I’m going to go out on a limb and make a bold, sweeping claim, but one I feel is rooted in reality. The new five minute long documentary “Five Stone of Lead” (recent Vimeo Staff Pick no less) from Director Jonny Madderson might just teach us more about story telling than anything else you’ll see this year. To answer how, Jonny (and DP, Eoin McLoughlin) kindly spoke to Resource to provide first hand insight into how they’re succeeding in this new short form documentary-style storytelling format.
Hip-Hop producing legend Swizz Beatz may be most know for being “The best rap producer of all time,” according to Kanye West, but lately he has been making a name for himself in a different artistic community. Swizz has become one of the most prominent fine art collectors in America, buying pieces worth millions of dollars by artists like Ernie Barnze and Andy Warhol. Most recently, he has turned his efforts to helping young artists catch their big break and get the recognition they deserve. Swizz curated and opened a collection called The Unknowns in conjunction with Canon’s Rebel with a Cause campaign to showcase some young artists. Resource got the chance to sit down with Swizz to talk about his own art and working with Canon to curate The Unknowns.
The essential goal of this project was to find completely unrecognized and under appreciated artists on social media, ask them if they would let Swizz Beatz and Canon use their work, then surprise them with enormous publicity and an auction of their work at Sotheby’s, one of the worlds premier art auction houses. In a quiet room at the back of Sotheby’s, Swizz pours everyone something to drink and tells us how photography has influenced his artistic world, “My mother’s father was an amazing photographer. My first important piece in my collection before I started the Dean collection was an Ansel Adams… I feel that photography is something that captures time, even though our activation with The Unknowns is not based on photography, the story’s being told through the lens of photography. You have visual artists painting on canvases and mixed media, but the story is being told through Canon and photography, so you get the best of all worlds with that collaboration.”
Prior to the exhibition and auction at Sotheby’s, the featured artists had their work projected onto the Brooklyn Museum and the Bronx Museum of the Arts. This unexpected display was meant to both give these unknown artists a public eye and challenge the place of “street art” in the art world at large. Swizz says, “I think it’s just groundbreaking to take these artists that we sent the invite to on Instagram… [and now they] are sitting in Sotheby’s today at a real auction of their works. Then we have the art show on New York City museums – forget being inside of them, we put you outside the museum in the biggest form that’s possible… then we also put those artists in front of millions of people on social media. I mean they’re not unknown no more. Just think about that. Two days ago these artists were probably not on nobody’s radar and now they’re having people checking for them.”
Though the artists in The Unknowns were all painters, Swizz refrains from categorizing artistic mediums, including his own, “It’s just one bucket, it’s all art. Whether it’s design, whether it’s me painting for my own relaxation, whether it’s me collecting, whether it’s me shooting photography of my kids or somebody’s art show or some views of some vacation I’m on or just being silly with the camera, it’s all art… I just choose to spread my arms out and touch all those different components because it’s available. Why just be boxed in? Thats why I say the sky’s not the limit, it’s just the view. Why should we just be in one place because that’s where we put those 10,000 hours in? Put those 10,000 hours into something else as well.”
He also doesn’t differentiate between fine art and street art, “I’m not really into street art and all these names for different art, I’m just into art. Period. All forms of art I’m a fan of. I don’t like boxes and categories even though the world is built on it. If I can use Sotheby’s to be a tool to speak with these artists, to get them on the next level then we gonna be at Sotheby’s. If I have to set up another platform to use another platform, we using another platform. If we need to use Canon, we use Canon. If they need to use the Dean Collection, they use the Dean collection.” It’s this opportunistic philosophy that allowed Swizz to bring these artists into Sotheby’s, “My thing is by any means necessary. I’m not really committed to any institution when it comes to getting the word out there because I can’t depend on that. I gotta go with who’s willing to do the right thing at that present moment. Tonight, Sotheby’s is doing the right thing, so we’re here… It’s like you have an opportunity, now use your opportunity to make another opportunity.”
At the silent auction, Princess Smith was the artist that stood out. When speaking with Smith, you could see the passion behind her paintings and the appreciation for the amazing opportunity Swizz and Canon where giving her. She says,”When I saw [my art on those museums], nothing could prepare me for that moment. That’s my work on this huge gallery, on the Brooklyn Museum, the Bronx Museum. That’s amazing… Putting it on the exterior walls, that’s totally breaking boundaries… I’m so exited about being a part of that process. It’s so amazing, I shed tears.” Smith’s work certainly exemplifies Canon’s “Rebel with a Cause” campaign. She say’s of her paintings, “All of my work from the moment I seriously started creating until this point, the goal has always been to represent African-American women in the most positive and productive way that I possibly can. There are so many negative ideas and expectations on African-American women, I feel like it’s my responsibility to do that.” Clearly, Swizz has found some extremely talented artists with a bright future ahead of them.
Events like The Unknowns bring out the best in the photography industry and make good use of Celebrity status. Swizz and Canon had an opportunity, then they used that opportunity to make another opportunity for talented artists who need it. Hopefully those artists will be able to pay it forward as well.
Ethan Field and Ron Campbell were hiking through the Columbia Gorge when they unraveled a camera within the dirt. The camera was made by Exakta, a German company established in the early 1900s. However, the inscription on the camera read “Made in East Germany / U.S.S.R.” crediting its creation around the 1950s during the Cold War era.
Ethan just posted the GoPro video of us finding the camera!! Check it out!!!???????????? @thefieldprojects Anyone lose a camera say…. Idk,,, maybe 80 years ago down at Eagle Creek?????? I think we may have found Ansel Adams 1st camera!! Obviously we were in a spot not many people have been. Down a high steep slope next to the creek!! My homie Ethan @thefieldprojects found it almost completely buried! And it still has film in it! He already found someone that can develop it! Will let u know what's up! Follow ???? @thefieldprojects !!!! Stay stuned for some other cool shots from our adventure earlier today!! ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????? Hi Everyone!! This camera is drawing so much attention and questions/comments I figured I'd do a reply all. Yes, soon as Ethan found it (which he at first thought to be a flask, Lol, because it was buried lens down almost completely covered) and dug it out, the first thing we noticed was it had film in it!???? And imagined what could be captured!! We were bout a mile in on the trail when we went down and across a steep slope to cross Eagle Creek to the other side!! And yes, the creek was cold and strong as hell!! We went to an beautiful unnamed waterfall that we post shortly and on the way back after crossing the creek again, I walked right over and thankfully Ethan saw it!! The trail from here was at least 300' above up a sheer cliff. This unfortunate photographer must have dropped it and could not get down there. It was sketchy and steep even for us and back then the landscape could've been even worst. We all hope the film can be developed, and will find out asap! Imagine a beautiful photo of punch bowl falls 60-70 years ago! Or a photo of the photographer,, the very first selfie maybe??!!!???? We'll keep of all of you posted @thefieldprojects !! Thanks so much!! ???????????????? BTW… From some of the comments posted by people who actually know something bout this type camera, it seems like it's from the 50's or 60's, definitely not the 30's. Not really sure how just yet, but still cool regardless!!???? Keep y'all posted!!????
Despite having contained a roll of film, the camera’s condition created the assumption the film would reveal nothing. The back of the camera was cracked, leading to light and moisture exposure onto the film. The duo still have hopes for the roll and have sent it to a film lab in Portland to be developed. In the meantime, they hope to find the owner of the camera. According to one of their coworkers, there is a chance a social security number may have been etched on the inside or outside of the camera. They have begun to clean out the camera from the dirt and rust in the hopes of finding one. If they are unable to locate an owner, they would like to contact a museum in order to preserve it.
A video of the camera’s discovery can be found on The Oregonian. You can also follow updates on the camera as well as their own work on Instagram:
Today on reddit’s popular subreddit /r/photography is an Ask Me Anything from Roger Cicala and Aaron Closz, the co-owner and lens tech at the world’s largest photo and video rental house, LensRentals.com. You’ve likely seen their teardowns of your favorite lenses, so now is your chance to ask them anything regarding optics, camera bodies and more. Roger and Aaron are among the photo industry’s most respected “tech” guys, so their AMA should allow you to get answers on virtually any gear in the photo and video realm.
A proposal was struck down in Serbia that would have made photographers work ineligible to be covered by copyright law. The proposal from the ruling Serbian Progressive Party, aimed to define some categories of photography as a “routine mechanical act,” therefore not worthy of being eligible for copyright.
“Every routinely made photograph, which appears and is taken in electronic form, regardless of whether it is the true original creation of an author, will cease to enjoy protection as the creation of an author,” stated the proposal.
The Serbian Progressive Party claimed that the proposal was aimed to distinguish between images that were worthy of copyright and those that were not. According to a legal team representing the party, “selfie[s]; photos of sausages; photos of empty shelves in a store, holes in a street, chicken wings, crane, automobile or similar,” were all photo subject they would have deemed as undeserving of copyright protection.
The same legal team also claimed that “a routinely made photography cannot be considered a work of authorship and enjoy protection under author’s rights…irrespective of whether it is an original intellectual creation of the author,” which seems a bit misguided and contradictory.
However, according to Serbia’s own Copyright Act from 2009, “A work of authorship is an author’s original intellectual creation, expressed in a certain form, regardless of its artistic, scientific or some other value, its purpose, size, contents and way of manifestation, as well as the permissibility of public communication of its contents.”
The Act, in Article 9, also states that “an author is a natural person who has created a work of authorship.”
The proposal was a direct contradiction of the laws already in place. Content within the photograph is irrelevant as long as it’s the “author’s original intellectual creation.” On this basis alone the proposal could have been struck down.
Serbian photojournalist already face many difficulties with both print and online publications regularly stealing their work without reimbursement or credit, according to a Reuters report, so it’s a oddly convenient for the proposal to single out photos that “…appear and [are] taken in electronic form.”
Corbis has recently sold its content licensing to Chinese powerhouse, Visual China Group, due to it struggling against the lower-cost competition. Previously owned by the co-founder of Microsoft, Bill Gates; the media company now owns the rights to some thousands of iconic and historic images from the last century. Some examples are the photos of John F. Kennedy’s son, John Jr., under the oval office desk, Marilyn Monroe above a subway grate and Jimi Hendrix at Woodstock.
However, one of the acquired photos that have many people in discussion is “Tank Man”; the photo of the protester standing in front of tanks in Tiananmen Square. With “Tank Man” already being a heavily censored photo in China due to its political nuances, some believe that Visual China Group will eventually deny usage rights of the photo internationally. Some believe that the Chinese government may intervene in some sort of way to push censorship towards political sensitive photos like those of Tiananmen Square.
According to The New York Times, the rights of the image may actually be owned by third parties such as The Associated Press and Reuters. The New York Times also mentions a statement that was emailed to them by Visual China Group and states:
it was “fully committed to being a good steward of the Corbis images and will continue to make the archives available globally.”
With a statement like that, it seems that the rest of the world can be assured that the majority of these photos will still be available for use internationally. The company has also stated that it will be working with, long time acquaintance, Getty Images. Prior to the acquisition of Corbis, Getty Images has been working with Visual China Group to license images in mainland China for the past ten years. They will now be in charge of licensing these newly acquired photo rights internationally as well.
Will Visual China Group keep its word and continue to allow these images to be licensable? We will see soon enough.
©U.S. Department of Energy
You may be questioning everything happening in this photo. Well, the ooze looking material is Corium, one the most dangerous radioactive materials in the world. Also known as elephant’s foot, it is the leftover material of a nuclear core after a meltdown. How dangerous is it, you ask? If you were anywhere near it during its creation, you would’ve died in mere minutes. The photo was taken a few decades after its formation but is still considered one of the most dangerous radioactive substances.
The person in the photo is of Artur Koryenev inspecting the elephant’s foot. The photo has also recently been rumored to be by Artur Koryenev as well. According to Atlas Obscura writer, David Goldenberg, similar photos accredited to Koryenev have helped deduce the idea that this photo was a selfie. With a slow shutter speed and timer, Koryenev was able to stage and take this photo of himself with the deadly material.
The best part of all this? Koryenev is probably still alive to talk about it. His last interview was in 2014 with The New York Times. Who wouldn’t want to take a selfie and prove that you were near one of the most radioactive materials in the world? We all try to take awesome selfies but this one takes the cake.
Photographer Kevin Abosch, who gained notoriety through his black backdrop portraits of prominent figures such as Johnny Depp and Steven Spielberg, just sold his shot of a potato f0r $1.5 million to an unnamed European investor. Yes, you read that right.
According to a Sunday Times report, the investor visited Abosch’s home and saw the photo hanging on the wall. After a few glasses of wine and some negotiating, the two agreed on the purchase price two weeks later.
Abosch printed the photograph of now-famed potato in 2010 after he received a shipment of organic vegetables. There are three prints of this potato in existence: one donated to the Museum of Contemporary Art in Novi Sad, Serbia, Abosch’s personal print, and the one sold to the anonymous investor. Abosch acknowledged that some may consider the sale “absurd,”adding that the potato photo was his highest selling print to date.
I guess we shouldn’t think twice about photographing our food.
Broncolor is back at it again with its Gen NEXT contest, kicking off their 2016 edition today. If you’re unfamiliar with the contest here’s the pitch: photographers under 30 are encouraged to submit up to three of their best photos for a chance to win $24,000 worth of photography gear and optimal exposure. It goes without saying that this is an incredible opportunity for young photographers.
In addition to thousands of dollars of gear, the winner would be responsible for creating one blog post for a year, followed by one every two months in the second year for the Broncolor blog (that sounds great for both parties involved; Broncolor gets content, the photographer gets eyes on their photos). Sharing one to two photos a year with Broncolor for advertising purposes is also required. With Broncolor’s platform, the winner would be exposed to what figures to be millions of people a year.
For any young photographer this would definitely be a life changing experience. It isn’t everyday that the chance to win $24,000 in gear is presented, especially via a respected platform such as Broncolor. The contest runs through March 2 so be sure to register and submit your photos by then.
You can sign up and find more information on Broncolor’s dedicated site here.
A box containing 100-year old negatives was recently discovered in Antartica by Conservators of the New Zealand Antarctic Heritage Trust. The discovery took place as the conservators were making an effort to restore an ancient exploration hut. During the process, they stumbled upon 22 exposed cellulose nitrate negatives that were frozen inside a block of ice.
It was only after a Wellington photography conservator was able to process the negatives that determining where and when they came from could be explained. The photos are believed to have been taken from Ernest Shackleton’s 1914-1917 Ross Sea Party. The crew at that time were helplessly waiting inside the hut after a ship wreck they experienced at sea. The negatives were only moderately damaged but could still be developed for viewing. Much of the information on the images contained landscape and portrait shots of crew before the incident had occurred. This sliver of historic discovery is exciting for anyone who cherishes adventure and the mysteries of items lost in the world patiently waiting to be found.
[Via Open Mind]
If you’ve perused through the streets of New York and witnessed a naked woman with a tripod nearby, it was probably Erica Simone. Over the past few years, Simone bravely embarked on a project to photograph herself nude in the streets of New York. Her photos will be featured in her new book titled, Nue York.
The book, being released this Thursday, January 14, features over thirty images of Simone shoveling snow, jumping in a cab and even standing in the middle of Times Square. Resource Magazine sat down with Simone to ask her about her inspiration, her process and how cold she really was while taking these photos.
What was the initial thought process behind the creation of this project? Was there an ‘aha!’ moment for you at some point?
I was shooting fashion week in 2007 and I was sitting there, watching everybody in this whole fashion absorbed world and so, just analyzing clothing and what people use clothing for and how fashion week has become a big part of our society. I started thinking it’s really interesting how we express ourselves through clothing and how we engage with others through clothing. We interpret others depending on how they’re dressed and judge people based on their clothing. Whether it’s something really basic like a business person walks into a room and he might be treated totally different because he’s in a suit and tie than how he would if he walked in wearing baggy pants or dirty clothes. It’s really the same person underneath these clothes.
I was analyzing this relationship we have with clothing and fashion and thought to myself it would be such a funny thing if everyone was just naked all the time. How would we be able to make friends? How would society be if we didn’t have clothing? So in my mind it started to structure itself as a photograph. So my idea, I started to say ‘I’d love to shoot that.’ Initially I was going to shoot other people. And then after thinking through it and talking to other people about it I got the idea that it’d be super crazy if I did it myself because it’d be more of a challenge. I’d be the photographer and the model, and also, in the same sense, it would kind of be easier because I could pick it up whenever I want. I could go do it and not rely on other people to do it and I know what I want to get out of the photographs. It just seemed like ‘aha’ this is a great idea.
Walk me through a shot. Some of these photos, especially shots like the one of you getting inside of that cab in SoHo, really left me wondering how you managed to pull some of these off.
I don’t walk around naked – it draws way too much attention. I set everything up and I have a trench coat and basically, when the timing is right, I drop my stuff and I start shooting. That [her cab photo] was a very quick moment and I knew I wanted to get that atmosphere, the taxi atmosphere in that location, and all of a sudden there was a line [of cars] at the gas station. So I set my things up and I opened the door, dropped my clothes and I started shooting. The driver, a minute later, realized what was going on and turned around and saw me and said ‘oh, no, no, no! You can’t do that.’ But by then I had already gotten my shot so I just said ‘thanks’ and ran away.
At the beginning I had a self timer, then I started using a shutter release.
I’m sure you had to do research to find out exactly how legal all of this was. What exactly are the laws surrounding complete nudity?
It’s legal to be topless in New York, as of 1992. Full nudity is not legal, at all. You’re supposed to cover your privates, basically. I was risking my arrest a lot. I’ve had some really interesting run in’s with the cops.
Once I had a cop car pull up and stare at me and I actually managed to get away with it. I was with a celebrity and he talked the cops into letting me do it.
Have you experienced any personal growth as a result of the project?
For sure, in all sorts of areas. Everything from the physical aspect of producing a book to putting myself through the photos themselves – being naked in the street time and time again in itself is an interesting thing. At first I was nervous and a now it’s more of an adrenaline rush and I’m used to it and not as shy. I don’t care that people are watching me.
And then there’s the aspect of the photos being out there. People always ask me, ‘what is it like to be naked in the street?’ but when I’m naked there are maybe ten or twenty, thirty, max, that see me for a split second but now my photographs are in magazines and online. So it’s so much more exposure than the initial people that saw me in the street.
I know that some of these photos were taken in the Winter. Finally, be honest – how cold were you?
I try not to shoot too much during the winter. It’s a little cold. I try to not put myself through too much pain when I shoot these.
A private opening reception and book launch are being held this Thursday, January 14 from 7-10 at Castle Fitzjohns Gallery on 98 Orchard Street in New York. You can find RSVP information here and purchase the book here.
A portion of proceeds from the event are going towards anti-human trafficking organization, Beauty for Freedom.
You can check out her Instagram @ericasimone.
Over 180,000 images have been released by The New York Public Library for the public’s use and viewing pleasure. This is sort of a big deal since it now gives users a chance to grab a sneak peek at the past using a visualization tool that makes browsing through the catalogue an absolute breeze. The images released are not only of photos but also include manuscripts, poetry stemming from the 11th century, music sheets, postcards and much more at a high-resolution quality.
The exciting part about this is that you also have the option of downloading any of the photos you find interesting at any resolution you desire. If this sounds too good to be true, then take Shana Kimball’s, Manager of Public Programs, word for it.
“No permission required, no hoops to jump through: just go forth and reuse!”
The NYPL has also released a game called “mansion building”, which allows you to view past building floor plans as you continue to tour through it. Along with that comes the “Street View, Than and Now” feature that compares photos of how 5th Avenue looked in 1911 with how it currently looks today. It doesn’t stop there. The NYPL has also launched The Green Book, which is a travel guide into the 20th century that “lists hotels, restaurants, bars, gas stations, etc. where black travelers would be welcome.” Now who said history was boring?
Images via The New York Public Library
CES 2016 kicked off this week and tech companies from around the world are unveiling and monstrous stream of brand new technology, gear, and products. Resource has hit the show floor to seek out the most unique, peculiar, and interesting photo tech. Here’s a round-up what we’ve encountered so far. Click the images or product name for the full story on each piece of gear.
Parrot is in the process of developing a new kind of drone that features an airplane style design. It’s called the Disco due to the fact that it only has on propeller that reaches a power of 49.7 miles per hour.
Lexar has announced an an upgraded 512GB and 256GB tiny versions of portable SSD that can transfer data up to 450MB/s and white data at 250MB/s. The Lexar Portable SSD comes with a limited two-year warranty and will be available for purchase in Q1 2016 at price point of $149.99 (256GB) and $249.99 (512GB).
During their press conference, Sony has announced the coming of FDR-AX53 4K Camcorder, along with two other systems – the HDR-CX675 and the HDR-CX455. The idea idea of the camcorders were designed to stand along Sony’s 2016 lineup and sold at a reasonable price ($1000).
Keeping the momentum going, Sony has announced an action camera that can compete with the ever so popular GoPro system. The camera features an an 11.1 megapixel back-illuminated CMOS sensor paired with a Zeiss Tessar lens. The premise of the camera is to give the active person quality photos and videos picked into a small waterproof system.
Panasonic’s announcement of its new 100-400 Leica lens offers a full frame equivalency of 200-800mm at 7” long and a light two pounds. It features a POWER optical Image Stabilization, 240 fps quiet focusing motor, and an f/4-6.3 maximum aperture. It is available for preorder at just under $1,800.
The KeyMission 360 is Nikon’s first action camera with a “true” 360 degree capture in 4K. The camera is waterproof up to 30 meters/100 feet and is shock proof from a drop of 2 meters/6.6 feet. Pricing and availability has not yet been announced.
The Nikon D500 features a 153 AF system and a brand new EXPEED 5 image processor. It also shoots 10 fps for 200 shots in RAW format, not to mention it can shoot video at 4K. The 20.9-megapixel camera is aimed at advanced enthusiasts and pro photographers. Availability for the D500 will take place in March for $1,999.95.
The camera that is said to be what “the industry has been waiting for”, Nikon announces the D5. The autofocus feature received close attention, saying that shooting at 12 fps both the accuracy and stability will still hold its peak performance level regardless of the situation and lighting. Some other features include a 20.8-megapixel FX sensor, ISO range from 100-102,400 (but can expand to 3,280,000), 4K Video, and a EXPEED 5 engine. Release date is set in March at the price of $6,499.95
The Seagate 2TB Backup Plus Ultra Slim is over 50% thinner than the competing hard drives on the market. Its design allows you to keep more than 500,00 songs, 320,000 photos or 240 hours of HD video. It also comes with 200GB of free Microsoft OneDrive cloud storage for two years and features Lyve software, which automatically organizes photos and videos into a single library. There is no current information on availability and price.
Features include a 3.5 touchscreen LCD and 13-megapixel CMOS sensor that can shoot up to 1080p video. Bluetooth connectivity is also available, giving users a chance to print their photos through an app available for free on iOS and Android. For the selfie lovers, the small camera comes with a pop-up mirror. The Zink’s Zero Ink Printing Technology feature allows users to print full color 2×3 inch photos instantly. The Snap+ will be available in Q4 of 2016.
Oculus, a household name in the VR world, are thanking their original supporters on Kickstarter by giving them a Kickstarter Edition Oculus Rift for FREE. Giving back to those who have backed you up from the beginning is always a good route to take. Head over to their post on Kickstarter for more info.
We will update this story as our journey continues…
As if a visit to the Apple store couldn’t get any more fun, the innovative company will now be offering free 1-hour photo workshops starting this month. The campaign is called Start Something New, and highlights the experience of creating beautiful art using Apple products and apps. The workshops will show people a new perspective on photography, offering tips to further enhance their technique as well as presenting a useful guide for first time Mac users. It’s a great way to get started if anyone had a slight curiosity about creating works of art with the products they use on a daily basis.
The workshops offer a range of different topics, not only catering to photographers and videographers. Here are a few that Apple enthusiasts might be interested in: Mac Basics, Discover Apps for Apple Watch, and Share Your Ideas with Keynote for Mac.
For photographers, here’s a short list of the workshops that will reel you in: iPhone Photography, iPhone Videography, and Perfect Your Photos on Mac.
Reservations for the offered workshops are now LIVE. Head over to the Apple site to see where you can start.
Additionally, Apple JUST launched two brand new workshops for 2016 that are not yet listed on their site: Shoot More Artistic Photos with iPhone, and Sketch, Draw, and Paint with iPad. For registration, you can check your local Apple Store page for availability. See the details provided by Apple below:
Shoot More Artistic Photos with iPhone
Bring your iPhone along for this hands-on workshop. We’ll teach you how to shoot photos more creatively and help you try out various accessories and techniques—like long exposure for light trails, using Time-lapse to show progression, or getting up close with nature using a macro lens. Then, we ‘ll explore artistic ways to adjust and edit your photos, so you can create a work of art, find your style, or just improve your skills.
Sketch, Draw, and Paint with iPad
Bring in your iPad and we’ll practice basic techniques for sketching, drawing, and painting. Use your own pencil or we’ll supply one for you to try. We’ll go step-by-step as we sketch together as a group and build our own gallery of artwork. Then, you’ll get time to put your new skills to work on your own project. This is an all-levels workshop—seasoned illustrators are welcome to partner with beginners and share techniques.
On Thursday, Jan. 7, Apple will be hosting a special event at their West 14th Street store with five artists from the Start Something New campaign. We’ll see you there!
All this talk about working for free, why up and coming photographers and filmmakers should or shouldn’t do it, whether or not it’s hurting the industry, are all great points to discuss. I’m here to share how it’s possible to work for free and not sell your soul or hurt the industry process. Think that’s impossible? I disagree.
Doing free work is a lot like doing a personal project to me– I’ll only accept it if the work is going to be personally fulfilling, among other things that I’ll outline below. Keep this similarity in mind when reading– I DO NOT condone accepting jobs for free, where you perform a service for someone else’s goals or projects. I do however, recommend taking on personal projects, and the mindset associated with a personal project is much more in line with how I feel about “free” work that I provide. I’ve done a couple of jobs lately that kind of blur the line between the two, which I’ll talk about here.
Below I’ll outline six steps, that when followed, should yield work that accomplishes all of your professional goals, while not hurting the industry as a whole by de-valuing the work that we do. Your mileage may vary, but this worked quite well for me on my last project, so I’ll share my recent experience and then expand on each point.
1. Who are you considering doing the free work for?
I saw an opening in my schedule for late October, so I decided to keep myself busy with a project. My business tries to focus on outdoor-related projects, and if they are for a non-profit, that’s a bonus as well. I recalled an NPO I learned of a few years back who had outdoor roots and worked with participants that have various physical disabilities. I reached out to them directly and pitched a project for an upcoming event of theirs, with the understanding that we would create this project for free, but with a few catches that I’ll note in a moment.
Lesson here: Avoid leeches.
I’m looking at you, craigslist clients. Leeches are those people who will use you for your services to get something they want, for free, but will never do anything for you in return. The more people like this you meet, the easier they are to spot. They will usually try to tell you about all of the people you will meet, how important their project is, etc. All of this is bullshit, and addressed in the “exposure” section.
What I’d recommend is that YOU find someone that YOU want to work for. I typically am the one asking to shoot a free project for someone, not the other way around. This means the project will be something that I care about and want to do, for personal expression, professional growth, or portfolio building– just like a personal project. The difference is that there’s an actual “client,” or business involved.
2. Select project deliverables on your terms, not theirs.
With the NPO I pitched, I already had a project type in mind. I wanted to create a promotional video, disguised as a sort of short-documentary piece. This would mean a final video piece for use on the web, and a handful of still images that they could use for promotion, but that we could also use ourselves on social media for our own marketing purposes.
Lesson here: Create the product that you want to make, not what they want you to make.
If I’m providing thousands of dollars of work for free, you better believe I’ll be pushing for certain deliverables over others. For example, I’m much more passionate about short-form documentary style videos than I am sales videos or hard-sell advertisements. When talks begin about producing a project, I’ll be pushing to create the kind of work I want to do, not the kind of work someone else wants. That’s a huge thing to consider– if all of a sudden a client of a free project started trying to dictate terms, they should be paying. Now I’m not saying that you shouldn’t consult with them and collaborate, but stand your ground if they start asking for things you’re not willing to do for free.
3. Use the project as a way to further your skills or to experiment with different methods.
For this video shoot, there were a few things I tried for the first time. I used iPad-based model releases, had an assistant who was getting a taste of her first big project, and I was shooting interviews in completely natural light– not even any bounce cards or reflectors. I didn’t stray too far from my comfort zone on this project, but if I had more prep time I would have tried some new camera profiles.
Lesson here: Make the experience more valuable for yourself by having an educational component.
Free work is a great time to experiment with new methods or gear, in a real production setting. Maybe you have an assistant who wants to try shooting? Got a new light kit you want to try out? Maybe you want to shoot more slow-motion in your projects? Whatever it may be, this is a great time to do it.
4. Multi-purpose the work you do to satisfy other goals or get paid in other ways.
For my project, I was satisfying many other goals besides making a video. I’d end up with behind-the-scenes content for a blog on my personal site, some insight to share in a blog like the one you’re reading now, I would be doing some volunteer work (something I personally try to do a few times a year), and I’d get a few stills to try and license to publications and brands (which I did). I even tried to get some loaner gear to use in a few reviews, but things came together so quickly that I wasn’t able to get anything in time.
Lesson here: Make the most of the time you’re going to spend on a project.
If you’re going to come up with a concept, why not come up with one that will get you a couple of great stock clips, so that you can sell them later? Maybe you can do a gear review while on set? Or how about shooting some BTS footage and get featured on a blog like this one? If you’re relatively established, some gear companies will send loaner gear out in exchange for a quick video clip promoting said service/product– this is an easy way to try out new gear, for free. Don’t be afraid to send a few emails and inquire about this, you might be surprised! Companies generally keep demo units on hand for exactly this reason.
5. Will this project or client further your career in the direction you want it to go?
This was huge for me on this video. Outdoor adventure projects are extremely competitive, and it’s hard to get regular, paying work. I really need to get solid content in my reel and portfolio from varied outdoor groups and activities– the chance to work for this Outdoor Adventure NPO would get me plenty of time with important people in that industry, and the more work I have to show with these types, the better.
Lesson here: Work in the niche you want to do more jobs in.
Personal or gratis projects can be pivotal for beginners as well as for creatives who are re-aligning the kind of work they wish to focus on. A few years ago I decided to start focusing on outdoor adventure and documentary projects, taking on less industrial and sales videos. Rather than waiting for someone to ask me to shoot a project for them, I came up with my own projects.
I produced this short doc about an athlete who overcame obesity. It was a really inspiring story and rooted in content that I needed to have on my reel and website. I screwed plenty of things up on this shoot, but still licensed it to a few places and got plenty of views to boot.
I made this video and pitched it to the exact client I wanted to get hired by. Note that I didn’t offer them a free service before it was shot– I made the video on my own terms and my own time and they loved it. A year later they were my biggest client. Had they approached me to make this for free, I would have said no, and then made what I made anyway, and still tried to sell it to them afterward.
6. Working for exposure?
Part of the deal with my recent job was that my business would need to credited and linked to on all Facebook posts with our work, and same went for Instagram. We didn’t take this lightly though– we researched the client’s audience and reach before even approaching them about this project to guarantee that there would be exposure for us. We had a contract and everything. The client was completely understanding and more than cooperative with us to help get more exposure through social media.
Lesson here: Research your potential client and make sure you will indeed gain followers or contacts.
If someone tries to sell you on his or her project by offering exposure, RUN. They should never have to do that, it’s an understood concept that people will see your work and it simply comes with the territory. What I’d recommend is doing your research on a person or business, and making sure you know what kind of social media reach they might have, or what businesses they work with often. Also, who’s the audience for the visuals you’re going to provide? Will they hire you or share the work for others to see?
The key to working for free without hurting the industry is by making a project that is as much for you as it is for the “client.” Getting love on social media, tax receipts from NPOs, and owning the assets to license elsewhere are all things that will help, but simply agreeing to perform a creative service for someone where there is little to no benefit absolutely does hurt the industry, so choose wisely.
Disagree? Let me know in the comments below. Thanks for reading.
The camera has seen some pretty substantial changes over the years, and before digital there were a ton of ways to capture an image. Pinhole, tintype, daguerrotype… it wasn’t just film. And then when we finally do get to film, there are several ways that technology changed through its lifespan. In this video from COOMPH, photographer Leo Rosas shows what each camera did, and how that affected portraiture.
“We wanted to show how the evolution of the camera has directly influenced portraits, so using the same model and the help of Photoshop, we recreated 11 key moments in camera history. It was a super fun shoot, and we hope it will be a nice trip down memory lane!” Rosas said. This is one of the best ways we have seen someone show the evolution of cameras or portraiture, and probably the best instance of explaining the evolution of both at the same time. Well done!
Kylie Flavell might not be a household name to some of you, but she has been steadily growing in the ranks of internet stars, with shows like “HookedUp,” garnering millions of views on YouTube. What makes her story unique is how she went from a corporate 9-5 job to traveling the world for a living… all the while producing, hosting, shooting, and even editing, all of her own video content.
I spoke with her to find out how she found herself in this line of work, and what it took to get there, hoping that others might find inspiration in her journey to doing what she loves for a living.
Like many of us, she found herself yearning for something more in her life after spending years working a traditional 9-5 job. It was after a holiday trip to Italy, when she returned home full of motivation to chase a goal of living a life with more spontaneity and passion. Flavell knew it would take some time to prepare for such a life change, so she made a long-term plan for her escape– which would mean making a show where she could travel and share stories from those adventures.
I stayed in my job for one year, saving money, devouring as much info on the market as possible, networking with television and production houses to learn from them, finishing work at 10pm and then coming home to work every night for five hours to move my plan forward, little by little.
So Kylie worked hard to put herself in a position to not only to make a successful move financially, but also learn the skills necessary to seize an opportunity when it presented itself. She didn’t simply pitch a show and jump on a plane the next day, there were many rejections before someone took a chance for her to produce a pilot travel show.
I was the creator, host and producer of my first show, organizing everything from catering, locations, accommodation and transport, to sponsorship, music licensing, release forms, branding and marketing. It was a roadtrip through Italy talking about food, travel and dreams; the schedule was grueling and the budget tight but in terms of video production jobs you could do a lot worse!
This is the show that was developed:
Flavell learned a lot during this first experience, and this led her to wanting to take ownership of other parts of the production.
I quickly realized that it would actually be the best use of my time if I taught myself how to film, edit, colour grade and handle distribution so that I would become the most nimble, cost-effective and innovative production company in the market.
The words “trial by fire” come to mind, when Kylie attempted to tackle her first show alone in Florence. Despite having to deal with all of the gear herself, bad weather, and trying to learn things on the fly, she discovered that by being her own solo-crew, her interview subjects became much more honest and open.
It rained the entire time and I strapped my film equipment and 10 wardrobe changes to a bicycle and rode from location to location while clumsily holding an umbrella to keep everything dry. I looked like some crazy bag lady and I made so many mistakes with the audio and the camera settings but I knew that this was going to be the future of video production because the interviews I was able to get when filming alone were real and spontaneous and intimate.
Apart from producing and shooting segments for her travel series, she had to get stuck in to the craft of editing, which has both a creative component and a technical one. Flavell credits her ability to learn editing software to using internet resources while traveling abroad.
I tried Avid but found it wasn’t intuitive and the community around it seemed to be largely made up of people who were afraid of change. I tried Premiere Pro and although it can be daunting to change your editing software, within a day I felt comfortable and then quickly moved on to learn Audition and After Effects.
When everything is available online there is no excuse – even traveling all over the world I can study rotoscoping or colour grading from a video by a 15-year-old in the community or from the free tutorials put out by Adobe.
Having traveled internationally for video projects myself, I was a bit surprised to find out that Flavell truly does work solo. Dealing with all of the gear, responsibilities, yet being able to put together a successful series of shows. I asked outright if she secretly had a crew or support team following her, like many other shows that present themselves as a single person production.
People are used to being lied to in terms of production, we’re used to ‘the magic of television’ – even if the host says she’s all alone there is always someone there for support standing out of frame. It just makes things so much easier when I can really become a part of a foreign culture and as soon as you add even one person traveling with you, suddenly you cut yourself off from that kind of cultural hyper awareness.
I’m a bit of a loner but I do think you become more observant, open to adventure and sensitive to details when you’re filming solo.
For those who are all about the gear, I made sure to find out what Flavell is hiding in her bag when traveling, along with what tricks she uses to record voiceovers when a recording studio is not an option.
I bought a Panasonic Lumix GH4 and was so impressed by the crisp image, the amazing size and weight and, of course, the fact that it can shoot in slow motion and in 4k. I immediately bought a second GH4 and jettisoned all Canon gear except my Canon 100mm macro lens, which I use with a Metabones adaptor. I attach a little LED light to my camera and this keeps me super light and nimble. I have just bought a Sony a7s to give me a better option for shooting in low light as this is one of the only drawbacks of the GH4.
If I have to record a voiceover while I’m on the road and can’t get to a recording studio I find the closet or any cupboard of my hotel room, crawl in there and cover my head and recording device with a heavy blanket for extra insulation and, if I don’t suffocate or freak out the room service staff, I get a great makeshift recording booth.
Flavell and I spoke about the “dreamy” lifestyle that so many young photographers and filmmakers yearn to live, but the reality is most don’t know how to produce content at a level that would provide a sustainable income, much less support the ability to travel all of the time. She remarked that the best way to learn is to get out there and produce a lot of content.
I spent every day filming, experimenting, making tons of mistakes, and investing months in projects that never got published or sold anywhere. And I think it’s crucial to consume a myriad of different styles of work across film, television and online so that you can be sure you’re not just imitating your filmmaking idol and truly developing a distinct style of your own.
If you really want to wake up every morning loving what you do then you have to be prepared to wait for it and fill every hour with ways to improve your skills and understanding of the industry. Have a plan, study your market, learn every facet of the industry so that while you’re waiting for your big break, instead of complaining that you can’t find work or aren’t getting recognition, you’re growing as both a creative and a commercial business person. I was rejected repeatedly. I had deals that almost happened and then just dissolved after months of positive feedback. It’s heartbreaking but you can’t let that deter you because if you choose to keep going, rejection can strip you of your ego and make your work infinitely better and more competitive.
Even with a few hit internet TV shows in the bag, Flavell isn’t slowing down. She is using that momentum and continuing to learn more about her craft, while broadening her horizons for a new set of projects down the road.
I want to continue developing my editing proficiency in Premiere Pro and After Effects – and become an expert at flying a drone as aerial footage is an obvious advantage for travel content. I’m currently shooting a series called Hooked Up, for Airbnb which has me in a different country every two weeks and is getting over a million views online per episode. I’ve also started shooting documentaries for Shell in locations like Rio and Africa where they’re helping poor communities with innovative energy projects. Both these projects really fascinate me because they take travel content beyond just tourist stuff and explore themes of cultural tolerance, humanity and the importance of curiosity and dreaming.
A full year has passed since Morpholio’s EyeTime 2014 competition, meaning the winners of this year’s contest have been chosen! This time around, the intent of the contest was to “penetrate the virtual clutter” of the imaging world, and to create images that will launch a dialogue across the social landscape of our globe (sort of were doing right now, with this post). The contest was broken down into two main categories—Future Voices and Emerging Talent—and the expert lineup of judges spanned from Resource Magazine‘s very own Alex Niki and Adam Sherwin to Avi Muchnick of Adobe, Diana Jou of The Wall Street Journal, and more. Additionally, the contest is devoted to photographer, reporter, editor, and humanitarian Jessica Lum, who gave her life to the world of photojournalism, and sought ways to not just create, but to preserve and understand the creative world around us.
“When judging a collection of work, I look for the artist to tell a story through images that are both coherent and striking,” says Niki. “For many, selection and editing, which imparts the maturity of an artist’s skill set, can be the most challenging stage to accomplish.”
On behalf of Resource Magazine, we would like congratulate all the winners and participants. See the winning images below, and visit the Morpholio site for the full lineup of Honorable Mentions, recognitions, and artist profiles of the EyeTime 2015 photo competition.
“Looking at some of the work presented in this competition gives me lots of hope and excitement for the future of photography. In a world where everyone is a photographer, this contest still goes to show that it’s the creative vision that matters the most at the end of the day,” said Chris Gampat, Editor in Chief, The Phoblographer.
“This year’s finalists display an impressive level of cultural sensitivity and social awareness. At a time when hardware and software technology can make almost anyone look like a skilled photographer, these photographs prove that human perspective plays the most important role in telling a story through imagery,” said Paul Petrunia, Founder of ARCHINECT.
“Jessica Lum is an inspiration to all aspiring young photojournalists. She pursued her passion wholeheartedly and gave voice to the people she photographed. I hope the winners of the Jessica Lum award are continually inspired to share their own voice with the world through telling the stories of others. It is possible to send your message through today’s virtual noise. Make it a message worth sending,” said Salgu Wissmath, Photojournalist, Co-founder of Project I AM.
“I am blown-away by the range of topics and locations of the finalists,” said. Diana Jou of The Wall Street Journal.
“It’s enlightening and inspiring to see photographic work like this, coming from unique, creative and compelling perspectives, all over the world,” said Tracey Clark, Founder / Shutter Sisters.
This years jurors: Photographer Pei Ketron, Avi Muchnick of Adobe, Chris Gampat of The Phoblographer, Shani Silver of Domino, Diana Jou of The Wall Street Journal, Alexandra Niki and Adam Sherwin of Resource Magazine, Photographer Dean West, Kathryn Roach, Paul Petrunia of ARCHINECT, Mike Kus, Billy Cunningham of The International Center of Photography, Kristen Fortier, Tracey Clark of Shutter Sisters, Jenika McDavitt of Psychology for Photographers, Tiffany Mueller of Light Stalking and Juliette Wolf-Robin of APA.
Check out the Morpholio site for more on the EyeTime 2015 contest and check back for 2016 contest guidelines.
Now that I’m engaged, I feel obliged to send personalized holiday cards to my friends and family. I really haven’t been one to do this in the past, but I’m starting to realize that my hand-written, basic cards I pick up at Target aren’t really standing up to the other cards I see sitting on my parent’s mantle. Since I have been traveling so much lately, I started to play around with some photos on my camera roll on my iPhone when in transit to piece together elements for our 2015 holiday card.
Hopefully in this tutorial I can show you some actual workflow situations that involve Adobe Apps. Hooray!
Part I: The photo
I decided to use this rather festive photo that a friend took at a party the previous year. I think it captured the essence of what I was going for:
Ok, now on to turning this photo into a card.
- First, I opened Photoshop Fix on my iPhone and selected a photo from my photo library (I could also do this on my iPad, but I had my iPhone on me.).
- There was a lot of things in the background I didn’t want in my card, so I used the Defocus brush to paint over areas of the image to be blurred out, and then the Crop tool to cut out excess parts of the photo I didn’t want to use.
- Because this photo wasn’t taken with a DSLR, when I cropped and zoomed in on our faces, our skin looked grainy. I used the Vignette tool and adjust using the Radius, Feather and Shape features, applying it to our faces.
- I plan on making the card colorful using some other elements, so I converted our photo to Black and White by clicking “Adjust” and using the saturation slider.
- Since I will use my desktop computer to assemble my card, I clicked the share icon and selected Save to Library to save the image to my Creative Cloud Library.
Part II: Add some seasonal cheer
Now that I had my photo where I was pretty happy with it, I wanted to create some images and textures to apply to my final card design.
- First, I wanted to pull in some colors from a colorful cookbook cover I had on my desk. I used Capture CC – again on my iPhone – and selected the Color option to take a photo of the colors and convert them into a color theme. (Capture CC is also available on Android and on the iPad.) I saved that into my Creative Cloud Library so I can use it when I’m ready to assemble the card.
- Next, I wanted to add a seasonal graphic to my card so I used the Shape option in Capture CC to take a photo of the Penguin used in a similar tutorial developed by Glitschka Studios to create a vector graphic.
- I also saved this into my Creative Cloud Library – then moved on to the desktop to put it all together.
Part III: Final Touches
Once I got home, and to bring the photo and hand-drawn elements together, I moved from my iPhone to Illustrator CC. The nice aspect is that everything is in one place, and I don’t have to save things to the cloud and re-download them for use. Once they are saved in my Creative Cloud Library, I can just drag-and-drop when I use desktop tools.
- In Illustrator CC, I created a new project and set the dimensions of the card to 7×5 inches.
- I opened the Libraries panel to pull in the Penguin, colors and the photo I’d put together on mobile.
- I scaled the photo proportionally to 5 inches in height and aligned left. Using the Rectangle tool, I made a red rectangle that covered the remaining portion of the artboard. I selected red from the color theme I created in my Creative Cloud Library.
- Next, I used the ellipse tool to make circles of varying sizes on the red rectangle to simulate snowflakes. I selected dark red from the color theme I created in my Creative Cloud Library.
- Next, I used the Ellipse tool to make a large white circle centered in the red rectangle. I selected white from the color theme I created in my Creative Cloud Library.
- From there, I used the Ellipse tool to create a border around the white circle.
- After that, I used the Type tool to write my holiday greeting. I applied white from the color theme in my Creative Cloud Library.
- The last step for me was to place the penguin shape from my Creative Cloud Library into the center of the white circle. Using the selection tool, I picked green from my color theme in my Creative Cloud Library.
- Once I was happy with the card layout, I selected File and then Print to share my card with friends and family.
Before the Instagram generation got introduced to psychedelic photograph filters, a minuscule movement centered around Lomography photography indulged in the art of shooting images using film cameras such as the Holga medium format toy camera. News reaching the photography circle detailing the ceasing of the production of this beloved camera is met with melancholy sadness among its legion of cult followers, current and former users such as myself.
Various news agencies are reporting that the Southern California-based company and official US distributor of Holga Cameras, Freestyle Photographic Services has issued a statement confirming the end of Holga camera productions. “It is with a sad heart that we say goodbye to a camera that has been so popular with so many. A Holga Camera really is about creativity and unpredictability and a refreshing medium in today’s digital age,” says Freestyle CEO Gerald H. Karmele. “Holga outlived many other cameras but, as like we have seen throughout the years, is yet another casualty of the digital age.”
In an age where hundreds of thousands of images are uploaded on social media daily, the art of patiently producing photographs through the analog film method is slowly seeing its demise. A few days ago renowned photographer Anton Corbijn also stated his intention of “bowing out of professional photography” as reported by the Economist, due to how the aforementioned musical photography icon describes the current state of “Photography as a slow pursuit is being lost, and Mr Corbijn is unwilling to spend his time to speed it up to today’s pace.”
Personally, while I now practice digital photography just the same as 99.5% of people who shoot pictures today, I have fond memories of the analog film days and of using a Holga camera. I remember scourging thrift shops for expired film because hardcore Lomographers swear that it produces more vivid colors. It is a tireless process that add more excitement and thrills when it comes to scratching your photography itch.
When it comes to the Holga, I found out that with its simple make, one can do some tricks with it to get some really unique results. For me, one of my favorites was doing a multiple exposure which allowed me to produce stunning visuals highlighted by a signature light streak, giving the final image a vivid and psychedelic vibe, similar to the Instagram filters that are so popular today. So, as I mourn the impending demise of the Holga camera, I look back at one summer trip at the beach where I took all of our photographs using my old Holga camera.
Rest in peace my old friend. You served me well.
Original Reddit Series ‘Formative’ Tells Casey Neistat’s Story of Struggle, Inspiration, and Success
Not all journeys to creative and personal satisfaction are non-stop. In this inspirational mini-documentary from Reddit, get a behind-the-scenes look at one of the most notable creative entrepreneurs out there, Casey Neistat. From being a young rebel, to having a child at 17, hear first-hand how Casey decided to drop everything and move to New York City.
If you’re not familiar with Casey’s work, you’ve got lots of video watching to do. Here’s a playlist to get you started. If you’re in need of some ideas, or some creative inspiration, look no further.
We recently published an exclusive interview with photographer Vincent Laforet discussing his newly released book Project AIR. In it, Laforet not only reveals the incredible passion and dedication that went into this once in a lifetime project, but explains the intimate details of his workflow and creative process. If you’ve ever wondered about, or admired, the beauty and magic of these stunning images it’s truly a great read.
In the article author Zach Sutton also hints at a very intriguing contest that gives Resource readers the opportunity to win an autographed copy of Project AIR. So with the holidays right around the corner we’ve teamed up with our friends at G-Technology to give away not just one but THREE autographed copies valued at $99!
To spread this love we’re using social media to give you a wide range of opportunities to win. Since we have three copies, we’ll be giving one away on each of the following networks: Facebook, Twitter and Instagram. For instructions on how to enter on each network see our outline below.
Opportunity #1 – Facebook
Step 2 – “SHARE” our Laforet AIR Giveaway Post (yes, it’s this post, the one you’re reading) with your friends on Facebook.
Opportunity #2 – Twitter
Step 2 – “RE-TWEET” our Laforet AIR Giveaway tweet with your followers on Twitter.
Opportunity #3 – Instagram
Step 2 – “LIKE” our Laforet AIR Giveaway post on Instagram.
Now… lawyers are lawyers, so we have to lay down the law so everyone knows the rules and plays fair: The contest is open to US residents only and you can only win once. Feel free to enter on all three networks for a better chance to win. If you forget to follow, like and share on any given network and you’ll be disqualified.
The contest goes live at 12 p.m. today, Nov. 25 and closes next Wednesday, December 2nd. We’ll pick a winner next Thursday, December 3rd. Winners we’ll be notified via the network they win and all winners will be revealed via ResourceMagOnline.com and across social media the following week.
To learn more about Project AIR click here.
Announced tonight is the development of the next generation of professional FX-format DSLR from Nikon with the Nikon D5. Keep in mind, this doesn’t mean the camera will be available soon, or that any of the specs of the camera are available. Simply, Nikon has created a press release announcing that they’ll start developing a camera called the Nikon D5, making this, the weirdest press release ever. Full press release with literally no information below —
Red Bull has always had a knack for setting the high standard when it came to action sports cinematography. Though they just raised the bar once again with their surreal look into the BMX stylings of Scottish BMX pro Kriss Kyle, with their new feature entitled Kaleidoscope. Kaleidoscope plays with your perspective and visuals to give you a new and hypnotizing look into the world of BMX riding.
Shot as if it was inside a Kaleidoscope, this new video highlights the stylings of Kriss Kyle while also giving you an opportunity to interact with some of the more interesting tricks in the video. The video itself is only 5 minutes long, and no photo could possibly do it justice. Just trust me when I say you need to spend 5 minutes today to watch the video above.
Another year has passed, which means one thing: the results of Morphoplio’s EyeTime 2015 contest finalists are in!
Last year’s competition was a proven success with work being submitted from a range of photographers around the world. It’s contests like these that give young emerging artists a platform to have their voice and perspectives heard. Today, there is an abundance of photos online being published every minute, but much of the work goes unseen or adds up to a mere number of “likes” on Instagram. Thankfully, Morpholio has granted students and young professionals have a chance to cut through the vast pool of online content for a chance to make a difference.
This year, the EyeTime contest was focosed on two categories: Future Voices and Emerging Talent.
The submissions were judged by a panel of many industry professionals, including some familiar names from last year’s competition such as Billy Cunningham of the International Center of Photography, Lin LeeYuan of MOLD, and Resource Magazine’s very own Alexandra Niki and Adam Sherwin. The finalists were selected based on how many views, or “EyeTime,” a photo received by the public. The more time people spent viewing the image, the better chance for that person to be considered. In addition to last year’s competition, Morpholio made it clear to continue to honor the life of photojournalist and humanitarian Jessica Lum, who tragically passed away in 2013.
Check out the full roster of this year’s finalists below!
Emerging Talent Finalists:
Future Voices Finalists: