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26th-Mar-2017 01:00 pm - My tweets
hand tinted photos, black and white photo, portraits
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16th-Mar-2017 12:00 pm - My tweets
hand tinted photos, black and white photo, portraits
15th-Mar-2017 12:00 pm - My tweets
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14th-Mar-2017 07:03 pm - Hnad Tinted Photos the Classic Way.
hand tinted photos, black and white photo, portraits

                                PHIL’S PHOTOGRAPHY PROGRAM 2017

I recently had a discussion with an elder about the lost art of what everyone can relate to known as photography. This conversation shared the joys that we both have had over our years in this profession.  We discussed how it would be befitting to create a program to allow our youth the pleasure that we have received from this profession and in doing so we share our wealth of knowledge that we have accumulated throughout our years of shooting. We can foresee this to be a catalyst that could ignite a new found passion in creating photos the Classic Way.  This would have a tsunami effect on our youth and adults being analogous awakened. In this introverted society our new technological advances causes us to live in an isolated world that is yet connected.

  I believe that our millennia’s are more interested in the nostalgic life styles and fads of the past than generation X. We are now experiencing a new found interest in vinyl records, walkman’s, black and white photos and 8 track tape players, e.g.

The goal of this program is to bring black and white photos and hand tinting photos back in the main stream of our culture again.  With the smart phones and computers, this magnificent art has been lost due to the quality of digital photos.  Therefore, I have proposed to continue assisting students and even young adults with learning the art of photography the Classic Way. 

“The first unspoken language known to all men, but is universally understood all over the world is photography”. PJP 1996  It is vital that we not forget the old arts of the past.  With the program that I would like to develop students would learn the basic art of analog photography.  The youth will have an opportunity to learn analog photography using 35mm and middle format of cameras. Students will also learn how to develop, print and hand tint black and white photos 

I would like to start a movement of youth that will learn the art of analog photography using 35mm and middle format cameras.  I will also teach each student how to recycle old negatives that are sitting around in some shoe box into prints. Students will learn how to develop a black and white photo in the dark room and how to tone the final print. I will demonstrate some of the special techniques of “dodging and burning” that the Great Ansel Adams used to create his award winning photos in his darkroom. 

        Through the daily curriculum that will last two weeks per group, the youth will be provided a camera and needed materials for the course. to assist them with understanding photography; including, recycling old negatives that are probably lying around their homes; and learning how to develop black and white photos in the dark room; and how to tone the final print. Each student will learn about the different types toners that can be applied photo before the hand tinting process. For
example a few types of tones include selenium, sepia, gold, copper, platinum-paladin, tea, nickel, antique and coffee.

        The goal of this program is to bring hand tinting photos back in the main stream of our culture again.  With the smart phones and computers soft ware that is available on the shelf has caused a dramatic decline in the interest of film, the art of hand tinting photos has been lost. This movement will work as follows:

Process in recruiting

-Applications will be distributed to schools, libraries, local after school programs.
        -Applications will include: a photo that is heartfelt to the student with an essay describing why this photo is meaningful.  It will also include an application for parents and youth to complete.  Because this is a novel program, I will have a rubric that will be based on a point system to select students that would be ideal for the program.

The cost for each student is about $250.00

-The owner and founder of the movement; Phillip Jones will prepare tables during children events and other festivals to recruit.
-Decisions will be made three months before the start of the program.
        -This will allow all purchases to be made and final set-up to be made for the students.

Weekly Agenda

The youth will be broken down in four sections.  Each section will meet for two weeks for 2 hours per session. 
Section 1- M-F- 8am-10am
Section 2 M-F- 11am-1pm
Section 3 M-F- 2pm-4pm
Section 4 M-F- 6pm-8pm

Each section will hold a max of 10 youth.  Each youth will have their own camera and packet of study information.

Monday (1st session)- Introduction of workshop; students will be given all materials they need.

Tuesday – How film works.
Wednesday- Camera Settings
Thursday- Balance and proportion
Friday- Lighting

Week 2
Tuesday- Portraits
Wednesday- Darkroom
Thursday- Journalism
Friday- This will serve as a presentation day.  All students will share with the community; parents; friends the skills that they learned during their session. 

Curriculum- the Curriculum will include easy to follow lesson plans for each students. All sections are self paced to allow each student to have more freedom to advance.

This curriculum provides parents, students, community, and sponsors a guide to our program. 
Expected Outcome:
Assessments Used:
Material Required:

Ex:  Lesson 1/Day 1
Objective: To introduce students to the lost art. To provide equipment and material to students.

Expected Outcome:  Students will learn the basics of analog photography. Knowledge of the film and black and white prints.  Students will learn the difference between digital and analog photography.

Assessments Used: Questions and answers session  and an open forum that allow students to work together in pairs to discuss things we learn as a group.

Materials Required:  Camera, print material, and curriculum

Break down of how funds will be used:

  • Cameras

Currently own 5 35mm cameras with lens, I would like to purchase 10 additional used cameras.  Cost would be around $250.00

  • D-76 developer for 1000 photos at 8 x 10. Will bulk purchase.

  • Ilford double weight matt fiber black and white photo paper for 100 students. Would need 1000,  8 x 10 photos.  Cost around $2700.00

  • Would like to purchase 5 Bessler B/W enlargers with accessories. Cost around $400. 00

  • Transportation cost would be minimal; all classes are taught on the premises.

Total cost for materials are about $7200.00
5th-Nov-2009 10:31 pm - Hand Tinted Black and Photo Art.
hand tinted photos, black and white photo, portraits

I have found a technique that allows me to add
metallic colors to my hand tinted black and white photos. This Black and white photo is Hand tinted the "Classic way", never computer aided in any way. I use color film to produce my Black and white Print. My photos are produced on fiber based, double weight black and white printing paper. All of my photos are toned with selenium, copper, sepia, gold, nickel, platinum-palladium, coffee's, or tea's.

My next project that I will complete before new year is my stereo hand tinted photo art using mirrors placed at a 45 degree angle; the late  Dali Salvador had many failed attempts making a stereo picture work using stainless steel, polished aluminum dishes, metals and of course mirrors. Philippe Devaud  (2001) from Switzerland had the opportunity to work  with Dali in the early eighties. Philippe had a theory on how to solve Dali's problem with the double image that distorted his stereo art work. Philippe noticed that the double image was due to the rear silver coating,  stereo pictures that worked were merely a choice of mirrors. Philippe had that discovered that if you use a front coated mirror the double ghost image disappears. I apply this same theory to my stereo photo art. 

hand tinted photos, black and white photo, portraits
This is a Color Photo Born Inside  a Camera.
Humpty color 
 I use the rules of third  as guide to determine where I place my colors.
 This is a Side view of a Photograph.

A,3=Fore Ground Top. B,3=Top Middle Ground.C,3=Top Back Ground.
B,2=Fore Ground MiddleB,2=Mid Ground Middle.C,2=Back Ground Middle.
A,1=Fore Ground Bottom.  B,1=Middle Ground Bottom.C,1=Back  Ground Bottom.
This is a Black and White Print Delivered inside my Darkroom. 

This is Frontal view of a Photograph or scene.
X,3=Top Left.Y,3=Top Middle.Z,3=Top Right.
X,2Middle Left.Y,2=Mid MiddleZ,2=Middle Right
X,1=Bottom Left.Y,1=Bottom Middle.Z,1=Bottom Right.

This is Hand Tinted Photo the Classic way.

This Technique can be applied to any Media. The colors lead the viewers eye to focus on certain areas of the Final Photo Art. I use only color film to create my Black and White Photo Art. Color films have three layers and Black and White Film have only two layers. I find that color films record the true mood of each scene as it really is. Reds are red, blues are blue, and greens are green. Black and white films records the tones and not the hues and the chroma of each scene as it exist. I use my color prints to aide in my color balancing process. This is the most exciting aspect of my 2 Zone Technique. I use Zone "A" to compose my Color Photo Art inside the camera. I then use Zone "B" to develop my Black and White Print.
  I have a simple formula that I created to achieve my color balance and color contrast of each final print. I use the actual Color Photo as a guide when I Hand Tint my Black and White Photo the Classic way. I use up to 27 points when I color my prints.
 The foreground = A, middle = B, back = C. The bottom = 1, middle = 2, and top = 3. I can place my hues of color in one the cubes to create unimaginable illusions of Grandeur.
20th-Feb-2008 07:22 am - The 2 Zone Technique.
hand tinted photos, black and white photo, portraits
 The zone scale  has ten steps and is based on Ansel Adams's description of zones in his book The negative. Zone 0(zero) relates to the deepest black print value that photographic printing paper can produce. Zone V corresponds to a middle gray, the tone of a standard-gray test card of 18 percent reflectance. Zone IX relates to the lightest possible print value-pure white of the paper base.
   The Zone System allows you to see how the tones in any scene will look in a print and to choose either a realistic interpretation or a departure from reality. Using the Classic way to develop and expose your prints, and understanding the Zone System will help you get improved result in the final print stages.
   This is why I use Color film to produce my Black and White Prints. Color film reacts to Black and White enlargement paper better than your average Black and White film. Color film records the colors as they appear, and Black and White film records tones, which are directly related to each tone scale. Color film gives greater details and contrast than black and White film.
   I use the Zone System in my final print stages. This is where I can dodge and burn my details. My Photos are printed in Zones III to VII, it allows me to Hand Tint my Black and White Print with vivid or soft colors. The shades of gray intensifies the hue and tint of each color.


A Color Photo Born inside a Camera.

A Black and White Photo Delivered in my Dark room the Classic way.

Hand Tinted Black and White Photo Art. Photo has been
Selenium Toned.
I apply my Colors in the Fore ground, Middle Ground,
And in the Back ground.

This is what makes my Black and White Photo Art unique and original.
Photo has a Mother of Pearl finish. Limited Edition.

7th-Feb-2008 09:27 am - Where are the Photo Artist ?
hand tinted photos, black and white photo, portraits
I am wondering where are the Photo Artist ? Are we a becoming extinct ? I still use my dark room to develop my Black and White Photos the Classic way. If you are interested in Photo Art the Classic way, join our group. Thanks Artfully Yours, Pacco J Pompei.  
7th-Feb-2008 08:41 am - So… what is the price of that?
hand tinted photos, black and white photo, portraits
So you have started your own photography business and you are starting to get noticed. Someone walks up to you, at a show or gallery and ask’s “How much is that print?”

You feel a slight cringe coming on as you tell the customer your asking price, all the while thinking…”am I charging enough for my work?” Well maybe not.

Pricing can be one of the most difficult things you will do in your business. Here are a few ideas that may help you decide. Ask yourself a few questions.

1. Do you think your work is really good, or just plain old run-of-the-mill stuff?
2. What type of customer are you targeting?
3. What do other photographers charge for similar work?
4. How much time are you wasting with your customer?

I want to talk about each one just a bit.

Do you think your work is really good? You need to develop an attitude that projects to your customer a sense of confidence in your art and your business. Being timid and indecisive about your work or business is something that your customer will pick up on right away. Having a lot of experience in what you are doing is a key to developing that attitude.

What kind of customer are you targeting? Well Let’s look at the different types of photo consumers.

There are basically 4 different types of photography buyers.

First is the average consumer,also known as the “tire-kicker.” You know the type, they hang around your booth, at a show, ask a lot of questions and in the end, buy nothing. Generally they have very little knowledge about the subject of photography or art. This type of person stares in dis-belief of a photograph of a vase on a table selling for $400. They mostly buy photography in the form of postcards, calendars, posters or trinkets at a gift shop for less than $50 each. This market has been called a real “career killer” by some photographers. Now if the object is solely to make money, then the millions of consumers may seem like a gold mine just waiting to be tapped. Not so fast. It may bring a lot of customers but the low per item price point will mean that you have to develop a large volume to make up for the lower profit on each item. You may find that your “photography career” may turn into a “distribution career” rather quickly. What fun is that?

The “art collector” is the next class of customer. They are the top of the food chain. They acquire well known works whether on a large or small scale and they see it mostly as an investment potential. They have a great appreciation for the medium and are well informed about the craft, history and who’s who in the photography world. They usually only buy the works of well known photographers and unless you are that well known, this is probably a class of customer you should not target, at least not yet.

Art Aficionados are the middle class of the photo art world. There are 3 types.

The “high-end” aficionado is one who knows the art world well. They do not collect or invest because of limited funds. This is a opportunity for the accomplished, but still relatively unknown, artist who has exhibited before and has been well received. The key here is getting the exhibitions. Showing your work at public TV or radio events or other high society educational or other functions is a great way to get the exposure you need. Donating your artwork to fund raising drives that attract affluent benefactors is another avenue. It does not bring in any money but the key here is to get that exposure. Exposuer, exposure, exposure, need I say more?

The “pretend aficionado” is one who is attracted to art but really does not know that much about it. The problem is that they do not know, that they do not know. They speak confidently about artworks yet have no awareness when they make factual errors. This type of person should normally be over looked but they do buy photo art from good photographers even though they are really not very experienced in doing it.

The “wannabe” is one who loves photography but is still learning about it. This makes them somewhat cautious in what they are thinking of buying. They often haggle over the price and at times, it can be frustrating. Their taste in photography has not really developed but like I said, they are learning. They are not afraid to spend money but they tend to go for the lower priced pieces that the “high-end” aficionado would not bat an eye at. They look for bargains at fairs, cafe’s, street markets and other venues, often in the presence of the “tire-kickers” mentioned earlier.

Spontaneous Buyers simply buy things on the spur of the moment. Maybe they are on vacation and want that memento or they are looking for something to put on that blank wall in the upstairs hall. In general they are unreliable and unpredictable, but their randomness can account for appreciable sales if you position your sales locale well.

The idea here is to pick the type of market that will allow you to set a price for your work and that will get you a profit margin that you can live with, comfortably. As far as prices go let me quote here a bit from the book titled “How to Make Money with Digital Photography” by Dan Heller, published by Lark Photography Books and copyright © 2005 by Dan Heller. Dan writes:

“Let’s go back to the first couple of years of my photo career. I priced my prints low to attract sales, but this just turned into a sinkhole of time and effort. So much so, in fact, that I considered not selling prints at all just to stop those tire-kickers from taking up all my time while yielding no profit. However, instead of withdrawing completely, I figured that I’d just raise my prices so that people would be less inclined to ask questions if they weren’t actually considering a purchase.

I raised the price of my smallest prints (8 x 10 inches) from $25 to $200, and I added bigger print sizes (all the way up to 40 x 60 inches) with ridiculously high prices. Ironically, I found that higher prices had quite a different effect than I’d anticipated. Immediately, the tire kickers went away and surprisingly, the sales started to climb. Unexpected, yes, but what was most interesting was how the demographic of my clients moved from the generic “consumer” to those who were artistically inclined. They did not bog me down with questions, they just bought the prints..

The average consumer is unlikely to spend more than $50 for a print, but those who are familiar with fine art don’t wince at higher prices. Similarly, they don’t ask the questions that consumers do because they already understand the market and, by extension, the product.”

Now maybe, just maybe you now have some idea of where you might set your price points. Getting your name and artwork out there is the key to success.

As you can see a lot of what I have been saying came directly from what I learned by reading all the books Dan Heller has written. I have adopted the “Dan Heller Philosophy” of the photography business.

So there you have it, a bit from me and a bit from my business “guru”, Dan Heller. Incidentally, Dan’s website has a lot of the information I have given you and in more detail. You can also get a feel for the kinds of prices he charges (satisfying question #3) and you can order his books directly from the website, or from your local book store. They will be happy to order you a copy.

Dan Heller Photography
As for question #4, remember the “tire-kickers?”

Good luck and your welcome.

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