Halloween 1977

1977 - New to Seattle, I had the good fortune to move into a rollicking shared house that eventually became known as “the Hilton.”

Half my housemates were Kiwis and English lads…..who had an endless flood of friends coming to stay for days, weeks, maybe months. Hence our affectionate residence nickname “The Hilton”…And we soon became known for our tradition of amazing Halloween parties that the Kiwis called“Fancy Dress”. (Think “fabulous costumes” rather than “fancy dresses”.)

One year, I decided to go all out and become a Satyr for that year’s party. A trip to my favorite wholesale fabric and textile store was in order. Rummaging through their vast collection, I found my holy grail - pink shag carpeting which would become my goat legs. A friend helped me sew together my leggings, covering waist to knees. The upper half would be shirtless except for a dazzling tuxedo jacket, complete with tails. Of course I had horns and a devilish goat face. My satyr hooves were fashioned from a pair of pink clogs. The costume was ready —- I should have left it at that.

But NOOOO, I couldn’t be satisfied with less than perfection. My own personal chest and legs were almost hairy enough, but wouldn’t some extra black curly hair be just the thing to complete my outfit? Yes!

I Found the fake, black curly hair.

Next stop - a pharmacy for skin glue. The pharmacy clerk assured me it was water soluble and easily removable. You might sense where I’m going with this. Being a trusting soul, I didn’t test the glue before donning my entire outfit for the big night.

To put it mildly, I was a sensation! I pranced into the Fancy Dress party, pink clogs tapping, arms bent, elbows at my side, my satyr hands held forward, clicking and prancing, dancing to our disco soundtrack with hits like Le Freak and Disco Inferno. What a night! Around one or two AM, after the police, as usual, closed down our party, I threw off my clog hooves, tuxedo jacket, horns, and pink shag leggings, and dropped my hairy self into a tub of hot water for a good soapy soak.

I relaxed in the steamy bath, waiting for the suds and heat to do their magic, loosening the glue, and “voila” the extra hair would fall off. Wait - What - No??? Well, maybe if I pull a bit on the edges? Uh oh….even in my glazed unsteady state, it soon became apparent - the glue was stuck fast. Cursing, I crawled out of the tub, used a towel which did virtually nothing for my wet furry body, then dropped my hairy self into bed.

Late the next morning, I had a look at my body, which had been so magnificent just the night before. Now looking like the aftermath of a forest fire...black, knotted 'hair' all over my chest and lower legs, skin and fur sticking to the bedsheets. Slowly peeling body from bed, I cursed, dressed, made coffee and sought out a different drugstore to resolve my sticky issue.

I carefully made sure my chest and legs were completely covered, then headed out. It was Saturday late morning and the store was full of customers and staff, and there was a lineup at the counter. I finally got up to the clerk, a kindly-looking 60 something woman. I leaned in over the counter and quietly, very quietly, asked if she might recommend something to remove glue from skin.

Looking slightly puzzled, she asked, "What exactly do you mean 'remove glue from skin'?" Hungover and still a little dazed from the night before, I whispered "I'm a little embarrassed, would rather keep this on the down low." I looked left and right, then pulled up my shirt exposing my heavily matted chest. Where upon she gasped, laughed, and yelled across the store, "Hey Shirley, look at this guy’s chest! Do we have anything to remove fake hair and glue?"

All heads in the store whipped around staring at my exposed chest, as I quickly pulled down my shirt. Finally, glue remover in hand, I sheepishly slid out of the store as people laughed, waved, shook my hand, and wished me well. Luckily, it worked. When I got home, I peeled away all remnants of the night’s glory, rolled a joint, eased into my sticky bed sheets for a nap and dreams of my once-in-a-lifetime goat-like glory.

On An Average Day the Business Photography is Difficult

The Art and Business of Photography (https://www.tacoma.uw.edu/uwt/pdc/art-business-of-photography) master class offered through the UW-Tacoma approaches the idea of photographic business success as personal, doable and requiring focused hard work.

My love affair with taking pictures started seriously in my twenties. I had no concept that I could earn a living from my photography.

In the mid 70s, I was on a path to becoming a psychologist. In the US Army during Vietnam, I was assigned to a hospital’s psychiatric ward as a “social work specialist” which for all intents and purposes meant a therapist for the patients.

After my two year stint, I moved to Seattle to earn my PhD in Psychology and start a career of counseling. Once in the program, I discovered it wasn’t a good match. Visiting New Orleans on a spring break I met a guy from Rochester, NY who was getting a degree in “Bio-medical” photography. I loved working in a hospital and combining that with photography seemed a perfect fit.

He mentioned he thought there might be a school near Seattle. It turned out to be in Bellevue, WA, a stone’s throw from Seattle. I returned and immediately applied. Three weeks later I was accepted. Dropping out of the UW, I began my studies in Bio-Med.

My first job as a professional bio-medical photographer was as supervisor for the U of Alabama’s medical photography department. Missing the NW, I was fortunate to land a bio-medical photography job at Madigan Military Hospital in Tacoma, WA. Then a short bounce and change of jobs landed me back in Seattle. I was hired by the UW as their chief campus photographer. Bio-med was left behind for a broader undertaking of “university photographer”.

In 1980 I returned to Seattle. By 1982, I was itching to expand my work to start a part-time commercial photography business.

Wanting to start my own full time business but with zero understanding of “how,” I began to explore while working at the UW. After six years as chief staff photographer, I went part time in order to establish my business presence.  In the mid-80’s I joined the ASMP (the American Society of Media Photographers) to learn about the “business of photography”. I didn’t know a graphic designer from an art director. Or an “annual report” from a “kids report card.” Among many, two important questions then, as now: “How to find clients?”, “What to charge?”

Concurrent to my ASMP experience I took a long series of business classes: sales, bookkeeping, estimating, collecting, presentation. Often these classes were offered by BBB, SBA or the UW extension and had nothing to do with photography and everything to do with running a successful small business. On a whole they were very helpful. In the late 80’s and early 90’s, after being president of the local ASMP chapter, I volunteered to be the regional coordinator for a new business series from ASMP national called “Strictly Business”. It was then I began to add business workshop to my blooming teaching schedule.

Personally I see myself as an artist very skilled in the business of photography. I have many hats to wear. At times it’s difficult to remember which one to slip on. I rarely if ever speak only one language or wear only one hat.

The early years of my business concentrated on corporate, editorial and advertising photography. Then, from around 2000 until 2017, my two primary focuses were commissioned portraits and my creative work. In the 2000s I was invited to attend as a guest and lecturer a masters workshop for In Person Sales. A week long focus on the business of photography and in particular selling to clients. What I discovered hiring me for my portrait services was money well invested. During the portrait sessions, I provide a unique experience for my clients. Afterwards, I provide my clients with photographs of enduring quality that draw on decades of photographic experience.

I have studied and succeeded with difficulties of starting and maintaining a business. When people ask "what have sort of photography do I do, I jokingly comment, “I’ve done every type of photography but underwater.” 

Over my career, I have taught, lectured and supported many NW photography institutes. To name a few ASMP/NW, The Photographic Center Northwest, Art Institutes photo degree program, Seattle Central’s Professional Photography program, and the UW’s Continuum College.

This is the background I bring to you.  The Art and Business of Photography master class offered through the UW-Tacoma approaches the idea of photographic business success by covering three areas. The three “Cs”: Confidence, Creativity and Commerce. These three broad areas are the cornerstones to a financially successful photography business.

Check it out here: https://www.tacoma.uw.edu/uwt/pdc/art-business-of-photography

If this resonates with you, join us this Fall.

I look forward to seeing you. Questions? Please reach out.

Diazo Who?

Ask yourself: What in the world would I do to create a speaker’s presentation without digital applications? Without Powerpoint, Keynote, digital files, deciding which of dozens of templates to use. Before digital was analog. Analog means film.

1977 was the year I secured my first full-time professional photography job as Production Manager for the University of Alabama’s medical school. It would be a decade or more before computers even became common. Microsoft went public in 1986. Analog was the key work with photography. Film with 24 or 26 exposures per roll, labs, contact sheets and waiting for film to be developed was the standard.

Editing with magnifiers, that were referred to as “Loupes” by holding the contact sheet to a light or backlighting slides looking at them one at a time.

What could be more tedious in preparing images for a presentation, you ask? Read on: click here to see finish this piece

Professional visual presentation of pictures where usually accompanied by white text on blue backgrounds. In the profession we called them “diazo slides”.

In my office of bio-medical photography, the least interesting but bread and butter to my department was producing these lecture slides.

A doctor or their assistant would deliver to our office a few to hundreds of typewriter notes that would accompany their presentation. To accomplish this, the photographer would sit between to very hot light to the left and right of the copy board. The 35mm camera was mounted to a vertical arm that allowed the camera to move up and down to fill the frame with the object to be turned into a slide. MOST slide where text and we provided a 35mm mounted image with blue background and white type. The road to creating a diazo was at best tedious.. First we had to roll out the bulk diazo film and load it into a 35mm film canister. Next load the roll into a 35mm camera and start the process. After 36 exposures rewind the film, unload the roll, replace it and continue the procedure as many times as necessary to complete the assignment. That’s the easy step!

Next take the roll/s of film into the darkroom and develop up to six rolls at a time. After the film was hung to dry the next step was to snip each frame off insert it into an empty paper 35mm framed, secure it so it doesn’t wobble and place it in the order received form the client. Repeat until all images are filed. If a frame is damaged, then start again with step one.

My job as manager was to review each and every slide making sure it was in order, correctly placed in the slide holder and ready for delivery.. This meant sitting at a light table with a magnifier to look at each slide for clarity, sharpness, and positioning.

I clearly recall a Thursday evening, someone representing the medical staff brought in 100 sheet of paper needing them turned into slides by Monday morning 8am.

It took my staff one full day to process this order and me many hours to review, inspect and approve it for delivery. I worked over the weekend to complete the task.

So next time you are frustrated or annoyed as you sit at your computer creating a presentation of words and pictures, worrying about which of dozens of templates to use as a background and then using your curser to glide easily between your selection, stop complaining and create.

We’ve come a long way in 30 years but the journey, for me, has been a lifelong enjoyable ride.

Barbies at a New Zealand Hot Springs

Near Rotorua, NZ the area brims with small to giant lakes. On this day, it took about two hours to kayak across this New Zealand lake. It was a windy day, sometimes at our back, that we pushed throw. As we paddled into the opposite shore our guide suggested we stop at a natural hot springs the Parks Department had turned into an open air spa for all.

It was a bit of heaven to relax in the warm mineral waters after our intense open water journey. After a few minutes of soaking I noticed the head of a young child bobbing up and down. Then I saw a second child, identical, pop out of the water with a Barbie.

My camera was immediately drawn to the scene. However, before I engaged, I looked for a parent to get permission. It took only a moment to see a young woman waving and encouraging the pair.

I waded over, introduced myself and asked to photograph the girls. I find when I travel, the easiest way to ask and receive is to explain to my subject or in this case the parent the following:

“Hi, my name is Davis, I’m a professional photographer from (in this case) the U.S., Seattle specifically. I’m on a journey and capturing moments that will remind me of my trip. You kids are so delightful. I’d like to include some to remind of this moment. Would that be alright?”

If I’m looking for just one or two snaps I might say, “Hi, what a great picture! I’d like to take a couple of snaps.” This to has always meet with approval.

I use this in some variation when I travel and approach a stranger. I rarely, if ever, comment on their looks, attire, or other distinguishing marks. This can be misinterpreted or come off seeming “creepy”. Being part of my journey works great for me. Also in this day and age, everyone has a camera and constantly take picture.

Back to the twins. My partner, Beth, has volunteered at the humane society with cats for the last 22 years. They call her the “cat whisperer”. I’ve learned some valuable lessons from her and her approach to a new cat or kitten. She slowly moves toward them, extending a soft, warm voice. Eventually moving close enough to engage the critter.

Similarly, with people and particularly children. I move toward them slowly, chatting them up and maybe taking a few snaps as I get closer. At some point, our conversation turns to something fun. In this case the Barbie dolls. It’s then I may direct the play to create an image I find “snap worthy”.

In the space of five or so minutes, I’ve introduced myself, engaged my subject, and then lean back to see where it goes. With small children a wee bit more encouragement is often needed to keep them with you.

As I drew closer and asked open ended questions, the girls move to the edge to talk. They placed their dolls on the ledge and answered my questions. After a few minutes, they were off splashing away and laughing. And I looked toward the parent, smiled, nodded my head in thanks and was off. I left with a few memorable images and just as important, extremely happy for the experience.

When two professionals meet for the first tme

““You must met my uncle”, the Host exuded, “He’s from England and he’s a photographer!”

 We walked across the room to the person she was pointing to and my eyes scanned up and down a man, maybe in his 70s, tall, thin, with shoulder length gray hair. As I moved closer I noticed he had a necklace with turquoise and matching turquoise ear piercing in his right ear. Around his neck was a Fujifilm digital camera.

The Host, interrupted his conversation, with a “Peter, this is my friend, Davis, he too is a photographer.” She then turned and melted into the crowd.

I am often introduced to “photographers” at parties, luncheons, meetings and all types of other places. Truthfully that moniker is misused. When most of the world now carries a camera on their person, it’s very difficult to view the wheat from the chaff.  My thoughts are often, "I wonder how much should I expose about my personal career"  or my deep emotional interest in the history of photographer as well as contemporary practitioners.

Peter and I shook hands and ever so politely exchanged pleasantries.

I go first, “So, The Host tells me you take pictures (a more general way to get around calling him a ‘photographer’. )

Peter, “Yea, I’ve been dabbling with it for years. I really enjoy the field, " Pete says ever so nonchalantly. At the same time he's eying me up and down.

Me, “You have an English accent, where’s home.?”

Pete. “Outside of London. About one and one-half hours. I can commute in for a job.” “some friends and I purchased three buildings with a moat around them. It’s very cool.”

Me,  “Wow, yes really cool”.

Pete “how about you? Been taking photos long?”

Me: "Since my teens. I was the 'high school yearbook photographer'. It's been quite a journey." With this statement Pete very discretely shutters and starts to change the subject.

I then quickly added, then Bio-Medical Photography school and finally starting my own business.

We went on like this for a few minutes sniffing around each other not knowing how much to expose of our pasts. At the same time, I was beginning to get a sense he was a professional in the true meaning I understand. 

Peter has begun to dig a little deeper. Still not revealing anything about his own background. We’re both enjoying the dance. And I for one, hope he is the genuine thing, as it’s been quite a while since I talked with a professional.

Me: "My career has taken me to lots of locations, working with a variety of people (still being vague) and you?"

Pete: "Mostly music."

Me: I think, "hmmm."  Then  offer, "In the 80s,  I worked with Dave Brubeck on one of his albums. My first session with a musician." Then I opened up, took a change an dove in: "Most recently David Crosby of C,S,N licensed one of my images of him for his retrospective album

Pete:  "Great! I worked with Joe Cocker starting in the 70s. I traveled with him and devoted a great deal of my professional time as his key photographer.."

Then we were off and running... What a fun time taking hiccups, f-stops, broken camera's and difficult shooting situations.. We became fast friends and stay in touch. One day I hope to visit that English home with a moat and see some really great pics of Joe Cocker and the rest of his oeuvre.

My First Time

It took a decade or more of creating images to draw me into photography as a passion and finally, a means of income.

First came the passion.

One enlightening experience occurred after Mardi Gras 1972. I was returning to my Army Post, Ft Polk, from my hometown of Baton Rouge, Louisiana when I spotted two twenty something woman hitchhiking along a very bad area of a state highway. My blue 1970 VW bug pulled up next to them just as a car filled with young men who appeared drunk made an aggressive u-turn. The two young woman piled into my car and I as we used to say, “ I put the pedal to the metal.” The car of drunken rednecks drove by, flashing beer bottles, sporting obscene jesters and yelling at me to stop. I continued on.

The women who appeared to be in their late teens or early 20s had spent a few party filled days exploring the Mardi Gras experience. They had hitched from Dallas and now were heading back. Unfortunately for them and lucky for me, they had taken a wrong turn and ended up in the boonies of south Louisiana, Opelousas to be exact. I suggested they drive with me to my home in Leesville to be exact. Spend the night and be off to Dallas once refreshed. In short I offered them a place to stay, food, and good company.

After getting to know them, I asked if I could create some portraits of them. My friend and I had rented an old house near our post. I recall we paid $65/month. We furnished it the best we could. It was three bedrooms, roomy, and a real dive.

However, I found that the unfinished attic had a window that offered magnificent light.. My hope and desire was a beautiful naturally lit portrait. So, I asked each separately to join me “in the attic.”

First came Mary. I pulled down the attic door, dragged a tall ladder over and I began to climb upward. Mary followed and I helped her into the attic space. It was dark but we were able to scrabble across the rafters and she settled into a relaxing, thoughtful position just next to the attic window. In a few minutes I felt I had a “hero” image. As years passed I recognized that for me this was my “this is cool art” moment. I have that picture framed and hanging in my office.

Next came Kate, as we straddled the rafters, I noticed her cutoff jeans were riding high above her waist. She was wearing a tank top with the shorts. I politely asked if she could “pull down her shorts.” My intent was for her to adjust the waistline to hung her hips.
 To my utter amazement she agreed and quickly stripped! I was flummoxed and frankly a little confused. Not expecting this, I moved forward with the session; then asked her to dress and we climbed down to reality. This was my first figurative photography session and in the years to come this opened the door to my interest in photographing and awareness of the human body as a subject to explore.

In that attic rafters moment I also learned a few important lessons that have underscored my approach to what would later become my career in photography. The first and most important lesson, don’t take sexual advantage of a situation while in the middle of a session. Then, be careful what you ask but aware that people will follow the lead of a trusted person. And, finally to follow the lead which may open an unexpected door to a great picture.

The girls stayed for another day and I drove them to a truck stop with 18 wheelers heading toward Dallas. It was a delightful, creative few days.

Taking Pictures Has Always Been My Passion

A reminder: "The Art and Business of Photography"

I invite you to join us at the UW for my program. First class is Saturday, September 28, 2019. Bring your desire to succeed and your willingness to work hard. Here’s the link, check it out:

https://www.tacoma.uw.edu/professional-development-center/photography

“Taking pictures has always been my passion”

Me at 11 months, bathing with my camera (with a touch of post-production help and humor)

Given my choices I would spend the day documenting my world as seen through my eyes. However, at the end of the day, no matter how passionate I may be about my art, I and photographers like myself must pay our bills, put food on our tables and roofs over our heads. We must attend to that aspect of our lives that isn’t art. Others may call this “jobs”.  

And so, with a little luck but mostly having worked like a madman to make a successful business career from my art, I am often asked to give lectures, presentations, or workshops about the art and business of photography.

Seattle Central College, Professional Photography Program, Instuctor

I attempt to impart to others some nuggets of my struggles so that they may learn to separate their passion for their art from the business of making money at it.Or maybe I try to bring to the two together. In any case, the business of photography is a pretty straightforward discussion that I've led countless times.  

A few years ago, I was invited to speak to the Professional Photographers of Washington (PPW) in Chelan, WA. I wanted to bring a deeper dimension to that presentation. By nature I’m a shy person.  When I was in the 6thgrade, I asked to be the “manager” of my friend who was running for class president. It included standing on stage in front of the entire student body to introduce him. By the time I was called to the stage my palms were so sweaty I could barely stand, much less speak in front of hundreds of people. Taking the stage, I walked quickly to the mike, and garbled out: 

“ThisisJohnhe’srunningforpresident.VOTEforhim.”

I then flew off the stage, knees trembling to take a breath of air. Since then, I have spent decades learning to feel comfortable in front of a crowd, of 3, 30, 300, or 3000. It hasn’t been an easy path albeit, for me, worth the effort.

Chicago Art Institute, nude workshop, Instructor

Since then, I’ve been impressed by the speakers who open up to share a very personal experience that has affected them, and by so doing, affected me. I also wanted to step from behind my shyness and challenge myself to share my journey through personal and professional experiences. They are, after all, intertwined. These revelations have often had a tremendous impact on my understanding of my world. I was hopeful that in some small way my experiences could help others to see their lives a tad more clearly. With sincere reflection, I looked at my 30+ years in the photography business and how that life informed many of my choices. 

About every 10 years I feel the need to reinvent myself business-wise. The early part of my career was as a Medical Photography, followed by 12 years spent at the University of Washington as their chief staff photographer. Then another decade or so as a commercial/journalist photographer; followed by commissioned portraits. Running parallel to my business career was my exploration of photographic art as well as a devotion to community support, and a desire to be an effective educator and consultant.

PPW, Lake Chelan, Workshop Participants

At each of these junctures, something in my personal life informed the decision to change my business. I wanted my presentation to the PPW workshop in Chelan to incorporate these experiences and their perceived results.

With that in mind, I combined two previous presentations into one: the history of photography as seen through portraits, and my own personal journey through photography. More to follow...    

And last but not least.

JVH Digital Printing Festival will have a day of LARGE FORMAT printing and LARGE FORMAT printers to peruse. Thursday 10/3 8:00am-4:30pm. If you're a professional interested in perusing the best large format printers, papers and software this is the place. 

Here's the link: http://www.jvhtech.com/festival.php

Turning "Blah" portraits into "Wow" portraits

I invite you to join us at the UW for my program. First class is Saturday, 9/28/2019.  Bring your desire to succeed and your willingness to work hard.

Here’s the link, check it out:

 https://www.tacoma.uw.edu/professional-development-center/photography

 Recently the University of Washington-Tacoma has commissioned me to create a one year professional photography program. We’re scheduled to kick off in about 5 weeks!! Hard to believe it's happening so soon.

Leading up to this date, I’ve decided to provide a few thoughts about photography to allow y’all to peer into a few of the topics we’ll be covering.  

 I’ve lived in Tacoma now for over two years. One of my favorite pastimes is to walk around Wright Park. For those of you not familiar with the area it’s a beautiful 27 acres filling out 10 city blocks. The land was donated in 1886. Besides the many activities I enjoy seeing in the park often there are a number of portrait sessions  with  families, high school students, brides, to name a few.

 The late afternoon light is gorgeous. The subjects are often placed with their backs to the sun and afternoon light. It glimmers through the trees. As the photographers snap away I watch in earnest as many work with no apparent idea of the delicacy and difficulty of “back lighting” or "fill light". 

A definition: Fill light is a form of supplementary light mainly used to lighten shadows in an image.

They either do not know of “fill light”, or they have not mastered the art of the fill  or  perhaps, they do not care. I ask myself, "Is it a 'fix it in Photoshop' attitude?" 

 (Note: not all backlit subjects need fill light but most do. Additionally, available light photographs may be beautiful. I’m speaking to the vast majority of backlit portrait setups.)

Here’s the simple breakdown on conquering backlit situations. 

 If one has a bright light source behind the subject, .e.g. the setting sun, a bright window, a beautiful but bright sky, then more light is needed on the subjects face/bodies to separate them from the  background, or upon post-production not needing to fix an overexposed background in order to show detail in one’s subject. Manual exposure is called for to determine the perfect f-stop and shutter speed (also referred to as exposure). Technically untrained photographers may have no understanding or appreciation for manual exposure or the different outcomes of "fill" or "no fill". 

The idea of a fill light is to properly expose for detailed background and then add a fill light to your subject to create a beautiful frontal light source that provides an exposure balance between the foreground/subject and background. Here are a few examples.

I was working with a family near the Bainbridge ferry. Here are a couple of test shots to determine fill and exposure. The flash did not fire on the “left” image. The image on the right, it fired properly. 

No on the Left. Flash fill on the Right

These two images, side by side, with ONLY contrast to bring the two father’s faces to approximately the same values. Otherwise, there are changes.  

 So, what do you see different?

The image on the left:

•the shadows around the eyes remind me of a raccoon

•the flatness of the subjects

•the sky is over exposed and lacks detail 

•with no light reflection in the eyes the subjects look lifeless

 The image on the right:

•gives detail and texture to the face and bodies

•reduces or eliminates unwarranted shadows

•the sky has detail in the clouds

From my initial exposure measurement with the fill flash I determined I needed one less stop for the background sky. The final image had these revised exposure setting. 

 Here’s a final fun shot from the location:   

 A second example: My wife and I were on a Kona hiatus and I offered to take some sunset shots of our neighbor who was pregnant with her first child. I had only my camera and no immediate way to add a fill. So, I improvised.

No Fill, manual exposure for sunset. Fill added, completes the image and highlights subjects.

•  Using MANUAL on my DSLR, I exposed for a beautiful rich sunset. 

•  The image on the right was adding my fill.

Other than some contrast neither has been retouched.  I believe the differences are apparent. 

Here are the final images:

With these two photos I put in the extra time to bring them to my vision. However, little time was spent on worrying about balancing the backlight to the subject. This saved a great deal of time to spend on the subject and composition (and add $$ to my bottom line).

To learn more about these techniques, please consider my UW-Tacoma course. Again, here’s the link:

https://www.tacoma.uw.edu/professional-development-center/photography