Great Photographs Are Where You Find ThemSeth Resnick is the consummate professional. His polished and sophisticated images are mostly shot on location, where he works with portable lighting gear and digital cameras. |
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| By Kelly Mattson, Photography by Seth Resnick | |
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Page 4 of 4 Maisel also influenced Resnick’s sense of composition. Like Maisel, Resnick has an intrinsic ability to isolate forms, colors and shapes from their surroundings. “I try to capture something that people miss,” he says. “Isolating these forms and colors brings out a whole other world that people just don’t see.” Adds Resnick, who was constantly competing against television as a photojournalist, “TV journalists can capture the world as it is. I couldn’t do that nearly as well as a still shooter. I tried to set my images apart by showing aspects of the world that were easily missed by the more literal TV images.” Resnick is perpetually looking for something new to try, something he hasn’t mastered yet. Maybe that’s why he became so enamored by the digital technology side of photography. Part scientist, part photographer, Resnick saw the possibilities and the challenges of the new technology. He began to learn everything he could about digital. Early on, he met Jeff Schewe, and the two struck up a lasting friendship that even has yielded a business venture. Both are principals in PixelGenius, a company that develops software to automate a variety of image-processing tasks. Recently, Resnick entered into a new venture, D-65, a boutique company that seeks to educate photographers on how to effectively work with digital technology and incorporate that technology into a successful business. “Digital has clearly increased my creativity and my productivity,” sums up Resnick. “So many times, shooting is about taking chances. But it’s the chances that come from thinking outside of the box that produce the winners. When I shot film because I couldn’t really see the final results, I shot more safe pictures for clients. I always took images that were pushing the limits, but I spent more time on the safe images. With digital, because I’m combining the editing process with shooting, I find myself taking many more chances than I ever took with film. I can see the results, thus I eliminate chance. I end up with a much greater proportion of so-called portfolio images shooting digital. And now I don’t depend on a lab to process the way I conceived an image. I hated pushing and pulling, and hoping the lab was on target. “All of that control is now back in my hands,” says Resnick. “And, best of all, I have an original that I can always go back to. With film, all I had was a ruined transparency. To see more of Seth Resnick’s photography, visit www.sethresnick.com. To learn more about PixelGenius and D-65, visit their respective Websites at www.pixelgenius.com and www.d-65.com.   |
