Weapons of Choice is a powerful visual series that demonstrates, through painfully jaw-dropping imagery, the damage verbal abuse has on a person. I found myself saddened yet amazed while looking through the photos. Richard Johnson takes the power of a photo to a whole new level by eloquently illustrating the invisible and eternal scars victims of emotional, sexual and verbal abuse endure.
A few weeks ago I released a video featuring my friend and fellow photographer Blair Bunting in the backseat of an F16. The video blew up on Reddit (#1 in r/Videos making it to the top 5 of the front page), was featured on Gizmodo, Jalopnik, Daily Mail, Telegraph, CNN, ABC World News with Dianne Sawyer, hundreds of other blogs and even was officially recognized by YouTube. But for reasons still unexplained to me, it has been removed from YouTube and there is nothing I can do about it.
Vincent Laforet’s Directing Motion workshop has done what every workshop should do – it’s challenged my current way of working and given me clarity on how I can improve my work. Less than 24 hours after the workshop, I was working differently, shooting differently and thinking differently. This might just be the best workshop for those shooting (or with an interest in shooting) motion work, ever.
Dodge & Burn (D&B) is a technique that came to us from the darkroom days when luminosity values in a photo could be only manipulated by the duration of the exposure of the light sensitive photographic paper. And while there’s so much that have already been published about it, I hope we can still shed some light on the aspects of it that are usually not mentioned in retouching tutorials.
During an initial meeting with local publication NFocus Magazine, the Editor-In-Chief asked for a unique aesthetic on Louisville's theater and arts community and wanted a massive group shot, but not your traditional group shot. I threw out the idea to shoot actors and their "characters" from directly overhead on a theater floor, as if they were action figures laid out and organized. Two seconds after I uttered the idea, I realized I had no clue how I would pull it all off.
When you’re backed by the likes of Silicon Valley superstars like Youtube co-founder Jawed Karim, Y-Combinator, and a half-dozen or so other techie entrepreneurs, you know you’ve got something good. That something good is Lumoid, which rents photo gear at unheard-of prices, especially when you add in a few perks...
Owen Perry’s ‘Lost Lake’ series was taken near his home in Whistler, BC. The landscapes of 'Lost Lake' are almost surreal, with their blue-black shadows and dense forests. The series features the lake and the mountainous terrain surrounding it as early-morning fog creeps over the water and across the trees.
When each of us picks up our camera, whether it be for the first time or the ten-thousandth time, our finished work is a product of everything which has inspired us. Everything we've seen, everything we've done, everything we've learned and grown from can be seen in our work in at least some small part. That's why, I believe, it's important to not only look back at our work on a regular basis with an eye critical to how technically proficient we've become, but to look back at our work from an influence-based standpoint to see how much of ourselves we can find into our work.
Tom Atwood, a photographer and professor of broadcast journalism at Southern Illinois University Edwardsville, went about taking photographs of models for a project he described as a series of “industrial landscape portraits” near the Phillips 66 Wood River Refinery in Roxana, Illinois. His shoot put him up against resistance and alleged serious threats.
Photography-related groups on Facebook are growing exponentially along with the exploding industry. As with many things in life, there are pros and cons when participating in these groups. One can experience valuable feedback, expertise and positive reinforcement from peers, while also experiencing nitpickers and people who pull you down. There are far more important elements often missed when discussing groups that could change the way you benefit from them... forever.
French photographer Christine Muraton’s series 'Inversed Metaphysics' features hauntingly beautiful portraits which evoke a sense of solitude and restlessness. Muraton states that the series is intended to address issues of transcendence, the search for truth, and the nature of consciousness.
One of the keys to running a successful photography business is to be constantly innovating and searching for the best ways to serve your clients. A month ago I made the decision to use Pixieset for my client galleries. Here are my Top 10 reasons why I feel it is a good choice for all professional photographers.
When you combine an amazing landscape photographer, a stunningly beautiful location, the brilliance of a strong team of film makers and a luxury brand that is synonymous with craftsmanship and excellence, magic does indeed happen. Welcome to the ‘Defining Moment’ by Audemars Piguet - and a redefining of what it means to "shoot a “commercial".
There's something special about taking a picture on film. That said, film also lent itself to a lot of error: a botched exposure, missed focus and light leaks could all serve to ruin an otherwise lovely image. There are few things more frustrating then getting a roll back from the lab with an error note on the envelope. Occasionally the results were a novelty, perhaps adding interest to an otherwise boring image but all too often light leak was nothing but a bother. So why would anyone want to replicate it in Lightroom?
I always tether. Whether it's for a client or fashion editorial, the CamRanger has played a very important role in capturing rock solid images. But, before the wonderful technology of wireless tethering came into the picture, I always tethered to a workstation. However, that came with the annoyance of a long tether cable dangling off your camera. I always felt the sense of being trapped or held back from moving freely, I was always concerned and it was always a distraction.