|
Join our list
|
 |
|
|
Your Journal, Your Ideas
Would you like to share your ideas or photo-related information with the community? EXPOSURE is looking for people interested in writing photo exhibit reviews, website or tech recommendations, personal discoveries, or really, anything that you'd tell your fellow photo-geek friends over coffee. This journal is meant to encourage interactivity. Please email us if you'd like to submit something. Your feedback on the first few issues is also welcome. Keep shooting!
Karen Sheets, Editor
|
Class Schedule
|
|
 Classes start the week of April 13.QUESTIONS AND REGISTRATION:
Visit us online or call or text (312) 671-7717.
|
It's The Economy Stupid--Are There Any Jobs In Photography?
|
|
A conversation at Richard Stromberg's Chicago Photography ClassesCome and join in a conversation about where the jobs are in photography. Are there jobs in Photography? No, not really.... Well, maybe, if you have the right attitude and perspective. And just a little luck. The panel will be comprised of photographers that are making money in photography. One has been in the business for 45 years, others started 6 months ago. One is a millionaire and has been published worldwide; others have made a little money and are only known to their friends and neighbors; and of course everything in between. The panel will have photographers who have Masters degrees of Fine Art and photographers who only have a GED. All are making money from photography. - This workshop will not have any job leads.
- This workshop will not review anybody's portfolio.
- This workshop will not have any handouts.
- This workshop will not recommend any one camera or any one camera manufacturer.
- This Workshop will have people that are working in Photography and are willing to tell you their story and anecdotes.
- This workshop will help you strategize about how to make some money with your photography.
Note taking is encouraged; bring your own coffee to stay alert. OK, we will provide coffee...but you will have to be alert. Hangovers are not encouraged. - Date: April 9 and April 11
- Length: 3-4 hours
- Cost: $60.00 for one, $100.00 for two (marriage not necessary)
- Payment: Pre-registration and Google check out on a credit card (similar to Paypal) payment only. No money accepted at the door. No refunds for missed attendance.
CLICK HERE TO REGISTERFor more information, call or text Richard at 312-671-7717. |
Close-Up Photography Class
|
|
 Sundays, 2-4 pm,
beginning Sunday, April 19. Instructor: Richard Stromberg
Richard has been teaching this class twice a year for more than 15 years now! Time CommitmentThe
Close-Up class will take four or five hours of your time, each week, for
six weeks. This includes two hours of
lecture/class time, and two to three hours planning and shooting your
assignments.
Film or Digital?
You may
use either a 35mm film camera (SLR) or a digital camera (DSLR). Students
should bring their camera and notepad to each class.
Class Structure
Each class will have a
lecture by the instructor with a relevant shooting assignment to be completed
for the next class. After the
first week there will be group critiques of each student's assignment. Students may complete their shooting
assignments at any location. The fifth class will be a hands-on shooting
workshop held on the 5th Sunday at the Chicago Park
District's Garfield Park Conservatory. The class will meet from 2-4 p.m. on that Sunday afternoon. The sixth class will include a review
and critique of the photographs taken at the conservatory.
Requirements
Students
are required to expose no less than 48 images with a digital camera or one,
36-exposure roll of slide film if using a film camera, each week. If you are
using film, you have to have the film processed in time for the next week's
class critique (two-hour film processing facilities will be recommended).
Special Equipment and Costs
At the
first class, Richard will demonstrate the different photography equipment
necessary and possible for close-up photography. The equipment will range in price from $50 to near $1,000 for a
dedicated lens. Richard will help
you decide which one of the following you should use: a
set of close-up magnifying filters; a lens-reversing ring; a set of
extension tubes; or a micro lens. It
is not necessary to spend a lot of money on equipment to enjoy close-up photography.
The
flexibility of this class allows for instruction and assignments to be tailored
for each student's individual needs and level of experience.
The fee
for the class is $300 and is due at the end of the first class session. Checks should be made payable to
Chicago Photography Classes. REGISTER NOW For more information, call or text Richard at 312-671-7717. |
Letter from Richard Stromberg
|
|
 Talking The Talk and Walking The Walk
To use the vernacular of the 1990s, what's the difference between
"talking the talk" and "walking the walk"? When we say that we're
"student-centered" we demonstrate that by our actions every day, 24/7.
Independent Recommendations
We are completely independent from any equipment manufacturer or
camera store. If we make a recommendation about cameras or other
photographic equipment, it's because we have experience with it and
know enough about it to feel comfortable recommending it. We pay very close attention to the
outcome of our recommendations because as far as we're concerned, our
reputation is on the line.
Available 24 Hours a Day, Really
We have always thought of our program as student-centered. What do
we mean by that? We're for you. It's not all about the money you spend
with us. Many schools may make that claim. Please remember,
you can never trust what an organization says; you can only trust what
an organization actually does.
We are accessible virtually 24 hours a day by telephone. I give out my mobile telephone number so
you may text or call me anytime with a
problem or question. Except when I am teaching in the classroom, I answer my phone. We give you as much
time as you need in the print labs and lighting studio, within reason.
As you advance in the photography program, you are allowed more and more
access to the facilities. We actively encourage the sharing of skills
and helping of each other. Sometimes we hear, "I came here to learn,
not help others learn." If that is truly your attitude, then your place
is probably over on Lincoln Avenue, sorry. We limit the teacher-student
ratio to one teacher for every six students. If you have an emergency
at work or at home, we do everything we can to help you catch up.
If your camera breaks during an eight-week session, we loan you one and
help you understand what you have to do to get your broken camera or
lens fixed. We routinely loan students lenses if we can.
Our guiding principle is that we want to make it possible for people to
fully participate in our programs. Moreover, with us it is most
important that learning occurs.
Richard Stromberg, Director
Chicago Photography Classes
|
| PHOTO HOW-TO: Hanging Framed Photographs On Drywall Without Damage |
|
Drywall Versus Plaster
This information is for hanging framed photographs on walls that are
constructed with drywall (also called wall board). If you have walls that were
constructed with plaster and lath, the techniques outlined below will
not work.
 Here's how to tell what your walls are made of: Most buildings constructed before
1955 have walls that are plaster. Plaster is applied wet to wood lath or mettle screen and requires a waiting period for the walls to dry. It requires 2-3 coats
and takes more time overall to dry and cure before the wall or ceiling
can be painted. When you knock on a
plaster wall, you should find the wall ridge and may hear loose plaster
falling down behind the wall. This sound may be present even when the wall is in good
repair.
Drywall, as the name implies, is dry. Most buildings constructed after
1960 have walls made of drywall. Drywall is a manufactured product
comprised of plaster between two pieces of heavy paper similar to cardboard. Dry-wall is used in most remodeling. Drywall usually comes in sheets
4' x 8', and may have different
thicknesses: 3/8", 1/2", and 5/8". In better building construction, the
walls and ceilings are 5/8" thick. The thicker board
helps soundproof rooms and is a better fire break if a fire
should happen. When you knock on
drywall, you will hear a hollow sound.
If you're still awake ...
... I'll now get to the point. You may be familiar with a kind of thumb tack that is referred to as a pushpin.
Often they are different colored, translucent plastic with a 1/4" metal
tip. Don't use that kind to hang framed prints.
 Moore Pushpins
The kind of pushpin that you want to use for hanging framed prints are
found in art stores and are manufactured by a company called Moore.
There are two things that are special about Moore pushpins. First is
that the part that does not push into the wall is aluminum, solid metal.
Second, Moore is the only manufacturer of pushpins I know of that
makes them with a tip that is 5/8" long. Why is that
important?
I think that most people are familiar with the kind of picture hanger
that you nail into the wall. The nail is contained in a brass hook, and
is at a downward angle, the idea is that the downward angle of the nail
will help make the hook a little stronger. This type of hanger
is pretty good on a plaster wall which has wooden lath behind the
plaster. When you use this type of hook on drywall, you leave a large
hole that is difficult to repair and unnecessary for the task you
preformed.
When
you use a pushpin with a 5/8" steel tip, you do not put it in at an
angle. Instead, you push, or, using a tool, tap the push pin straight
through so the tip penetrates through the front and on through the plaster and the back paper layer.
The head of the
pin is flush to the wall, leaving only the head exposed. You use the
exposed head to hang your frame. If you were to install the push pin at
an angle, the pin would not penetrate through the cardboard on the
back side of the drywall. Over time, with age and vibration, the tip
will loosen and gouge the plaster, leaving a larger repair job. When
the steel tip goes through the front side and back side of the drywall,
you are left only with a very tiny hole to fill with spackle. Please
remember you must use a pushpin with a 5/8" long tip. Copyright (c) 2009 Richard Stromberg
|
INSTRUCTOR PROFILE: Sara Sampley
From Stockbroker to Photographer
|
|
Photography as a Means of Service
Sara Sampley studies through Richard Stromberg and has recently joined the staff of Chicago Photography Classes as faculty.
A lifelong passion for art and photography inspired Sara Sampley to live out her dream. She began her photo-quest at age five using a Fisher Price, rubber-coated film camera. From there, she graduated to a 1970-ish Minolta X-370, 35-mm, film camera. In college, she studied Art and Design at Judson University, Chicago.
 After veering off into the corporate world for a while and earning her Series 7 stockbrokers license, she found herself unfulfilled. Yearning to dive back into the arts, she furthered her studies through classes with Richard Stromberg. This ignited a desire to embark on her own freelance business.
She started small with friends and family and was given the opportunity to shadow people like Johnny Knight. Soon enough, her phone was ringing with more and more business--commercial shoots, weddings, portraiture.
For three years she lived in an inner-city neighborhood, mentoring children who were not educationally exposed to art or photography. She ran an after-school program out of her home and one of her students won second place in a yearly photo competition at the Brookfield Zoo. In 2008, Sara branched out even more, teaching photography to elementary school students at a south side magnet school. She still keeps in touch with children from both areas.
 Sara's current focus is being a manager for Bella Baby & Bella Life Photography, where she trains, encourages and oversees 30+ photographers. She also freelances for Bella Wedding Photography and numerous other individuals and companies.
She has been honored with invitations to special projects, such as the "One More Girl Show" in Cincinnati, Ohio, where she photographed women and their loved ones who won the battle against cancer. Her next big project is a trip to Ethiopia in the fall, where she has been asked to do a photojournalistic documentation of the lives of families living out of garbage dumps. She will then bring her photos back to Chicago where she hopes to raise awareness and funds to help supply the families with food and medicine.
The focus in her photography is on the essence of a moment: the reality of life whether considered to be "beautiful" or not. She finds beauty in the simplicity of a rusty bicycle or paint chipping from a windowsill. She is passionate about capturing what most consider 2-D photographs, but she sees as living, breathing, testaments to life.
Outside of photography, Sara loves a stimulating discussion about politics or religion. She feels as though love, human equality and cultural education are some of the most important things in life and if she can use photography to achieve these things, then success has been fulfilled.
|
Attention Photo Math Lovers!
Stops of Light
|
| Richard's "Stops of Light" handout is now available in our Resources section as a downloadable PDF.
A History of the Stop-of-Light Handout
By Richard Stromberg
Remember, as with all of my prose, put tongue in cheek and smile. A grain is way too much salt to take while reading this.
I first published these stop-of-light charts in the final years of the last century. I was attempting to make something that would help my students understand the importance of the numbers between what are considered the "whole" stop/step numbers. These numbers have been in common use for about the last 60 years. For photographers with many years of experience, these in-between numbers have never had much consequence. The numbers have always been part of the numerical equation but never showed up on cameras until the late 1980s. Before that, most of the time, photographers just concentrated on getting the correct exposure.
I would like you to believe that I am smart enough to know and understand the high math that these equations require. I do *not* have the math skills, and I am *not* smart enough, to understand any of this. Understanding the required math has little to do with good photography--although there is always someone in class who just can't get past the numbers.
One night, after my insomnia kicked in, I started to play around with my new camera and decided to see if I could make sense of f-stops and shutter speeds for my students. I set my camera on manual and used the two dials (f-stops and shutter speeds) while watching the numbers on the LCD screen on the top of the camera I was using. (You can also see the numbers on the bottom of the frame, left side, when looking through the prism on a SLR camera.) As I dialed the different settings, I wrote the settings down, so I could produce the charts. There are two charts, one for 1/2 stops and one for 1/3 stops. The bold numbers are the standard "whole" stops and the in-between numbers are the 1/2 or 1/3 fractions. After I spent an hour or so concentrating on these settings, I slept like a baby, with fits and starts and crying until morning.
If you don't understand the charts or are more confused, please don't worry about it. Just put the charts down for later and pay attention to what's really important: "the moment of the photograph." Over time, learning will occur. Que sera, sera. ;-)
Note: These charts were redesigned by Keith Skutt. Thank You, Keith.
Copyright (c) 2009 Richard Stromberg
|
OBITUARY: Richard R. Skutt
|
|
We are very sorry to report the death of the father of one of our own. Richard Skutt is the father of our IT manager Keith Skutt. Our hearts go out to Keith and his family.
R. Skutt, 71, of 601 E. Grant St., Granville died at 8:05 a.m. March 4, 2009, in St. Margaret's Hospital, Spring Valley. Cremation rites have been accorded.
Mr. Skutt was born Sept. 14, 1937, in Chicago to Matt and Elsie (Nisporchik) Skutt. He married Jean Ganze on Feb. 20, 1965, in Trinity Church, La Salle. He served in the U.S. Army 1960-63 in California. He was a lifelong Putnam County resident.
He was a member of United Church of Christ, Granville, and was a construction laborer with Laborers Local 393 of Marseilles. He volunteered for Putnam County Achievement Center, Standard; Putnam County Food Pantry and maintained building and grounds for United Church of Christ, Granville.
Survivors are his wife; three sons, Keith Skutt of Woodridge, Eric Skutt of Spring Valley and Darin Skutt of Granville; two brothers, Albert (Judy) Skutt of Lacon and Don (Marge) Skutt of Tiskilwa; and three sisters, Mary Jane Pratt of McNabb, Kathleen (Don) Junker of Magnolia and Darlene (Larry) Fleming of Tonica. He was preceded in death by his parents and one brother.
|
|
|
