FEATURED PRINT OFFER
October 2010

The island of Capri off the Sorrento Peninsula in Italy is certainly a beautiful location and huge tourist draw. The tram up to the top of the island brought me to a great view with quite a cloud display.

We're offering an 11x14 inch print, matted to 16x20 and ready to frame for $195, framed in silver for an additional $75, wood for $150. This print at this price is offered through October 31. We'll be taking orders until then, and shipping them out by November 15th.

About the Program
Each month we offer a signed, original print, at a special price. This is a great opportunity to own a very affordable fine-art photograph. Orders are taken for a 30-day period, then printed and shipped within two weeks after the close. When it's over, it's over, these prints won't be available again at this price.

THE VIEW FROM HERE

I just returned from a three-week trip to Italy, taking in many of the places I had dreamed of seeing for a very long time. Although it is far too soon to really assess the photography I did on the trip, it seemed irresistible to share a few with some journal excerpts in this month's newsletter.

So, of the 160 gigabytes of photographs brought back, here are a few with some brief and still forming thoughts along the way.

Some Journals from Italy

Sunset over Siena, 2010

Teaching in Tuscany: September 2010

Teaching a small workshop in Tuscany this week. Such a flood of cities, villages, fields, hills and very old structures. The morning mist is beautiful, creating sinuous waves of silver, white and gray moving through the valleys, changing constantly, hiding and revealing the landforms beyond. We keep chasing light and looking for vistas. The views down and across the mountains reveal wonderful patterns of vineyards and undulating geometry of the terrain.

The workshop was organized by Il Chiostro with our headquarters for the workshop at the Tuscan Renaissance Center, the former monastery of San Fedele near Siena. The facility and staff were great, as was the outstanding food and view.

Coliseum, Rome, 2010

Rome. September 30.

Just arrived in Rome and hit the streets. I'm only a short walk from the Forum and couldn't resist just plunging in. In less than a half an hour I was standing among the remains of what was thought of by many to be the center of the civilized world 2000 years ago. The magnitude of the scale, built with the hands of slaves, is quite impressive. The height of many of the structures, and the relatively small space they occupied must have presented a crowded, rather intense surround of architecture unknown anywhere else at the time. Even now, standing next to the remains of the Temple of Saturn, it is huge. The size and scale of the cut stone making its columns is almost mind-boggling for the time.

I walk well into the evening, getting a small feel for the City, knowing full well this is just my first trip. Using the Metro the next day, I popped here and there with ease, also being fortunate to meet up with my new friend Gabriel Rifilato as he treated me to a vegetarian cafe, a car tour and a visit to the college where he is teaching digital photography.

Temple of Saturn, The Forum, Rome, 2010

On the Train to Salerno

A huge flood of life in the last few weeks. Three good days in Florence, a week up in the Tuscan hills for a landscape/village workshop, then onto Rome for two days at the Forum and Coliseum. Traveling now to the Amalfi coast for some seascape and nature after the urban plunge.

I'm sitting on the train to Salerno writing, not knowing the shape of the next few days but kind of liking that idea, no clear shape to the days ahead, but all new. Just north of Naples now, saw the coast for the first time this trip a little while ago.

Thinking about work, not the job of work, but the art–what it means, the role it takes in life, the way our craft and time spent creating shapes the very nature of the life we lead. The impositions from outside often distract and undo my ability to work, money issues, time filled when energy is low, TV, all of the distractions of modern life. There is visual seduction everywhere, so much of value to pursue in following its inspiration, this is clear even in challenging times. There is so much to do, visions to fix into form, ideas to push and shape, explorations to construct and do. Laughter, joy and love to share along the way.

These ruins, these 2000 year old stone constructs, built with sword, blood, slaves and misery while declaring noble intentions, are impressive and deeply disturbing. Standing on the hill looking down at the Forum, trying to take my head back to that time, the people, the brutality, the contrast of of high ideas and brutal repression, all folded together into so much of what our heritage is, so long ago, and not so different now. Evidence abounds of the skills of the engineers and artisans who designed the structures and carved the statuary. The lives of the slaves are harder to imagine, but the connection for me is overwhelming.

Our basic worker culture is better off than the slaves of Rome, but in so many places in the world, the forgotten still struggle in poverty seemingly as bad as any in human history. In between there are the merely exploited, with the long endless workdays, low wages, and yet still making more than they might otherwise. Difficult incentives....The labor of so many still providing for the indulgences of so few.

...continued top of right column

Positano, Amalfi Coast, 2010

Ravello 10/5/10

A perfect sky stretches out above me, full of texture and nuance, subtle blues, grays, yellows. The sea is darker, but the same hue, and rough tonight with waves crashing against the stone walls. The air barely smells of sea. Or I hardly notice as perhaps I've become so accustomed to it these last few days. The surf and air come through my open window all night. It's my last evening here before I begin my journey home.

Its a painted sky, more carefully rendered than the finest artist's hand, not seemingly random, but of an order of the earth, with pattern, repetition, evolving form and such gentle color as to fool the eye.

I went to get my camera and even those few minutes turned the sky warm, just slightly. The striations are now separating into warm and cool patches, higher and lower clouds I imagine, forming a slight fan spreading from the horizon toward me.

I can't help but walk down to the crashing surf and let it crash nearby and run over my feet. The sea is cool, but not cold and it is tempting to jump in, but it is churning. It seems alive.

Dusk, Ravello, Amalfi Coast, 2010

I make a few photographs trying to hold what I see, but I know what I'm trying to capture is so much more than sight, it is the air, the sound and smell. The light held, on its own, is incomplete, even fractured.

It gives me pause about photography itself and all that it cannot do. I suppose that's why I write, make music, even love–to reach for the whole that I feel at this moment. It's a kind of ease of being, appreciating this natural wonder, the calm in my heart, letting my failings fade back a bit, sensing that the road to the man I want to be still lies ahead, but only by taking all in I can, the hope and despair, trying to learn from my shortcomings and appreciate the good man that I also believe myself to be and the better man I still strive to become.

As a romantic, its easy to get caught in the passion of it all, and life demands such passion. But I think my own letting go of the things lost and concentrating on this overwhelming gift of life and light is key.

Not always easy.

Reflecting on Pompeii. Ravello, 10/6/10

Wandering Pompeii, I was taken in by it's size and hard-edged reality, it's dramatic end, it's artwork, so unlikely to have survived, and only through extraordinary tragedy, but it survived. Some of the artwork seemed like mere decor, others seemed quite purposefully message laden. There were many reflections of a life of leisure, many violent. The quality of the work varied I suppose, as did the clarity of what's left. I was struck by one tour book criticizing the quality of an ancient painter's craft, even in calamity and 2000 years of time, the artist didn't escape the critic's pen.

This ancient work, along with the stone of Michelangelo's David in Florence a week ago, have made me think a lot about photography, artwork on paper and the fleeting nature of what I do. I've talked so much about image permanence these last few years, reaching new photographic highs of a few hundred years. Such a number seems so impermanent at the moment. I want my work to last, to at least have the potential of transmitting some of my heart to hearts over time. I will likely never make an image with anywhere near the impact of David, but I want the work to have that chance.

Snake, Pompeii, 2010

Angel and Graffiti, Pompeii, 2010

Interestingly, part of what I've been considering lately is prints on ceramic, using pigment, fused together in a kiln. It might have some greater chance of holding some of my work well beyond my work on paper. As it happens, I was just visited by someone working on just that process and I hope to do some testing in the next few weeks.

I'll be curious to go back to Pompeii. I feel like this is my first glimpse into this other world. Any photography I might do there of significance clearly needs days, and a variety of light conditions. But as most people, I was taken in by the remarkable preservation and magnitude of the tragedy.

Standing on top of Mt. Vesuvius the morning before my visit to Pompeii, it is very hard to avoid being stuck by the sulfurous steam vents on the mountaintop, and the huge panorama of Naples and the Bay of Naples, with a million people below.

An Italian Spirit

As I tried to sum up in a toast at the end of the Tuscany workshop, there is a spirit in Italy that is unique and deeply appealing. That spirit seems to appreciate time differently, to appreciate sensuality and experience over other values. That spirit is intoxicating, as is the wine.

I'll look forward to a return.

Portfolio of these selections

Trip Overview Slide show

TUTORIAL

A Compositional Checklist
Not a new set of rules, but my own thought process

• My first impulse on pulling the camera to eye is to figure out if what made me pick up the camera is being seen.
• I am then looking to see what kind of design and movement of line is possible within the scene that grabbed my attention.
• I try to always be asking myself if the subject is about light, or does it depend on some narrative of words. Unless the subject is light, I know it will likely be a weak photograph.
• Is the image simple? Can it be distilled down further? Is there anything within the frame that doesn't belong?
• I try to ask myself if my position or perspective could alter or strengthen the view

MY LATEST BOOK

Professional Photographers of America 2007 Hot One Awards

Stephen Johnson on Digital Photography

Book Reviews
Book Comments online

The stark and beautiful scenery of this legendary lake is unlike any other landscape in the world. Its alkaline water, desert vistas, volcanoes and unusual tufa towers make it a remarkable place. The presence of this huge lake in the eastern sierra desert is improbable at best, its out of place character is pervasive, at times seeming more lunar than terrestrial.

Mono Lake can change from a tranquil expanse of silver water to a blue-green stormy sea in minutes. It is a most intriguing place. It is both a challenge and a pleasure to photograph at Mono Lake. But Mono Lake's beauty does not necessarily make it easy to photograph here. The desert sun can be harsh, and the horizon can appear endless. It takes time and patience to catch the subtlety of Mono's moods. The autumn weather should provide some interesting cloud formations. The lake's strange landforms can easily become ordinary when photographed casually. Consequently this place demands a certain intensity to do it visual justice. A primary goal of our time spent together will be to slow down and understand the lake on a more intimate level than might normally be possible.

These four days will be a dynamic combination of a traditional landscape photography workshop while diving deep into the digital age. Technical and aesthetic considerations will be discussed in detail, while we explore this high desert lake and its strange environs.

Fine-Art Digital Printing Hands-On
November 6-9, 2010
Stephen Johnson Studios & Gallery
Pacifica, California.

This workshop focuses exclusively on improving your fine-art digital printing in our new Digital Lab, primarily using Epson inkjet printers. Concentration will be on inkjet printing with color pigments and black/gray ink combinations on coated and rag papers. Learn from the digital pioneer how he obtains his impressive results during four days of lectures, printing, and feedback in the studio.

We will cover workflow issues, color management, correcting color casts, adjustment layers, custom profile generation, editing and inspection. There being no magic bullet to making good prints, the workshop will also explore old fashioned testing, careful color judgments and interactive honing in on the best print possible.

Pt. Lobos and Carmel: A Digital Photography Field Workshop November 13-15, 2010

Ansel Adams called Pt. Lobos "the greatest meeting of land and sea" on earth. It is truly an amazing combination of rock, surf, wildlife, changing light and abstraction...aqua surf, orange lichen, organic rock forms and waving sea palms. We'll walk the trails, wander the rocks, get lost in form and light. We'll talk to a gallery director, explore the Carmel photography scene, likely eat well and do a special session with photographer Al Weber at his Carmel Highlands studio in this three-day immersion into classical California landscape photography.

Black and white printing in the digital age with a classical landscape photographer who comes from the world of large-format black and white photography and years in the darkroom and has worked hard and early on for the development of high quality digital photography technology.

Explore the black and white possibilities of modern printers and their controls, linerarization, nuance of tonal and image tint, the glow of traditional looks and the subtlety of completely new ways of seeing black and white.

Death Valley in Winter
January 15-18, 2011

Transformed from a searing 120 degree desert in summer to January's mild 60-70 degree weather, Death Valley is filled with intriguing landforms, delicate flora, strange mineral deposits and expansive views. Mile high Dante's View overlooks the patterned salt flats of Badwater and the Amargosa River below (the lowest point in the United States). Badwater's still water in turn mirrors the blue and white Panamint Mountains to the West. The lunar landscape of Ubehebe Crater's black volcanic fields rise from the rolling desert at the valley's north end with the steep gorge of Titus Canyon and Red Pass to the southeast.

Tanzania
January 26 to February 6, 2011

In late January we have put together a trip for a very small group (3 to 4) to Africa January 26 through February 6 on a special photo trip to Tanzania. Explore the fabled Serengeti and Ngorongoro Crater. In our own camp on private gamelands you can enjoy Masai culture, bush walks with specialist guides, game viewing in open vehicle - these are just some of the special experiences. The magical scenery and the wildlife is incredible

Galapagos Photography Adventure (preliminary announcement)
March 11-21, 2011

Join us on a 7 day photographic excursion to Ecuador's Galapagos Archipelago explored with photographer Stephen Johnson. A 12 person catamaran will be our home and vessel, with a journey through one of the wonders of the world.

Personal Workshops and Art Consulting Arrangements can be made to work with Steve individually at his studio or at custom locations. Call for a discussion of the possibilities. 650 355-7507

Steve and Tom Olympic Peninsula, 2002.

Lectures

PhotoPlus New York City
October 27-30, 2010

12 Things to Improve Your Photography
Thursday, October 27, 2010. 1:15pm-3:15pm
TB9

Canon's Explorer of Light Photographer - Stephen Johnson
Photographer Lecture Series

Photography And The Environment: Education Night talk
Marin Photography Club November 9, 2010 6:30pm

Marin Power Squadron Building, Hamilton Field, Novato, CA

Class Visits

Many of my fellow photography instructors have brought their classes by the gallery and studios for talks over the years. I realized I had never made this aspect of our activities here public, so here it is:

We welcome photography classes to visit our studios and galleries.

At The Studio Gallery

Galleries open by appointment. 650 355-7507.

Book Reviews

Barnes & Noble Review: From Our Editors
This is a passionate, deeply personal guide to digital photography by a true legend in the field. If you've been fortunate enough to participate in one of Stephen Johnson's seminars or to view his breathtaking national parks landscapes, you know his book has the potential to be truly extraordinary. And so it is.Johnson teaches sophisticated technique without ever losing track of art. You will learn powerfully important things about digital sensors and high dynamic range photography; about multi-exposure panoramas and scanning; about tone, layers, and Photoshop curves; about Camera RAW Workflow and honest restoration.He roots digital photography deeply in its historical context without ever losing sight of the present -- or the future. He also captures the deep importance of digital photography -- and its ethical implications -- without ever becoming pretentious. And the images? No words suffice.

-Bill Camarda, from the November 2006 Read Only

Book Comments online

"Steve Johnson, one of the true visionaries of the digital photography era, offers us a technical tour de force and passionate artistic overview of the possibilities inherent in this new medium. On Digital Photography should be required reading for every aspiring photographic artist."

-Ted Orland, photographer & writer

...As Johnson says at the books very beginning in a Note from the Author: “I have often also been frustrated at the concentration on the technical aspect of digital photography with so little discussion of the aesthetics and the heart behind the imagery.” Indeed and at the book’s end he uses this frustration to deliver hugely enlightening home run. The book itself is an artistic treasure with a very meaningful subtitle: Text, Photography and Design by Stephen Johnson. Johnson obviously demanded freedom to create. Tim O’Reilly did well when he granted Johnson’s wish. Quite simple the best photography book I have ever seen.

-Gordon Cook's Collaborative Edge
September 9, 2006

Printers I'm no longer using are being Donated to educational/charitable or government organizations. Send an email. All working when last used. Must pick up.

• Epson 9000 (dye inks and Lyson grayscale set included)
• Epson 9500
• Epson 10000
  
  

FOR SALE

Printers being replaced:

• Epson 2200 $300
• HP 5500 Color Laser $1500

Featured Products

GrayCaps

GrayCaps^TM Digital gray card. The Digital gray card you will always have with you, even among 10,000 penguins.

Matting and Framing DVD

A one-hour video demonstrating how to prepare, measure, cut your matts, label and frame photographic prints.

To order

A Photographer's Journey DVD

A Photographer's Journey is an 8 minute mini-documentary on landscape photographer Stephen Johnson's ground-breaking all digital photography in America's National Parks, With a New Eye. Produced by Apple Computer in 1998.

Additional Features

• Parks Project Gallery

More info

To order

Visit Our Online Store

We continue to offer a wide variety of Steve's posters, books, notecards and a video or two from our Products page.

There is also a new page devoted just to books and one devoted just to products from our national parks project, With a New Eye.

Please take a look and browse. There are many one of a kind items there, available nowhere else.

By appointment only.
$25 per hour, plus a per print charge

Includes full access to calibrated monitors, fast G5 Macs, Epson pigment inkjet printers, 5000°k viewing lights and color profile creation hardware and software.

Appointments can be made by calling 650 355-7507.
Familiarity with Mac OSX and Photoshop CS4 or Adobe Lightroom 2 recommended. Staff tutorials available for additional charge.