stephen cardone

Streamline Your Workflow 2.0: January Winner – Lee Cherry

stephen cardoneJanuary 1, 2014

Welcome back to our Streamline Your Workflow contest for professional photographers! After taking a short hiatus due to all the craziness of our massive EDU2013...

Lindsey-Thoeng, POTD, Art, Dance, Potography, Movement, Design

#POTD: Lindsey Thoeng is Photographer of the Week

stephen cardoneDecember 13, 2013

#POTD is a daily competition that is run through the Resource Magazine Facebook page, where photographers duke it out over their social media prowess. Each phot...

Art-Start, Portraits, Homeless, Families, Art, Charity, NYC

Tom McKenzie Teams Up With Art Start Family Portrait Project

stephen cardoneDecember 11, 2013

Featured Image © Peter Yang, Courtesy of Art StartAs our economy stutter steps and hints toward improvement, there are still many people who are struggling ...

Interview: Cheryl Dunn Talks Everybody Street

stephen cardoneDecember 9, 2013

There is nothing more intrinsic to New York City life than street photography. More than any other city on planet earth, New York has been fertile ground for ph...

colourbox, best-of-2014, photography, competition, ghana

Best of Colourbox Photo Competition Could Send You To Ghana

stephen cardoneDecember 3, 2013

Looking for a great opportunity to get some travel and world experience into your life? Well now you might have a real chance to let your work speak for itself ...

Jeff-Rojas, Workshops, Photography, education, Lindsay-Adler, cL, creative-live

Jeff Rojas Interview – by Chris Kelly

stephen cardoneDecember 3, 2013

Jeff Rojas is a NY based photographer and director who gave up corporate America to pursue his dream. Through his photography and video he has found a p...

Morpholio, Eyetime-2013, Cloud, Creative, Photography, Arts, Community, Nicholai-Go

Eyetime 2013 Winners – Exclusive Announcement

stephen cardoneDecember 2, 2013

For those of you out there who are unfamiliar with Eyetime 2013, it is the brainchild of Morpholio, one of the most inventive and useful tools for creative pro...

Emily-Nathan, Art, Travel, Photography, Tiny-Atlas, KickStarter, Creativity

#POTD – Emily Nathan Is Photographer of the Week

stephen cardoneNovember 29, 2013

Emily Nathan is really our favorite type of person. An extremely entrepreneurial and savvy business woman who is an artist first and foremost. Beyond her social...

Blackmagic, RAW, Pocket-Cinema-Camera, Films, Indie, DIY, Directing

Blackmagic Brings RAW Recording to Pocket Cinema Camera

stephen cardoneNovember 29, 2013

It's truly an amazing thing how it's getting cheaper and cheaper to produce high-resolution video these days. A whole market has emerged to supply the likes of ...

typhoon, Haiyan, Aaron-Favila, Red-Cross, Disaster-Relief, photo

New Typhoon Haiyan Photo from Space Surfaces

stephen cardoneNovember 26, 2013

There is one perspective that almost all photographers would love to get and most likely never will be able to: a view of planet Earth from space. If you’ve eve...

Dixie-Dixon, Magpul, Calendar, Fashion, Guns, Girls, Photography, Arts

Dixie Dixon’s Wicked Magpul Calendar Shoot

stephen cardoneNovember 25, 2013

So what do we have here? A super young, super talented photographer named Dixie Dixon. She's been putting in some great work, kicking ass and taking names. Some...

Nokia, Lumina, Refocus, Arts, Apps, Photography, Windows-Phone

Nokia Refocus Gives Windows Phone a Much Needed Boost

stephen cardoneNovember 23, 2013

Last week, SmugMug unleashed its prolific Camera Awesome app for Android, noticeably revamping the camera capabilities for any device supported by it. Although ...

Albert-Maysles, Maysles-Films, Photography, Art, Image, Beauty

Albert Maysles’ Love Letter to the Image: Close UP Photographers at Work

stephen cardoneNovember 22, 2013

Even for pros out there in the field who have been doing this for a very long time, the question of photography’s undeniable hold over us all is one that will p...

Michael-Corsentino, Arts, Photography, Fashion, Lighting, Tips, Editorial

Interview with Michael Corsentino: The Lighting Guru

stephen cardoneNovember 21, 2013

For someone who's been doing this photography thing for a long time, Michael Corsentino is surprisingly feeling fresh and excited about his craft. Maybe it has ...

Red-Bull, Illume, Action-Sports, Adventure, Photography, Competitions, Art, America

Red Bull Illume Comes to American Shores

stephen cardoneNovember 19, 2013

Last week, we brought notice that Red Bull Illume is taking over this year. The energy drink company re-introduced us to their Illume Photo Book, which is set ...

Array ( [0] => WP_Post Object ( [ID] => 31894 [post_author] => 4507 [post_date] => 2014-01-01 18:00:09 [post_date_gmt] => 2014-01-01 23:00:09 [post_content] => Welcome back to our Streamline Your Workflow contest for professional photographers! After taking a short hiatus due to all the craziness of our massive EDU2013 contest this past Summer, we are returning stronger than ever with a very talented artist and entrepreneur, Lee Cherry. Lee has recently set up his brand new workspace and studio for his company Cherry Multimedia. With the capability to handle a wide variety of content ranging from video shoots, dance photography, musicians, celebrities and fashion, everyone at Resource was excited to see Lee submitting work for the Streamline Your Workflow contest. The idea of working with Lee as the pro shooter to re-launch our Streamline Your Workflow contest was a no brainer as he'll be tweeting, posting and sharing all of his awesome experiences using the Phase One camera system and the DF Studio software to manage all of his digital assets. Lee says “Well I’m definitely keeping busy on all fronts. Video one day, photo shoot the next and project managing the next. I speak the native tongues of many disciplines. I look forward to trying out the system and letting everyone know about how it goes via my Twitter account and Facebook page. Be sure to stop by the blog as well. I'll be posting images and BTS shots from my tests with the Phase One gear.”[caption id="attachment_31937" align="alignnone" width="576"]

© Lee Cherry[/caption]Lee will be test-driving some really sweet new gear to help him achieve his goals of providing quality content across multiple media platforms. Phase One is going to be hooking him up with their super sexy Phase One IQ 180 and will be synergizing it with RAW C1 Pro 7.0 conversion software which Lee loves “the way Capture One handles the images. They just look better. The adjustment tools are like a fine brush as opposed to a blunt instrument.” In addition to this, Lee is getting his hands on DF Studio cloud based storage to help him save and keep track of all his wonderful work. For a guy who is so busy and produces so much, this will undoubtedly come in handy for him. At the end of the trial run, Lee will receive a free 24 x 36 print courtesy of Gotham Imaging.[caption id="attachment_31939" align="alignnone" width="576"]

© Lee Cherry[/caption]We would like to thank our excellent sponsors and Lee Cherry for submitting his work and participating in the contest. Stay tuned, as we will be following his progress and conducting an interview after he gets a chance to try out all this gear!

A big thanks to our "Streamline Your Workflow" sponsors -

[post_title] => Streamline Your Workflow 2.0: January Winner - Lee Cherry [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => streamline-workflow-2-0-october-winner-lee-cherry [to_ping] => [pinged] => http://resourcemagonline.com/2013/02/p1-df-contest/ [post_modified] => 2014-01-27 12:18:54 [post_modified_gmt] => 2014-01-27 17:18:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=31894 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[1] => WP_Post Object ( [ID] => 34488 [post_author] => 4507 [post_date] => 2013-12-13 18:00:33 [post_date_gmt] => 2013-12-13 23:00:33 [post_content] => #POTD is a daily competition that is run through the Resource Magazine Facebook page, where photographers duke it out over their social media prowess. Each photographer sets up a #POTD page and the one with the most likes at the end of the day is declared the winner. Allow us to introduce you to #POTD winner Lindsey Thoeng as our photographer of the week. Combing fashion, dance, portrait and travel photography with her impressively clean design work, Lindsey is an artist with a diverse vision. As a prize for her win, Lowepro is hooking her up with their awesome DrySac 20 and Vulture Equipment Works is giving her an A2 Strap to go with it. Not to mention, our partner Viewbug is setting her up with premium membership! We caught up with Lindsey to talk about her work. Check out our interview below.Hi Lindsey, congratulations on your #POTD win! Can you tell me about your history with photography? When did you first pick up a camera and why were you attracted to it?Thank you! I have always been interested in photography but handling a DSLR had always seemed so daunting, especially in the analog age. Luckily I got over that and decided to buy one about 7 years ago during traveling in Canada. As with most things in life, turns out you just have to start doing it, and learn as you go.[caption id="attachment_34490" align="alignnone" width="554"]

© Lindsey Thoeng[/caption]You have shot concerts, dancers, and business professionals alike. Why is it important for you to explore a diverse array of people through photography? When something is visually compelling, the subject doesn't really matter to me. It’s a really satisfying feeling to find interesting aesthetics no matter the environment. There’s always potential for great photo no matter what or who the subject.[caption id="attachment_34491" align="alignnone" width="554"]

© Lindsey Thoeng[/caption]In terms of your photos that are focused on athleticism, whether it is dance, yoga or otherwise, what is it about photography that has such a unique relationship to human movement? Dance and yoga in particular are two forms of athleticism that require immense aesthetic integrity. And elite athletes in general move so beautifully because their bodies are trained to function with a focus on technique. Beautiful movement is as visually appealing as anything else in nature and our eyes can’t help but be attracted to it. If I can then manage to add an additional layer of awesome with good lighting and perfect timing, the image becomes something even better. When I look at a photo that's well done, I can be in awe with the beauty of the movement of the subject itself as well as the technical side of the photo (perfect rimlight, tones, soft but contrasting light).[caption id="attachment_34496" align="alignnone" width="554"]

© Lindsey Thoeng[/caption]What is the relationship between fashion photography and the other kinds of work that you do?I’ve always been drawn to the components of fashion photography such as the isolation of the subject, unusual or highly stylized environments, and contrasting ighting. When put together you can create a really dramatic and stylized image, something that obviously works well for high fashion. But these aesthetics are easily transferable to everyday subjects and so no matter what I’m shooting, I’m always looking to convey that heightened intensity. It adds a nice dramatic flair to any subject.[caption id="attachment_34492" align="alignnone" width="554"]

© Lindsey Thoeng[/caption]In addition, you’ve also taken photographs of the American west and the Dutch countryside. Were you always interested in landscapes and geographical places? I'm interested in anything eye catching, and I'm lucky enough to travel to photogenic places quite a bit. But there can be fantastic light and interesting textures anywhere, whether that's the Grand Canyon or a dirty back alley. As long as I can isolate the subject and get that great light in, it's going to be a strong image.[caption id="attachment_34498" align="alignnone" width="554"]

© LIndsey Thoeng[/caption]You have also done quite a bit of design work. Does that influence your photography or vice versa? Totally, for some clients, I do both photo and design work so it’s hard to take off the designer hat sometimes. I always have the designer in mind because a photo by itself is in many cases not the final communication product. Whenever I shoot environmental portraits, the subjects are usually off-center not only because I think it usually makes the photo better, but it's also helpful in a commercial or editorial context, giving the designer plenty of room for creativity with copy in the negative space. I also usually deliver my photos with as little crop as possible, to give the designer some flexibility with bleeds and incorporate their own vision. From a creative point of view, design and photography are very similar as they are both visual art forms. They both offer the chance to fine-tune my aesthetic, my visual style by playing with lines and subjects and placement. Any time you get to flex your creative muscles it can only help inform and develop your artistic vision.[caption id="attachment_34499" align="alignnone" width="554"]

© Lindsey Thoeng[/caption]When you’re working with a client as huge as the UN, how do manage to accomplish their goals as well as yours creatively? This certainly isn’t always easy. The customer is always right is not black and white when it comes to something as subjective and personal as design. Even as a work-for-hire, you still take pride in the work you submit. I find one of the most effective ways to accomplish both sets of goals is to present the boldest incarnation of the design first and then we can scale it back. It’s easier to push than it is to pull. Another thing I like to make sure of is that clients and I are on the same page conceptually from the get go, and involve them in the early stages of the creative process. They can then point out things they do or do not like and feel a part of the process but also have given me valuable information as I move towards the final design.[caption id="attachment_34501" align="alignnone" width="554"]

© Lindsey Thoeng[/caption]As a #POTD winner, you're predisposed to have some social media talents as well. What is your approach to marketing yourself through those platforms? I try to find a balance between posting client stuff and personal work, and only post things that I think are interesting. Most people are already inundated with online content these days so to me less is definitely more.[caption id="attachment_34502" align="alignnone" width="554"]

© Lindsey Thoeng[/caption]Any tips for photographers looking to get a better grasp of social media? Only show your best work, either in a portfolio or on social media. If needed, elaborate on a blog, and show a little bit of the process behind your work because the people who follow you are interested in those things and it's how I personally learned many things. My new years resolution is to actually follow this advice myself![caption id="attachment_34504" align="alignnone" width="554"]

© Lindsey Thoeng[/caption] [post_title] => #POTD: Lindsey Thoeng is Photographer of the Week [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => potd-lindsey-thoeng-photographer-week [to_ping] => [pinged] => [post_modified] => 2013-12-13 05:08:37 [post_modified_gmt] => 2013-12-13 10:08:37 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=34488 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[2] => WP_Post Object ( [ID] => 34182 [post_author] => 4507 [post_date] => 2013-12-11 18:00:07 [post_date_gmt] => 2013-12-11 23:00:07 [post_content] => Featured Image © Peter Yang, Courtesy of Art StartAs our economy stutter steps and hints toward improvement, there are still many people who are struggling to get back on their feet. It can be especially difficult in a city like New York for homeless families to stay together through these times. Here to remind us that there are still those in need in our city, photographer Tom Mckenzie brings our attention to the Art Start Family Portrait Project. Through the organization, he meets and photographs homeless families--giving them in the process a sense of normalcy and a positive image of themselves. In fornt of his camera, they are not homeless, but a family sitting for a portrait.An upcoming show and auction are next. According to Art Start, "the gallery exhibition and sales of printed materials will fundraise for Art Start’s Homeless Youth Outreach Programming, consisting of creative arts workshops that take place four nights per week inside partnering New York City homeless shelters and adolescent group homes with youth ages 5-20 years old." Art Start shows us how photography can be used in a compassionate and socially conscious way--it is often the task of artists to represent and give a voice to those who are in need. For Tom Mckenzie, Art Start was a natural outlet.How did you initially get involved in this project? I make frequent trips to the city for work and what have you, and Natalie Brasington, great friend and photographer herself, is one of the producers of the project and asked if I would be interested in shooting. Of course I was interested--we, photographers, all help each other when we can. What attracted you to the subject of homeless families in New York City? I don’t think is was the subject per se as much as the chance to do something I love doing for someone who normally would not have the means.[caption id="attachment_34185" align="alignnone" width="573"]

© Art Start / David Lang[/caption] Why is it increasingly important to tell the stories of struggle that these families go through today?Awareness. Try to change perceptions--I think there are preconceived ideas and stereotypes about homelessness. There is what I was directly exposed to--the guy on the corner begging, the canners, etc.--but there is so much more that I was not aware of, like these families. I was never exposed to them, therefore I did not know. It hits home as I have five kids of my own. There was a family who had their pictures made; they were super nice and were very kind and thankful, but they would not allow use of the portraits because the father was very traditional and was ashamed that people in the old neighborhood would see and recognize them. [caption id="attachment_34188" align="alignnone" width="630"]

© Art Start / Tom Mckenzie[/caption] You present a lot of success stories for these families. Was it always a goal of yours to show the ways in which the system can actually work to the advantage of the homeless at times?I think it was one of the goals of the project, more so then mine. I truly wanted to make a portraits that the families would enjoy, and the rest is a plus. I was just a player in the overall scheme of things. Johanna De Los Santos, Art Start Executive Director, Hannah Immerman, Art Start Program Director, Homeless Youth Outreach, and Natalie Brasington, Art Start Board member, are the ones who do a great deal of work and outreach.[caption id="attachment_34189" align="alignnone" width="573"]

© Art Start / Tom Mckenzie[/caption] There are a lot of different types of families in the project. How can this help us change the definition of what exactly it means to be family? Johanna states it best “Home” is not four walls and a door; “Home” is built through love, passion and resiliency as a family unit. These families are not “home” less. They are house-less; they may be struggling but they have what everyone ultimately wants--an unconditional love that can’t be diminished by even the most trying of circumstances.”[caption id="attachment_34190" align="alignnone" width="573"]

© Art Start / Natalie Brasington[/caption]What was your experience collaborating with other photographers on the project? Super, it is one of my favorite things. All the photographers didn’t shoot the same same day or location, but I am sure it was the same where ever. We helped each other out and had a great time doing it--it was truly a huge team effort. (I hope to mention all team members, Art Start people, photogs, make up, Fast Ashley’s equipment, White house Custom Color prints and Highline loft)[caption id="attachment_34192" align="alignnone" width="573"]

© Art Start / Natalie Brasington[/caption]What is it about photography that gives these stories impact? A photo is worth a 1000 words... Natalie sums it up nicely: “Photography is a universal language and everyone should have the experience of celebrating that which matters most in life with a family portrait. My hope is that all of the families in this project look at these images and feel a sense of pride in their strength and the love they have for one another. They collaborated with these wonderful photographers and stylists to create an image of their family that reflects all that makes them truly beautiful.”[caption id="attachment_34193" align="alignnone" width="567"]

© Art Start/ Martin Schoeller[/caption]Beyond awareness, what are some ways that we can lend a helping hand to fellow New Yorkers in need? For a start come to the show on Thursday, December 19th, 2013 , give art start a like on Facebook and see what happens there.The show's Opening Reception is on Thursday, December 19th, 2013 6-10 PM at The Highline Loft in the West Chelsea Arts Building, 508 West 26th Street, 5th Floor, NYC. [post_title] => Tom McKenzie Teams Up With Art Start Family Portrait Project [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => tom-mckenzie-teams-art-start-family-portrait-project [to_ping] => [pinged] => [post_modified] => 2013-12-13 05:10:26 [post_modified_gmt] => 2013-12-13 10:10:26 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=34182 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[3] => WP_Post Object ( [ID] => 34206 [post_author] => 4507 [post_date] => 2013-12-09 14:00:59 [post_date_gmt] => 2013-12-09 19:00:59 [post_content] => There is nothing more intrinsic to New York City life than street photography. More than any other city on planet earth, New York has been fertile ground for photographers looking to go guerrilla style with their cameras. In her documentary Everybody Streeti'll , Cheryl Dunn captures the long and storied history of this art form through her uniquely NY lens. Attempting to get the word from the artists' mouths, Everybody Street is an exploration of changing times and fast living in the craziest city known to man. We caught up with Cheryl to talk about her ideas on street photography and what it means to the greater whole of the city of New York.Tell us a little bit about Everybody Street and how you got the idea to tell this story? The original film was a commission from a museum. I make films about artists: I felt that personally I wanted to talk to people and get ideas in their own words. I wanted to make a film that was about living photographers who got into the streets and made bodies of work about the streets of New York. They were obsessively documenting the streets during the second half of the last century. After the original run in the museum, I went back out and made it a feature length film over two or three years.[caption id="attachment_34207" align="aligncenter" width="500"]

© Daniel Arnold/Everybody Street[/caption] It is said in your film that photography helps bring order to chaos. What is it about New York City that compels people to do that?What compels people to bring order to anything? I know for myself, if I were to never leave New York, I would go insane [laughs]. It’s so frenetic and there is so much tension. There is this combination of people on top of people, and the way in which you maneuver on the space on the sidewalk with these giant skyscrapers. A photograph is a moment in time, and that’s an order of sorts. What compels photographers to go into the streets and do this for their whole lives in some cases is that moment of surprise. It’s like opening a present. For me it’s a total adrenaline rush.[caption id="attachment_34208" align="aligncenter" width="500"]

© Elliot Erwitt/Everybody Street[/caption]So much tradition is embedded of New York City street photography. Why was it crucial for you to present the history of this culture?For one, it’s the town that I love and that I’ve lived in my whole adult life. It is the cultural capital of the world. Historically in the last century, it’s been where every artist who was inspired to really say something came to do it. With that came an incredible mirror of culture and society. Having that record really informs us, and I think the history is really important. I wanted to be able to talk to the people who were there to get their stories and their processes through their own words while I could. These are photographers I grew up knowing and was inspired by. Street photography is not about going out and looking for a certain thing. You’re not going to tell a specific story. In most cases, you’re putting yourself out there and you’re observing what is naturally happening and unfolding before your eyes. It’s an important record.[caption id="attachment_34209" align="aligncenter" width="500"]

Martha Cooper/Everybody Street[/caption]With that knowledge, what direction do you see NYC street photography heading toward today?I know that a lot of people are doing it. I think the population in New York City has increased exponentially in the last twenty years ago. People are wondering if you can still find these characters and moments in the city. I say yes. There are a lot more people on the street; maybe you have to look harder for the certain kind of thing you want to find. Humans are intrinsically the same. These moments are still out there. You maybe have to dig through more tourists to find things that are interesting to you but it’s an exciting time because of technology. Everyone can participate in this.[caption id="attachment_34211" align="aligncenter" width="496"]

© Saul Leither/Everybody Street[/caption]The title of your film alludes to participation for everyone in the creation of this art. Do you see this form of photography as something that helps build a community?Yes, certainly. Clayton Paterson says in the film that his work is about community. In New York there is a separation of classes but we all live in the same piece of land and it's not very big. I named it that way because the streets do belong to everyone. It’s a place where everyone can use and legally go and say what they want to say, protest and sell stuff. I used to document and make films about graffiti. It’s a fight for the streets, to have your voice heard, to put your mark. Ultimately, you’re speaking to a community. The streets are fair game.[caption id="attachment_34210" align="aligncenter" width="500"]

© Bruce Davidson/Everybody Street[/caption]With so many perspectives offered in your film on the topic, how are we able to reach an underlying essence of street photography?I chose people who were quite diverse. I think there are so many aspects to a street photographer. The intrinsic thread in all these different types and styles is the passion for doing it. You can be happy for that one afternoon--maybe you took a great picture but tomorrow you have to go out and do it again. They all have this drive and passion for going to the streets and doing this work. Everyone as a viewer of the movie takes something different away. I think that the take away is seeing the diversity in the photographers and seeing the diversity of what these people are capturing. Street photography is not telling you what to think--it’s showing you something.[caption id="attachment_34214" align="aligncenter" width="500"]

© Jill Freedman/Everybody Street[/caption]Was it always a goal of yours to create this conversation between street photographers?For me, documentaries organically unfold. If you start a documentary saying, “I’m going to make a film about this,” I think you’re going to miss out. You can have an open structure, but you have to be open to a direction that might unfold before your eyes. I was compelled to reach out to these people because I was inspired by their work. What would happen after that, I had no idea. What was tricky in making this film was weaving in all the stories to make it interesting over ninety minutes. I needed to create a rhythm that was more then chapters in a book so to speak. The dialog emerged.[caption id="attachment_34215" align="aligncenter" width="500"]

© Helen Levitt/Everybody Street[/caption]In what ways does photography or filmmaking give the artist the opportunity to place themselves in situations or locations that they might not have experienced otherwise?If you get an assignment, go to this place and document something, you’re thrown into a world and that’s what’s so exciting about it. It’s a form of discovery. It’s an adventure. Bruce Davidson says at the end of the film (and its one of my favorite quotes) that “the street is like a nerve ending.” The street leads you if you’re open. I love that. I love having adventures with things and being led there. People are racing from point A to Point B, so to stand on the street all day and to look at things is a luxury. When I can do that, I call that a lucky day.[caption id="attachment_34220" align="aligncenter" width="500"]

© Robert Frank/ Everybody Street[/caption]What do people reveal about themselves when someone takes their picture?People reveal different things. I would say that there are photographers in the film who ask permission to take people's picture but two thirds of them don’t. I see a situation or a scene, that’s the shot I want and I try to get it. Often, someone sees you do that. I try to be respectful and tell them, “I like your style,” but then they pose for me and that’s not the picture I want. The scene completely changes and that person looks totally different because they see the camera pointed at them. The camera is a very, very interesting tool, which it affects people in different ways. Something happens between you the photographer through the machine and the subject. It’s unique from situation to the next.[caption id="attachment_34305" align="aligncenter" width="500"]

© Helen Levitt/ Everybody Street[/caption] [post_title] => Interview: Cheryl Dunn Talks Everybody Street [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => cheryl-dunn-everybody-street [to_ping] => [pinged] => [post_modified] => 2013-12-10 16:01:29 [post_modified_gmt] => 2013-12-10 21:01:29 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=34206 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[4] => WP_Post Object ( [ID] => 33946 [post_author] => 4507 [post_date] => 2013-12-03 16:00:08 [post_date_gmt] => 2013-12-03 21:00:08 [post_content] => Looking for a great opportunity to get some travel and world experience into your life? Well now you might have a real chance to let your work speak for itself and possibly win an awesome trip along the way. The annual Best of Colourbox photo competition is ready to kick off with a bang on January 7, 2014! Last year, the winners from 2013 went on a chilly, but mind-blowing trip across the ice sheets of Greenland. This time around, Colourbox is turning the thermometer upside down and will be sending the winners of the 2014 competition to the great land of Africa with an adventure to Ghana.For those of you not familiar with Colourbox it's a microstock agency based in Denmark. With 7 million + images and video they are one of Europe's leading stock agencies. Customers can find and download royalty-free materials which can be used worldwide, online and offline. Once an image has been used in a creative design or product, the usage right never expires. Customers can buy just one single download, or they can choose one of our subscriptions if they have bigger image needs.Photographers, videographers and illustrators can sign up for free to become a supplier. Once approved you can start selling images and videos right away. With more than 100,000 customers worldwide, Colourbox material is seen daily by more than 50,000,000 people. Not a bad way to make a little extra scratch off those hard drives you've got stored in the studio. That's right... you know what we're talking about. Blow off the dust and get uploading. There is no limit to the number of images you can upload each day and every sale put 20% back in your pocket. It doesn't get any easier.[caption id="attachment_33948" align="alignnone" width="630"]

© Image courtesy of Colourbox[/caption]Together with non-profit organization Reach for Change, the winners are going on a unique and life-changing expedition where they will meet everyday heroes and children from the local communities. Photos taken during the expedition may be published worldwide in Metro newspapers to help increase awareness and bring about positive change for children in Ghana. So not only will this be a fantastic chance to see a completely different side of the world, it is also a great chance to lend your artistic talents to a meaningful cause.[caption id="attachment_33949" align="alignnone" width="630"]

© Image courtesy of Colourbox[/caption]Sign up to be a Colourbox Supplier to submit your photos and a chance to win this once-in-a-lifetime opportunity. [post_title] => Best of Colourbox Photo Competition Could Send You To Ghana [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => colourbox-photo-competition-ghana [to_ping] => [pinged] => [post_modified] => 2013-12-03 13:36:25 [post_modified_gmt] => 2013-12-03 18:36:25 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33946 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[5] => WP_Post Object ( [ID] => 33953 [post_author] => 4507 [post_date] => 2013-12-03 12:02:26 [post_date_gmt] => 2013-12-03 17:02:26 [post_content] =>

Jeff Rojas is a NY based photographer and director who gave up corporate America to pursue his dream. Through his photography and video he has found a passion for teaching others. In a series of ongoing interviews with creativeLIVE instructors, Resource Magazine was able to ask Jeff a few questions about his work, his collaborations and why he loves what he does so much.[caption id="" align="aligncenter" width="442"]

© Jeff Rojas[/caption]You've been working with Lindsay Adler a lot recently. Having two different visions as artists, is it difficult to put them together? And how do your styles differ?Lindsay has played a key role in the stylistic approach of my photography. When I first started shooting professionally, I drew a lot of inspiration from her work. I think it was hard not to emulate her, since we spend most of our time together. Lindsay's work is very romantic and colorful, almost dreamlike and that's what makes her work memorable. As much as I love Lindsay's work, it's not "mine." As I've grown as an artist, I've learned how to draw inspiration that fits me as an individual. Today, I'm shooting very clean, bold and graphic images and video pieces, mostly in black and white. As Lindsay and I have started working together on collaborative projects, we've learned to emulate each other when necessary and strengthen each other’s weaknesses.[caption id="attachment_33979" align="alignnone" width="640"]

© Jeff Rojas[/caption] Many young photographers today younger work heavily in post-pro. What role does Photoshop and post-pro play in your photography? You're absolutely right; most photographers today rely on postproduction. I first used PS in 2006, in my senior year of high school, which was four years before I ever picked up a DSLR. It's been a part of my photography since day one. Because I know how time consuming editing can be, I do my best to get my image right in camera, to save myself the time and energy. These days my workflow has been Frequency Separation, Liquifying, Contrast and a Monochrome Conversion. On a good day, I can finish a photo from start to finish in about 10 - 15 minutes.[caption id="attachment_33970" align="alignnone" width="640"]

© Jeff Rojas[/caption]You've recently started shooting video with your DSLR. How hard was it to switch to video been given that you were trained in photography?Possibly the biggest reason that I fell in love with shooting video was that I felt like I had the foundation for shooting great video pieces, I understood composition. If you have the opportunity to sit down and analyze any Hollywood movie, you'll realize that most directors use the same fundamental principals of composition that you're already familiar with. If you take that into consideration, everything you've learned up to this point as photographer is relative to shooting DSLR video.The only gripe that I have about shooting video is that it's basically like shooting photos in .jpg format. There's no RAW file to save your behind if your white balance, exposure or contrast are off. You need to focus on getting it right in camera.Mountain Man from Jeff Rojas on Vimeo.EDITED IN ADOBE PREMIERE CC SHOT WITH CANON 5D MARK II / III SIGMA 24-70mm 2.8, 70-200mm 2.8, 85mm 1.4, 35mm 1.4Everything was filmed at 24FPS. The Video is a two part editorial between Lindsay Adler and I, which includes both still photos and video. Most Shots are handheld using the Cinevate Simplis Dual with a Cyclops for focus assistance.Music: Poltergeist by Dub Wreckerz, courtesy of Triple Scoop Music. Model: Tate @ RedNYCAre there any misconceptions that photographers have about video or vice versa for videographers? Video is complicated. You know, Lindsay and I have had a multitude of photographers who have offered to assist us on set, and one of the first things I delegate to them is shooting behind the scenes video. The majority of the time, they look puzzled or insecure. It's like the second I take the camera and switch it to movie mode, everything they learned about photography goes out the window. Video isn't any different than photography; it's technically a bunch of still photos strung together. Remember, if you understand composition, then it's just a matter of practice.Videographers and Photographers have this misconception that their counterpart has the easier job. Photographers think that Videographers can just pull a frame from a video and get a great photo (I equate this to "Spray and Pray" in Photography) and most Videographers don't realize how proficient an individual needs to be in order to get that "one" great image.[caption id="attachment_33969" align="aligncenter" width="450"]

© Jeff Rojas[/caption] You work primarily here in NYC. Do you get a lot of your inspiration from the Big Apple? And in general, where do you go for inspiration? It's humbling to say that I live in New York City, because it was always a childhood dream, but I wouldn't consider it inspiring for me. I draw motivation from New York City, but I draw inspiration from my experiences, whether that's traveling, movies or friends and family. In each of my photos there's a part of me in every one of my pieces, sometimes literally and sometimes figuratively.You've done a great job sharing your experiences and teaching others thus far in your career. What do you love about teaching? At your young age, what perspective can you offer that makes for a unique learning experience?Thank you for the kind words! When I was in High School, I was able to learn new topics quickly and when I noticed many of my peers had difficulty doing the same, I started trying to decipher what I was doing differently. What I quickly realized was that I was breaking down new ideas into basic concepts, and filtering out unnecessary information. Even in our industry, most Instructors will over-complicate subject matter to sound "proficient," when they should be speaking at the level of their audience. I love seeing that look in someone's eyes when the finally "Get it." There's no greater feeling than teaching someone something new, especially in a subject they are passionate about, that's really why I love teaching. Do you have any future projects lined up with Lindsay Adler? Lindsay and I are continually creating new projects, both for her brand and for mine. We'll be showcasing a bunch of new videos on our creativeLIVE class and we will be filming many new personal projects into the end of the year.[caption id="attachment_33971" align="aligncenter" width="288"]

Follow Jeff on Twitter. Check out his video work on Vimeo and be sure to visit creativeLIVE to learn more about Jeff's educational programs.[/caption]

[post_title] => Jeff Rojas Interview - by Chris Kelly [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => jeff-rojas-interview [to_ping] => [pinged] => http://vimeo.com/76097503 [post_modified] => 2013-12-04 12:18:51 [post_modified_gmt] => 2013-12-04 17:18:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33953 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw )[6] => WP_Post Object ( [ID] => 33890 [post_author] => 4507 [post_date] => 2013-12-02 11:24:20 [post_date_gmt] => 2013-12-02 16:24:20 [post_content] => For those of you out there who are unfamiliar with Eyetime 2013, it is the brainchild of Morpholio, one of the most inventive and useful tools for creative professionals today. By combining the utility of other portfolio apps with the ability to share work with a lively community of artists, Morpholio has created a unique experience. Through the app, you can create an extremely well designed and visually pleasing portfolio that is easily customizable and viewable to present your work in the best possible light. You can even create prints for your photos. To take things a step further, Morpholio has added a sharing component where it is possible to collaborate with several of the apps tools such as Crit, where you can invite colleagues to view your work and provide feedback. Pinup allows users to bring their projects into the public forum and allows viewers to comment on and follow your work.[caption id="attachment_33901" align="alignnone" width="630"]

© Dean West / In Pieces/ Emerging Talent Jury Winner[/caption]In order to fully test the possibilities of this amazing app, Morpholio's Eyetime 2013 continues the idea and tradition of community and creative excellence. Originally, Eyetime was created with the sole purpose of giving a voice to young, emerging talent in the photo world through the exposure that the Morpholio platform provides. Selecting the finalists for the Eyetime 2013 photography competition was a tremendous cross collaborative effort between the ICP (International Center of Photography), APA (American Photographic Artists), ADC (Art Directors Club), The Morpholio Project, Resource magazine, Wired Magazine, Light Stalking, Shutter Sisters, Psychology for Photographers, DBA, Bustler, Archinect, NYIP, PhotoCompete, The ArchitectureRoom, The Eyetime 2013 photo contest and The PhotographyBlog, who all played a huge part in giving the contestants for Eyetime 2013 as much exposure as possible. Part of what really made this contest special was the way in which live dialog between the participants on the nuances of their work, creating a truly special forum for all to learn and improve their craft.[caption id="attachment_33899" align="alignnone" width="630"]

© Tiberio Ventura / Who I am/ Future Voices Jessica Lum Award Jury Winner[/caption]Resource Magazine’s own Adam Sherwin and Aurelie Jezequel were on the Jury that selected winning images from Dean West, Simon Chang, Obsoquasi, Edward Neumann, Tiberio Ventura, Michael Santiago and Nicholai Go. In addition, the public chose winners Javier Corso and Rainer Weston. In honor of Jessica Lum, a supremely talented photojournalist who dedicated her life to giving a voice to others and past Eyetime Jury member, Morpholio created awards in her honor for exceptional photography work. Alessandro Falco and Tiberio Ventura were awarded winning photos in this new category. Here at Resource, we were amazed at the quality of talent that came out of the contest.[caption id="attachment_33896" align="alignnone" width="624"]

© Javier Corso / Painter of Battles / Emerging Talent Public Winner[/caption]Eyetime 2013 provided a window into the possibilities of the cloud and social media when it is applied in a strictly creative sense. This is an important step in democratizing the process of making great art and everybody who participated contributed to making photography a discussion on craft. We look forward to seeing what next year’s contest produces, but for now, enjoy the fantastic work of some fresh talent.Check out the full list of finalists for the Eyetime 2013 Competition here.[caption id="attachment_33898" align="alignnone" width="630"]

© Tiberio Ventura/ Wasted youth / Future Voices Jury Winner[/caption] [post_title] => Eyetime 2013 Winners - Exclusive Announcement [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => eyetime-2013-winners-exclusive [to_ping] => [pinged] => [post_modified] => 2013-12-03 13:38:16 [post_modified_gmt] => 2013-12-03 18:38:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33890 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[7] => WP_Post Object ( [ID] => 33833 [post_author] => 4507 [post_date] => 2013-11-29 18:00:15 [post_date_gmt] => 2013-11-29 23:00:15 [post_content] => Emily Nathan is really our favorite type of person. An extremely entrepreneurial and savvy business woman who is an artist first and foremost. Beyond her social media prowess as a #POTD winner, Emily won this competition on the strength of her photographs, there is no two ways about that. The crazy thing is that it doesn't stop there. She's also working on her passion project, Tiny Atlas via KickStarter. It combines her favorite elements, Travel/Lifestyle photography, journalism and great design. We caught up with her to talk about her photography and the Tiny Atlas project and to get a better sense of her amazing and distinctive style.Hi Emily, congratulations on winning our #POTD competition! Tell us about your journey with photography from the beginning. When did you first pick up a camera and why did it appeal to youThanks! It’s exciting. Everyone was so supportive of the competition, and I have never really asked for anyone to vote for me for anything since I was co-chair of my freshman class in high school with Jennifer Polan. So hooray!My journey - let's see. I started using my dad's Olympus om-1 in high school, I think. I had a really supportive high school photo teacher (and the resource of an amazing high school darkroom). In college at the University of Michigan, I majored in English with a sub-concentration in Spanish (and continued to take photo classes at the art school) - and did a year abroad in Chile. I grew up reading the NYT at home and especially loved the magazine and features on photographers like Sally Mann and Sebastiao Salgado. I chose my abroad university because they had an internship program and I got an internship at a national newspaper in Chile. It was transformative. I was energized to pursue photography as a career after that.[caption id="attachment_33834" align="alignnone" width="630"]

© Emily Nathan[/caption]Your photographs have a very intimate and gentle style. How do you apply that lens to a verity of subjects such as Lifestyle, Fashion, Travel, and Eco projects? In general (and the goal is) I am hired for my style. If a client wants my style, direction and approach - and everything else lines up with timing and budgets etc - then we move on from there. All commercial and editorial clients will obviously have different brand looks and vision - and there are shifts that need to happen to accommodate the specifics of any job - but I am at a level where clients will not consider me unless they like what I am doing as a starting point.[caption id="attachment_33835" align="alignnone" width="630"]

© Emily Nathan[/caption]It seems that no matter what you photograph, you have a distinctive style that is uniquely yours and identifiable. How long did it take to develop and refine that signature approach? Wow thanks! That is a huge compliment. I do approach most assignments and personal shoots in the same way. I am very critical of myself as well, so anything that ever makes it to my portfolio will have to pass a lot of personal critique. I think for all photographers and artists, the work that is uniquely yours is a moving target though. My photos have had the same look for a while but everything does evolve. I didn't do photo shoots with production for many, many years and now, while I might do a quick shoot with just my camera, I am as likely to work with a crew of 20.In terms of a few specifics, I almost always shoot color (although I have a soft spot for old documentary photos of celebrities because they are way more authentic). While I don't always shoot natural light, I prefer to have all my images look that way. I shoot prime lenses and I often shoot at a normal focal length because I prefer it. Sometimes there is just not enough light to do something we need to do (often the case with commercial projects), and in that case I try to use hmi lights and fill to mimic natural light, so we can see natural light, or interior light falling on our subjects how it would naturally. That said, I do like really dark pictures when the world is supposed to be dark.[caption id="attachment_33837" align="alignnone" width="630"]

© Emily Nathan[/caption]You separate your work into two categories, “want” and “need”. Why is this an important distinction for you? My website is older and will be updated next year, but those categories still make sense and they were a fun matrix that we set up. We wanted editors and buyers to have different ways to get to the work they wanted to see quickly. The ‘I Need’ section is for people in a hurry; does Emily shoot portrait, lifestyle, and travel? Editors need to find someone and we wanted easy categories for them to fit me into. My site before the current site also had more poetic section names like the ‘I Want’ section, and we tried to retain than languorous feel but be a bit more specific.[caption id="attachment_33838" align="alignnone" width="630"]

© Emily Nathan[/caption]The colors in your photos are extremely vibrant, pure even. Is it a goal of yours to capture color in this way? I love natural/available light and I watch light falling on the world and try to record it. That said, I have long-term relationships with my retouchers who know what I want and also help me as I want to move images more from how I saw them or see them from the reality of what the raw file shows captured. When I started working with retouchers, everything was scans from medium format film (I used to only shoot Mamiya RZ and 711 before I switched to Canon) and the goal was just to maintain the look of a color C-print. So there is a grandfathered-in love of color film prints that you should see in there as well.[caption id="attachment_33841" align="alignnone" width="648"]

© Emily Nathan[/caption]Tell us about your Kickstarter project Tiny Atlas, when did you get the idea for it?Oh man, please visit the campaign to find out all the details! We only have a few days left and are dreaming big (and close to reaching our goal!).I started Tiny Atlas about a year ago as a personal outlet after I had my son and was only shooting for clients and not taking personal pictures anymore since I didn't have the time for it. I did one personal shoot in Montana and came back thinking I had a magazine idea rather than a set of images to promote. I got together with my friend, Art Director Liz Mullally, and we started planning![caption id="attachment_33842" align="alignnone" width="630"]

© Emily Nathan[/caption]What separates Tiny Atlas from the myriad of other travel publications out there?Tiny Atlas actually looks really different than so many other things, which is kind of amazing to me even though I created it (with a team). A big part of the difference has to do with our developer, who happens to be my husband, Jake Huffman. Jake and I have been collaborating on projects since 1999 when he was a photo editor of mine. We went on a date after working together for a few months and we have been together ever since. Jake is supremely talented and smart, but like me, he really is a harsh critic and only wants to see fresh and interesting work. He is a designer, art director and UX specialist but he has always built my sites. So back to Tiny Atlas, Jake came up with User Experience (UX) for the site and he is an extra creative guy. In terms of the approach with the photography and design, we wanted it to feel cohesive and lifestyle and personal, but also elevated.[caption id="attachment_33844" align="alignnone" width="630"]

© Emily Nathan[/caption]Why was Kickstarter an ideal platform to get Tiny Atlas off the ground?A lot of people are involved in Tiny Atlas already and that is a big part of why it’s great. We wanted to take the project to the people and see if the numbers of viewers we are getting on the site can translate into a paying product.[caption id="attachment_33846" align="alignnone" width="630"]

© Emily Nathan[/caption]You want to go into print. Why is it important to combine the online and print environments? At first, I wanted to get this project out and share it. So that was the starting point. But now, as a photographer and a reader (I have a background in literature and poetry as well as photo), the printed component is important to me. I have always loved magazines, and I am a total sucker for anything on paper that is gorgeous so it seemed a good way to both continue to spread the word about the magazine, provide something beautiful for all the contributors and get some money for the project so our team can get paid.[caption id="attachment_33847" align="alignnone" width="630"]

© Emily Nathan[/caption]You have quite a bit of social media savvy as the winner of #POTD, with the additional success you’ve had on Kickstarter. How can photographers better build their brand through social media? Oh my god, I don't know! We did do a good amount of research, I interviewed people both who started magazines, as well as who did Kickstarter themselves, and I am part of a great co-working site in SF called Makeshift Society that hosted an event about launching a Kickstarter that was super helpful and informative. But we are really learning as we go. I have a lot invested in the success of Tiny Atlas because it’s my baby and I have become so passionate about the work everyone is doing on it and contributing. Personal storytelling seems to be the next frontier and I am happy to be a part of that wave as well.[caption id="attachment_33848" align="alignnone" width="630"]

© Emily Nathan[/caption] As a #POTD winner, you’re getting some pretty awesome prizes. Are you excited about them and how do you plan to put them to use? First the Kickstarter funds, then I can do fun things like enjoy awesome prizes!

[post_title] => #POTD - Emily Nathan Is Photographer of the Week [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => potd-emily-nathan-photographer-week [to_ping] => [pinged] => [post_modified] => 2014-02-06 20:40:03 [post_modified_gmt] => 2014-02-07 01:40:03 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33833 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw )[8] => WP_Post Object ( [ID] => 33411 [post_author] => 4507 [post_date] => 2013-11-29 08:00:14 [post_date_gmt] => 2013-11-29 13:00:14 [post_content] =>

It's truly an amazing thing how it's getting cheaper and cheaper to produce high-resolution video these days. A whole market has emerged to supply the likes of DIY film directors with quality cameras and Blackmagic has long been at the forefront of that scene. Especially considering its Pocket Cinema Camera, which is ultra portable and versatile. It’s never been more possible to go out and execute any creative idea you may have--I mean, have you seen the size of this thing?

[caption id="attachment_33413" align="alignnone" width="638"]

© Blackmagic Design[/caption]Beyond the fact that this little camera packs a heavy punch by shooting in full 1080 HD, Blackmagic is now offering RAW Recording for the Pocket Cinema Camera. Meaning you can now capture a wider dynamic range, giving the footage a decidedly Hollywood flair with even sharper highlights and deeper shadows. Cinema DMG RAW also compresses your files while you're shooting without any loss on any part of your beautiful shot for when you decompress it later.[caption id="attachment_33414" align="alignnone" width="638"]

© Blackmagic Design[/caption]For seamless editing, users can freely download DaVinci Resolve 10 for seamless color grading and editing right out of the SD card slot. If you don’t work on DaVinci Resolve, no worries. Your files are easily trancodeable to editing suites such as Final Cut, Avid and Adobe.[caption id="attachment_33416" align="alignnone" width="638"]

© Blackmagic Design[/caption]Check out the Blackmagic Design Pocket Cinema Camera here. [post_title] => Blackmagic Brings RAW Recording to Pocket Cinema Camera [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => blackmagic-raw [to_ping] => [pinged] => [post_modified] => 2013-11-20 19:22:46 [post_modified_gmt] => 2013-11-21 00:22:46 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33411 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[9] => WP_Post Object ( [ID] => 33658 [post_author] => 4507 [post_date] => 2013-11-26 18:00:56 [post_date_gmt] => 2013-11-26 23:00:56 [post_content] => There is one perspective that almost all photographers would love to get and most likely never will be able to: a view of planet Earth from space. If you’ve ever wondered what kind of images you would get if you were an astronaut, than take a look at this Typhoon Haiyan photo, which was taken by Karen Nyberg from the International Space Station.[caption id="attachment_33659" align="alignnone" width="640"]

© Aaron Favila/AlternativePress[/caption]Only from this view are we given a sense of the enormity of this storm. Seen from this lens, we can see how it managed to cause widespread flooding and destruction, which resulted in thousands of deaths. The awe-inspiring image comes from one of the more human and artistic expeditions conducted by astronauts up at ISS this year. Remember Chris Hadfeild? If you missed it, the incredibly amazing Canadian traveler of space and time recorded a music video from the cosmos with his rendition of David Bowie’s “Space Oddity”. We really like a lot of the possibilities that the ISS has to offer right now--for such a scientific-minded mission, it's recomforting to see that the arts are proving to be so important.[youtube id="KaOC9danxNo" width="620" height="360"][caption id="attachment_33663" align="alignnone" width="640"]

© NASA/Karen Nyberg[/caption]Before we move on, it should be noted that you can donate to the Red Cross and their efforts to aid in the aftermath of the storm here. [post_title] => New Typhoon Haiyan Photo from Space Surfaces [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => new-photo-super-typhoon-haiyan-space-surfaces [to_ping] => [pinged] => [post_modified] => 2013-11-27 09:09:14 [post_modified_gmt] => 2013-11-27 14:09:14 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33658 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 5 [filter] => raw )[10] => WP_Post Object ( [ID] => 33769 [post_author] => 4507 [post_date] => 2013-11-25 18:00:43 [post_date_gmt] => 2013-11-25 23:00:43 [post_content] => So what do we have here? A super young, super talented photographer named Dixie Dixon. She's been putting in some great work, kicking ass and taking names. Somewhere along the line, Magpul chose her to shoot their annual calendar. A world traveler who is seeking the ultimate spur of the moment thrill ride in photography, Dixie really delivered the goods on this one for the manufacturer of high grade weapons accessories (and iPhone cases) with a decidedly elevated style that sets this shoot apart from your typical girly calendar. Somehow, some way, she avoided cheesiness, which is usually near impossible when you've got beautiful women posing with guns. Check out the interview below!Hi Dixie! Tell me your story from the beginning. When did you start taking pictures and at what point did you realize this was something you could do professionally?Hi ya Stephen, beautiful photographs have always captivated me beyond measure. Since a young age I remember getting lost in books and magazines. But not in their words, only in their images… and in these images I literally saw a world of dreams! The text was always an afterthought to me because, as cliché as it sounds, “a picture truly is worth a thousand words.” You can convey an entire story in a single still image. I became deeply engaged in photography, specifically fashion/commercial photography. The summer after my sophomore year of college I was studying abroad in London with a world-renowned fashion photographer. There I learned how to “see” the world in a different way and I became enthralled at the idea of creating beauty within the lens. This idea of having the opportunity to bring your own visions to life in a single or series of pictures has captured my imagination and turned it into a full-time passion of making images with soul![caption id="attachment_33858" align="alignnone" width="630"]

© Dixie Dixon[/caption]Where did you go to school? Were you always planning to study photography?Most definitely--I went to TCU and studied Business Entrepreneurship even though I knew I ultimately wanted to be a photographer. I thought this would help me figure out a way to make a business out of my passion.[caption id="attachment_33777" align="aligncenter" width="519"]

© Dixie Dixon/Magpul[/caption]You have traveled all over the world, when did you know that you wanted to explore our planet like that?I guess you could say that I always thought that as a photographer, it’s our job to explore and see the world at a different level. Filling your mind with inspiration and travel is one of the best ways to do that! You really figure out who you are as a person when you travel; it's an adventure being submerged into other cultures and environments. The light is completely unique in each destination and I love finding and capturing that. So anytime I have the opportunity to travel for a shoot, I am there![caption id="attachment_33789" align="aligncenter" width="521"]

© Dixie Dixon/Magpul[/caption]How did that experience of seeing many different places shape your worldview?I think it taught me how to operate in the present moment... I am completely in my element when I am shooting or traveling. It’s a rush of energy that I can’t quite describe, but every photographer or person who pursues their passion has experienced it. I am happiest when I’m exploring the world and photographing people within it--and the truth is, the more I can be present, the more I enjoy those fleeting moments. It just makes me crave more; there is so much history I have yet to see and photograph.[caption id="attachment_33857" align="alignnone" width="630"]

© Dixie Dixon[/caption]Did that change your approach to photography in any way?For sure, I think it made me think about production in a whole different way. It makes you realize the more pre-production you put into a shoot, the better the images will turn out. When I first worked with a huge crew, I was shooting in Miami for a TV show and I was able to see how so many elements have to come together to make a large production happen. It opened my eyes on how to plan effectively--to know to arrive at the very least a couple days before the shoot to scout the location, to get location releases weeks beforehand, book talent, hair, makeup, wardrobe, etc. That way you don’t have to worry about any of those things when you’re shooting, and you’re able to get in your zone and be present with your subject.[caption id="attachment_33785" align="aligncenter" width="521"]

© Dixie Dixon/Magpul[/caption]As we can see in your Magpul calendar, there is a side to your photography that is a little dangerous or even bad ass. Is that something you enjoy playing with?Haha, thanks! Photography for me has always been a little “dangerous” and I enjoy that aspect of it. And by “dangerous”, I mean that I am a bit of an introvert by nature so photography has been a way for me to live on the edge through my images. I love making my subjects into icons and super heroes or heroines. We all have the capacity to be super heroes of our lives, so it's fun bringing that to life in an image. And with the Magpul shoot, we had the opportunity to do just that.[caption id="attachment_33856" align="alignnone" width="630"]

© Dixie Dixon[/caption]How do you approach shoots like this--do you have a clear idea of your vision or do you improvise more?With this shoot, we had to shoot 13 different locations in 3 twelve-hour days with 6 different models. So the entire production had to be extremely well thought out with lots of tech and location scouting involved. We put together a dream team of creative people to pull it off. The art director and producer on this were top-notch and we met a lot before the actual shoot to bounce off ideas. Magpul pretty much gave us creative freedom under a “high fashion” guideline. They didn’t want your typical girly calendar--they wanted something unique and they wanted every shot to be a completely different theme/location. It was pretty challenging to nail down all the locations because we had to choose spots that were relatively close to one another in order to get all the shots in while hauling a huge crew and massive gear. It took about 2 hours to set up the lighting and gear as well as get each model ready in hair, makeup and wardrobe. The setup is always the longest; by the time everything is ready to go, it usually only takes me about 15-20 minutes to get the shot. It’s a bit of a rush and I love that! So to answer your question, there was not a ton of improvising going on in these shoots. I like to have everything dialed so I can focus on my connection with the model. The only improvising comes when working with the talent, trying to get the right mood out of them for the image.[youtube id="gdK0y013mBc" width="620" height="360"]What is different about a calendar shoot as opposed to the other kinds of work you do?Advertising work like this is much more thought out--shot by shot--while portrait, swim and editorial work is a little more lax. When I shoot portraits or swimwear, I may not have an exact shot list in mind, just a basic concept or theme to create, though I have found that having guidelines can actually be liberating for creativity. Sometimes when you can do anything, it’s hard to decide which direction to go. I am a bit of a creative control freak so even if we don’t have a set shot list, I still create my own.[caption id="attachment_33782" align="aligncenter" width="520"]

© Dixie Dixon/Magpul[/caption]Is there a specific environment or vibe you try to establish on set?Ohhhhh yeah! This is a huge one for me... I am all about good energy on set. And as cliché as it sounds, it makes all the difference in the world. If everyone is enthusiastic and on the same page creatively, that energy is contagious and we’ll turn out some awesome images. You can instantly see how a subject is feeling by the look in their eyes, so I work extremely hard to control the mood on my set with music, food and open-minded conversation. That way the subject feels at ease to express themselves without being judged... In some sense, they are giving you a glimpse into their soul and their personal space, so you have to be mindful and respectful of that.[caption id="attachment_33855" align="alignnone" width="648"]

© Dixie Dixion[/caption]You’re pretty young in a very competitive field. Are there any challenges that come with that?Ha, that’s a good question! I’ve never looked at it as being a hurdle so I haven’t honestly noticed any. I think when you’re confident in your craft and professional in the way you work, people respond to that.You can purchase the Magpul calendar here. [post_title] => Dixie Dixon's Wicked Magpul Calendar Shoot [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => dixie-dixons-wicked-magpul-calendar-shoot [to_ping] => [pinged] => [post_modified] => 2013-12-13 05:12:06 [post_modified_gmt] => 2013-12-13 10:12:06 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33769 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[11] => WP_Post Object ( [ID] => 33394 [post_author] => 4507 [post_date] => 2013-11-23 08:00:03 [post_date_gmt] => 2013-11-23 13:00:03 [post_content] => Last week, SmugMug unleashed its prolific Camera Awesome app for Android, noticeably revamping the camera capabilities for any device supported by it. Although iOS and Droid users were given the keys to the castle when it came to their camera phones, Windows phone was noticeably left out of the fray. Well, now it seems Nokia has cooked up a little answer of its own to fully utilize the amazing cameras found in its devices, most noticeably the Lumina 1020. The app is called Nokia Refocus and it’s a pretty amazing new way to think about photography on your camera phone.[caption id="attachment_33397" align="alignnone" width="630"]

© Nokia Refocus[/caption]Refocus is centered on the depth of field in your pictures, a feature noticeably missing from Camera Awesome. By touching various points of the picture on the screen, users can manipulate the focus of the picture, giving images a distinct sense of foreground and background. Not to mention the “Color Pop” feature, which will allow users to highlight certain areas of the photograph and select what parts of it they want to be colored. The rest of the image will appear in black and white, giving a sharp contrast between the subject of the picture and the space they occupy in the background.[caption id="attachment_33398" align="alignnone" width="630"]

© Nokia Refocus[/caption]This app will be available on all Nokia PureView handsets, including the 920, 925, 928, 1020 and 1520. [post_title] => Nokia Refocus Gives Windows Phone a Much Needed Boost [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => nokia-refocus-gives-windows-phone-much-needed-boost [to_ping] => [pinged] => [post_modified] => 2013-11-20 19:24:17 [post_modified_gmt] => 2013-11-21 00:24:17 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33394 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[12] => WP_Post Object ( [ID] => 33655 [post_author] => 4507 [post_date] => 2013-11-22 16:00:43 [post_date_gmt] => 2013-11-22 21:00:43 [post_content] => Even for pros out there in the field who have been doing this for a very long time, the question of photography’s undeniable hold over us all is one that will probably never be resolved. It’s true: there is a natural, almost animalistic attraction to the still image. That’s probably why advertisers bombard us with hoards of them every day. In an attempt to get us closer to the answer to this almost existential question, Maysles Films, directors Rebecca Dreyfus, Albert Maysles and Bradley Kaplan have gotten to close and personal with some of the most prolific photographers in the industry. Gathering thoughts on the craft from this many different perspectives opens up many ways of seeing. Sylvia Platchy, Andrew Moore, Gregory Crewdson, Miru Kim, and Jay Maisel offer (often contradictory) insight into what makes a great image and tips on how to develop your own style.[youtube id="xUX1WIoB0NU" width="620" height="360"]It’s documentaries such as this that give you the feeling that something really special can happen at any moment, if only you’re there to capture it. Early on, director/photographer Albert Maysles makes a point about “getting close”--and not just in the spatial sense of the word. He's speaking to a more spiritual connection, where he is attempting to get into “the heart and mind of the person…” Exploring this through the diverse lens of his contemporaries, we are able to understand the ways in which an image can be everlasting, preserving a moment through history. Photography is a ticket into lives and spaces that either go forgotten or went unnoticed. As we know, this can be a pretty big responsibility, but an inspiring one at that. What are you waiting for?! Get out there, grab your camera and start shooting. You never know what you could be missing at this very moment.[youtube id="wTjaDOLAeiQ" width="620" height="360"] [post_title] => Albert Maysles' Love Letter to the Image: Close UP Photographers at Work [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => albert-maysles-love-letter-image-close-photographers-work [to_ping] => [pinged] => [post_modified] => 2013-11-21 12:08:44 [post_modified_gmt] => 2013-11-21 17:08:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33655 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[13] => WP_Post Object ( [ID] => 33450 [post_author] => 4507 [post_date] => 2013-11-21 08:00:48 [post_date_gmt] => 2013-11-21 13:00:48 [post_content] => For someone who's been doing this photography thing for a long time, Michael Corsentino is surprisingly feeling fresh and excited about his craft. Maybe it has something to do with the fact that he's in a transitional period and is getting his feet wet with editorial fashion photography. For those out there who are familiar with Michael's work with Resource and Shutter Magazine, you know how passionate and meticulous he is about the technical aspects of photography. For those who are new to him, allow us to formally introduce you to our tech editor at large and new photographer in residence. In his pictures, you can clearly see a higher caliber of shading and contrast. We wanted to know his exact thoughts on it, especially in the context of his new work.Hi Michael, how are you? Tell me a little bit about your background as a photographer? I’ve been shooting for thirty-five years, give or take. I started shooting when I was around twelve years old. My father introduced me to photography and it’s been a lifelong love and passion. I started doing documentary projects and the school yearbook [laughs]. I went to SUNY Purchase in Westchester, upstate New York, where I studied design and photography. I got out of school and things kind of went in a different way and I ended up pursuing a graphic design career for a while but I always stayed in photography. I would do my own stories and I would pitch them to magazines. I would go and self finance them, shoot them and package them. They would be really easy for magazines to pick up and run with. Eventually they did and started asking me to shoot other things. That helped, staying in the whole photography thing because design kept me really busy--I often joke that if I were working in photography, I would spend less time in front of the computer. It didn’t really end up working out that way! [laughs][caption id="attachment_33454" align="aligncenter" width="546"]

© Michael Corsentino[/caption]When you were just telling me that you were developing your own articles and pitching things that you felt were newsworthy, what would be an example of a subject you would pursue?Trending topics. One example is that I did a piece on the Alabama Chain Gangs, which had been re-introduced to much fanfare down South. It was getting a lot of press and I felt that it was a very compelling and visually rich story. Definitely a human-interest story and those are the kinds of stories I gravitate toward.[caption id="attachment_33456" align="alignnone" width="640"]

© Michael Corsentino[/caption]By going out and finding stories that you and your audience would enjoy, did that help you develop your artistic lens in any way? Absolutely! I didn’t really do things for my audience, I try to do things that speak to me. Hopefully the audience will come. I think you really have to carefully straddle the line between pleasing yourself and pleasing others. I would let pleasing myself lead before pleasing my audience because that’s worked for me and it has been a good fit.[caption id="attachment_33458" align="aligncenter" width="546"]

© Michael Corsentino[/caption] You also contribute a monthly lighting column to Shutter Magazine. How did that partnership begin?That’s an interesting story. Sal Cincotta, owner and editor in chief of Shutter Magazine, (also a fantastic photographer in his own right), asked me to shoot his wedding. We’ve been friends ever since and he asked me to join the Shutter Magazine team as their lighting columnist. He knows how passionate I am about lighting and light and shadows—it’s near and dear to me so the partnership is an easy fit.[caption id="attachment_33459" align="aligncenter" width="546"]

© Michael Corsentino[/caption]Can you tell me a little bit about your passion for lighting? How it began and ways in which you started exploring it?I think the best way to get knowledge is to go out there and do it, knowing you're going to have failures and fall flat on your face at times—they say you learn the most from failure and it’s true. I’m never afraid to fail; I’m more afraid of not trying. I’m a huge proponent of learning, whether it is from workshops, videos, books, or DVDs—whatever I can get my hands on. I think part of being a good teacher is also being a good student. I like to share what I learn. I started out with lighting when I was in high school and got a set of strobes. I had no idea what I was doing. I just kind of knocked my way around. Years later I got my first Profoto gear, a 7B pack and two heads, happy camper! I also started exploring constant light, speedlights and the creative possibilities of TTL. I love all light. When you think about it and broadly define photography, it really is all about light and shadow. So for me, getting a handle on lighting was key. I’m still getting a handle on it, and that’s the fun part.[caption id="attachment_33460" align="alignnone" width="640"]

© Michael Corsentino[/caption]You’ve been a wedding photographer, how did that experience help you in becoming a lighting expert?There are all sorts of lighting challenges that you have at weddings and shooting receptions. You’re trying to have well balanced images between ambient and daylight; I would say that really helped me develop my chops in TTL lighting since TTL makes distance calculations for you. At a wedding, you can't really be metering and working in manual, so TTL helps do the heavy lifting for you. Obviously at a wedding it’s not about the light--it’s a wedding. In some ways it's really frustrating because I see all the possibilities and I really want to light things within an inch of their lives but I can’t. So the editorial and fashion work allows me to indulge that side of my creativity.[caption id="attachment_33461" align="alignnone" width="640"]

© Michael Corsentino[/caption]For you, what is the primary difference between the wedding and portrait side of your business as opposed to your editorial and fashion work?Working with a creative team, which is a very different experience. Assembling a reliable team of like-minded stylists, makeup artists and assistants is key and its impact on your work can’t be underestimated. With a team everyone is working toward a common goal. Being open to the ideas team members bring to the table fosters creativity, shows respect and always makes for a much better final product. The production values and the level of polish you can create are also unique. It’s a slower and more deliberate process.[caption id="attachment_33463" align="alignnone" width="640"]

© Michael Corsentino[/caption]How long did it take you to get comfortable speaking on camera? [Sips espresso] Who said I was comfortable speaking on camera? [laughs]So it hasn’t happened for you yet?Well you know what? I’m comfortable sharing my passion, let's put it that way. As long as I’m speaking about things that are meaningful to me, it’s easy to say it to a camera. I love interacting with people during speaking engagements and workshops even more but ok, I’m ready for my close up.[caption id="attachment_33465" align="aligncenter" width="546"]

© Michael Corsentino[/caption]You were saying that working in fashion has different demands a little earlier. Can you tell me a little bit about that?Typically, there is a concept involved that’s predetermined. You need a vision. A lot of people do sketches and use Pinterest inspiration boards, which is great. With consumer-based work, weddings and portraits, it’s a little more free flowing, maybe a little less so with portraits. With weddings, it's purely working with what you have, which is a great challenge—when you hit a home run, it's great. On the fashion side, you have a team and the challenges that come with that. You have a goal you’re trying to meet and sometimes you deviate from that goal and end up with something even better then you had intended in the beginning.[caption id="attachment_33466" align="alignnone" width="640"]

© Michael Corsentino[/caption]When you say that you’re working toward a concept in your editorial fashion work, how is important the conceptual stage for you? How do you build a team around that and adapt to what they’re bringing to the table? Conceptualizing is essential--you can’t just go in blind. Your hair and make up teams need to know the direction. Knowing exactly what it is you're going for is a key component. Building a creative team as I said before is another one of those key components: being open to the ideas of your team is essential for the best creative environment and the best working relationships. You have to let people do their jobs. You have to realize the vision, but being open to the skills and ideas of your team is really important.[caption id="attachment_33467" align="aligncenter" width="546"]

© Michael Corsentino[/caption]In your opinion, what is the advantage of web tutorials as opposed to face-to-face workshops?All the best creative channels, from CreativeLIVE to Linda.com, are all valid and amazing resources. Self-paced learning is great, whether it is on your laptop or iPad, as it lets you get your education when you can. But nothing beats in person workshops. The networking opportunities and hands-on learning is just unparalleled. The two methods are not mutually exclusive: I think both are great. If you haven’t been to a workshop, you kind of owe it to yourself to get that experience. Obviously, you have to choose carefully if you’re spending your hard earned dollars on it. Which is why I’m doing a workshops review for in the next issue of Resource--hopefully I can help with pointing out some that I think are valuable.[caption id="attachment_33469" align="aligncenter" width="546"]

© Michael Corsentino[/caption] How has your work on YouTube affected your brand overall?The reach is incredible and it's definitely bringing quite a bit of exposure. I just need to do more Youtube stuff--what little I have done I’ve done through partners and sponsors.For amateur photographers looking to take that next step and get some lighting equipment, what do you recommend they get?Whatever gear you're using. I would suggest investing in off-camera lighting. Directional light is really going to give you a superior quality light: it’s going to add drama and dimension, which is what I think lighting is all about.[caption id="attachment_33470" align="alignnone" width="640"]

© Michael Corsentino[/caption] [post_title] => Interview with Michael Corsentino: The Lighting Guru [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => interview-michael-corsentino-lighting-guru [to_ping] => [pinged] => [post_modified] => 2013-11-20 18:25:41 [post_modified_gmt] => 2013-11-20 23:25:41 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33450 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[14] => WP_Post Object ( [ID] => 33339 [post_author] => 4507 [post_date] => 2013-11-19 12:00:31 [post_date_gmt] => 2013-11-19 17:00:31 [post_content] => Last week, we brought notice that Red Bull Illume is taking over this year. The energy drink company re-introduced us to their Illume Photo Book, which is set to become the premier collection of action sports and adventure photography this year. Don’t think for a second that the party stops there, though. Red Bull is out to do it big and to celebrate the conclusion of their 2013 Illume photo competition they’re taking the show on the road.[caption id="attachment_33344" align="alignnone" width="630"]

© Red Bull Illume/RedBullIllume.com[/caption]Planning to stop at many of the world capitals and primer urban locations, Red Bull has launched the official Illume American Tour in Scottsdale, Arizona. Following the official winter award ceremony in Hong Kong, Red Bull has brought the buzz stateside with an unveiling of the fifty winning images on life sized light boards. It was a gathering to be remembered with hundreds of top photographers, editors and pro athletes in attendance.[caption id="attachment_33346" align="alignnone" width="648"]

© Red Bull Illume/RedBullIllume.com[/caption]Not to mention the after party, which was free to the public. Red Bull set the night off right with DJ sets by Panic City and Jeff Apruzzese of Passion Pit. Scott Markewitz, a world renowned action sports photographer participated in a live action photo shoot with the Super Cr3w B-boys. Broncolor was even nice enough to hook it up with move power packs to illuminate the break dance crew.[caption id="attachment_33349" align="alignnone" width="624"]

© Scott Markewitz/RedBullIllume.com[/caption] Check out the Illume blog to see if Red Bull is crashing your city for the night. [post_title] => Red Bull Illume Comes to American Shores [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => red-bull-illume-comes-to-american-shores [to_ping] => [pinged] => [post_modified] => 2013-11-18 21:55:39 [post_modified_gmt] => 2013-11-19 02:55:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=33339 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ))

PHOTO

Photo Series Uncovers the People “Seeking Friendship” on Craigslist

Capturing the American West With Fujifilm’s GFX 50s (Review)

VIDEO

This Secretly Recorded Rap Video Was Shot On Only Commercial Sets

5 Best YouTube Channels for Film and TV Lovers

Filmmaker Ali Vingiano on Life After BuzzFeed and Authentic Storytelling

LIFESTYLE

SOCIAL MEDIA

stephen cardone

Streamline Your Workflow 2.0: January Winner – Lee Cherry

#POTD: Lindsey Thoeng is Photographer of the Week

Tom McKenzie Teams Up With Art Start Family Portrait Project

Interview: Cheryl Dunn Talks Everybody Street

Best of Colourbox Photo Competition Could Send You To Ghana

Jeff Rojas Interview – by Chris Kelly

Eyetime 2013 Winners – Exclusive Announcement

#POTD – Emily Nathan Is Photographer of the Week

Blackmagic Brings RAW Recording to Pocket Cinema Camera

New Typhoon Haiyan Photo from Space Surfaces

Dixie Dixon’s Wicked Magpul Calendar Shoot

Nokia Refocus Gives Windows Phone a Much Needed Boost

Albert Maysles’ Love Letter to the Image: Close UP Photographers at Work

Interview with Michael Corsentino: The Lighting Guru

Red Bull Illume Comes to American Shores

stephen cardone