Array (  => WP_Post Object ( [ID] => 59213 [post_author] => 47212 [post_date] => 2015-10-19 13:10:17 [post_date_gmt] => 2015-10-19 17:10:17 [post_content] => Articles on death-related selfies are popping up all over the internet, and not in the way that some would prefer (like the much happier story, death of selfies). People have always wanted fame, but recently we're seeing a new way in which people are literally (proper use of the word) dying for it. Introducing: the life-or-death selfie. It has taken people (and by people, I mean the largely teeneage to young adult demographic) by selfie-storm, and has grown into a sort of global epidemic. It is uber-vanity hitting a new plateau amongst the millennial and Gen-Y'ers. And it's not just an American phenomenon... or Russian... or Japanese - it's happening everywhere! We are talking a strange, new, world-wide phenomenon hitting countries from Spain and the Philippines, to the U.S., South Africa, India, Poland and Russia.[caption id="attachment_59270" align="aligncenter" width="558"] Photo Credit: Distractings.com[/caption]If you simply Google "selfie deaths", the first thing that pops up is a recently created Wikipedia page entitled: "List of Selfie-Related Injuries and Deaths". I mean, who knew that the term "selfie" would not only turn into an overdone trend, but into a means for which people are accidentally killing themselves. "Honestly, I don't think they these kids realize the seriousness of what they're doing," a friend recently said to me. "I don't think they realize that they are actually putting their lives at risk... they just think what they're doing is adventurous, daring, and fun - like they see in the movies and video games." Responses to hearing stories of kids scaling buildings, phone in hand, like this seem to be the overwhelming majority. But is it that simple? Is it that the ones injuring or dying from self-related situations are simply not aware of the consequences, because of a hiccup in their minds between reality and imitated realities? Perhaps certain youngsters believing in their own invincibility? A mesh of varying, complex reasons?No matter which way you frame it, no one can argue that there is a strange rise in the numbers of selfie-related injuries and deaths, and that more and more teenagers and young adults are on a brazen quest to take dangerous - and sometimes life-ending - photos of themselves. Whether it's holding a loaded gun to one's head, or teetering on the edge of a 10-story building, all of these are done simply in an effort to post the image to social networks like Facebook, Twitter, or the highly-popular selfie-medium, Instagram.As this recent epidemic (and yes, I will call it just that) spreads and catches more and more media attention, articles (like this) or making headliner news, from "Selfie Deaths Have Killed More People Than Sharks This Year", to "Ultimate Selfie - Worth Risking Your Life For?", and the like. Ultimately, this risky behavior stems from something, and I do think one of the man reasons is the desire for some - born into the digital age - is to create epic pictures that ensure the racking up of likes and followers on social networks. Seems obvious? Well, let's go deeper than that. I'm sure sociologists are having a heyday at this point, but if not, maybe they should. It seems that beneath the seemingly self-absorbed act of taking these dangerous selfies lies not just a mass of shallow millennials, but an infectious and deep-rooted insecurity for the desperate need to be liked and followed; the need to stand-out, to be likeable, to be as much of a "unique individual" as possible in order to stand apart from the white noise of social media, as each user is competing, so to speak, with millions and millions of others for attention.I noticed myself, one day, going from Tumblr, to Twitter, to Instagram and Facebook, clicking like, like, like, share, comment, like, like, like before I came out of a sort of daze, and realizing that easily an hour had passed. I thought, "what the fuck am I doing?" (or not doing/avoiding, if I'm honest). It's addictive, like a drug, and many of us have become attached to our social networks as an extension of ourselves - feasibly akin to a fifth limb of sorts. But how far is too far, and at what point have we crossed the line? Unfortunately, I don't have any solid answers to this, though I'd be highly interested in others opinions or thoughts (see comments section below, but remember, this is a sensitive issue, so please keep that in mind). There are obvious underlying sociological (as a whole) and psychological (on an individual level) issues at play here; issues by which surround today's youth, who've grown up with social media, and in particular, The Big 3 - Twitter, Facebook, and Instagram. But we can't solely blame social media either, as though social factors and pressure have their pull, so too does individual choice and responsibility. I mean, none of us are immune to the pull of social networking, let alone the selfie snap here and there, but what is it that turns some of us into selfie-obsessors? Even more, those who've upped the selfie- ante and sadly, ended their short lives because of it?Honestly, I don't have a clue as to how to even slow this trend down, but I'm hoping that by bringing not just the facts to life (as most articles I've seen online are doing), but rather, by opening up a discussion on why this is happening in order to figure out how we can even begin to go about changing it; to stir some into thinking rather than reacting. Sure, liking and sharing is great - after-all, we are social creatures and it is innate within us to want to like and share, but effectively thinking about these social issues and sharing insight or starting a real conversation should take precedence. After-all, it doesn't hurt to explore possible roots to the problem which can vary from: our youth's obsession with fame and attention-seeking behavior, the increasing desire to be liked/adored/famous, and media's role in saturating our world - with a particularly strong influence on impressionable youths - with glorified images of celebrity culture, and further, the fairly recent explosion of "celebri-don'ts" - the celebrities infamous for being famous for absolutely next-to-nothing, the latter of whom use similar platforms like IG and FB to stay relevant with their audience/fans.Whichever way you look at it, accidental deaths as a direct result of attempts for that "epic selfie" seem senseless; they are senseless, really. But often these kids are anything but, and this begs the question: What is really the deeper problem - both on a whole and individualistic scale? And furthermore, is there anything we can even do about it? *On a lighter note, here's some selfie inspired images to make you either laugh, or shake your head in shame: [post_title] => Dying for Fame: The Popularity Contest That is Modern Internet [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => dying-for-fame-the-instagram-dilemma [to_ping] => [pinged] => [post_modified] => 2017-01-31 16:42:35 [post_modified_gmt] => 2017-01-31 21:42:35 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=59213 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 58651 [post_author] => 47212 [post_date] => 2015-10-14 15:13:03 [post_date_gmt] => 2015-10-14 19:13:03 [post_content] =>
When shooting on-location, producers have a horrifically long list of responsibilities: scheduling and call sheet, equipment rental, talent and client relations, casting, contracts, permits, catering, budget, paperwork and more, all with thousands of dollars on the line. But with the technology and resources we have today, is it possible to fill this role with something that doesn't allow for human error? The short answer is no. However, there are ways to optimize your producer's role so he or she can focus solely on the important aspects of the shoot, rather than the little things that can make or break a day on set.
Introducing: SmartyVan—a new and easy way to get your production up and running.[caption id="attachment_58887" align="alignnone" width="838"] © SmartyVan[/caption]
Founded this year by a photographers Christoph Lange and Rene Schmitt, SmartyVan consists of a solar powered Mercedes-Benz Sprinter that's customized to fit the needs of your photo production. Equipped with everything from an experienced driver to all the gear you need for an incredible day on set, the van can accommodate up to 11 passengers with plenty of storage space to spare. Additionally, you'll find a multitude of outlets, and rotating chairs for hair and makeup with a built-in mirror. Throughout the past year, the company has already seen clients such as Tommy Hilfiger, Moko Bambini, Playboy and more.
Built on the idea of all-in-one service, the concept formed after its founders noticed a decline in Hollywood-sized budgets and the expensive motorhome rentals that come with them. Specifically, it all began while Lange and Schmitt were working on a shoot with Vogue about two years ago in New York. There was a motorhome on set, and the crew struggled to reach different locations across the narrow New York streets. Lange explains: "Rene said to me, 'You know, we should think of something like a luxury car—something that looks good, feels cool and drives well, but can easily accommodate multiple locations.'" Lange goes on to explain that SmartyVan is not designed to be a replacement or competition for the motorhome, but rather an addition that's capable of transporting a production crew and their gear to different sub-locations throughout a shoot day. "Then all the hassle for the producer would be gone!" Lange exclaims. [caption id="attachment_58891" align="alignnone" width="838"] ©SmartyVan[/caption]
After the idea was sprouted, the next step was to find a body shop to customize a van. "First, we looked into what kind of car of van we wanted, and since we're both Germans we went for the Mercedes," says Lange with a laugh. "We checked out a few places in Manhattan that make super luxury vans with plasma TVs and refrigerators. And we also really liked the work these places did on car seats, but we realized we needed were solar panels," which have become the foundation of SmartyVan's vision for a cleaner, more efficient world. Ultimately, after finding the proper shop, it took about half a year to build the van, complete with outlets on the inside and outside—but with no generator and practically no noise. "Our vision is to bring SmartyVan to LA, then to Paris, where there is a huge concentration of art directors," Lange concludes. [caption id="attachment_58893" align="alignnone" width="838"] ©SmartyVan[/caption]
Today, throughout the photo industry, smaller-scale projects are happening at a much higher frequency than ever before. More and more, photographers are looking for a budget-friendly alternative for on-location shoots, as Hollywood-sized budgets are cut along with the expensive motorhome rentals that come with them. This is another area where SmartyVan shines. And with packages starting at only $1299 per day, you could say that less is certainly more, especially when it comes to style, speed and efficiency.[caption id="attachment_58892" align="alignnone" width="838"] ©SmartyVan[/caption]
In addition, the van is upholstered with plush leather seats, and alongside the rest of the vans functions, comes mental comfort because you know all of your necessities are in check. So you can now say goodbye to your producer's stress—and say hello to creative work without any disruptions.
©SmartyVan[caption id="attachment_58890" align="alignnone" width="838"] ©SmartyVan[/caption]Click here for more on SmartyVan and start planning your next shoot today. [post_title] => SmartyVan Cuts Costs In Half [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => smartyvan-optimize-shoot-production [to_ping] => [pinged] => [post_modified] => 2015-10-22 12:35:18 [post_modified_gmt] => 2015-10-22 16:35:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=58651 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 58910 [post_author] => 47212 [post_date] => 2015-10-08 12:02:22 [post_date_gmt] => 2015-10-08 16:02:22 [post_content] =>
Today, communication has less to do with sound and more to do with imagery, as drawings, paintings, and other art forms have been a huge part of capturing history. Currently, photo, video and the technology behind it has armed us with a quicker, more accurate means of documenting what will become the history of the future. Why is this important? Because photographers are capable of preserving bits and pieces of our present world for future generations to visualize. We live in an age where great photographers aren't just capturing a moment in time, but are conveying stories within those moments. Enter the world of music photographer Henry Diltz.[caption id="attachment_59083" align="alignnone" width="838"] © Henry Diltz[/caption]
Originally from California—where he was known for capturing the Southern California Laurel Canyon music scene—I recently caught up with Diltz in New York while he was touring for Behind the Lens: Up Close and Personal with Pattie Boyd and Henry Diltz, a multi-media show offering insight into the two’s iconic careers as music photographers. You can also catch him at The Lucie Awards at Carnegie Hall on Oct. 27, where he'll receive an achievement in music award for his music photography (click here to buy tickets).[caption id="attachment_59085" align="alignnone" width="838"] © Henry Diltz[/caption]
It was the 1960s and Diltz was on tour with his band, Modern Folk Quartet, when he initially picked up a second-hand camera. But what he didn't realize back then was that this newfound, playful hobby would soon grow into a devoted passion, one that would lead him to become an acclaimed photographer and a "visual historian" for the following four decades. "I shoot everything," he says to me. "People, streets, flowers... absolutely everything. Even here in New York at the Soho Grand, I'm taking pictures from my hotel window." He goes on to explain that throughout the '60s and '70s, he was simply "a musician with a photography habit," but by 1966 he sold his first photo—a shot of Buffalo Springfield ripping a solo—for $100. This brought him to Woodstock and Monterey Pop Music Festival where he was the official photographer for both events, and since then he has shot over 200 album covers and thousands of images for iconic bands such as Jimi Hendrix, The Doors and The Eagles.
"I do miss the old-fashioned way of doing things,” he says. “I started out with the old slide film and projectors... but now, we're really doing the same things, it's just that [the digital photos] start as scans. I mean, right now I'm scanning all of my stuff I shot way back in the '60s, '70s and '80s because people want to use those photos these days. So we have to scan it and then e-mail it to them. I do miss the old way of working with film, but the new way is very quick and easy... You can take hundreds of photos, upload them that same day, and then send them all over the world. It's pretty amazing."[caption id="attachment_59086" align="alignnone" width="838"] © Henry Diltz[/caption]
I ask him more about the days of projectors and slideshows, if for nothing else, to satisfy my own curiosity and fascination of the era.
"Well," he starts, "I would put on these slideshows for all my hippie friends. It would transport them to all of these different places and things. It was amazing [for me] to see the photographs projected huge on the wall—it was really something. And I'm sure," he adds, with what I imagine is a smile, "it was a total trip for them as well."[caption id="attachment_59087" align="alignnone" width="838"] © Henry Diltz[/caption]Today, Diltz is the co-owner of the Morrison Hotel Gallery in Soho, New York (pick up a copy of the "Rock and Roll Issue" of Resource Magazine for more on the legendary space), which initially began as a way for Diltz to sell his own photographs. However, he quickly realized that there was a huge market for music photography so he and his partner, Peter Blachley, expanded and began selling other music photographers work as well. And having ventured to the gallery myself, I must say that it truly brings the core of rock and roll to life.See more of Diltz's work below.[caption id="attachment_59082" align="alignnone" width="838"] © Henry Diltz[/caption] [caption id="attachment_59084" align="alignnone" width="838"] © Henry Diltz[/caption] [caption id="attachment_59088" align="alignnone" width="838"] © Henry Diltz[/caption] [post_title] => How Henry Diltz Became the Visual Historian of Rock and Roll [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-henry-diltz-became-the-visual-historian-of-rock-and-roll [to_ping] => [pinged] => [post_modified] => 2015-10-08 12:02:22 [post_modified_gmt] => 2015-10-08 16:02:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=58910 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 57962 [post_author] => 47212 [post_date] => 2015-09-29 10:36:22 [post_date_gmt] => 2015-09-29 14:36:22 [post_content] => With recent films like Tree of Life and Enter the Void, I am reminded of the fact that photography has been and continues to be the foundation upon which filmmaking has been made, the power of the visual in film, and photography’s role in it being so. In this way, filmmaking is the really art of storytelling, in which the visual (or, photographic stills) becomes the most important and necessary component.Light, landscape, human expression and the gaze: certain films are able to capture the beautiful and the bizarre in life and human nature, simply through the power of cinematography. Now, as someone who’s worked in film, I know firsthand that there’s a whole hell of a lot more that goes into film, but for this article I wanted to pay special homage to the way that imagery, specifically, is captured in film, and stylistically captured in the most visually stimulating way.Generally, we understand that photography (still pictures) is the foundation from which filmmaking (moving pictures) grows, so in recognition of photography and the power of the still image, I’ve compiled a list of some of the best visual gems in the (relatively short) history of film for those who appreciate bold, beautiful and often bizarre imagery. (Side-note: This is, by far, not a complete list; it is however, a great place from which to start).1. Tree of Life (Terrence Malik – writer, director)Acclaimed filmmaker Terrence Malik creates a stunning visual experience for the viewer in his film Tree of Life - a philosophically wrapt story about a young, small-town boy who, upon growing up, struggles to make sense of his childhood, while simultaneously grappling with bigger existential issues. 2. In the Mood for Love (Wong Kar-wai – writer, director)With a nod to Harold Pinter's The Lover, esteemed filmmaker Wong Kar-wai gives us In the Mood for Love, a beautifully sorrowful story of forbidden love in 1962 Hong Kong. This film not only captures the laws that block the way between reality and dreams, but does so in a way that is rich, vivid and fantastically visual. 3. I Am Love (lo sono l’amore) (Luca Guadagnino – director)Director Luca Guadagnino's film I Am Love revolves around the wealthy Recchi family, and in doing so, captures the magnetic energy and pulse of the Milanese landscape. 4. To the Wonder (Terrence Malik – writer, director)Known for his powerful imagery in film, Terrance Malik's film To the Wonder follows a young couple's journey from Paris to Oklahoma, in a way that is visually mesmerizing, ethereal, and beautifully ambiguous. 5. Raging Bull (Martin Scorsese – director)Shot entirely in black-and-white, famed director Martin Scorsese's Raging Bull is chock full of raw emotion and imagery; it follows the journey of a self-destructive boxer Jake La Motta, whose violent temper takes him all the way to the top before he plummets to rock bottom. 6. Enter the Void (Gaspar Noe – writer, director)French filmmaker Gaspar Noe takes you on a complete hallucinogenic trip in Enter the Void. Exploring the idea of life after death, the film is entirely from the point of view of Oscar, a young American drug dealer and his prostitute sister, Linda, living in the neon-guided streets of Tokyo, Japan. 7. Persona (Ingmar Bergman – writer, director)With poignant black-and-white imagery, renowned filmmaker Ingmar Bergman's Persona is an affecting and mysterious story of a turned-mute actress and her nurse, the latter of whom finds that the actress' persona is melding with her own. 8. Days of Heaven (Terrence Malik – writer, director)For Days of Heaven, once again Terrence Malik creates a film where every shot if cinematic poetry. Using mainly natural light, the story centers on love and murder told through the voice of a child in turn-of-the-century America. 9. 8 ½ (Federico Fellini – writer, director)In what many say is an autobiographical film, renowned filmmaker Federico Fellini directs 8 1/2, a story revolving around Italian filmmaker, Guido Anselmi. Overwhelmed and frustrated, he struggles to overcome his creative block (and the ensuing entanglement of characters, vying for his attention) in an attempt to make his next film; the black-and-white shots combined with the elegant backdrop of Italy create a work that is both well crafted and visually appealing. 10. L’Avventura (Michelangelo Antonioni – writer, director)In famed filmmaker Michelangelo Antonioni's L'Avventura, two young women join one of their lovers on a boating trip, only for the lover's girl to go missing, while the remaining two of the trio - the girl's lover and her best friend - begin to fall in love. With beautiful, black-and-white imagery, this classic film captures the poetics of filmmaking. 11. Walkabout (Nicolas Roeg – director)In Nicolas Roeg's astounding film Walkabout, Two young siblings are left to fend for themselves in the Australian Outback, and in doing so, meet an aboriginal boy on "walkabout" - a ritual separation from his tribe. This film, shot in 1971, underscores the disunion between nature and modern life in a way that is raw and decisive in imagery. 12. La Notte (Michelangelo Antonioni – writer, director)Another master in the power of image, filmmaker Michelangelo Antonioni allows us a glimpse inside this beautifully shot story of an unfaithful married couple as their relationship slowly deteriorates. 13. The Third Man (Carol Reed – director)Carol Reed directs The Third Man, a shadowy tale of pulp novelist Holly Martin as he journeys to a shadowy and mysterious postwar-Vienna, only to find himself exploring the unaccountable death of his old friend, Harry Lime. Wonderfully captured in black and white, this film's imagery perfectly captures the arcane and dark mystery of pulp and film noir. 14. House (Nobuhiko Obayashi – director)Eerie horror film House, directed by Japanese filmmaker Nobuhiko Obayashi, tells the story of seven young girls who visit a possessed house, only to find the house plans to eat them in extremely bizzare and disturbing ways. Obayahsi, infamous for his surreal visual style, does not disappoint in this cult classic. 15. Citizen Kane (Orson Welles – director)Last but definitely not least is Citizen Kane, both starring and directed by the talented Orson Welles. Unarguably one of the most perfectly crafted films of our time, Citizen Kane unfolds the story of a publishing tycoon's death and the ensuing chaos as reporters scramble to decipher the meaning of his last words. Did we miss any others that you love? Let us know in the comments below! [post_title] => The Top 15 Most Visually Stimulating Films for Photography Lovers [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => the-top-15-most-visually-stimulating-films-for-photography-lovers [to_ping] => [pinged] => [post_modified] => 2015-09-29 19:22:42 [post_modified_gmt] => 2015-09-29 23:22:42 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=57962 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 5 [filter] => raw ) => WP_Post Object ( [ID] => 58641 [post_author] => 47212 [post_date] => 2015-09-23 10:12:14 [post_date_gmt] => 2015-09-23 14:12:14 [post_content] => Sponsored by Resource Magazine and with support from ICP (International Center of Photography), APA (American Photographic Artists), and ADC (Art Directors Club), Morpholio has officially launched its annual EyeTime 2015 Photo Competition. This year, the competition includes two categories: Future Voices, which aims at discovering new design voices within the academic world, and Emerging Talent, which is tailored for all young professionals and upcoming practices.[caption id="attachment_58709" align="aligncenter" width="640"] EyeTime 2014 – Future Voices Jury Winner – Flowers of City Slums © Turjoy Chowdhury[/caption]With technology advancing and popularity in online-sharing increasing, Eyetime’s competition challenges photographers to confront the world today through their own unique lens. The intent is for participants to capture an image that is capable of penetrating through the virtual clutter, and even launch a dialogue across the social landscape of our globe.[caption id="attachment_58712" align="aligncenter" width="640"] EyeTime 2014 – Future Voices Jury Winner – Architecture in Limbo © Ben Tynegate[/caption]Eyetime 2015, a contest that began as a way to promote and explore today's rising talent, is made possible by the solid collaboration of photographers, professors and students. Guest jurors include industry experts such as Kathryn Roach of The New York Times, Diana Jou of The Wall Street Journal, Resource Magazine CEO/President Alexandra Niki, Light Stalking Writer and Photographer Tiffany Mueller, and many, many more. Additionally, the contest is devoted to the amazingly talented photographer, reporter, editor and humanitarian Jessica Lum, who gave her life to the world of photojournalism, and sought ways to not just create, but to preserve and understand the creative world around us.[caption id="attachment_58713" align="aligncenter" width="640"] EyeTime 2014 – Emerging Talent Jury Winner – Street Barber © Binh Duong[/caption]For more information on submission, guidelines, schedule and judging visit the Morpholio's EyeTime 2015 page. See the winning images from last year below.[caption id="attachment_58719" align="aligncenter" width="640"] EyeTime 2014 – Emerging Talent Jury Winner – H-Waste © Javier Corso[/caption][caption id="attachment_58706" align="aligncenter" width="640"] EyeTime 2014 – Future Voices Jury Winner – Different shades of the same grey © Felicia Simion[/caption][caption id="attachment_58707" align="aligncenter" width="480"] EyeTime 2014 – Morpholio Special Recognition – Worlds Within Us © Dery K[/caption][caption id="attachment_58708" align="aligncenter" width="640"] EyeTime 2014 – Emerging Talent Jury Winner – Under Fire © Javier Corso[/caption][caption id="attachment_58710" align="aligncenter" width="509"] EyeTime 2014 – Emerging Talent Jury Winner – Mother and Child © Rongguo Gao[/caption][caption id="attachment_58711" align="aligncenter" width="640"] EyeTime 2014 – Jessica Lum Award – #riotdejaneiro © Alessandro Falco[/caption][caption id="attachment_58715" align="aligncenter" width="640"] EyeTime 2014 – Morpholio Special Recognition – Causality © Nicholai Go[/caption][caption id="attachment_58714" align="aligncenter" width="426"] EyeTime 2014 – Future Voices Public Winner – The Artist Must Be Visible © Rainer Weston[/caption][caption id="attachment_58717" align="aligncenter" width="469"] EyeTime 2014 – Future Voices Jury Winner – Left Behind © Tiberio Ventura[/caption][caption id="attachment_58718" align="aligncenter" width="640"] EyeTime 2014 – Emerging Talent Public Winner – Lovers © Christopher Luck[/caption] [post_title] => EXCLUSIVE: Enter Morpholio's EyeTime 2015 Photo Competition and Break Through the Virtual Clutter [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => exclusive-enter-morpholios-eyetime-2015-photo-competition-to-break-through-virtual-clutter [to_ping] => [pinged] => [post_modified] => 2015-09-23 12:21:43 [post_modified_gmt] => 2015-09-23 16:21:43 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=58641 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 58509 [post_author] => 47212 [post_date] => 2015-09-21 11:36:41 [post_date_gmt] => 2015-09-21 15:36:41 [post_content] => Roxanne Lowit - jet-black bob, blunt bangs, cherry red lips, chic black pantsuit. As I dial her number, I imagine Lowit sitting comfortably in her Manhattan home, perhaps a marble coffee table nearby spilling over with hardcover fashion and photography books. In a quiet, unassuming manner she clicks through the files on her laptop, delicately tapping at the keys with her pomegranate-colored fingertips... The call connects and she answers the phone in a softly-spoken, gentle voice: “Hello, this is Roxanne.”[caption id="attachment_58621" align="aligncenter" width="838"] Linda, Naomi, & Christy (1989) - shot by Roxanne Lowit[/caption]Like the pictures she captures, there is a fresh energy to Lowit, the honoree for achievement in fashion at the upcoming Lucie Awards. Her personality is fragranced by her consistently classic-style; an image she has carefully crafted in the past four decades of her work. And just as her photos are her words, her image is her tone, both of which have become part of the legacy she manifests. “Why the consistency in fashion style?” I ask. “Why the pantsuit uniform?” To which she simply states: “It’s easy. It goes from day to night. I can go to meetings in the day and then go right out to the shows or clubs to shoot at night… I have lots of energy,” she adds as a sort of afterthought. “I’ll shoot all day on jobs, and then go out to the clubs and shoot all night… I love to take pictures,” she adds again, in that genuine, soft voice. [caption id="attachment_58615" align="aligncenter" width="838"] Roxanne Lowit Photographs. Inc[/caption] [caption id="attachment_58616" align="aligncenter" width="838"] Roxanne Lowit Photographs. Inc[/caption] Aside from fashion and celebrity “behind-the-scenes” shots, Lowit has in recent years began capturing the style (and by default, lifestyle) of the club kids. Intrigued myself, I ask her what in particular attracts her to what she calls “the people of the night;” what exactly it is about the sort of decadence and debauchery in the worlds of fashion shows and nightclubs. “I can’t help but be fascinated,” she quips. “The way they put together their clothes, makeup, the hair… it’s all really wonderful. And the amount of time, the hours that go into it… it’s really something.”Lowit’s been doing this for decades - the interviews, dealing with industry questions - and yet, there is a fresh energy in her voice, an inquisitive tone exuding innocence and playfulness. I can see how this might add to the photos she captures, the way that her playful energy might create or even encourage an atmosphere to teem with spontaneity, naturalness, and lighthearted fun.“Can you talk about the ‘language of images’? I ask. "How you see the still photograph creating a story?” “My success stems from my patience to wait for the right moment," she muses. "In being at the right place at the right time to be ready for that magical moment to happen. It's when people are having fun; it's the spontaneity and the fun that are the magic and the story." I suppose this is what Rolande Barthes would refer to in Camera Lucida as "punctum," or "the wounding, personally touching detail which establishes a direct relationship with the object or person within it" (Camera Lucida). She laughs a little when I ask her what her challenges were getting backstage. “It’s still a challenge!” she asserts. “These young people now have no clue who I am. But someone who has more experience in the business might recognize me and tell the other person, ‘You don’t know who that is?'” she laughs again, and as she describes these scenarios I can’t help but envision her standing there backstage in her perfectly pressed black pantsuit; smiling politely, waiting patiently. She’s the kind of woman on a mission, who steadily—not unlike a panther or a leopard eyeing it's prey—is focused on what she wants which is as she puts it, "is to take pictures.” But not just any pictures, great pictures, and she’s patient and determined enough to wait for the right moment to be in the right place to capture them. “It wasn’t easy,” she quips. “So I learned to rely on my instincts, dropped names, became friends with the designers, and so on.”The petite, black-bobbed, ruby-lipped photographer encountered adversity at being one of the few woman photographers. Facing resistance constantly, she went on to become one of the biggest and best fashion photographers in the industry, created a new genre in fashion photography, and in doing so became close companions with many of the models, designers, and celebrity clientele who frequented the shows and after-parties. “It was my patience and my persistence that got me through… if one door didn’t open (in her case, literally), I’d go to another, and then another, until they let me in.”[caption id="attachment_58614" align="aligncenter" width="838"] Yves St. Laurent (Roxanne Lowit Photographs. Inc)[/caption] [caption id="attachment_58620" align="aligncenter" width="838"] Kate & Christy (Roxanne Lowit Photographs. Inc)[/caption] Karl Lagerfield called her a “fashion historian,” and its' easy see why when you look through her photos, chock full of vulnerability and a raw appeal that are both touching and oh-so human. Not exactly a fly on the wall, Lowit is someone who, as Lagerfield later put it in his letter/poem to her: “Someone who, when they’re there, aren’t noticed, but when are not there, are missed.” As a writer, I thought yes! That kind of infamous obscurity is what I could only hope to achieve – it seems to be the best sort of balance (if there is such a thing).When I think of the fashion industry, I can’t help but immediately think of women, though I suppose that’s just what I’ve been conditioned to think considering that women are the biggest consumers of the fashion and beauty industry. However, in surprising opposition to my naïve assumptions, men are without a doubt the overwhelming majority in the field of fashion photography because – as Lowit explains: “Men are pushier than women, especially back when I started in the late 70’s… it was the men with all the bulky camera equipment and safari jackets, pushing and shoving one another to get the best spot, the best picture.” I ask her if now – in 2015 – it’s any different, to which she replies: “No. It really hasn’t changed. As a matter-of-fact, I just got back from the Venice Film Festival (from where “Magic Moments,” a new documentary about Lowit, premiered), and as I was walking down the red carpet, looking out on the sea of photographers on both sides of the carpet -- All men. Maybe one or two women photographers at the most.”In this way, Lowit’s honoree from The Lucie Awards is really earned two-fold: in both her ability to not only overcome the disadvantages of being the minority – a woman in the industry - but in driving on to become one of the top genre-creating, photography-changing successes in her field. She is the epitome of don’t-take-my-kindness-for-weakness... of don’t take my being a woman for lack of anything. Of course she’ll never say it, but she will leave you with a very subtle sense of it.[caption id="attachment_58619" align="aligncenter" width="838"] DiorBook (Roxanne Lowit Photography, Inc)[/caption]In a way though, we do take for granted all of the incredible behind-the-scenes fashion photography stories that we are privy to today, and more importantly that this genre would not even be possible without Lowit’s soft humming drive, cunning and clever ability to maneuver around the female photographer barrier, and of course, her undoubtable talent in her craft. For example, she knew she couldn’t compete with the squalor of rough and oversized men, vying for space (but hell, who wants to be in the moshpit vying for the precious, finite space?). Some people would be discouraged, some would tough it up and bear it, but what did Lowit do? She used her brain: “Well, I always thought that the action was backstage,” she demurs. “That’s where the real action happened.” She was right. And in doing so, she single-handedly fostered the genre of behind the scenes fashion photography; a sort of photojournalistic take on the fashion industry.[caption id="attachment_58613" align="aligncenter" width="838"] Christy (1992) - (Roxanne Lowit Photography, Inc)[/caption]“Well,” I say, as our conversation heads toward a close. “Thank you for putting up with me… I’m probably a terrible interviewer!” I say, with my tell-tale nervous chuckle when I’ve run out of things to say. “Actually,” she responds in that gentle voice I’ve come to admire, “you’re much better than most!” she laughs. “I always say my words are my pictures… but you actually got me to talk!” And it’s with that that we end the conversation, and I am left to muse whether I am actually a better interviewer than I thought, or if there are just some really, really terrible ones out there.If you’d like to connect with the fabulous energy of Roxanne Lowit for yourself, don’t miss The Lucie Awards on Tuesday, October 27th, 2015 at Carnegie Hall - New York City. Tickets required. Selling out fast! [caption id="attachment_58617" align="aligncenter" width="838"] DiorBook (Roxanne Lowit Photography, Inc)[/caption] [caption id="attachment_58618" align="aligncenter" width="838"] DiorBook (Roxanne Lowit Photography, Inc)[/caption] [post_title] => A Conversation with Roxanne Lowit: The Female Perspective on Fashion Photography [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => a-conversation-with-roxanne-lowit-the-female-perspective-on-fashion-photography [to_ping] => [pinged] => [post_modified] => 2017-01-31 15:12:54 [post_modified_gmt] => 2017-01-31 20:12:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=58509 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 58370 [post_author] => 47212 [post_date] => 2015-09-14 16:25:51 [post_date_gmt] => 2015-09-14 20:25:51 [post_content] =>
With capacity limited to just 200 participants and the event less than 10 days away, the 2015 EyeEm Awards Festival + Party is already beginning to foster buzz. Interactive panels and creative presentations will kick off next Friday, Sept. 18, at noon, with bold and intuitive visionaries from worldwide organizations and classic New York establishments like Vice, The Huffington Post, National Geographic, Solomon R. Guggenheim Museum, and of course, EyeEm, Resource Magazine, and a dozen other innovative and successful companies. Daring leaders and creative thinkers in the fields of photography, technology, communication, society, and art will be giving first hand-insight until late in the day, when the intimate Williamsburg venue, Villain, at 50 N 3rd Street—a former 19th century textile warehouse—will transform into a space flush with cocktails, hors’ d’oeuvre, and a plethora of infinite opportunities to connect and network with creative, like-minded men and women like yourself. Did we mention that the party is completely free??[caption id="attachment_58424" align="alignnone" width="838"] Photo by Markus Spiering[/caption]
Come join us as we celebrate the visual revolution and its impact on our world. Come and discuss, parlay, and maybe kick back a cocktail or two with some of today’s newest up-and-coming thinkers and influences in your field. Partake in the latest news and sought after insight into the quickly developing and transformative industry of images and technology.[caption id="attachment_58416" align="alignnone" width="838"] Photo by Linka A Odom[/caption]
Here, in New York City—a city built on courageous vision, daring, cutting-edge technology, and the world’s most actively successful and forward thinkers—we are proud to welcome the 2015 EyeEm Awards. We are bringing together the best of the best to Brooklyn, to celebrate the visual revolution that has become so embedded into the fabric of society on a global scale. Are you one of the few, whose ideas, insights, and innovative concepts stand to aid in the infinitely revolutionizing fields of photography, technology, or visual communication? If so, you are one of those helping to shape and design the future of our world.[caption id="attachment_58423" align="alignnone" width="838"] Photo by Markus Spiering[/caption]
RSVP mandatory. Party is FREE. Register now as space is limited! [post_title] => We're Getting Really Fucking Excited For the 2015 EyeEm Awards Festival and Party [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => were-getting-really-fucking-excited-for-the-2015-eyeem-awards-festival-and-party [to_ping] => [pinged] => [post_modified] => 2015-09-14 14:59:35 [post_modified_gmt] => 2015-09-14 18:59:35 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=58370 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ))