BEGIN:VCALENDAR VERSION:2.0 PRODID:-//144.202.110.232//NONSGML kigkonsult.se iCalcreator 2.26.9// CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Santa Rosa Photographic Society X-WR-CALDESC: X-FROM-URL:https://santarosaphotographicsociety.org X-WR-TIMEZONE:America/Los_Angeles BEGIN:VTIMEZONE TZID:America/Los_Angeles X-LIC-LOCATION:America/Los_Angeles BEGIN:STANDARD DTSTART:20231105T020000 TZOFFSETFROM:-0700 TZOFFSETTO:-0800 RDATE:20241103T020000 TZNAME:PST END:STANDARD BEGIN:DAYLIGHT DTSTART:20240310T020000 TZOFFSETFROM:-0800 TZOFFSETTO:-0700 RDATE:20250309T020000 TZNAME:PDT END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:ai1ec-2225@santarosaphotographicsociety.org DTSTAMP:20240329T002443Z CATEGORIES: CONTACT: DESCRIPTION:Pictorial\, Journalism\, Creative\nJudge: Neal Menschel\nBio. N eal Menschel has been a photographer for over 35 years. He has photographe d six presidents\, as well as many international leaders. . He began his c areer as a photographer for the Anchorage Daily News in Anchorage\, Alaska . As a freelance photographer Neal’s clients have included The New York Ti mes\, Newsweek\, MIT\, Tufts\, Wellesley College\, People\, Geo\, Front Li ne\, Yankee\, as well as other publications and numerous corporate clients . Neal also worked as an associate producer and sound recordist on a serie s of award winning documentary films for WGBH-Boston\, and WBZ-TV\, Boston \, additionally teaching photography/documentary photography at Boston Uni versity. Neal was the Director of Photography and Senior Photographer for the Christian Science Monitor where he traveled extensively\, both nationa lly and worldwide\, specializing in third world politics and development\, environmental issues\, domestic politics\, humanitarian\, social\, and cu ltural issues\, always with a focus on people and matters of the “human he art.” Neal was the Director of Photography for the Salt Institute for Docu mentary Studies\, a graduate and undergraduate training program in photogr aphy\, radio\, and writing\, in Portland\, Maine. Neal led their photograp hy program for nine years before moving to the San Francisco Bay Area. Man y of the students Neal has taught\, mentored\, and shared his passion for photography and visual storytelling are now successfully carrying on caree rs in photojournalism and fine art photography. He teaches in Stanford Uni versity’s Continuing Studies Program while he continues his work as a phot ographer\, journalist\, teacher/mentor/coach\, and workshop instructor/lea der. You can view examples of Neal’s work at www.nealmenschel.com\n \nJudg ing Philosophy. I have spent a lifetime creating\, editing\, choosing\, an d critiquing photographs\, both my own and others. Enough time to know and understand the subjectivity of all of those experiences. I am also aware of the multitude of paradigms that our choices filter through as we approa ch final decisions. I try to keep these things in mind as images are narro wed to final choices. I look for all of the defining aspects of content in a photograph\, including emotion\, composition in all its manifestations\ , possible activities\, light\, mood and ambiance\, character of any kind (even trees have a sense of character)\, and finally\, a sense of time and place. I am interested in photographs that might elicit a more universal response from a broader cross section of viewers than just myself. To do t hat I feel a photograph ideally must surprise the viewer with originality and lack of predictability. To put it all simply\, I am not so interested in how something looks\, I want to know how it felt to the photographer wh en the photograph was created\, what it felt like to “be there\,” to have been the one to push the shutter.\n DTSTART;TZID=America/Los_Angeles:20220113T183000 DTEND;TZID=America/Los_Angeles:20220113T210000 SEQUENCE:0 SUMMARY:Photo Competition with Neal Menschel URL:https://santarosaphotographicsociety.org/event/photo-competition/ X-COST-TYPE:free X-ALT-DESC;FMTTYPE=text/html:\\n\\n
\\nPictorial\, Journalism\ , Creative
\nJudge: Neal Menschel
\nBio. Neal Menschel has been a photographer for over 35 years. He has photographed s ix presidents\, as well as many international leaders. . He began his care er as a photographer for the Anchorage Daily News in Anchorage\, Alaska. A s a freelance photographer Neal’s clients have included The New York Times \, Newsweek\, MIT\, Tufts\, Wellesley College\, People\, Geo\, Front Line\ , Yankee\, as well as other publications and numerous corporate clients. N eal also worked as an associate producer and sound recordist on a series o f award winning documentary films for WGBH-Boston\, and WBZ-TV\, Boston\, additionally teaching photography/documentary photography at Boston Univer sity. Neal was the Director of Photography and Senior Photographer for the Christian Science Monitor where he traveled extensively\, both nationally and worldwide\, specializing in third world politics and development\, en vironmental issues\, domestic politics\, humanitarian\, social\, and cultu ral issues\, always with a focus on people and matters of the “human heart .” Neal was the Director of Photography for the Salt Institute for Documen tary Studies\, a graduate and undergraduate training program in photograph y\, radio\, and writing\, in Portland\, Maine. Neal led their photography program for nine years before moving to the San Francisco Bay Area. Many o f the students Neal has taught\, mentored\, and shared his passion for pho tography and visual storytelling are now successfully carrying on careers in photojournalism and fine art photography. He teaches in Stanford Univer sity’s Continuing Studies Program while he continues his work as a photogr apher\, journalist\, teacher/mentor/coach\, and workshop instructor/leader . You can view examples of Neal’s work at www.nealmenschel.com
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J udging Philosophy. I have spent a lifetime creating\, editing\, c hoosing\, and critiquing photographs\, both my own and others. Enough time to know and understand the subjectivity of all of those experiences. I am also aware of the multitude of paradigms that our choices filter through as we approach final decisions. I try to keep these things in mind as imag es are narrowed to final choices. I look for all of the defining aspects o f content in a photograph\, including emotion\, composition in all its man ifestations\, possible activities\, light\, mood and ambiance\, character of any kind (even trees have a sense of character)\, and finally\, a sense of time and place. I am interested in photographs that might elicit a mor e universal response from a broader cross section of viewers than just mys elf. To do that I feel a photograph ideally must surprise the viewer with originality and lack of predictability. To put it all simply\, I am not so interested in how something looks\, I want to know how it felt to the pho tographer when the photograph was created\, what it felt like to “be there \,” to have been the one to push the shutter.
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