P01.V52.I4
BLACK
CYAN
MAGENTA
YELLOW
SPRING 2012
PAGE 22A
ADVICE
Continued from page 16A
left snarky notes for each other,
and had a few shouting matches.
No matter how carefully I tried to
evenly divide my time, someone
always felt neglected.
I found the more organized I
was trickled down to the editors,
and the better it was for all of us.
Constantly juggling deadlines
and changing priorities helped me
help them. I never let the editors
schedule deadlines at the same
time, although sometimes the
deadlines oozed into each other.
It was this planning that
MANUAL
Continued from page 17A
ogy. Explanation of the relationship between aperture, shutter
speed and ISO setting is handled
fairly simply. The treatment of
subject lighting and the use of
natural and flash lighting will
allow the aspiring photographer
ADVISER UPDATE
helped me keep my sanity while
advising two, sometimes three,
publications for 32 years. I heartily recommend taking on more
than one. The advantages are
many.
There is an old saying “work
expands to fill the time allowed”
that describes advising exactly. If
you are considering advising more
than one publication, time management will make or break your
job. There are so many opportunities for sharing students, equipment and time.
Combined work nights, space
and equipment permitting, were
some of my favorite times. The
energy in the room was high, and
that competition between staffs
worked in a positive way as students seemed to reach for a more
creative level as they worked sideby-side. Even the editors seemed
more “on” in the presence of their
sister (or brother) editors from the
other publication.
I always ran one photography
department. Sometimes there
was one photo editor, although
generally each publication had its
own photo editor. All photographers took pictures for both. Back
in the days of film and the darkroom, this saved money. Now, this
process saves valuable student
photographer time.
We sometimes had one adver-
tising department. In a small
town, having the same person
contact a merchant for a yearbook
ad, then return for newspaper ads
worked well.
Sharing equipment was a
financial necessity. By having the
yearbook and newspaper kids use
the same computers, I could save
expenses to update the Macs more
frequently. The staffs shared
printers, cameras and space —
not always happily, but generally
without trauma.
Other advantages of advising
both allowed me to occasionally
swap staff members. If someone
wasn’t comfortable meeting the
more-frequent newspaper dead-
lines, perhaps that person could
switch to the yearbook staff where
the pace was slower at first. If
there was a conflict of the “I-stillhate-her-because-she-stole-myboyfriend-in-sixth-grade” kind,
movement to the other staff was
easier.
Advising more than one publication can make you crazy and
save your sanity. It’s exhaustion and fulfillment. It’s not just
apples and oranges; sometimes its
apples and pomegranates, but it
all works. Given the opportunity,
give it a try.
to enter a more creative phase in
his/her photography.
Chapters Six, Seven and Eight,
however are where Horenstein
breaks away from the ordinary
and reveals his book to be a
standout.
In Chapter Six, the readerphotographer can learn the basics
of scanning, saving and backing
up digital images, something not
usually covered in manuals of this
kind.
In Chapter Seven, Horenstein
presents the editing process
emphasizing the importance of
using the proper hardware and
editing programs, as well as the
specific adjustments that can be
made to image composition, color
and special effects. This chapter
is particularly helpful.
In the final chapter, printing and archival preservation
of prints are addressed quite
thoroughly. Although printing at
home tends to offer more control
over print quality, it is generally
more expensive than using a
commercial lab, and Horenstein’s
guidance on printing workflow
is sufficiently detailed and helpful for photographers who prefer
doing their own image printing.
“Digital Printing-A Basic
Manual” (ISBN 978-0-316-02074-
90) is probably best read twice
through so that it can be read
first for general content and then
reviewed for specific applications.
Horenstein was assisted by
photographer, teacher and writer
Allison Carroll in the production
of the manual. It is published by
Little, Brown and Company and
lists for $29.99.