Photographer Liza Van der Stock lives in Antwerp, Belgium. She studied sociology at the University of Ghent in Belgium and photography at the School of Arts nearby. Her documentary work is a blend of these two passions. It falls under the category of visual sociology, meaning she studies society through the use of images.
Liza integrates her sociological background into photography to make photo documentaries that focus on relevant social issues.
For her previous series, Sisters! Brothers!, she spent 3 months in Tanzania to capture the lives of male and female sex workers. During a holiday there in 2013, she had become aware of the burning issue of sex work in the country. That’s when she decided to document and portray the issue and it was this series that won her the FREEDOM TO LOVE 2014 Award.
She has done a couple of more interesting projects so far, but today we focus on her series called “Paradi$e Lu$t,” which got her nominated for the Sony World Photography Awards. Her pictures were chosen from over 173,000 entries from 171 countries, and she was nominated in the “People” category.
For two years Liza worked on a photo documentary about Maurice and Laura, a married couple with a daughter and the founders of the porn production house Stout. The couple lives in a small Flemish village, surrounded by nature, together with their daughter Eva. In the garden, Eva plays with her dog or meets with her classmates. Friends and family come along and fill the house with activity. But when Eva is at school, Maurice and Laura shoot what most people prefer to keep to themselves. The porn they make is not populated by Barbies or muscled superheroes. Ordinary women play with men who are also dad or neighbour. Cellulite on the set is as obvious as the ever-burning cigar of Maurice. A humanity that not only exists in the porn they make, but also emerges behind the scenes and in their family life. The porn Maurice and Laura make is just different. It tends to focus on the human side of porn. People are recorded on tape as they are, without any post-processing.
Maurice shooting on set.
Liza met Maurice and Laura at an erotic fair and followed them from that moment on throughout both their professional and everyday lives. You got to give credit to the working method of Liza. She always tries to have a bond and a connection with the people she’s portraying, and this probably comes from her sociology background. She always tries to built a relationship based on trust with her subjects. She tries to capture people outside the regular societal image and portray them in a respectful and natural way in their natural habitat.
In her work, Van der Stock searches for the line between real and unreal, and the balance between family life and working environment. The tension between authenticity and the imaginary world of porn is the breeding ground of the series.
Maurice and his daughter Eva.
For more interesting projects take a look at her website: http://liza-vanderstock.tumblr.com and www.lizavanderstock.com
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If you want to see up close the window to the soul, then look no further than photographer Suren Manvelyan’s “Your Beautiful Eyes” series. It is a collection of striking macro shots of the human eyes showing all the incredible details which is ironically, not seen by the naked eye. Prepare to look at our eyes in a different light as it mimics the lunar and crater-like surface of the moon surrounded by intricate weaving of lines and other patterns comprising the irises itself.
When it comes to photographing the eyes, Suren has blazed quite a trail for eye photography as evidenced by his earlier series showcasing animal eyes which exposes the viewers to the different forms and variations of the windows to the animal consciousness. ‘I was not aware they are of such complicated appearance. Everyday we see hundreds of eyes but do not even suspect they have such beautiful structure, like surfaces of unknown planets.’ explains Suren of his own amazement at how the human eyes looks like in macro distance.
Suren initially asked friends and colleagues to model for him in order to capture the complexities of the eye structure and eventually evolve it into a continuous series and is among the most viewed gallery on his official website. A man of many hats, Suren is an accomplished Physics professor and also teaches mathematics and astronomy at the Yerevan Waldorf school. He started photography at the young age of 16 and eventually rose up to become one of the main photographers of Yerevan Magazine and Photo Armenia.
About the Photographer of the Day
“Suren Manvelyan was born in Yerevan in 1976. He received PhD in Theoretical Physics from Yerevan State University in 2001 for researches in the field of Quantum Chaos. Next year he received The President Award of Republic of Armenia for the investigations in the field of quantum technologies. He is scientific researcher in Institute for Physical Research of national Academy of Sciences since 1997. Suren played 5 musical instruments: guitar, cello, piano, block flute, and lyre. He teaches physics, mathematics and astronomy in Yerevan Waldorf School for more than 10 years. Suren started to photograph when he was sixteen. He became professional photographer at 2006. Suren involved nearly in all fields of photography, especially in Macro, Portraits, Creative photo projects, Landscape.”
Phase One (http://www.phaseone.com) came along when renowned portrait photographer Jason Bell (http://www.jasonbellphoto.com/) went to London’s Hampstead Heath to shoot actor and Oscar nominee Benedict Cumberbatch for Vanity Fair magazine’s Hollywood Portfolio.
Go behind the scenes with Jason Bell and experience Benedict Cumberbatch handle dogs, climb a tree, and dive backwards into a lake:
On the first shooting location Jason set out to turn a day lit forest into night. To accomplish this task, a variety of lighting equipment, two guys with moveable smoke machines, and the actual photographing had to come together as one.
The shoot became even more elaborate when two lively giant hounds were added to the mix.
“I like to have a sort of narrative in my head which you don’t necessarily get when you look at the picture, but it informs the mood of the picture. On this occasion I am imagining that he has been at a ball, he is probably drunk, and he is going home with his dog. That is the story in my head for the picture. It helps me decide where light should be and even how I print. And it helps him to think about something rather than just: ‘I’m having my photograph taken.’”
Jason Bell emphasizes the team effort it takes to make a shoot like this happen: “It is a collaboration with all the guys doing the lights and the smoke. I’m not doing it on my own. I’m the captain of the ship.”
While Jason directed his crew, he also made sure to include Benedict Cumberbatch in the creative process. “He got very involved and there were things he wanted to do which I always really like”. Benedict’s creative ideas included a suggestion to jump into the lake – fully clothed – rather than being photographed next to it. Jason went along with the idea immediately.
“We plan a lot of it and set it up but always when the person is in camera and I start shooting is when I really decide”.
Jason Bell came up with the idea to shoot an all-U.K. edition of Vanity Fair’s annual Hollywood Portfolio issue. The shoot featuring Benedict Cumberbatch is just one of the 44 British icons portrayed in the issue.
Jason Bell: “My favorite thing about working for Vanity Fair is the creative freedom. They are fantastic at saying: “What do you want to do? Okay, do it.” That is obviously an exciting thing as a photographer to be allowed to do what you want.”
Check out the rest of the Vanity Fair Hollywood Portfolio images shot entirely by Jason Bell with Phase One here.
Let’s face it, film is expensive… but film shooters will happily pay the price because the look and mindset of shooting film are worth it to them. Transitioning into film from wholly digital is a hurdle though, thanks to that price wall. So figuring out how exactly you transition from digital to film is key. You can do it without losing your mind (and your profit).
I started film after I started digital. Traditionally speaking, it’s backwards, I know. I wanted to hone my photography skills so I decided that the best way for me to do that would be to go back to basics and learn film. But once I started to shoot it, I couldn’t stop. I never intended to shoot film professionally, but it filled the creative hole I had in me and I was hooked right from the start: I knew I wanted to be a film shooter, but I had to figure out how to incorporate film into my workflow without losing all my profit.
I made a lot of errors along my way to becoming a film photographer. I overshot, lost profit and had too many duplicate images that I didn’t need. I am still not fully film for weddings. I choose to switch to digital in low light situations. When you have a dark candlelit church ceremony at night, film just isn’t the best medium (unless your clients are okay with all black and white – which I would LOVE by the way). So for dark churches and the “party” of the reception, I fall back on digital photography. But for the rest, including elements of the receptions such as details, entrances, first dance and cake cutting, I shoot film.
When I first started I tried to shoot both film and digital simultaneously. Unless you like undue stress and wasting your money and time, I wouldn’t recommend this. There is absolutely no point in getting a shot both on film and on digital. If you don’t trust yourself to get a solid shot on film yet, then you aren’t ready to use film in a wedding situation. Keep at it with personal work and portrait sessions until you are confident enough to shoot a setup on only film. I spent way too much time and money editing digital photos to look like my film and trying to make it work. I had so many weddings where I threw out digital after digital image once the film came back in. Why did I waste my time doing both? I wasn’t confident and that was my mistake.
When I’m mentoring photographers and they ask me about going hybrid, I tell them what I would have done instead of what I did. I suggest starting with shooting film and digital but making the film unique. Shoot black and white only and your digital will be your color. Once you gain more confidence and are ready to transition more, shoot entire sections in film only. Start with details, add in portraits (because you can control the lighting better) and then add in getting ready and lower light situations where you need additional light sources (video lights and flash). By shooting film in smaller pieces, it allows you to transition slowly and be confident that your wedding film will be amazing.
Another benefit of this slow transition is cost. When you start your hybrid photography journey you most likely did not account for film in your pricing. Going forward it is important to add in the cost of film and development, but no one wants to wait a year to shoot film once they are bitten by the film bug. Starting with only black and white means you are only shooting a few rolls at a time. Try limiting yourself to a set number of rolls per wedding as you are transitioning. It’s important to show film if you want to shoot film, but you shouldn’t break the bank doing so. Setting a budget per wedding can be hard, but it’s a great way to ensure that you are getting what you need for your portfolio while still earning money to stay in business.
So what do you do with your second shooter’s images? For me, I will now either hire a film second or I make all my second shooter’s images black and white. My film lab edits my digital files to match my film, but I tend to still prefer the real deal, so all my second shooter images go black and white. I like consistency and I can see the minor differences in both color and feel of the image. This allows me to have the seamless feel that I prefer and that my clients expect.
Finally, as you add in more film, start showing just film on your social media and blog posts. It will help define you as a film shooter. And remember… there is absolutely nothing wrong with being hybrid. Just be smart hybrid. Choose the areas you want to shoot film and stick to it. It is possible to be a hybrid shooter and earn a killer profit!
During the last quarter of 2014, the Instagram world became abuzz with a short series of black and white photographs showing stunning women adorning futuristic hairstyles. A short while after it was revealed that these images are the result of the collaborative work between Russian photographer Karen Kananian and hairstylist Pavel Okhapkin for their “Olympia Series.”
It speaks volumes when a photography series consisting of a few images captures the attention of the photography world. As a fitting tribute for both men, Resource Magazine is proud to include Karen in the exclusive “Photographer of the Day” circle, as well as to showcase their work that also highlights how an artist from a different discipline (Pavel) can compliment and elevate another artist’s (Karen). Looking at these photographs instantly takes your imagination to a different universe, like it was plucked from a science fiction novel with the mysteries hiding behind the rich shadows and the unending surprises slowly being told through the fine details of each images.
Celebrating Pavel’s victory at the 2014 Russian Hairdressing Award, the two men yet decided to tease us with these image first posted on Karen’s Instagram.
If you want to learn something in Photoshop, odds are it’s covered in a packed schedule of incredible instructors at this year’s CreativeLive Photoshop week. Two of my best friends are teaching courses: Mike Kelley and Julia Kuzmenko, and both of them are absolute masters of their craft.
I’ve personally worked with both Mike and Julia, and each of them are really good at explaining exactly what they are doing, how they are doing it and most importantly, why they are doing it. Mike’s techniques are self described as taking an image that is “plausible, but unlikely.” It creates a look that is dreamy and perfect, yet still realistic. Creating an image that has those characteristics takes a bit of finesse, but Mike is great at explaining how to get it done. Julia is absolutely amazing when it comes to skin work. If you’re a portrait photographer who wants to get into high-end beauty, there are few instructors better than Julia (actually I can’t think of any).
Over the course of six days, CreativeLive will stream 49 live classes presented by the industry’s leading Photoshop experts including Dave Cross, Tim Grey, Jason Hoppe, Matt Kloskowski, Julieanne Kost, Jared Platt, Aaron Nace, Chris Orwig, Colin Smith, Paul Trani and Ben Willmore and the aforementioned Mike Kelley and Julia Kuzmenko. Each 90 minute class provides a detailed look at the hottest topics for a comprehensive learning experience that can be applied to your graphics and photography.
You will also have an opportunity to purchase and download any of the 49 classes to create an on-demand personal library of Photoshop and Lightroom tutorials from the very best in the business. The cost for downloading the entire course curriculum is $299. Individual classes can be downloaded and archived for on-demand viewing for $19 each.
From beginner to advanced users, photographers who tune into Photoshop Week will find what they learn to be an invaluable asset to their day-to-day workflow actions. Whether it’s a new feature or technique such as Introduction to 3D in Photoshop or a refresher course on Layer Effects, the viewers will listen and learn from the very best in the business. Visit the CreativeLive website to review the entire schedule of classes and build your personal calendar for Photoshop Week.
In any business what you produce must have, or more accurately, be perceived to have value. Without that belief by your client you will fail to garner business and future clients. How does this translate into the photography world? Most people, especially newer photographers, place their value in their portfolio, in the quality of the work. While this is true in some sense I would say there is another place that holds more weight to the client… you.
“Price is what you pay. Value is what you get.”- Warren Buffet
Often times as photographers we come across clients that ask or passively imply they would like a discount. Most of the time we stick to our guns and will not budge on pricing. I think that is great, and appropriate if the discount they are asking for is significant, but what if it is minimal? What if it is only $150? What do you do then? I read comments in a thread that ranged from tell them you are booked, to tell them you are not the right fit, to suggesting they don’t eat out at their favorite restaurant next month. Seriously?! All this over $150 dollars? This is a perfect example of the client not seeing the value of one over the other. Somewhere in the consultation process the value got barreled down to one photographer’s photos over another. To the client, the perceived value was in the quality of work. The client is thinking “Hey this photographer does really good work as well and they are $150 less!” That is not how we as business owners want them to make their decision.
“You don’t get paid for the hour. You get paid for the value you bring to the hour.” -Jim Rohn
From the moment we first respond to a client inquiry our value is being measured. They have already made the decision they like your photos otherwise they would not be contacting you. As soon you hit the send button your value, your ability to give them something no other photographer can, is being evaluated. If they email you back later haggling over $150, maybe she doesn’t see the value in you. We need to educate them as to why we are more and why going with us will be worth it. Somewhere along the line, the value of your service got lost. Guys, I completely understand sticking by your prices believe me I do. But we can’t stand on the quality of our work alone because there are others whose quality is just as good. Using the reason that your portfolio alone should be enough cannot be the reason for non-education of clients. Your value is in you and how you make the client feel from the very beginning.
“If you create incredible value and information for others that can change their lives – and you always stay focused on that service – the financial success will follow.” -Brendon Burchard
“Its not my job to educate the client,” is a phrase I hear applied to this and many other situations with tough somewhat high maintenance clients. So if it’s not ours, whose job is it? Should the client really have to find the time to explore the ins and outs of why we charge what we do on top of trying to plan for their own wedding? Plus, I doubt the client would ever really understand the ins and outs anyway. So why shouldn’t we help them? I am not saying we need to do this all the time.I am saying that if we set it up so that the very first email we send makes them feel wanted, we wont ever even have to broach the subject. The foundation of our perceived value will be won and lost on that first correspondence. Do you send your prices in that first inquiry, or do you congratulate them and ask for more info about how they met? Do you wait for them to reply or do you take initiative and call them to personally thank you for inquiring with you? When the time comes to make the decision to go with you or the photographer that is $150 cheaper, these things could very well be the weight that tips the scales. This is upon what we want the client to base their decision.
“It seems like photographers are so quick to just say “RED FLAGS, LET THEM GO!” and walk away from what could be a good business relationship. If you take the time to talk to her, educate her as to why your rates come with more experience and talent, and what the higher price tag will entail, maybe you can convert her. It’s happened to me more times than I can count.”- Susan Stripling
Now let me clarify: I fully believe in getting paid what you are worth and that we should not give into clients trying to book us for less, especially if that request is significant. I also fully believe that if a client is having a hard time booking you over $150 dollars that we should not automatically apply the red flag or problem client tag to them either. Maybe in this situation we need to step back, breathe and re-evaluate where we went wrong in presenting our value to the client. Never assume your process is perfect, always be willing to learn and serve, your business and your clients will thank you for it.
Checking your Instagram on an empty stomach might be a bad idea if you chanced upon Michael Zee and boyfriend Mark van Beek’s @symmetrybreakfast account. But if you are a foodie, then be prepared to spend time salivating on the visual feasts that their photography offers. The couple started documenting their symmetrical breakfast after they moved in together. Using only a rustic wooden table as platform, they carefully laid out the meticulously prepared dishes for their camera to devour. “I made Mark breakfast, stuck it all on a tray to carry it, and noticed it was symmetrical. And that’s how it started,” says Michael whose penchant for all things artistic extends from his day job at the Victoria & Albert Museum in London. It also helps a lot when his partner Mark is also a known creative person working as a Design Director.
Together, the two is now feeding Instagram with breakfasts of champions to die for. Who wouldn’t want to wake up with these sumptuous morning meals waiting at the kitchen table? Part of the couple’s intention is to show their audience that breakfast should also offer a manifold of choices “I have learned that anything can be breakfast,” Michael says. “Not everyone eats toast or cereal, and I really want to reflect that.”
Using only an iPhone 5s camera, Michael and Mark share their shooting and food preparation methods. In charge of the cooking is Michael, who also basically does the rest; like photographing and plating the food, while Mark is in charge of the ‘toughest’ task, of being served breakfast (but to be fair to him, he also helps research new recipe ideas). Having the same breakfast everyday doesn’t present any problems as both men admits they like the same kind of foods and only differs in coffee preference. “Mark likes sugar in his coffee and I’ve been trying to wean him off. Lunch and dinner are almost always eaten asymmetrically!”
Traveling together also helps them create more variety in their breakfast, as they are continuously learning new recipes and get exposed to new methods of food preparation. “When we travel, we still do it every day. Italy is always a tricky place for breakfast because so much emphasis is on lunch — breakfast is normally small, sweet and express. Sometimes it is a bit stressful waiting for a table with the right light but we’ve managed so far!”
“Lighting for me is everything. Real daylight is beautiful, and it’s very hard to replicate. I have some studio lights in my dining room for the winter, as we have to leave before sunrise on some days. For backgrounds, it’s about having a texture that enhances and frames the food and the plates. Ultimately I want to focus on the food, not the background.”
Michael likes have the photograph ready for upload on their Instagram account while their breakfast is still hot. “For a very long time it was just the Instagram editing tools and nothing else. About three months ago, someone told me about VSCO Cam, and only last week did I download SKRWT, which is super handy, as more than most I need to try to achieve consistency across all the posts.”
The couple started garnering followers after a few dozen Instagram pictures, remaining anonymous to the point that some followers would assume the account is managed by a woman. “I guess because they think it’s the mother, girlfriend or wife who provides. One person I met said they had thought I was a young Asian girl. That was weird.” Michael tells the Guardian.
In this age where social media including Instagram is filled with images of food and of people eating food, Michael have an answer as to why theirs is more than unique “I think people like it because their own breakfasts are so boring. Every day they have porridge. People say they love breakfast, but they only make an effort at the weekend. I hope we might inspire them.” I guess he was right, I’ll probably start exerting more effort in preparing my breakfast tomorrow.
Make sure to follow Mark and Michael’s in Instragram @symmetrybreakfast for more mouth watering breakfast photographs.
Photographer Matt Black captures the physical terrain of economic inequality and so much more.
These days everybody gets confronted with poverty in one way or another. Relatives, close friends, neighbours, life can get rough sometimes. Many of us take it for granted because that’s just the way it is, right? Photographer Matt Black shoots about these themes and by doing so, he shines a light on stories such as a family are being evicted or people living their lives as immigrants.
Black is from California’s Central Valley, and much of his work touches on the themes of poverty, migration, traditional farming life and the environment in rural California and in southern Mexico. His work has been honored by the World Press Photo Foundation, National Geographic, and many others.
Since 1998, he has been documenting communities through the same thematic subjects like migration, agriculture and rural poverty. Black is mostly inspired by the socially committed photographers of the 1930s. He spends months, and sometimes years, photographing a particular place or community. With these images he raises awareness of the overlooked and marginalized populations for whom the American Dream didn’t worked the way the wanted to.
In an interview with TIME, Black talked about his motivation for shooting these subjects. “Poverty and place are so closely related that it’s taken for granted, and it’s a mindset that enables the kind of shoddy treatment that poor communities receive: bad roads, dirty water, crummy schools, polluted air. All these things are a reflection of power and acquiescence. Both photography and maps can play a role in highlighting that, and I think social media can, too. There does seem to be room on sites like Instagram to deal with serious issues, and so far the reaction to this project has been good”.
Many believe that their Zodiac sign dictates everything from their love lives to their fashion sense, and Indian photographer Tejal Patni set out to replicate these correlation with his series “In Love with Fashion Volume II,” for Splash Calendars.
This series beautifully portrays each Zodiac individually, and highlights what makes each one unique and special. Patni’s eye for detail and tone is incredible, and each image stands alone as a portrait of its respective cosmic sign.
Patni is a fashion and advertising photographer who was born in Bombay, India. He graduated from Sir JJ Institute of Applied Arts art school, has since made a name for himself with his very dark and fantasy themed photography projects. Many of his works can be described as “Tim Burtonesque,” and you can sense a strong comic book/fantasy influence throughout many of his photographs.
All photographs ©Tejal Patni
You can see more of Tejal Patni’s work here at his website.
Phase One and duPont have teamed up to put together a rather ridiculous (in a good way) workshop in St. Petersburg, Florida on February 21. The two companies are providing you access to the most exclusive cars and camera systems in the world as well as providing you with an exclusive tear sheet from the highest regarded luxury publication.
Join Phase One, Capture Integration, photographer Chris Garrison and his team at the duPont Publishing headquarters in St. Petersburg, Florida on February 21st 2015.
During the first part of the workshop, Chris will guide you through his photographic process from capture to post production. In the afternoon, participants will break into groups of three. Each group will be given a Phase One IQ250 camera system and access to one of the luxury cars provided by the duPont REGISTRY and Autofluence. Cars available for workshop attendees will include the in-house duPont Supercars and Nascar race cars actually used by the top drivers.
You’ll get a chance to meet Steven Chapman, Editor and Chief of The duPont REGISTRY, over cocktails. Steven will talk with you about what he looks for in images and give you some insight on how to break into the commercial and editorial of high end Supercar and classic car photography.
At the end of the workshop, Steven will select a set of images to be published in an upcoming edition of the duPont REGISTRY. All other attendees will have their photos featured on the Autofluence blog and duPont REGISTRY Facebook sites (4,805,875 likes and growing!)
Chimera Lighting, one of the most trusted and well-loved lighting companies around, is on the search for their next Visionary Photographer, and it could be you. If selected, you would become a sponsored Chimera shooter and be asked to photograph their 2015/16 ad campaign with a top creative team in Miami Beach. The Visionary Photographer Search is open for digital submissions until the end of the WPPI 2015 expo in Las Vegas on March 5th. As the winner you will join the Chimera Visionaries and supercharge your career by getting published. Images must be lit with flash or continuous light. The judges are Visionaries Jarmo Pohjaniemi, Adrien Broom and Lucas Gilman.
There are few opportunities to go from unknown to powerhouse, and this is one of them. You can submit your entry at Chimeralighting.com.
Yesterday, Feb. 11, pioneers of light field photography Lytro showcased the capabilities of their flagship camera, the Illum, in wedding photography at their “Love and Weddings in a Different Light” event. The demo was held at Vanderbilt Hall in Grand Central Station, featuring designer dresses, a 20-foot Godiva chocolate sculpture, as well as a workshop with wedding photographer Charles Maring.
Despite having yet to shoot with the Illum myself, I’ve always been critical of light field photography. Perhaps it’s because I assume there’s a catch associated with any product promising unlimited focus. Or maybe I’m just a cynic—but maybe not: After yesterday’s demo I’ve found there are certainly limitations with this camera. However, it’s not to say that mostly all of them aren’t manageable if you know what you’re doing. And despite the multitude of negative reviews, it seems like the Illum has yet to tap into its core market. Could wedding photography be the answer?
After speaking with Maring, it was difficult to ignore the advantages of shooting a wedding with the Illum. First off, there’s the obvious interactive aspect: Who wouldn’t want turn their wedding photos into an interactive 3D experience? Second, it creates new selling points to set you apart from your competition. Sure, Uncle Bob can shoot smooth, balanced photos with his full-frame DSLR. With the Illum, however, you can not only shoot “living photographs,” but present them in 3D and 2D slideshow animations as you capture the most endearing moments of the day.
And yet, my biggest concern isn’t so much the camera’s capability of rendering immersive imagery, but rather its lack of versatility. With a fixed aperture of f/2 (which can be modified when uploaded to Lytro’s desktop software), I asked Maring how it handles in low light. He said: “I find that it can function well up to a 800 ISO before you begin to see a decrease in quality.” So that’s not too bad, but it does mean you shouldn’t leave home without a tripod, lighting and a flash. Another concern of mine is speed. At a wedding you need to be quick—it’s almost too easy to miss a once in a lifetime moment. Maring told me that it can shoot up to 3 fps. I’ve seen bouquets fall faster than that.
Lytro claims to be changing the way everyone takes and experiences pictures. Even yesterday, a representative explained to me that “there was film, then digital and now there’s Lytro.” Do I believe it’s a plausible replacement for a DSLR? No. But I think it could potentially become a particularly worthy added bonus—although I can’t say for sure until I hold one in my hands.
In this modern age of robotics and machines crafting much of the items we see around us, very few of us pays notice to the remaining members of the working class who still toil with their own set of hands, creating things we still find useful. Such is the case of the skilled laborers whose artistic prowess and form were perfectly captured by the camera of photographer Dean Bradshaw in his ‘Craftsmen’ series. Bridging the gap between today to decades past where workers mostly work with their hands as opposed to pushing buttons of machines and computer keyboards. With each of Dean’s composition, the art of crafting a creation isn’t lost in each chirping of a wood by a carpenter or every sparks produced by a machinist, shot on each workplace location in downtown Los Angeles and Venice, California.
To learn more about this fascinating series, Resource Magazine reached out to Dean Bradshaw for a short interview:
1. What inspired you to tell a visual narrative of the working class in your Craftsmen series?
Both conceptually and visually, I’m inspired by the idea of craftsmanship and the lifestyle of people who create by hand. Much of my work is character driven, and these craftsmen embody an element of authentic character that is quite unique and in need of celebration, particularly in the west where these ‘small trades’ are becoming less and less common in the face of mass production. Visually, photographing and filming these guys is somewhat irresistible. They are often working in workspaces that look like something out of movie set – filling it with sparks and smoke as they work away. While to them the work is often simple and uninteresting, to an outsider it can be fascinating. I also think part of my interest is a reaction to the prevailing digital lifestyle we all find ourselves in – constantly tethered to our devices, clicking away and infrequently creating something tangible. The overwhelming desire to explore and show lifestyles that are so different to my own was definitely one of the driving forces behind this series.
2. How do you set up the visuals and the mood for each of your shots?
This series was really refreshing for me, as I relinquished so much of the order and control that is such a big part of so much of my commercial work. My work is generally intricately planned and
story-boarded, with large production crews and all the bells and whistles. This series was the opposite. I shot each series with the help of one or two assistants and I would simply follow these craftsmen around as they went about their day.
I offered almost no direction, as each of them were on the clock and I didn’t want to interfere with their ability to get their work done. In this sense the photography process was very much documentary inspired, although the cinematic lighting was based more on my experiences shooting motion and creating mood, an important component in most of my work. I have spent a lot of time shooting motion alongside my stills projects. This has taught me so much about working with available and continuous light and blending the two. I knew that I wanted to bring a dark, dramatic mood to these images whilst keeping the series as authentic as possible by leveraging existing light – so we augmented with continuous Kino Flo and LED sources where needed.
3. What are the similarities and dissimilarities of a craftsmen with a photographer?I think in the past when we used film and developed in a darkroom there was more of a physical
similarity in that we’d be creating tangible products and working manually. It was arguably more mysterious and romantic than the digital process, though that had its advantages and disadvantages. Now, with digital photography, I think the lifestyles are quite different. As a commercial photographer I find more of my time than I’d like is spent at a desk, on email, conference calls and in post production. I think in many cases we yearn for that tactile approach, hence my fascination with people creating by hand.
4. What kind of camera and gear do you always bring to a photography shoot?
Every shoot is different, but as of this moment I primarily use two cameras for my photography, a Phase One IQ180 and Hasselblad H4x body as well as a Nikon D810. I shot most of the craftsmen series on the Nikon D810, although the woodworker was photographed with the both the D810 and Phase One IQ250 which I was testing out at the time. I am very much into lighting in my work, so bringing the right lighting equipment is very important.
I generally use strobes for my photography, but on this series used a combination of Kino Flos and LED sources to augment the existing light as I find them more intuitive to blend with available light in these kinds of scenarios.
5. Any other photography projects coming soon?
Besides the commercial projects that are the basis for much of my work, I’m always working on a number of different personal projects at once – I think it keeps my attention span and curiosity
satisfied to bounce between different things. This year, I’ll be extending the Craftsmen series with video components to support the stills and also continuing the ‘Golden Years’ series that I started last year, showing seniors engaged in more youthful pursuits than one might imagine. We also have a couple of overseas trips planned for a new series that I’m really excited about.
This smiley face was actually a pair of galaxies making up the eyes and a mouth, caused by an effect known as “strong gravitational lensing.”
On NASA’s website, they describe how this effect is created:
A ring — known as an Einstein Ring — is produced from this bending of light, a consequence of the exact and symmetrical alignment of the source, lens and observer and resulting in the ring-like structure we see here.
But enough of the science. It’s best to just think of this as the Universe shooting us a quick and friendly smile.
Are you embarrassed by your old yearbook photos? You shouldn’t be, because those young and awkward picture of you can be amazing, it just depends on how you look at them.
Photographer Jeffrey Vanhoutte set out to capture the nostalgia of yearbook photos and combined it with his sleek modern tone for his series “Yearbook.” This collection captures both the awkwardness and beauty wonderfully, and it makes for some very interesting contrast.
Vanhoutte is a photographer that currently works with mostly Belgian and international clients. He has a degree in professional photography from Coloma School in Mechelen and began working as a freelance photographer at the age of 21. Although he started by shooting food and other still life photography, he eventually moved on to working with models.
The series “Yearbook” was a collaboration with Van Loenhout Salon that aimed to show off contemporary hairstyles with a retro and nostalgic tone. It works great, and really highlights the style by contrasting it with the aged and awkward feeling of the rest of the model’s body and their environments.
“‘Yearbook’ reflects a number of fashions and fads from the last decennia, drenched in the atmosphere of American College where yearbooks have long predated Facebook.” says the caption of the series in the book: Hair by Loenhout
“These awkward yearly reports were filled with pictures of boys and girls with unflattering hairdos, glasses and other nerdy accessories, oblivious to the shame they would feel in years to come.”
(All images ©Jeffrey Vanhoutte)
Check out more of Jeffrey Vanhoutte’s work here on his website.
On March 5th, 2015 Kevin Kubota is starting off the WPPI Expo in Las Vegas with his Photographers Ignite event, and if you’re seeking some amazing inspiration, this is the place to be. Every year since 2010, Kubota’s been gathering some of the most innovative and creative photographers in the industry, for an evening of inspirational and thought provoking presentations. It has been called the “TED Talks” of photography and consists of 12 different presenters each giving 5 minute presentations on a wide range of topics. You’ll laugh, you may even cry, but you will definitely learn something!
Watch Sarah shoot and learn why Capture One Pro 8 is her RAW converter of choice and see just how invaluable a tool Capture One Pro is in an industry where efficiency and consistency are the keys to success.
“Capture One Pro 8 is stable, it’s faster! There is a smoothness to it. That coupled with the IQ250 – it’s like the dream team!”- Sarah Silver
Mixing her fascination with Renaissance paintings and U.S. Fast Food Culture, German photographer Rebecca Rütten came up with her Contemporary Pieces series. The series highlights our unhealthy habits, as visually presented in a canvas filled with humor and the added ingredient of Renaissance eroticism.
”I became enamored with the eroticism, presentation and charisma of paintings from the Renaissance Period. In the Late Renaissance, Italian and Dutch painters dealt with the middle and lower classes. In my opinion, Fast Food Culture represents these two social classes in the U.S. today. To eat healthy is expensive. However, one can buy large amounts of food at a fast food restaurant for a comparatively low price.” explains Rebecca on her website.
After spending time leafing through various reading materials about the Renaissance at the University Library, Rebecca became riveted with the works of Italian painter Michelangelo Merisi da Caravaggio, who uses the services of ‘laborers, gypsies and prostitutes’ to model for his portraits, thus combining a “realistic observation of the human state, both physical and emotional, with a dramatic use of lighting.”
All of these elements of Caravaggio’s style and the Renaissance influence gave Rebecca a creative juice to conceptualize her own twist and come up with this inventive idea for a photography series. “I asked friends to model for me and recreate the poses of the people in the paintings, with the new touches that I added. I like the fact that my friends in these photographs have tattoos and piercings. It underlines the concept that they are ‘Children of the Modern Age,’ having been brought up in the changing America, often defined by the culture of Fast Food.”
For more about the Renaissance period and its influence to modern photography, check out the latest print issue of Resource Magazine—available online and in Barnes and Noble.
View more of Rebecca Rütten’s work on her website.
My destination Location Lighting Workshop held at the Societies Photographic Convention, aka SWPP in London resulted in some wonderful images and was an event teeming with an abundant source of gear and creative alternatives. The workshop was held at the Asylum, at Caroline Gardens Chapel in Peckham, London.. The Asylum was built between 1827 and 1833, bombed during WWII and semi restored. This provided an incredible place to hold a lighting workshop as it afforded us endless possibilities to create moods and scenes depicting a variety of situations. We had two great models and masses of equipment courtesy of The Flash Center, Rosco and Chimera Lighting.
The lighting on this image was an Elinchrom Ranger Quadra strobe with a Chimera Strip Light on the right side of the model. On the left side of the model and slightly behind her was another strobe with a Rosco #83 Blue gel. Placed in front of the blue gel was a grid made out of Rosco CineFoil to control the light direction and break up the light beam. The smoke was created using a Rosco Vapour fog machine.
If you back light your smoke, it will have a greater effect. This is true when using a fog machine or when photographing smoke from a cigarette or cigar. This photograph was shot on a Nikon D-800 with a 24-70 Nikon lens at 35mm, 1/100 of a second at f5, ISO 100.
The photograph below is a mixture of strobe and ambient light. The light on the models face is from a strobe through a Chimera 30″ beauty dish. The light on the left side of the background is ambient light and the colors were from the bright sunlight shining through the stained glass windows about 20 feet above the floor. This was shot on a Nikon D800 with the lens at 24mm , 1/125 of a second, at f 4 ISO 1000.
Here are a few more images from the Asylum workshop.
At every “Location Lighting Workshop™” we create our “silly group photo.” Above is the Asylum image. Thank you to Canna Gray of Rosco and Ian Pack of The Light Side for all their help during the workshop.
Please join me at one of my upcoming “Location Lighting Workshops™”. Click here for the schedule.
[header image via Flickr ©Reading Tom]
By Michelle Park – Photos by Melissa Rodwell
An accident led Melissa Rodwell to fashion photography—literally. “I had a job as a studio manager and I hated it,” recalled Rodwell. When she received 5,000 dollars of insurance money from a car accident, she bought a ticket to Europe. During her stay, she landed her first photography gig. “I came back with some tear sheets and money.” Back in her self-described “hell” years as a young fashion photographer, Rodwell made her living from paid testings. It wasn’t until three years after her graduation that she got her first big break, working with Sassy Magazine. “Network as much as you can,” advised Rodwell. “It was a tough industry 25 years ago when I started, and it’s even tougher now, because every kid has a DSLR, a pirated version of Photoshop and Instagram.”
Wanting to put her hard-learned experience to good use, she started in 2008 the aptly named Fashion Photography Blog, in which she gave advice to aspiring and up and coming photographers. She is now expanding her educational effort, partnering with Marius Troy, the Creative Director behind Ben Trovato, a blog dedicated to finding new talents in fashion photography. Together they are launching Breed, a blog and workshop series that cover all aspects of fashion photography, from technical know-how to effective networking.
What made you pick up a camera at 17?
I knew from a pretty young age that I wanted to do something in the fashion industry. I went to Paris when I was seventeen, and I saw there a Helmut Newton exhibit that just blew my mind—I realized then that I wanted to be a photographer. I was interested in taking a garment and putting it in a situation and a fantasy, rather than creating a dress from scratch. Where would this dress be seen and how would it be worn? Who would wear it?
Let’s start with Fashion Photography Blog, your first blog. I love that it had a voice of an intimate and honest narrator, opposed to of a stark reporter or a journalist. How did you come up with the idea for this rather “personal” blog?
When the idea came up, I was kind of against it at first, because the industry is pretty guarded. I thought I would get slammed by my peers, but I eventually gave it a try. I just write how I speak. I started out writing “personalized posts” to talk about my opinions, feelings and the truth of who I am. My sincerity did make a difference—the readers were really happy to hear somebody be honest for once.
You’re about to launch a new blog called Breed. How did it come about?
I met Marius Troy at New York Fashion Week last fall. The minute I met him, I knew that we were meant to do something together. Over the next couple of months, we decided that we were going to expand on the Fashion Photography Blog. Breed is an education website for aspiring and emerging fashion photographers. It’s going to have videos, downloadable tutorials and interviews with people like Peter Lindberg.
Do you think that a blog can replace going to a photo school and teach people enough that they can succeed in the industry?
I didn’t used to think so, because I went to Art Center College of Design in 1984, which was very difficult to get into at the time. It took me three times to get into the school, and it was even harder to stay in, finish and graduate! Back in the early ‘80s, there were only four photography colleges in the United States, but nowadays, it’s a circus. Students are spending anywhere from 40,000 to 120,000 dollars on education, and they come out with mediocre portfolios that can’t compete in the market. What they really should have done was go out, assist, test and build up their career that way—I don’t think it’s important to have a diploma.
What is your word of advice for emerging photographers?
First, you have to be super passionate about it. One girl asked me couple days ago, “Should I get a night job?” I said, “Yes.” It’s tougher for girls to get assisting work, because photographers feel bad about making them carry heavy shit, but keep at it. Work at a bar as a waitress—you have to be willing to make sacrifices. There’s a really rare case in which you test for a year and get discovered by an amazing agency that starts developing your career, but I haven’t heard of that recently.
“How do I get published and how do I make it in the business?” Rodwell receives hundreds of emails with those kinds of questions every week. For those who are seeking similar advice, Breed is offering 3-day workshops on lighting, retouching and pep talks on the fashion photography industry—their first one took place in New York in September.
This story first appeared in the fall 2013 issue of Resource Magazine. Visit the Resource Shop to pick up the latest copy.
If there’s one thing you should know about Resource it’s that we know how to party, which is why we couldn’t be more excited to co-host the black and white themed WPPI Expo After Party with RGG EDU, and sponsored by Lensrentals.com, Chimera, BH Photo, Hasselblad, The Headshot Crew, ROSCO, F-Stop Gear Bags, Lost in PrintBlack and BlackRapid.
The party will kick off at 10 p.m. on March 2 at Studio West Photography. You can expect photo booths, entertainment and, of course, plenty of great (stiff) drinks, along with a ton of awesome giveaways, swag, coupons and a chance to win a brand new iPad.
The first 50 people to arrive will be awarded an exclusive SWAG BAG containing a ton of epic gifts from the sponsors. At 10:30 p.m., mad man Peter Hurley will be hosting the Rock Paper SHABANG contest—an RGG EDU party tradition—for the first 100 people to enter. The winner will receive a brand new iPad and the runner up will receive a TBD prize.
Tickets are limited and pre-registration is required. General Admission tickets are free with valid e-mail address. Reserve your tickets here.
If you need any consolation that this will be a night for the books, recap our 2014 Halloween Extravaganza and RGG EDU’s B&W after party during PPE 2014 below.
For our 2014 Halloween Extravaganza with Scheimpflug Rentals and Hasselblad Bron, we made it rain throughout the famed Bathhouse Studios with a stripper pole and an epic Bullet-Time Rig engineered by Scheimpflug.
Remember the naked caveman from RGG EDU’s B&W party during PPE 2014? Maybe it’s not the last you’ve seen of him..
What better place to join forces like these than Vegas? Reserve your spot today!
Start-up has been a hot word recently, and there are many new companies out their looking to lead the next big revolution in their industry. The photography world has been teaming with new start-up recently, and here are a few you may want to keep your eye on.
Rinse is all about taking the time to tell the story that goes with your images. This site is invitation-only and every photographer’s work is reviewed for quality before going up. This leads to some amazing photo essays and stories being portrayed in a very clean and elegant fashion. If you have a story to tell with your work, this is a great place to do so.
This seems like a silly idea, but it’s actually pretty cool. This mobile photo studio unfolds and gives you a professional looking backdrop for quickly shooting small products anywhere. The Folio even includes a battery operated LED light.
This website is a simple source of free high-res creative commons photos. Every ten days they upload ten new photos, that anyone can do anything with. A simple solution if you simply need a quick image and don’t want to worry about infringing on someones copy-right.
4. NYC Type
If you’re a typography nerd and totally obsessed with design, you’ll love this site. NYC Type is a collection of typography designs around New York City that the site’s creators find unique or inspiring. An interesting idea, and a good place to go when seeking inspiration.
This is a great all in one app to help manage a photography business. with just one login, you can manage your entire workflow, portfolio, and marketing.
Feedback is critical to any creative person, (although not always fun or pleasant.) Dribble is a place where you can crowd source feedback on your creative works from peers. Think of it as a place to crowdsource your critical feedback, and share your knowledge with others as well.
These are a cheap and clever solution to video stabilization. This Kickstarted product features a simple adjustable tripod that rolls on skateboard style wheels. they’re a cheap alternative to expensive and bulky traditional stabilizers.
This site allows for anyone to request a photo of something, and photographers from around the world can submit their shots, with the winner gets paid for their image. It’s a simple and fast way for companies to crowdsource stock images.
Photographer Will Ellis has released his newest collection of photographs from his exploration of New York’s most remote and forgotten places, and his images are breathtaking and haunting. His new book “Abandoned NYC” captures a New York that is quickly disappearing.
Ellis has been faithfully documenting forgotten corners of the city since 2012, and has been sharing his discoveries through his blog abandonedNYC.com. Ellis does his homework on the places he visits and writes extensively about each location’s unique and fascinating history. His shots range from ruins of Coney Island to abandoned schools in Harlem.
Ellis’ new book has 150 color photos of lost places across the five Boroughs, and each location includes detailed information on the history of these forgotten places. “Abandoned NYC” is currently available on his website and Amazon. He will also be having a presentation and book signing at the Morbid Anatomy Museum in Brooklyn on February 18. You can get tickets to this event here.
It came as no surprise that the 2014 best in “HD Video – Travel Shorts” category of the Travel Photography of the Year Award went to this jaw dropping time-lapse photography of the Kumbh Mela festival in Varanasi, India. The event billed as the ‘greatest gathering on Earth’, was captured perfectly in various magical angles by photographer and visual artist Rufus Blackwell.
Held last February 2013 in the holy waters of the Ganges and Yamuna rivers, the momentous gathering was referred as the Maha Kumbh Mela, a religious festival held once in every 144 years. So if you missed this one, you probably have to knock yourself out for missing out on such eye candy gathering of photography subjects. Because of its rarity, the festival pulled an estimated 100 million people from all over the world with most of them Hindus from all corners of India and other cultural junkies, travelers and photographers.
Over a period of few days, the site becomes a holy congregation of peace loving people from all over, reciting prayers, bathing and fulfilling a vow of pilgrimage to their faith. This amazing display of unique culture and religion on this part of the world already elicits an awesome vision just imagining it, but for Rufus Blackwell, seeing is believing – so he went the extra mile to photograph it in various angles to properly document the grand scope of the Kumbh Mela.
Rufus describes his finished work as “an animated painting of the immense kaleidoscopic teeming movements of the crowds and the patterns they make as they move.” Using one of the best cameras in the market today, the Canon 5D Mark III, Rufus took advantage of its shooting power by using a 16-35mm f/2.8L and a 70-200 f/4L lenses, Rufus labored for two weeks at many hours each day to compile more than 80,000 images that gives a perfect visual narrative to this amazing event.
Check out the other time-lapse photography work of Rufus Blackwell here.