Array ( [0] => WP_Post Object ( [ID] => 37785 [post_author] => 11454 [post_date] => 2014-04-07 18:00:16 [post_date_gmt] => 2014-04-07 22:00:16 [post_content] => Here are Resource Magazine, we are huge proponents of photography that isn't simply pleasing to the eye. We also want them to be impactful and meaningful, created not only to be displayed but to raise awareness, provoke discussion and make changes in our world. So when we caught word of Mike Mellia's newest project, "Our Side of the Story: South Sudan", we listened.[caption id="attachment_38060" align="aligncenter" width="564"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption]In light of the civil war in South Sudan, Mellia decided to take action. "The idea for this project was inspired by the current conflict in South Sudan that began recently. South Sudan became its own country, separate from the country of Sudan in 2011 due to social unrest and violence. Many have been forced into exile or killed." For the project, he photographed some of Hollywood's Sudanese actors and a few of the most prominent Sudanese supermodels to hit the runway, among others. They all share the common thread of being born in the midst of the chaos in Sudan and having to flee. These former refugees have shaped a life that seemed impossible just years ago, and they've made it their mission to give back to their roots.[caption id="attachment_38059" align="aligncenter" width="581"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption]Life for many Sudanese civilians has rarely been easy and we know that a photographer like Mike Mellia can bring his talent to a cause such as this and create some ripples - especially when working alongside him are supermodel Nykhor Paul (#WeAreNilotic Movement) and creative director Laura Lanteri.[caption id="attachment_38058" align="aligncenter" width="599"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption]"Supermodel Nykhor Paul has modeled for Louis Vuitton, Calvin Klein, DVF and more. Nykhor fled South Sudan to an Ethiopian refugee camp and immigrated to America at age 9," explains Mellia. "Her dream of unity among all tribes in South Sudan is one that will end the circle of violence and exile. She has a strong passion for uniting South Sudanese women and people of all backgrounds through spreading the philosophy 'We Are Nilotic,' a message of unity for all people of the Nile River. Nykhor and many of the other subjects have lost and are losing family members right now who are still in South Sudan. The #WeAreNilotic movement brings awareness and a call for unity."[caption id="attachment_38056" align="aligncenter" width="599"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption]Creative director Laura Lanteri worked for Oscar de la Renta, Gucci and Louis Vuitton before founding her own branding agency, Laura Lanteri New York. She also completed a masters in International Development from Harvard and has previously worked with the United Nations and the World Bank.Together, they form the team behind "Our Side of the Story: South Sudan." Says Mike Mellia: "Nykhor introduced me to many of the subjects and Laura was the ideal creative director, with her very unique background in international politics, branding, and fashion."
[caption id="attachment_38055" align="aligncenter" width="599"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption][caption id="attachment_38054" align="aligncenter" width="599"] © Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption]The photographs are striking "My style of portraiture is very natural but also very painterly. I love the beautiful light coming through a window in an old renaissance painting. The empty set brings focus on the subjects and their own individuality."[caption id="attachment_38053" align="aligncenter" width="599"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption]"I felt a connection to South Sudan and these subjects because of their powerful stories, the passion of the individuals, and the emotion behind what is happening in their country."[caption id="attachment_38052" align="aligncenter" width="599"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption][caption id="attachment_38051" align="aligncenter" width="599"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption][caption id="attachment_38050" align="aligncenter" width="599"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption][caption id="attachment_38049" align="aligncenter" width="599"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption][caption id="attachment_38048" align="aligncenter" width="599"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption][caption id="attachment_38047" align="aligncenter" width="599"]
© Mike Mellia
"Our Side of the Story: South Sudan"
www.MikeMellia.com[/caption] "Our Side of the Story: South Sudan," will open on Thursday April 10th, 6pm-9pm, at 39 White Street (in Tribeca), New York, NY 10013. [post_title] => Mike Mellia's Our Side of the Story: South Sudan [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => south-sudan-mike-mellia [to_ping] => [pinged] => [post_modified] => 2014-04-07 16:21:39 [post_modified_gmt] => 2014-04-07 20:21:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=37785 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[1] => WP_Post Object ( [ID] => 38019 [post_author] => 11454 [post_date] => 2014-04-02 16:00:58 [post_date_gmt] => 2014-04-02 20:00:58 [post_content] => In a series of fortunate and unfortunate events, Emile Hyperion Dubuisson has managed to produce precious images of his time in Siberia almost two decades ago. It was the early 1990s and Dubuisson worked as an assistant director in Russia, for a supposed documentary commissioned by a French consultancy firm. Unbeknownst to Dubuisson and many of the hands working on the film, there was no actual film to be made - it was a cover for industrial espionage. The Franco-Russian crew set out on a trip across the former Soviet Union toward North West Siberia, which has some of the largest reserves of natural gas in the world. They arrived in the Yamal Peninsula on the edge of the Siberian Arctic Circle. At this point, the temperatures ranged from -20º to -50º. Visiting towns such as Salekhard and Sambetta, it was hazardous to to be outdoors for more than twenty minutes at a time, which made the process of filming even riskier and disorienting. [caption id="attachment_38032" align="aligncenter" width="600"]
© Emile Dubuisson[/caption]Dubuisson spent time stopping by nearby villages with a weatherproof camera, photographing gas workers, scientists and local reindeer herders. When the journey came to an end, he went home and tried to process the film using chemicals and equipment he had purchased in Russia, but to no avail. It looked as if the photographs were unusable, and he put them aside sadly, seemingly ending his photography career.Years later, Dubuisson returned to the craft and found a way to save the long-lost photographs. Now they are imprinted on the pages of a book, entitled FAR, a tangible reason to remind us all never to give up on what we love to do.[caption id="attachment_38029" align="aligncenter" width="600"]
© Emile Dubuisson[/caption]How did you get started with photography?The year was 2006. I decided to move to New York to study photography at the International Center of Photography, and that marked the beginning of my career.Can you tell us a bit about the project?At the age of 18, I bought my first camera while I was in Russia and took this series. The self made chemical process was a disaster and I stored these negatives, feeling disappointed. That felt like the end of my photographic experience. Twenty years later, the story has become a well-known book that fascinates everybody - especially its author.[caption id="attachment_38031" align="aligncenter" width="600"]
© Emile Dubuisson[/caption]What is the message you hope to portray with your images?For FAR, I wanted to avoid anything that refers to a place or a time. There is no caption - nothing except the images. You have to guess. You are pulled into a strange, deep, dark space. Somewhere lost and mysterious.What is it like for you to prepare for a shoot?For my new series, it took me 5 years to finalize what I was originally looking for. A lot of readjustments was needed to get what I wanted. It’s usually a long and complex process for me.I do have some flashes about the work I can do, then I dream about them for a while and eventually they materialize. I just make it happen.[caption id="attachment_38028" align="aligncenter" width="600"]
© Emile Dubuisson[/caption]What is something about your style that has changed most significantly?My style is more aligned with the mood I am hoping to reveal. I am very much about ambiance, layers and contemplation.Were there any difficulties you faced during the time spent working on the series?Cold was the main issue, with minus 58 degree Fahrenheit sometimes. You really have to be focused. Usually you stand outside for no more than 20 minutes, for safety reasons.[caption id="attachment_38024" align="aligncenter" width="600"]
© Emile Dubuisson[/caption]Can you share an unforgettable experience from the project?At some point, our engine had a mechanical problem. While the conductor was trying to fix it, he told us that a few months ago, people died trying to reach the camp by foot. Unforgettable.[caption id="attachment_38027" align="aligncenter" width="600"]
© Emile Dubuisson[/caption] [post_title] => Emile Hyperion Dubuisson Rediscovers Siberia [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => emile-dubuisson [to_ping] => [pinged] => [post_modified] => 2014-04-04 18:14:59 [post_modified_gmt] => 2014-04-04 22:14:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=38019 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw )[2] => WP_Post Object ( [ID] => 37916 [post_author] => 11454 [post_date] => 2014-04-01 18:00:44 [post_date_gmt] => 2014-04-01 22:00:44 [post_content] => When it comes to being well-traveled, Harry Fisch sets a fine example. The sights his camera lens have photographed are enough to leave us speechless, inspired and envious all at once. Naturally, you don’t get the photos he has been able to take without stepping foot way outside the confines of everyday life. For all of his work photographing around 27 countries in the past few decades, Harry Fisch has received praise in the form of winning some of the world’s most prestigious contests. His accolades include championing the World National Geographic Photo contest in 2012 (he was later disqualified for editing out a small bag), becoming a finalist in the SONY World Photo Awards and in Spain’s Photoespana. Because we know that photography, like many forms of art, is built on the inspiration of years and years of artists’ work, and that there are few better catalysts for creative stimulation than the observance of others' art, we think Harry Fisch is someone you definitely want to follow. [caption id="attachment_37927" align="aligncenter" width="630"]
© Harry Fisch[/caption]When and how did you decide to pursue photography seriously?I shifted from photography as a lifelong pastime to a passionate full time, absorbent, professional activity around 10 years ago. After a solo travel through India, once my home, I decided that this should be a way of life for me.[caption id="attachment_37926" align="aligncenter" width="630"]
© Harry Fisch[/caption]Is there a particular photo of yours that has an interesting story behind it?Each and every image is linked to a story. Not one has been prepared in advance as they belong to a personal relation, a short encounter or a visit. Perhaps the least predictable of them was a family portrait of twenty-three country people in a small village, near the Pakistani border of India. I came to bring back a picture, taken one year before, of a nice looking couple. Unexpectedly, they invited me to tea in a small room in their very humble home. In less than ten minutes I was surrounded by a small crowd of twenty-three relatives: children, women, men, dogs - everyone wanted to be in the picture. I shot only one picture and realized that something magical had happened.[caption id="attachment_37917" align="aligncenter" width="630"]
© Harry Fisch[/caption]Which type of camera do you rely on the most?The cameras I use are quite unusual for a professional travel photographer: Fuji X’s. Light gear, not extremely fast –which is not a problem with the type of photography I do – while offering excellent final quality. Non-obtrusive, quiet cameras.[caption id="attachment_37922" align="aligncenter" width="630"]
© Harry Fisch[/caption]What is something about your style that has changed most significantly over the years?I would say the treatment of colors on the final print and the decision on how to incorporate sharpness and movement. Happily, I have not yet come to the point were I feel I have reached my “final” style. Only by crisis and doubts can you grow, and from time to time, my style deviates conscientiously from what “should” be expected.[caption id="attachment_37919" align="aligncenter" width="630"]
© Harry Fisch[/caption]Why travel photography?It is, for me, the greatest excuse to jump to the other side. The camera allows me to put myself, for short periods of time, in the position of “the other” while keeping my own life apart back home. Travel, and the close contact of photography, lets you understand different points of view and different cultures.[caption id="attachment_37918" align="aligncenter" width="630"]
© Harry Fisch[/caption]Any advice for travel photographers? In your opinion, what does it take to be one?Curiosity, persistence, planning and hard work. There are various types of travel photography but most of it relies on storytelling as well as the passion for true contact with people of all kinds and different perspectives.[caption id="attachment_37925" align="aligncenter" width="630"]
© Harry Fisch[/caption]What makes a good photograph to you?An image that goes beyond the mere aesthetics, that generates an atmosphere - an emotion. It could be something difficult to recognize, does not have to be color or black and white. If, additionally, it adds some intrigue and tells a story, then it has it all.[caption id="attachment_37924" align="aligncenter" width="630"]
© Harry Fisch[/caption] Get Harry Fisch's article in Resource Winter 2013 issue here. [post_title] => The Travel Photography of Harry Fisch [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => harry-fisch [to_ping] => [pinged] => [post_modified] => 2014-03-31 15:10:32 [post_modified_gmt] => 2014-03-31 19:10:32 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=37916 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[3] => WP_Post Object ( [ID] => 37668 [post_author] => 11454 [post_date] => 2014-03-31 16:00:51 [post_date_gmt] => 2014-03-31 20:00:51 [post_content] =>Morag Hastings leads a very unconventional life. She has taken on the great responsibility of becoming a doula. For those who don't know, a doula is someone who provides support to a woman during childbirth, both physically and emotionally. But she is also a photographer and has managed to weave together both of her passions into a career that, on the outside looking in, seems like an overwhelming duty. She's there for the entire process, providing support and photographing the most crucial and fleeting moments of new life. But as we've learned from Morag, it also happens to be one of the most important, rewarding and beautiful jobs in the world. It's something not everyone agrees with and very few people can do - let alone do well. When did you realize you wanted to become a doula and birth photographer, and how did you get started?
With three kids, I decided I needed to do a job that came naturally to me. I asked my family for support in becoming a doula. Thankfully they all agreed; they knew it was a perfect job for me. The next winter, I took the doula training. I put my business cards and website together and realized there were a lot of doulas in Vancouver. It would be hard to get the first births lined up.I have always cherished the images from my own three births, even though most are dark and out of focus. With that thought in mind, I decided maybe I could offer birth photography along with my doula services. Much to my surprise no one was offering it in my city at the time. A few months later, I was off to my first birth. At this point no one knew what a birth photographer was, but when they saw what I was doing they thought it was fantastic.After about 8 months, people started to get to know me a bit and accept this new form of birth support. Quickly my practice started to book up as people were talking about the magic of getting back their birth stories through the images I snapped while I was giving support and love to my clients.Often the time of your birth goes by so quickly that you forget a lot of the little things and even some of the big things. After the days and weeks pass the crisp, professional images they were left with help them decipher their birth story. I can easily say I feel blessed to have found my calling and my life’s work.
For those who aren’t aware, can you tell us about exactly what services you provide?
I am on call for weeks at a time. Normal birth can happen anytime within a five week window, so I always have to be ready to go. I usually join my clients when they are in active labour and stay with them for two hours after the birth of their baby. I document all the on goings of the day like the dad wiping the mom's forehead during labour, or the grandmother crying with excitement. When the actual moment birth happens my clients get to choose whether or not they want these moments documented. If they do then I put them in a private folder for them to enjoy at their own leisure.I continue to photograph all the moments right after the baby is born. Like when the parents first see their new baby or when everyone in the room finds out it's a girl. I stay for all the well baby checks, the weighing and get a nice family shot before I leave. Within 24 hours I get the family a nice photo of their baby to share with friends and family so they don't have to share a phone picture that is blurry and out of focus.My clients, of course, are the ones who choose what they share publicly. For some that is none at all and for others it could be a shot of the baby crowning, and anywhere in between.
What is something you know now that you wish you had known then, as you were just starting out?That I would get busy and birth photography would be popular. I wish I had enjoyed my off call time a little more. Being on call is a very specific lifestyle.
How do you prepare for the different sessions you have? The most important part of this work is to be ready to go at any moment, since this is on-call work! I have my phone charged and on all the time, my gas tank doesn't go past half full and my camera bag is always packed and ready to go. I try to not stay up late or focus on what 'could' happen. If I stay in the moment then I don't waste time getting worried about how I will pull it all off.
What would you say is your unique photography style?
It is so hard to critique your own work so I asked everyone on
my facebook page to tell me their thoughts. They said my work is bright, emotional, real, raw, compelling. I would say I have a clean documentary style with lots of heart, emotion and respect.
What’s your background in terms of photography? In 2000 I graduated from the Professional Photography 2-year program at
Langara College. I worked for a few photographers and then quickly settled into doing web design and enjoying motherhood. It wasn't until I started shooting births 10 years later that I began to shoot professionally. I had to do a lot of self-learning and internet research to refresh my skills. All the years of critiquing and being critiqued in school really paid off; it was way easier to re-learn the trade I went to school for than to self-teach from scratch.
What camera do you use the most? Nikon D600 with the 24-70mm f/2.8 for tight spaces, low light and quick changes!
What type of difficulties might you face on a normal session?The lighting is always mixed and always changing. The subjects are fast moving and there are always lots of hands and people in the way. You have to be a documentator and be okay with what ever happens. It can be being sprayed by bodily fluids (yes, I have been puked on!), or getting snubbed by medical staff after not sleeping for 30+ hours. Most birth photographers don't stay in the game. It is hard
being on call all the time, you don't get paid like many other photography industries and most people are still uncomfortable with the idea of birth photographers so you have to work to get clients. It may seem glorious when you see the photos but it is a lot of work and requires a lot of skill to do it well.
Can you share an unforgettable experience from your work?
This weekend I watched a mom birth her sixth baby at home surrounded by her children who were wiping her face and bringing her food and water. They were all free to come and go as they pleased. To make it even more special she was the only birth photographer in my area when I started but she hasn't gone back because during my three years of business she has had two babies. It was amazing to do this work for a fellow birth photographer.
What do you love the most about the work that you do?When I finish editing the last photos of a birth, upload the files and send them off to my clients, I always take a deep breath. I know my clients are going to open their files with great excitement and anticipation and possibly a few tears. I get to give this new family a huge gift, and they don’t even know how special it will be to them until they open it. The files will walk them through the journey of the day they became parents and a family.
To learn more, visit AppleBlossomFamilies, shoot an email to Morag Hastings and follow her and her work on Facebook!
To open up MOPLA on April 3rd, Mr. Musichead Gallery will be alive with events during the weekend, the first of which is entitled Symphony for the Devil by author Charlie Newton. It's an must-see event, a politically-charged and controversial exhibition that is sure to provoke thought and discussion with everyone in attendance. Also featured are 1960s icons, legendary Rolling Stone photographer Baron Wolman and graphic artist Robert Buccarelli.Says
Sam Milgrom, owner of Mr. Musichead Gallery: “
Symphony For The Devil is groundbreaking artistic expression utilizing classic photographic portraits, brilliant writing, and edgy design. All elements combine to form a volatile statement that questions our community and the media's culture of distorted messages. This kickoff event for the
Lucie Foundation's
MOPLA is an opportunity to sound an alarm that awakens all communities who would join in the call for an honest, meaningful discussion of important topics that affect us all.”
On the next day, April 4th,
One Shot: One World – People, Places, Things, is on exhibit at
The Loft at Liz’s. The winning works from the 2013
International Photography Award's (IPA) annual single image competition,
One Shot, will be showcased.
Eric Schwabel, an LA-based photographer, will also be featured, as well as
Matt Henry,
Christian Sinibaldi, and many other internationally recognized photographers. Performance artist Amy Kaps will take the stage as well. “Month of Photography LA unifies our photographic community, bringing
focus and
exposure to important artists from across the globe," says Liz Gordon, of The Loft at Liz.
Aesthesia Studios, along with
Genlux Magazine, is next in line to kick off
MOPLA’s opening weekend celebration on April 5
th, with the exhibition of
The Analogue Portrait Project. The film-based portraits of competition participants alongside the presentation of prizes to the competition's top three winners will be featured as well as a projection curated by Pocko, entitled
Pro’jekt LA (MOPLA’s projection series).
"Just as the photographic community inspired us to create a home where great work is hosted every day, we hope to inspire photographers through the sanctity of emulsion and celluloid and challenge them to burn an indelible image on our consciousness”, says Grant and Tiziana Mitchell, Founders of Aesthesia Studios. 
To finish off a spectacular opening weekend, LA-based photographer
Jay Mark Johnson will present his work alongside
CicLAvia's
Iconic Wilshire Boulevard route. Centered on the idea of time, space and their connections to cultural and societal functions by utilizing photographic experimentations, the installation, entitled #inwheeltime, will be exhibited in front of
5900 Wilshire. Photos of cycling cultures from Los Angeles and Siem Reap hope to highlight
MOPLA 2014's theme of
Communities and Cultures. "We use lightning fast technologies to speak with each other, collapsing the space and time that separate us. Fortunately, we still move our bodies around at a slower pace, allowing us to experience distinct places and, with them, our distinct identities”, remarks photographer Jay Mark Johnson.
“The large-scale format of the work entices viewer participation, while the simplicity and the dynamic interplay of color, line and image invites one to linger and explore its narrative”, says Linda Dzhema, Programs Director of the Lucie Foundation.
Last but not least, in remembrance and celebration of 180 years of U.S. alliance with Thailand and with support of the Royal Thai Consulate-General Los Angeles,
MOPLA will showcase select works from the
180 Photographs celebratory exhibit, featuring photographs by both Thai and American photographers. Curated by Hossein Farmani, Founder of the
Lucie Foundation, and Manit Sriwanichpoom of
Kathmandu Gallery, the exhibition will be presented during the April 6
th celebration of the Thai New Year Songkram Festival. "The
180 Years of Friendship photographic exhibition has been curated to visually explore and highlight cultural similarities and cultural uniqueness of both cultures. Our goal is to create a deeper cross-cultural understanding through the natural accessibility of the photographic image", explains Hossein Farmani.
MOPLA, organized by the Lucie Foundation, is a collaborative initiative made possible by the generosity of institutional sponsors and partners including
Los Angeles Times, Royal Thai Consulate-General Los Angeles,
ASMP LA,
Photo District News,
Miracle Mile Chamber,
5900 Wilshire,
The Icon,
Aesthesia Studios, and many more.
For more information about MOPLA, including a calendar of month-long events, click here. In April 2009, the inaugural Month of Photography Los Angeles (MOPLA) showcased the enormous photography community, inclusive of commercial, fine art and photojournalism. As the second largest photography community in the United States, Los Angeles provides a distinctive backdrop to the celebration of the photographic image. MOPLA was established and exists to advance the celebration of Photography through a variety of events and programs designed to inspire and invigorate the photography professional, enthusiast, emerging professional and collector. About Lucie Foundation The Lucie Foundation’s mission is to honor master photographers, discover and cultivate emerging talent, and promote the appreciation of photography worldwide. In additional to Month of Photography Los Angeles (MOPLA), the foundation presents year-round programming to support high school students through SNAPSHOP!, emerging and professional photographers through the Lucie Scholarship Program and master photographers through The Lucie Awards. The Lucie Foundation is a 501(c)3 non-profit charitable foundation. [post_title] => April's MOPLA: Communities and Cultures [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => mopla-communities-cultures [to_ping] => [pinged] => [post_modified] => 2014-04-04 10:47:18 [post_modified_gmt] => 2014-04-04 14:47:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=37651 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[5] => WP_Post Object ( [ID] => 37557 [post_author] => 11454 [post_date] => 2014-03-25 12:14:53 [post_date_gmt] => 2014-03-25 16:14:53 [post_content] => Resource Magazine's Photographer of the Day contest on our Facebook (#POTD) is a daily competition that seeks to give rising photographers the attention and support they deserve. The winner with the most Likes receives an exclusive Resource Mag Online interview, a ViewBug.com premium membership, an awesome Lowepro Urban Reporter 250 bag, a Joby Pro Sling Strap and UltraFit Hand Grip and a one-year subscription to Resource Magazine!This time, our #POTD winner is Dery Keretic. We love her layered portraiture as well as her stunning black-and-white photography. We also love how open she is to the idea of collaborating with people, especially those who have never been professionally photographed before, in order to create sincere and touching images. We interviewed her some time after she received her prizes to get to know her even further.[caption id="attachment_37559" align="aligncenter" width="461"]
© Dery Keretic[/caption]When and how did you get started with photography?
I can barely remember how I got started – it feels like I’ve always had a camera in my hand. Experimenting by taking portraits of friends in my 9
th grade art class definitely peaked my interest, but I forgot about photography until I had the chance to work with an old film camera and develop photographs myself in a darkroom. I fell in love with black and white photography; I grew much more interested in photographing landscapes or objects with a macro lens and soon realized that I had an extremely difficult time taking pictures of people. However, my background in music showed me the importance of continuous experimentation and inspired me to explore photography from different lyrical angles, as well as understand connections between various art forms. I was born in New York City, but grew up in Hamburg, Germany, so there was always plenty to photograph when my family traveled back and forth. My Dad gave me a
Canon EOS 450D and I photographed to the point of obsession, but it wasn’t until last year that I even dared to attempt portraits of people again. The reason I began with black and white portrait photography is because I bought a friend’s old
Olympus Pen (E-P1) with an adapter for a
Canon FD 50mm (F/1.4) lens, which shoots these incredibly beautiful pictures reminding me of the old film camera I used to use.[caption id="attachment_37558" align="aligncenter" width="461"]
© Dery Keretic[/caption]
If you remember, what was the first camera you ever picked up?I don’t remember my first camera ever, but I would say the
Canon EOS 450D was definitely my first serious one.
What is the best advice you’ve ever been given as a photographer?Coming from a background of music, I have learned from various artists that there is no single path to achieving your goal – there are no rules. In the spirit of their helpful persistence to always get me to experiment more, I have learned a lot about myself within all areas of my art. I haven’t been given direct advice as a photographer, but I took a single introductory photo class that taught me different ways in which to use a camera. So maybe technical details were the most valuable things to get me started, but in terms of style or skill advice, I haven’t been given any. Everything I do in photography is a result of long hours experimenting, learning and spending tons of time never getting bored. It’s all about keeping an open-mind and letting the imagination flow.[caption id="attachment_37560" align="aligncenter" width="461"]
© Dery Keretic[/caption]
How would you describe your style? How have you branched out/experimented with it?I aim to have the style of my portraits be honest, natural and genuine. I try to capture the essence of the person without having their guard up and attempt to expose how beautiful everyone and everything truly is. I really strive to capture the way somebody is in that particular moment of his or her life without a large production, staging, makeup, styling, etc. I love working with people who are not used to being photographed. The experience is so much more exciting and rewarding this way. Once I found a niche in portraits (especially black and white), I began experimenting with photos of my family before I continued with friends and clients. I have definitely branched out in the world of Photoshop and have become more daring in the editing process, working with layers that can often evoke a dream-like quality.
What do you love about black and white photography?I love how non-distracting it is from the person in the photograph. When there are too many colors and other things happening in the background, it takes away focus from the individual. Everybody is uniquely beautiful and I feel that black and white pictures portray people in a classic and simple, yet powerful way.[caption id="attachment_37563" align="aligncenter" width="461"]
© Dery Keretic[/caption]
Where do you find the subjects to shoot? What do you do to evoke the certain aura you have in mind?I started photographing family and friends, but began branching out when my sister’s friends wanted new Facebook profile pictures. None of them were models and I loved working with inexperienced people to bring out their honest uniqueness. Because I’m not restricted by needing a set or crew, I can take pictures of anybody anywhere and get contacted by people through my website. So, if somebody wants/needs pictures, they email me and together we come up with a certain concept. Usually they have something in mind and I just help flesh the idea out a little and take care of some details. I never have a certain aura in mind before going into a photo shoot and am able to let it carry me wherever it feels right. The process is very much the way that I have experienced recording music in a studio – you need to have an open-minded approach to be able let the moment unfold. The aura comes naturally because it’s not forced. People will contact me through the email on my website and we begin the process of discussing ideas for the photo shoot. All work presents different challenges that I am always open to explore.[caption id="attachment_37564" align="aligncenter" width="461"]
© Dery Keretic[/caption]
Aside from winning this contest, how has social media impacted your career in photography?So far, social media has played a minor role. I don’t use Instagram or Twitter, so my website is the only social media I use. It’s been a really helpful tool for anybody to view my work and contact me for a photo shoot, and that’s pretty much all I need.
Can you share an experience that has significantly shaped the way you photograph?One experience that really shaped me as an artist was when my mom recorded her third album in Venice, Italy, and took me along to do the album artwork. It was endlessly inspiring to be around so many great musicians, incredible music and infinite amounts of subjects to photograph.
What can we expect from you in the near future, especially with these new gadgets in your lineup?I’m really excited about the new Lowepro camera bag because so far it’s been too difficult to carry all my gear with me . I never feel like bringing more than one camera, but now I will definitely be able to try out similar shots with different cameras. Hopefully the near future will be filled with lots of new portraits![caption id="attachment_37562" align="aligncenter" width="461"]
© Dery Keretic[/caption]
© Sarah Ann Loreth[/caption]You met fellow photographers and travel-companions Shane Black and Joel Robison on the internet. How did that come about? Can you tell us more about them?We had been admiring each other’s work for a few years on the photo sharing website
Flickr, sending messages back and forth until we made the great anxiety-inducing decision to send each other Facebook friend requests. Two requests turned in ten and ten into twenty and then all of a sudden we had a community of friends and photographers all brought together by photography and social media. Then one day, sometime in 2012, we all decided to finally meet. A group was made, plans were put together, and a dear friend and fellow photographer invited us to his family farm in Indiana of all places. One day in July, I packed up my car with a friend and off we went on the fifteen hour drive through cornfields to Indiana, chasing the sun all the way to the farm. When we stepped out of the car that night it felt like we had come home. We were bombarded with hugs and love from so many people we admired and who truly understood us, though we had never met. I always joke in times of stress that my mind always goes back to that perfect week in the Indiana heat, laughing and creating with thirty strangers we met on the Internet, because to us, it was heaven. Shane, Joel and I instantly clicked, and a few months later Shane and I were making plans for a week in Canada with Joel. And that’s when we started planning The Wild Ones tour.
Shane and Joel are like my brothers. We’ve laughed together. We’ve cried together. We’ve picked on each other. We even lived in a van together for two months without killing each other. When I look back at all those who have influenced my life, those two are at the top of the list as constant sources of inspiration to me on the goodness in the world and how I want to live my life.
[caption id="attachment_37515" align="aligncenter" width="567"]
© Sarah Ann Loreth[/caption]
For those who don’t know, what is the idea behind the Wild Ones and how was it formed?
Established in 2013, The Wild Ones Tour is an annual summer traveling workshop tour and nonprofit organization set up to aid the growth of photographic artists by providing affordable education in both photographic techniques and business consulting, while providing a supportive and ongoing global community. The Wild Ones aim to bring hope and inspiration to those who need it by empowering attendees to use the tools we provide to create stories and use art as a way of coping with life while laying the foundation to live their dreams.
As all things with us, it started as a joke. A “haha we should quit our jobs and travel the entire summer” kind of joke. Until we actually did it. We went into the planning with a mutual love for photography and teaching and the desire to give back as much as we could. So that was how The Wild Ones tour was formed. Nine months of planning later and the generous help of
Coca–Cola,
Flickr and
Vanguard, we were off to take on the world. We traveled over 13,000 miles by van, hosting eight workshops, visiting fifteen major cities and twelve national parks. We knew going into it we didn’t want to make money off this adventure. We wanted to be able to host affordable classes to share our love for our craft while doing as much good in the world as we could. We went home with nothing but our memories, our photos and the joy of meeting so many people along the way. All money was allocated to getting us from city to city, handing out free entry to our workshops, random acts of kindness like big tips to waiters and donations to hungry strangers and even big things like surprising two deserving young photographers from Illinois with an all-expenses paid trip to spend four days in Dallas learning from us.
[caption id="attachment_37514" align="aligncenter" width="540"]
© Sarah Ann Loreth[/caption]
How did you get into photography?
I started photography in the spring of 2010. I was given my first DSLR for Christmas that year and spent the next few months getting acquainted with the camera settings and local bugs and flowers. Then in June of 2010, which I consider my real photographic birthday, I invested in a tripod and remote, and started taking shy self-portraits using the white walls of my kitchen. They were not anything ground breaking or spectacular, but they laid the foundation for a passion for the craft. Shortly after that, I joined Flickr, started a 365 self-portrait project and haven’t stopped creating since. I was always interested in art. I tried everything and nothing really stuck until I picked up a camera.
[caption id="attachment_37513" align="aligncenter" width="540"]
© Sarah Ann Loreth[/caption]
Since The Wild Ones is now an annual trip, what does this mean for you? How have you adjusted your life to this?
For me, this means working and saving and planning for nine months out of the year. It means long nights and long hours both at my job and on Wild Ones planning. It means endless hours of overtime at work to save and afford to be out of a job for months at a time. My primary job is not a photographer. To pay the bills I work as an aide in an operating room and an operator in a call center, taking photography clients on the side when I can. And that has become my life. I wish I could say it was easy. But nothing worth it ever is, right? I live my life looking forward to the summer where I can do what I love, live my dream and give back as much as I can. Then I come home, endlessly search for work, and start all over again. But I am so thankful for my life and the opportunities that have presented themselves and I wouldn’t change my experiences or The Wild Ones Tour for anything.
[caption id="attachment_37519" align="aligncenter" width="540"]
© Sarah Ann Loreth[/caption]
What goes on in one of the workshops?
I may sound a bit biased because I am co-hosting the workshops, but they are such a blast! The workshops are a day of creating, storytelling and teaching the basics of concept building. We start off the day introducing ourselves and telling our stories, how we create and how we build our concepts. We always have a nice team-building game to loosen everyone up and break down the nervous barriers we all have. We then go over our props, write down each prop on a piece of paper and have the students choose at random. They are then given the rest of the workshop to do their homework and create a concept based around the prop they chose. Of course, they are not limited to this prop - it’s just a starting place for them to use the concept-building strategies we’ve taught them to create something that speaks to them. We do some instructor shooting, going over how each of us works, how we pose, how to build relationships and trust with your models, and allow the students to shoot along with us. We end with another round of our team building game, go over our thoughts on the day, answer any lingering questions and wrap up the day.
[caption id="attachment_37517" align="aligncenter" width="540"]
© Sarah Ann Loreth[/caption]We hope to leave our students with a lasting impression of how and why we do what we do, as well as gather together local photographers in each area as a means of support for all of them. Last year was a bit of a trial run for us; this year will be bigger and far grander than we ever could have imagined, with so many surprises and giveaways in store for our students! Instead of eight workshops, we are projecting about twenty-six, running from July until the middle of October, and we’ve added an optional day of editing and business planning to give our students the best experience possible. We have expanded to Canada, the Midwest and Hawaii, with the hope to start signing students up by the end of April!
[caption id="attachment_37511" align="aligncenter" width="576"]
© Sarah Ann Loreth[/caption]
You’ve undoubtedly shared a wealth of knowledge in each one of your workshops. But what has this journey given back to you? What have you learned?
I learned a lot about myself and my abilities. Up until four years ago, I was horribly agoraphobic. To the point where I was often afraid to leave the house, afraid to make phone calls, afraid to answer the door. I had daily panic attacks worrying about what was waiting for me outside my front door. Then I found photography and everything changed. It taught me that life wasn’t so scary after all. It gave me a reason to get out of bed every day, to go to the store and get props and to express myself. It brought me to a community of dreamers and a foundation of support that is priceless and immeasurable.
This trip was truly once-in-a-lifetime and a life changer. I was taught the importance of doing good and what my real priorities in life are. It taught me the confidence to pursue my dreams and how tangible they really are with a bit of sacrifice, some luck, and whole heaps of hard work.
[caption id="attachment_37512" align="aligncenter" width="540"]
© Sarah Ann Loreth[/caption]
Where there days you wanted to go home? What were they like? Any advice for people who want to drop everything and travel, on dealing with the hesitation and worry you may have experienced?
Not one single day. There were days we were exhausted. There were many days we didn’t talk to each other because the south is very hot in August with no air conditioning in our car. There we days of migraines, food poisoning, broken ribs and bruises. But there was not one day where I said I wanted to go home. The road became my home. I fell in love with all the people we met; I enjoyed the company of my best friends, and loved the romanticism of being in a different town in a different state every day. It was fascinating to me, the thought that there were people waking up in towns I never heard of in a time zone I’ve never been, leading strikingly similar lives to my own - and I wanted nothing more than to collect those stories. It helped me feel a bit of a connection to humanity. The world is a beautiful place and I feel very lucky that we were able to take the time to explore it.
As for advice, I would say just go for it! Save your money, take the time and just do it. You won’t regret it. Travel changes you in a way you’d never expect. I left the trip with a confidence I never knew had with a consideration for the real priorities in life. I don’t necessarily recommend quitting your job and just going. But if the opportunity presents itself, I wouldn’t say no. I have never been more afraid than the day I told my job of six years that I was leaving. I certainly got a lot of questioning for it, but to be fair, I would question too. Here I was, twenty-six years old with dreams and idealizations of giving back to a community that has supported us so much, of hosting workshops around the country and living in a van for two months with a couple of boys I met on the internet. We were a nonprofit and I had no backup plan or promises of work when I got back and no means to pay the bills. But we did it. We lived to tell about it. And here we are on the cusp of setting out on another, longer tour, and not regretting a single day since.[caption id="attachment_37509" align="aligncenter" width="576"]
© Sarah Ann Loreth[/caption]
Can you share a story about the best parts of your trip?
I certainly hate to give the generic “all of it” answer, but truly, every moment was unique and beautiful. I could tell you about the thunderstorm we got caught in when we stopped at Monumental Valley and how the fog and steam rose from the desert. I could tell you about how we slept in the van one night where the redwoods met the ocean and how we woke up surrounded by wild elk. I could tell you of the night we slept out under the stars in Yosemite and woke up to the most beautiful sunrise we’ve ever seen over Half Dome or the white sands of New Mexico or the time we got lost searching all over San Francisco for a Banksy that was already painted over. I could tell you about the street music in the French Quarter of New Orleans or how we went bridge jumping in Oregon.
But if I had to sum it up, the part that was most satisfying to me was to see Shane’s face as he was out
timelapsing and enjoying the nature he is truly passionate about, and to see the look of joy in Joel’s eyes as he is teaching and doing what he loves. And most of all, to have something we worked so hard for turn into this ongoing community supported by so many people who believe in us and our mission. We still receive emails from students saying how much of a difference we’ve made in their lives. How we’ve taught them confidence and the ability to work hard and go after their dreams. That human connection is what truly warms my heart and makes everything
so unbelievably worth it.
[caption id="attachment_37508" align="aligncenter" width="533"]
© Sarah Ann Loreth[/caption]
This post is brought to you by VANGUARD®, a proud sponsor of The Wild Ones. VANGUARD is a global manufacturer of tripods, camera bags and cases, shooting sticks, gun/bow cases, binoculars and spotting scopes with first-of-its-kind features and capabilities.With 26 years of expertise, these innovative products are highlighted around the world.[caption id="attachment_37516" align="alignleft" width="318"]
© Sarah Ann Loreth[/caption]
Sarah Ann Loreth does not take photographs; she creates them from scenes she pulls from deep within herself. Sarah is a fine art photographer from New Hampshire, who specializes in self-portraiture and conceptual portraiture. In her work she tries to convey a quiet stillness of emotion with a connection to her natural surroundings. From her use of color and surreality she creates a reality found only in her imagination but with an emotion that is undeniably human. She explores the divide between darkness and light, unafraid to explore themes that others may find uncomfortable. Her work evokes a connection from the viewer, a feeling of oneness of the human experience and a mystery that will leave you wondering how the story will unfold.Established in 2013, The Wild Ones, Inc. is an annual summer traveling workshop tour and nonprofit organization set up to aide in the growth of photographic artists by providing affordable education in both photographic techniques and business consulting while providing a supportive and ongoing global community. The Wild Ones aim to bring hope and inspiration to those in need by empowering attendees to use the tools we provide to create stories and use art as a way of coping with life while laying the foundation to live their dreams.- About 68% of U.S. residents suffer from compulsive gadget hoarding. This is measured by how many have kept a device for more than two years without using it.
- 70% of Americans currently have multiple old gadgets at home that they haven't used within the past 3 months.
- 25% of Americans admit to having a "gadget hoarding" problem.
- 50% have said they still have old gadgets because they don't know what to do with them.
We spoke to Nik Raman in order to get more information about the leading online marketplace for selling used electronics. We learned that uSell connects sellers to buyers who use a bidding system to win your old device, which does not have to be in perfect condition (as long as you clearly indicate so). It really goes hand in hand with the saying: one man's trash is another man's treasure!
What is your background before starting your own company?I started the company while I was at Harvard. Before that I did sales for IBM.How did the idea for uSell come about?It all started with the idea of trying to help curb the problem of e-waste. It’s extreme, and I realized there was not one place that consumers thought of when they thought about getting rid of their old electronics. There's two types when it comes to technology deterioration. End of life is when it is completely out of use. End of first life means it can still be recycled for parts. I was drawn to this piece of the market because people sometimes don't realize that they are sitting on tons of value.Recycling parts also means it doesn't get dumped overseas. Lots of big recycling companies are trying to tackle that problem. The end of first life wasn’t being handled properly so there was a huge demand for these products that were just laying around in people's homes.
What’s the problem with compulsive gadget hoarding?People are leaving a lot of value on the table when they can take it and put that value in their pocket. These electronics end up going to a landfill. If you’re not going to sell it you should try to recycle it, but reuse is more beneficial than recycling because it doesn't take energy and significantly extends the life of it.Why do people hoard gadgets?They understate the value of their devices and sometimes think it's not worth all the effort to look for buyers. That's the number one thing we address, since it's normal for people to always think of what to buy next and not what to sell. But we realize we do need to make it absolutely painless for consumers. So you only need to spend about 5 minutes on the entire process.What can we expect from uSell in the future?We want to create a better account experience, so people can sell devices even easier. We're creating more user-generated feedback system. You can rate transactions, buyers and sellers. We are also expanding to other categories. But right now, the immediate goal is spreading awareness for uSell.To see how much you can get for your old gadgets, click here. [post_title] => uSell: Fighting Gadget Hoarding and Landfill Waste [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => usell [to_ping] => [pinged] => [post_modified] => 2014-03-21 18:09:35 [post_modified_gmt] => 2014-03-21 22:09:35 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=37478 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw )[8] => WP_Post Object ( [ID] => 37385 [post_author] => 11454 [post_date] => 2014-03-19 18:00:12 [post_date_gmt] => 2014-03-19 22:00:12 [post_content] => For more than 50 years, award-winning British photojournalist Don McCullin has been letting his violent and bottomlessly meaningful war photographs speak. But now, luxury-goods brand Alfred Dunhill has included him in its Voice Campaign, which bi-annually features three select men of notable life achievement. The very exclusive honor has spurred the war photographer into using his words to describe warfare's effects on his life and his own take on the experience.
In the black-and-white video, Don McCullin is seated on a chair against a blank backdrop. A single spotlight causes his shadow to cast shapes on the floor. He is impeccably dressed. The close ups reveal deep lines on his face, each of which seem to hide a compelling story within the folds. It's quiet all around until he speaks, and the sound of his voice pierces the silence. But it's a soothing effect - Don McCullin has the voice you'd expect him to have, of one who has seen it all, and it comforts you knowing it wasn't you who had to witness any of it.
It's a reminder that soldiers are not the only ones who bravely march into the thick of war, they're not the only ones plagued by the helplessness felt as a witness of its horror and they're certainly not the only ones still disturbed by it long after the last bullet has sounded off. Photojournalists experience it all too."I can conjure up the most appalling thoughts. It doesn't have to be at nighttime. I can have those thoughts sitting in a taxi or on a train. You're not going to do it, you're not going to have a life after 50 years of what I've done," says McCullin. "It's not going to be a convenience, that you can have a nice day and push all these things away. They come totally uninvited, unexpected."
Don McCullin doesn't want to be remembered as a photographer who exposed the underbelly of society, although his work on the Vietnam War, the Suez Crisis and the Northern Ireland conflict is immensely respected. Past his prime years dodging bullets, witnessing executions and ducking down alongside soldiers, Don McCullin has left the war-torn fields and desires only peace in life. So nowadays he photographs beautiful landscapes.Beauty, and not pain, is something he says he'd rather by remembered by.[youtube id="8uixbVTdEJE" width="620" height="360"]
[post_title] => Video: Don McCullin on Photographing War [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => don-mccullin-photographing-war [to_ping] => [pinged] => [post_modified] => 2014-03-19 17:53:27 [post_modified_gmt] => 2014-03-19 21:53:27 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=37385 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[9] => WP_Post Object ( [ID] => 37370 [post_author] => 11454 [post_date] => 2014-03-19 16:14:46 [post_date_gmt] => 2014-03-19 20:14:46 [post_content] => Photographer Dane Shitagi is one of those people who wholeheartedly believes that performance art shouldn't be confined to a stage. So he photographs ballerinas holding beautiful and challenging poses everywhere else. On the subway in New York, by a waterfall in Hawaii, in their homes and on the streets, for example, instead of a concert hall whose doors not many people ever get to enter.Many of them also shed the traditional tutu, and instead dress like they would on any given day. The ballerinas are fresh-faced and loose-haired, dropping the inaccessible aura that surrounds them on stage. It's been 12 years since he started, and he has about 40 photo shoots a year with some of the world's most skilled and stunning ballerinas. You do the math.All of these images go towards the Ballerina Project website, which houses his entire collection. Although primarily photographed using traditional film and cameras, two years ago, Shitagi made the decision to begin utilizing digital photography. But no matter how much the project has changed since its inception more than a decade ago, the original idea still remains - and will do so for as long as Shitagi is the person behind the lens. "Each photograph is a collaborative work of dance, fashion design and photography played out against the city's landscape," Shitagi says. The respect he has for the art of ballet and his dedication to the craft of photography has been there since the very first photograph was taken.[caption id="attachment_37377" align="aligncenter" width="675"]
©Dane Shitagi[/caption]According to the Ballerina Project's description, the majority of ballerinas who have posed for the project are currently or have danced for companies such as American Ballet Theater, Boston Ballet, Birmingham Royal Ballet, Dresden Semperopera Ballet, Tulsa Ballet, Pennsylvania Ballet, Complexions Contemporary Ballet, Miami City Ballet, Suzanne Farrell Ballet, Ballet West and New York City Ballet. Other ballerinas are in schools such as School of American Ballet and Jacqueline Kennedy Onassis School.Dane Shitagi's work has earned well-deserved recognition over the years. Images from the Ballerina Project have been used in advertisements for companies such as Fujifilm and Sony Erricson. It has appeared in the Wall Street Journal and Huffington Post. At this time, the Facebook page has 796,000 likes and the Instagram boasts 240,000 subscribers.[caption id="attachment_37374" align="aligncenter" width="675"]
©Dane Shitagi[/caption]So if you love ballet and photography, visit the Ballerina Project gallery. But the thing with success is that you can afford to be exclusive - so the one thing that may stand in the way between you and viewing Shitagi's incredible collection in its entirety in his gallery is a subscription fee of $9.95 a year. Luckily, his Facebook page has a good amount of photos - happy viewing! [post_title] => Dane Shitagi's Ballerina Project Takes Ballet Off-Stage [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => ballerina-project-dane-shitagi [to_ping] => [pinged] => [post_modified] => 2014-03-19 16:14:46 [post_modified_gmt] => 2014-03-19 20:14:46 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=37370 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[10] => WP_Post Object ( [ID] => 37297 [post_author] => 11454 [post_date] => 2014-03-17 19:34:40 [post_date_gmt] => 2014-03-17 23:34:40 [post_content] => Christopher Makos creates classics. That's the easiest way to put it. The photographer's works have been found in prestigious museums, displayed in the most sought-after private collections (think Gianni Versace and Malcolm Forbes) and in the pages of books that always stay at the very top of coffee table piles.In 1977, Makos' White Trash was published and it established him as the pioneer in capturing the emerging punk scene. The gem of a book became instantly loved by all who flipped through its pages, and eventually sold for $500 online. Now, the man who once apprenticed with Man Ray is releasing a new version entitled White Trash Uncut, published by Glitterati Incorporated. Within its pages you'll find the portraits of his good friend Andy Warhol, Tennessee Williams, Halston, John Paul Getty III, Mick Jagger, David Bowie, Grace Jones, Patti Smith, Richard Hell, Tom Verlaine, Alice Cooper, Iggy Pop, Zandra Rhodes, Divine, Lance Loud, and Marilyn Chambers, among many others. It features 25 photographs that were not included in the original book, and words by Andrew Crispo and Peter Wise.You can purchase the hardcover White Trash Uncut for $50 here.
[caption id="attachment_37306" align="aligncenter" width="522"]
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated www.GlitteratiIncorporated.com[/caption]What began your career in photography?It was actually when I first came to New York. I was dabbling in a few arts, and photography eventually caught my eye. My good friend Anthony Perkins gave me a camera, and that was how it all started.[caption id="attachment_37356" align="aligncenter" width="480"]
Chrisopher Makos.
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated
www.GlitteratiIncorporated.com[/caption]How did the idea for this book come about?There was a movement during that time in New York City. Young people were dressing in new fashions and there was a sort of musical agenda that was happening, that was very much a response to disco music. I became interested in this phenomenon, so I met publisher Jeffrey Steinberg. He had a great book company and they loved the idea.[caption id="attachment_37357" align="aligncenter" width="456"]
David Bowie, rock star. Los Angeles.
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated
www.GlitteratiIncorporated.com[/caption]The pictures in White Trash are not just Debbie Harry, Blondie or the Talking Heads. The book itself represents the idea of alternative things, people and lifestyle. The theme of it is how this is continuously going on in culture, and the reissue speaks to that.People ask me if there is an underground and I say, yeah, there is. Unique people need a place to go, perform and be artists. Without a place to perform, these people don’t emerge. So the reissue of White Trash is a reminder that talent and exploration does exist. It’s ongoing. The free real estate of the internet is where you’ll usually find it happening.[caption id="attachment_37359" align="aligncenter" width="486"]
David Johansen of the now defunct New York Dolls and Richard Hell of Television backstage at CBGB’s. New York.
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated
www.GlitteratiIncorporated.com[/caption]Putting together the original White Trash - how long did it take?It took a lot longer than it would have today. Everything is computerized and digitized now, and so much easier. It probably took me half a year.[caption id="attachment_37360" align="aligncenter" width="600"]
Debbie Harry Stand-Up A
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated
www.GlitteratiIncorporated.com[/caption]What about White Trash Uncut’s 25 new pictures? The extra pictures were originally part of the book but we didn’t use them. It may have been due to a lack of space, but they just didn't make the cut.When you revisit something, you always see things you didn't see originally. Part of the reason behind doing it again came after we heard about the punk-themed MET fashion show. We thought this would be a good moment because the idea is out in the atmosphere.[caption id="attachment_37361" align="aligncenter" width="600"]
Diving and John Waters
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated
www.GlitteratiIncorporated.com[/caption]How does one get to publish a book? It’s very hard to get a book published. You have to find a publisher that really loves what you’re doing. I’d say, go to a bookstore, look at illustrated books and see if what you’re doing might fit in to something you see pre-existing. That’s kind of how you have to do it now. They don’t come to you. You just can’t sit back and think “oh I'm a photographer, this is all going to happen.” It’s about going after a publisher you like and finding your niche.[caption id="attachment_37362" align="aligncenter" width="342"]
Earring by Gillette.
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated
www.GlitteratiIncorporated.com[/caption]What’s the publishing experience like?I’m lucky enough to work with a publisher with so much integrity and believes in books wholeheartedly. As long as I’m working with Marta Hallett at Glitterati, I’m good. She has a publishing house that is usually all-women and the work is amazing!What is the camera you use the most?I had a succession of cameras but I always end up going back to Nikon cameras. What happens is that when you find a camera you like, you're usually invested in those lenses. They’re non-transferable so you end up being very loyal to it.I was photographing film at the time. Now I use a Nikon D800, which is a digital camera that emulates the density, clarity and intensity of film. It was a great sense of relief to take a pic and see it right away, edit it right away.[caption id="attachment_37363" align="aligncenter" width="477"]
Gigi Williams. Montauk.
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated
www.GlitteratiIncorporated.com[/caption]What would you say have been the most significant changes in your style over the years?I photograph more color pictures now and find myself reverting them to black to white. When switching from film to digital, this is necessary because digital is always color by default. I think about the movie Pleasantville, which starts out in black-and-white and becomes color. The people in it get really upset since color confronts them with new issues. Finding a way to make them just as rich and captivating is important to me.[caption id="attachment_37364" align="aligncenter" width="540"]
Hustler in Professional Pose. Jeans by Fiorucci. Milan.
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated www.GlitteratiIncorporated.com[/caption]What makes a good photograph?Before, you would only see photographs in books and newspapers. Nowadays, you see them on television, on your phone, laptop and iPad. It’s an influx of images and sometimes that becomes numbing. So if the photograph makes me stop and stare at it for a while, I know the photographer has done something that speaks to me. I’d have to say that it’s always the one with great lighting that catches my eye. That’s what photography is all about: the way light hits the subject matter.[caption id="attachment_37365" align="aligncenter" width="366"]
Man Ray's Passport
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated
www.GlitteratiIncorporated.com[/caption]Anything we can expect from you in the coming years?Absolutely. I have a new book that comes out in the fall. I’m working with Kiehl’s cosmetics as well. They came to me and asked me to design a label for their facial astringent using my photographs. I also have several exhibitions opening up in Europe. I’m pretty active in the photography world. I think it keeps me alive and keeps my eyes healthy. My lifelong passion is putting pictures together, because they always make a story.[caption id="attachment_37366" align="aligncenter" width="470"]
Punk Rock Fans
From White Trash Uncut by Christopher Makos, © 2014, published by Glitterati Incorporated
www.GlitteratiIncorporated.com[/caption] [post_title] => Christopher Makos: White Trash Uncut [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => white-trash-uncut [to_ping] => [pinged] => [post_modified] => 2014-03-19 12:42:11 [post_modified_gmt] => 2014-03-19 16:42:11 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=37297 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[11] => WP_Post Object ( [ID] => 37277 [post_author] => 11454 [post_date] => 2014-03-17 17:00:02 [post_date_gmt] => 2014-03-17 21:00:02 [post_content] =>For all of the smartphone photographers out there, here's something perfect for you.
LUUV is a plug-and-play handheld camera stabilizer that will take the worry out of capturing action shots. Let's face it: humans aren't stable and we need something that can keep up with us outdoors. In that case, LUUV is all you need!“I had the idea on a snowboarding trip in Austria about two years ago," says Felix Kochbeck, developer and co-founder of LUUV. "I feel passionate about doing sports for fun, but I did not have the opportunity to capture my adventures with a digital camera in an easy and satisfying way.” That's why LUUV's tagline says it's
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Remember when we attended the
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- Simple: LUUV can be used intuitively with one hand by pros as well as by first users.
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- Exciting: Explore surprising new perspectives when turning LUUV by 180 degrees while filming. Imagine shots just centimeters above the ground while racing down a slope on a snowboard!
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After receiving an award at the Berlin Hardware Accelerator 2013, the LUUV team, based at the co-working space betahaus in Berlin, is preparing to make the next important move toward a market release.
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[post_title] => LUUV: A camera stabilizer for smartphones and action cams [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => luuv-camera-stabilizer-smartphones [to_ping] => [pinged] => [post_modified] => 2014-03-19 11:21:49 [post_modified_gmt] => 2014-03-19 15:21:49 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=37277 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[12] => WP_Post Object ( [ID] => 36379 [post_author] => 11454 [post_date] => 2014-03-13 07:00:48 [post_date_gmt] => 2014-03-13 11:00:48 [post_content] => For years, Bravery Tapes creator Jens Erik Gould has been great at reporting. A journalist with an impressive portfolio, he has covered topics such as the environment, health, immigration, politics, education, crime, economic policy and the oil industry, from a long list of countries. Since his debut as a writer in Venezuela covering Hugo Chavez, Gould has been a regular correspondent for TIME, NPR, The New York Times and Bloomberg News.But lately, he's tapped into something different. He is focusing on an amazing phenomenon that happens everyday, all around the world, with very few around to witness. And instead of just reporting, Jens Erik Gould hopes to begin to inspire.That's how Bravery Tapes, "a multimedia experience that portrays stories of human courage," was born. Primarily a print and radio reporter, Gould explains: "When it comes to shooting and editing, I have cameramen who work with me and I also work with different editors. I'm very thankful to work with them. This is my first venture into video.”
But while Gould may be new to video, he brings years of journalistic experience to
Bravery Tapes. Throughout his career, he’s also inevitably come into contact with many people whose situations made them susceptible to simply becoming pawns in the game of society. Only, they refused."Something about what I'd always done was not as fulfilling as I wanted it to be. I would go and do these big stories, but there was something more that I craved," says Gould. "So I started thinking about it: what is the thing that I like most about being a reporter? I then realized that the stories I’m most passionate about are the ones where I encountered people who came up against great adversity in their life and did something extraordinary.”
Take the Venezuelan youth orchestra, a group of teenagers Gould encountered by chance, who chose to be swept away by music instead of the world of drugs and crime surrounding them. Or the young woman from a small village in Colombia: while guerrilla warfare raged all around her, she was determined to become a successful doctor. Then there were the teenage boys in Mexico who had been sucked into working with the most dominant drug cartels and risked everything, especially their lives, to find a way out.
But there are many, many other forms of bravery. Each episode of
Bravery Tapes, featured on Youtube, has a different setting each time. On his blog, during his journey to find content for the
Bravery Tapes, Gould says he has profiled "
Honduran women with HIV who stood up to heavy discrimination and a
gay couple in Los Angeles at the crossroads of battles over same-sex marriage and immigration reform. Then there was a
heroic survivor of the Boston Marathon bombing, a
UPS driver who saved a woman after a car accident, and a man who rebounded from
unfathomable family tragedy to help others. Most recently, I spent time with
convicted felons inside a state prison who were turning their lives around by learning to become professional divers.”
"Sometimes I find stories while doing other stories," Gould explains, about finding these remarkable people. "Other times I discover them from news articles. Or walking down the beach, which was how I found
Harriet Kilgore, a homeless singer-songwriter who was the subject of one of the episodes. Part of my family is from New Mexico. That's where I met
Ted, another subject of one of our episodes, who was a family connection. In Honduras, I got a grant to do some stories and gathered material from there.”
Gould is also a singer-songwriter and composes a lot of the music that accompanies the stirring scenes and words in episodes of
Bravery Tapes. "I love to write music and I always try to write songs that go with the tone of the piece. The lyrics will also talk about what's going on, and you can hear it in the Mexico episode. Sometimes I invite other musicians as well. One of them is a good friend of mine, Peter, who I used to be in a band with. In the prison episode, my brother’s hip-hop group is featured."While these stories of everyday grit and nobility are a step away from his usual broad journalistic focus, they are still inextricably linked to the larger social, economical and political issues Gould has always reported on. For that reason, each episode on
Bravery Tapes is a must-see. It's incredibly important to know not just global news and events but also how each large-scale choice, condition and game-changer travels down to affect all other players. Gould talks about the moment he showed Harriet Kilgore her episode. "I brought my laptop with me and I showed her the episode. It was quite moving. It starts out with the moment I found her lying on the street injured. I remember calling the ambulance for her. So that was difficult for her, watching herself go through that. There was horror on her face, but it started to change, and she teared up. It's been great to keep up with her since.”
Reflection of the St. Louis Arch on the pond at Gateway Park
© Russell Grace[/caption]When was your introduction to photography and what was it like?While studying coastal geology and beach erosion in graduate school, I photographed the Emerald Coast, which is home to some of the most beautiful beaches in the world. Although I had briefly been a fine arts major, I had no formal training in photography. Despite that, I nailed the exposures and found that my instincts about composition were very solid. Above all, I fell in love with what I saw on the slides when they came back. There is something indescribable about the feeling you get when you capture the beauty and emotion of an incredible scene.I did go on to work in environmental protection for about 14 years, but photography remained a part of my life. Then in 1997 I took the plunge. I left the public sector and opened a gallery (Images of Tallahassee). I built a successful business and established a niche for myself within the region. I specialized in coastal images and fine art collegiate photography.[caption id="attachment_37120" align="aligncenter" width="648"]
Miller Landing, one of Tallahassee's most famous canopy roads
© Russell Grace[/caption]How did you get into infrared in particular?The transition to infrared came about during a time when my life was changing in many ways. After about 15 years of running my own business and building a body of work that made me very proud, I was definitely getting restless. In 2010 I sold my gallery and accepted a teaching position, and I started dating Angela.Angela had always loved art and had spent some time studying it, but ultimately found her niche in helping to organize one of the best art festivals in Florida. Bringing artists to her community and helping the artists succeed at that show felt like a privilege and made her very happy. That was actually where we met. Angela was the chair of the art show committee and I was one of her artists. And that was also where our infrared collection began.I had always been intrigued by infrared photography, especially black and white infrared photography, and Angela loves old movies. Jimmy Stewart. Katherine Hepburn. Cary Grant. Vivien Leigh. Ingrid Bergman. The whole nine yards. She can’t resist black and white films and the romance of the past. So on one of our first dates I brought along my old camera and a few rolls of infrared film. I thought she’d be impressed with the romantic notion of a photographer who still used film and shot black and white…and I also thought we might get some interesting images. Well, what started as an afternoon lark ended up changing our lives. We were amazed and entranced by the images we got that day. Soon we were spending days and weeks and nearly every date traveling in search of the perfect infrared shot.Our shared passion for art, our excitement for this growing collection and the harmony of our voices as we articulated what this body of work could be, shaped our relationship and ultimately brought us to a beach in Hawaii last summer. Angela thinks it’s funny - but is not surprised - that I photographed my own wedding, handing the camera to my son, Kevin, just long enough to say my vows. I guess you could say I got into infrared to impress a girl. I’m pleased to say that it worked - and much better than I could ever have imagined.[caption id="attachment_37122" align="aligncenter" width="630"]
Rainbow Falls in Hilo, Hawaii
© Russell Grace[/caption]What is it that you enjoy so much about infrared images and keeps you working to produce more?As I mentioned, I’ve always been intrigued by the ethereal quality of infrared photography, especially the luminescent white glow of the trees. There was something about it that reminded me of the glow and light in my grandfather’s paintings. My grandfather, James Taylor Harwood, was an accomplished painter who is best known for his impressionist work. There is something about infrared photography that always reminded me of the way my he handled light within his paintings.My interest increased as trends changed and many photographers moved toward saturated, surreal use of color. For us, there was something serene and inspiring about the radiance of infrared and the subtlety of the monochromatic palette. Yet what has kept us excited about infrared is not just the romantic, dreamlike images. It’s the way that infrared scenes affect people. It gives people an entirely new experience with things they’ve seen before and it makes things they haven’t seen seem otherworldly and magical. The conversations we have with people about this collection are powerful. From the subject matter to the technique, we are awed by the emotions this work evokes.[caption id="attachment_37119" align="aligncenter" width="653"]
The Lion of Atlanta in the Old City Cemetery
© Russell Grace[/caption]For those who aren’t familiar, would you explain how the process works?Photography is all about light, and this is especially true of infrared photography. Infrared photography focuses on a section of the light spectrum that the human eye cannot normally access because people can only see wavelengths between about 390 to 550 nanometers (nm).The infrared portion of the light spectrum begins at approximately 700 nm. In order to create photographs in this part of the spectrum, we use medium format black-and-white infrared film and infrared passing filters.What camera and equipment do you use?I prefer to use my Pentax 6x7. It was built in the 1950s and is actually the first camera I used when I decided to move up in film format size from 35mm in the 1980s. My go-to lens is a wide angle 35mm (equivalent to about a 17mm in 35mm film size) and the filters are an opaque 87A and a red 27A. These filters allow infrared light to pass through to the camera but block virtually all of the visible light. Our specific technique blocks all light below approximately 870 nm.The film I use is Rollei/Agfa 120 Black and White Infrared film. Right now we’re using standard T-Max developer solutions but we’re looking for alternative ways to process.After we process the film, we use an Imacon (which has been bought out by Hasselblad) Flextight virtual drummer scanner.[caption id="attachment_37124" align="aligncenter" width="630"]
John C. Robie House in Hyde Park, Chicago. Designed by Frank Lloyd Wright and considered one of the most important designs in architectural history
© Russell Grace[/caption]What about post editing?There is some post editing to minimize film grain and to get the most tonal range possible out of the negative. Tonal range is very important to me. We strive to get everything from pure white to pure black while holding on to the highlight details. It’s basically using a variation of the zone system.We take pride in the fact that our process incorporates the use of traditional equipment and techniques while also utilizing cutting edge materials and technologies. This allows us to honor the past and the wisdom of the photographers who came before us even as we strive to advance our medium and create an unparalleled collection of infrared photographs.[caption id="attachment_37123" align="aligncenter" width="630"]
The Ray Charles Statue in Albany, Georgia
© Russell Grace[/caption]Any advice for photographers who would like to try infrared photography?For recreational photographers/enthusiasts who want to try infrared, I can comfortably recommend converting a digital camera. It definitely gives you a feel for the capabilities of infrared and you can create some very cool images. However, it is our experience that converted cameras cannot yield the same richness that you get from film.Having said that, working with infrared film is hard. There’s a long learning curve and it requires a lot of trial and error. It is very challenging but it also worth every bit of frustration. The unbelievable results you can get make you forget all the film it took to get to that one amazing shot.[caption id="attachment_37116" align="aligncenter" width="630"]
The Andersonville Civil War POW camp in Georgia
© Russell Grace[/caption]A great partner is so vital for a business like photography. Can you tell us more about how that has worked for you?The fact that the two of us are building this together makes all the difference, but it’s about more than just a doubling of skill sets and labor. It certainly helps Angela has a great background in marketing and as an art show organizer. Her show experience, especially, is helpful with everything from compiling our applications to planning our schedule. When you add that to my experience running a business for fifteen years, we definitely have the advantage of two heads being better than one.Likewise, while my experience as a photographer and knowledge of the medium is certainly more extensive than Angela’s, she has good instincts. Her fresh perspective definitely proves helpful when we’re selecting subjects, working a shot or culling through images. Having a great partner makes both of us better. We can discuss ideas, look at them from different angles, troubleshoot challenges and generally play off one another’s strengths and minimize each other’s weaknesses. Nothing is too ridiculous or far fetched when we’re brainstorming.During hours on the road we debate ideas, concoct crazy schemes and dreams and sometimes even hit on a spark or idea that blows us away. The best part, though, is building the infrared collection and sharing this incredible adventure with someone who is as passionate and energized by this journey as I am. We believe that this is our life’s work and there is absolutely no greater feeling than to share that with the person you love. As to how important that is to our business - it’s absolutely the key to our success.[caption id="attachment_37118" align="aligncenter" width="630"]
Jackson Square in New Orleans
© Russell Grace[/caption]On that note, what else have you found notably vital in maintaining a career in photography?I think one of the most important things and greatest challenges that a photographer faces is staying creatively engaged. When you start out professionally, it’s a thrill. But over time, no matter how grateful you are to be working as a professional photographer, routine sets in, the creative glow dims and a sense of fatigue or restlessness can take over.Finding ways to reset yourself creatively and challenge yourself is important. It might mean doing something entirely different, like we did when we started the infrared collection, or it might be a smaller change. If you want people to respond to your work with excitement and enthusiasm, you have to be excited and enthusiastic about your work. If you’re going through the motions, it will show. It will absolutely show.I found that taking a break from what I was doing as a professional and spending time as a teacher of photography gave me some space to reassess things. I had an opportunity to study my medium from a new perspective by sharing it with a classroom full of beginners. I am fortunate to teach in an environment with tremendous administrative support that allowed me to develop a unique curriculum that features my artistic and business vision and experiences (Lively Technical Center). It gave me a place and a reason to learn more, experiment with techniques and play with photography in a way that I had not done for many years. Those are good exercises for anyone looking to reconnect with what made them pick up a camera in the first place.[caption id="attachment_37115" align="aligncenter" width="630"]
The Gates of Elvis Presely's Estate in Memphis
© Russell Grace[/caption]Looking back, what would you say have been the most significant changes to your style and execution?In the first part of my career as a photographer, I think that I was successful because I found the place where what I enjoyed shooting overlapped with a style and theme that people wanted. I did fine art photographs of college stadiums, Gulf coast beaches and beloved landscapes and scenes in Southeastern communities. I enjoyed this. Having worked in environmental preservation, photographing things like Tallahassee’s amazing canopy roads or Pensacola’s beaches meant a lot to me, and I was gratified to see that these places meant a lot to other people too.The infrared collection is different. My earlier work was very commercially popular and we’re incorporating some of the elements that made that collection successful into what we’re doing now. But there are also a lot of differences. Whether we’re photographing famous and familiar places or hidden gems we’ve found in our travels, many of the compositions are more abstract. We’re driven less by creating commercially popular scenes and more by the quest to create an incomparable collection of fine art infrared photographs.There’s also a strong narrative that accompanies our infrared collection. We’re exploring everything from whimsical roadside attractions, stunning landscapes and brilliant examples of American ingenuity, to the sites of some of our greatest national tragedies. When photographed in infrared, the radiance and the surreal nature of the technique allows people to experience our country in an entirely new way…and we love that. That’s why we say we’re exploring, examining, celebrating and definitely photographing America In The Best Possible Light.[caption id="attachment_37125" align="aligncenter" width="630"]
The Vietnam Memorial in D.C.
© Russell Grace[/caption]You can visit Russell Grace's website at www.russellgracecollections.com and follow his work on Facebook. [post_title] => Russell Grace: Exquisite Infrared Photography [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => russell-graces-infrared-masterpieces [to_ping] => [pinged] => [post_modified] => 2014-03-12 18:05:53 [post_modified_gmt] => 2014-03-12 22:05:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=37112 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw )[14] => WP_Post Object ( [ID] => 36991 [post_author] => 11454 [post_date] => 2014-03-10 19:01:00 [post_date_gmt] => 2014-03-10 23:01:00 [post_content] => Thanks to the media, we become very familiar with celebrities. We feel like we've known some of them practically all our lives. But people change--and there is no factor for a person's transformation as effective as fame. Just like the rest of us, Hollywood royalty as we know them today were different people when standing on the edge of stardom.That's not the only thing that's changed over the years: photo retouching and enhancing capabilities have soared and so has the business of cosmetic surgery. The photographs of big personalities we see on today's billboards, magazines and websites have undergone alterations in so many ways, applied either on Photoshop or the subject's own physical features.This is why London-based photographer Johnny Rozsa's portrait compilation of 115 stars on the cusp of fame strikes us with such precious intensity. All taken during the 80's, the book is titled Untouched and its pages are graced with the younger versions of celebrities such as Leigh Bowery, Mariah Carey, Catherine Zeta-Jones, Billy Idol, John Malkovich, Winona Ryder, Nicholas Cage, Halle Berry, Hugh Grant, Janet Jackson, Boy George, Rupert Everett, Darryl Hannah and Kiefer Sutherland. The difference is, they don't wear the perfected masks celebrities are able to don today.[caption id="attachment_37036" align="aligncenter" width="612"]
Debbie Harry
From Untouched by Johnny Rozsa, published by Glitterati Incorporated, www.GlitteratiIncorporated.com[/caption]According to Johnny Rozsa, the creation of "Untouched" was inspired by the works of George Hurrell, Irving Penn, Richard Avedon and David Bailey. The honesty of each truly untouched image, coupled with the fresh faces of amaranthine fame we know so well, makes Johnny Rozsa's monogram an instant-classic. He captures people's vitality and early potential so well it is almost tangible on the page. And something about seeing an old photograph of a person, when you know who they become in later years, is incredibly thought-provoking and sentimental. Actress Susan Sarandon provides her own commentary, and slipped in between the portraits are translucent pages with words about Johnny Rozsa's own experiences photographing the rising stars.[caption id="attachment_37041" align="aligncenter" width="570"]
Leigh Bowery
From Untouched by Johnny Rozsa, published by Glitterati Incorporated, www.GlitteratiIncorporated.com[/caption]"It was a different time then. We were a community of artists working together," says Johnny Rozsa. "Now they march in armed with a publicist agent and manager who act like the creative directors, and use the photographer just as a technician. Back then, it was work between friends. Shoots were fun! Excitement! Nervous tension! What if a celebrity walked into my studio and was a total bore? What if they only gave me 3o minutes? Often I photographed well-known actors wearing the latest threads of the day for a magazine spread. Most times, it was in conjunction with a movie or album that they were promoting. People needed me as much as I needed them, so collaborations were mutually rewarding."[caption id="attachment_37040" align="aligncenter" width="544"]
La Toya, Joseph, and Janet Jackson
From Untouched by Johnny Rozsa, published by Glitterati Incorporated, www.GlitteratiIncorporated.com[/caption]Published by Glitterati Incorporated, Untouched is a hardcover book with 208 pages and 189 full color photographs. It is set for release in Spring 2014--mark your calendar!
Johnny Rozsa is a celebrated editorial photographer. He was born in Nairobi, Kenya and was educated at Repton, an all-boys public school in England. His work has appeared in numerous publications, including Vogue, the Sunday Times and Ritz. Mr. Rozsa divides his time between New York, London and Tangier, Morocco. [caption id="attachment_37042" align="aligncenter" width="570"]
Manolo Blahnik
From Untouched by Johnny Rozsa, published by Glitterati Incorporated, www.GlitteratiIncorporated.com[/caption][caption id="attachment_37044" align="aligncenter" width="598"]
Rick James
From Untouched by Johnny Rozsa, published by Glitterati Incorporated, www.GlitteratiIncorporated.com[/caption][caption id="attachment_37043" align="aligncenter" width="570"]
Natasha Richarsson
From Untouched by Johnny Rozsa, published by Glitterati Incorporated, www.GlitteratiIncorporated.com[/caption][caption id="attachment_37045" align="aligncenter" width="565"]
Robert Mitchum
From Untouched by Johnny Rozsa, published by Glitterati Incorporated, www.GlitteratiIncorporated.com[/caption][caption id="attachment_37038" align="aligncenter" width="570"]
Holly Woodlawn
From Untouched by Johnny Rozsa, published by Glitterati Incorporated, www.GlitteratiIncorporated.com[/caption][caption id="attachment_37037" align="aligncenter" width="570"]
Grace Jones
From Untouched by Johnny Rozsa, published by Glitterati Incorporated, www.GlitteratiIncorporated.com[/caption] [post_title] => Johnny Rozsa's Untouched Portraits of Stars Pre-Fame [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => johnny-rozsas-portraits-stars-fame [to_ping] => [pinged] => [post_modified] => 2014-03-11 15:53:44 [post_modified_gmt] => 2014-03-11 19:53:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=36991 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )) 
