- Resource

How to Develop Your Editing Style and Artistic Vision on Instagram

Bryan MinearAugust 15, 2017

This isn't going to be a "step-by-step" guide to editing your photos for Instagram, because that greatly depends on your vision. Rather, this is something that ...

Photo Series Uncovers the People “Seeking Friendship” on Craigslist

Pamela JewAugust 14, 2017

You move to a new city, knowing no one. You've left all your friends and family behind in that small town you call home to try "making" it in the big city. You ...

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

Seth LoweAugust 7, 2017

Few camera announcements have excited me like the release of the Fuji GFX 50S. I've loved what Fuji has been doing since the X100 came out, and this seemed like...

Meet the Powerful, All-In-One Charging Solution for Your Creative Workflow

Jessica BallardJuly 24, 2017

Keeping your gear charged can be torture. Different devices require different cables, and at the heart of it all is usually a device that requires wall charging...

fujifilm-camera-photography-review-xpro2-tx-2

Why Photographers Get Hooked on Fujifilm (Like I Did)

Billy MurrayJuly 20, 2017

I'll premise this by stating that this article is in no way a paid post, sponsored article or branded content. Rather, it is purely editorial sweet-talk driven ...

This Restaurant Gives Customers an “Instagram Kit” For Better Food Photos

Matt LavietesJuly 19, 2017

For some, snapping a photo of a photogenic meal can be challenging, even "agonizing." But fear no more, foodies. If you happen to be traveling in the London-are...

Beware: Venmo Scammers Have Stolen Over $25,000 of Photo Gear

Pamela JewJuly 19, 2017

The small amounts and slow funneling of money was just the first of several red flags to come.On the Facebook Marketplace, Rasa put his Blackmagic URSA Mini...

photographer-killed-twin-peaks-san-francisco

Photographer Robbed and Killed at San Francisco’s Twin Peaks

Jessica BallardJuly 18, 2017

A photographer and location scout for films and other productions, Edward French, 71, was shot and killed at the Twin Peaks viewpoint in San Francisco early Sun...

New Google Software “Mimics The Workflow of a Professional Photographer”

Billy MurrayJuly 17, 2017

The relationship between artificial intelligence and photography just got real—Google's latest AI experiment is taking Street View imagery from Google Maps and ...

Photo Colorization Wizard Brings New Life to Iconic Black and White Images

Matt LavietesJuly 12, 2017

Twenty-one-year-old Brazilian artist, Marina Amaral, has used her talent to bring the past back to life, transforming emotive and momentous black-and-white phot...

Leica Brings Touchscreen to Point-and-Shoot Size Mirrorless Camera

Jessica BallardJuly 12, 2017

Leica launched its latest addition to the TL-system this week, the Leica TL2. According to Leica, the TL2's "perfected features and persuasive performance meet ...

Museum of Sex’s “NSFW: Female Gaze” is Redefining the Boundaries of Sexuality

Kristie KamJuly 10, 2017

NSFW stands for Not Safe For Work, or any online media that contains sexuality, nudity or disturbing content. Such censorship has barred a lot artists from expl...

Uncover Lightroom Edits and Presets in Photos With This Clever Web Tool

Jessica BallardJuly 6, 2017

Developing as a photographer includes (but, of course, is not limited to) learning what specific camera settings create the kind of image you're aiming for, and...

Canon Announces Next Generation of Popular DSLR Cameras: The 6D Mark II & Rebel SL2

Jessica BallardJune 29, 2017

In honor of National Camera Day, Canon has announced the release of two new DSLR cameras: the EOS 6D Mark II and the EOS Rebel SL2. The first is designed speci...

Surreal Photo Series Explores the Poetic Connection Between Humans and Animals

Kristie KamJune 28, 2017

“A picture worths a thousand words,” is not a cliche to photographers Katarzyna Owczarek and Marcin Owczarek. It carries a deeper meaning, which is profoundly r...

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© Bryan Minear[/caption]I know tons of photographers who prefer to not push past what they capture in-camera, but I, on the other hand, approach it from more of a fine art standpoint. As a photographer and graphic designer who’s been using various tools since before Lightroom existed, my approach to editing is more methodical and nuanced; some may even say excessive. Yet my goal as an artist has always been to carry out my own personal vision. I never set out to have a “style.” Of course, I digested a lot of the aforementioned “tips and tricks,” but rather than doing it for a quick end result, I did it to gain an understanding of the tools in order to pave my own way and discover which processes work best for me. That said, my post-processing begins before I even click the shutter button. I'm a cloud junkie, and most of my work is centralized around finding unique light or weather conditions in hopes of elevating the mundane imagery of the Midwest into something worthy of sharing with the world. I take everything into account, such as the dynamic range of the scene, how fast the clouds are moving, whether or not to bracket my exposures, or if I want to add ND filters to capture cloud movement. I've also been working in Photoshop long enough to have a color palette I gravitate toward so there’s consistency in my work. Again, some people may find this excessive, but there is little that I don’t tweak in post to get the look I want. [caption id="attachment_80256" align="aligncenter" width="1024"]

© Bryan Minear[/caption]A lot of my style is derived from years of trial and error—a lot of terrible edits and over-edits. After a while, you start to understand that the more subdued and subtle you are, the better it gets. I try to inject as much of my vision as possible into my shots, making them completely unique to me without overdoing it. Believe me, I still overdue it at times, but the important thing is to be continually learning and evolving. Photoshop has a lovely opacity slider that I utilize frequently to dial back something after-the-fact. I also try to sit on my edits for a few days so I have time to digest them and make any final changes. I can’t tell you how many times I’ve rushed to post something I was really excited about, only to look back at some glaring error later on. Maybe it’s my mindset, or how I run my Instagram feed, but I hate posting anything that’s similar over and over again—I aim for a consistency that also has an ebb and flow to it. [caption id="attachment_80252" align="aligncenter" width="1024"]

© Bryan Minear[/caption]When it comes to processing in Adobe Camera Raw, I like to keep my images as natural as possible when it comes to exposure, but with an atmospheric twist. I don't like to "HDR" my stuff so that every detail is bright and crisp. Instead, I play with shadow and hide things. Just because our cameras have the ability to portray massive amounts of dynamic range that doesn't mean we should. In my work, I like to push the limits of my highlights and shadows while still retaining a bit of detail in them. The easiest way to try this is to pull back on the contrast slider and use the blacks slider to really dial in the darkness while simultaneously pushing the shadows a bit. I love heavy contrast in my images and this is a great way to achieve it. As for color, between playing with curves, the HSL sliders, and the RGB Primary sliders, my colors are about as custom as custom can be. These tools can be daunting to learn, but properly learning what they can do really allows you to dial in your own flavor. In fact, the only way to learn them is to experiment and see what you can come up with. As a Fujifilm X-shooter, I also have the Fujifilm film simulations at my disposal, and I use them frequently. To be honest, using these simulations is one of the things that really pushed me into developing my own style. The colors you can achieve with them are far above and beyond anything I ever got when I was shooting with Canon, which is what sent me down the path of experimenting with color in the first place. [caption id="attachment_80257" align="aligncenter" width="1024"]

© Bryan Minear[/caption]With Instagram in mind, I always finish off my edits on my phone; sometimes the color space can seem totally different from one device to another. And although you'll never have the luxury of controlling the look of the finished product like you would with prints in a gallery, it’s important to fine-tune your work for display on mobile. I use apps like VSCO, Darkroom and Afterlight to finalize my shots before posting, and also add a hefty dose of sharpening. If you come from the world of printing, it’s going to seem like you’re over sharpening everything, but attaining the same level of sharpness on a screen is a different monster.[caption id="attachment_80255" align="aligncenter" width="1024"]

© Bryan Minear[/caption]Above all, my goal is to portray my vision as an artist. If we were in this to make the same images as someone else, what would be the point? So get out there with your camera and find out who you are. Then use your editing to lock that down and Instagram to showcase it to the world.See more of Bryan's work on his website.__________

This story was originally published in "The Fitness Issue" of Resource Magazine. Visit the Resource Shop to pick up a copy. [post_title] => How to Develop Your Editing Style and Artistic Vision on Instagram [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-to-develop-your-editing-style-and-portray-your-artistic-vision-on-instagram [to_ping] => [pinged] => [post_modified] => 2017-08-15 11:11:20 [post_modified_gmt] => 2017-08-15 15:11:20 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=80249 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[1] => WP_Post Object ( [ID] => 80228 [post_author] => 47254 [post_date] => 2017-08-14 13:28:13 [post_date_gmt] => 2017-08-14 17:28:13 [post_content] => You move to a new city, knowing no one. You've left all your friends and family behind in that small town you call home to try "making" it in the big city. You can FaceTime, Snapchat, and text your sorrows away talking to friends, but nothing beats the real deal—live and in-person.Photographer Peter Garritano uncovers the solitude of modern life in ''Seeking', his ongoing portrait series of people who post in Craigslist's "Strictly Platonic" section. In the series, Garritano seeks to portray the scope of loneliness people experience that brings them to an ambiguous platform such as Craigslist. “It’s not just a few people reaching out, it’s hundreds of posts per day,” Garritano said.[caption id="attachment_80231" align="alignnone" width="1024"]

Photo by Peter Garritano[/caption]One day, Garritano took a chance and decided to seek out these users in the “Strictly Platonic” section to take their photo and learn more about their story. Craigslist has been stigmatized as a black-market like platform with people ridden with misconstrued intentions—personality types Garritano veers away from. Garritano hopes the wide range of subjects lets outsiders see that the Craigslist community is diverse and not everyone fits the stereotype.“I mostly go for things that seem genuinely platonic,"Garritano said. "There’s a lot in there that’s heavily laden with ulterior motive, which I try to steer away from."[caption id="attachment_80233" align="alignnone" width="1024"]

Photo by Peter Garritano[/caption]Although selecting his subjects is not the hardest part of the project for Garritano, rendering a response can be challenging. Keeping genuine to his intentions, Garritano approaches the users as a photographer looking to take their photograph and hear more of their story. As expected, many users are not too keen on participating in 'Seeking' since Garritano is not necessarily who they're expecting to hear from through Craigslist. However, from the 250-plus responses Garritano currently has floating in his inbox, he has taken 75 portraits so far.[caption id="attachment_80230" align="aligncenter" width="1024"]

Photo by Peter Garritano[/caption]“I always like to travel to their apartments when possible to add a bit of environmental context to their portrait but unfortunately that's not usually their preference,” Garritano said, adding that he also invites them to his studio to shoot and chat about their Craigslist motivations and findings.“In the end, I hope to understand more about loneliness and its trappings. Especially in the context of a large city like New York, and in an age where our digital social connections are so pronounced,” Garritano said.Visit Garritano's website for more shots from the series. [post_title] => Photo Series Uncovers the People "Seeking Friendship" on Craigslist [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => photo-series-uncovers-the-people-seeking-friendship-on-craigslist [to_ping] => [pinged] => [post_modified] => 2017-08-14 13:28:13 [post_modified_gmt] => 2017-08-14 17:28:13 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=80228 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw )[2] => WP_Post Object ( [ID] => 80071 [post_author] => 47259 [post_date] => 2017-08-07 14:49:30 [post_date_gmt] => 2017-08-07 18:49:30 [post_content] => Few camera announcements have excited me like the release of the Fuji GFX 50S. I've loved what Fuji has been doing since the X100 came out, and this seemed like a camera that could really cover my needs as a working commercial photographer. Most of my work is focused on portraits and lifestyle and often goes to print. I shoot in fast paced situations and usually on location—outside on farms, industrial facilities, and other dirty environments—so to date my Fuji has largely been treated as a personal-use camera or second body for editorial shoots.This past June, I had the opportunity to travel out to northern Montana with a few other photographers to shoot some personal work, and I thought the trip would be a perfect opportunity to rent the GFX and test it out. We would be shooting on a few working ranches and some rodeos in the area, so I would get to put the camera through virtually every situation possible: low light, mixed lighting, dust, wind, hard sun, fast moving subjects, portraits, and landscapes. I only took the Fuji GF 32-64mm f/4 and an extra battery with me. I wanted to travel as light as possible and not have to worry about anything but shooting and enjoying my surroundings.[caption id="attachment_80146" align="aligncenter" width="1024"]

In-Use

I decided pick up the camera a couple days before I left for the trip, so I would have a chance to go through all the settings, and familiarize myself with the layout and feel of everything. Having used a lot of cameras from all of the major brands, I think the Fuji menu and camera customization options are some of the best out there and the GFX is definitely the cream of the Fuji crop. It didn't take long to feel really comfortable with the camera, and making changes was very intuitive. The Fuji with the 32-64mm is a bit larger than a full-frame DLSR with a 27-70mm, but it was also lighter—a pretty equal trade off I would say. The viewfinder is also incredible. Hybrid viewfinders have probably been one of biggest single hold-ups for switching completely to mirrorless—the screen inside has also made me feel separated from my subject a bit, and just slightly behind enough that I don't entirely trust the timing when I hit the shutter. But that's not the case with this camera. The viewfinder is crisp, and seamlessly displays the subject that I quickly forgot about it, and really enjoyed the benefits that viewfinders bring over traditional DLSR cameras.[caption id="attachment_80145" align="aligncenter" width="1024"]

© Seth Lowe[/caption]Our first shoot was in the afternoon at a beautiful ranch, where several cowboys would be rounding up about 25 wild horses across a giant pasture. We had light cloud coverage and were surrounded by mountains. It was a perfect situation to really push the autofocus, and see how it tackled the drastic dynamic range of shadowy mountains, hard sun, dark horses, and soft yellow grass. As I began shooting, I was really amazed at how quickly the camera just really “got out of the way.” I rarely found myself getting frustrated with any aspect of the camera, and was blown away at the speed and accuracy of the auto focus system and the results I was seeing on the back of my camera. I shot everywhere from wide open at f/4 to closed down at f/32, and everything in between. The whole system works incredibly seamlessly and I felt like I was able to engage with the subject matter in a whole new way. The next morning, we headed back to the same location at 4 AM to get some pre-sunrise shots and see what else we could find. I decided to leave my tripod in the car and try hand-holding the camera at higher ISO’s. That lens only opens to f/4, so I had to start at ISO 3200 just to get a 1/60th shutter. After firing off a few frames and reviewing in camera at 100%, I was really excited to keep shooting. Normally at that ISO I would feel like most images are throwaway, but seeing how clean they were I was excited to go shoot more, when normally I probably would have just waited for more natural light.[caption id="attachment_80147" align="aligncenter" width="1024"]

© Seth Lowe[/caption]As the sun opened up, I quickly found myself shooting directly into it, tracking sprinting horses through the backlit dust. The autofocus was incredible, but in this moment I also found my first frustration with the camera: its viewfinder blackout. I was shooting in RAW with the fastest Sandisk UHS-I cards, so I'm sure that UHS-II might help that, but it only took about five frames for the camera to completely lock down for about three seconds while it dumped its buffer. That, compounded with the viewfinder blackout times, meant that after the first two frames I couldn’t see what I was actually shooting. Obviously this isn't a sports camera and I was really pushing it here, but it would have been really nice for less viewfinder blackout time, even if the buffer was still slow. Fighting both at the same time was a bit frustrating, but again, this is something that might be fixable by either faster cards or even future firmware. At the end of the day I just had to be intentional with my bursts, and really do my best to anticipate subject movement. Sometimes it's good to be constricted and forced to think differently.[caption id="attachment_80151" align="aligncenter" width="1024"]

© Seth Lowe[/caption]By the third day of shooting the honeymoon phase had worn off and I really began to look at the camera objectively. Thats not to say I wasn't consistently impressed by the image quality or enjoyed using the camera any less, it just quickly became very natural to me in use, and the camera itself became less a focus of what I was doing, and just an incredible tool to shoot with. Aside from the previously mentioned viewfinder blackout, it would be hard for me fault the camera in any way. In real world use, I would definitely be comfortable using this camera daily for my work and I plan on making the switch within year. Its minor hiccups or slight differences compared to a traditional DSLR are totally outweighed by its overall design and image quality. Fuji’s lens roadmap shoes a telephoto prime happening in early 2018, and It would be nice to have something that is close to the 135-150mm equivalent focal length. The current longest lens is a 120mm, which equates to approximately an 85mm lens on a 35mm camera.[caption id="attachment_80149" align="aligncenter" width="1024"]

The Files

I don’t think I've ever had so much fun working images in post as I have with the files from this camera. My photographer friends are probably beginning to hate me from all the images I keep sending them. Almost every shot is just fun to work with because of how easy it is to recover in an incorrect exposure, or push the images further than I have been able to before.[caption id="attachment_80144" align="aligncenter" width="1024"]

© Seth Lowe[/caption]I have been told that Fuji did a lot of work with Adobe to really dial in the colors in Lightroom, and I think it really shows. It handles highlight and shadow recovery incredibly well, and the ability to use all of Fuji’s in-camera profiles on Lightroom has been fantastic. The colors are excellent and the dynamic range is unbelievable. Forgive the non-technical lingo, but the images just feel organic—not like I'm trying to find the digital limits of an image, but just working with an image that has very natural limits it hits with fine graduations; not just hard fall-off or end points. The files are quite large… over twice the size of my 50 megapixel DSLR. It's not a huge issue, but something to keep in mind when it comes to external storage solutions.[caption id="attachment_80150" align="aligncenter" width="1024"]

Final Thoughts

I cant wait to permanently put this camera in my bag. As a full time shooter, the system isn't vast enough to cover the majority of my needs, but that will quickly be changing. Having a manufacturer fragmented camera system doesn't really interest me, so I will probably wait untill I can completely make the switch rather than split myself between this camera and a traditional DSLR system. Aside from that, I don't believe there is a single major issue with this camera system. It's a solid platform, and I think the tiny little hangups I encountered will be easily fixed with firmware—or would even forgotten if more time were spent with the camera. There is so much room for this system to grow, and it's only going to get better and better.See more images from the trip below.[caption id="attachment_80143" align="aligncenter" width="1024"]

© Seth Lowe[/caption] [post_title] => Capturing the American West With Fujifilm's GFX 50s (Review) [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => capturing-the-american-west-with-fujifilms-gfx-50s-review [to_ping] => [pinged] => [post_modified] => 2017-08-08 13:11:49 [post_modified_gmt] => 2017-08-08 17:11:49 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=80071 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[3] => WP_Post Object ( [ID] => 79886 [post_author] => 47253 [post_date] => 2017-07-24 11:37:05 [post_date_gmt] => 2017-07-24 15:37:05 [post_content] => Keeping your gear charged can be torture. Different devices require different cables, and at the heart of it all is usually a device that requires wall charging, such as a laptop. But what if there is was an all-in-one solution that covers everything—and with style to boot (that was a battery pun)?The Crank Juice Box, recently launched on Kickstarter, has set to to be just that. Essentially a sleek, compact power box for all devices and equipment that require charging, it's capable of charging anything from camera batteries and laptops to even jumpstarting a car.[caption id="attachment_79888" align="aligncenter" width="680"]

via Kickstarter[/caption]In the Kickstarter video, Director of Design Nicholas Akerberg said their goal is to create an incredibly lightweight unit, incredibly durable case, the greatest number of applications they could fit into one unit, and provide a game-changing amount of power. This includes support for the likes of Apple MacBooks, iPads, iPhones, Kindles, Android Phones, Google Phones, PC Laptops, camera support, professional cameras and even new generation computers with USB C.[caption id="attachment_79973" align="aligncenter" width="680"]

via Kickstarter[/caption]Crank has also taken other steps to accommodate professional photographers. According to the Kickstarter page, the company has partnered with the production studio at RGG EDU "to build a battery suitable for creatives and professionals...to improve the build quality that allows the battery to charge devices like Sony FS5's and Canon C100's." To do this, they're working on what they call the Crank Cage, which allows creatives to attach the battery to a wide-range of cameras via 1/4 20 screws, providing up to 14 hours of continuous battery time, depending on the device.[caption id="attachment_79890" align="aligncenter" width="680"]

via Kickstarter[/caption]The Crank Juice Box Kit includes:

Your Choice Of Black or Orange Crank Juice Box
Jumper Cables For Your Car
USB Wall Charger
USB Cigarette Lighter Charger
3 Generations Of Apple Chargers For Apple Laptops
Charger Cable For The Crank
8 Adapters For Various PC and Electronic Inputs
The 4 Cables Squid. Thunderbolt, Micro USB, Mini USB, & Apple iPhone & iPad 30 Pin
Connector (Old School)
Hard Travel Case For Crank & Accessories (see Below)
Crank Battery Size is 18000 mAh
Flashlight Built Into Crank

Additional Tech Specs:

3 Settings Continous, SOS, Strobe
Capacity 18000MAH
Applicable Engine Type: <6.0 L Gasoline & <2.5L Diesel
Output Voltage At Auto Start End: 12V
Output Voltages: 8.4V/2.1A 12V/2A; 16V/3.5A; 19V/3.5A
Dual USB Outputs: 5V 2.1A • Start Current: 600A
Peak Current: 750A(<3S)
Battery Type: Lithium-ion Polymer Battery
Charge Mode: CC/CV 15V/1A
LED Power: 1W (White)
LED Light Modes: 3 (Steady-SOS-Strobe)
Cycle Life: > 1000 Times
Operation Temperature Range: -20 Degrees C to 80 Degrees C\
Product Size: 180x86x43 mm
N.W: 1.5 Lbs or .68 KGS
ertificate: CE ROHS FCC
UL Listed Battery Jumper Clamps

The Crank Juice Box has currently raised $18,069 of its $50,000 goal and funding will run through Sept. 2. Visit the Kickstarter page to learn more about the project and click here to see behind-the-scenes imagery from the product development phase! [post_title] => Meet the Powerful, All-In-One Charging Solution for Your Creative Workflow [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => meet-the-powerful-all-in-one-charging-solution-for-your-creative-workflow [to_ping] => [pinged] => [post_modified] => 2017-07-24 11:37:05 [post_modified_gmt] => 2017-07-24 15:37:05 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79886 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[4] => WP_Post Object ( [ID] => 79887 [post_author] => 25217 [post_date] => 2017-07-20 15:32:26 [post_date_gmt] => 2017-07-20 19:32:26 [post_content] => I'll premise this by stating that this article is in no way a paid post, sponsored article or branded content. Rather, it is purely editorial sweet-talk driven by personal experience, scrappy tech jargon (not my area of expertise, sorry gearheads), and my enduring love for Fujifilm. But first, it’s important to share a little background on myself. Before working with Resource Magazine, I was solely a journalist with no photography experience. After my first day on staff—and about 10 obligatory whiskey shots (true story)—I was violently thrown into the mix and began not only reporting on the photo world, but cultivating a hybrid skill set that ranges from producing to art directing to shooting and editing. One of my initial, most memorable photo experiences was a one-on-one workshop with a night photographer, which was when I was introduced to Fuji. Since then, I’ve worked with and tested an abundance of gear, but no matter how great the latest piece of equipment, I always crawl back to my tattered old Fuji. [caption id="attachment_79919" align="aligncenter" width="1024"]

© Billy Murray[/caption]That said, I should note that this piece was inspired by a recent Facebook post made by a colleague that reads, “In my experience Fujifilm shooters are the stereotypical vegans of the camera wold; just positively priapic and bursting at the seams to tell you they shoot Fuji and -if you don’t slap them in time- why [sic].” I should also note that, for the most part, these words are pretty accurate, except for the vegan part because I’m carnivorous AF (but I am based in Brooklyn, so I guess it’s not too far off.)Anyway, since Fuji shooters are apparently “bursting at the seams to tell you they shoot Fuji,” I thought I’d do it right. Here’s why photographers get hooked on Fujifilm (like I did). [caption id="attachment_79906" align="aligncenter" width="1024"]

© Billy Murray[/caption]How it feels in your hands Form factor is one of the most satisfying innovations of mirrorless technology and Fuji masters it beautifully. If we look at their two flagship mirrorless models, the X-T2 and X-Pro2, the bodies are among the smallest and lightest of almost any camera in its class, yet don’t feel cheap or shoddy. This gear is solid and rewarding to carry. Also, the body itself is one of the key differences between these two models, providing more than one option to meet your preference: the X-Pro2 if you’re into the old-school rangefinder feel, the X-T2 if you’re more accustomed to the feel of a DSLR. (Note: I have yet to test the GFX 50s so will refrain from addressing it in this article).Dynamic range, you say? Hahahaha. Ha. Ha. HAHA! Attention haters: no matter your qualms with Fuji, I have yet to see files that can be pushed as far as Fuji RAFs. Just expose for the highlights and don’t worry about the shadows. You’re good, yo. And if you don’t believe me, check out this little before and after example by Eli Locardi.[caption id="attachment_79917" align="aligncenter" width="1024"]

Space Bacon Guitarist Jack Willard photographed live at ISO 5000. © Billy Murray[/caption]No light, no prob I know what you’re thinking, “but it’s not even full-frame!” Well, my friends, I’m going to throw myself to the dogs and say full-frame sensors are overrated. I shoot a lot of low-light concerts as the tour photographer for a high-energy jamtronica band called Space Bacon, and the lighting conditions are often ratchet at best. Totally no worries, though, because I can easily surpass ISO 4000 and still have files that look great not only by my standards, but the client’s standards as well. Yes, a full-frame sensor should be—and probably would be—better in these conditions, but is it even necessary? You won’t break the bank Growing up, I was never someone who ever had a good budget for any type of equipment, whether music gear, a laptop, cell phone, etc, which is another area that draws me Fujifilm. For beginners or hobbyists, a brand new X-T10 can be purchased for $799 (or just $500 used), and it’s totally an awesome camera that produces incredible image quality (that last link is a sponsored post, but I threw it in to show examples of what this bite-sized camera is capable of). For the likes of professionals or advanced amateurs, the X-T2 goes for about $1,600 while the X-Pro2 is about $1,700. This is a very reasonable price point for gear in this class. Oh, and if that’s not enough, Fujifilm’s 35mm F/2 lens is just $400 bucks—an extremely sharp and versatile lens I’d recommend to anyone new to the world of Fuji.[caption id="attachment_79913" align="aligncenter" width="1024"]

© Billy Murray[/caption]Manhandle away This may be more of a personal issue I need to address, but I love being rough with my gear. The last thing I want is a dainty camera that’s too fragile or too expensive to be tossed around a bit. In a way, manhandling my gear makes me feel like it’s an extension of myself—the dings, scratches, and imperfections make it mine, similar to the hammer in my father's tool kit that's been alive longer than I have. With this, Fujifilm gear is built like a tank. I’ve shot with my X-Pro2 and X-T2 in the rain, snow, the ocean, while snowboarding, with a beer in my hand, and in moshpits. Honestly, the only issue I’ve ever had is in extreme heat and humidity, in which the camera will occasionally freeze and an error message appears that literally reads, “turn camera off and back on again.” I can admit the Fuji does need some work in that regard.Sharp, sexy glass I would argue that outside the Fuji-verse, the Fujinon XF lenses are the most underrated on the market. Every piece of Fujinon glass I’ve used has been definitively sharp, crisp and clear—and like their cameras, there’s a solid range of price points that don’t sacrifice quality on the low-end. I would personally recommend trying the 35mm F/2 mentioned earlier, as well as the 16mm F/1.4.[caption id="attachment_79904" align="alignnone" width="1024"]

© Billy Murray[/caption]The magical “film look” I like to think I'm a self-aware guy, so I’ll be the first to admit that recreating the look of film with digital technology is trendy these days. But I’ll also be the first to argue that Fuji does it best. This is where I lack on the tech side of things, but from a practical perspective, there’s something to be said about the way Fuji sensors emulate the analog style. In addition, Fujifilm’s free X-Series Presets, which are designed specifically for Fuji cameras and utilize the built-in camera profiles in Lightroom, more accurately depict film compared to nearly any film preset pack you can purchase. I’ve also heard from multiple Fuji shooters—myself included—that these presets were an integral part of developing their own unique editing styles and workflow.[caption id="attachment_79914" align="aligncenter" width="1024"]

© Billy Murray[/caption]The community and support Fujifilm boasts an killer lineup of Fujifilm X-Photographers, all of whom create amazing work across a vast range of categories. There’s also a great interactive feature on the company site, which lets you browse their work by camera, lens, photographer, country, and more—an excellent source of inspiration, no matter the gear you shoot with (and this is just one of the many resources out there). Even more, Fuji is one of those brands that maybe not everyone is into, but everyone who is is obsessed. There’s truly a unique level camaraderie that comes with a love for Fuji, creating a very welcoming, judgement-free community whether you’re just starting out or a seasoned professional.

________

Today, we’re #blessed to live in a time where, quite literally, every available camera is great, even the tiny one in your pocket. In no way do I believe that anyone should be defined by their equipment, nor should they ever, for one moment, think they’re limited by their equipment. I’m generally a pretty brand agnostic person—perspectively, I work with an iMac and iPad in the office, then come home to my Microsoft Surface Book and Surface Studio. But that doesn’t mean I’ll refrain from expressing my love for a company that deserves it. After all, the internet can be a rightfully negative place, so a little shamelessly authentic, positive reinforcement every now and then is never a bad thing.See a few more of my favorite shots captured with Fujifilm gear below.[caption id="attachment_79920" align="aligncenter" width="1024"]

© Billy Murray[/caption][All images photographed with Fujifilm X-T2 and X-Pro2] [post_title] => Why Photographers Get Hooked on Fujifilm (Like I Did) [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => why-photographers-get-hooked-on-fujifilm-like-i-did [to_ping] => [pinged] => [post_modified] => 2017-07-28 14:03:15 [post_modified_gmt] => 2017-07-28 18:03:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79887 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw )[5] => WP_Post Object ( [ID] => 79859 [post_author] => 47256 [post_date] => 2017-07-19 15:12:11 [post_date_gmt] => 2017-07-19 19:12:11 [post_content] => For some, snapping a photo of a photogenic meal can be challenging, even "agonizing." But fear no more, foodies. If you happen to be traveling in the London-area, and if you're looking to get a gorgeous snapshot of a meal for your followers, London restaurant, Dirty Bones will hook you up.Dirty Bones has added "Instagram Kits" to its NYC-comfort-food-and-cocktail-style menu, taking #FOODPORN to an entirely new, shameless level. Upon request, customers at the Dirty Bones Soho location can use free kits including an LED camera light, multi-device charger, clip-on wide angle camera lens and a tripod selfie stick for overhead table shots upon request, Today.com reported.https://www.instagram.com/p/BWaqtr8gIfP/?taken-at=116518122230366"We're all about helping people capture that perfect shot," Founder and Director of Operations at Dirty Bones, Cokey Sulkin, told Mic. Even more, this will certainly help Dirty Bones get the "perfect shot" at free marketing, as customers share and tag their aesthetically pleasing photos on their social media accounts.https://www.instagram.com/p/BWLWAvEAwMB/?taken-at=116518122230366While some would define Dirty Bones tactic as being fun and creative, others might view the restaurant's efforts to draw in customers as tacky. Despite how customers feel, the restaurant's marketing plan is undeniably smart, innovative and fun.See more Instagram shots from Dirty Bones below. https://www.instagram.com/p/BWIysc3gBA_/?taken-at=116518122230366https://www.instagram.com/p/BUkAf5bDJLD/?taken-at=116518122230366https://www.instagram.com/p/BUXFn4MDvls/?taken-at=116518122230366https://www.instagram.com/p/BV2gCFWD70k/ [post_title] => This Restaurant Gives Customers an "Instagram Kit" For Better Food Photos [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => this-restaurant-gives-customers-an-instagram-kit-for-better-food-photos [to_ping] => [pinged] => [post_modified] => 2017-07-19 15:12:11 [post_modified_gmt] => 2017-07-19 19:12:11 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79859 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[6] => WP_Post Object ( [ID] => 79851 [post_author] => 47254 [post_date] => 2017-07-19 13:38:18 [post_date_gmt] => 2017-07-19 17:38:18 [post_content] => The small amounts and slow funneling of money was just the first of several red flags to come.On the Facebook Marketplace, Rasa put his Blackmagic URSA Mini 4.6K camera for a measly $1,500 and found a buyer. The buyer, who went by the name of Andy Mai, offered to pay the charge through Venmo. Mai began to send several transfers of money to Rasa in the amounts of $80 or $90—never breaking $100 at a time. Rasa questioned, to himself, the small transactions but ultimately made the exchange with Andy Mai outside of Rasa's East Hollywood apartment, The Verge reports.Fifteen hours after the exchange, the money vanished in Rasa's account along with his beloved camera. Rasa contacted to Venmo to question the transfer block to which Venmo's customer service informed him that he broke user policy by using Venmo in exchange for goods, which ultimately suspended his account.Almost two weeks later, Brendan, another videographer from Ventura, California, put a Sony DSLR with a set of lenses up for $7,500 and fell victim to the seemingly same scammer as Rasa did. This time, Brendan met up with a friend of Mai's at a local Starbucks. The next day, the great disappearing act ensued—no money, no equipment.Rasa and Brendan jumped online and shared their stories to ultimately find 20 other sellers that had been prey to the same scammer. According to The Verge, Andy Mai has pulled off enough transactions and exchanges to amass $25,000 in expensive camera gear from various users, but were only able to track down four sellers who got played by Mai.Andy Mai is not just one person. It's a team of scammers, who engage with sellers and complete the deals. This group has victimized 20 people and counting in the Los Angeles area.So how did "Andy Mai" pull this off? Well, he's jumping through quite a few hoops to do it, but here's how it's believed he's running his little scheme: Mai collects stolen credit card numbers as the basis for his transactions. With the precious digits, Mai enters the credit card numbers into Venmo under his alias, Andy Mai. Now, he's set up shop. Time for the hunt.Hopping onto Facebook, he scopes out sellers through the Marketplace, contacts the sellers with the intent of buying, offers to pay through Venmo, and slowly sends sellers payments through Venmo. Sellers start to feel a pit in their chest that something's up, but finally meet in person with the elusive Mai to hand over the seemingly paid for equipment.At this point, Mai has probably been using over six Venmo accounts, moving from one to the next each time one gets shut down. He's flipped the scamming game by turning financial data into material goods—skipping the middle hard cash step. In response to these recent scams, Venmo has warned users to never exchange with strangers but has not been able to halt Andy Mai from resurfacing.[via The Verge, featured image via Flickr] [post_title] => Beware: Venmo Scammers Have Stolen Over $25,000 of Photo Gear [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => beware-venmo-scammers-have-stolen-over-25000-of-photo-gear [to_ping] => [pinged] => [post_modified] => 2017-07-19 13:38:18 [post_modified_gmt] => 2017-07-19 17:38:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79851 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[7] => WP_Post Object ( [ID] => 79825 [post_author] => 47253 [post_date] => 2017-07-18 13:24:18 [post_date_gmt] => 2017-07-18 17:24:18 [post_content] => A photographer and location scout for films and other productions, Edward French, 71, was shot and killed at the Twin Peaks viewpoint in San Francisco early Sunday morning.The victim was allegedly shot during a robbery by a man who appeared to be in his 20s and a woman in her late teens, according to witnesses. The suspects approached the photographer around 7:50 a.m., shot him, stole his camera and fled to a dark gray Honda Accord, said San Francisco police spokesman Robert Rueca to SFGate.Jeff Sheehy, the San Francisco supervisor who represents District Eight, said he knew French through the city's film production community, according to SFGate."This killing is really tragic,” Sheehy told SFGate. “It’s obviously not safe at Twin Peaks. This was at 8 a.m. on Sunday. I’m very concerned about it.”French had been taking pictures of the sunrise from the lookout point when he was robbed, said his Eureka Valley neighbor. A jogger was the first to find French after hearing the gunshot. They performed CPR before the paramedics arrived and he was taken to San Francisco General Hospital.Multiple other incidents have occurred at the Twin Peaks lookout spot recently. Three men were shot in the area in February 2016; two of them died. On July 1 this year Bay Area residents were robbed at gunpoint while taking pictures.On Monday, the photographer's family and friends gathered at his apartment not far from the spot French was shot. They asked for privacy, SFGate reported.[via SFGate, featured image via David Yu] [post_title] => Photographer Robbed and Killed at San Francisco's Twin Peaks [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => photographer-robbed-and-killed-at-san-franciscos-twin-peaks [to_ping] => [pinged] => [post_modified] => 2017-07-18 13:24:18 [post_modified_gmt] => 2017-07-18 17:24:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79825 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 17 [filter] => raw )[8] => WP_Post Object ( [ID] => 79754 [post_author] => 25217 [post_date] => 2017-07-17 12:24:13 [post_date_gmt] => 2017-07-17 16:24:13 [post_content] => The relationship between artificial intelligence and photography just got real—Google's latest AI experiment is taking Street View imagery from Google Maps and using post-processing techniques, operated by machine learning software, to create professional-grade landscape photography.Completely devoid of a human touch, the software works by utilizing machine learning to train a deep neural network to scan thousands of Street View images. Then, after identifying which shots have notable landscape potential, the software "mimics the workflow of a professional photographer," according to The Verge, and transforms that imagery into high-quality panoramas.[caption id="attachment_79762" align="aligncenter" width="640"]

via Google[/caption]The project, led by Hui Fang, a software engineer on Google’s Machine Perception team, works by using one AI "photo editor" that identifies photographic elements, then tampers with them by cropping the photo, applying changes to lighting and color, and chooses a filter to apply. Next, another AI model compares the original shot to the edited image, resulting in software that understands the generalized "good" and "bad" qualities of a photograph. This process is called a "generative adversarial network," a new AI technique that matches to AI networks against each other and uses the results to improve the system.Finally, to test whether the AI software is actually producing professional-grade images, Fang and his team asked professional photographers to grade each image on a quality scale alongside side shots taken by humans. The Verge reports that "two out of every five photos received a score on par with that of a semi-pro or pro."[caption id="attachment_79763" align="aligncenter" width="640"]

via Google[/caption]This project will surely make some noise in the photography world, and really, it's easy to see why: taking the human touch out of image-making is a concept that's been confronted for some time now. As cameras and technology become increasingly highly-quality and user-friendly, the commoditization of the industry is a pervasive threat that's growing each day. Photography is bigger now than ever and the tech industry wants to capitalize on the business.However, it's important to consider how AI software such as this could operate alongside your workflow. Imagine the time you would save if your software could scan large image sets to help make the best selects before beginning your post-work. Or even the ability to compare your edits to your raw images and have software shoot back some suggestions that may or may not create a more aesthetically pleasing final shot.[caption id="attachment_79764" align="aligncenter" width="640"]

via Google[/caption]These days, being open to change is somewhat of a defining factor within the photography community, and projects like these are most definitely stirring the conversation.[via The Verge] [post_title] => New Google Software "Mimics The Workflow of a Professional Photographer" [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => new-google-software-mimics-the-workflow-of-a-professional-photographer [to_ping] => [pinged] => [post_modified] => 2017-07-17 12:24:13 [post_modified_gmt] => 2017-07-17 16:24:13 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79754 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[9] => WP_Post Object ( [ID] => 79685 [post_author] => 47256 [post_date] => 2017-07-12 15:14:16 [post_date_gmt] => 2017-07-12 19:14:16 [post_content] => Twenty-one-year-old Brazilian artist, Marina Amaral, has used her talent to bring the past back to life, transforming emotive and momentous black-and-white photos into color. With enormous hours of tender, love, and care, Amaral has used her post-processing skills to transform images of historic figures like Martin Luther King and John F. Kennedy and events like World War II and Hiroshima, somehow feel palpable.[caption id="attachment_79691" align="alignnone" width="1024"]

Lee Harvey Oswald Arrested.Image via Marina Amaral[/caption][caption id="attachment_79694" align="alignnone" width="750"]

Senator John F. Kennedy And Jacqueline Bouvier Kennedy On Their Wedding Day. September 12, 1953. Image via Marina Amaral.[/caption]Marina familiarized herself with Photoshop around the age of 10. Back in 2015, Amaral came across an online history forum containing colorized photos of World War II.[caption id="attachment_79693" align="alignnone" width="1000"]

Medics From The US 5th And 6th Engineer Special Brigade (ESB) Help Wounded Soldiers On Omaha Beach. Image via Marina Amaral.[/caption][caption id="attachment_79696" align="alignnone" width="736"]

Ethnic German Refugees Huddling In Blankets - The Only Survivors Of An Original 150 Polish People Who Walked From Lodz In Poland To Berlin Hoping To Find Food And Shelter. Image via Marina Amaral.[/caption]“I was surfing the internet when I stumbled upon a few colorizations of photos of World War II in a forum. I remember I was surprised to learn that it was possible to achieve a realistic result with this technique, because every time I tried to do it before, the colors were so weird and the result was anything close to the level of quality that I would like to present in my work,” Marina said. “When I realized it was possible to create something better than what I was doing before, I began to practice every day. That's what I've been doing since then.”[caption id="attachment_79697" align="alignnone" width="750"]

Hiroshima after bombing. Image via Marina Amaral.[/caption]Enamored with the wonders of her new talent, Marina has since turned her hobby into a career, coloring more than 200 significant images for commission.[caption id="attachment_79699" align="alignnone" width="750"]

Thomas Edison Relaxing On A "Vagabonds" Camping Trip, 1921. Image via Marina Amaral.[/caption][caption id="attachment_79700" align="alignnone" width="750"]

A 1st Royal Ulster Rifles, 6th Airborne Division (UK) Sniper, On Patrol In The Ardennes, Wearing A Snow Camouflage Suit, 14 January 1945. Image via Marina Amaral.[/caption]As Marina states, the “time-consuming process” for each photo usually requires more than a month of painstaking research. Amaral carefully sources her material from online library archives such as the Library of Congress, the US National Archives, and the British Library. Next, Amaral contacts top historians and other experts to identify the correct colors of objects and scenery.The process doesn’t end there. To perfect her technique, Amaral prefers to reference modern photographs of the locations at the same time of day. In addition, Amara studies the colors of individuals’ faces in real life to understand exactly how the light meets skin. “I try to be as accurate as possible with the colors, because I’m aware that this is history,” as said to WIRED. “It’s not my job to modify it and make it look the way I want it to look.”Marina’s favorite photo she’s worked on is a series of mugshots from a girl that was murdered in Auschwitz. “I wanted to give her to chance to "say" her name, to show her face and to tell her story. I think I managed to achieve my goal and that makes me feel very proud,” she said.[caption id="attachment_79703" align="aligncenter" width="613"]

14-year-old Polish girl, Czeslawa Kwoka, murdered in Auschwitz.I mage via Marina Amaral.[/caption]Check more of Amaral's work here.[Featured image via Marina Amaral] [post_title] => Photo Colorization Wizard Brings New Life to Iconic Black and White Images [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => photo-colorization-wizard-brings-new-life-to-iconic-black-and-white-images [to_ping] => [pinged] => [post_modified] => 2017-07-12 15:14:16 [post_modified_gmt] => 2017-07-12 19:14:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79685 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[10] => WP_Post Object ( [ID] => 79648 [post_author] => 47253 [post_date] => 2017-07-12 12:02:32 [post_date_gmt] => 2017-07-12 16:02:32 [post_content] => Leica launched its latest addition to the TL-system this week, the Leica TL2. According to Leica, the TL2's "perfected features and persuasive performance meet nuanced design in this new generation."The TL2 is the third in the TL-System; its predecessors are the TL and T. The TL2 is an upgraded version of the TL with an impressive list of improved features including a 24-megapixel sensor, 4K video capabilities, improved autofocus, an electronic shutter and an ISO range up to 50,000. The price of the TL2 will start at $1,950.[caption id="attachment_79678" align="aligncenter" width="750"]

via Leica[/caption]The camera sets itself apart from other models with its large 3.7-inch LCD touchscreen display. The screen has a MyCamera menu that strategically groups icons and settings according to related functions. Apart from the touchscreen settings, the camera has only four other controls. The camera itself will be offered in silver and black, and carrying straps will be offered in grey, black, red, yellow and cemento.There are six lenses that are compatible with the TL2 that cover focal lengths between 17 and 200mm. The camera also has an L-Bayonet mount that allows any TL or SL lens to fit on the camera's body without an adapter.[caption id="attachment_79679" align="aligncenter" width="750"]

via Leica[/caption]"The combination of optical and precision engineering and use of the finest materials in their construction ensures their constant quality and reliability in use," Leica said in a press release. There are adapters available so that photographers can use lenses within the M or R systems if they choose to.There's is also an app for iPhone and Android users that connects to the TL2. It can control settings and act as a viewfinder for the camera.Here are some additional features of the Leica TL2:

Maestro II image processor
Digital APS-C system camera
Up to 4K video resolution
APS-C sized CMOS sensor (23.6 x 15.7 mm) with 24.96/24.24 million pixels (total/effective), aspect ratio 3:2
32 GB internal memory
ISO range from ISO 100 to ISO 50,000
Photo resolution: DNG: 6016 x 4014 Pixels (24 Megapixels), JPEG: optional 6000 x 4000 Pixels (24 Megapixels), or 4272 x 2856 Pixels (12 Megapixels), or 3024 x 2016 Pixels (6 Megapixels)
Body dimensions are 134 x 69 x 33 mm and weight is approximately 399 g/355 g (with/without battery)

The Leica TL2 is now available in Leica stores, boutiques and selected dealers. [post_title] => Leica Brings Touchscreen to Point-and-Shoot Size Mirrorless Camera [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => leica-brings-a-touchscreen-to-point-and-shoot-size-mirrorless-camera [to_ping] => [pinged] => [post_modified] => 2017-07-12 12:13:02 [post_modified_gmt] => 2017-07-12 16:13:02 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79648 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[11] => WP_Post Object ( [ID] => 79449 [post_author] => 47258 [post_date] => 2017-07-10 11:08:38 [post_date_gmt] => 2017-07-10 15:08:38 [post_content] => NSFW stands for Not Safe For Work, or any online media that contains sexuality, nudity or disturbing content. Such censorship has barred a lot artists from exploring sexuality-related topics, which often include exposing their bodies in their art. NSFW: Female Gaze, presented by The Museum of Sex and Creators at VICE Media, is standing against the implications of the NSFW tag by cultivating a community of emerging female artists.“Women shouldn’t be ashamed of their bodies. Female Gaze is a place to be open about things where there aren't any rules,” said Lissa Rivera, associate curator of the Museum of Sex. According to VICE Creators, stories related to women’s art that addresses naked bodies and sexuality tend to draw more attention, as well as receive more likes and shares on social media platforms. Marina Garcia-Vasquez, the editor-in-chief of VICE Creators, explains that the co-curation with the Museum of Sex offers artists an opportunity to explore themes that are particularly important to their audience. “These themes are an exploration of sexuality by women making art for other women and new mediums,” she said.[caption id="attachment_79607" align="aligncenter" width="1024"]

Lissa Rivera (left), Marina Garcia-Vasquez. Photo ©Charlie Rubin[/caption]Rivera also pointed out that many women visit the exhibit because they have questions about sexuality and their own identities, and as the new generation of women is more open to such conversation, it is important to have a platform like this that encourages the voice of women.The exhibit features the artworks of over 25 female artists. From photography, film, and painting to embroidery and sculpture, each artist interprets sexuality differently and fearlessly based on their own life experiences. Some artists are also the subjects of their own work, exploring themes such as the relationship between sex and desire. [caption id="attachment_79603" align="aligncenter" width="1024"]

Artists (left to right) Marina Garcia-Vasquez, Lissa Rivera, Nona Faustine, Pixy Liao, Marie Tomanova, Maidenfed, Rebecca Goyette. Photo ©Charlie Rubin[/caption]Women are often found to be in a grey area in which they are either too sexual or conservative, and the exhibit also serves as a testing ground to redefine the boundaries of sexuality. “What are the parameters? We are having artists explore that on their own terms with images that come from the female perspective,” said Rivera. NSFW Female Gaze opened on June 21 and will be on view until Sept. 24, 2017. See some images from the exhibit below.[caption id="attachment_79479" align="aligncenter" width="1024"]

©Kristen Liu Wong[/caption] [post_title] => Museum of Sex's "NSFW: Female Gaze" is Redefining the Boundaries of Sexuality [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => museum-of-sexs-nsfw-female-gaze-is-redefining-the-boundaries-of-sexuality [to_ping] => [pinged] => [post_modified] => 2017-07-10 11:08:38 [post_modified_gmt] => 2017-07-10 15:08:38 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79449 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[12] => WP_Post Object ( [ID] => 79582 [post_author] => 47253 [post_date] => 2017-07-06 16:30:18 [post_date_gmt] => 2017-07-06 20:30:18 [post_content] => Developing as a photographer includes (but, of course, is not limited to) learning what specific camera settings create the kind of image you're aiming for, and learning how to take that image to the next level in programs like Lightroom. But when just starting out, figuring out all of these separate variables and how they work together can be extremely overwhelming. Pixel Peeper, however, could potentially change that.Freelance web developer Piotr Chmolowski created Pixel Peeper in order to offer photographers, or anyone interested, really, a way to upload a JPG image and learn the camera settings used to capture the image, as well as the Lightroom tools used to edit the photo. The website can be used for sincere curiosity and learning, or for the personal satisfaction of knowing the person claiming to have not used presets, actually has every VSCO preset back available.[embed]https://twitter.com/p_ch/status/876726485880639488[/embed]The software works by reading EXIF and XMP files to obtain the camera settings and Lightroom alterations. Therefore, the metadata must be present or it won't work. If a photographer doesn't want this information to be known they can choose to remove the metadata. Social media websites, Instagram and Facebook specifically, also remove all metadata from pictures once they're uploaded, so pulling an image from these platforms won't work either.More recently, Chmolowski has added features such as a Preset Finder. If the JPG uploaded has any preset Lightroom settings this software will identify it if the user has purchased the preset package. In simplest terms, if the user does not own any presets packs, then they cannot use the Preset Finder.Chmolowski says on the website, "It's implemented like this, because I don't want to discourage people from buying certain presets, simply because they can copy the settings from this site."Another smaller feature that has been added is the ability to check pictures via URL. This one, however, is a paid feature. Users that wish to use this feature will have to pay for a premium account.[caption id="attachment_79583" align="alignnone" width="1427"]

via Pixel Peeper[/caption]Pixel Peeper is still a work in progress. While Chmolowski has already worked out a lot of the bugs, it still only works for photos exported with Lightroom. Overall, though, as long as the EXIF data is present users can access camera settings, and as long as XMP data is present users can access Lightroom edits.So far, the website has been met with happy users and good reviews. These two Reddit threads, the first and the second, have gotten a lot of up votes and interaction from both photographers and curious observers.[Featured image via Wikimedia] [post_title] => Uncover Lightroom Edits and Presets in Photos With This Clever Web Tool [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => uncover-lightroom-edits-and-presets-in-photos-with-this-clever-web-tool [to_ping] => [pinged] => [post_modified] => 2017-07-06 16:30:18 [post_modified_gmt] => 2017-07-06 20:30:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79582 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[13] => WP_Post Object ( [ID] => 79441 [post_author] => 47253 [post_date] => 2017-06-29 12:00:22 [post_date_gmt] => 2017-06-29 16:00:22 [post_content] => In honor of National Camera Day, Canon has announced the release of two new DSLR cameras: the EOS 6D Mark II and the EOS Rebel SL2. The first is designed specifically with advanced amateur photographers in mind, while the second is marketed toward entry-level photographers, according to Canon's press release, both of which have upgraded the features of their popular predecessors.

EOS 6D Mark II DSLR Camera

[caption id="attachment_79442" align="alignnone" width="1750"]

via Canon[/caption]This camera and its predecessor were designed to offer the middle-ground between extremely high-end DSLRs and full-frame DSLRs. The camera is, in the words of the Canon press release, "designed with enthusiast photographers in mind."[caption id="attachment_79446" align="alignnone" width="1750"]

via Canon[/caption]Features include:

26.2 Megapixel Full-frame CMOS Sensor
Optical Viewfinder with a 45-point All Cross-type AF System1
Dual Pixel CMOS AF with Phase-detection & Full HD 60p
DIGIC 7 Image Processor, ISO 100-40000
Vari-angle Touch Screen, 3.0-inch LCD
Built-in Wi-Fi®2, NFC3, Bluetooth®4 and GPS technology
High-speed Continuous Shooting at up to 6.5 fps
Dust- & Water-resistant
Pricing and availability: $1,999.00 (body only), late July 2017

EOS Rebel SL2 DSLR Camera

[caption id="attachment_79443" align="alignnone" width="1750"]

via Canon[/caption]The EOS Rebel SL2 is targeted at beginners who have decided to take one step up from an iPhone or point-and-shoot camera. The camera has a small, light-weight body, as well as a new interface called Feature Assistant, a feature that shows the photographer how altering settings like shutter speed and aperture can change the look of the image. It's also important to note that according to Canon this camera offers the world's fastest AF speed at 0.03 seconds.[caption id="attachment_79445" align="alignnone" width="1750"]

via Canon[/caption]Features include:

24.2 Megapixel CMOS (APS-C) Sensor
Dual Pixel CMOS AF
3.0-inch Vari-Angle LCD Touch-Screen
Built-in Wi-Fi®2, NFC3 and Bluetooth®4 Technology
Full HD 60p & External Microphone Input
DIGIC 7 Image Processor, ISO 100-25600
Optical Viewfinder with a 9-point AF System
Feature Assistant
Small and Lightweight Body
Pricing and availability: $549.99 (body only), late July 2017

Stay tuned for updates after we're able to test this gear! [post_title] => Canon Announces Next Generation of Popular DSLR Cameras: The 6D Mark II & Rebel SL2 [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => canon-announces-next-generation-of-popular-dslr-cameras-the-6d-mark-ii-rebel-sl2 [to_ping] => [pinged] => [post_modified] => 2017-06-28 17:43:08 [post_modified_gmt] => 2017-06-28 21:43:08 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79441 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[14] => WP_Post Object ( [ID] => 79228 [post_author] => 47258 [post_date] => 2017-06-28 11:15:54 [post_date_gmt] => 2017-06-28 15:15:54 [post_content] => “A picture worths a thousand words,” is not a cliche to photographers Katarzyna Owczarek and Marcin Owczarek. It carries a deeper meaning, which is profoundly reflected in their work. Katarzyna and Marcin are a married couple who started working together in 2016. As fine art photographers, they tell stories based on surrealism. In their new series, “My Heart is An Animal,” they let viewers interpret their work based on their own life experiences. By communicating in surreal language, viewers are able to interpret each story differently, as this particular series highlights the connection between humans, animals and how they affect society and nature. We spoke with Katarzyna and Marcin to discuss fine art photography and learn more about the surrealism in their work.[caption id="attachment_79245" align="aligncenter" width="1024"]

© Katarzyna and Marcin Owzarek[/caption]Can you describe the connection you've cultivated between surrealism and photography, as well as how you initially got started in this category of photography?Marcin: As far as I remember I didn't start with photography. At the age of 17, I created my first paper-collage called ‘Requiem.’ Since that moment I tried to find the best medium to express myself. Primitively I used scissors, glue, and paper. Later, that wasn't enough and the possibilities of creation for me were too narrow. In this way, I discovered photography and Photoshop. Subsequently, I started to connect collage and photography. In the beginning, I used to photograph every single element I needed in creation: buildings, monuments, animals. By using both methods, I developed in photography and started to create digital art, as well as mixed media art. All in all, I've been doing this for 14 years. In 2016, I decided to try something new, a different kind of photography, by limiting the level of manipulation and focuses more on the photography itself. In this way, we invented our current series 'My Heart is An Animal,' which combines photography in more traditional way, concept and storytelling.Katarzyna: Our project is mysterious, surreal and has emotional vigor. To sum it up, our series are based on the poetics of surrealism, because surrealism makes visible the invisible and transgresses the traditional bounds of reality. Our minds work in a similar way—we feel comfortable in this kind of universe, so we decided to inhabit there and invite art lovers to visit us.[caption id="attachment_79247" align="aligncenter" width="1024"]

© Katarzyna and Marcin Owzarek[/caption]Can you walk me through the process of shooting your new series, 'My Heart is An Animal'?Marcin: The main inspiration behind the series is the relationship between human beings and animals. We wanted to stress the fact that we often forget how deep the connection is between animal, the natural world, and Mother Earth, and how we do not treat this kind of connection in a proper way. Animals are being abused, some species are close to extinction. By linking human and animal elements we want to say: we are all, one living organism and we should respect each other. When we use the animal mask and human body it also means that we share all these aspects of existence. In addition, our inspiration was our state of mind and the particular way we observe the world.This series satellites around allegories, archetypes, symbols, and myths which are always up-to-date. The pictures have metaphorical and symbolic connotations. Using animal heads as a symbol and referring to instincts might be interpreted on many different levels. Symbols have many deep dimensions, they are stronger than passing time. Our human-animal instincts are simply universal and will be visible as long as this world exists.[caption id="attachment_79258" align="alignnone" width="1500"]

© Katarzyna and Marcin Owzarek[/caption]Katarzyna: Moreover, when new concepts and impulse for creation appears (sometimes unexpectedly), we summarize it in a few sentences and make sketches in our notebook. This process is simply a conceptual part. In our case, to create a final picture (finished artwork), we also need to set off for the trip and find the best place that's most visually attractive. [caption id="attachment_79261" align="alignnone" width="1024"]

© Katarzyna and Marcin Owzarek[/caption]You explained this series mainly deals with the relationship between human and nature with a strong emphasis on animals. Can you tell more about how this relationship interests you? Katarzyna: One of the most fascinating facts, regarding the relationship between animals and man, is how deeply we are connected with the animal and natural world. In our view, people simply start to forget about these connections. We do not live in coexistence—a man tries to force nature to fit the human scale and exploit it. Man wants to shape nature to his will. For some people, it might sound naive, but we believe we are all "children of the Earth" and every soul has the same right to be respected. The relationship between man and animal, such as dog, for example, can be emotionally powerful. We think everyone whose ever had a dog for many years can say something about this. We are interested in the polarity between man and animal, and it shows up in our work. [caption id="attachment_79256" align="aligncenter" width="1024"]

© Katarzyna and Marcin Owzarek[/caption]You also mentioned that animals sometimes show human emotions. What emotions/feelings do you think man and animal have in common? In what ways does this build a relationship? Marcin: Man and animals share in common many aspects. To start: people resemble animals and animals resemble humans (emotionally, physiognomically). We share the same set of needs—we need nourishment, we need to procreate to keep the species alive, we need to be loved and understood, we need warmth and shelter, we are all limited by mortal body, etc. They feel pain and they have memory. Animals as humans can live in groups, protect and help each other, have their own languages to communicate. Animals struggle with the same concerns as any modern man. All of these mentioned factors make the animals similar to us in many aspects and build a relationship between us and them.[caption id="attachment_79275" align="alignnone" width="1024"]

© Katarzyna and Marcin Owzarek[/caption]How much of yourself do you insert into you work vs. your subjects? Katarzyna: To be honest we completely identify ourselves with the subjects of our works, and our works are also contributing to "Animal Rights." We create art and photography through all our senses, emotions and interaction with the living world.To wrap up this up, I'm wondering what you have planned for the future?Marcin: We have a couple of new sketches, so new works will be revealed soon for sure. I can already say that two of our next works will be called 'The Song of the Sea' and 'Who Am I.' Now we're just looking for the proper visual atmosphere and landscape. Katarzyna: 'My Heart is an Animal' is an open-ended project, which we constantly develop. We also intend to create few sculptures which will correspond with our project, which we hope to achieve in 2018.See more images from the series below and visit Katarzyna and Marcin Owzarek's website for more of their work.[caption id="attachment_79259" align="aligncenter" width="1024"]

© Katarzyna and Marcin Owzarek[/caption] [post_title] => Surreal Photo Series Explores the Poetic Connection Between Humans and Animals [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => surreal-photo-series-explores-the-poetic-connection-between-humans-and-animals [to_ping] => [pinged] => [post_modified] => 2017-06-28 11:15:54 [post_modified_gmt] => 2017-06-28 15:15:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79228 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ))

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