After much searching I have shaved my interests in my chosen niche down to: Editorial Photography and Macro Photography. The difficulty I found in narrowing my niche down was something many photographers often struggled with. Just like many other photographers I enjoyed shooting a wide range of subjects and objects. To simplify would be difficult, but something that would eventually have to be done. It is common for photographers to earn a living in more than one market. I chose Editorial Photography and Macro Photography as the current niches I will toggle between.
Photojournalism
You may be asking yourself (because I did): how does this niche differ from photojournalism?
The niche's, similar in function, with some even considering editorial photography as a subtype of Photojournalism. Both deliver a story through a visual medium. While photojournalism and editorial photography both potentially evoke emotion among its audience, editorial photography most always strives to do this.
Editorial photography offers a diverse selection of opportunities for photographers to get their work seen and published. Many businesses' utilize photographs through a stock organization, which the internet makes this easy to do.
Macro Photography
Macro photography, sometimes referred to as micro photography, is a type of close-up shot of something. The technical skills to obtain an image that is the same small size as the object/subject requires time and patience. The end result is a magnificent, precise, and accurately focused closeup shot.
Wednesday, July 7, 2010
The Layers of Researching
The older I get I seem to love researching on random information. I imagine their are many reasons for this, but the most distinctive one is that it foster's self learning. Each time anything grabs your attention it is a healthy implication that your interests surpass the scope of your everyday routine. It reflects self-autonomy and a desire to discover and reveal self actualization.
Although I admit the last module on researching was not the easiest assignment for me. For some reason I had the worst case of writer's block. I eventually was able to find the words I wanted to voice, at least in a first draft kind of way. Little by little I found myself peeling away the layers of myself and the preferences I have developed up to this point. The assignment forced me to open that door and to take the first step inside to an otherwise untraveled terrain of myself.
I learned a little about history, art, and the many niches that fall under the genre of photography. Abraham Maslow defines self-actiualization in, A Theory of Human Motivation, to be
Researching not only fulfills a curiosity for something, it also permits for self-growth. Through researching I scaled my chosen niche down to Editorial Photography. Even though I am declaring this to be my niche now, I recognize the likelihood it will evolve or it will change completely. Only time will tell as I continue on with my journey.
Although I admit the last module on researching was not the easiest assignment for me. For some reason I had the worst case of writer's block. I eventually was able to find the words I wanted to voice, at least in a first draft kind of way. Little by little I found myself peeling away the layers of myself and the preferences I have developed up to this point. The assignment forced me to open that door and to take the first step inside to an otherwise untraveled terrain of myself.
I learned a little about history, art, and the many niches that fall under the genre of photography. Abraham Maslow defines self-actiualization in, A Theory of Human Motivation, to be
"the desire for self-fulfillment, namely the tendency for him [the individual] to become actualized in what he is potentially. This tendency might be phrased as the desire to become more and more what one is, to become everything that one is capable of becoming."
Researching not only fulfills a curiosity for something, it also permits for self-growth. Through researching I scaled my chosen niche down to Editorial Photography. Even though I am declaring this to be my niche now, I recognize the likelihood it will evolve or it will change completely. Only time will tell as I continue on with my journey.
Tuesday, July 6, 2010
Today's Modern Painter
Unique experiences and technological advances promote opportunities for more creative expressions, as well as accommodates to modern day standards. The experiences that shape our world as we know and perceive it is kept alive through images brought to us by both photographs and paintings. Photography, a mode to visually communicate is the creative process of capturing a moment in time with a recordable device, such as a camera. Lighting and exposure are key factors in producing a descent photograph. Painting is another type of visual communication used throughout history. Although recognized as separate disciplines, photography and painting combined bring a new kind of mode for expression. Over the years, the two mediums have been the cause for controversy, raising the question to whether photography should be considered an art form. Photography and painting should not be viewed as counterparts to each other, but rather a synergistic model that reflects our everyday evolving world.
Photography As An Art Form
Today, a photographer has a plethora of creative tools to work from than in previous years. The first documented attempt to freeze an image in time was about 330 BC when Aristotle questioned why the sun could make a circular image when it shined through a square hole. At the time Alhazen had invented the pinhole camera or camera obscura, which functioned as a mode to view things and assist artist in drawing. It wasn't until 1827 that the camera obscura was used as a way to produce photographs, which at that time photographs were referred to as either heliographs or sun prints. This event signified the beginning of an optical revolution.
Since this time the camera has evolved in its ability to produce astounding photographs. The idea of using both photography and paintings to create a more realistic expression is a practice that's been in place since the invention of the camera. Photographs often helped the painter to create a more accurate depth of field. And then their were some artists who felt that,
Today, photographs are utilized with paintings much differently. It is common to see art
The ease of obtaining the creative work of another person should not be abused. It is a right and a privilege to share our ideas with one another. Enriching images help us to understand the societal changes as they occur. Applying photography with painting is just another way tell a story from a visual perspective. The modern painter is keen to recognize and utilize resources when necessary in order to effectively communicate ideas. Creative ideas are the result of our experiences combined with the ideas from previous thinkers, but is unique because it comes from our own perspective.
References:
-About.com Guide, Bellis, M., (2010) History of Photography
Pinhole Cameras to The Daguerreotype
http://inventors.about.com/od/pstartinventions/a/stilphotography.htm
-Ask.com (2010), Painting and Photography
http://www.answers.com/topic/painting-and-photography
-Columbia College, Museum of Contemporary Photography (April 2005),Painting on Photography : Photography on Painting, Chicago.
http://www.mocp.org/uploads/PaintingPhotographyPR.pdf
-Kleiner, F.S., (2009) Gardner's Art Through the Ages: The Western Perspective Wadsworth Publishing, Boston.
-Phaidon (1994) The Art Book, Phaidon Press, NY.
-Wells, L., (1996) Photography: a critical introduction, Routledge, NY.
Photography As An Art Form
Today, a photographer has a plethora of creative tools to work from than in previous years. The first documented attempt to freeze an image in time was about 330 BC when Aristotle questioned why the sun could make a circular image when it shined through a square hole. At the time Alhazen had invented the pinhole camera or camera obscura, which functioned as a mode to view things and assist artist in drawing. It wasn't until 1827 that the camera obscura was used as a way to produce photographs, which at that time photographs were referred to as either heliographs or sun prints. This event signified the beginning of an optical revolution.
Since this time the camera has evolved in its ability to produce astounding photographs. The idea of using both photography and paintings to create a more realistic expression is a practice that's been in place since the invention of the camera. Photographs often helped the painter to create a more accurate depth of field. And then their were some artists who felt that,
"Photography has greatly disturbed the imagination, because one has seen things devoid of feeling. When I wanted to get rid of all influences which prevented me from seeing nature from my own personal view, I copied photographs(Quote by French artist Henri Mattise, 1933)."
Today, photographs are utilized with paintings much differently. It is common to see art
"mimic paintings, some paint pictures based on recognizable photographic source material, and some violate photographs by painting or drawing on their surface (Columbia College, 2005)."Modern technology makes it possible to capture a more accurate image. For example software tools like Photoshop make it easy to take a photograph and upload it and use it as a template to paint over. It is important to note, images taken by another person other than yourself need to be properly credit for.
The ease of obtaining the creative work of another person should not be abused. It is a right and a privilege to share our ideas with one another. Enriching images help us to understand the societal changes as they occur. Applying photography with painting is just another way tell a story from a visual perspective. The modern painter is keen to recognize and utilize resources when necessary in order to effectively communicate ideas. Creative ideas are the result of our experiences combined with the ideas from previous thinkers, but is unique because it comes from our own perspective.
References:
-About.com Guide, Bellis, M., (2010) History of Photography
Pinhole Cameras to The Daguerreotype
http://inventors.about.com/od/pstartinventions/a/stilphotography.htm
-Ask.com (2010), Painting and Photography
http://www.answers.com/topic/painting-and-photography
-Columbia College, Museum of Contemporary Photography (April 2005),Painting on Photography : Photography on Painting, Chicago.
http://www.mocp.org/uploads/PaintingPhotographyPR.pdf
-Kleiner, F.S., (2009) Gardner's Art Through the Ages: The Western Perspective Wadsworth Publishing, Boston.
-Phaidon (1994) The Art Book, Phaidon Press, NY.
-Wells, L., (1996) Photography: a critical introduction, Routledge, NY.
Sunday, June 27, 2010
A Good Conscious Point
The Station
Tucked away in our subconscious is an idyllic vision.
We see ourselves on a long trip that spans the continent. We are traveling by train. Out the windows we drink in the passing scene of cars on nearby highways, on children waving at a crossing, of cattle grazing on a distant hillside, of smoke pouring from a power plant, of row upon row of corn and wheat, of flatlands and valleys, of mountains and rolling hillsides, of city skylines and village halls.
But uppermost in our minds is the final destination. On a certain day at a certain hour, we will pull into the station. Bands will be playing and flags will be waving.
Once we get there, so many wonderful dreams will come true, and the pieces of our lives will fit together like a jigsaw puzzle. How restlessly we pace the aisles, damning the minutes for loitering—waiting, waiting, waiting for the station.
“When we reach the station that will be it!” we cry. “When I’m 18!” “When I buy a new 450 SL Mercedes Benz!” “When I put the last kid through college!” “When I have paid off the mortgage!”
Sooner or later we must realize there is no station, no one place to arrive at once and for all. The true joy of life is the trip. The station is only a dream.
It isn’t the burdens of today that drive men mad. It is the regrets over yesterday and the fear of tomorrow. Regret and fear are twin thieves who rob us of today.
So stop pacing the aisles and counting the miles. Instead, climb more mountains, eat more ice cream, go barefoot more often, swim more rivers, watch more sunsets, laugh more, and cry less.
Life must be lived as we go along.
The station comes soon enough.
--Robert J. Hastings
Tucked away in our subconscious is an idyllic vision.
We see ourselves on a long trip that spans the continent. We are traveling by train. Out the windows we drink in the passing scene of cars on nearby highways, on children waving at a crossing, of cattle grazing on a distant hillside, of smoke pouring from a power plant, of row upon row of corn and wheat, of flatlands and valleys, of mountains and rolling hillsides, of city skylines and village halls.
But uppermost in our minds is the final destination. On a certain day at a certain hour, we will pull into the station. Bands will be playing and flags will be waving.
Once we get there, so many wonderful dreams will come true, and the pieces of our lives will fit together like a jigsaw puzzle. How restlessly we pace the aisles, damning the minutes for loitering—waiting, waiting, waiting for the station.
“When we reach the station that will be it!” we cry. “When I’m 18!” “When I buy a new 450 SL Mercedes Benz!” “When I put the last kid through college!” “When I have paid off the mortgage!”
Sooner or later we must realize there is no station, no one place to arrive at once and for all. The true joy of life is the trip. The station is only a dream.
It isn’t the burdens of today that drive men mad. It is the regrets over yesterday and the fear of tomorrow. Regret and fear are twin thieves who rob us of today.
So stop pacing the aisles and counting the miles. Instead, climb more mountains, eat more ice cream, go barefoot more often, swim more rivers, watch more sunsets, laugh more, and cry less.
Life must be lived as we go along.
The station comes soon enough.
--Robert J. Hastings
Using Logic in Writing
One of the inevitable facts of life is we eventually grow out of childhood and into adulthood--some earlier than others. More often than not innocence and curiosity, which invoke passion and interest, are left behind. Instead, our focus becomes more narrow with each passing year as we continue to search for the pinnacle moment when all our questions are answered.
We ascribe to a life of "algorithms", based on logic and reason. I for one am glad we have not yet found the missing piece to the Logic Puzzle. For now I can at least rest assure "we are still unique" as individuals should be; we have not been stripped of this just yet.
Maybe it is a good thing that" imagination is now practical". Our unique experiences shape each and every one of us and this is the foundation for the developing of our own logic.
Even though it is true that "all catastrophes force innovation", it is a necessary part of the creative process. It gives us a reason to be creative. Otherwise it is a skill that seems to gradually diminish once we enter adulthood.
We ascribe to a life of "algorithms", based on logic and reason. I for one am glad we have not yet found the missing piece to the Logic Puzzle. For now I can at least rest assure "we are still unique" as individuals should be; we have not been stripped of this just yet.
Maybe it is a good thing that" imagination is now practical". Our unique experiences shape each and every one of us and this is the foundation for the developing of our own logic.
Even though it is true that "all catastrophes force innovation", it is a necessary part of the creative process. It gives us a reason to be creative. Otherwise it is a skill that seems to gradually diminish once we enter adulthood.
Friday, June 25, 2010
How To Take Pictures That People Remember
The Focus: Intentional Picture Taking
When a picture is taken with intention, your viewers will be that much more intrigued. By doing this you are adding dynamic elements to your work, to which those viewing will most likely take notice. A picture can be much more than just visual aesthetics, conveying meaningful messages. ideas. The objective for this kind of artistic expression is to tell a story, whether it's your own or someone else's. Applying some sort of origin or story to your photos is by no means mandatory, but it does make for a more interesting picture. The experience for both the photographer and the person being photographed becomes more of a creative collaboration.
Prior to picking up your camera, take time to think about the premise for the pictures you'll be taking. It will help to clear the mind and make room for more productive thoughts and ideas. Try using the following mneumonic whenever you take a picture.
POISE
'P' stands for Panoramic. What is the scene that lies in front of you? Take a Panoramic stance when considering the image you will be taking.
'O' stands for Object. --How does the Object interact with the subject?
'I' stands for Interact.
'S' stands for Subject.
'E' stands for Emotion.
Start by PANNING the scene of the location of the shoot. Then observe how either the OBJECT INTERACT with the SUBJECT (or vice versa)? WHat is the EMOTION is being conveyed to set a particular mood?
For example, maybe the person being photograghed (subject) is reading (interacting)a book (object). Integrating details such as these will naturally implicate a story that its viewer can interpret the story behind the image, from a more personal standpoint based on their individual experiences.
Every time you take a picture and you address these things you are also learning to develop your photographer's eye. In a way you're simply critiquing your own work and applying the basic rules related to photography.
Some important key points to remember are to carefully observe the composition of your subject, as well as consider the rule of thirds. Positioning the subject or object dead center does nothing more than make a picture just as ordinary as before. Experimenting with differnt angles and center points will help to set your own preferences related to your intention. Also, the surrounding space of the photograph should not distract the person from the the picture's main focus, rather it should enhance it.
How does the picture look when you take a step back? Is it too cluttered? Is it too empty. Always do a quick mental rundown of standard things that may be factors for your desired outcome.
And most important step to remember is to just have fun.
Beauty is in the eye of the beholder.
When a picture is taken with intention, your viewers will be that much more intrigued. By doing this you are adding dynamic elements to your work, to which those viewing will most likely take notice. A picture can be much more than just visual aesthetics, conveying meaningful messages. ideas. The objective for this kind of artistic expression is to tell a story, whether it's your own or someone else's. Applying some sort of origin or story to your photos is by no means mandatory, but it does make for a more interesting picture. The experience for both the photographer and the person being photographed becomes more of a creative collaboration.
Prior to picking up your camera, take time to think about the premise for the pictures you'll be taking. It will help to clear the mind and make room for more productive thoughts and ideas. Try using the following mneumonic whenever you take a picture.
POISE
'P' stands for Panoramic. What is the scene that lies in front of you? Take a Panoramic stance when considering the image you will be taking.
'O' stands for Object. --How does the Object interact with the subject?
'I' stands for Interact.
'S' stands for Subject.
'E' stands for Emotion.
Start by PANNING the scene of the location of the shoot. Then observe how either the OBJECT INTERACT with the SUBJECT (or vice versa)? WHat is the EMOTION is being conveyed to set a particular mood?
For example, maybe the person being photograghed (subject) is reading (interacting)a book (object). Integrating details such as these will naturally implicate a story that its viewer can interpret the story behind the image, from a more personal standpoint based on their individual experiences.
Every time you take a picture and you address these things you are also learning to develop your photographer's eye. In a way you're simply critiquing your own work and applying the basic rules related to photography.
Some important key points to remember are to carefully observe the composition of your subject, as well as consider the rule of thirds. Positioning the subject or object dead center does nothing more than make a picture just as ordinary as before. Experimenting with differnt angles and center points will help to set your own preferences related to your intention. Also, the surrounding space of the photograph should not distract the person from the the picture's main focus, rather it should enhance it.
How does the picture look when you take a step back? Is it too cluttered? Is it too empty. Always do a quick mental rundown of standard things that may be factors for your desired outcome.
And most important step to remember is to just have fun.
Beauty is in the eye of the beholder.
Thursday, June 24, 2010
LinkedIn Resume
Julie M. Heffernan
Summary
At this point in time much of my work experience relates to healthcare fields. However, I am exploring new avenues related to social media in the graduate program I am currently in. I hope to integrate my future degree with the various other disciplines I am experienced in.
Specialties
Non-profits, Storyboarding, Photoshop, Adobe CS4, HTML, usability, SPSS
Education
University of Arizona
BA Psychology
1998 – 2002
Quinnipiac University
Masters Interactive Communications
Mental Health Worker II
Yale New Haven Hospital
Non-Profit; 5001-10,000 employees; Hospital & Health Care industry
November 2005 – Present (4 years 8 months)
-Practice direct patient care within the range and scope of a psychiatric emergency department
-Involved in collaboration with a team of psychiatrists, nurse practitioners, social workers, and other various hospital professionals
-Involved in helping patients through psychiatric related crisis', ranging from patients with behavioral issues to patients with chemical imbalances
Responsible for networking with other psychiatric facilities in the community related to patients treatment
Critical Care Unit-Clerk/Multi-Skilled Technician
Griffin Hospital
Non-Profit; 501-1000 employees; Hospital & Health Care industry
September 2005 – January 2006 (5 months)
-Transcribed patient medications
-Assisted medical staff with patient bedside duties
Program Counselor
Vista Vocational and Life Skills Center
Higher Education industry
July 2005 – November 2005 (5 months)
-Assisted students with life skills related tasks (i.e. finances, problem solving)
Child Protective Specialist II
Youth, and Families Child Protective Services
Higher Education industry
March 2004 – April 2005 (1 year 2 months)
-Allegation screening and investigating allegation of child abuse and neglect
Carried out child assessments related to child safety along with any other imminent risk of harm
Attend court hearings related to the abused child or children
Case Manager
COPE Behavioral Services
Higher Education industry
October 2002 – March 2004 (1 year 6 months)
-Monitoring and documenting clients' compliance with medications, attendance to therapy groups and medical appointments, and employment attendance.
-Advocating for individuals who are seriously mentally ill and/or substance abuse related issues.
Group Home Staff
Catholic Community Services
Non-Profit; 51-200 employees; Non-Profit Organization Management industry
February 2000 – July 2002 (2 years 6 months)
Independent Study
University of Arizona
Higher Education industry
September 2000 – May 2001 (9 months)
Summary
At this point in time much of my work experience relates to healthcare fields. However, I am exploring new avenues related to social media in the graduate program I am currently in. I hope to integrate my future degree with the various other disciplines I am experienced in.
Specialties
Non-profits, Storyboarding, Photoshop, Adobe CS4, HTML, usability, SPSS
Education
University of Arizona
BA Psychology
1998 – 2002
Quinnipiac University
Masters Interactive Communications
Mental Health Worker II
Yale New Haven Hospital
Non-Profit; 5001-10,000 employees; Hospital & Health Care industry
November 2005 – Present (4 years 8 months)
-Practice direct patient care within the range and scope of a psychiatric emergency department
-Involved in collaboration with a team of psychiatrists, nurse practitioners, social workers, and other various hospital professionals
-Involved in helping patients through psychiatric related crisis', ranging from patients with behavioral issues to patients with chemical imbalances
Responsible for networking with other psychiatric facilities in the community related to patients treatment
Critical Care Unit-Clerk/Multi-Skilled Technician
Griffin Hospital
Non-Profit; 501-1000 employees; Hospital & Health Care industry
September 2005 – January 2006 (5 months)
-Transcribed patient medications
-Assisted medical staff with patient bedside duties
Program Counselor
Vista Vocational and Life Skills Center
Higher Education industry
July 2005 – November 2005 (5 months)
-Assisted students with life skills related tasks (i.e. finances, problem solving)
Child Protective Specialist II
Youth, and Families Child Protective Services
Higher Education industry
March 2004 – April 2005 (1 year 2 months)
-Allegation screening and investigating allegation of child abuse and neglect
Carried out child assessments related to child safety along with any other imminent risk of harm
Attend court hearings related to the abused child or children
Case Manager
COPE Behavioral Services
Higher Education industry
October 2002 – March 2004 (1 year 6 months)
-Monitoring and documenting clients' compliance with medications, attendance to therapy groups and medical appointments, and employment attendance.
-Advocating for individuals who are seriously mentally ill and/or substance abuse related issues.
Group Home Staff
Catholic Community Services
Non-Profit; 51-200 employees; Non-Profit Organization Management industry
February 2000 – July 2002 (2 years 6 months)
Independent Study
University of Arizona
Higher Education industry
September 2000 – May 2001 (9 months)
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