Week 18
Some work!
Well the two crits have been finished off this week so I can now put some of the work I made online. In order, 1 photos from suicidal shoes, and 1 photo from my Gaia project (just the base photo for the front cover without the logo branding for copyright reasons). I have no more projects set untill next year, but I have a large project I'm hoping to complete sometime before the submission date for the next issue of 125 (an on-going challenge with a friend to spur ourselves into creating more work in our free time).
We had a really good showing at the crit, with most coming on leaps and bounds since the technical workshops project. It amazes me I know of not one other University running anything similar to get their students upto a competant technical level. The work created when not having to worry how the camera works was shown to be of a much higher commercial standard (It can't do much for the concept, but the concept can at least be executed better if you know how).
Unfortunately I'm not entirely sure how many of my classmates I'l see before next September, as almost our entire 3rd term is set aside for work placement. Perhaps we can have a good old knees-up in London, as presumably that's where most of us will be.
Week 16
Eizo CG241W Mini-Review
But before I do, I recently discovered a childhood gem, and I do mean a true gem. Watch.
If that isn't the best childhood theme song I really do not know what is. And perhaps if more characters spoke like Pooh Bear rather than the Teletubbies we wouldn't have to keep making exams easier to keep pass rates up (Joking).
So I've had a little time with my new monitor (87 hours according to ColorNavigator) and feel I can now make a few remarks.
It comes in a nice big box with plenty of packaging. Monitors and TV's typically come in boxes designed for medium sized animals from the cretaceous period, and require a good morning set aside simply to get into them. However, they do include pretty much everything. A cable for every connector on the back of the monitor (And not a stingy 2ft one either), loads of manuals, software CD, screen cleaner, and a calibration report from the factory reminding you how much love and care went into making it. I know what you're thinking "But my Dell came with a calibration report". Unfortunately that only really tells you the monitor turns on, not a lot else.
Measured at 25 points across the entire screen for variance in luminosity, colour temperature and gamma.. If anything doesn't make the grade, it's not sold as a ColorEdge monitor, simple.
When you yank it out of the box the stand is already attached (It features no quick release system like my old Dell 24's) and the various cables and boxes all have their own place in the foam. I will take this moment to mention the monitor hood, which comes in each individual piece in a flat pack box, with no obvious way of putting it together. It works, and it's sturdy, but just put the instructions in with them please, it only requires an A4 piece of paper.
On the subject of stand, it's not brilliant. If you start typing with any zeal you can easily make it wobble, and the movements are all pretty stiff with fewer places to grab the screen when the hood is on. You could use a monitor arm, but I would expect the stand to be at least as good as the one on my old Dells.
That's pretty much the last negative, everything from here on in is solid gold. Plugged everything in and booted up into Windows. Ran the auto-installer from the CD and in a matter of minutes ColorNavigator is up and raring to go. It should be noted that you are expected to own a calibration device to use with this monitor, it will not just magically calibrate itself (Though if you're buying one you likely know this already). As I mentioned in an earlier post this program really couldn't be any easier to use if the only button you could press was one that took up the entire screen and said "CALIBRATE MEH!!!". It gives you a list of a couple of presets that are common for what you would use this for. First is Photographic/Graphic design, with targets of 80cd/m2 luminance (brightness), 2.2 gamma and 6500K colour temperature. Second is Printing, with 80cd/m2, 1.8 gamma and 5000k colour temperature. Once you have created a profile for each of these targets, ColorNavigator sits in your tray and the bottom and allows you to switch between them on the fly depending on what you're doing. You can also specify your own target parameters and CN will add these to the list of selectable profiles. So if for example, you have a profile for working in daylight with a higher luminance value (120cd/m2) and one for working at night with a lower one (80cd/m2) it's all too easy to flick between them.
For those of you already familiar with calibrating monitors, you may think 80cd/m2 sounds far too low, as the normal recommended starting point is 120cd/m2. It entirely depends on your working conditions and your print viewing conditions. It won't be the same for everyone, but if you're like me and work in a cave, you may have still found prints coming out too dark even at 120cd/m2. It also becomes problematic for many consumer monitors to achieve good contrast ratios at such a low luminance, where excessive panel blocking is required to hit the target. Sufficed to say the Eizo has no problems. Calibrated to the Photography/Graphic design specs it achieves 80cd/m2, 2.2 gamma, 6500K with an average DeltaE94 of 0.4, black point of 0.09cd/m2 and contrast ratio of nearly 850:1. More importantly, this result is true for the entire screen, and not just the centre (another common problem with some monitors not displaying equal brightness across the panel). Good black points on LCD monitors have always been a major nitpick compared to CRT's of old, and they're still not there yet. However 0.09cd/m2 does result in very black looking blacks, there is no wishy-washy-ness what so ever. Verification in various periods after profiling proved another advantage of monitors like these - They hold the target. The consistency is excellent.
I think that's sufficient coverage of the geeky stuff, so onto my real world experience so far. If you have even a fleeting interest in monitors such as these you may have heard things like "reproduces excellent shadow detail" and "great greyscale rendering", both of which are true. I almost feel inclined to re-develop and re-edit some of my older RAW files, now being able to see the mistakes I previously couldn't. A good monitor is often the last thought in a digital photographers mind, and it's not surprising when you see how much cameras, lenses and lights cost. But just how important is it? Well, for one, I see my work most of all on my monitor. More than in print, more than on other peoples monitors, more than on the back of my camera. Secondly, I edit my work on my monitor. We all know digital systems produce base RAW files that need developing, and you wouldn't develop your film in old developer, would you? Or print in the darkroom with green tinted glasses on? I firmly believe (And honestly not for self-justification purposes) a good monitor is a key asset in a digital arsenal. If you're editing your files on a poor, uncalibrated and/or old monitor you're doing yourself and your work a great disservice. I lost count of how many times I heard 'it didn't print out how it looked on screen' at the last critique. Does that mean I should have bought this screen? Maybe not. But with a 5 year warranty and the safety net of knowing it will be consistent during that time the choice far outweighed buying a couple of cheaper monitors in the interim.
Working in Photoshop has proven especially useful. Making the most minute colour adjustments and being able to see every slightly nuance in tone is fantastic. You're able to see the difference of many little elements building up to a big change.
There isn't a lot more to add without getting very anal. The monitor gives you the confidence to know what you're looking at is correct. It removes the guess work. I can softproof for a multitude of output devices with the best possible idea what I'll be getting back. The amount I'll be saving in paper will pay for the monitor in no time!
I would certainly implore the new photographers and artists of the digital age to invest in a good monitor. It's where we dictate how so much of our work is produced after all!
Week 15.1
As you're well unaware, it was my birthday last Saturday. Now I think I've been rather good this year, finally getting my butt to University and all. And as I'm a little too old to expect my family to pony up with gifts year on year I figured I owed myself something.
So I went and bought an Eizo CG241W. After having two Dells relatively renowned for their editing suitability I simply could not get the colours to match for love nor money. I tried more calibration targets than I care to mention. This lead me to have a bit of a confidence crisis in my previously 'solid' workflow.. If they're both different, which one is right? Or more right at least? Unfortunately one was out of warranty and another not massively far off. A great excuse then, to sell up and buy a good reliable accurate 24".
I may write a mini review on it when I've had a chance to use it properly. But I can say a) The image quality is exceptionally good, and b) ColorNavigator is definitely the easiest calibration software known to mankind. Forget about chimps being able to do it, a Seahorse could master this program.
Week 12
NEW YORK
I'm back! This is going to be a long one. Put on the kettle and take a seat.
So as my last blog post so aptly described, I have been to New York. And, in no word of a lie, I wasn't in the least bit excited. For one I was very ill in the run up to the trip. This never puts you in the best mood, but right up to the last day before we left I was struggling for energy walking around for periods of 20 minutes or longer. For two, and this may seem a little materialistic of me, but I hate spending money on things with no tangible product. Perhaps why I dislike smoking and drinking so much.
Needless to say, if the week before the trip hadn't made me excited, airports certainly never fail too. Rocking up a full hour after everyone else ensured no queues at the check in (Despite being told to get there for 4 - The prudent time of departure for the coach was perhaps a little too prudent). The aim of airports is always the same. Drop your bags and make a beeline for the nearest bar/starbucks/place of liquid beverage sales. I was pleasantly unsurprised to find a good portion of the class (and tutors) in the bar.
To bring you back down to reality, the plane journey (once the initial excitement of take off wears) is suitably crap. We found our seats with the same delight/relief all passengers paying for one seat hope for, not being sat next to someone taking up two seats. Whilst I hear Air France is doing something to combat this, I'm unsure if Virgin Atlantic have adopted a similar approach. And no, it's nothing like the advert. Sorry lads.
Unlike a RyanAir flight, we landed in a geographically acceptable distance from our destination. A short coach ride on the dead NYC city streets saw us to our Hotel in quick enough time. We knew it wouldn't be that easy.
11:30pm..
"I'm sorry sir, who are you?" *casting eyes over the group of 40 students*
"Bournemouth Arts.. We have a reservation for ourselves and the 40 students behind us"
"Bournemouth who?"
The first round of keys given (fortunately it's a rather large hotel) sent half of us to rooms with people already in them. Sir of room 1381 if you are reading this, my apologies for trying to gain entry to your room at 1 in the morning. The second round of keys given only managed to make it into their respective doors at 3:30am local time. Which felt like 8:30am to us with all the jetlag nonsense. I'm formulating a theory that night staff are thus because as day staff (with the task of dealing with real customers) they would be useless. Oddly I arose at 7:45 fresh as a daisy.
From the Hotel
The first order of the day was breakfast (naturally) which landed us in a lovely little diner in Soho. Omelettes ensued and we left on the subway for photographer lecture number 1, Platon. If you are not familiar with Platon please take yourselves here, http://www.platonphoto.com/ and continue reading after a good peruse of his portfolio. I think the 'Magazine Covers' section gives you a good idea of the gravity.
Unfortunately I have no pictures of this because I'm not even kidding, as soon as that man starts talking you sit there and listen. If any middle management types want a lesson in captivating a boardroom, go see this bloke. It's almost eerie how you don't notice your bum going numb. And considering he's taken a portrait of every single leader at the United Nations, it was comforting to hear that even he still gets nervous before a shoot. A massively inspirational talk and a genuinely nice guy to boot. I could blow sunshine up arses all day so I'll stop here before it starts sounding religious.
After Platon we took a trip down to a new(ish) venture into the Stock photography industry, Win Initiative ( http://www.win-initiative.com/ ) and a talk from Hans Neleman. Unfortunately nothing was going to be able to follow Platon short of a full blown circus, so despite plugging us with wine (a good crowd pleaser!) it didn't quite have the same kick. Talking to students about stock photography was also never going to be an easy feat to pull. A little like talking to my mother about ISO's and F-Stops. Nevertheless the talk was informative and we got free postcards, as the name says, Win (Don't worry I knew that was going in there from the moment I read about it in the itinerary).
Three from outside the Win Initiative, where some sort of emergency appeared to be just ending,
James,
Jess and Abi,
Firemen,
And one from inside, Min and Maddy,
After the course part of the day was completely we headed to Republic for some food. I had some peanut beef satays that damn near blew my mouth off, but I hear from others the food was a mixture of 'alright' to 'meh'.
On the second day it decided to snow. And I mean the kind that makes looking where you are going somewhat difficult. Also the kind that doesn't like Converse.
The second day involved going to the International Center of Photography. At the risk of sounding incredibly uncultured, I believe this photo (especially Jacks body language) sums up my feelings on the ICP.
Infact, the majority of my time was spent sat in the cafe,
After the ICP I got to go to one of my new favouritistist places, B&H Photo Video. I'l paint the scene.. You're 8, and you've just walked into Toys R Us. End Scene. It's THAT good. I picked myself up a new toy. Excuse the dust, I need to clean my desk.
A small group of us then preceded to Tick Tock diner for a supposedly traditional/stereotypical New York dining experience. Whilst I'm sure the historical accuracy wasn't 100% I certainly had a damn good ceaser chicken wrap (Yes, very traditional) and a good old natter.
I don't think a massive amount happened after that so I'll skip merrily on to the following day, and visiting someone I consider to be an absolute true mac, Phil Toledano ( http://www.mrtoledano.com/ ). If you're a keen follower of 125 Magazine (amongst many others) you will have likely seen Phils work more than once. We had a brilliant chat and a valuable insight into someone who's work I admire greatly. It's an odd experience meeting the man behind photos you have on your walls, from the magazine you picked up in Borders UK (R.I.P).
We left his studio after long outstaying our welcome, and flagged a cab to Hardrock Cafe for a burger (and a spate of mild food poisoning in my case). With ice blocks for feet and an uneasy stomach I retired to bed. The sideways sleet and snow made my decision somewhat easier.
On Thursday we were tasked with shooting a mock campaign for Criminal clothing in the streets of New York. It was clear shopping was higher on the agenda so activity was cut a little short, but hey there's always comping.
I bounced around NYC for the rest of the day taking in some sights, eating a little more. Abi and myself very nearly induced a food coma courtesy of a waffle stack, two pots of syrup (Of which I had none) and a bowl of chips (which were incredible considering they're only chips). That night most of the 1st years went to Little Italy for a large meal. Once James brought up the Eddie Murphy sketch about Italians and Rocky hilarity ensued and remained for the entire evening. The pizza was epic on many levels and I think I'm very safe in saying we all had a cracking time.
Much later that night the tourist in me took over, so Daniel, Louise and myself took a trip up the Empire State Building. The night views are one thing, but walking through what must be over a kilometre of empty queue space is another. I cannot believe people actually wait at the beginning of that line to get up there. Madness!
On Friday (the last day) we headed to Brooklyn to see Chris Vereen ( http://www.chrisverene.com/ ). One of the standouts was a book he has produced on photographs of his family life in Galesburg, Illinois. A small town with a crumbling industry based on a railroad no longer in full operation. The book is full of despair and sadness, but a very compelling read (Much of the book is based and reliant on the text next to the photographs, Chris explained how this was an entire editing process in itself). He will be showing his 'Camera Club' series of photographs at the Tate Modern later in the year.
Mid-way through the talk Toby and myself ducked out for another appointment with a still life photographer working in New York, and one represented by the Win Initiative. D.A. Wagner (http://www.dawagner.com/), known also for his portfolio construction skills as well as his photography. He used to run a special effects/virtual reality company up until the events of 9/11. Unfortunately what followed sunk the company. He re-emerged as a full time photographer a year later. We were fortunate to also bump into Tim Hawkins of http://cheekylittlemonkey.org/ who gave us some more great advice and very nearly a trip to Milk Studios (Unfortunately New York Fashion week stamped it's feet and we couldn't go). Nevertheless we had a great chat and had another insight into a working photographers business.
Then (We were very busy) we took a trip to Chelsea for an Erwin Olaf exhibition at the Hasted Hunt Kraeutler gallery. I couldn't describe how mind blowingly effingly brilliant this was, so I won't even bother. What I can say is my outfit was photographed twice, which was nice. Keep an eye on NYC Fashion week for pink socks.
A quick sandwich and a meet in the hotel lobby (Host to many participants of the 134th Westminster Kennel Club at Madison Square Garden - And I absolutely LOVE dogs - I sounded like a girl every time I walked through the lobby) and we were on the coach heading for the Airport. Driving out of Manhattan at sunset is a rather nice sight. Newark Airport isn't quite as comprehensive as Heathrow, and by this point I only had $4 on my person, so a beeline for the bar wasn't the best option. Due to the same prudent bus departure I mentioned earlier we found ourselves sat in the airport lounge roughly 3 and a half hours early. $8 airport internet has never been so useful (card, not the whole $4 cold hard cash), before I knew it we were on the plane and heading home.
From my trip I have learned a few things,
1) New Yorkers are incredibly friendly. I don't think I've ever spoken to so many strangers in any city before.
2) The subway is as cool as it looks in Crocodile Dundee. London Underground is still better as a method of transport though, sorry!
3) I would likely become slightly rotund if I were to stay there for any longer than a few weeks.
4) Having a GPS map in the back of Taxi's is a genius idea.
5) Platon should quite probably be the new President if you thought Obamas public speaking skills were good.
6) Phil Toledano is the bonafied true mac. And he has a Wheaton Terrier, which is just cool.
7) I love New York.
8 ) Did I mention it's incredibly friendly?
I may have to update this blog when more things return and I can add to the list. But if you haven't yet been, you should. Very soon. Before Americans turn British and it's just London on steroids.
A slight disclaimer also: I developed the RAWs and converted to B&W on my LCD Television. It's not exactly what you would call suitable for photo editing - If anything is hugely awash with colour tints or contrast, this is why! I really cannot tell what I'm outputting.
Week 10
I shouldn't abuse my new found blog powers for film critique, but having re-watched all six Star Wars films over the past week I feel I must share my feelings on the cinematic kick in the nuts that was, well, all of it. This would normally be the point to adequately sum up the film in a suitably sarcastic derogatory 'two-word' manner, such as; "It was crap. Two words: Anakin Skywalker". But it doesn't work for two reasons. 1) I need WAY more than two words to highlight what was so unacceptably dire, and 2) It doesn't work when you say "It was crap. 4 paragraphs..". The only person displaying a shred of acting talent in SIX FILMS was Liam Neeson, at the beginning, before he dies. You can tell Luke Skywalker is Anakin Skywalkers son before they're even introduced. Why? Because they're both whiny little bitches! The entire 2nd and 3rd films were Anakin throwing his toys out of the Pram, whilst the 4th and 5th were Luke doing the same. Only in the 6th did Luke seem to gain a little composure. They both also manage to drag out the two worst "NOOOOOOOOOOOOOOOOOOOOOOOOO!!" scenes in the history of cinema. Nine people died during the making of the Exorcist I'm lead to believe, in an unfortunate accident. Nine people should have died during the making of Star Wars, George Lucas and the 8 main cast members sans Liam Neeson. Starting with Hayden Christensen and Natalie Portman.
If you don't remember this gold nugget,
Anakin: "You are so beautiful."
Padme: "It's only because I'm so in love with you."
Anakin: "No, it's because I'm so in love with you."
The sickening part is not only was someone paid to write it, but that was shot, reshot, edited together, sold, and not ONE person stopped and said "Guys, is this not a bit shit?". The speed at which they fall in love after Padme basically telling him in no uncertain terms to go f**k himself is astonishing! "CRAP! Guys!!! We're running out of film and we've just filmed Padme telling him no for the fourth time.. They should be falling in love already!".
Another pretty amazing transition is how pedestrian the Jedi/Sith are in the last 3 films. This isn't so much a fault of the last 3 films, more George Lucas going WAY over the top with the first 3 films, but you hit the 4th and suddenly anyone wielding a light sabre moves with the speed of a large lazy St Bernard. In the first 3 you genuinely believed nothing could stop a Jedi, bar another Jedi-esque character, and even then a good old fight would ensue first (Well, apart from the bit they go to arrest S.Chancellor Palpatine/Lord Sideous and he kills 3 Jedi masters without so much as a 'En Guard!" - Naturally Samuel L then proceeds to whoop his ass - Until Anakin turns into a whiny bitch again). I'm pretty sure my gran could have taken down Darth Vader with her golf clubs.
The first 3 films reek of convenience. The story needed more than 3 films to properly develop but that just isn't Hollywood so they grabbed a VacBag and crammed it all in there anyway. The last 3 films reek of age. They're better, but only because to be worse than the first 3 you would have had to pay for your cinema ticket and receive a slap in the face instead.
Week 8
2.5 is not an 8th. According to a recent study performed by me looking at my Facebook homepage. A group has been created to (You really couldn't make this up) highlight the downright rotten practices of local drug dealers (The scoundrels!). Reading the comments posted it's no surprise the classification of marijuana was raised; it makes you thick.
The group description gives you an accurate idea where this is going:
"its a rip offf should be 3.5 what the f**k is going on".
If the police ever wanted easy pickings for possession, Facebook provides.
"excuses!! u customers fink us shottas gt it easy!! its gone up 5bills a bar in the last 4 years... so every year the size has to go down... u lot js love 2 moann lol"
I presume he's a dealer. Evidently not a massively smart one.
Enough of the social mockery. Onto the photos. The crit for Digital Imaging and Studio Practice (Longhand for Photoshopping shi*t) went well. Very well really. Here is the image I submitted for the theme 'Incongruous'. The initial idea was a light-hearted poke at the expansion of speed camera programs and ever lowered speed limits. A speed camera making it's way into the countryside and flashing a stationary cow. Unfortunately something had to be shot in the studio to fulfil the brief, which is where the farmer came in. More unfortunate was the farmer watering down the message, which was really the only negative from the crit. Still, he has a gun. It's all good.
Click for a bigger image.
A quick rundown of how the image was created. And I do mean quick. Most of the important little steps have been removed for sanities sake.
1) The photograph of the cow was the basis for the project. To get the pool of light for the speed camera I had my assistant stand in shot with a flashgun in the same place I wanted to add the speed camera. Pointing the flashgun at the cow at height (Approx speed camera-ish) gave me the lighting for the final piece.
2) The shot of the speed camera was simple. Keeping the same focal length (35mm approx) for correct distortion I placed the speed camera in the same part of the frame (Though on the opposite side due to driving on the left in the UK) as the standing assistant. This kept the perspective true for easy cut-out/drop-in to the main picture.
3) The shot of the farmer was taken in the studio. Setting up a strobe with a medium reflector bare and hard to best match the light created by the flash gun, on a stand flashing in the same direction & height. Again, by using the same focal length and good placement I knew the perspective would be correct.
4) First post-production step was to remove the man for a bare canvas to work with. This didn't have to be perfect as the speed camera would cover up some of the rough edges. I made the cow 20% bigger (It wasn't fully grown according to the farmer) for a little more presence.
5) Next I cut out the speed camera and dropped it into the main image. Flipping it to get it pointing the right way. This needed a lot of darkening as it was now technically sat in shadow. I added a touch of blur for it to fit in with the depth of field. A grass overlay for the bottom of the post made it look part of the landscape.
6) Cutting out the farmer was a little trickier than the speed camera, but merging him into the photograph even more so. As he was stood in the light there was no darkness to cover mistakes. He now had to cast a shadow on the ground and the foliage behind him (Exposure adjustment layer + Wacom + One badass layer mask). He also needed some curves to adjust the tone more in-fitting with the overall image. Finally some grass overlay on his boots to make him look like he's stood in the field.
7) Lastly I added some rain. It was raining in the original image but not so much that it was a dominating aspect. This was merely a taste decision and I felt the added atmosphere was worthwhile.
So there you have it. One DISP project. If I get round to it (Or if anyone asks) I'l post up the original images used to create it.
Edit: Figured it was better to add the 3 files as little thumbs at the bottom of the picture. Updated.
Second Edit: The downsampling has created a slight white halo around the cow and farmer. I'm not going to remove it but just to confirm that's not dodgy cutting out!
Week 7
Ahoy!
A tone far too upbeat for my current mood I'm afraid to say. Back in Bournemouth after a long and arduous journey from Manchester where (I kid you not), a passenger thought it suitable to change his kids nappy and trousers on the seat next to me, despite Virgin providing suitable nappy changing facilities IN THE TOILETS. Loud kids, a jobs worth bus driver, and a Tesco's cash machine failing to perform it's one single duty killing any last hope I had this evening of a Chinese takeaway. Sufficed to say, I'm perhaps not quite as upbeat as I was this morning.
On the upside tomorrow I return to University.
I've not shot anything over the Christmas holidays due to DIY commitments previously mentioned, and a few other Snow related incidents hammering transportation and the like. However I would like to point out that despite the Snow being disruptive in nature, there is no need to call it, and I quote the Metro front page, "The worst weather in 30 years". Worst weather my eye, this is the best we've had in ages. No other weather sparks such good will to your fellow man. Few public gatherings are as much fun and high spirited as sledging either.
Photography! http://cyanatrendland.com/2009/12/17/ulrich-hartmann-photography/ Here. Beauuuutiful.
I've also been playing with some Hasselblad H3D-39 files with their tethering/RAW developing program Phocus. The interface is a touch gimmicky in places and some parts aren't as blindingly obvious as C1, but in many respects there are only so many ways to create a RAW developing program. If you've used one you can often blunder your way through them all. The files though.. Phew! 39mp works out at a rather generous 7216 x 5416px, not far off on the short side what my 5D2 puts out on the long side! Needless to say they're mightily impressive. The detail is much of a muchness. I'm unsure what use I would have for that sheer amount of resolution, but the DR and shadow detail is where it's at. I'm not about to give up the handling and speed of my DSLR, but give me that depth in my Canon please!
I shall post some more of my own work up tomorrow after the Crit. Huzzah!
Week 6
Now this week it is. Just.
This is my NYE resolution post. Aims and whatnot for the year ahead. And hopefully even a little inspiration for some of your own.
1. Don't start smoking. So in a years time I don't have to roll out the same old bored tiring "Quit smoking" NYE resolution. Has anyone in the history of time ever genuinely given up smoking because of this?
2. Get my foot in the door of a photographer for whom I hold a great deal of genuine interest and admiration.
3. Scrap my current website.
4. Create brand image for new business and actually set the damn thing up.
5. Take as many steps as possible toward creating a functioning commercial photographic business. Make smart investments for products that will actually aid my work, not just things I think it would be neat to have.
6. Learn to play the piano. Because I'm pretty happy where I'm at with the guitar.
It's all pretty standard stuff I guess, no revelations. Maybe you've just remembered what you've been meaning to do and haven’t (Yes, you should commit and buy that new camera!).
Hope you've all made some good resolutions and best of luck in achieving them!