Array (  => WP_Post Object ( [ID] => 41172 [post_author] => 25605 [post_date] => 2014-08-01 10:00:18 [post_date_gmt] => 2014-08-01 14:00:18 [post_content] =>
Before an unfortunate event in 2009, Brian Nice was on the fast track to success in the photography world. "As far as my photo career, I was an editorial photographer doing fashion. I started in Australia, then went to Paris, and landed in New York. Before my traumatic brain injury, I was doing a lot of commercial work," says Brian. The traumatic brain injury that Brian was alluding to was caused by congenital cavernous malformation, which resulted in bleeding in his brain and rendered him to lose some of his motor skills.
Soon, the steady hands that produced some of the finest fashion images of his time became nevermore: his former tools shake uncontrollably and, to make matters worse, his vision has become blurred and erratic.
For most people, the thought of giving up photography as a career would have been an acceptable decision. However, this catapulted Brian to go back to his roots, during the heyday of film cameras. He saw his disability as an opportunity to continue his passion for photography, while also breaking barriers by pursuing a new edgy method.
Now, fresh off a cross country road trip, where he was armed with a Holga camera, Brian Nice has innovated the field with his unique landscape look. And his escapades on the road caught the attention of two filmmakers, Bryan Coppede and Josh Klatt; the result is a short film The Road Ahead that documents Brian Nice's road trip adventure.
The road to recovery has been a long, difficult journey for Brian Nice. Like the other survivors of a Traumatic Brain Injury, tomorrow will only bring challenges. But like a candle that flickers and refuses to wither away, Brian Nice serves as an inspiration to the many individuals who have gone through the same struggles.
In a feature earlier this year with the The New York Times' Lens, Brian Nice reassured other survivors that "you can still have a full life” and that “you have to do what you love and immerse yourself.” He adds, “I get an idea in my head with no reservation or no thought of failure and I just do it...But I never have any doubt. That’s the important thing.”
Resource Magazine spoke with Nice about his road trip and latest project. Read the interview below. © Brian Nice
What inspired you to set out on a road trip across America?
Well, it started as a joke because my therapist—I have a physical therapist and an occupational therapist—said my insurance had put a cap on my therapy. I responded by saying, "I'm gonna go on a road trip." And then, I reminded them how I ran across America in 1979. So now, I'm going to drive across America. They looked at each other like, "What did he just say?" And then I thought to myself, "well, it sounds like a good idea." I will drive across America and photograph the American landscape as I see it. That's how it all came about.
Can you tell us about a specific highlight of the trip?
Yeah, when I finished. You know, it's an amazing country. You can't single out one specific area. The whole trip was great.
Are you planning a new photography project soon?
Oh yeah, I've got lots of irons in the fire. First thing I'm gonna do is have a photography show for the trip and make a book. Hopefully that will help fund my next project. I also did two documentary films during the trip. One you can see by visiting this link to the New York Times' Lens Blog or go to my website. The other is still in the editing process.
Can you describe your journey from using a digital camera to an old school Holga film camera?
I pretty much used digital photography solely for commercial work, because the client could see exactly what you're doing. As far as film, well, I've been doing that all my life. I started out shooting with film. It's really my thing. Plus, it's easier for me to do the work in camera—you know, double exposure, etc. The artistic appeal is more of a zen feeling. You know, it's kind of like how I live my life right now. My new work is an extension of how I live and how I see the world.
[post_title] => Through The Eyes Of Brian Nice - Using Photography To Cope With A Traumatic Brain Injury [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => through-the-eyes-of-brian-nice [to_ping] => [pinged] => http://mypointofviewproject.wordpress.com/2014/05/27/may-27-2014/ http://mypointofviewproject.wordpress.com/2014/05/27/may-27-2014/ http://briannice.com/news/ http://briannice.com/news/ http://mypointofviewproject.wordpress.com/ [post_modified] => 2014-08-01 15:37:14 [post_modified_gmt] => 2014-08-01 19:37:14 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=41172 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 64598 [post_author] => 30241 [post_date] => 2016-03-24 12:48:32 [post_date_gmt] => 2016-03-24 16:48:32 [post_content] => I was having a conversation with a group of friends a few minutes ago (all of us are photographers) and we found ourselves talking about some well-known, basically "celebrity" status photographers in the industry. After discussing how we enjoyed their work, style and unique look they achieve, several of us said, "And it turns out [insert photographer name here] is actually a really nice person." Everyone either agreed, nodded that this was a good thing, or even beyond that was pleasantly surprised to hear it. But then I thought about that... why is being nice considered a bonus, or at worst, why does it have to be stated? Are we assuming those kinds of people aren't going to be nice?In just about every service-based business, of which photography is included, we usually pick vendors based on their quality of work and the experience of working with them. That experience, at least to me, means that they were friendly, courteous and overall, nice to me while doing the job for which they were hired. I don't really like the idea of hiring a person who is really good at what they do, but they're a real prick about it while doing it. It's why restaurants often fail if they have bad customer service even if they have great food, and why mediocre restaurants stay in business when they have really good customer service. Even though the value of the final product we are purchasing is important, we as a society tend to place even more value on the experience.So that's why I'm a bit perplexed as to why even we as photographers are surprised to hear that a photographer we don't personally know is actually a nice person. It's as if we're assuming the opposite, or at least preparing for the worst. Is it because so many high profile photographers mentioned in the media are done so in a negative light? Is it because on television, full time photographers are often depicted as scumbags? As an example, there is an episode of Castle where a photographer won't photograph models unless they have sex with him. That's a horrible example of photographers, and the one millions of people saw.That explains why regular every-day people might feel this way, but why do we, the folks who live and breathe this industry, also subconsciously allow these stereotypes to pervert our beliefs about professionals who do what we do? I can't answer these questions, and that bothers me. So I ask... why is it considered a bonus to hear a photographer is a nice person?Note: Featured image is of me and my friends Brian Mullins and Mikkel Paige. We are nice people, I think. Actually, are we? Am I nice? I'm having an existential crisis here. [post_title] => Why is it Considered a 'Bonus' To Find Out a Photographer is a Nice Person? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => why-is-it-considered-a-bonus-to-find-out-a-photographer-is-a-nice-person [to_ping] => [pinged] => [post_modified] => 2017-01-31 15:11:19 [post_modified_gmt] => 2017-01-31 20:11:19 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=64598 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) => WP_Post Object ( [ID] => 77970 [post_author] => 25217 [post_date] => 2017-04-11 13:40:37 [post_date_gmt] => 2017-04-11 17:40:37 [post_content] => The ways porn has influenced modern culture and technology is a rather unspoken side of the business. It’s one of the leading platforms succeeding to monetize VR, for example, while many of the lighting techniques used in adult content have been instrumental in fashion photography. But now, more than ever before, porn stars are leveraging the internet to build brands, using social media to monetize and normalize their work by society’s standards. In short, performers are becoming influencers, and like the rest of the internet, influencer marketing is hot, especially when it comes to the massive millennial audience consuming adult content. Perspectively, PornHub alone sees more than 64 million views a day, and millennials account for 60 percent of the site’s overall users, according to a 2017 report. So what does this mean for the adult industry? We spoke with a couple performers to find out how social media is changing the world of porn, and how they’re leveraging it to cultivate their brands and evolve with the digital frontier. [caption id="attachment_77973" align="aligncenter" width="800"] via Star Factory PR[/caption]Tanya Tate is an 11-time MILF of the Year award-winner, who launched her adult entertainment career in late 2008. At the time, she was an office worker, and decided to get into porn “on a whim to spice up her life.” She quickly made mainstream headlines with Sex Tour of Ireland, a sex scene that featured Tate and an Irish pro-athlete. This skyrocketed her career and brought her to LA, where she established herself and began filming for top-tier adult companies such as Digital Playground, Vivid, Wicked Pictures and Brazzers. Among a long list of other achievements, she’s also the founder of Star Factory PR, representing some of the hottest performers in the adult world. Social Stats: 400k on Twitter, 345k on Instagram, 323k on Facebook, and 26k on YouTube, in addition to a growing presence on Snapchat.How did you go about cultivating your audience on social media? As a performer, in what ways has it been most valuable?I like to get out there and connect with my fans, because it’s the fans who watch my work, and often request me for different company movies. It’s very important not only my booking, but for my brand as well. In the past, this wasn’t possible—years ago this kind of feedback had to be written with a pen and paper, then sent in the mail. I use a few different networks, mainly Twitter, Instagram and a little bit of Facebook. I also have a YouTube channel and Snapchat. This is how I talk with my fans; it lets them see more of personality than what you see in the movies. I have a lot of different hobbies, for example, such as going to comic conventions to do cosplay or watching WWE wrestling. So I’ll Tweet or post pictures on Instagram from these events, or even post pictures of my dog. Fans get to know me just from the fact that I put it on social media.There are a lot of girls that have really solid followings, but I look at them and see ass shot after ass shot after ass shot. I could do that if I wanted to, but fans can see that anywhere. For me, social media really strengthens the relationship between me and my fans because I get to share a bit about myself. When they see the name Tanya Tate, I want to be seen as a pornstar, but also show that my brand is about much more than making porn, making movies or directing movies. And even further than that, I engage with the fans as well. If I post a picture on Instagram, for example, I’ll see who’s commenting, like the ones I like, or delete the ones I don’t like. And if the person’s really rude, I’ll just block them.[caption id="attachment_77974" align="aligncenter" width="799"] via Star Factory PR[/caption]So it’s all about maintaining authenticity and transparency.Exactly. I always read the comments—some fans might think I don’t because I only reply to certain ones, but it’s just not possible to reply to all of them. I reply on Twitter too, but I tend to get a lot more comments on Instagram, even though I have more followers on Twitter. I try to build a strong following both personally and professionally, without being bombarded with dick pics. There’s a time and a place to send me dick pics and it’s not on social media. Don’t do it!I also use social media to promote new scenes, things I’ve directed, or if I’m doing something like a radio show. The other day, for example, I was on Vivid Radio discussing the topic of whether you like pussy licking or ass licking. It was a really easy topic for everyone to have a say in and people were relying on social media to weigh in. Unfortunately on a radio show, not everybody can call in because there’s too many callers, so I’ll take time out to read what people are saying on social media, then give them a shout out on the radio.Sometimes, fans really want to talk to you, so I’ll post different ways they can contact me—I have a text service and a call service. I wish I could sit here and interact with everyone, but that wouldn’t be possible. However, it’s great getting to know the fans one on one. There’s one who will call me to talk about wrestling, and another one who’s in the hospital right now, so I sent her a little ‘hello’ video to cheer her up. I don’t know their personal circumstances, if they have a lot of friends or no friends. And sometimes I think it’s just nice that they can reach out to somebody to talk to. https://www.youtube.com/watch?v=Hbw7O10o36sTell me about your YouTube channel.On YouTube, there are a lot of videos where I show off my hobbies or collections; I collect Funko Pop! and do videos where I unbox them. I also started doing live videos—for example, I had a box of WWE buddies and unboxed them just before a WWE event on TV. That was quite good because people were interested and could talk to me about wrestling, like, who I thought was going to win and things like that. I also do live AMA’s. It’s quite nice to have these things available.Beyond a tool to market to your audience, do you monetize your following on social media?[caption id="attachment_77976" align="aligncenter" width="800"] via Star Factory PR[/caption]I sometimes do paid posts where I might talk about a company, but I actually do use the products from the companies I work with. If I do get paid to post, it’s for companies that I’m happy to talk about and enjoy using their products. I wouldn’t want to promote something I would never use myself or not interested in.What platform have you seen the most success with? Each different platform brings different things. I like Twitter because you can actually click through the links, and I do put adult content on there so there’s nudity. You have to be logged in and over 18 to look at my feed. On Instagram, I like the fact that you can easily see all the images, and I’ll also do short videos like Boomerang posts. I find the replays on Instagram are much higher than Twitter—for media, Instagram definitely gets the most visibility. Obviously, there’s no nudity on Instagram, but I’m very conservative on it. I’ve had my account deactivated by Instagram twice. When I specifically asked them the reason why, they said, ‘oh sorry it was an error.’ In terms of Snapchat, it’s great because it keeps people coming back since stories are only up for 24 hours, so you’ve gotta catch it before it disappears. I can see how many people viewed it in that time, which is usually quite a lot. I find that when people click on your name on Snapchat, they tend to view everything available. I’m still quite new to Snapchat, and I also have a premium Snapchat, where people have to pay to be on it. With that, there’s a lot more naughtiness. The other day I was doing naked yoga, for example, or this morning, I was dropping the towel when I got out of the shower, teasing my naked body for the camera. I also find that YouTube is the best for live videos. Even when I edit videos to make them more professional, they pretty much get the same amount of views as live videos do. [caption id="attachment_77977" align="aligncenter" width="1024"] via Star Factory PR[/caption]Briana Banks is iconic to the adult entertainment world. She’s the longest reigning Vivid contract star, remaining with the company for eight years and shooting some of their best selling titles, such as Briana Loves Jenna, Heartbreaker, and Briana Loves Rocco. Born in Munich, Germany, she moved to Simi Valley just outside of Los Angeles at seven years old. Her career launched in 1999, spanning over 400 hardcore scenes with a specialty in gonzo, shooting everything from five-on-one gangbangs to double vaginal penetration. She was also the June 2001 Penthouse Pet and inducted into the AVN Hall of Fame in 2009. In 2010, she took a five year hiatus from the industry and returned in 2015, launching a personal paid membership site.Social stats: 93k on Twitter, 235k on Instagram (Banks' account has been deactivated since the time of this interview. We will update this article when it is revived.)Can you give me some background on the industry? How do you go about getting work?For me, I’m currently signed with OC Modeling, only because I was with Vivid for eight years, then left the industry completely for five years. I came back, obviously, and everything had changed: there was no contract stars, and I didn’t know how to go about finding what companies are good to shoot for. So for me the best decision was to go with an agent to get my toes wet.[caption id="attachment_77978" align="aligncenter" width="1024"] via Star Factory PR[/caption]I noticed you have a solid Twitter following. Can you tell me about that and how that helps you as a performer? Twitter was really difficult for me. It was just starting to become a trend when I left the industry, then I came back and it had basically taken over. I had no idea how to use it, I didn’t really understand it. So I just kind of looked at other girls’ accounts to see what they were doing. I actually have more followers on my Instagram, which I basically use to promote things. A lot of girls in the industry will do two-minute masturbation videos and things like that on Twitter, but I try to keep mine pretty R-rated because I’m trying to promote my website. If I’m giving it away all for free on Twitter, no one will pay for my site. I also use it to promote any movies I’ve done. Directors will be more likely to re-book you if they see that you’re promoting their product. And of course, other directors and fans will request you more often.What platform have you found the most success with when it comes to building your brand? Well, I had a huge following when I entered the industry in ‘99. I was a two-time Hall of Famer, so I would say it’s just my fans, really. I have diehard fans and I’ve been back one year, and already have almost 250k on Instagram. I’m just trying to keep it semi-classy. I think there’s a way to be successful on Twitter without showing stuff that people would otherwise be paying to see.[caption id="attachment_77979" align="aligncenter" width="1024"] via Star Factory PR[/caption]Speaking of paying for things, do you ever do paid posts for brands or companies? I did Flat Tummy Tea and have been approached by several workout supplement brands, since I lost over 60 pounds in the past year and a half. I’ve been promoting my weight loss and the goals I’ve reached on social media, but I’m careful about what I choose to promote because I don’t want to promote something that doesn’t work, and have people spend their hard earned money on bullshit. I would never promote something that I wouldn’t want my fans to spend their money on.I find that’s a very common precedent for most social influencers.Yeah. You have to be very picky and choosy because that’s your brand and you don’t want to be promoting something false, and don’t want to get the reputation of being a sellout. For someone new to the industry, is it possible to be successful without a large social media following? I believe it is, because when I got back in I didn’t even know what Twitter was or how to use it. It’s taken me eight months to do what it’s taken most girls to do in almost three years. On my spare time, I’m constantly going through social media, retweeting, posting. You have to be very active on it. It’s possible to do well if you put the time in, but if you don’t, no one’s going to know who you are or know to book you, and you’re not going to have a career in the adult industry whatsoever.[caption id="attachment_77980" align="aligncenter" width="1024"] via Star Factory PR[/caption]So would you say that being active and consistently connecting with your fans is the best way of building an audience on social ? Absolutely. At first, I hated Twitter because I was used to conventions where people would wait in line for hours for your to autograph the stuff they had...but now, it’s definitely not like the old-school days. Along with all the people I get to interact with that I never would have gotten to before, you also get the haters using the platforms to hide behind their profiles. There are pros and cons, but I would definitely say I’ve gained a new generation of fans on top of the fans I already had. So it’s really done a lot of good for me. To wrap things up, in what ways do you think social media has transformed the industry as a whole? It’s changed it completely. Adult stars, or anyone in general, are much more accessible. You don’t have to wait in lines anymore to talk to them or send them messages. It’s really a brilliant way to promote and market yourself if done correctly. If you don’t know what you’re doing, like myself in the first few months, it can really be a nightmare. I suggest that girls learn what Twitter is and how to use it before they actually start Tweeting. I look back at some of my earliest Tweets and I don’t even know what I was talking about! Oh, and I appreciate your intelligent questions. If I had to talk about my first scene in 1999 one more time I would have to jump off a balcony! [post_title] => How Porn Stars Use Social Media to Elevate Their Brands (NSFW) [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-porn-stars-use-social-media-to-elevate-their-brands-nsfw [to_ping] => [pinged] => [post_modified] => 2017-04-11 15:53:10 [post_modified_gmt] => 2017-04-11 19:53:10 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77970 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 69771 [post_author] => 47235 [post_date] => 2016-08-23 12:28:15 [post_date_gmt] => 2016-08-23 16:28:15 [post_content] => Something about Belgium's abandonment seems to be very appealing to Dutch photographers. Late last week, Resource Travel had a talk with Roman Robroek, and this week we are happy to present to you some of Brian Romeijn's work, the Rotterdam-based urban photographer behind Preciousdecay Photography.In 2009, after going through some life changing events and looking for some sort of distraction, Brian bought his first DSLR camera. Wandering around in his hometown, he started to appreciate its architecture and its people. During some photography classes, Brian eventually developed an interest in abandoned places.The Dutch photographer quickly learned that Belgium has quite some interesting abandonment. One day, he discovered a Grand Orient Express train, built in the 1930’s and left to rot on some forsaken railway ever since its last trip in 2009. Brian found a way inside and was able to capture the beauty of its spookiness.[caption id="attachment_9850" align="alignnone" width="833"] © 2005-2016 Preciousdecay.com[/caption][caption id="attachment_9852" align="alignnone" width="1250"] © 2005-2016 Preciousdecay.com[/caption][caption id="attachment_9853" align="alignnone" width="1250"] © 2005-2016 Preciousdecay.com[/caption][caption id="attachment_9854" align="alignnone" width="833"] © 2005-2016 Preciousdecay.com[/caption]
It's a fact that Brian Nice's point of view has drastically been altered by his brain injury. However, it only strengthens his resolve. And with these new images of varying landscapes, he leaves an imprint on his viewers and instills a knowledge that photography, as an art, can definitely make the human spirit persevere.
Read Brian Nice's account of his Cross Country Photography Expedition Trip.
Where did this passion come from? It has always fascinated me to walk around in buildings that were abandoned for whatever reason. It almost feels like stepping into a time machine. I love to try and feel the emotions of the past and capture the atmosphere of the present. If I can then transfer those things through my pictures, and make people ask themselves what happened there and why, I feel I have succeeded.
The excitement of being somewhere you are not supposed to be, is a nice change from my busy office job.
Isn't it dangerous to be an "urban explorer"? It can absolutely be dangerous. That's why they advise to never go alone. I did do that once or twice, but I would not advise it. Like that one time I went to a villa that had an awesome bathroom on the second floor. The stairway's steps were super slippery, and once I got upstairs, I noticed that there was hardly was any floor left. I made it to the bathroom with my camera and tripod via a ten centimeter ledge, but, in retrospect, I must say that that was not my brightest idea.
The only reason I get away with doing something illegal, is because people see that I have a camera in my hand and nothing in my pockets.
There is a lot about HDR on your website. Would you say that that's your signature technique? It's ideal to take pictures of places with high contrast, like a dark room with a lot of light outside. Furthermore, I like the atmosphere HDR generates, especially in my type of pictures. But that's personal, I guess.
I just want people to ask themselves questions when they see my pictures. [caption id="attachment_9851" align="alignnone" width="833"] © 2005-2016 Preciousdecay.com[/caption][caption id="attachment_9855" align="alignnone" width="834"] © 2005-2016 Preciousdecay.com[/caption]In need of more of Brian's work? Head over to his website, his Facebook page or follow his Instagram account. [post_title] => Another Dutch Photographer Finds the Precious in Belgium's Decay [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => another-dutch-photographer-finds-the-precious-in-belgiums-decay [to_ping] => [pinged] => [post_modified] => 2017-01-31 12:40:20 [post_modified_gmt] => 2017-01-31 17:40:20 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=69771 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 61256 [post_author] => 25217 [post_date] => 2015-12-15 13:12:40 [post_date_gmt] => 2015-12-15 18:12:40 [post_content] => The Sony a7R II is a full-frame 42.4-megapixel beast of a camera and is built for a ton of uses. For starters, its weather-sealed magnesium alloy body is ideal for travel photographers, while its 5-axis stabilization and 4K movie recording with full pixel readout has made it one of the most popular cameras for videographers. But we’ll talk more on that later. For now, we’ve decided to break down how to use long exposures to photograph compelling landscapes and scenery, one of the areas where the Sony a7R II shines.We asked Sony Artisan—and landscape photography specialist—Brian Matiash to walk us through the process, from composing an image to kicking back and letting the shutter rip.[caption id="attachment_61330" align="aligncenter" width="838"] © Brian Matiash, photographed with the Sony a7R II.[/caption]Before we begin, it is important to note that for landscape photography, it’s ideal to be shooting with an ultra-wide lens, and if you’re shooting at night, Matiash recommends a fast lens with a big aperture. “Lately I’ve been focusing on having a lightweight setup, so with the Sony a7R II I’ve been using the Zeiss Loxia 21mm f/2.8. Also, for more creative shots, I’ve been using the Zeiss Batis 85mm f/1.8, which allows me to get more detail shots, though it can still be used for long exposures.” Additionally, Matiash recommends using filters when shooting in daylight, which stops light from reaching the camera sensor and allows for a higher aperture for a longer amount of time.[caption id="attachment_61326" align="aligncenter" width="838"] © Brian Matiash, photographed with the Sony a7R II.[/caption]“If someone had a budget for only one filter I would recommend a circular polarizer. For my type of work, since water and foliage are such an important part of it, a polarizer can help kill or extenuate surface reflection, and it has this really nice by-product of bringing out the contrast and warmth in foliage and the sky,” says Matiash. He also mentions that a 3-stop neutral density is a great tool for any landscape photographer in a variety of settings, except, of course, if you’re shooting at night, in which Matiash wouldn’t use a filter at all.Now let’s get started. Choosing the Location[caption id="attachment_61323" align="aligncenter" width="838"] © Brian Matiash, photographed with the Sony a7R II.[/caption]Since Matiash is based in the Pacific Northwest, he typically looks for nature scenes that involve movement, for example, flowing water, foliage, and clouds. Not only does this add life to an image, but it allows us to produce some compelling effects, such as silky smooth water or clouds rushing across the sky. If you’re shooting at night, however, finding the right location is a slightly different beast.Matiash explains that when choosing a night photography location, there are two things he looks for: automobile traffic and clear skies. The automobile traffic can be used to create light streaks, and if you’re shooting astrophotography, clear skies with no visible moon will allow the light from the stars to be captured at their highest potential. “It’s also important to be far enough away from any major city, so you’re not impacted by light pollution,” Matiash adds. “And I’m always looking for a location where there is some sort of foreground. Otherwise, you’re just left with a big sky of stars, which isn’t very compelling.” Composing an Image[caption id="attachment_61328" align="aligncenter" width="838"] © Brian Matiash, photographed with the Sony a7R II.[/caption]When composing your shot, it is important to include a strong foreground, because that’s where the viewer’s eye will start and end. “Look for leading lines to draw the viewers eyes through the frame,” says Matiash. For example, when Matiash is photographing a river or stream, he shoots low to create a foreground using the flip screen on the Sony a7R II, which prevents him from sticking his face in the dirt, then uses the flowing water as the leading line. “I’m always looking for stretches of water or areas where the water is curving around a bend, which does a great job of creating a visual cue for the viewer,” he adds. Additionally, if you’re shooting up high from the top of a mountain or hill, this is where a foreground becomes the most crucial, even if it’s as simple as a lone tree or array of bushes. Without it, the view will simply look flat, uninteresting, and indistinguishable.“I’m not particularly fond of big wide open vistas because it just looks flat, especially if you’re using a wide-angle lens,” he says. “I strongly suggest looking for something that you can creatively use to add a bit of visual interest, instead of it just being yet another vista.” Setting an Exposure[caption id="attachment_61322" align="aligncenter" width="838"] © Brian Matiash, photographed with the Sony a7R II.[/caption]There are many ways to go about setting an exposure, all of which are ideal for different situations. In landscape photography, Matiash bases his exposure on the speed or quality of the movement he’s capturing. When photographing movement such as flowing water, Matiash first chooses his shutter speed, then adjusts his aperture and ISO around it. And if the daylight is too bright, he’ll compensate for it with filters, as discussed earlier. “If I’m photographing flowing water with a clear path or is moving around rocks, I’ll probably set my exposure to about half a second,” says Matiash. “The reason for that is half a second to two-thirds of a second will result in just enough motion blur in the water to see plenty of tendrils and white caps.”But in more open environments, such as a beach, where the water or movement isn’t obstructed, a half-second-long exposure will likely not be enough to fully gloss over the water. This is when Matiash will throw on a 10-stop filter and drag the exposure to 30 seconds or more, which will also capture the motion of the clouds in the sky.
___ Click here to learn more about the Sony a7R II. See more of Matiash’s work below and visit his site for more tips and tutorials. [caption id="attachment_61324" align="aligncenter" width="838"] © Brian Matiash, photographed with the Sony a7R II.[/caption][caption id="attachment_61321" align="aligncenter" width="838"] © Brian Matiash, photographed with the Sony a7R II.[/caption][caption id="attachment_61329" align="aligncenter" width="838"] © Brian Matiash, photographed with the Sony a7R II.[/caption] [post_title] => How to Use Long Exposures to Expertly Photograph Landscapes [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-to-use-long-exposures-to-expertly-photograph-landscapes [to_ping] => [pinged] => [post_modified] => 2015-12-15 13:12:40 [post_modified_gmt] => 2015-12-15 18:12:40 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=61256 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 54447 [post_author] => 30241 [post_date] => 2015-06-19 13:30:30 [post_date_gmt] => 2015-06-19 17:30:30 [post_content] =>
Yechiel Orgel is one of my most valuable friends in the photo/video world. In 2011, Yechiel and I met via B&H, and four years later he's found a niche for himself in a way I always hoped he would. The father of four and a hardworking member of a great B&H team, Yechiel gave it all up to follow his dream: to be a commercial product photographer. But how? It's a well known fact that the longer you wait to make the jump to full time pro, the more challenging it becomes (bordering on impossible). Add to that a family, a large one in Yechiel's case, and you have what most would consider an insurmountable wall.
But not insurmountable for Yechiel. He defied the stats, pushed forward persistently with his dream, and just a few months after leaving B&H, he's the incredibly successful product photographer he always dreamed of being. This is his story, how he did it, and why Yechiel is just one more guy on a list of photo heroes in my book.
- - -
In 2002 I started working at B&H Photo Video in New York and had my second baby roughly a week after I started working there. At first I worked at the film department, and being a perfectionist by nature I totally delved into learning all about film. It didn't take too long though before I was moved to the Pro Camera department.
Roughly five or six months after the aforementioned baby was born, I came home one nice day with a Canon 30D. My thinking was, “Hey, if I was going to sell these cameras, I had to learn what they were all about.”
Well, my wife freaked out.
Here we had just had our second child, finances were tight and I got myself a camera so that I can know what I'm selling. She thought I fell off the moon. Unfortunately, this was only the start. Once I picked up that camera… I never put it back down. It was love at first sight.
So here I was with a camera in my hand. I started taking out books from the library, signed up with NYIP and basically did tons of learning. I think I signed up for every available online tutorial. Basics / Exposure / Composition etc. I wanted to learn everything. At some point I realized that I didn’t like my Canon 30D anymore, and went on a search for what I did like.
I spent hours in the store that I worked, researching, holding, testing, on and on. And then, after trying out everything, I went over to the “dark side" as they say. I became a die hard Nikonian after I bought first Nikon camera: the Nikon D200.
At this point, I knew I wanted to make a business out of photography. I was leaning more towards children portraits as a business, but what I really loved was walking the streets of Manhattan and shooting. Alas, as I felt I couldn't make a living out of street photography, I stuck to children’s portraits. But as much as I loved shooting… I didn't love this particular medium. As I said before, I'm a perfectionist, and more often than not it gets me into trouble. Children simply didn't have the patience to sit and wait until I perfected my lighting.
It was right around this time that I bought my second Nikon, the Nikon D300. Also, my family was growing: I have 4 beautiful children (thank God). Now I'm fully into child portraiture and dabbling in product photography while still working at B&H. I knew my goal for the future was product photography but needed the quick funds of child portraiture to pay for my gear and various camera accessories.
So the years are going by... I'm working two jobs. B&H by day, shooting / editing at night.
It was a rough 6 years.
I've had many a sleepless night due to my full workload. I have had neighbors complaining of lights flashing in through their windows late into the night. I have had a wife/family who put up with having a studio in the house all week making my tiny apartment even smaller. But I persevered. Because I knew at some point, this was going to be a solid business.
I bought my third camera, the Nikon D600.
That sixth year in, I’m working in the Affiliate /Web Marketing Department at B&H. I believe this was my best position while I was there, and it also helped me tremendously in my goal towards being a photo professional. It allowed me to work and deal with world renowned photography leaders and educators. These are people who really influenced me to pursue my long term goal ( please forgive me if I forgot to list your name ):
- Peter Hurley
- Moose Peterson
- Alex Koskolov
- Jaron Schneider (Editor's note: Yechiel is totally overstating my importance here)
- Brian Smith
- Syl Arena
- Moshe Suzman
- Nasim Mansurov
- Tony Roslund
I need to stop here a moment and take an aside to thank the one person who has helped me for the past 5 years, day in day out with any question/issue photography related that I had. Peter Tellone, aka “ Moose.” I “met” him so to speak on a Mpix Community Forum and without a doubt he is my go-to guy for ANYTHING that has me stumped. Thank you Peter, for all your help.
Working with these folks on a day to day basis, my photography knowledge grew by leaps and bounds.
I bought my fourth Camera, a Nikon D800. I loved my D600 but the sensor dust... it drove me insane. At one point, I needed to rent the D800 for a photoshoot of the NYC skyline which would be printed really really large. I loved the D800, and never looked back. ( I still have the D200, 300 and 600 – sitting on my shelf accumulating “collectors dust”).
As my skills progressed, I was able to fully transition into product photography and pretty much kicked child portraiture to the far corner of my professional shooting time, only taking on clients who didn't blink at my purposely high price. At the same time, my family has simply had enough and as much as they want me to succeed, I needed to seriously get out of my house and into a studio if I wanted to keep my family intact. So I did.
Now enough of my backstory. So how did I actually make the decision to leave the comforts of my day job and move fully into the unpredictable world of photography?
Taking the jump was HUGE and it took me a good 8 months until I was actually able to say “I’m leaving” to B&H. I was missing days regularly at work, taking on photography jobs during the day. I've got to hand it to B&H: they were wonderful and extremely patient with me. They knew this was my long term goal and as long as my job wasn't suffering, they pretty much gave me a lot of leeway.
That is, until the day they told me I have to choose what I want. I couldn’t have both anymore. I was pretty much only a part time worker at this point and they couldn't hold onto me much longer.
When that happened, things escalated from scary to terrifying... I knew I had to make the jump and I had to make it fast. This step I imagine is really hard for anyone. Leaving a day job and a secure paycheck is never easy.
So let's backtrack just a bit.
Starting in 2012, I had opened a business corporation. I was extremely strict with cash flows coming in and going out. I only allowed real business expenses to be paid from the business account. I never took a penny for my own personal needs. Because of this decision, slowly the money started adding up. Slowly my client list started building. And slowly my confidence in myself started building.
I knew I could do this. I knew I would do this.
I put a lot of effort into my work. I really enjoy what I do, which I think is a great and necessary thing. So many people work at jobs they have no interest in... I live and breathe photography. I love setting a beautiful speaker down onto my shooting table and working the lights until I get that beautiful harsh look with gorgeous gradients. Products can sit for many hours without a fuss. They don't get cranky, nervous or hungry. I found the style I loved and I never want to stop.
I put loads of effort into my website and SEO. I read up on the process and I worked on it all by myself. I built a solid client list.
The day I got an email from Gillette's PR company... I will never forget that day. At first I thought it was spam. Why in the world would Gillette be looking at me, a small lowly photographer from Brooklyn, NY? But it wasn’t spam, it was real and was my first high profile gig that got into the details of World Wide Usage Rights and stuff like that.
It felt good. It felt great. It felt wonderful!
Since then, I've been contacted by numerous brands and have done photography work for what are likely considered “big” clients. I can't believe my good fortune each time it happens. I must say this... it hasn't been that long since I left BH yet. At the time I am writing this, it hasn’t been a few months and I haven't had a moment to breathe yet, thank God. Business is good, and I pray that continues.
I know and am mentally prepared that there will be down times, slow times. However, I truly hope that I will never experience a down in my attitude towards photography, both as a business and as a hobby.
One thing I must mention: My dear wife, I could've never done this without your constant support and help (both physically and mentally). Thank you for always being there for me, and for believing in me and my baby (my baby is my camera).
With all the negativity out there regarding the digital age, declining demand for photography, etc... it's totally not the case. Demand keeps on growing, e-commerce keeps expanding and businesses need and want high quality images in order to compete in their fields. So just keep at it, keep on shooting, work hard & you'll get there.
- - -
Yechiel Orgel is a New York City based commercial photographer who specializes in product, still-life and beverage photography. He is passionate about working with creative entrepreneurs to increase conversions of their products and services through unmatched image quality. His grasp of radiant lighting and dynamic composition bring a high level of distinction to his e-commerce advertising, web and catalog assignments. Yechiel is a true visionary who casts both extraordinary and everyday items in an ethereal light that illustrates their true appeal. You can see more of his work at www.yechielorgel.com.
You can follow Yechiel on Facebook, Twitter, Instagram and Google+ [post_title] => I'm a 40 Year-Old Father of Four & I Still Followed My Dream to be a Full-Time Photographer [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => im-a-40-year-old-father-of-four-i-still-followed-my-dream-to-be-a-full-time-photographer [to_ping] => [pinged] => [post_modified] => 2015-06-19 11:24:32 [post_modified_gmt] => 2015-06-19 15:24:32 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=54447 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 12 [filter] => raw ) => WP_Post Object ( [ID] => 51219 [post_author] => 47196 [post_date] => 2015-04-20 10:00:50 [post_date_gmt] => 2015-04-20 14:00:50 [post_content] => Brian Mullins, a successful Raleigh Wedding Photographer, understands how important ambiance is to clients. In his words, "Unless you shoot weddings exclusively in forests or gasoline factories, you’ve probably had the joy of photographing a 'sparkler exit' or two in your career." They are pretty, make for great photos and, at least in his experience in the Raleigh/Durham, NC area, are very, very popular if the reception venues allow them. You probably already know that, yes, they are hot, but Brian recently learned exactly how hot and extremely dangerous they are while helping arrange guests for an exit during one of his shoots.A word of warning, this story contains some VERY graphic descriptions and photos of what can happen when sparkler exits don't go as planned. What follows is Brian's story, by Mr. Mullins himself.
- - - It was April of 2014, and wedding season was in full swing for us in Raleigh. With it being at the early part of our wedding season, I noticed I was a bit more fatigued then usual later in the evening, but it had also been a long day (about 11 hours) so I was glad when the last song was over and I walked down the stairs to help setup for the sparkler exit.The venue staff was handing out sparklers to the guests and asking them to line up outside. Our usual process has always been to grab a handful of sparklers and pass them to guests that forgot to grab one, as well as a couple for myself so I could help light others sparklers further down the line. We want to make sure we get as many sparklers going as possible for the best photos and it just helps the entire process go faster. The sparklers were the shorter “fourth of July” types and not the longer wedding sparklers that are the “recommended” type for this use. I also found out they burned “blue” instead of the traditional yellow. I was thinking to myself this would look really cool and should match the color temperature of my flash better then the yellow. As it turns out that means the chemical composition is different and as I soon discovered, more “volatile” then traditional sparklers.I lined everyone up into two lines outside when I got the signal the couple was ready to come out. People started lighting their sparklers and, to be honest, I don’t really remember what happened next. I know I had a bunch (9-10) of sparklers in my hands prior to that moment and one of two things happened, either I lit them or a guest lit them ( I was told two different things by two different people) but the end result was the same. An instantaneous searing, burning and overwhelming pain in my right hand, a large fireball that scorched my face & hair and a ton of confusion… it turns out the sparklers exploded in my hand. I remember throwing the sparklers as fast as possible but my hand didn’t quite work so they just kind of dropped. I took a look at my hand (this was outside, at night) and could see it was scorched black, misshapen and my skin felt very odd. Someone came over and started yelling at me to look at my hand while grabbing at it which added to the confusion (at the time). I don’t really remember the exact sequence of details because I was in intense pain and the couple had just appeared at the doorway, so my only thought process was only to “get the shot,” so I shrugged him away while uttering some form of grunt or other noise (that was most likely unpleasant). As the bride & groom started walking I lifted my camera and got ready to fire the first shot.Shit.I tried pressing the shutter with my index finger and, for lack of a better way to say it, it didn’t work. I couldn't bend my finger enough to actually depress the shutter. Thinking as fast as I could, I switched to my middle finger. No bueno. Ring finger? Hell no. C’mon pinky, you can do it! YES!! My pinky still worked so I shot around 30 frames, hammering away with no thought of composition, artistry, flash recycle time or anything other then trying to keep them somewhat in the frame.The couple made it to the car and I couldn’t take it anymore (I missed the car shot). I RAN to the bathroom to put water on my hand. Looking at it inside in the light, it was worse then I thought. My hand was almost completely black, the skin was thickened and very hard and three of my fingers and thumb would barely move. I washed off as much soot as I could with the water then went back upstairs to get some ice, find my partner (Jenn), pack up and go to the hospital. I didn't realize it at the time but I was in the early stages of shock at this point so I resembled the behavior of the walking dead. I told Jenn what happened, and she immediately got the DJ to help her pack up and we got to the car as fast as possible. We talked about which hospital to go to and agreed on the closest one to our studio.So, one thing about emergency rooms. People tend to treat them as their primary care physicians so, when I arrived, people were waiting for non-emergent issues (fevers, flu, etc). I got triaged, told it was only first degree and they offered me some ibuprofen for the pain… (yeah, great service there). After about 45 minutes of waiting, without any movement in the line of people in front of us, Jenn convinced me to go to another hospital. As we were walking out, I went into full fledged shock. Started slurring my words, shivering uncontrollably and had difficulty walking. We arrived at the next hospital, told them what happened and they immediately got me into a wheelchair, gave me a warm blanket (oh my god that was the 2nd best feeling ever) and brought me back into a triage room. The resident came in shortly after, asked what happened, took one look at my hand and promptly left to get the attending physician. When she came in, she immediately started telling me I had received 2nd & 3rd degree burns to my hand, which burned the tendons and was the reason I couldn't move my fingers (along with the thickening of the skin). They were not equipped to treat burns this serious and they had called an ambulance to take me to the UNC burn center. (ironically about 5 miles from where the wedding reception was). She told me that once I arrived there, they would most likely cut off my clothes, prep me for surgery and, if I was lucky, I’d retain about 50-70% mobility in my hand.Shit.The next thing she told me was they were going to give me 1mg of Dilaudid (which is 10 times stronger then morphine) for the pain. Let me tell you, the relief from that pain was unbelievable and, by far, the best feeling ever. It turns out I also started hitting on everyone in the room. Whoops.Jenn, being the kind, caring and most patient person ever, followed the ambulance to the burn center. By this time it was past 4am so between the drugs, pain and lack of sleep, I was a mess. Got checked into the burn center when the attending doctor came in (with his students), looked at my hand and gave me great news. With my job and my injuries, he decided cleaning, treatment and debriding of the hand and not surgery was the best option. However, what he did next almost cost him dearly. Without warning, he crushed my hand closed. Blisters started popping, one of them squirting me in the face. I almost punched him. Pain meds or not, that HURT! He explained he needed to make sure my tendons could still move and my hand could physically close if we weren't going into surgery. Thanks doc.. a little warning next time.The damage: half of my palm, the inside of my thumb, index and middle fingers had 2nd & third degree burns. My ring finger had a smaller 2nd degree burn as well. Large thick blisters had formed and my hand resembled something out of the Walking Dead.The next two weeks sucked, completely. I had to wash my hand, dry it, coat it in silvadene cream, cut oil bandage strips to the wound size, wrap those around the burns, wrap that in stretch gauze, then put on this weird (but cool) stretchy “tube” gauze to hold it all in place. I had to do this twice a day for the 1st week because the burns were “seeping” and within 45 minutes of having a new dressing, it would start to yellow. On top of that, I had to do it with one hand so I felt like a battlefield medic every time I had to rip open packages with my teeth.I went back for my appointment at the UNC burn center 2 weeks later and learned they would debride me (no, not firing a bride). This involves cutting away the dead flesh so the new flesh could start to breath and heal. I discovered a whole new level of anxiety when this very nice man took a very, very sharp pair of scissors and tweezers and started cutting holes in my wounds then peeling back the dead skin. Once he was done, I experienced a whole new range of “sensitivity” with the new, “beefy” flesh touching, well, ANYTHING. Who needed coffee in the morning, just breathe on my hand and I would be wide awake! The tissue looked like the beefiest juiciest red stewed tomato ever.The healing process from there went quickly for me (I was told I had good genes). My occupational therapy routine ( stretching, gripping, etc) brought yet another new level of pain and, interestingly enough, it felt like it was burning all over again every time I did it. The doctor told me the harder I worked on that, the better chance I had in recovering full mobility of my hand so despite the sheer suck of the entire process, I did as much as I could stand. Not long after I was getting into a routine with the OT and my hand started showing small signs of improvement, one thing I never considered started creeping in… nightmares.Oh boy, the nightmares! I am not sure which was worse.. experiencing the whole burning sensation 4 times a day when I was stretching my hand or waking up 10-15 times a night, gasping for air, because I just re-lived the actual burn. The only words I can think to describe that feeling is “this sucks”. I tried taking Zzzquil, drinking, pain meds and drinking and nothing would keep me asleep. That lasted for a good 3 months after the debridement & OT started. I honestly don’t know which was worse, the burn, the OT or the nightmares.Of course, there is the small matter of actually working and holding a camera with a bum hand. In this regard, I was so lucky in a few ways. Jenn, my business partner and best friend, is a fantastic photographer and she took the shoots that we couldn't reschedule. We also had a break for a couple of weeks so I didn’t have the immediate worry of having to shoot weddings. If Jenn hadn’t been there for me, it would of been difficult if not impossible to continue the business. She took lead on so many shoots and weddings because I just couldn't handle the physical stress of holding a camera for 8 hours. Having a partner like that, who can step in for long term is not only invaluable, it changed how we operate as a business. My wife was a saint during this time. She helped me with the bandages, put up with the nightmares and the psychological crap that I was going thru personally. Without all of these people in my corner, I know I wouldn't of come out as well as I have on the other end.I’m about a year out now and only have the occasional nightmare, which just wakes me up then I go back to sleep pretty quickly. The hand is tight still if I don't stretch it and i’ve injured my wrist 3 times from working out. Apparently the tendons all work together so while I did OT on my hand to recover the strength in that, the tendons in my wrist weakened and i’ve dislocated my wrist twice while working out on a punching bag. Other then that the scarring is minimal and the strength has fully returned. I cannot stress enough how LUCKY I am I don’t have permanent damage. The doctors told me this type of injury is common and I am one of the few that didn’t suffer permanent damage. I was lucky enough to have a burn center close to me that greatly aided in my recovery. This is how both Jenn and I feed our families so the potential “risk” of being helpful was far, far higher then I would ever knowingly accept.I reached out to a popular wedding sparkler company regarding the differences between wedding sparklers and “colored sparklers” and “why” this happened. Libba from www.sparklersonline.com had the following to say:
My dad is in the fireworks business and sells almost 15 different varieties of sparklers – over the years I have tried them all. The colored ones are not my favorites because they are too short, are super smoky but most importantly burn like a torch instead of the pretty sparkle like traditional sparklers. I do love the longer sparklers for weddings – the 20 inch and the 36 inch sparklers are ideal. The benefit of long sparklers is that each guest only needs one sparkler, needs to only light it once and that there is a very long handle to hold. Sparklers are such a beautiful and festive addition to weddings but must be used with good discretion. So, what did I learn from this whole ordeal and how do we do things differently now? One simple saying (which Jenn coined) - “Not my job.” Sparklers are DANGEROUS! They burn at over 2000 degrees and will instantly burn flesh (I'm so glad these are marketed as kids toys) and as you can see, almost cost me my career. There are so many things we as photographers do to go above and beyond for our clients. The downside is we never really consider the outcome of some of those decisions.Raleigh Wedding Photographer Brian Mullins has been shooting professionally since 2005 and won numerous awards including Independent Weekly, WPPI Accolade of Excellence and several other local organizations. His photography studio is based in Apex, NC where he focuses on both his wedding and commercial photography business. Brian and his business partner Jenn also teach multiple photography workshops for both amateur & professional photographers. [post_title] => How the Wrong Sparklers Almost Cost Me My Wedding Photography Career [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-the-wrong-sparklers-almost-cost-me-my-wedding-photography-career [to_ping] => [pinged] => [post_modified] => 2015-09-10 14:38:21 [post_modified_gmt] => 2015-09-10 18:38:21 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=51219 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 33 [filter] => raw ) => WP_Post Object ( [ID] => 47798 [post_author] => 25217 [post_date] => 2015-02-05 12:08:55 [post_date_gmt] => 2015-02-05 17:08:55 [post_content] =>
By Justin Muschong - Artwork courtesy of Adhesive
It all began with a blind date.
Wini Alcorn, a Senior Art Producer at McCann Erickson, and Shabnam Azadeh, an Agent at Kate Ryan, wanted to set up a pair of friends. Both were shy, however, so they asked along several other friends in the advertising industry to introduce the two at a group get-together. They met at Tom and Jerry's, a bar in Manhattan's NoHo neighborhood, and drank and talked long into the night. It was casual, it was relaxed, it was a good time. Everyone agreed they should do it again.
"Let's do this again sometime." It's a phrase people say quite frequently, but they rarely actually “do it again sometime.” Wini and Shabnam decided to buck the trend and make it happen. They teamed up with MoMA Assistant Creative Director Brian Bergeron and Lockbox Productions Producer Tim Willis to form Adhesive, a group dedicated to holding monthly events in bars and spaces all over New York where creatives can meet, share a few drinks, and get to know each other as real, living, breathing people.[caption id="attachment_47800" align="aligncenter" width="882"] Brian Bergeron shown on the left.[/caption]
The group's motto is "Sticking Creatives Together" and its ambitions do not stretch far beyond that. "It's getting people together who normally work via phone and over e-mail; getting these people face-to-face in a casual social setting and making better connections," Brian says. While some come with the intent to network?and job connections often do occur at the events?the focus is on maintaining a no-pressure atmosphere where everyone can finally have a chance to relax. In Shabnam's words, "It's like we go out and have a drink after work, and it happens to be with two hundred people."
Check out our very special #tbt Adhesive video interview from RETV 2009!
Fall 2009 - Agency - Interview: Adhesive from RETV from Resource Magazine on Vimeo.
Adhesive has tapped into a need the industry wasn't aware it had, and in the two years since its founding the number of people who show up has exploded. At first, the meetings were announced through word-of-mouth, but after three or four sessions, Adhesive created a mailing list and a website where newcomers can sign up. Their mailing list started with eight people?today it surpasses 650.[caption id="attachment_47803" align="aligncenter" width="1368"] Shabnam Azadeh[/caption]
People receive one email announcing the time, date, and location of the upcoming event, usually held on the third Tuesday or Wednesday of every month. A reminder email follows as the date approaches. "And those are the only two emails you get," Brian emphasizes. "People are overwhelmed with junk mail and everything else already. We want to keep it simple, and I think that's what people appreciate about us."
The simplicity extends to the name tags that have become the group's foremost symbol. Upon entering, everyone gets one with his or her name on it—and just the name. No company information is allowed. The name tags serve not only to help first timers identify the Adhesive participants in a crowded bar, but also allow people who have never met face-to-face the chance to recognize each other. Wini asserts that she's heard statements like, "Oh my God, that's so-and-so from so-and-so. I've talked to him for five years and never met him," more than once. It's that sort of connections that Adhesive is designed to foster.
All the events to date have been held in New York, but word is spreading fast. When Shabnam was in Chicago a few months ago, she met several art buyers there who had heard of a happy hour event in New York they were eager to attend. It took her a moment to realize that they were talking about Adhesive. Another creative in Los Angeles planned to schedule his next trip to New York so that he could show up at the next event.[caption id="attachment_47805" align="aligncenter" width="1306"] Wini Alcorn[/caption]
The increasing popularity of Adhesive has sparked interest from outside organizations looking to cash in on its surprise success. "People are like, 'Well come and do it at X studio and we can show off our studio and you can have your event,'" Wini says. But so far the group has resisted all overtures. "Part of what's nice about it is that it's not corporate, and it's very kind of organic. Once it becomes more packaged and a commodity, it's no longer as hip or kind of on the down low. It would lose the charm it has right now."
Adhesive has considered growing a bit, maybe by adding a blog or a job postings section on their website. They would also like to include the many images photographers take of their events. "We do need some help to grow a little bit, in terms of volunteering," Wini says. "They could be writing name tags, figuring out how to do this blog thing. The key word is volunteer. We don't have any money."
It's a moment of transition for the group, where they could evolve into the next Media Bistro and conquer the industry. But for now, they seem pretty content to let Adhesive remain a casual affair. That is, after all, why everyone digs it so much.[caption id="attachment_47802" align="aligncenter" width="740"] Shabnam Azadeh[/caption]
Wini: "There's not much labor involved. It's very low key."
Brian: "That's the way we like it."
Shabnam: "A lot of smiling, a lot of drinking, a lot of talking."
It's a simple, honest pitch at a time when the industry desperately needs them.
This story first appeared in the fall 2009 issue of Resource Magazine. Visit the Resource Shop to pick up the latest copy.
[header image via Flickr © Emily Rose/Tako Fibers] [post_title] => #TBT: How Adhesive Began Sticking Creatives Together [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => tbt-how-adhesive-began-sticking-creatives-together [to_ping] => [pinged] => http://vimeo.com/11667204 [post_modified] => 2015-02-09 10:39:57 [post_modified_gmt] => 2015-02-09 15:39:57 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=47798 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 46143 [post_author] => 25217 [post_date] => 2015-01-06 14:00:26 [post_date_gmt] => 2015-01-06 19:00:26 [post_content] =>
CHRONICLE is an online series where we’re uncovering long-forgotten print stories from our dusty hard drives and archives. This story first appeared in the Spring 2011 Issue of Resource Magazine. Visit the Resource Shop to pick up the latest copy.
Words by Brian Dwyer - Self-portrait by Marqui Akins
There is a dapper, calm universe that often pervades a finished photograph— models floating with Christ-like ease or inanimate objects resting peacefully on a sterile-white counter. Behind this fantasy world is a harsher reality, filled with peeled hands and tired eyes belonging to photo assistants.
Marqui Akins agreed to give me some of the main commandments from the Photo Assistants’ Bible.
1. Thou Shalt Work for Scratch.
“Try and get as much experience as possible. Interning is a big thing that many aspiring photographers and people who want to get into the business do,” Marqui says. In a way, interning works to weed out everyone but the diehards. Internships at a Miami photo rep and a New York City modeling agency didn’t pay the bills, but these experiences built Marqui’s resume. “When I came to New York, I was interning at a photo rep agency, working nights at Shoot Digital, and assisting whenever I could. Those couple hours of sleep at night just seem to last when it's something you really want to do!”
2. All Work and No Play Makes Marqui a Successful Boy.
The perks of being a photo assistant include free studio time, as long as you can find the time. “You need to keep in mind that, when you assist, you are taking care of work, and you need to get the job done. If you have time, then you can take on your own stuff. I am not perfect: when I first arrived in New York, there were times when I was trying to do too much. I had to sit down and realize I had a great situation here, and I didn’t want to mess this up.”
3. Keep busy.
“You should always find something to do—make sure you’re always doing something. A photographer I worked with really loved that I was always working so hard and doing all I could to make his job easier. He really gave me a nice compliment through his agency, and I got other work because of that.”
4. Loyalty is the Mark of a True Friend.
“A lot of assistants are aspiring photographers but you need to make sure that you remember you are working for a photographer. Take care of what he needs, and focus on the job at hand. Before approaching stylists or models for some possible tests, make sure you ask the photographer for his permission. It’s normal courtesy. Always make sure the photographer feels like he is number one.”
5. Silence is Golden.
“If the photographer has a certain lighting setting, you don't want to say in front of everyone that his light is wrong. Be careful about the things you say. Though you may have the best intentions, you don't want to undermine what the photographer is doing on set.”
6. Do Not Do Unto Others As Others Do Onto You.
“Every shoot is going to have its little quirks. Problems are going to arise, that's just the nature of the business. It's how you deal with them that separates the really professional assistants.” [post_title] => CHRONICLE: Tricks of the Trade - The Photo Assistant Commandments [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => chronicle-tricks-of-the-trade-the-photo-assistant-commandments [to_ping] => [pinged] => [post_modified] => 2015-01-06 12:14:12 [post_modified_gmt] => 2015-01-06 17:14:12 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=46143 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 45456 [post_author] => 25217 [post_date] => 2015-01-02 12:19:06 [post_date_gmt] => 2015-01-02 17:19:06 [post_content] =>
CHRONICLE is an online series where we’re uncovering long-forgotten print stories from our dusty hard drives and archives. This story first appeared in the Summer 2014 Issue of Resource Magazine. Visit the Resource Shop to pick up the latest copy. http://youtu.be/7Rln2TXSzMQ
By Charlie Fish - Photos by Brad Trent
A couple checks in at a Borgata hotel. They’re escorted to their room by a bellhop, but upon entering, they notice a shirt on the neatly made bed. “Whose shirt is that?” asks the woman. It belongs to the bellhop, but he doesn’t admit it. He didn’t even know it’d be there. He’s not really a bellhop, but one of the four Impractical Jokers, whose TV show on truTV is currently in its third season. We see their interaction through the hidden cameras placed around the hotel room. What the couple doesn’t see is that Sal, the Joker in question, is being prompted via an earpiece on what to do next. So he, as instructed, opens the closet for the couple. At this point a man dressed in a cat suit jumps out of the closet and proceeds to chasehim around the hotel room. “Not again, not again! I hate this f*cking thing!” screams the bellhop, as he, in a panic, jumps onto the couch, then onto the couple’s bed. He manages to snatch his shirt before running out of the room, still screaming. The couple looks on in complete, stunned disbelief.
Meanwhile, in another room, we see the remaining three Jokers—Q, Murr and Joe—laugh uproariously as they watch the action on a monitor. They’re laughing, in part, because of the situation: the unaware couple’s reaction at the absurdity of having a man in a cat suit terrify their bellhop. But they’re also laughing because Sal, their longtime friend and co-star, really didn’t expect a giant cat to chase him. Turns out, Sal is rather terrified of cats in general. “He was attacked by one when he was younger. His aunt or uncle had a cat that liked everyone except Sal. It used to go after him. He had, like, a vendetta against him,” explains Joe. This is the crux of their prank on Sal. THE SLOW BURNJoe: I’m a big of fan of the slow burn pranks. I had a ten-year prank on Sal. I used to sign him up for every mailing list and every magazine I’d come across. I used to call up infomercials and give his information. You don’t even realize how many you come in contact with, like the whole, “Give us your e-mail” in stores when you’re shopping. I was in a bar called Johnny Utah’s on the East side of Manhattan and a girl was walking around, like a shot girl trying to get people’s emails. Sal walked up to me while I was doing it. He looked over my shoulder—I didn’t realize he was there—and he asked me, “Why’d you put my name down?” And then he realized, and his mind was blown. He was like, “You’re the reason I’ve been getting all this information on mattresses!”
Much of Impractical Jokers follows a similar set up. Hidden cameras, anywhere from six to eighteen, are placed in a setting. Sometimes it’s a park, or a grocery store, or a restaurant, or a hotel room. Three of the pranksters are somewhere unseen, viewing the action on a monitor and prompting the fourth member through his earpiece. He engages with an unwitting participant. Maybe he has to touch his nose to someone’s body, or put his finger in their ear. Or maybe he’s pretending to be a hapless dentist’s assistant. If a prankster fails to perform his task, there’s a hefty, hilarious punishment. For instance, Murr is terrified of skydiving, so they made him do it in a bit that later became known as “cry diving.” It gets really awkward really fast, much to the enjoyment of the prompters—and the audience viewing at home. So successful is the show that it was just signed for a fourth season, with filming set for September. Then there’s the spinoff, Jokers Wild, premiering this fall on truTV.
The hidden camera genre has long been wildly successful. Candid Camera, created by Allen Funt in 1948, was the longest running show of its kind, ending in 2004. Modern takes on the genre include Punk’d, which featured celebrities being pranked by executive producer Ashton Kutcher, and Jackass, which made Johnny Knoxville a household name. Impractical Jokers differs from these shows because more often than not, their “marks” are just ways for the pranksters and comedians to pull one over on themselves. “A lot of prank shows for some reason are skewed a little bit mean, but we like confusion,” explains Sal. “When someone is confused it’s the best possible comedic response,” he adds. Fellow joker Joe echoes, “We’re the butt of the joke. We’re also nice guys with a good upbringing, and we don’t like to be dicks.” THE TENDERLOINS ON JOKERS WILDJoe: Jokers Wild is a sketch show, which brings us back to our roots. We’re the Tenderloin Comedy Troupe, formed in ’99. TruTV gave us a second show where we’re doing this full-blown sketch show. It’s just us being us in a surreal, uber reality where we embrace everything. We play ourselves; we don’t play characters. We’re starting with six episodes; hopefully they’ll buy more.Sal: We met in high school in 1990 and we’ve been doing The Tenderloins for fifteen years. That was all based on sketch and improv. Jokers Wild is a little bit of a return to that. It’s going to be sketch comedy. The catch about it is that we’re playing ourselves in all our sketches. It’s going to be a hybrid sketch-slash-remote pieces. What we’ll do is switch in and out from reality to sketch.Murr: Jokers Wild is going to be The Tenderloins at their best.
Sal Vulcano, Joe Gatto, James “Murr” Murray and Brian “Q” Quinn met when they were attending Monsignor Farrell High School in Staten Island, NY. “It was an all-boys school, so there wasn’t a lot to do there besides bust chops and joke around,” recalls Q. Pranks were commonplace, and sometimes carefully coordinated. “The first prank I remember us doing,” says Murr, “was in religion class as freshmen in high school. As our teacher, Mrs. Fidducia, walked through the aisle, Joe would secretly put his nose on her. She would have no clue. Now twenty years later we turned it into ‘nosing’ on Impractical Jokers, which we’ve done several times.” And then there was Vermin Day, “when everyone would bring in an animal and release it in the school at the same time,” says Q. This penchant for pranking and joking and comedy led the four friends to form the improv comedy troupe The Tenderloins. While on an NBC competition special, It’s Your Show, the troupe won the $100,000 grand prize for their comedic sketch. The Tenderloins then tried to develop two scripted comedy shows before arriving at the hidden camera format and the success of Impractical Jokers. For the troupe, the hidden camera made sense, as they’d constantly been pranking one another since high school anyway.
“We used camera phones and put together our own tape and our scissor reels. That was how we sold the show,” remembers Joe. The first episode of the show aired on December 15, 2011, and over 32 million viewers watched the first season. With that much exposure, it’s easy to assume that the guys are becoming recognizable and, thus, some “marks” might be in on the prank. Not so, assure the guys and the show’s Executive Producer, Pete McPartland.
As showrunner, it’s Pete’s responsibility to have the set up and location be as conducive to authenticity as possible. So how exactly does one go about hiding up to eighteen cameras? “We often joke that we have to bend over backwards to hide a camera when it is right next to a very visible security camera,” he says. “If you were to walk in, you would think there’s an electrician running a wire,” reveals Pete about the discreet set up. Every detail is as covert as possible. Pete explains, “Everything needs to be completely tucked away so that no one realizes there is something being shot there. The people walking on the floor cannot have any visible walkie-talkies, or visible headphones. We have people who are posing as employees, so they would be wearing shirts that make it look like they're working at the store. Or someone at a restaurant would be wearing a suit, pretending to be a host, but he’s really a producer and the disguise justifies his earpiece. In terms of executing our shoots, it’s 50% technical, 50% a nuanced producing of an authentic public experience.”
IN AN ALTERNATE UNIVERSE, IF I WASN’T DOING COMEDY I’D BE…Joe: I would love to do high-end sales, like helicopters or yachts or something like that. To sell a jet to somebody might be kind of cool, you know what I mean?Q: Firefighting.Sal: I have a finance degree and I worked a nine-to-five job at Prudential Securities. Five years out of college I was doing comedy on the side; I knew finance wasn’t for me and I moved to bartending so I could have the flexibility to do the comedy. I then became the manager of the bar and ended up buying it and I did that for ten years. I think I’ve always done comedy for free and I’ll do it until the day I die. I can’t really see myself doing anything else—I just really can’t. I’m probably really lucky to have comedy.Murr: In an alternate universe I’d be an architect. I just love design.
If someone is suspected of being a fan or of being in on the prank, the group will delay shooting until another unsuspecting mark comes along. As for hiding the cameras, they’ve come up with a cabinet-like structure that “doesn’t ever look out of place, wherever we put it,” says Pete. That’s their number one hiding place. Still, sometimes a camera is spotted. “You know who notices the cameras the most? Little kids,” reveals Pete. He adds, “Even if someone walks in and they might have noticed the camera, once a joker engages with them, they don’t have time to think about it. They're too busy watching the joker perform his embarrassing tasks and they become too engaged with him to observe their surroundings and figure out what’s going on. They're more focused on ‘Who is this guy?’ and ‘Why is he trying to touch his nose to my shoulder?’ or whatever the task may be.”
As for what tasks lie ahead for the good-natured pranksters for the second half of season three, the guys reveal a few promising tidbits. “It’s not really the challenges that you’re going to see evolve that much, it’s the punishments,” hints Q. “What happens is every season so far the punishments have gotten bigger and bigger and now we’re locked in a revenge trip,” he adds. “There will be some more celebrity guests. Look for the ultimate season finale punishment that’s going to blow your mind,” says Murr, who also serves as a producer for the show. Pressed for more, he lets us know it’s directed toward Sal, and involves all of his greatest fears including, you guessed it, cats. And if you ever find yourself wondering if you’re being pranked, just heed Pete’s tip: “If you walk into a place with unusually bright lights and no music playing, they might be shooting a hidden camera show!”
HOW WOULD THE TENDERLOINS PRANK A PHOTOGRAPHER?Joe: We would probably just keep our eyes closed. It’d be like, “1-2-3” and we’d close our eyes.Sal: So, it’ll be like the camera coincidentally caught us all blinking.Q: Well, I almost pranked you guys by oversleeping this morning, but it might be fun to put the classic ink around the viewfinder.DREAM MARKSJoe: Will Smith. He’s a hero of mine and I also think he would take it in stride and be a lot of fun.Sal: Hopefully I’ll prank someone who becomes my wife. But more so, someone who wouldn’t try to karate chop me in the trachea.Murr: The President would be amazing. If you could pull off pranking the President without getting shot by Homeland Security, that’d be pretty sweet. But you know, I’ve always wanted to do a prank on a plane.WOULD YOU RATHER PRANK A POLITICIAN, AN ATHLETE OR A REALITY TV STAR?Sal: Definitely not a reality TV star. Maybe if it were a really famous athlete it’d be good, but probably not because they’re usually big people. I’ll say politician because they’re pranking us all the time.Murr: I’d say a politician because they’re so damn serious. They take everything so seriously and always think about the ramifications on their campaign. So anyone who takes things that seriously is great to screw with.COMEDY ICONSJoe: Mel Brooks, hands down. Mel Brooks movies were my thing. I was big on that kind of comedy, like Leslie Nielsen and Naked Gun and stuff like that.Q: There’s so many. I think Richard Pryor. But I like Abbot and Costello, too. There’s just so many.Sal: This is a tough one for me because I don’t like to give just one answer. We’ll say Andy Kaufman, Bill Cosby and Eddie Murphy. But also, I can’t stray away from Leslie Nielsen.Murr: Bill Burr, Eddie Murphy, Mel Brooks. The Zucker Brothers, who created the Airplane movies. Those were huge influences on me. Leslie Nielsen was a huge influence on me. I think Kevin Hart is excellent, too.NINJA HEROESJoe: I’ve watched Crouching Tiger, Hidden Dragon so many times. The Last Dragon is one of my favorite movies ever. It’s a comedy, a take on reverse racism, where there’s a black kung-fu guy in Harlem.Q: Well, in the Pink Panther his assistant would dress as a ninja and come after him. There’s that, but I never really got into ninjas, which is ridiculous because ninjas are awesome. Can I say Storm Shadow from GI Joe? Does that count?Sal: Outside of Bruce Lee, the Wu-Tang Clan borrows a lot from old karate movies and that’s where the Shaolin comes in. Staten Island is also called Shaolin, which comes from the Wu-Tang movies. RZA himself was heavily influenced by that, and in a way I look at the Wu-Tang Clan as a kung-fu influence. But I heard Joey mention The Last Dragon, which is a comedic take on the kung-fu movies and I love that. I was also into ninja video games growing up. Everybody wants to be a ninja.Murr: Teenage Mutant Ninja Turtles, of course. They have a new movie coming out soon.WHERE TO EAT IN NEW YORK CITYQ: I’m going with Lee’s Tavern on Staten Island, which makes some of the best pizza in the world. There’s also a place called Emilio’s Bellato on Houston. It has unbelievably good Italian food.Sal: Ed’s Lobster Bar. Ed Macfarlane is a dear friend of mine and he’s also a native Staten Islander, but I’m not just saying it because of that. It’s the best lobster that you’ll ever have.Murr: Becco on Restaurant Row on 46th Street. It’s an Italian restaurant and they have all-you-can-eat pasta. Every day they make three different pastas and no day’s ever the same. They bring it right off the pan and put it on your plate, it’s amazing.IPHONE OR GALAXY? Q: Galaxy. I have a Galaxy Note.Sal: Galaxy Note 3.Murr: iPhone.MICHAEL JACKSON OR PRINCE? Q: Michael Jackson.Sal: I saw Prince at the Garden a couple of years ago and he was amazing. But the old school Michael Jackson stuff is like—uhhh, I don’t know what to choose!Murr: Michael Jackson.WHY DOES JOE KEEPING DANCING, EVEN IF HE’S TERRIBLE?Q: He’s never going to stop. He’s got happy feet, baby.Murr: Joe’s not a good dancer, he’s just confident. So, he’s a confidently bad dancer and that’s why he dances, because he’s funny as hell. He owns it. He owns how bad it is.WHEN PRANKS GO WRONGMurr: Sometimes we do pranks that are good on paper but not good in reality. For example, we were working in a supermarket and Sal was behind the checkout counter ringing up customers. This woman goes through the whole process and she hands Sal her credit card. So I said to Sal, “Take out your cell phone and take a picture of her credit card before you swipe it.” She went ballistic! She called 911 and the police came. The police finally calmed her down and talked her out of the store; when they came back in, they asked if they could take pictures with us because they were fans of the show.Sal: Once in a while you’ll get some collateral damage on people—it’s probably me who does it the most. I really got under a guy’s skin when I cut him in line. We had to cut people at the TKTS Booth in Times Square. These people were in line for hours, and everyone hates a line cutter. The point was to find somewhere where people are on line for a really good reason. They line up to get the tickets on a first-come-first-served basis. There was this older guy who seemed like a war vet, and he called over security. When security came, instead of admitting defeat and walking out, I said, “I don’t know what he’s talking about, I’m with him. I’m part of his family.” And the guy looked at me and said, “No, you’re not,” and I said, “Sure I am, tell him. Tell him I’m with you.” It just got so under his skin. He said, “What, is there something wrong with you?” and I said, “No, uncle.” Then he just moved the other way and tried to choke me. It went from zero to sixty. When they found out they laughed, but in that moment, it was scary.THE ONGOING CAT SUIT PRANKSal: I think it gets boring for the viewer, but from what I gather when we meet people is that people can’t get enough of it. Everyone asks me, “He’s not a cat so why are you running?” I’m telling you it’s not that I’m scared of the cat suit; the reason why I run is because when someone is chasing you, you run. It’s like an instinct. You just do it. They’ve done that three times already and I think they’re done with it. I really hope they are. Every single time they’ve scared me. They did it at a White Castle drive-thru, where the cat jumped through the window and it scared the shit out of me. They did it in a hotel when I was showing people their room and it was the last thing I expected. The other one was when I was in a cornfield.I hate haunted houses, I hate being scared and I hate people grabbing at me. I’m afraid of going into haunted houses because I know it’s an actor and I’m always worried that I’m going to punch somebody. But, the guys know I hate haunted houses so they set up a haunted corn maze as a punishment for me. I had to follow a path and things kept jumping out at me. It was one of the things that blew me away the most in the three years that we’ve been doing the show.We drove three hours upstate and I was blindfolded. When I got there, it was the most elaborate thing. It was something you can dream up in your head but couldn’t ever imagine. That’s one thing about the show—you have ideas and then you do them.It’s unbelievable how if you think of something a team of people will go and make it happen, but the corn maze was hysterical. They had little children just roaming around and staring at me while I was lost in the maze. I was like fifteen minutes in and alone, and a little kid would walk by. I’m thinking, “Where the fuck is this kid?” Because I knew all along that they had to have a parent or a chaperone nearby, and I’m looking for the parent and there’s no parent. I saw this little girl about 200 feet ahead of me and I had to follow a certain path to pass her. When I reached her I said to her, “I know you’re actors, but I’m telling you right now if you jump out at me when I’m passing I’m liable to punch you.” And then I ran past her and as I was running I kept looking back. Finally I was long past her and waiting for the parent, and as I’m doing it someone blows an air horn behind me in my ear. I screamed and fell down because it startled me. I jumped back up in half a second and she was gone. But I was about one hundred feet when she disappeared and I turn around to find her standing right behind me. I guess they grabbed her and brought her around. It was really funny, they did it really well. I told them that it was the best thing they’ve ever done to me.At the very end I had to follow a string for a mile and it opened to a clearing in the dead center of a cornfield. I’m holding onto the string and it got ripped out of my hands; I had to find my way back. It wasn’t a maze anymore, it was a cornfield, so there was no path and I had to push through the corn. At that point I’m thinking about what to do and the cat just ran out and charged at me. It chased me through the entire field. You know in the movies when people are running and they’re rolling as they’re running? It’s so true—I actually tumbled. The cat was ten feet behind me running as fast as I was; I was charging full speed and kept falling because I was going through the corn.THEIR PERSONAL LIMITSMurr: My limit is the same two things in every episode. If it’s a beautiful woman, I can’t prank her. I get clammy and nervous. Same if it’s an older person. I was raised to be polite to your elders, and the guys know that, so they’ll send me to an old-timer and have me do something. I lose it every time. And I would never kill a man, unless he deserved it. If it were a criminal, I would have to have the case history and see that he’s been proven guilty in a court of law by a jury of his peers. If they did, then I’d kill a man.Q: I never murdered anybody. I don’t want to be mean to anybody and I don’t want to make anyone feel stupid. I don’t mind being a little edgy or making a little sexual innuendo, I just don’t want anyone to feel stupid or dumb.MURR VS. SHARKSMurr: Skydiving and sharks are my number one fears. I have an irrational fear of getting eaten by a shark—to the point where I wear a shark repellant sonar bracelet. You put it around your ankle and it sends out sonic rays.PRANKS OFF CAMERA: THE TURD CONGOMurr: We do this thing where whenever we go to a hotel, Joe will check in as Sal fifteen minutes before Sal arrives. He goes into Sal’s room and cranks the heat up to 110 degrees and does a number two in the bathroom and leaves it. Ten minutes later Sal arrives and walks into his room and it’s like the Serengeti: it’s the “turd Congo.” It’s hot as balls and there’s a number two in the toilet. It’s hysterically funny. We do it all the time. Sal’s so neurotic about it—that’s why we do it, because he’s so overly neurotic about it.HOW DID THEY DO IT? THE HOTEL ROOM PRANKExecutive Producer, Pete McPartland: It was quite elaborate. We had to be there at check-in time and we had one room with a king size bed that was on camera (so we needed a couple, not a family). We had the hotel slow down the check-ins so that we could evaluate the people in line and we discreetly pulled a couple into the “express checkout” area. We had them check into the hotel with a real employee, then the employee handed a Joker, or “bellhop,” the key to their room. He hid the key and used another key to get them into the room that we had rigged.Rigging the room was a challenge because it’s very hard to fit everything into a small space. And when people get to a hotel room, they're interested and want to look into everything. Cameras also aren't wireless—they need to be hardwired out of the room—so we had to put in our own fake molding into the floor to conceal the wiring. From a technical standpoint, that was the most satisfying prank.We also spoke with the Impractical Jokers' makeup artist. Read the story here. [post_title] => CHRONICLE: The Joke's on Them - Art of the Hidden Camera (Inside TrueTV's The Impractical Jokers) [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => chronicle-the-jokes-on-them-art-of-the-hidden-camera-inside-truetvs-the-impractical-jokers [to_ping] => [pinged] => http://resourcemagonline.com/2014/07/interview-make-up-artist-emily-amick/41004/ [post_modified] => 2017-01-31 15:20:15 [post_modified_gmt] => 2017-01-31 20:20:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=45456 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 41739 [post_author] => 28816 [post_date] => 2014-08-26 15:43:57 [post_date_gmt] => 2014-08-26 19:43:57 [post_content] => There's a reason why some colleges charge an upwards of 48 thousand dollars a year and it's not always just about the education—it's to keep the campus beautiful and eye-catching. Here some awesome college campus backdrops to fill out the frames of your photographs.
1) Stadium or Sports Complex Who ever said size matters? Whether it's big or small, you can use a stadium or sports field as the perfect photo backdrop. If possible, get this photograph during a specific game and the people in the backdrop will liven up the photo even further.
2) The College's Main Building If you are at a major American college, the odds are you have a significant main building. I went to the wonderful Fordham University and that gorgeous campus had Keating Hall: a building filled with offices and classrooms. But you would have never guessed that from the outside—its rustic look mixed with a majestic bell tower would be a perfect backdrop for any photo. And as I previously mentioned, it is highly likely that most major campuses have a building that matches or surpasses this magnitude.
3) Theater or Performing Arts Center
© Lower Columbia College via Flickr Creative Commons - Rose Hill Center for the ArtsThe theater could be a good option. Similar to the sports complex, it can be big or small. But on the other hand, if you can get in with your subject while it's empty it would make for a much more personalized shot.
4) Library This may sound like a boring backdrop—especially when the library always reminds you of all the lost hours in that place—but some colleges have the nicest libraries in America so you should most definitely take advantage.
5) The College's Secret Locations Most college campuses are old and have secret locations. Although most of the time they are the worst kept secrets after about two weeks of freshmen year. Are you desperate for a shot that' different and hidden? It just might be time to do some late-night exploring, just don't get caught and don't blame us if you do.
Our EDU 2014 photo contest is upon us and the submissions are coming in. With judges like Brian Matiash of Google+ and NIk Software, Vice President of Content at Shuttershock Scott Braut, Principal Product Manager for Photoshop Digital Imaging Bryan O’Neil Hughes, renowned portrait photographer Peter Hurley and Pulitzer Prize winning photographer Vincent Laforet, we'll be continually posting stories to accommodate our student audience until the contest closes. Stay tuned! [post_title] => EDU: Awesome College Campus Backdrops [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => edu-awesome-college-campus-backdrops [to_ping] => [pinged] => [post_modified] => 2017-01-31 17:31:42 [post_modified_gmt] => 2017-01-31 22:31:42 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/2014/08/edu-awesome-college-campus-backdrops/ [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ))