Creating Sketches in the Field and Morocco by Seth Resnick
by Jeff Lazell – June 17th, 2014
Today we proudly present a guest blog by Coloratti Seth Resnick. Seth is an amazingly prolific photographer, who’s work includes fine art, editorial, stock and commercial photography. He also has trained thousands of photographers in digital workflow methods through the D-65 process, not to mention his Digital Photo Destinations workshops. All this plus so many more accolades we don’t have space to list here lead to Seth being chosen by Photo District News as one of the 30 most influential photographers of the decade.
John Paul Caponigro and I run a company called Digital Photo Destinations. These are workshops and not photo tours. Teaching and critiques are a critical part of our programs. We are back from a series of workshops that started in the Atacama Desert of Argentina in December and then two creative workshops in Palm Beach Gardens in January, off to Antarctica in February, Iceland in March and the finale was Morocco. When I am on location I am shooting lots of material, culling it constantly and feeling relieved every time I delete another hundred or so.
My goal in the field is to create what I call working contact sheets. I rate my work with two, three, four and five stars. A two is a good idea but simply doesn’t work. A three is a solid image, done well but it doesn’t elicit much of a feeling from within and I know that I can do better. A four is something that really works well and I am proud of it and a five would be a lasting portfolio image. The longer you shoot the higher the bar is raised and the more difficult it becomes to truly get fours and fives. Sometimes I get frustrated, and I instinctively think about a song from Sesame Street, Counting to Four. It makes me laugh when I see how easy it is to get a three and how difficult it can be to get to the number four.
In the field I make very basic adjustments. I take the three star and four star images and put them in a collection. They are a collection of the best of what I shot but not necessarily portfolio images. From these sketches I eventually select a few of the best and those become portfolio images for galleries and prints. The sketches from each of these trips are posted at http://www.sethresnick.com/recent/
These sketches are a critical step in my creative process. I need to live with the body of work for awhile before I can even get to point of really selecting the finals for galleries and exhibitions. None of this is even remotely possible without color management. I need images on my laptop in the field to look as close as possible to what they will look like on my monitors at home. Color management isn’t a matter of importance, it is a matter of necessity. My work is an exploration of light color and texture. If the color in my work isn’t optimal and isn’t accurate my work is simply not a success. Color management provides me the control from monitors to printers so that my work is accurately portrayed. Without color management your colors will be very different from device to device and since color is a prime ingredient in photography without color management you are cooking without the main ingredient.
Seth has one of his legendary Lightroom Workflow Workshops coming up in Palm Beach Gardens. Don’t miss this opportunity to learn from one of the best in the industry June 24-27th Click Here for more info and don’t forget to head to SethResnick.com to view more of his beautiful photographs.
Seth Resnick uses X-Rite ColorChecker Passport, i1Display Pro, and i1Photo Pro 2 to manage color between camera, display, and print. Learn how you can stop guessing and start knowing with color management solutions from X-Rite at www.xritephoto.com.
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