Array (  => WP_Post Object ( [ID] => 78023 [post_author] => 47243 [post_date] => 2017-04-12 12:13:38 [post_date_gmt] => 2017-04-12 16:13:38 [post_content] => Lomography Gallery Store in New York City is celebrating Film Photography Day today from 11 a.m. to 8 p.m. These "lomographers" created this Festival of Analogue to have film and photography lovers come together and share their ideas, push creative boundaries and embrace inspiration from each other.During this celebration, Lomography locations across the world will be launching their Lomo'Instant Automat Glass, a new instant camera, holding special workshops and online competitions where you can win some sweet prizes. There will also be some awesome deals on films, chat cameras and scanning techniques.At the NYC location, party-goers can get a free tattoo (with purchase of $30 or more) to show their analog love between 12 p.m. and 5 p.m. by tattoo artist, @AlishaGory of Sacred Tattoo. The only catch is it must be chosen from one of Lomography's designs, which has yet to be revealed on the internet.To continue showing love and appreciation for analog and photographers' work, the gallery collaborated with Pursuit of Portraits to create an exhibit showcasing experimental creativity.LOMO is welcoming film and analog lovers of all ages, background and levels of experience. They want people to know that whether you're a young student just starting out, or a professional who has been in the industry for years, experience doesn't matter, only your passion to create does.For more information about this event, check out the Lomography Gallery Store's Facebook event. It is going to be a celebration of "epic proportions," and you definitely do not want to miss it. [post_title] => In Honor of Film Photography Day, Lomography is Giving Free Tattoos in NYC [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => in-honor-of-film-photography-day-lomography-is-giving-free-tattoos-in-nyc [to_ping] => [pinged] => [post_modified] => 2017-04-12 12:13:38 [post_modified_gmt] => 2017-04-12 16:13:38 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78023 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 77967 [post_author] => 47235 [post_date] => 2017-04-11 15:55:50 [post_date_gmt] => 2017-04-11 19:55:50 [post_content] => Michael David Adams
and his wife, Viktorija, have always had love and respect for the water, from the gorgeous, exotic beaches and the smell of rain to the vast allure of the sea. Growing up, Adams studied martial arts for 10 years, and to this day lives by a Bruce Lee quote he discovered in his youth: "Be like water...," Lee said, because according Adams, "Water always knows what to do and where to go. It adapts and survives everything, it gives life, yet it also can take it away."
Today, Adams is a New York-based photographer who showcases his love for water by combining it with his passion for photography. He's shot for both international and U.S. versions of popular magazines, such as Harper’s Bazaar, ELLE, and Glamour, and has led fashion and travel photo shoots around the world. We caught up with Adams to learn more about what it's like to shoot beneath the sea. https://www.youtube.com/watch?v=kNEiUC_aoGU
Somewhere along the way, you apparently became interested in underwater photography, which is quite a niche area. Can you tell me about that?
On my honeymoon in Croatia in 2010, my wife’s friend from her youth, who is a scuba instructor and underwater nature and wildlife photographer, introduced me to underwater photography. She took us to an ancient shipwreck off the coast of the Omis, where my wife grew up. The depth was only around 10 feet, so we could easily hold our breath and get to the bottom with the help of a weight belt. The surface of the water that day was very choppy, yet when you got underwater it was calm and serene. It was there, standing on the bottom of the sea in the crystal clear waters of the Dalmatian Coast, a place where the human body is not supposed to be, with schools of fish swimming around me, that I became obsessed with taking my personal style of photography to the underwater world and making it a reality. Photographing for intentional results underwater can be very challenging, but the imagery you can achieve is unmistakable. Well-executed underwater fashion photography is beyond inspiring to say the least.
Viktorija and I started our careers independently, but we met early on and developed our skills, talents and vision together. Creating images and all sorts of things together has been the underlying theme of our relationship and is one the joys in our life. One main goal of ours is to always better ourselves, personally and professionally, so we have the respect and ability to be more honest with each other about our shoots and what we would like to achieve, or what we can improve on in the future, perhaps more so than other creative partners. Having been born on the Dalmatian coast of Croatia, Viktorija has always had a love for water too, but it’s more me that had the desire to explore it as an environment for photography. We're excited to work together on anything, and the thrill of water work is an added bonus.[caption id="attachment_77994" align="aligncenter" width="786"] "Sent From Above" by Michael David Adams[/caption]
Have you ever encountered any dangerous situations, especially working with models that are perhaps untrained, on underwater shoots?
When shooting underwater, safety is the utmost importance. Many things have the potential to go wrong or not as planned on any shoot, and working underwater raises the level of things to be prepared for. On my first shoot, I had a scare for myself, when in a moment of exhaustion, I almost couldn’t get back up to the surface when I needed to breathe. I was in only about 4 feet of water but was practically laying down on my back on the bottom and I had weights on my arms, as I hadn’t known fully yet the best places to wear weights. I didn’t realize how tired I was, but couldn’t get my footing to get up. I had a minor panic moment, but quickly realized I needed to calm down and just roll over to get feet and legs under me. So having experienced that myself, I always make sure the models and crew are safe and explain everything to them about the shoot requirements and safety aspects of working underwater.
"The project is our way of interpreting fairly tales and folklore in ways that visually speak to us."
You've built an impressive portfolio of underwater work. Is there a particular shoot or image that stands out to you?
I don’t always use compressed air to breathe when I shoot. It really does help, but if not everyone is using air, it can potentially be a little bit of a communication barrier between the photographer and models. If I'm the only one who has air, I still like to start out the day with the models doing breathing exercises for them to get the hang of controlling their heartbeats and breathing to keep them relaxed. It can be exhausting work and confusing at times, so communication is really important.
I’m super in love with the SnowDrop
series I’ve just finished. I had a vision of depicting SnowDrop,
which is the original title of what's become known as Snow White
, while she was unconscious in the forest after being poisoned. I’ve wanted to begin incorporating my underwater photography into our Story-Tellers
project, so what better way to show a person in suspended animation then to be floating underwater.
I also really love the Breath from Another series, a story of lovers who depend on each other to share their breath of life. I enjoy working with multiple people, capturing the interactions or tensions between them. I definitely want to shoot more multiple people underwater in the future.
[caption id="attachment_77992" align="aligncenter" width="1571"]
"Breath From Another" by Michael David Adams
On your website, you say Story-Tellers is "a very special project by the husband and wife team." What makes it so special?
This project is special for many different reasons. The first one is for our daughter who is 2-and-a-half years old. She has brought so many wonderful things to our lives, so projects like this take on new meanings and understandings. Viktorija, having grown up in Eastern Europe, was raised with a respect and teachings of fairytales and folklore that isn’t really taught too much here in the U.S. anymore. She was shaped by Hans Christian Andersen stories and various Grimm fairy tales, among other local folklore. Unfortunately, during the war in former Yugoslavia, that precious book was lost and she always had a dream of creating her own book as an homage to her childhood and others who grew up with fairy tales and legends as learning tools.
The project is our way of interpreting fairly tales and folklore in ways that visually speak to us, and ways that we would love to see. Our lives in the industry have always been about telling stories through photography, either in the realm of fashion or beauty or commercially in advertising. This project allows us to approach image-making from a more artistic side of the craft. Although we still love to incorporate fashion and the other industry specialties we have access to, this project is also very much about collaboration of artists and creative minds.[caption id="attachment_77993" align="aligncenter" width="786"]
"Heavy Like Rain" by Michael David Adams
Can you elaborate more on some of the specific stories and tales you're interpreting?
The concept of the project is not strictly stories that have been previously written or documented, for example, the first image we did is a vision of Viktorija’s, which she called “Rush.” She wanted to portray what it felt like when you've been emotionally frozen for a long period of time, and something or someone comes along to help bring those inner butterflies back to life and bring color back into your world. Another one of her concepts we brought to life is called “When I grow up,” which is the dreams of a little girl who sees herself breaking free from her cage that holds her, flying free with the birds among the vibrant colors of her new and future world.
The very latest image I finished is a concept I photographed with our daughter. A friend in Croatia, who is also a photographer, asked if I would participate in an upcoming show for National Geographic, where photographers he knows from around the world would contribute an image to a projection wall installation that pertain to his overall show. The images all show a person with a finger to their lips, to say “shhh,” and is a comment and contemplation on global warming for an Earth Day event. I immediately knew I wanted to use our daughter as the subject to represent youth and the future of the planet, as well as a composition of NYC buildings with the tide rising around her. It was great to photograph her as well as the city, and perfect for our project with such an important and relevant message behind it.
[caption id="attachment_77990" align="aligncenter" width="617"]
"The Witching" by Michael David Adams
[post_title] => Diving Into the Mystical Underwater Photography of Michael David Adams [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => diving-into-the-mystical-underwater-photography-of-michael-david-adams [to_ping] => [pinged] => [post_modified] => 2017-04-11 16:44:44 [post_modified_gmt] => 2017-04-11 20:44:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77967 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 77940 [post_author] => 47243 [post_date] => 2017-04-10 15:13:04 [post_date_gmt] => 2017-04-10 19:13:04 [post_content] => Pedro Oliveira began taking pictures as a hobby. It was his way of coping with his homesickness, in which he spent about half a year polishing his skills. At the time, he was living in the rainy Portland, OR, a completely different climate and landscape than his home country of Brazil. One day, during a walk in a local park, he found his passion for portraiture, and his project, "Careful: Soul Inside," began.For two hours, he had unsuccessfully searched for squirrels to photograph, when he sat down on a bench and started chatting with a white-bearded man. He soon learned the man was homeless."After talking to him for a couple of minutes, I asked him to let me take his picture. At first he was hesitant, but eventually he relented," Oliveira said. "That picture was entitled 'King James,' and became one of the most award-winning pictures in my portfolio."[caption id="attachment_77944" align="aligncenter" width="2048"] "James is a homeless guy who lives on the neighborhood, and I always see him around. Different than most of the others he doesn't drink, smoke, or ask for money, and is often reading magazines or newspapers that he carries around. Today he seated next to me, looked at the camera and asked if I " take pictures." I said yes and we talked for a bit about it, and after a while I asked if he would mind me taking a picture of him. He was very shy, and at first he didn't agree, but after I asked him to take one of myself he was so excited that he allowed me to take this portrait of him."[/caption]Oliveira quickly received an immense amount of positive feedback online, so he decided to create an entire series dedicated to highlighting the issue of homelessness. "That was when I realized that by taking pictures of homeless people and telling their stories, I could encourage awareness of the homelessness issue and make people, who would otherwise be unaware of the issue, pay attention," Oliveira said.Since July 2015, Oliveira has captured over 50 portraits on the streets of Portland, as well as various locales in Southern California, Brazil, Denmark, and the UK. Most of the photographs he publishes are accompanied with the stories of these homeless subjects, depending on their conversation. Sometimes, subjects are hesitate or uncomfortable with telling their stories; other times they'll give Oliveira something to write about. When approaching subjects, he doesn't come at them with a camera. He likes to get to know them first, then inform them about his project, show off some previous work and ask permission to take their photo."Whenever I see interesting subjects, I approach them, and most of the time, I don't even take my camera out at first. I talk to them and listen to whatever they have to say," he said. "Sometimes I can capture long narratives, at times just a quote. What matters to me is telling their story as accurately as I can, regardless of whether what they're telling me is true or not."[caption id="attachment_77943" align="aligncenter" width="2048"] "Veronica told me that no one but herself was to blame for her condition. She explained that it started on her early teenage as a form of freeing herself, but she realized she had dove too deep to get back. After editing this pic I sent the result to her and the answer was just heart-breaking: "I loved it, but it made me cry. You're able to frame my soul, capture my feelings and show me how I actually look like".[/caption]One experience that sticks out to Oliveira was a touching conversation he had with a subject named Veronika. She was a 26-year-old girl who became addicted to heroin at 16 and has since struggled with this addiction for 10 years."Perhaps because she was the same age as my sister, Priscila, and had a fun personality, it touched me personally," Oliveira said. "I still think about how Veronika is doing even today. I really hope to meet her again someday and to find that she has recovered from her tragic addiction."As one could imagine, there are several difficulties that arise when dealing with a prominent issue like homelessness. Oliveira said there are two major problems he faces when photographing these subjects: not connecting with them and apathy. He has taken over 50 portraits since 2015, but capturing photographs of the homeless has not been easy, as the number of times he's been turned down is more than the number of times he has actually gotten a shot. He said his subjects have often been suspicious about his intentions, but when someone says no, he makes it a point not to persist.In regards to apathy, Oliveira said people tend to develop this feeling about the cause at hand. He said to some, his project has lost its novelty and relevancy, so people nowadays tend to lack indignation toward issues like this. "Somebody being on the streets due to mental illness, domestic abuse or losing a job isn't new anymore, so people tend to eventually accept it as part of our society and therefore not care," he said.[caption id="attachment_77945" align="aligncenter" width="2048"] "Glen was born in Southern Oregon, has never been anywhere else but the great and pretty state of Oregon. He never got a college degree but has (proudly) never been a vagabond either: 'I worked yes, yes. I used to be a bartender, labor worker, lumberjack. I've done many things, but when one gets old and the economy crashes at the same time...' He stops for a minute and looks always, like if he was actually thinking about how he did end up there, then continues: 'Not all of us are bums, you know? I don't even drink. I smoke but a lot of people do. Everybody does.'"[/caption]However, there are many positive sides to the project as well. Oliveira has received supportive responses from both strangers online and those in the real world. And to some extent, his series has become an embodiment of the phrase "a picture is worth a thousand words." Oliveira said he thinks the series became popular because it gave those looking from the outside in a new perspective, and that the essays are complementary and essential in understanding the final work."Their eyes scream emotion. You can see it clearly—their pain, their hopelessness, their fear of rejection. Nevertheless, I believe what made the project so popular is knowing a little more about who they are," he said. "You have a different perspective when you are looking at 'Glen, a guy who lost everything after working hard all life long,' than just looking at a sad face to which you cannot relate."[caption id="attachment_77946" align="aligncenter" width="2048"] "Sandra is a StreetRoots’ vendor that I met a couple of months ago. Always very polite and upbeat, what called my attention on Sandra was her style. She is always in my neighborhood and every time I see her, she is wearing a different fancy and stylish dress."[/caption]Oliveira said he hopes to bring awareness to an important issue through his artistic vision, and while he appreciates his audience's love for his work, he wants them to realize that there is beauty everywhere, and that everyone is equal."The best way to put this is quoting what Glen, one of my subjects, told me, during our conversation: 'Not all of us are bums, we just had bad luck. Most of society is one bad paycheck away from being where we are.'"For more beautiful shots from this project, check out Oliveira's Instagram. [post_title] => Photo Series Captures the Tragic Spirit of the Homeless [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => photo-series-captures-the-tragic-spirit-of-the-homeless [to_ping] => [pinged] => [post_modified] => 2017-04-10 15:13:04 [post_modified_gmt] => 2017-04-10 19:13:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77940 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 77880 [post_author] => 25217 [post_date] => 2017-04-06 10:09:39 [post_date_gmt] => 2017-04-06 14:09:39 [post_content] => Internationally Acclaimed Photographer Joe McNally is not the type to wait for brilliance or inspiration to strike. Instead, throughout his career, he's focused on developing a reliable strategy and craft that could be applied to every scenario, client or assignment. He's created a unique way to make his work stand out, using his method of constant creativity—and a steady stream of income—to live and work by what he calls his “Rolodex of Survival.”But the good news is he's not one to keep secrets. In fact, he values photography community as a “pass-it-along” society; he believes in sharing his knowledge to help photographers gain the confidence and versatility needed to shoot in any scenario, and the professionalism needed to handle any client.https://youtu.be/kJcAoTW4vEkThis is why he's partnered with CreativeLive for an in-depth, 16-lesson course, Lighting, Logistics, and Strategies for a Life in Photography, that can be watched live entirely for free. The class runs from April 5 - 7, covering everything from the technical learnings of a photo shoot to a deeper look at how to conduct business as a career photographer. [caption id="attachment_77882" align="aligncenter" width="1024"] © Joe McNally via CreativeLive[/caption]Here are some of the specific things covered in the course:
Can you tell me about the post-production process behind your work?
Post-processing can be a big part of some of the images from the project, but it depends on what the vision is for the final image. I’m not opposed to composition work and even enjoy the aspect of the images being a new “multi-media” endeavor, but I do try to get most of “the shot” in camera when ever possible. For example, the image of “When I Grow up” is photographed all in-camera. For that image, we collaborated with the amazing costume designer, Miodrag Guberinic, who designed the headpiec, (as well as created the butterflies for “Rush,” and Viktorija painted the watercolor background, then created the makeup to feel the same as the paintings, as if she was painted too. I do, however, have a lot of ideas that have to be done as composites, as it’s impossible to do otherwise or without a million dollar budget.
“Snowdrop,” which was partly a collaboration with the New York Fashion designer Morgane Le Fay, took a bit of time to do from concept to finish. I photographed the forest during December two winters ago, and then had to wait to do the underwater part until it was warm this past summer. I did have tree branches in the water for the closer shot, but then as the editing process progressed, my vision for the shot concept became much more than originally planned, so more post-processing than originally thought went into that one as well.
We have another image series coming, which we photographed in Venice while on a Fashion shoot. It will also become a composite shot with other elements needed to make it convey what I have in mind, being that we really couldn’t close down Saint Marks Square for a few days. But that would have truly been amazing to do and would have had stories of its own!
Click here to enter the CreativeLive broadcast now! Class is in session! [post_title] => Free Joe McNally Photography Survival Course on CreativeLive Happening Now! [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => free-joe-mcnally-photography-survival-course-on-creativelive-happening-now [to_ping] => [pinged] => [post_modified] => 2017-04-06 10:09:39 [post_modified_gmt] => 2017-04-06 14:09:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77880 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 77831 [post_author] => 47250 [post_date] => 2017-04-05 12:25:33 [post_date_gmt] => 2017-04-05 16:25:33 [post_content] => We’ve recently witnessed the shutdown of American Photo and Popular Photography magazines, two of the photo industry's longest running giants. In addition, in December 2016, Conde’ Nast set in motion a chilling example of what’s to come for the media conglomerate by dropping Self Magazine in print, going exclusively digital with “more cuts on the way.” With a rocky future ahead for other publication consortiums such as Hearst and Time Inc., it’s hard to gauge how far this epidemic may go and how fast it will come. About 20 years ago, during the heyday of the current titles that are now struggling, a professional photographer may have been hired for as much as $3000 a day. Today, it would be more common for a photographer to receive $250-500 per day from a major publication; over an 80 percent drop in their day rate. While this red flag has been waving since the dawn of the internet, it's only now that the "print is dead" threat is truly starting to come to fruition.
- Get an inside look on location, learning how to work with light to capture the story of your subject and their surroundings.
- Expand your knowledge in a studio setting by using multiple flash units to create various looks.
- Gain confidence in your career as a photographer by obtaining a better understanding of contracts and relationship management with clients.
- Learn more about your own work from Joe’s student critiques.
"New York Times is said to be "more than doubling" its day rate for photographers, from approximately $200-$250 to $450..." As editorial rates have been withering away, advertising budgets have been dropping as well. After speaking to a few photographers and understanding the many factors that play into their final profit from a job—such as usage, creative fees, equipment, pre-pro, and post—there has been a definitive decrease in rates. Today's advertising rates, for example, fall between $3000-30,000 a day while 20 years ago it ranged from $15,000-100,000 a day. On the high end, we're looking at up to a 97 percent drop in day rate. Now consider overall economic inflation and the number is even more staggering.However, it is important to note that it was recently reported that the New York Times is said to be "more than doubling" its day rate for photographers, from approximately $200-$250 to $450, still barely meeting the average editorial rate of today. Not to mention that this will be made possible by a rise in digital-subscription revenue that almost reaches the billions, according to a Times report.So what’s the connection between magazine shutdowns and commercial photography? Print publications are losing audience to digital platforms, which leads to lower budgets; companies and brands are reallocating ad dollars to digital outlets that can reach more people for less money, which means it is up to you, the photographer, to adapt to this ever-changing market.
"With photography becoming a commodity over an art, talented photographers are being found in abundance..." Even more, other tangible industries are dying off such as retail shops like Payless, Macy's and Staples, among others. This is a general indication that "IRL" (in real life) is becoming the greatest dinosaur of all, as we enter deeper and deeper into a digital reality. The appetite for content on the internet is bigger and hungrier than that of any print magazine in history, which means there is more content that must be created and the world needs it now.Can you still make a living as a professional commercial photographer? Absolutely, but the cards have changed and are continuing to do so. With photography becoming a commodity over an art, talented photographers are being found in abundance, equipment is becoming more and more accessible, and megaphones like Instagram are making it easier than ever to find them. That said, commercial photography is not what we traditionally know it to be, but it will evolve with our evolving world of content, opening new doors for those willing to create beyond what photography once was. [post_title] => The End of the Traditional Photo Industry is Now [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => the-end-of-the-traditional-photo-industry-is-now [to_ping] => [pinged] => [post_modified] => 2017-04-05 13:49:51 [post_modified_gmt] => 2017-04-05 17:49:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77831 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 8 [filter] => raw ) => WP_Post Object ( [ID] => 77337 [post_author] => 47246 [post_date] => 2017-04-04 12:27:52 [post_date_gmt] => 2017-04-04 16:27:52 [post_content] =>
Adolf Hitler [caption id="attachment_77798" align="aligncenter" width="625"] via se.pl[/caption]The Nazi regime preserved its own horrors in photographs. One photo shows institutionalized patients waiting behind a wired fence, with the caption: "Life Without Hope." The image was used as Nazi propaganda for their euthanasia program, an initiative the United States Holocaust Memorial Museum decried as "a rehearsal for Nazi Germany's subsequent genocidal policies."The Nazis unleashed their propaganda on youth as well; children were photographed reading anti-Semitic children's books entitled "The Poisonous Mushroom" and "Trust No Fox."
Joseph Stalin [caption id="attachment_77799" align="aligncenter" width="792"] via Wikimedia Commons[/caption]Stalin famously commissioned photographers through their news outlets to stage patriotic images of the Red Army.
Mao Zedong [caption id="attachment_77800" align="aligncenter" width="791"] via Wikimedia Commons[/caption]Mao Zedong of China would simply erase any face he didn't like from pictures. Peng Zhen, a vocal opponent of Mao's views that literature should reflect well on the government, was erased from friendly photographs with Mao. Mao also erased other people he deemed irrelevant and distracting, often civilians.
Pol Pot [caption id="attachment_77801" align="aligncenter" width="1024"] via YouTube[/caption]This ruthless leader who was responsible for the piles of bodies that cluttered the streets also published a magazine called Tung Padewat, released monthly by the regime. Each issue had about three to five photographs; no names were ever disclosed, only referring to photographed individuals as "leader," "member" or "cadre." The special issue of December 1975 - January 1976 showcased lyrics to a song that glorified Khmer rule alongside a photograph of smiling farmers as they irrigated the fields. Typical of propaganda, the idyllic scene distributed to party sympathizers had been entirely staged.
Ferdinand Marcos [caption id="attachment_77803" align="aligncenter" width="1024"] via Wikimedia Commons[/caption]
Along with his wife Imelda, the infamous first lady who owned 3,000 pairs of shoes, Philippine dictator Ferdinand Marcos used the arts towards false influence by commissioning photographers, filmmakers, and sculptors to portray the president as a hero. A Mount Rushmore-like monument in the image of Ferdinand Marcos sits over a native province in the Philippines; during his regime, several people who opposed his leadership went missing. The dictator was overthrown in 1986 by a peaceful revolution in the capital.
Idi Amin [caption id="attachment_77802" align="aligncenter" width="402"] via Pinterest[/caption]Idi Amin was photographed carrying an innocent child. The circulation of this photograph was chilling for the following reasons: one, he was an extremely impulsive person who happened to have the highest seat of political power at the time. He chose to remove 35,000 people of Asian descent from Uganda because it came to him in a dream. Two, he was a vicious enemy to have. Amin, then commander of the military, overthrew President Milton Obote, a vocal opponent of Amin's misuse of funds. The budding dictator came to power by way of a military coup and ruled in tyranny for most of the 1970's. Lastly, the photo of Amin carrying a child eerily resembles one of Soviet dictator, Joseph Stalin. [post_title] => Violent Dictators Who Used Photography as Propaganda [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => violent-dictators-who-used-photography-as-propaganda [to_ping] => [pinged] => [post_modified] => 2017-04-04 16:37:33 [post_modified_gmt] => 2017-04-04 20:37:33 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77337 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 77636 [post_author] => 47243 [post_date] => 2017-03-30 10:04:04 [post_date_gmt] => 2017-03-30 14:04:04 [post_content] => Podcasts are not dead. In fact, they're especially great to listen to on the subway, in the car, or if you're just chilling alone, as you immerse yourself into a conversation and learn something new. This is what makes photography podcasts particularly appealing. Instead of watching YouTube videos, reading a book or drowning in an Instagram feed, aspiring photographers can simply pop in some headphones, listen and learn. That said, here are 16 podcasts every photographer should follow in 2017. [caption id="attachment_77653" align="aligncenter" width="1160"] Screengrab from TWiP[/caption]This Week in Photo is a podcast every photographer needs to check out, offering gear reviews, chats with professional photographers, news and reviews, and so much more. This podcast is notable for interviews with the best photographers in the business, giving people inspiration for their next photoshoot in a very casual, conversational fashion. Host Chris Marquardt is prepared to let photographers in on everything they need to know about their profession. His podcasts include conversations about how to take sharper photos, his experience with HDR photography, and solving the age-old question: can you develop film in beer? Sam Hurd is a wedding photographer who decided to team up with his best friend, who's also a wedding photographer, Nathan Mitchell, and create a podcast where they talk about their professions, photography, music and more. Hurd and Mitchell talk about shooting on different lenses, event photography, branding and many other topics. Plus, their witty titles and light hearted conversation are highly engaging. The On Taking Pictures podcast is not just what its title would suggest, but hosts Jeffery Saddoris and Bill Wadman tackle the reason as to why we take pictures. Their podcast evaluates the art, science and philosophy behind photography and explore the process of image-making. Catch up with Sharky James twice a week on his Petapixel podcast, where the conversations are a combination of news, opinion, humor and experience, all of which is, of course, centered around the world of photography. The Improve Photography podcast is one of the most information-packed photography sources in its category. The site is a network of various podcasts to chose from, Improve Photography just being one of them. Host Jim Harmer and other hosts from the alternate podcasts meet for a round-table discussion once a week to talk about all genres and aspects of the medium. One of the notable podcasts of the Improve Photography network is this particular one that focuses on nature photography. Hosts Jim Harmer, Nick Page, and Majeed Badizadegan explore various landscapes and give outdoor photographers tips on how to capture the perfect scene. Jordan Powers talks about three pillars in his podcast–photography, Instagram, and people. Powers discusses the importance of a social network community and platform like Instagram, and how it's beneficial to photographers. Street PX is the place to listen to awesome interviews will well-known street photographers, documentary photographers, photojournalists and more. It's just a chill space for these professionals to talk about themselves and share their experiences. Eric Marth created the Halftone podcast to visit and interview photographers, publishers and printers he admires in the field. Lenswork is the longest-running podcast on photography, and with this reputation, how could you not be listening to it? You'll find discussions on all interesting, simple and miscellaneous things about photography. Visit Tyson Wheatly's podcast for an in depth look at the creative process behind photography and conversations with the best artists in the business. Jordan's podcast was created to answer even your most difficult photography gear questions, give you advice from notable photographers, and be a space where even beginners can seek helpful information. Are you into still, video or both? Regardless, Photo Focus is the perfect podcast for you. The hosts of the podcast feature industry experts almost every show to share their knowledge with you. Sprouting Photographer puts a plethora of photography knowledge in one place, and it's all free. The podcasts allow users to listen to industry professionals give advice about the industry while provide an overall education that helps one become successful, sustainable and profitable.If we missed any cool photography podcasts, let us know in the comments![featured image via Pexels] [post_title] => 16 Podcasts Photographers Should Follow in 2017 [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 16-podcasts-photographers-should-follow-in-2017 [to_ping] => [pinged] => [post_modified] => 2017-04-05 13:09:08 [post_modified_gmt] => 2017-04-05 17:09:08 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77636 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 10 [filter] => raw ) => WP_Post Object ( [ID] => 77650 [post_author] => 47246 [post_date] => 2017-03-29 12:17:28 [post_date_gmt] => 2017-03-29 16:17:28 [post_content] => Those who have escaped the brutality in Syria have faced harsh realities. They are not in a sense "free," as they have nothing left—their homes have been bombed and their loved ones murdered. Many of them have not even been able to preserve memories of loved ones on their phones, as some have had entire libraries deleted by invasive local authorities.In Lebanon and Jordan, for example, where many Syrians have settled, government and police forces have been infringing on the privacies of the politically disenfranchised. They go through the phones of refugees in search of signs of ISIS sympathy, texts or photographs that suggest dangerous allegiances—and because of this, many have lost pictures of deceased loves ones and messages they deem personal. But one photographer is working to change that.In 2016, photographer Alex John Beck traveled to Syria to take pictures of refugees and their most cherished memories stored on their smartphones. The series was released this month, with each entry showcasing an image of a refugee and their most precious smartphone memory. In addition, each refugee wrote a handwritten description of their memory, which Beck said was more telling than the photographs themselves.
“It’s not necessarily the most sentimental object that they take with them… But it is kind of a depository for memory, and it’s the way that they still have connections with home. They have them in their hands at all times, just like we do,” Beck said to The Verge.
You can view the series here.
[via The Verge / featured image via Flickr] [post_title] => Photo Series Preserves Syrian Refugees' Most Cherished Digital Memories [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => photo-series-preserves-syrian-refugees-most-cherished-digital-memories [to_ping] => [pinged] => http://alexjohnbeck.com/project/oxfam_syrianrefugees/ [post_modified] => 2017-03-29 12:19:55 [post_modified_gmt] => 2017-03-29 16:19:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77650 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 77567 [post_author] => 25217 [post_date] => 2017-03-27 11:14:30 [post_date_gmt] => 2017-03-27 15:14:30 [post_content] => Photojournalist Ron Haviv was only 23 years old when he first saw combat. He had no training, apart from the guidance of experienced photographers working alongside him. Since then, he’s photographed some of the world’s most violent war zones over three decades, been arrested more times than he can recall, and held prisoner on three separate occasions. His images have been distributed widely by numerous publications and showcased in museums and galleries, from the Louvre to the United Nations. He’s also a two-time winner of the World Press Photo Award, and among other achievements, cofounded photo agency VII.The last time I spoke with Haviv was on a panel discussion at the 2015 EyeEm Awards & Festival, so I caught up with him to learn more about his life and career as a conflict photographer.[caption id="attachment_77571" align="aligncenter" width="1024"] Supporters of Panamanian dictator Manuel Noriega attack elected Vice President Guillermo (Billy) Ford in Panama City, May 10, 1989. President George H.W. Bush used the photographs as one of the justifications for the US invasion of Panama when he addressed the nation. © Ron Haviv[/caption]Hey Ron, it’s great to speak with you again. You mentioned that you’re currently in India? Yes, I’m in India. I have an exhibition and giving a lecture about my project The Lost Rolls. Are you familiar with it?I’d love if you could tell me more about it. It’s a project and book that came out late last year. Over the past 25 years, I collected over 200 rolls of film that weren’t processed. So I processed them and created this project, The Lost Rolls, which is a sort of major exhibition that intertwines memory and photography, made up of scattered bits and pieces from 25 years of work. The project has been very successful. We’re moving into another project, Lost Rolls America, where we’re asking members of the public to find a roll film they never developed. Fuji will then process and scan the film, and then [the photographer] will able to write about it—we’re creating a visual story, a national archive of people’s memories they once thought were lost, just because they never bothered to develop the film.What kind of subject matter have you come across in what you’ve developed so far? People are only starting to send them in now, so I haven’t explored the public’s film, but for me, it ranges from war zones or historical moments to personal work or personal relationships: girlfriends, family members, etcetera. There are a number of pieces where I actually don’t know where I am or who I’m photographing. That’s kind of the whole idea: discovering what I do remember, what I don’t remember, and what I do and don’t recognize.[caption id="attachment_77570" align="aligncenter" width="1024"] U.S. Marines Scouts from the 1st Tank Battalion open fire on an Iraqi tank after being amongst the first to cross the border to Iraq. © Ron Haviv[/caption]Speaking of war zones, how did you first start shooting conflict? How old were you on your first assignment? The first major conflict or civil strike I photographed was Panama in 1989, where I was covering an election held by the dictator of the country. He was trying to prove to the world he wasn’t dictator, but actually led by his people. That was the first time I was around gunfire, people being killed, people being beaten, and so on. I was 23 years old at the time.What level of experience did you have leading up to that? Did you ever go through any formal training? I had absolutely no training, but I was lucky enough to go with more experienced photographers and tried to follow their lead. I had only been working as a photographer for a very short period of time. Really, I actually should not have been there. And I would not recommend anyone, especially today, to follow that process without any actual training.So what would you recommend for a young person interested in covering conflict? Almost every week, someone tells me, 'I want to be a conflict photographer, I want to go to Syria, Ukraine, here, and there,' which is all fine. I’m not saying that people shouldn’t go, but of course there are limitations and precautions. The first most basic thing, which pretty much applies to anywhere a photographer goes outside of their home, is to take a hostile environment course and get first-aid medical training. That’s now a basic requirement, given the world we live in. Even if you’re covering a feature story in a place like Cairo, you could wind up having something happen to you. By taking these courses—specifically the hostile environment one—it teaches you to think in a very different way. And sure, the hostile environment course has medical first-aid trauma built into it, but there are also separate medical courses being taught. Unfortunately, we’ve seen the deaths of a number of journalists, where they were unable to save themselves because they didn’t know how to. We’ve also seen a number of times where people that had taken these course have been able to save themselves, their colleagues, or even civilians around them.[caption id="attachment_77574" align="aligncenter" width="1024"] Arkan's Tigers kill and kick Bosnian Muslim civilians during the first battle for Bosnia in Bijeljina, Bosnia, March 31, 1992. The Serbian paramilitary unit was responsible for killing thousands of people during the Bosnian war, and Arkan was later indicted for war crimes. © Ron Haviv[/caption]How do you emotionally prepare yourself for shooting conflict? Well, there’s the before you go and the when you return. Until you’ve completely gone through it, I think it’s difficult to understand how you would react in a place under intense pressure, intense moments, and on top of it you have to work as a photographer or journalist. These courses try to mimic some of that, so they give you a little bit of understanding—they do mock arrests, they take you prisoner. Even though you know it’s coming, it can be quite helpful just to understand what your physical reaction might be, what it feels like to be locked in a room, and things like that, which are unfortunately becoming commonplace.Then, of course, the most important thing is understanding what to do when you come back. How do you deal with the possibility of your post traumatic stress syndrome? Do you know who to talk to? Do you have friends? Colleagues? Is there a plan in place for when you return? Are you able to re-acclimate to your normal life? These are very important things, especially for people who are thinking about doing this continuously.Have you ever been taken prisoner while on assignment? I’ve been arrested more times than I can count and taken prisoner three times. Twice, governments had to be involved to negotiate my release, and once I was beaten and interrogated pretty heavily.Can you tell me what you were covering when this happened? Sure. The first time was the the First Liberian Civil War and the second time was with the Iraqi military at the end of the Gulf War in 1990. The final time I was taken by Serbian forces during the war in Yugoslavia.[caption id="attachment_77572" align="aligncenter" width="1024"] A U.S. Marine covers the face of a statue of Saddam Hussein with a U.S. flag before the statue was toppled in Baghdad, April 9, 2003. © Ron Haviv[/caption]So what’s your relationship like with the soldiers when you’re photographing conflict? That depends, obviously on the soldiers themselves; whether they’re professional, US military, paramilitaries, or just “soldiers” because they happen to be standing with a gun in front of you. The relationships have a pretty dramatic range. One of the things I’m always concerned about as a photographer is making sure that nobody is taking any action based on me being there—that nobody is going to try to show off for the camera. This can happen. There have been times where I’ve seen soldiers trying—or attempting to try—things because they see that I’m there. Then I very quickly put my camera down and say, “I’m not here to take Rambo-style photos of you,” and so on. Most of the time, that’s enough.It’s a very important responsibility as photographers in these dramatic, dangerous, and often life-threatening situations to not encourage any kind of activity. But at the same time, your life is in the hands of these soldiers, and they could be protecting you when you go to battle. Obviously, you’re on their side, and there are times when they’ll give you cover fire from across the street and things like that. It’s very important, especially when you’re on a side that you don’t agree with, that you grace yourself to a point where you’re you don’t cross an ethical line. However, you also can’t sit there and argue politics with people with guns in the middle of battle.I’m glad you brought up ethics. I’m wondering if there’s a personal set of guidelines that you always follow? The first one, as I said, is to never influence a situation or make anybody do anything for the camera. The second is that if I’m in a situation where war crime is about to happen, and I have the ability to stop it without getting myself or the other people involved killed, I do so. If I’m unable to do that, which often happens, then I try to make sure there’s at least documentation of what happened, so people will know about it.[caption id="attachment_77569" align="aligncenter" width="1024"] A Northern Alliance commander lays dying after being shot by a Taliban soldier in a battle outside of Kabul during fighting in 2001. © Ron Haviv[/caption]What is your main goal with your work? What message are you trying to send by covering conflict? As cliche as it might seem, the idea of giving a voice to the voiceless is still a main component in the work I do. While it’s interesting at times to be with a soldier, what I’m more interested in is the impact their actions have on civilians. Civilians are often the ones who carry the brunt of what happens and the ones the world needs to know about. So for me it’s about telling the story of the civilians, trying to get that information out there, and making sure that the work is a part of the conversation when politicians and the public are deciding on anything from aid to political pressure, or even sending in more troops to stop the fighting. I think journalism and specifically photography, because of it’s power and universality, can play a very powerful role in that.
________ This story was originally published in the Fall 2016 "Humanity Issue" of Resource Magazine. Visit the Resource Shop to pick up a copy. [post_title] => Ron Haviv Opens up About Life as a Photographer on the Front Lines of Conflict [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => ron-haviv-opens-up-about-life-as-a-photographer-on-the-front-lines-of-conflict [to_ping] => [pinged] => [post_modified] => 2017-03-27 11:17:56 [post_modified_gmt] => 2017-03-27 15:17:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77567 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 77484 [post_author] => 47243 [post_date] => 2017-03-27 09:21:33 [post_date_gmt] => 2017-03-27 13:21:33 [post_content] => To those outside of the photography world, it may seem like a somewhat easy profession. Just get a good camera and click the button, right? Wrong. Aside from the talent and creativity it requires to be successful, it's far more than just a camera and some lenses. There are tripods, diffusers, reflectors, lighting, batteries, memory cards, filters, software, the list goes on.And yet, despite the innovation we've seen in photo gear over the past decade, there's still some simple tech that hasn't been invented—the kind of thing that would make your life 10 times easier, yet no one has the balls to address. Unless, of course, you're on Reddit.Here are eight photo gadgets every photographer wishes was real.
1. L-Brackets that can be taken on and off without any tools. [caption id="attachment_77486" align="aligncenter" width="600"] Source: Codelocks Ltd/Flickr via Creative Commons. [/caption]
2. A tripod where the legs don't sink into the ground. [caption id="attachment_77487" align="aligncenter" width="1024"] Source: John Robinson/Flickr via Creative Commons. [/caption]
3. Cost-effective lens hoods that work with 4x4 or 4x6 filters.
4. Ultra lightweight bungee cords to keep tripods from tipping over or standing unevenly. [caption id="attachment_77490" align="aligncenter" width="1024"] Source: Chapendra/Flickr via Creative Commons.[/caption]
5. Spot focusing that isn't total shit. [caption id="attachment_77491" align="aligncenter" width="1024"] Source: Andy Rennie/Flickr via Creative Commons.[/caption]
6. A self-leveling tripod. [caption id="attachment_77494" align="aligncenter" width="800"] Source: Teresa Trimm/Flickr via Creative Commons.[/caption]
7. A hot shoe attachment with blinking lights, smiley faces or cute sounds that keep children attentive and prevent them crying while photographing them. [caption id="attachment_77495" align="aligncenter" width="1024"] Source: Ellie Nakazawa/Flickr via Creative Commons.[/caption]
8. Lighter EVERYTHING. Before your back gives out. [caption id="attachment_77496" align="aligncenter" width="1024"] Source: Louish Pixel/Flickr via Creative Commons.[/caption][Featured Image: Rodney Campbell/Flickr via Creative Commons.] [post_title] => 8 Photo Gadgets Every Photographer Wishes Was Real [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 8-photo-gadgets-every-photographer-wishes-was-real [to_ping] => [pinged] => [post_modified] => 2017-03-27 09:21:33 [post_modified_gmt] => 2017-03-27 13:21:33 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77484 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 77512 [post_author] => 47246 [post_date] => 2017-03-23 13:26:04 [post_date_gmt] => 2017-03-23 17:26:04 [post_content] => What do a warehouse foreman and a famous artist have in common?Phillip Kremer, a Houston resident whose passion is making belly fat a replacement for foreheads, has made those two things symbiotic.[caption id="attachment_77514" align="alignnone" width="1024"] Photo by Phillip Kremer[/caption] Kremer's Instagram account has been through the limbo of non-existence and back, having been deleted by the site several times before reaching the success of a third go-round. His account features a portfolio of distorted political figure-heads, cops, and celebrities, far from withstanding the principles of decency that says he can't tinker with the face of a smiling child—he already has.[caption id="attachment_77513" align="alignnone" width="888"] Photo by Phillip Kremer[/caption]But why does he do it?Kremer boils it down to a cathartic release of pent-up boredom that he says is "better than drugs." He has 65,700 followers and receives over a thousand likes per photo.[caption id="attachment_77524" align="alignnone" width="1280"] Photo by Phillip Kremer[/caption]Kremer has attracted thousands of willing viewers including Katy Perry and John Mayer. Though flattered by his celebrity following, Kremer is more excited about the variety in demographics his content receives. Tattoo artists appreciate having blank faces (like Mao Zedong's) to practice on. Christian youth groups call his work an abomination, yet pay close attention to is. And the art world is buzzing with relentless attempts to understand the work of an anomaly.[caption id="attachment_77515" align="alignnone" width="1275"] Photo by Phillip Kremer[/caption]The artist is beholden to musings like, "I like anyone who is using the 11th percent of their brain. The third eye sees all!" Which, of course, was in response to a question by the Humble Art Foundation: 'who is your favorite photographer?'And Kremer's description of his day job is in the same spirit. The warehouse he works in sits on a plot of land, alongside others just like it and a stretch of train tracks northeast of downtown Houston. His says the office smells like stale cigarettes. "I took the job for the atmosphere," Kremer said.[caption id="attachment_77517" align="alignnone" width="800"] Photo by Phillip Kremer[/caption]
When asked about allegations of censoring Kremer's work, an Instagram spokesman seemed to withhold more than he was pressed for. “Although I’m not allowed to comment on individual accounts, I can tell you that the depictions of Donald Trump had nothing to do with the account being removed,” said Instagram's Director of Communications Gabe Madwayto KUHF.
Check out the Instagram photos Madway is referring to:[caption id="attachment_77519" align="alignnone" width="1280"] Photo by Phillip Kremer[/caption][caption id="attachment_77520" align="alignnone" width="908"] Photo by Phillip Kremer[/caption][caption id="attachment_77521" align="alignnone" width="1280"] Photo by Phillip Kremer[/caption][caption id="attachment_77522" align="alignnone" width="1280"] Photo by Phillip Kremer[/caption][caption id="attachment_77523" align="alignnone" width="960"] Photo by Phillip Kremer[/caption] [post_title] => These Amazingly Gruesome Celebrity Portraits Will Ruin Your Day (NSFW) [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => these-amazingly-gruesome-celebrity-portraits-will-ruin-your-day-nsfw [to_ping] => [pinged] => [post_modified] => 2017-03-23 13:26:04 [post_modified_gmt] => 2017-03-23 17:26:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77512 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) => WP_Post Object ( [ID] => 77453 [post_author] => 47235 [post_date] => 2017-03-21 14:51:49 [post_date_gmt] => 2017-03-21 18:51:49 [post_content] => Toronto photographer Ren Bostelaar is under fire after posting explicit photos of women, alongside personal information, on 4Chan's well-known “/b/” thread without consent. According to CANADALAND, a handful of women last week started noticing an unusual number of men adding them on social media. After some investigation, they discovered the 4Chan posts, and quickly determined that Bostelaar was the common denominator.The women gathered evidence and confronted Bostelaar in a group conversation on Facebook. At first, the photographer denied being "a 4chan guy," but one day later he admitted and apologized. On Friday, he issued a public statement on Facebook: This post, however, sparked even more fierce reactions. In a follow-up post, Bostelaar stated he “did not share any images that were sent to me without consent, I didn’t post photos from any photo shoot without the subjects’ consent, but I *did* re-post images that were available on other sites.” This didn't really calm down the internet either, and all further communication went through his lawyer, who issued this statement:
“Mr. Bostelaar apologized for posting photographs of some women on 4chan and /b/ page. The photographs he posted had been posted by the women themselves to public social media websites, such as Facebook, Reddit, or Tumblr. He did not engage in the act of doxxing. That is to say, he did not deliberately disseminate private details of these women on the internet with malicious intent. He is deeply sorry for what he did.” On Sunday, Toronto Police received a harassment complaint, and confirmed on Monday that they were investigating the case, as it's illegal to distribute images "knowing that the person depicted in the image did not give their consent to that conduct" under the Canadian Criminal Code. Stats Canada, a satirical Twitter account Bostelaar was writing for, also issued a very condemning statement to its 603K followers on Sunday (see below). Eventually, the photographer deleted all of his social media accounts.https://twitter.com/stats_canada/status/843506323761352706[via CANADALAND, The Star and BBC] [post_title] => Photographer Deletes Social Media After Caught Sharing Explicit Images of Women [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => photographer-deletes-social-media-after-caught-sharing-explicit-images-of-women [to_ping] => [pinged] => http://www.canadalandshow.com/stats-canada-coauthor-admits-sharing-sensitive-photos-of-women/ [post_modified] => 2017-03-21 14:51:49 [post_modified_gmt] => 2017-03-21 18:51:49 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77453 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 77407 [post_author] => 47235 [post_date] => 2017-03-20 14:20:06 [post_date_gmt] => 2017-03-20 18:20:06 [post_content] => Ankara-born visual artist Aydin Buyuktas moved to Istanbul in the early 2000's, after dropping out of his tourism management studies at Turkey's Bilkent University. He started specializing in visual effects, 3D animation and video while his interest in photography began to grow. By 2006, Buyuktas started thinking about creating visually surreal places, inspired by the science fiction books he was reading on issues like wormholes, parallel universes, gravitation and bending of space and time.In 2012, Buyuktas entered the Mimar Sinan Fine Arts University to further develop his photography. Inspired by Edwin Abbat's “Flatland: A Romance of Many Dimensions,” he created his first "Flatland" series, a surreal project that will immediately make you think of one of Leonardo DiCaprio's finest performances to date. Buyuktas continued to develop his style with series such as "Parallel Universes" and "Gravity," and just recently he released a follow-up to his initial series: "Flatland II."[caption id="attachment_77414" align="aligncenter" width="776"] ©Aydin Buyuktas[/caption]"After shooting my first series in Turkey, I couldn't get permission to continue my series with landscape shots," Buyuktas sais. "So I went to the United States, and I added 'II' to the name of these shots." He also added that it took one month and about 10,000 miles to get all the shots he wanted. It took him two months to plan his trip, in which he traveled across four states: Arizona, Texas, California and New Mexico.Buyuktas' surreal shots are actually collages of 18 to 20 photos, which also took an additional two months to complete. "I shot images in 45 different locations and then started making collages from images from 35 of these locations. Eventually, I chose to finalize and publish 19 of them."[caption id="attachment_77415" align="aligncenter" width="790"] ©Aydin Buyuktas[/caption]"We live in places that most of the time don’t draw our attention. But when general perceptions are demolished, new ones arise," he said. "In my work, I aim to surprise the audience with a new and multidimensional point of view. I love to play with perception."Check out some more of Buyuktas' shots below and visit his website, Facebook or Instagram for the complete "Flatland II" series and more.[caption id="attachment_77417" align="aligncenter" width="787"] ©Aydin Buyuktas[/caption][caption id="attachment_77418" align="aligncenter" width="760"] ©Aydin Buyuktas[/caption][caption id="attachment_77419" align="aligncenter" width="741"] ©Aydin Buyuktas[/caption][caption id="attachment_77420" align="aligncenter" width="763"] ©Aydin Buyuktas[/caption][caption id="attachment_77421" align="aligncenter" width="763"] ©Aydin Buyuktas[/caption][caption id="attachment_77422" align="aligncenter" width="750"] ©Aydin Buyuktas[/caption][caption id="attachment_77423" align="aligncenter" width="754"] ©Aydin Buyuktas[/caption] [post_title] => Mind-Bending Photo Series Brings Surreal Perspective to U.S. Landscapes [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => mind-bending-photo-series-brings-surreal-perspective-to-us-landscapes [to_ping] => [pinged] => [post_modified] => 2017-03-20 20:15:59 [post_modified_gmt] => 2017-03-21 00:15:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77407 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 77259 [post_author] => 47246 [post_date] => 2017-03-17 13:25:00 [post_date_gmt] => 2017-03-17 17:25:00 [post_content] => When Yevgeny Khaledei was a baby, his mother bled to death after being struck by a bullet. Her death belonged to a pogrom sweeping the Ukraine, and Khaledei's mother lost her life carrying the child she gave hers to.In 1941, Khaledei's father and sisters were killed by Nazis. Only a few years prior, Khaledei's photography had made the front page of a Russian newspaper that would later fire him for being Jewish.Khaledi is no stranger to contradictions. He was, after all, a Jew living as a Soviet. As a photographer commissioned by Tass, the Soviet news agency, he was responsible for several definitive photographs taken in the era of World War II. Two Jews stood before his camera after the Soviet's Red Army drove German forces out of Hungary; they wore yellow Stars of David as they stared almost kindly into Khaledei's lens. The story goes that Khaledei ripped the stars off their chest after taking one of history's greatest forgotten photographs.He would have immortalized the blind man who walked into Berlin's rubble, who said that he and his companion did not know where they were coming from, or where they were going."We don't know anymore," the blind man said.The photographer battled between his allegiances to the propagandist news agency he worked for and to himself, the photojournalist. Khaledei's most memorable photograph was that of a Red Army soldier waving the Soviet flag over a fallen German capital. The photographer was inspired by the flag-raising by American soldiers in Iwo Jima, and hurried to find a Soviet flag in Berlin. He realized his search was in vain and commissioned his uncle in Moscow to create one out of a tablecloth.The photograph, of course, was used heavily for Soviet postage stamps.Khaledei brought in a second photograph of the scene showing evidence of looting on the soldier's arms: multiple wristwatches. Upon his editor's request, he scratched the second wristwatch off with a pin.The Jewish photographer employed by the Soviet Union was never given the credit he deserved by his Russian comrades. He was never paid much. He was fired by Tass in '48 and Pravda, a newspaper, in '72, his crime being that of his mother's. Yevgeny Khaledei was born a Jew.We celebrate what would have been Khaledei's 100th birthday this month. In October 1997 we saw his soul wash away, the world baffled by Russian press reports, showing no cause of death. [post_title] => 100 Years Later: Remembering the Struggle of Jewish Soviet Photographer Yevgeny Khaledei [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 100-years-later-remembering-the-struggle-of-jewish-soviet-photographer-yevgeny-khaledei [to_ping] => [pinged] => [post_modified] => 2017-03-17 13:25:00 [post_modified_gmt] => 2017-03-17 17:25:00 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77259 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 66202 [post_author] => 25217 [post_date] => 2017-03-16 08:46:56 [post_date_gmt] => 2017-03-16 12:46:56 [post_content] =>
Surviving in the music world is far from easy, even compared to photography. Now combine the two and what do you get? Music photography, which may sound glamorous, but really, is more along the lines of treacherous.
With a background in music before transitioning to photo, I was determined to uncover the most vile experiences photographers have endured while shooting shows. So, as someone who's experienced my fair share of late-night tent debauchery, I thought it best to speak with those who attempt to work the pit without being covered in molly. I gained access to a private Facebook group for professional EDM photographers, and asked them to share their most heinous experiences.
Now listen up—promoters, venues, artists. Next time you're looking to hire a photographer, value their time, their art, and respect both industries. Because I can bet most of this isn't included in their contracts.
Names have been removed, and quotes have been edited for clarity. We'll begin with a detailed, first-hand account from a colleague:
[caption id="attachment_77227" align="aligncenter" width="1024"] via Wikimedia[/caption]
"I was shooting a local club show for the artist [artist name]. It was in McAllen, TX at this place called the Ice House that's closed now. At the beginning of the night we had a kid overdose on Molly, like a really bad overdose, to the point where a medical team had to come get him. He was like slobbering at the mouth. I already knew that night was going to be bad—when a kid does that that early it's like, 'oh shit.' So what happened was the promoter oversold tickets and it was so packed to the point that the crowd was overflowing onto the stage. I was literally trapped on stage with the artist. We couldn't leave, we couldn't get out, we couldn't get fresh air, nothing. It was even packed behind the stage, and there was nowhere for anyone to go. I freaked out because that's not just dangerous for the artist, but myself, and like, where am I even supposed to keep my stuff? And it was so hot I could barely breathe. I got into a huge fight with my client, basically saying I'm going to call the Fire Marshall, because I'm not going to work under these conditions and neither should your artist, of all people. And he just kind of blew me off."
Here's what Facebook had to say:
“A friend of mine got kicked in the face by [artist name] while shooting from the pit.”
“I was standing on the barrier at the Hardstyle stage at Beyond Wonderland, and some dude headbanged/butted me off the barrier. Laid my ass out in the pit."
“I'm being fooled by the manager of one of the most famous artists at the moment.”
“I had a full bottle of water thrown on my cam....Security trying to fight the DJ in the green room...DJ punching a fan...Cops taking everyone off the bus and putting us in handcuffs....saving someone's life cause they did too many drugs. Lol, it goes on..."
“I had someone try and rip my gear off my back and steal it. Haha, that was a fun fight.”
“Once upon a three times ago, I was shooting some DJs up high and low. Production was on point as the DJ gave a show...then the lasers busted in, blinding me and burning sensors instantly! Two 7Ds and a 5D MKIII.”
“I got my camera covered in cake inside and out, and slipped in cake and snapped a speed lite right off my camera."
“*Stressed 200 times*: Don't get in front of the DJ to shoot. *Hours later*: Hey, how come you didn't get any pics from the front of the DJ????”
“An artist was balling their eyes out 10 minutes before they went on. I had to hug them and say ‘don't worry, it gets better.' It was extremely awkward because I've never met them in person.”
“In an Italian club when I tell people I don't shoot them, they split on me, rip off my hair, and insult in very various ways.. Even the other days at home on Facebook ???? once they even broke a shirt. ????” [sic]
“Not EDM, but when I was shooting for [artist name] he called me out on the mic and told me to make sure I got photos of 'all Dese beeyootiful chicas.'"
"At a festival in Bali last year, one of the sponsors had built a custom made entrance. Five mins before the event, the local police wanted to move their truck underneath it. It didn't fit...the whole entrance collapsed. Then, from out of the blue, a swarm of Indonesians came and all picked up a piece. Two mins later, it was as if the entrance had never been there."
“At Escape From Wonderland in 2012 or 2013 (I think?), [artist name] called all the girls to the stage and one of them motor-boated my camera so it got all wet and sweaty.”
“I got punched in the face while working a gig in Portland, which led to a bar fight. Other photographers popping their flash right in my eyes. Getting literally thrown off stage because new security didn't know I was the photographer for the night. People throwing color packets at my—at the time—new 70-200mm 2.8.”
“I won't name artists, but let's just say many have shaken a bottle of champagne and popped it directly into my face/camera and then moved to the crowd. One of them even had the cork hit me in the eye???? Not to mention, I am a girl and tiny. I have to crawl and sucker punch people to get in front with no pits to get my shots. Those who know me from SF, I used to climb all over my residency to get my shots."
“I’ve told the story here before, but it's my favorite horror: Camera held high over my head in the pit. I was looking at my flip screen for the shot. A very round girl in a tutu licked my face and told me I was pretty. I felt dirty just being near her. So at that point I ran away. I'm pretty sure she was 17.”
"Last year in Meo SW (Portugal) [artist name] cake trow gone bad! All over my fckn face! xD Not to mention it was for some twin girls! xD" [sic] "I'd love to recount what happened shooting one time at the Playboy mansion with a very famous rapper, and then with the #1 DJ in the world at the time, but I signed an NDA."Do you have a horrific photography story you'd like to share? E-mail us or tell us in the comments! [post_title] => Music Photographers Share Their Most Horrific Concert Experiences [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => music-photographers-share-their-most-horrific-concert-experiences [to_ping] => [pinged] => [post_modified] => 2017-07-04 18:19:23 [post_modified_gmt] => 2017-07-04 22:19:23 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=66202 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ))