow, and the only way to do that is to have the sun behind them. Actually, if you read my post on “The Clock”, the sun would be somewhere between eleven and one to make it pure backlit.

In the two photos shown above, and if you remember my clock, the light on the sunflower on the left is coming from behind me at 6 O’clock. This is front light and although it’s still fairly nice (only because it’s about a minute after sunrise), to me it doesn’t have the visual tension as the sunflower on the right does.; where the light is coming from 12 O’clock. FYI, both sunflowers were taken a few seconds apart and are next to each other in a field.

So, the next time you’re out and about shooting, before you bring your camera (hopefully secured on a tripod) up to your eye, consider the clock. No matter where you are and what the subject might be, think about where the sun is in relation to your subject first and foremost, and I’ll guarantee you that your photos will jump up to what I always refer to as “up a notch”.

Visit my website at www.joebaraban.com, and follow me on Instagram: www.instagram.com/barabanjoe. Check out my upcoming workshops at the top of this blog. Come shoot with me sometime. country.

JoeB

Check out my new workshop on the six concepts in the Psychology of Gestalt: Gestalt Workshop link

Pierre, a student living close to Chambery, France sent me this photo to comment on. Here’s what he said:

“Hello Joe,
I was looking for professional advices about my photowork, so it is a great chance I discover your blog !
I was a music teacher and I’m trying to change my profession.
I live near Chambery, in the French Alps. This photo I took yesterday is from the house in front of mine.
I was looking to convey the idea of a bright natural wonder.
What do you think about this one ? Is it a worthy work of a professional ? Does it do it ? !!!

Lot of thanks,

Pierre Laily”

Ok, let’s take a look:

First of all, I went to your Flickr page and noticed that you have this effect in several other photos on your site. If I might suggest, you should only show one image that has this bright ring. When you show as many as you have, the fact that it may not be real, and achieved through some software effect really shows up.

Personally, I’m not a big fan of manipulating photos with any kind of effect. In your photo, it doesn’t feel like it’s the real thing. If I’m wrong, please let me know. It’s just that in my fifty-three year career, I’ve never seen this kind of phenomenon happening in nature in so many different photos as you have. Perhaps it’s because I usually don’t shoot when the sun is this high in the sky. So I suppose anything is possible when you’re dealing with nature, especially at the altitude you’re at.

If I can give some advice to a newcomer that I give both in my online classes with the BPSOP and also in my “Stretching Your Frame of Mind workshops, strive to create photos that are created “in the camera”. Learn to use the elements of visual design and composition to make your photos stronger. In the long run, it’s going to make you a much better photographer.

By the way Pierre, I like the shot you have of the ring around the single flower. It has a stronger center of interest. In this photo you submitted, once the viewer sees the ring, there’s not much else for him to look at; the ring isn’t enough. This photo looks like it could have been taken in several states in the US. If I lived where you live, I’d be making sure that the viewer knew it. It’s just toooooo beautiful a country not to!!!

Visit my website at: www.joebaraban.com, and follow me on Instagram: www.instagram.com/barabanjoe. Check out my workshop schedule and come shoot with me sometime.

 

 

 

 

 

 

 

 

Check out my new workshop on the six concepts in the Psychology of Gestalt: Gestalt Workshop link

Back in the old days, besides being a print photographer for advertising, editorial, and corporate clients, I was also a director/cameraman and worked on TV commercials.

The first set-up was referred to as the Master Shot. It was like an establishing shot where all the other set-ups from the storyboards were derived from. For me, it was the set-up that triggered my imagination to segue into another POV…and different lighting scenarios if needed.

Well I’ve brought that idea to my online class with the BPSOP where I’ve given as one of the four week assignments. I also talk about it to my “Stretching Your Frame of Mind” workshops I conduct around our planet.

This a great exercise because so many of my fellow photographers walk up to a subject at a particular location, bring up the camera to their eye, take a picture, them move on usually leaving a lot unseen on the table.

So, the next time you go out shooting, take a “Master Shot”. This is the first composition you set up before you start looking for other ideas. It’s the first thing you see and shoot before you start “seeing past your first impressions”. It sort of loosens up your thought process. It’s just like stretching before you jog or hitting a bucket of golf balls before you start playing, or taking a few swings in the batter’s cage before your game begins.

Then take two or more photos of the same location/subject. These two shots should come to you while you’re taking the first shot…and looking for ways to segue this first photo into a better way to look at it…at the same time. What I don’t mean is to stay in the same position and just zoom in or out in the same composition.

For example:

Up close and personal or back up
Change lens
Up high then down low
Different light
Change a prop
Put in a person, or take one out
Etc.

If you’re diligent about creating a “Master Shot” like I’ve been doing for the past forty-eight years, I can tell you that the results will be immediately seen and your work will move up at least one notch…if not several.

In the photos I’ve featured as examples I show to my classes, the top photo was the “Master Shot”, and the others were different ways of looking at the same subject.

Visit my website at: www.joebaraban.com, and follow me on Instagram: www.instagram.com/barabanjoe. Check out my workshop schedule at the top of this blog. Come shoot with me some time

JoeB

Check out my new workshop on the six concepts in the Psychology of Gestalt: Gestalt Workshop link

I was very lucky to have studied art all the years I was being educated, from high school all the way through college. During those years I took just about every art class you can think up: drawing I, II, III, painting I,II,III, composition I, II, and III, watercolor, figure-drawing, pastels, printmaking, Art History, and some I can’t even remember.

I studied all the elements of visual design and composition, and not knowingly, applied them the moment I picked up a camera and looked through the viewfinder. I had found my medium because it was instant gratification. No longer did I have to worry about meeting some deadline and having to stay up all night (sometimes for more than one night) finishing a drawing or painting. I could do it all in a blink of the ‘eye’….so to speak!

In my online class with the BPSOP, and in my “Stretching Your Frame of Mind” workshop I conduct around our planet, I show my fellow photographers how to incorporate the elements of visual design into their imagery. I give each of them what I call my Artist Palette, and by the end of the class or workshop, that palette is filled with all the elements, including elements of good composition as well.

I talk a lot about right and left brain thinking. The left brain is the analytical side while the right side is the creative side. For example, if you were to look close up at a fence around a little league baseball infield, the left side would see a fence around a little league baseball infield. If you were to look at that same fence with the right side of your brain, you would see Pattern, Shape (actually diamonds), and Line; three of the basic elements of visual design.

In the photo shown above, the left side of the brain sees a group of commercial greenhouses. Since I always look at things with the right side of my brain, when I looked at the buildings I saw Pattern, Texture, Line, Shape, and Form; all basic elements of visual design.

So my fellow photographers, the next time you strap on a camera and go out shooting, click off the left side of your brain and click on the right. You’ll be surprised at what you’ll start seeing.

Visit my website at: www.joebaraban, and follow me on Instagram: www.instagram.com/barabanjoe. Be sure to check on my workshop schedule. Come shoot with me sometime. It will be a whole new ballgame.

JoeB

Check out my new workshop on the six concepts in the Psychology of Gestalt: Gestalt Workshop link

Charity sent me this photo to talk about. Here’s what she said:

“My question: How can I make this photo more gripping? This is a photo I want viewers to linger over – I want them to stop and think ‘Why has the girl with the phone stopped on this busy street? Why is the girl on the left annoyed? Why is the girl in the mid-ground with the badge on her hat so happy?’. No one I’ve showed my album to has lingered over this photo, only my landscapes seem to catch their attention.”

Charity,

First of all street shooting may seem easy to some, but in my opinion it’s not. I’ve certainly done my share over the years. If you want to experience real life street shooting imagine being chased down the street during the race riots while you were loading your Nikon F motor drive. That was my first opportunity to do some street shooting. That was around 1970 and I was shooting for United Press International. By the way, I was getting paid ten dollars a picture “if they transmit”. What that meant was that they had to like it for me to get paid.

Ok, let’s talk about your photo:

As I always tell my online students with the BPSOP, and the students that take my “Stretching Your Frame of Mind” workshops I conduct around the planet, you won’t always be around to explain your thought process to the viewer. It’s going to have to stand on its own and be what I refer to as a “Quick Read”.

In your photo, you may have felt the minimal vibrations given off by the people in the crowd, but the viewer won’t…why?

Our culture (the one currently subsiding in the US), has been bombarded with a lot of dumb reality shows and a whole lot of violence. We’re use to it, and to a lot of the population look forward to more and more and more. We get off to seeing people get angry on the TV. Angry or sick enough to kill a lot of people in just one hour. Actually, if you take away the commercials (which by the way are also getting violent) there’s a lot less than one hour.

So, you ask me how do you get people to “linger longer”? There will have to be a lot more going on in this photo than the subtleties you’re stating. The first thing you’ve said is, “Why has the girl with the phone stopped on a busy street?” The problem with this is that you’ve stopped all the action in your frame so it really doesn’t look like she has stopped. Btw, it looks like she’s blowing a bubble that just popped.

You asked, “why is the girl on the left annoyed?” Truth be told, she doesn’t look annoyed to me. If you want people to come off looking annoyed, then make sure the viewer can see that and not let it be something you think may be happening.

You asked, “Why is the girl in the mid-ground with the badge on her hat look so happy?” She’s sooooo out of focus, and surrounded by lots of other out of focused faces that I would be very surprised if the viewer would pick up on that.

   Here’s one of my photos I shot on Mardi Gras day in New Orleans. What feeling do you get when looking at it? Do I need to be with you to explain it?

Here’s what I strongly suggest you do: Study the great street photographers like Bruce Davidson for one, and of course the most famous of them all is Henri Cartier-Bresson. If street photography is a new passion for you, then studying the masters  should definitely be required reading.

Visit my website at: www.joebaraban.com, and follow me on Instagram: www.instagram.com/barabanjoe. Check out my workshop schedule at the top of this blog. Come shoot with me sometime.

JoeB

The six concepts in the psychology of Gestalt

The definition of psychology is the scientific study of the human mind and its functions.

Keep that in the back of your mind (on the right side, the creative side) when reading this description of the six principals of Gestalt workshop coming your way starting with the meet and greet Thursday, May 30th, 2024. The workshop to be held in Tyngsboro, MA.

First, let me give you some background information:

In the 1920’s a group of German psychologists, following the lead of their founder Max Wertheimer, developed a group of theories of visual perception they referred to as The Gestalt Principles. These principles made an attempt to describe how people perceive and process visual information when certain concepts are applied.

The origin of the word Gestalt is German/Austrian, and it simply means Shape, Form, or the Whole. It is often stated in this theory that, “The whole is greater than the sum of its parts.” It is this perception that has had the most controversy since the very beginning.

Some experts in the field say that each of the individual parts has meaning on their own. In other words, the whole is not necessarily made up of the sum of its parts, but different than the sum of its parts.

In my opinion, when we use these six Principles in our photography, we’re working with and structuring these parts (pieces of the finished puzzle) if you will) that will eventually make up the whole as in a completed photograph. These parts or elements are the elements of visual design. The elements we work on in my other classes.

The methods we use to gain attention to our photography will vary, but what’s important is how we manage what the viewer perceives and processes when looking at the visual information we lay out to him in the form of a photograph.

Humans rely on perception of the environment that surrounds us. Visual input is a part of our everyday life, and as photographers it’s our prime objective to present this visual information in a way that takes control of what the viewer sees when looking at our imagery.

The more ways we can have the viewer move around our composition, while at the same time leaving and entering it, through the use of these concepts, the longer they will stick around. The more things we can get the viewer to discover while moving around the frame will also keep them around longer. Isn’t that what we want?

To be sure, the whole is important, but the parts that make it up are equally important. These concepts are visual rules (I hate rules) and I agree that once the parts are placed and the composition is framed, the whole does exceed the sum of its parts.

Here are the six principles that we’ll cover through assignments over the course: Closure, Figure-Ground, Continuance, The Law of Common Fate, Similarity, and Proximity.

There are a lot of questions out there as to the number of concepts, but the important thing to remember is that these six principles will take our photos to new levels. To me, it’s so important to consider these concepts in our photography. However, I’m not suggesting that the only approach to taking memorable photos is a scientific or even a numerical one. What I’m suggesting is that great images can come when these concepts work in harmony with your photography.

One last thought is that when you look around, Gestalt is everywhere. It exists in our reality, and always has. It’s just that you may not have known the name. What’s important to know is that some of you have been using these principles since the time you were crawling around the floor looking for your pacifier.

For example, the age-old adage of whether the glass is half full or half empty falls under the concept called Figure Ground.

This means is that when you show this representation, the half empty, and the half full images each carry the equal weight which creates tension…each threatens to overtake the other. It’s optimism verses pessimism.

I’ll be working with Nick DePasquale, an excellent photographer https://nickdepasqualephotography.com/ who you probably know, will take care of all the logistics and will be available to help with any questions that relate to Lightroom and Photoshop of which he is an expert…it being above my pay grade!!

BTW, Nick teaches a class in both lightroom and Photoshop.

Once we have signed up the participants, I will send out links to all six concepts, with examples for you to study. Two weeks before the Meet and Greet, we’ll have a zoom session where we’ll talk about the six concepts, show examples, and answer questions.

At that point I’ll give you the first two concepts to work on and we’ll critique those (six images) the night of the meet and greet over pizza, wine, and beer.

Nick and I will be scouting ahead of time to determine the best places for the group to go to…at the best times. I’ll also pass out the schedule and final locations for the following days.

May 15^th: Zoom session to review material show examples and give first assignment.

Meet and Greet: May 30^th: @ 6PM Critique of six images with wine, pizza, and beer.

Friday, May 31^st: We’ll be spending the day in Boston including sunset and the Blue Hour and will not be spending our time around the Fan Pier area.

Saturday, June 1^st: We’ll have an extended critique in the morning and will spend the afternoon through sunset and Blue Hour at a place TBD.

Sunday, June 2^nd: We’ll shoot in the morning, and the workshop will end at three.

Wednesday June 12^th: Zoom session final critique.

The price of the workshop is $750.00…which will include three days of shooting, two Zoom classes, the meet and greet dinner and critique.

All the photographers who want to bring someone to the locations are welcome to, except for the critiques and meet and greet.

If interested, contact me at: joe@joebaraban.com

For those that have taken one or more of my workshops, you know that I run a professional in-depth learning experience. For those of you that haven’t, you can view my work at  www.joebaraban.com and read just a few of my testimonials from some of my full eight-day workshops:

Alain

I recently completed my third workshop with Joe Baraban, and all I can say is that I will be coming back for more. All aspects of the workshop were fantastic. Joe’s approach to teaching, the shooting locations, the daily reviews, the accommodations, the planning and organization, and the communications were all at the highest level.

From the “meet and greet” reception the first night, to the final dinner, Joe paid strict attention to every detail to make sure we were well taken care of…all the time. Joe’s selection of locations is always diverse and challenging and present many, many opportunities for great shots and learning.

The daily reviews are a wonderful educational experience as you discuss your own work as well as the work of the other photographers. Joe teaches how to “make pictures”, not just take them. The quality and creativity in my images continue to ratchet up a notch with every workshop as I continue to learn from Joe.

I highly recommend Joe’s workshops and online classes.

 John B

I wanted to learn more about Joe’s approach to visual design and making great photos after taking one of his online courses.  As a former painter, I really relate to his focus on visual design elements as his artist’s palate and it all came to life in this workshop.

He is an excellent teacher, and it was wonderful to experience this with a group of very talented photographers who supported each other and did some great work.  The format of learning the design principles and discussing them in relation to Joe’s images and the work from the class was a great way to learn – I look forward to future workshops.

Mary

They are absolutely second to none in that every detail is thoroughly covered and no costs are spared.  Favorable locations are researched and scouted well in advance.  Top notch accommodations and transportation are pre-arranged.  Morning class and critiques are thought provoking, inspiring, and collaborative.

There is ample opportunity to share ideas, ask questions and discuss techniques. Students can learn not only from their own image critiques but also from their fellow photographers. Joe really wants to see his students grow.

This is quite evident in the dedication that he generously provides to each student.  It must not go without mentioning that Joe has a following and it’s always wonderful to see everyone again from around the globe.  We always have a great (and challenging) workshop together and inevitably walk away with lots of good images, tips, tricks … and of course stories. 🙂

I hope this has sparked an interest as this is the first time I have done an actual workshop just on the six concepts in Gestalt. It will offer those of you a great learning experience, promising to take your level of photographic awareness up a level…if not two or three, four, etc., etc.

This class will be limited to ten photographers. Your spouses, partners, or significant others, etc. are welcome to come to all the locations.

If you’re interested, I suggest you sign up sooner rather than later because as I said, there’s just nine spots opened now, as a woman I’m mentoring has already taken a spot.

Joe

 

 

 

 

 

 

 

 

 

Janet from Ohio sent in her photo of a woman fishing (I’m guessing fishing for Catfish) and as usual I like to have everyone read what she had to say. The reason is that so many of my fellow photographers have had similar situations, and have asked themselves the same thing. Here’s what Janet had to say:

“Hi Joe,

I was out shooting last night and getting ready to go home when I saw this woman with an orange/red jacket.  She was  fishing even though it looks more like she’s deep in thought.  I thought the color of her jacket and the bucket would be a nice echo of the sunset.  Even though I like the last sentence, I actually just  thought the color would look great in a photo.

I am proud to report that I walked up to her and asked if she would mind if I took her picture.  My first try was sad.  The middle of the bridge was coming out of her head!  So I tried again.  As I looked through the view finder, I did make sure that everything in the picture was what I wanted in the picture.

I like almost everything about this photo.  I like the negative space around the bridge, the colors – sunset, jacket etc., the reflection of the bridge and the lights from the other side.  The one thing I don’t like is the white thing that looks like a bucket in the foreground.  Actually it’s part of the dock and isn’t movable. I did little post processing.  I lowered the highlights a little to increase the color in the sky.

So, what could I have done better?”

Janet (from Holland, Ohio)

The firs thing I want to commend you on is the fact that you approached her and asked to take her picture. In my online class with the BPSOP, and also in my “Stretching Your Frame of Mind” workshops, I’ve had so many photographers tell me that they have a hard time asking people to do something for them. It can be something as simple as asking them to move over a little to help the composition, or to ask to take their picture.

I call it “getting over the hump”, and after you do it once, it becomes easier and easier. Not only will you get a yes most of the time, but you’ll walk away smiling after making a new friend that’s also smiling. Btw, always offer to email them your photo.

FYI, she’s both deep in thought and fishing. Since fishing is one of my loves, I can tell you that it’s is a form of meditation…any silent thought is a way to meditate. I can assure you that her reverie will end in an instant the moment she feels the pull on her line!

That said, if you wanted to show her fishing, then you have to ‘show her fishing’. You know she was, but you’re not going to be around to tell the viewer what she’s doing. Show the fishing rod!!! One way to see that is to use my fifteen point protection plan: http://joebaraban.com/blog/dont-forget-to-take-your-fifteen-point-protection-plan/

Your image is underexposed. If you want to learn exposure and when to underexposed and when to overexpose, bracket. Put your bracketed photos on your monitor and look at them. Compare the different exposures then decide on the best one…the one that shows your image in the ‘best light’. Above all, don’t fix it in Lightroom or Photoshop. That won’t make you a stronger photographer!!

Visit my website at: www.joebaraban.com, and follow me on Instagram: www.instagram.com/barabanjoe. Check out my workshop schedule at the top of this blog. Come shoot with me sometime.

JoeB