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Pat Kight
Works at Oregon Sea Grant
Lives in Albany, OR
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Pat Kight

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If you're a photographer - even a casual one - who wants to learn and likes to play, I strongly recommend following  +Alex Lapidus and standing by for Monday's signups for this wonderful mentorship.

It was the first of the three +G+ Mentorship Program for Photographers courses I've taken part in, and I have never had so much fun while learning learning so much. It also led me to produce some of my best work last year. I highly recommend this one for anyone who's feeling stuck in a creative rut, wants to learn new ways of using their camera or needs some inspiration. My former classmates and I will be along for the ride to encourage you and answer your questions. 
Blurs and Unsharp Photography: Guided Play 2015

It's back!  I'm delighted to announce a new session of my mentorship, in partnership with the +G+ Mentorship Program for Photographers: a free eight week program on the art and weird science of unsharp photography.  The official signup post will arrive Monday, May 4, and the program will run from May 11 through July 9.

To me, blurs and unsharp photography have represented a new dimension of artistic freedom – a fresh and joyous way to play with light, color, form… and sometimes their absence.  My hope is to inspire some of you to find more of that joy in your own photography, and to offer some techniques, tips and tools to help, along with plenty of practice!

We’ll be covering a range of topics, including not just how to take certain kinds of images (and sometimes why), but also tools in post-processing and phone apps.  My goal is to be able to offer the program to you regardless of the tools you use to capture (or process) images – DSLRs, mirrorless cameras, point & shoot cameras, or Apple or Android smartphones ().  You’ll need to be familiar with the manual operation of any camera, and have time to take at least 100-200 photos per week (because practice with your hands will be key to some techniques; just knowing how won’t be enough).  You’ll also need to spend quality time in a (private) community supporting, enjoying, learning from and teaching your fellow participants!

Because we've had too much fun to stop, I've invited everyone who fully completed this program last year to sit in and assist with this round!  That means you'll have not only their support and encouragement, but a huge amount of accumulated experience with these topics.  I'm extremely grateful for their help, and to the other directors of the Mentorship Program: +Robin Griggs Wood and +Ron Clifford.

() There is at least one topic I may be unable to address if you’re using a point &shoot camera or smartphone alone (call it half of one of the eight weeks).  The ideal combination would be DSLR or mirrorless plus a phone, and if you use only a P&S it needs to be capable of full manual shooting (shutter speed, aperture and ISO).  Questions welcome anytime, and keep an eye out for the signup post on May 4!
46 comments on original post
Alex Lapidus's profile photoBretta Elmore's profile photo
Thanks +Alex Lapidus!!! But I can only find the ISO in the menu....
I can't find shutter speed or aperture.....
It's ok though....I will keep shooting with what I have for now and have the ability to participate once I get my next camera!! =) 
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#BWProject26 | Curated by +Tisha Montgomery +Brandon Luk +Lauri Novak +Alison Christensen

I'd already planned and shot an artful if not very original still-life with spilt salt shaker when a spring walk brought me a found scene of real-life superstition on the bandstand deck at the neighborhood park. Evidently, the local neo-Goths had been out in the night worshipping their dark lord...with burnt offerings of cigarettes in the bottom of a plastic 7-Up bottle. Bonus: I didn't taste it, but I'm pretty sure that's salt they spilled all around their makeshift altar...probably to douse the flames before they set the bandstand on fire. Bless their little black hearts ...
Liz C's profile photoPiotr Edelman's profile photoPat Kight's profile photoLiz Loveday (Elisabeth Khadijah)'s profile photo
oh the places you'll go, kight~
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PLUS post!
Week 2 of  +Morgana Creely 's Single Frame Mentorship, my latest learning project from the wonderful +G+ Mentorship Program for Photographers  ... an eight-week exploration of cinematic photography:

Morgana asked us to come up with three cinematographers who are/were great visual storytellers, with an empasis on continuity and consistency.

While "cinematographer" was defined loosely to include directors with a strong visual style, I chose to focus (no pun intended) on three terrific cameramen/directors of photography, each of whom helped define what would come to be known as the style of the directors with whom they worked:
* Gunnar Fischer, who was Ingmar Bergman's signature cinematographer from 1948-1960, and created the stark, moody, high-contrast style that typified early Bergman films such as The Seventh Seal and Wild Strawberries
*  Sven Nykvist, who replaced Fischer as Bergman's shooter in the early 60s, helping shift the visual aspect of his work to a more nuanced look that was all about the light
* Alfred Hitchcock's longtime favorite cinematographer, Robert Burks, master of composition, framing and point of view.

What did I learn?
1. Those film history classes and low-budget film festivals back in college in the late '60s/early '70s really did shape my visual aesthic.
2. Moving images are just a bunch of still images displayed in rapid succession (of course I knew that, but searching out film on Google Images reminded me how important each frame can be.)
3. Directors may get all the credit, but cinematographers do a lot of the work that makes their visions come alive. 
Kellianne Hutchinson's profile photoD Stuart's profile photoDennis Wisinski's profile photoPat Kight's profile photo
+Dennis Wisinski True! There are so many contributors to the entire atmosphere of a film. However, since this project is about cinematic story telling, I guess I'll have to play my soundtracks in the background as inspiration. :-)
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Liz Loveday (Elisabeth Khadijah)'s profile photoChristina Lihani's profile photoPaul Deatherage's profile photo
My o'l buddy Paco! Last Sunday when I visited someone had brushed out his coat and weaved a couple of mini-braids in his main... he's such a sweet and gentle spirit.
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Pat Kight

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PLUS Post!

Off to the races with Week 1 of +Morgana Creely 's Single Frame Mentorship, my latest learning project from the wonderful +G+ Mentorship Program for Photographers ... an eight-week exploration of cinematic photography.

We were asked to do some searching, and come up with two images that fit the Mentorship theme, one that we felt really worked, and one that we felt didn't.

I really fell down the Google Images rabbit hole for this assignment. Having grown up with the classic American films of the '30s and '40s, thanks to late-night TV, and then falling in love with "art films" of the '50s and '60s via college film classes, that's where I began searching for inspiration ... but instead, I veered off in a different direction and found myself excited by the work of young photographers who are using modern-day cinematic techniques to view the world around them as something like a living movie. 

This got me started - the first thing that turned up in a search for "cinematic photography":

Look what's going on there:
~ Cinematic cropping and framing, using classic Cinemascope aspect ratios framed by the letterboxing we're all familiar with from watching HD movies on TV and the web
~ Contemporary subject matter and themes, heavy on the street photography
~ Strong use of isolation techniques, from super-shallow DoF to motion blur to framing.
~ Great use of light, whether it's found or made to look found. 

After much searching, I chose two images by Andrew Mohrer ( who does a lot of this kind of work. All of it is interesting, and some of it's superb.

One that doesn't work for me:
"After work soup with a tourist on the side" ( 

One that really works for me:
"Bad Decisions" ( One of the few closeups in his collection, and also one of a small subset of his work shot with actors in posed situations.

Feel free to figure out why I love the second more than the first. :-)

Things I learned from this week's assignment:

1.  The world of “cinematic photography” is a lot wider and deeper than I'd considered when I signed up for this Mentorship. That's exciting.
2. Wow, there are a ton of terrific photographers out there working in this … genre? Sub-genre? 
3. How you make the shot it is important, but what you photograph is what tells the story.
4. Having played with a few other cinematic styles in the past year, from film noir to horror to Howard Hawks-style Westerns, I think I'm ready to try a more contemporary take on things. That's unexpected, but it ought to be fun!
D Stuart's profile photoAlan Bland's profile photoLauri Novak's profile photoPat Kight's profile photo
I love this part - it's kind of like being paid to search the Internet. Which, come to think of it, I sort of am. :-)
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April - Background

April's submission for +Levi Moore's year-long exploration of some of the "rules" of photography. I was having fun photographing newborn lambs (and children holding newborn lambs) at a sheep farm's annual Open Barn Day when I climbed up to the hay loft and found this enigmatic scene...
Elizabeth Hahn's profile photoTerri Queen's profile photoPat Kight's profile photoMjit RaindancerStahl's profile photo
Very cinematic. looks like a promo for a drama or horror film.

Apt Pupil is about a kid who figures out his neighbor is a Nazi war criminal and blackmails the old man into giving him a history lesson.
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#PLUSpost - Week 3 of +Morgana Creely's Single Frame Mentorship.

This week we were asked to become story-tellers, using a who-what-when-where-how approach to imagine a single image that tells a story. It's a different twist on the brainstorming approach I already use to come up with ideas, and I had a loads of fun with it.

What really captured my imagination was discovering that changing a single variable - time of day, for instance - could take the story in an entirely different direction. I'm going to be playing with that!

Next week, we shoot. The study and homework we've been doing these first three weeks should give us a good underpinning for making some amazing cinematic photographs. I can't wait to see what we all come up with!

(This mentorship is part of the +G+ Mentorship Program for Photographers - an amazingly rich and generous program that's like getting a graduate course in phototraph - for free! Check it out...)
Rachael Switalski's profile photoCarla McMahon's profile photoD Stuart's profile photo
Me too Rachael. And layers, oh my :-) Great stories, Pat!
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Little Tiger

#52weeksofwhim Week 18
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Sian Ridden's profile photoCarey Rasmus's profile photoPat Kight's profile photoDarcee McCutcheon's profile photo
What a neat parade idea, +Pat Kight !
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Duckies Away
#52weeksofwhim - Week 18. Or is it 19? No, it's 17. Need more coffee...
Pat Kight's profile photoElizabeth Hahn's profile photo
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Week 16 - Sounds Under the Sea
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Liz Loveday (Elisabeth Khadijah)'s profile photoPatt Dickson's profile photo
:) awwww
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Have her in circles
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I work with words, pictures and invisible electrical particles to make cool things and communicate ideas.
My secret superpower: I can take a 10-page research paper, boil it down to 250 words and make it both interesting and accurate.
  • Oregon Sea Grant
    Web | Words | Photos, 1993 - present
  • The Oregonian
    reporter, 1987 - 1993
  • Various clients
    freelance writer/editor/photographer, 1985 - 1993
  • Corvallis Gazette-Times
    reporter, 1978 - 1985
  • Associated Press, Detroit
    reporter, 1976 - 1978
  • Sault Ste Marie Evening News
    reporter, 1973 - 1976
Basic Information
December 3, 1949
Other names
kightp, Jezebel
If you think I'm "that Pat Kight," I probably am.
"... a Molotov cocktail-throwing Brenda Starr." - my old college adviser, with delight, on seeing me for the first time since 1974.

When people ask "what do you do?" my profession isn't the first thing that springs to mind. I do ... all kinds of things.

Things that interest me: live theater, photography, knitting, communication technology, the Internet as a force for change, Web accessibility, communicating science, cooking, gardening, the localvore movement, liberal politics, feminism, ebooks, speculative fiction, geeks, creativity, craft, intelligence, beauty, compassion, peace, living lightly on this earth.

I'm "following" a lot of people I don't actually know on G+ simply because they have interesting things to say. If you're among them, please don't feel obligated to add me to your circles (although you're welcomed, if you want to). 

If you encircle me, don't take it personally if I don't reciprocate. Thanks largely to photography circle-sharing, I keep hitting the 5000-person max G+ sets on how many people we can encircle, and when that happens, I can't add more till I find time to do some house-cleaning.  

I try to sort what I post according to who might be interested in it, although all my photography posts (the bulk of what I share) are public. Special interests that (mostly) get posted to select circles include:
  • Knitting and yarn-crack
  • Theater 
  • Cooking  and eating well. NOT about dieting/weight-loss.
  • Politics 
My politics are decidedly left of center, and while I welcome intelligent, respectful conversation with people of other persuasions, I'm not interested in demagoguery of any stripe. In particular, if you are any brand of religionist bent on saving or converting me, someone who believes Fox has the only "true" news on television, a Tea-Partier or a raving Libertarian, do us both a favor and don't encircle me. Life's too short to argue with people being Wrong On The Internet. Unless it involves snark.
Bragging rights
Webwench for International Talk Like A Pirate Day
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Albany, OR
Corvallis, OR - Detroit, MI - Sault Ste. Marie, MI - Roseville, CA - Kincheloe AFB, MI - Sargeant Bluff, IA - Dyess AFB, TX - Abilene, TX - Itazuke AFB, Japan - Montgomery, AL - Harmon AFB, Newfoundland - Long Beach, CA - Houston, TX