Array (  => WP_Post Object ( [ID] => 79386 [post_author] => 47255 [post_date] => 2017-06-27 16:01:18 [post_date_gmt] => 2017-06-27 20:01:18 [post_content] => Brooklyn Beckham, 18-year-old son of retired soccer star, David Beckham and former Spice Girl, Victoria Beckham, has recently taken his "amateur" photography to print.Penguin Random House UK is set to release Beckham’s photo book title, What I see, on June 29, and art critics are already getting their dirty words out there about this young artist's first publication.Criticism of Beckman first struck back in 2016, when he shot an ad campaign for fashion/beauty company Burberry. Professional photographer Chris Floyd called out Beckham for not earning is fame, claiming it was handed to him because of the family he was born into."I carry a camera around with me absolutely everywhere so I don't miss a potential photographic moment. Having said that, I don't love being photographed myself. I accept it because I have grown up with it," he said to Sky News.https://www.instagram.com/p/BUruU8fDrlp/?taken-by=brooklynbeckham With over 10 million followers on Instagram, Beckham has created a lot of artistic exposure for himself, and it's no wonder why a publishing company wants to take a chance on reaching that audience. The publication, which is set to display 300 photos, is said to tell a story—not just photos slapped down in a scrapbook.“Each chapter tells a different story through pictures by and of Brooklyn, accompanied by captions and passages of text in his own words," proclaims the book description.Nonetheless, "serious" artists aren't taking Beckham so seriously. i newspaper Arts Editor Alice Jones, for example, left a rather sarcastic review: “Huge fan of Brooklyn Beckham’s terrible photographs and even worse captions," she wrote.But Managing Director of Penguin Random House Children’s, Francesca Dow, on the other hand, hopes that people will see the publication for what it's meant to stand for. "What I See is a book for teenagers, by a teenager, which gives Brooklyn’s fans broader insight into his world seen through his unique and creative perspective,” she told The Independent.https://www.instagram.com/p/BUVANIhjrx2/?taken-by=brooklynbeckham What do you think? Does Beckham's background give him an unfair advantage as a photographer? Or, is his family's celebrity status preventing his work from being seen from an unbiased perspective?Beckham will be showcasing the original photos from the book at Christie’s London in Mayfair on June 27. Each photo will be available for purchase and proceeds are set to benefit the children of the Grenfell Tower fire.[via Sky News, featured image via Instagram] [post_title] => Brooklyn Beckham Bashed by Critics for Photo Book Publication [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => brooklyn-beckham-bashed-by-critics-for-photo-book-publication [to_ping] => [pinged] => [post_modified] => 2017-06-27 16:01:18 [post_modified_gmt] => 2017-06-27 20:01:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79386 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) => WP_Post Object ( [ID] => 79012 [post_author] => 47251 [post_date] => 2017-06-06 14:36:20 [post_date_gmt] => 2017-06-06 18:36:20 [post_content] => Last year, photographer Benjamin Von Wong addressed the issue of pollution through a hyper-realistic photoshoot featuring a mermaid and 10,000 plastic bottles. The project was very well received, and now Von Wong has stepped up to battle a new challenge: child hunger.[caption id="attachment_79014" align="aligncenter" width="1024"] © Benjamin Von Wong[/caption]"Unfortunately, sob stories and sad photographs don’t really do well on social media, so we wanted to try a different approach," said Von Wong in a blog post. "We decided to do a photoshoot that would highlight kids as heroes, on an epic quest to get food."[caption id="attachment_79018" align="aligncenter" width="1024"] © Benjamin Von Wong[/caption]The result is a series of images that look straight out of a Hollywood blockbuster, conveying the uphill battles many of these children face while placing them in courageous and inspiring scenarios. [caption id="attachment_79015" align="aligncenter" width="1024"] © Benjamin Von Wong[/caption]Working with some friends from Second Harvest Food Bank, Von Wong was able to creative inexpensive sets that visually pop. Each image is a bit of a separate project, as each shot was taken in different location with a different subject and tone than the others. Some of these sets were fairly straightforward, using a well-placed LED to illuminate the face of the child, for example. Others, though, we're a bit more complex, like using a focused beam of light to prevent the subject from being included in the motion blur seen around her as she races through the aisles of a grocery store.[caption id="attachment_79013" align="aligncenter" width="1024"] © Benjamin Von Wong[/caption]The overall purpose of the series is to help raise money for Second Harvest, one of the largest food banks in the nation. Click here to donate—for only 50 cents the organization is able to deliver a meal to child in need. You can also check out the full gallery of images here, along with more behind-the-scenes content.[caption id="attachment_79016" align="aligncenter" width="1024"] © Benjamin Von Wong[/caption]Check out Von Wong's behind-the-scenes video below:https://www.youtube.com/watch?v=XodNQJeAmXI[via Benjamin Von Wong] [post_title] => Von Wong Creates Heroic Images of Hungry Kids to Combat Child Hunger [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => von-wong-creates-heroic-images-of-hungry-kids-to-combat-child-hunger [to_ping] => [pinged] => http://blog.vonwong.com/hunger/ [post_modified] => 2017-06-06 14:36:20 [post_modified_gmt] => 2017-06-06 18:36:20 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=79012 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 78924 [post_author] => 25217 [post_date] => 2017-06-05 13:37:50 [post_date_gmt] => 2017-06-05 17:37:50 [post_content] => Traversing the subway in New York City, it's easy to come across an occult, seemingly omnipresent ad for the infamous Museum of Sex, a racy collection of exhibits, sex-ed and sex toys. This is also where photographer Bill Bernstein is showcasing his latest exhibition, Night Fever, which assembles a collection of 40 images taken between 1977 to 1979, exploring the "sexually and socially radical multiculturalism embraced by the New York disco clubs of the late ‘70s."Throughout his career, Bernstein has published two books: one that covers his iconic disco photos and another that chronicles his 15 year stretch as Paul McCartney's tour photographer. He's also worked with a number of notable celebrities and musicians, such as U2 and Keith Urban. Today, he continues to work for a number of editorial and advertising clients, and even shoots series on his iPhone, despite coming up in the days of film. Most recently, he spoke at the Library of Congress with Gloria Gaynor and other scholarly types who have studied this era, which he says was one of his greatest honors.We caught up with Bernstein to talk disco, life on the road with Paul McCartney, and to learn more about evolving as an artist when your career spans more than three decades.[caption id="attachment_78974" align="aligncenter" width="1024"] © Bill Bernstein[/caption]Hey Bill, let’s start by discussing the disco days. What was your intention when shooting the disco era? What were you seeking to accomplish? My mindset was one of a curious photojournalist. I was curious about the culture I was witnessing and knew I was witnessing something interesting. Going back to the late ‘70s, I saw and felt that something unusual was happening. I basically followed my instincts and tried to capture what I saw without thinking about it too much, but reacting to it viscerally, trying to see what was going on and how it was affecting the world. It wasn’t until much later that I had perspective on shooting that work because all I could see and feel at the time was the amazing cultural diversity meeting on the dance floor; LBGT, straight, African American, Puerto Rican, men, women, old, and young people. Back then it was unusual to see, so I just kept shooting. Moving into the '80s, did any of this thinking change for you? I kept seeing things in front of me that were unusual, which was a period that basically started after Stonewall and popularized by Saturday Night Fever in 1977. Then Studio 54 opened and it continued for a couple years until the AIDS crisis, which made people a bit afraid of going out. There was also a gay undertone to the whole disco culture, which caused some cultural backlash against the music. A lot of people were sick of disco and moved on to rock, punk or new wave. This is the tiny little period of time I captured for this body of work that can never really be recreated. It was all of these different movements—the LGBT movement, the women’s movement, the civil rights movement—that were having their victory dance on the dance floor.[caption id="attachment_78979" align="aligncenter" width="1024"] © Bill Bernstein[/caption]You mentioned that this was an unusual, diverse time in culture. Is there anything happening right now that you'd say is comparable? On a cultural level afropunk is interesting. But on a larger scale, not just in New York but all over the world, there’s the culture against the Trump administration. I think that’s bringing a lot of energy to the streets and our consciousness, and it reminds me a bit of the ‘60’s and the Vietnam War protests which I was a part of. Unlike the disco era, this movement had a common enemy, whereas disco was more like an inclusive celebration. That’s the difference—today it’s more of a fight against something. But the power and strength coming from it, to me, is very noteworthy and shows a lot of creativity. People are really expressing themselves in an interesting way. Totally. Now can you walk me through a standard night of shooting at Studio 54? I would usually get there around 11 or 12. I knew the people at most of the clubs by that point because I was shooting a lot. I was also working at the Village Voice so they would always let me in. Around midnight, the place would be fairly packed and people were just starting to arrive. I never drank or did drugs when shooting this project because it needed my full attention. It was also difficult shooting in those conditions because the light was low and I was shooting film, so I couldn’t see right away if it was focused or if the light was balanced. Basically, I would start by scoping out the crowd and seeing who was there. Were there cliques? Were there celebrities? Was it a young crowd? Was it an old crowd? From there, I would rely on my gut instinct and looking for interesting things that were happening. Whether it was a cluster of people sitting on a couch or a transgender woman dancing with a straight guy, I looked for things that showed diversity and reported to what I saw that night to the world—the Village Voice often used my pictures to illustrate pieces during that time when disco was so important, which was really happening in New York City.[caption id="attachment_78975" align="aligncenter" width="1024"] © Bill Bernstein[/caption]I’d get back home by around 4 or 5 in the morning and would sometimes develop my film right away, so when I woke up the next day the negatives were hanging to dry. I would make a contact sheet in my makeshift darkroom and sit there with a big, strong cup of coffee. By then it was probably 3 in the afternoon and I would use a loupe and marking pencil to check the shots I thought were interesting. At some point, I’d have a person come in to help make prints. Then I’d repeat that day after day. I was in my mid-20s at the time so I was able to do it back then, but it was a lot of work. If you fast-forward another 10 years or so when I was Paul McCartney’s tour photographer, I would travel on the road with him and was fortunately used to long nights. I didn’t actually process the film on the road, but after a show I would arrange to have someone pick up the film and bring it to a lab. Then we’d pay a ton of money to keep the lab open all night so I could have the contact sheets delivered to me the next day.[caption id="attachment_78973" align="aligncenter" width="1024"] Two of the "regulars" at Studio 54. This couple would dress in different costumes on different nights. This photo was taken on Bill Bernstein's first night of many at discos from 1977-1979. The couple inspired his work because they reminded him of a pre-war Berlin Cabaret couple and he used them as a muse as he continued his journey to explore different clubs. © Bill Bernstein[/caption]I read that you spent 15 years photographing Paul. That seems like absurdly long time to work with one artist on one project. How did you manage to continually evolve creatively?It’s interesting because I was on the road with him from about 1989 to 2005. He wasn’t touring every year during that period, but whenever he did I would go with him. There were long stretches of time when we were on the road for months and months, then we’d take a couple months off before getting back on the road. So how did I grow? Well, that was a challenge for me, honestly, because the show itself was pretty much the same every night. Over the years some of the songs would change, but once he locked down a show it was pretty much the same show every night in a different venue. Yet what was interesting to me was the crowd because it was always different. I ended up shooting a lot of people in the audience and their reactions to the show. I also experimented a lot with different angles—one night I’d shoot low, then the next night go way up in the back of the arena with a long lens, or sometimes shoot from behind. I knew what was going to happen throughout the night, so I tried to set myself up in different places to cover those things. Then there was also backstage, which was completely different, as well as offstage where I would go with Paul if he went on a bike ride or something like that.
"I’m constantly looking for things that are unusual, which is how I keep myself sane." I think a lot of it was using journalistic instincts to report back to the world. Artistically, it was very challenging because I was inevitably not able to do too many different things, and after a while you burn out from a job like that, especially when you’re shooting just one person shows. But I really enjoyed it, loved it and learned a lot. I learned a lot about how a person—how someone of Paul’s stature shows himself to the press, to the world, and how he in some ways helps keep his own legacy alive.[caption id="attachment_78968" align="aligncenter" width="1024"] © Bill Bernstein[/caption]Let’s switch gears a bit. I noticed the iPhone section of your portfolio. What’s it like transitioning from someone who came up shooting the film days to shooting a series entirely on a smartphone? I love my iPhone. I like the fact that you can shoot anywhere and people don’t really know you’re taking a picture. It’s much different than holding a camera. I can look like I’m texting when I’m actually taking pictures. Also, I use the iPhone 7 Plus with the big screen and 12 megapixels, so I’ve actually made pretty large prints from that and they look really good. I think it’s a great tool and has really changed the world, but I wouldn’t use it professionally for an assignment, unless the client asked me to. I’m constantly looking for things that are unusual, which is how I keep myself sane. I detach myself from all my life and life problems and look around, soaking in what I’m seeing and finding something that really catches my eye. That’s like my therapy and the iPhone is great because it’s so easy to have around all the time.[caption id="attachment_78967" align="aligncenter" width="1024"] © Bill Bernstein[/caption]Right on. To wrap things up, is there a purpose that envelops all of your work? What kinds of concepts, themes or messages define you? For me, it’s about producing work that’s not contrived and reflects that what you’re seeing and feeling, which is perhaps unusual or out of the ordinary. If done successfully this will reflect something universal that anyone can pick up on. Really, I send postcards to the world of what my life is like and what I'm seeing, feeling and experiencing at a given moment in time.See more of Bernstein's work below and on his site, as well as at the Museum of Sex, which runs until December 2017 and is free to public. [caption id="attachment_78978" align="aligncenter" width="1024"] © Bill Bernstein[/caption][caption id="attachment_78969" align="aligncenter" width="1024"] © Bill Bernstein[/caption][caption id="attachment_78962" align="aligncenter" width="1024"] © Bill Bernstein[/caption][caption id="attachment_78949" align="aligncenter" width="1024"] GG's Barnum Room was a transgender men and women's haven that became a very popular night spot among all club goers and out of town visitors in the late 1970's. © Bill Bernstein[/caption][caption id="attachment_78946" align="aligncenter" width="1024"] This club, in Bay Ridge Brooklyn, was where the blockbuster movie Saturday Night Fever was filmed. After the disco craze was long over the club was taken down and the famous dance floor was sold to a private collector. © Bill Bernstein[/caption][caption id="attachment_78959" align="aligncenter" width="1024"] © Bill Bernstein[/caption][caption id="attachment_78955" align="aligncenter" width="1024"] © Bill Bernstein[/caption][caption id="attachment_78977" align="aligncenter" width="1024"] © Bill Bernstein[/caption][caption id="attachment_78960" align="aligncenter" width="1024"] © Bill Bernstein[/caption][caption id="attachment_78958" align="aligncenter" width="1024"] © Bill Bernstein[/caption] [post_title] => Inside New York's Disco Era and 15 Years of Photographing Paul McCartney [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => inside-new-yorks-disco-era-and-15-years-of-photographing-paul-mccartney [to_ping] => [pinged] => [post_modified] => 2017-06-05 13:37:50 [post_modified_gmt] => 2017-06-05 17:37:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78924 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 78925 [post_author] => 47254 [post_date] => 2017-06-05 11:49:33 [post_date_gmt] => 2017-06-05 15:49:33 [post_content] => Left and right extremists meet at a crossroads once again in Portland, Ore., as the two rival protest groups have been repeatedly butting heads for the past several months, a constant battle that began even before Trump entered office.This past Sunday, the protests started as a matter of "free speech protests" by pro-Trump supporters but were quickly met with opposition from anti-fascist protesters, which were organized by immigrant rights, labor and religious groups. By late afternoon, police intervened to break up the crowds by using flash-bang grenades and pepper spray after some protesters began projecting bricks and other objects at officers. Throughout the course of the day, 14 people were arrested after weapons were seized from the crowds. Two of the arrested were found to be carrying a concealed weapon.Portland police, local media, protest participants and bystanders took to social media to reveal the facets of horror in the Portland protests. Here are some photos that reveal the horror of this turmoil.https://twitter.com/PortlandPolice/status/871479613783818240Police confiscated multitudes of weapons—ranging from bricks to clubs to knives—from protesters.https://twitter.com/PortlandPolice/status/871535129096724480https://twitter.com/PortlandPolice/status/871518657456644096https://twitter.com/JanakiChadha/status/871445358257229824https://twitter.com/WillyFoReal/status/871507984991502337Protesting bystanders said the pro-Trump front outweighed the left wing protestors approximately ten to one. Black clothing denoted the right wing protestors whereas camouflage clothing signified left wing protesters.https://www.instagram.com/p/BU73TQHh3o2/?taken-by=violent_bluehttps://twitter.com/photoactivist/status/871450023501873152Signs from pro-Trump supporters read, "CNN is ISIS," and "If you are here legally, welcome home." Pro-Trump supporters even brought their own band of security, wearing flack jackets and sunglasses to denote themselves.https://twitter.com/BryanMVance/status/871449407274721280Left wing protestors held up signs such as "Fuck Nazis" and "Stay relentless against white suprematists."[embed]http://https://www.instagram.com/p/BU84iGchamL/?tagged=portlandprotest[/embed]https://www.instagram.com/p/BU8Q_VhDqGf/?tagged=portlandprotesthttps://www.instagram.com/p/BU84iGchamL/https://www.instagram.com/p/BU8Alq_BOUl/?tagged=portlandprotesthttps://www.instagram.com/p/BU72GAQF876/?taken-by=veedoza98_Social media saw a wave of protesting messages aside from the vocal protesting in downtown Portland. Although the protests were broken up by police, Portland still stands divided as is the rest of the country over several of the issues highlighted in the protests.[Featured image via Instagram @mestizo43] [post_title] => Photos Reveal the Horror of Portland Protests [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => photos-reveal-the-horror-of-portland-protests [to_ping] => [pinged] => [post_modified] => 2017-06-05 12:06:22 [post_modified_gmt] => 2017-06-05 16:06:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78925 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) => WP_Post Object ( [ID] => 78907 [post_author] => 47235 [post_date] => 2017-06-02 15:23:07 [post_date_gmt] => 2017-06-02 19:23:07 [post_content] => It would be an understatement to say that the relationship between law enforcement and press hasn’t historically been positive. Even a 1949 police report states, “good press relations have not always existed in police departments,” urging officers to let go of their resentment since it’s usually “not well founded.” Fast forward half a century, and modern organizations such as Photography is Not a Crime are revealing how things have yet to take a turn for the better. During the 2011 Occupy Wall Street protests in New York, for example, things got so out of hand that The New York Times Executive Director George Freeman addressed an official letter to NYPD-superiors. He was supported by 12 other prominent figures in American journalism, demanding an explanation for the abuse of various journalists covering the movement. “In response, we had a meeting with Police Commissioner Kelly,” said Freeman in an e-mail, resulting in Kelly’s reissuing of NYPD guidelines, which Freeman considers quite supportive of press access. “This was a good step forward, but the ongoing question is whether the cop on the street late at night in a volatile situation gives a thought about directives from on [sic] high.” There’s really no denying that journalists and photographers, at times, are wrongly targeted and mistreated by the police. But for those currently working in the field, it’s a question of how this can be avoided, and what steps can be taken to ensure that each side can effectively do their jobs. But it’s not always that simple. In April 2015, for example, a Baltimore protest after the death of Freddie Gray, 25, who died days after suffering a severe spinal injury while in police custody, resulted in a night of violence—rocks were thrown, riot shields were raised. In the midst of the stand off, Reuters Photographer Sait Serkan Gurbuz was arrested and Joseph M. Giordano, a photo editor at City Paper, was beaten. According to The Baltimore Sun, Giordano reported that “he was hit in the head with multiple police shields, had his ‘face pretty much smushed down on the ground,’ and sustained multiple bruises after several officers rushed at him as he shot pictures.” The original City Paper article containing Giordano’s statements no longer exists on the web.
“I try to remember to be smart, stay calm, be aware my surroundings and be mindful.” Gurbuz writes in an e-mail that he believes this encounter was “a clear violation of the freedom of the press, guaranteed by the First Amendment.” However, he says that he doesn’t hold a grudge and was quick to close the case. “A spokesperson apologized to me publicly and admitted the department's wrongdoing,” he said. "The citation they gave me for 'failure to obey' was taken back, as well. Although I was tackled to the ground and my arms were twisted behind me, luckily I was not injured, and my equipment was intact." Giordano also chose not to take action against the police for what happened to him. He didn't want to call attention to himself and considers “getting caught up in hazardous situations” to be a part of his duties as a photojournalist. “Some pay with their lives,” he said, adding that he feels like members of the media are being “marginalized like never before.” Both Giordano and Gurbuz say the only way they could have prevented what happened would be to neglect their responsibilities as photographers. “I could have ran, but I needed those photos,” Giordano said. This is why they don’t plan to approach future situations any differently. “I try to remember to be smart, stay calm, be aware my surroundings and be mindful.” [caption id="attachment_78908" align="aligncenter" width="1024"] Photo by Thomas Hawk via Flickr[/caption]T.J. Smith, Chief Media Relations at the Baltimore Police Department, says scenarios like this are far from commonplace. “We don’t routinely have negative encounters with photographers or other journalists,” he said an e-mail. “But in tense situations, like riots and protests, every second matters for public and officer safety. At times of heightened awareness, it is sometimes impossible to discern a member of the press from a citizen engaging in illegal activity.” This conflicts with Gurbuz’s recount, who claims to have been wearing visible press credentials and carrying professional equipment. “I don’t think I could be confused for a protester,” he said. But there are surely two sides to every story, and the real question is not about what happened in the past, but the solution to move forward. Perhaps Smith sums it up best: “The relationship between the police and media or photographers should be one of mutual respect.” In the meantime, here are some tips from the experts to avoid arrest as a photographer. Sait Serkan Gurbuz: “Whether to make an arrest is up to a law enforcement officer; it is beyond the control of the individual who is taken into custody. Do not interfere with police work, follow lawful orders, wear your media credentials, verbally identify yourself as a journalist if you are approached, be courteous and hope for the best.” George Freeman: “The keys are good judgement and knowing human nature. Knowing your rights under the law is helpful, but more important is sizing up the volatile situation and figuring out where the cops are coming from, and acting accordingly—while, of course, trying within reason to gather as much information as possible.” Joseph M. Giordano: “By obeying the lawful orders of the police. This does not always work in our modern times though. A Reuters photographer was arrested during the Baltimore Uprising after following orders.” T.J. Smith chose not to explicitly respond to this question, but pointed out that “it is incumbent upon members of the media to be respectful of the laws and safety of citizens, law enforcement, and themselves.”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] => When Photographers Become Police Targets [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => when-photographers-become-police-targets [to_ping] => [pinged] => [post_modified] => 2017-06-07 10:51:29 [post_modified_gmt] => 2017-06-07 14:51:29 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78907 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 78761 [post_author] => 47253 [post_date] => 2017-05-25 12:22:53 [post_date_gmt] => 2017-05-25 16:22:53 [post_content] => Recently launched on Kickstarter, Arsenal is an AI photography assistant that looks at a scene and scans thousands of photos, then refines camera settings based on those results in order to produce "the best" photo. To do so, it analyzes 18 different factors, takes into account the camera and lens being used by the photographer, and customizes settings based on the strengths and weaknesses of the equipment.[caption id="attachment_78762" align="alignnone" width="1334"] via Arsenal[/caption]The technology comes in the form of a small piece of hardware—which works with most DSLR and mirrorless cameras—that can be placed on your cameras hot shoe mount. It's operated using a smartphone app while some of the main features include optimizing basic exposure settings for minimal noise, choosing a focus position of a scene to maximize sharpness, optimized stacking for both RAW and .JPG, simplifying timelapses using a preview mode, creating smooth day to night transitions, and more.Essentially, Arsenal is designed to help both beginners and seasoned photographers capture the perfect picture in any situation whether that be tricky lighting or a long exposure photo.As news of the product spread, it's received mixed reactions. Some responded positively, saying it allows photographers to focus more heavily on the artistry of an image, rather than the technical side of things. On the other hand, some are criticizing Arsenal for basically being the same thing as setting your camera to automatic rather than manual. They dislike that the technology would remove the critical thinking it takes to capture a great photo, removing the need to be aware of how a camera works and what the settings actually do.https://youtu.be/_vhiwnW4PMc[the above video shows timelapses shot using Arsenal]"The photographer in me hates this attempt at commoditization of the photographic process. The technologist in me is quite frankly impressed," wrote one Reddit user."I thought the joy of photography was to find the settings yourself," wrote another.Currently, Arsenal has received over $600K in funding on Kickstarter, largely surpassing its $50K goal. Let us know your thoughts on this technology in the comments! [post_title] => Is This AI Photo Assistant Taking the Art out of Photography? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => is-this-ai-photo-assistant-taking-the-art-out-of-photography [to_ping] => [pinged] => [post_modified] => 2017-05-31 11:46:13 [post_modified_gmt] => 2017-05-31 15:46:13 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78761 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 78544 [post_author] => 47251 [post_date] => 2017-05-18 15:00:51 [post_date_gmt] => 2017-05-18 19:00:51 [post_content] => FilmLab, a Kickstarter campaign run by former Google Apps employee Abe Fettig, has set out to create a mobile app that converts film into digital images. Apparently, all you need is a smartphone, film and a light source, such as a light box (the one used in the Kickstarter demo is available on BH just a little over $100), and it will convert your negatives into positives.The app works by utilizing RAW capture to get as much detail as possible, then stacks multiple images to create one high quality photo that's easily saved to your device or shareable on other apps. Before it finalizes your shots, it provides a real time preview of the processed imagery, and can even correct your perspective if you're shooting at an angle. In addition, if you would like higher resolution images that what a smartphone camera can provide, you can use a digital camera and macro lens to capture the negatives.[caption id="attachment_78575" align="aligncenter" width="690"] via Kickstarter, medium format black and white film[/caption]According to FilmLab's Kickstarter page, the app is comprised of a new image processing engine designed for recognizing and processing film, but the details of this engine are vague.The following sample images provided on FilmLab's Kickstarter page were scanned by laying negative strips on top of a light box and captured on an iPhone 7 Plus. It's also noted that they were taken using the app's automatic exposure and color balance setting, which is still said to be unfinished, and haven't been color corrected. And really, they look pretty damn good. See for yourself:[caption id="attachment_78576" align="aligncenter" width="686"] via Kickstarter, 35mm color film[/caption][caption id="attachment_78577" align="aligncenter" width="688"] via Kickstarter, 35mm black and white, with sprockets visible[/caption][caption id="attachment_78578" align="aligncenter" width="689"] via Kickstarter, 35mm color film[/caption][caption id="attachment_78579" align="aligncenter" width="690"] via Kickstarter, 35mm color film[/caption]The app works on both iOS and Android, and if it delivers everything that's promised, this could be huge for film faithfuls who are tired of paying to ship their film out to labs, then waiting for their files and negatives. At the time this post was written, FilmLap had surpassed its funding goal of $20,000 with 20 days left in the campaign.If you would like to support the campaign, a pledge of just $18 will give you early access to FilmLab beta before it's released on the app store. [post_title] => Soon You Will Be Able to Scan Film Negatives With Your Smartphone [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => soon-you-will-be-able-to-scan-film-negatives-with-your-smartphone [to_ping] => [pinged] => [post_modified] => 2017-05-18 12:08:36 [post_modified_gmt] => 2017-05-18 16:08:36 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78544 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 78530 [post_author] => 47253 [post_date] => 2017-05-18 11:26:30 [post_date_gmt] => 2017-05-18 15:26:30 [post_content] => The internet is an easy place to get bogged down by the constant influx of sub par images, whether it's selfies, completely out of context imagery or other Instagram posts that we're all tired of seeing. Chronicle, however, is trying to change that, offering a platform for collaborative storytelling and a straight-forward way to tell a story through photography.[caption id="attachment_78566" align="alignnone" width="983"] screengrab via Chronicle[/caption]Self-described as a “platform that empowers people with shared experiences and interests to collectively record their stories over time,” Chronicle caters to those interested in photo series that explore a specific topic or theme. Throughout their beta website and app, there’s an array of different “chronicles” that display photos in, well, chronological order. Trending chronicles on the site right now include things like “Urban Art” and “Women’s Rights in the US” or “Flea Market Faces” and “Bicycles.” Another interesting component is that the time period for this imagery spans all the way from the 1800s to now, exhibiting society's progression from past to present.The guidelines on the platform are simple—the quality and composition of photos take precedent, as one of the platform's main goals is to foster a visual community comprised of quality content. They even reserve the right to remove any content that detracts from the “overall user experience.” And, of course, another requirement is chronology. Since the chronicles capture a theme throughout time, the site encourages accurate time stamps, which is no problem for digital photos while scanned images must be manually backdated by the uploader.[caption id="attachment_78567" align="alignnone" width="1117"] screengrab via Chronicle[/caption]Chronicle is also working on two community-based projects that focus on recording and sharing what local and school libraries have documented throughout history. 'The Local Chronicle Project: For Local Libraries' and 'The School Chronicle Project: For School Libraries' encourages library and school staff members to photograph and document their achievements in an effort to showcase the institutions' history and community.It will surely be interesting to see what happens if Chronicle manages to take off and emerge from the beta version. For more on Chronicle, check out their site or mobile app. [post_title] => This Storytelling App is 'Chronicling' History Through Photography [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => this-storytelling-app-is-chronicling-history-through-photography [to_ping] => [pinged] => [post_modified] => 2017-05-18 11:26:30 [post_modified_gmt] => 2017-05-18 15:26:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78530 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 78538 [post_author] => 47253 [post_date] => 2017-05-17 16:55:10 [post_date_gmt] => 2017-05-17 20:55:10 [post_content] => Today, Sony introduced two new wide-angle, full-frame, E-mount lenses: the 16-35mm F2.8 GM and the 12-24mm F4 G. The first completes the E-mount F2.8 G Master “trinity,” and the latter covers the widest angle among all full-frame, E-mount lenses. Below is some info on the gear, as well as a first look at some images we captured with these two new lenses.
FE 16-35mm F2.8 GM | Preorder [caption id="attachment_78542" align="aligncenter" width="1024"] The FE 16-35mm F2.8 GM Wide-Angle Lens via Sony[/caption]The FE 16-35mm F2.8 GM wide-angle zoom lens is the first wide-angle G master model. According to Sony, it’s suitable for a wide variety of shooting situations and subject matter, and it’s lightweight and compact for convenience and usability. The new lens has an optical design that includes five a-spherical elements, two of which are Sony’s original XA (extreme a-spherical) elements that reduce aberration and deliver the ultimate resolution throughout the entire zoom and aperture range. The front XA element on the FE 16-35mm F2.8 GM is the largest XA element ever produced. The lens is also dust and moisture resistant. The lens will ship this August and will be sold for $2,200.Here's a first look at some images we photographed with the lens:[caption id="attachment_78552" align="aligncenter" width="1024"] © Michael Bonocore / Resource Travel[/caption][caption id="attachment_78553" align="aligncenter" width="1024"] © Michael Bonocore / Resource Travel[/caption]
FE 12-24mm F4 G | Preorder [caption id="attachment_78548" align="alignnone" width="1024"] The FE 12-24mm F4 G Ultra-Wide-Angle Lens via Sony[/caption]The FE 12-24mm F4 G ultra-wide-angle zoom lens weighs only 20 oz. but is said to produce outstanding image quality. Sony’s widest full-frame E-mount lens, it offers a dynamic perspective for landscape, architecture, and interior photography and is well suited for both stills and video shooting. The lens features an optical design with four a-spherical elements that ensure excellent corner-to-corner sharpness and resolution. The lens has three ED glass elements and one super ED glass element that minimize chromatic aberration throughout the entire image. It also includes Sony’s original Nano AR coating. The new FE 12-24mm F4 G lens includes a DDSSM (Direct Drive SSM) for fast, quiet, and precise AF performance, plus a customizable focus hold button and focus mode switch. Like the FE 16-35mm F2.8 GM, it is also dust and moisture resistant. This lens will ship in July and will be sold for about $1,700.Here's a first look at some images we photographed with the lens:[caption id="attachment_78555" align="aligncenter" width="1024"] © Michael Bonocore / Resource Travel[/caption][caption id="attachment_78554" align="aligncenter" width="1024"] © Michael Bonocore / Resource Travel[/caption] [post_title] => Sony Reveals Two New Wide-Angle Zoom Lenses: A First Look [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => sony-reveals-two-new-wide-angle-zoom-lenses-a-first-look [to_ping] => [pinged] => [post_modified] => 2017-05-17 17:00:58 [post_modified_gmt] => 2017-05-17 21:00:58 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78538 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 78500 [post_author] => 47251 [post_date] => 2017-05-16 10:43:39 [post_date_gmt] => 2017-05-16 14:43:39 [post_content] => SID is a miniature 3D camera that recently eclipsed its $25k Kickstarter goal in less than 48 hours, and aims to make 3D storytelling accessible for everyone. The camera is a stereoscopic unit that captures light in two separate lenses, then combines it together afterward. That said, having two lenses so close together could make SID great for producing 3D video without all the complications that come from having more than one camera unit recording.The camera is about the size of your palm and connects to your smartphone or computer, and can be operated with a gimbal. This expands its capabilities, offering what the company calls "shake-free content creation," and bringing stereoscopic image-making into a small form factor, unlike most other stereoscopic cameras. The camera can also livestream in 3D, and its standalone app allows you to edit videos directly from your smartphone, which could be useful for vloggers looking to efficiently add a little something extra to their content.The SID specialties are niche at best and comes at a questionable time for the landscape of VR. However, its saving grace is its affordable price point ($299 MSRP), which could make it a desirable tool for beginners, or for professionals who are just starting explore the capabilities of 3D storytelling.Click here to check out SID's Kickstarter campaign and learn more about the SID camera! [post_title] => Is This Palm-Sized Camera Really The "Next Revolution" in 3D Story-Telling? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => is-this-palm-sized-camera-really-the-next-revolution-in-3d-story-telling [to_ping] => [pinged] => [post_modified] => 2017-05-16 10:43:39 [post_modified_gmt] => 2017-05-16 14:43:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78500 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 78353 [post_author] => 47251 [post_date] => 2017-05-03 15:45:23 [post_date_gmt] => 2017-05-03 19:45:23 [post_content] => Hi-speed photography just got a whole lot faster. Researchers at Lund University in Sweden just developed the fastest hi-speed camera in the world, capable of capturing images at a startling rate of 5 trillion frames-per-second. The new camera is being used to study combustion in the hopes of finding a more efficient means of using fossil fuels. The previous record holder was a camera that could capture 4.4 trillion frames-per-second and was developed to study chemical reactions at the University of Tokyo. That number might sound high, but the camera doesn’t collect that information by opening and closing the shutter 5 trillion times. Rather, it collects a series of coded images and arranges them in chronological order.https://www.youtube.com/watch?v=smvu8sQ2PaAThe camera uses a laser to illuminate the desired image, encoding each of the 5 trillion laser pulses with a unique code and captures the return as a single image. Then the computer uses a new algorithm called FRAME, or Frequency Recognition Algorithm for Multiple Exposures, to separate the image back into individual frames based on the return rate of the codes. This creates more than 5 trillion unique images that can be arranged into a video file.https://www.youtube.com/watch?v=2fjP02EpJacTo illustrate what the camera is capable of, researchers used it to capture a beam of light as it moved across a distance equivalent to the width of a piece of paper. The algorithm is a breakthrough that could give us a better understanding of how light behaves or the way that chemicals interact that we would have otherwise never seen. Using the FRAME algorithm could lead to revolutions in fuel consumption and radioactivity.Don’t expect to see FRAME enabled camcorders on store shelves anytime soon, but the technique is something worth considering, and if adapted for commercial use, it could allow for a new level of performance from hi-speed cameras. All those frames may cost you in terms of resolution, but it might be worth it to watch bullets deform in slow motion on impact.[via Lund University] [post_title] => New Super-Fast Film Camera Captures 5 Trillion FPS For Science [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => new-super-fast-film-camera-captures-5-trillion-fps-for-science [to_ping] => [pinged] => [post_modified] => 2017-05-03 14:44:04 [post_modified_gmt] => 2017-05-03 18:44:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78353 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 78295 [post_author] => 47243 [post_date] => 2017-05-02 14:01:46 [post_date_gmt] => 2017-05-02 18:01:46 [post_content] => Sometimes picking up your camera and getting out to shoot is solely a matter of inspiration, which isn't always easy to find. This is why we've put together a roundup of some of the most insightful photography documentaries to guide you in the right creative direction. Here are 31 inspiring and motivational photo docs every photographer must watch.
1) Arctic Swell - Surfing the Ends of the Earth (Chris Burkard) https://www.youtube.com/watch?v=cBJyo0tgLnw
2) Climbing Ice-The Iceland Trifecta (Tim Kemple) https://www.youtube.com/watch?v=79s5BD0301o
3) Join a Wildlife Photographer on the Hunt for the Perfect Shot (Michel d’Oultremont) https://www.youtube.com/watch?v=ClpanvK2bII
4) David Yarrow Reveals his Photography Secrets - Learn Photography https://www.youtube.com/watch?v=QcVRe9X5Prs&feature=youtu.be
4) Tales By Light, Netflix Documentary Series https://www.youtube.com/watch?v=zmegZSlJX0M
5) The Many Lives of William Klein (2012) https://www.youtube.com/watch?v=JnN9LMvjM7Y
6) Everybody Street (2014) https://www.youtube.com/watch?v=NdeR9lhIngM
7) Frame By Frame (2015) https://www.youtube.com/watch?v=w6dkvb4_ZlQ
8) Entering New Worlds Through Photography, VICE https://www.youtube.com/watch?v=Yj32koPVwFs
9) Imagine-The Colourful Mr. Eggleston https://www.youtube.com/watch?v=3jZ_HkaTXh8
10) The Mysteries - In Pursuit Of The Perfect Shot https://www.youtube.com/watch?v=BWtIYJvqpu0
11) Cindy Sherman - Nobody's Here But Me (1994) https://www.youtube.com/watch?v=UXKNuWtXZ_U
12) Ansel Adams: A Documentary Film 2002 https://www.youtube.com/watch?v=jvt1ImIKi0U
13) Annie Leibovitz: Life Through a Lens https://www.youtube.com/watch?v=aqa2y2j3OCk
14) The Salt of the Earth (2014) https://www.youtube.com/watch?v=OivMlWXtWpY
15) Finding Vivian Maier (2013) https://www.youtube.com/watch?v=wqajTVkjnjQ
16) Gregory Crewdson: Brief Encounters (2012) https://www.youtube.com/watch?v=bqtyUkGSS14
17) McCullin Brothers https://www.youtube.com/watch?v=7VWjo5XUIfw
18) Genius of Photography https://www.youtube.com/watch?v=vEqAXYH23sk
19) Bill Cunningham New York https://www.youtube.com/watch?v=_Je_jxIPl5Y
20) Zimbelism https://www.youtube.com/watch?v=5D_JuemfJUA
21) Underfire: The Untold Story of Pfc. Tony Vaccaro (HBO Documentary Films) https://www.youtube.com/watch?v=2h7-bLESOeg
22) Silver & Light https://vimeo.com/39578584
23) Eclipse https://www.youtube.com/watch?v=edlJ2_924tU
24) Edward Weston: The Photographer (1948) https://www.youtube.com/watch?v=5sF8K1NfHnM
25) The Decisive Moment (1973) https://www.youtube.com/watch?v=hyhMqDfmG9o
26) Pictures from a Revolution (1991) https://www.youtube.com/watch?v=d2FJobEw_p4
27) Naked States (2000) https://www.youtube.com/watch?v=E-t2Pnnz-30
28) Tierney Gearon: The Mother Project (2006) https://www.youtube.com/watch?v=5hR_MtknOSY
29) Waste Land (2010) https://www.youtube.com/watch?v=sNlwh8vT2NU
30) Smash His Camera (2010) https://www.youtube.com/watch?v=BuU0mn6xsW0
31) The LOMO Camera: Shoot From The Hip (2004) https://www.youtube.com/watch?v=8TiAsvYgyqUThink we missed any motivational photography documentaries? Let us know in the comments. If you want to check out more docs, here's a link to a massive Reddit thread.[Featured Image: Flickr/via Creative Commons] [post_title] => 31 Inspiring Photography Documentaries Every Photographer Must Watch [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 31-inspiring-photography-documentaries-every-photographer-must-watch [to_ping] => [pinged] => https://vimeo.com/39578584 [post_modified] => 2017-05-02 14:01:46 [post_modified_gmt] => 2017-05-02 18:01:46 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78295 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 5 [filter] => raw ) => WP_Post Object ( [ID] => 78139 [post_author] => 47250 [post_date] => 2017-04-21 12:55:58 [post_date_gmt] => 2017-04-21 16:55:58 [post_content] => There's no doubt that weed has had a powerful presence in music, art and basically every creative scene you can think of. After all, even Bob Marley says, "When you smoke the herb, it reveals you to yourself." But what about when it comes to photography? I mean, taking a couple hits and running out to shoot something 'artistic' almost seems too easy. So to find out how weed affects photography, we spoke to 16 photographers of varying ages and disciplines about what it's like to get high AF and manhandle a camera.1. 'Only bring your A game,' Roberto Valenzuela, Wedding Photographer, 39First, before I begin making my point, I want to let you know that I've never smoked weed or done any kind of drugs in my entire life. However, that doesn’t mean I haven’t seen the effects of weed or any other mental stimulant on other people. I can only equate the effects of smoking anything with drinking wine. I think the most challenging issue adults experience with bringing their A-game to a photoshoot is their own inhibitions. During a photoshoot, there is always an unspoken adjustment period between the subject and the photographer. This is especially true if you're working with that subject for the first time. Children on the other hand, don’t have any inhibitions. They do what they want and say what they please. Bringing your inner child could be a powerful tool to bring to a shoot. It would make the photographer more decisive, not have to second guess him or herself, and come up with the wildest ideas with great enthusiasm. People are attracted to personalities like that. They become instant leaders. For this reason, I don't mind sharing a little wine with my clients before a shoot. It could help remove some inhibitions and help the subject relax.[caption id="attachment_78164" align="aligncenter" width="1024"] via Flickr/Alaska Carter[/caption]2. 'Your client will know you're stoned,' Jason Leiva, Advertising Photographer, 37My use of Marijuana has played a very small part of my creative process, even less so as I've become older and more confident in my process and ability to think through my methodology.In my younger days, it was a bit of an escape from the stress of long days, whatever personal issues I was having, and weeks of post-production. But ideation and problem solving wasn't necessarily made better by a smoke break. However, it did occasionally help me focus or at least become interested in benign bullshit while I was locked in a darkroom retouching ad campaigns for days on end.My creative process has changed over the years, but it has always been based in knowledge of my craft and the willingness to experiment. And sometimes, a little burn can assist in opening up that experimental side of your process. But it can also be a drawback. When time and deadlines are important, getting stoned didn't always help. Sometimes I would walk in a creative director's office with a "brilliant" idea, when in reality it was only brilliant to me inside my hazy mind. Also, dealing with clients while stoned isn't a good practice. You know that paranoid voice in your head that keeps asking "if they can tell I'm stoned?" Dude, they know.However, I think it helps me most often when I feel a bit stuck in my own process or just need to let go of some preconceptions. But it is by no means a way of daily inspiration. If you're only creative when you are stoned, then you may have a bigger issue at hand when it comes to being creative at all.As an independent artist, free from the confines of a daily gig, I'm free to burn whenever I feel like it. But these days I have less desire to take that path with any regularity. Really, it's simply a vacation from myself for a couple hours and a chance to try something familiar with a slightly alternative state of mind. Sometimes the results are interesting, sometimes it just looks like I was stoned.[caption id="attachment_78158" align="aligncenter" width="1000"] via Flickr/Brenna Daugherty[/caption]3. 'Trust your inner voice,' Celebrity Photographer, 32 I think if you can really be honest and ask yourself, 'does this make me more creative and productive?' and the answer is 'yes,' then sure, smoking weed is good for your photography career. I've definitely gotten high and wrote nonsensical notes-to-self that later turned into successful personal projects, so in those moments smoking was good for my photography. Then again, I've also gotten high and wasted hours getting sucked into a Law and Order SVU marathon. Obviously, this is not an effective use of time. It's so personal. I know some wake and bake, all-day-every-day smokers who are really creative and get a lot of work done while stoned out of their minds. And if this is you, amazing then, smoke away! I personally can't function that way—weed as a lifestyle for me would ruin my career. But as the occasional creative catalyst, or sleep aid before a big shoot, I'm a fan.4. 'Rely only on your own vision,' Portrait Photographer, 41I don’t think weed, or any drug for that matter, can necessarily make anyone a better photographer. I’ve never smoked before shooting a client job, but I've sometimes smoked before shooting some personal work while out wandering by myself or during the editing process. Smoking will affect people in differently, but for most, it will potentially allow us to look at something in a different way or to explore a new way of seeing.I find now that I simply want to be razor-focused and aware of how I’m seeing, and to think about why I’m seeing the way I do. Being impaired can take away that clarity. It’s also worth remembering that editing something while high can make us think the most bizarre things look amazing. I would often go back to what I’d edited late at night while high, thinking I’d created something epic, only to look at it in the cold light of day the next morning and wonder why I ever thought what I was doing looked good!With that said, there’s no denying that smoking weed has helped open up certain ways of approaching or seeing the work I want to create. I understand that for some, smoking weed is used as a tool and they do just that. The only real danger is becoming reliant on weed, or anything, really, and thinking that we need it before we can create the way we want to. I believe being reliant on anything other than your own vision and expertise is just taking you down the wrong path.[caption id="attachment_78161" align="aligncenter" width="1024"] via Flickr/Sebastian Arbelaez Fuentes[/caption]
5. 'Don't let weed slow you down,' Ryan Speth, Wedding Photographer, 44
I don’t know if any drug can make you a better photographer. I’ve never found marijuana to be a very productive drug for me, and I don’t think you can really be in the moment when you're altered like that. When I’m shooting, my eye is rapidly scanning and reacting to what's in front of me. Weed slows that down and softens the edges too much for my liking. And I certainly can’t be on anything when I’m shooting with an 8x10 camera. For one, it’s too technical to operate stoned, plus it's already a slowed down process and very zen like. I do have caffeine to keep my energy up, and sometimes a stiff drink to help me get over social anxiety, but they don’t make me a better photographer.
6. 'Tackle your fears,' Matt Henry, Photographer, 46
When you're young I would say drugs help you tackle your fears. Ask that stranger if you can take his or her picture. Ask that model or celebrity to be in an awkward position. Help push your passion. Be able to focus intently. But it could also backfire, and I've put my foot in my mouth numerous times because of weed.
7. 'See beyond,' Billy Murray, Editor-in-Chief of Resource Magazine, 24 (IG: @_billymurray)
For many, many years of my life, I was a massive stoner. Back in the day, as far back as high school, I could roll a gram into a blunt, smoke it, then go about my day without any inhibition. In fact, that was often when I would ace tests, write music, which is one of my biggest past times, or have extremely intense, open-minded and deep conversations with friends about the meaning of life, accessing the bullshit expectations of society and our plans to excel above that. I know, I know, it sounds like the lyrics of a Grateful Dead song, but really, this lifestyle, which included many more factors than simply smoking pot, is truly how I discovered that the only thing I ever want to do is create shit for a living.
However, something changed in my late teens. Increasingly, smoking weed made me paranoid and very anti-social, self-conscious, and unable to carry myself with confidence in public. I guess the simplest explanation would be that I just grew out of it. Of course, if I was high, feeling like that all day, I wouldn't be able to function in any facet of my life, aside from getting stoned and eating pizza in bed. And when it comes to photography, it was only very recently that I've become confident in my abilities and locked in my process. Weed makes me second guess that, and overthink everything I'm doing. At the end of the day, it makes me so critical of my work and overcome with self-doubt that I end up getting nothing done.
That said, I would by lying if I said I 'don't smoke.' Like many photographers, I sometimes suffer from pretty intense insomnia and I'm outwardly against relying on pills or other medications for sleep or anxiety. But a puff or two of weed before bed is a solid tool for putting my mind at ease, as long as I don't smoke too much. Basically, I wouldn't say smoking weed has ever made me create better work, but I respect weed culture in the sense that, from a young age, it helped me see beyond the straight and narrow, copy and paste life path that society says will lead to happiness, but in reality leaves many of us unfulfilled.
[caption id="attachment_78159" align="aligncenter" width="1024"] via Flickr/Mark Sniff
8. 'Don't let weed slow you down,' Celebrity Photographer, 45
Working in the field of photography where trust is paramount, and often the time is very limited, I've always tried to limit any on-set “relaxation” to a wrap beer. Or, OK, sometimes the occasional “last set-up” beer if the talent suggests it. But I've never actively tried to shoot while having smoked weed. But part of success with the above is being able to maintain a very chill and relaxed state of mind, especially when things aren’t going right. I feel that in general, the attitude of smoking weed contributes to that personality, almost allowing me to draw on the feeling of being high while not being high, like a method actor draws on a past emotion. As for trying a pot-driven shoot where everyone is involved and just “seeing what happens,” I have not yet done that.
9. 'Lubricate with beer,' Barney Britton, Photographer, 34
Beer seems to be the more usual professional lubricant.
10. 'Smoking between set-ups gives me a break,' Ty Beal, Photographer, 44, (IG: @Foto119)
Using marijuana while I'm shooting is cool for me, whether I smoke it, or have some edibles, because I seem to be more creative and free with less rules and less fear. Also, having a quick smoke between set ups gives me a freakin' break! It gives me a second to breathe, reflect on what I've already shot that day, and come up with that extra kick in the ass for the next round of shooting.
After smoking, I can 'see' a little more, I laugh a little more, and I'm more empathetic, which makes for a great shoot. So I don't know if marijuana makes me a "better" photographer, but it certainly makes me a little more fun during the process!
11. 'Just drink instead,' Brad Trent, Photographer, 57
It doesn't help me...it puts me right to bed! That's why I don't smoke weed and drink so fucking much wine!
[caption id="attachment_78162" align="aligncenter" width="640"] via Flickr/Sebastián Mankind
12. 'If I had ADD it would help me focus,' Tam N, Photographer, 32
I feel super impaired, unable to even keep a conversation going. Whenever I get high with Lauren, I’m always a few topics behind. I know my brain is so slow when I’m high. That said, my brother who has diagnosed ADD is an agent and a mild dose actually helps him focus. But only indica, which is a downer. When he smokes sativa, he gets random and slow like me too. Basically, stimulants help clam him down and depressants speed him up, which is the complete opposite for non-ADD/ADHD people.
13. 'There is a time and a place for it,' Photographer, 35
Being a better photographer is a really broad statement. Does being a better photographer mean I’m being more creative? Or does it mean I’m executing better? I think one could say that being better at either of those things would constitute as being a better photographer. Anyway, I think there was a time that I believed smoking weed opened up my creativity and allowed me to think outside the realms of my own limitations. However, it has definitely affected my ability to execute as I’ve gotten older. So I guess I believe there is a time and a place for it. It is wonderful for spurring creativity, but awful for sustaining productivity.[caption id="attachment_78163" align="aligncenter" width="1024"] via Flickr/Audrey Dunahoo Zacharias[/caption]
14. 'Don't fall into the rabbit hole,' Pat Black, Photographer, 25
I am 25 years old and have never smoked weed, but for my friends that do it it helps them relax, take their time, and not to become stressed out by the clients and the struggles of being on set.
I've watched people let everything they care about slip through their fingers when they lose self-control, but the same thing happens if someone drinks too much or gambles to much—it depends so much on how driven and responsible they are. For myself, I know I would probably fall into that rabbit hole so that's why I try to stay away from it. 15. 'Shooting Dead,' Peter Hurley, Photographer, 47
[post_title] => 16 Photographers Talk About Getting Stoned [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 16-photographers-talk-about-getting-stoned [to_ping] => [pinged] => [post_modified] => 2017-04-24 11:59:21 [post_modified_gmt] => 2017-04-24 15:59:21 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78139 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 78088 [post_author] => 25217 [post_date] => 2017-04-19 11:34:39 [post_date_gmt] => 2017-04-19 15:34:39 [post_content] => Sony announced today the launch of a new camera with a brand new image sensor: the full-frame CMOS A9, alongside the G Master FE 100-400mm F4.5-5.6, a super-telephoto full-frame lens.The heart of this announcement is the A9's image sensor, the world's first 35mm full-frame stacked CMOS, offering 20x faster data speeds than Sony's previous full-frame mirrorless cameras. In addition, the A9 is equipped with 24.2MP, high-speed, blackout-free continuous shooting at up to 20fps, 60 AF/AE tracking calculations per second 10, a maximum shutter speed of up to 1/32,000 second and much more.[caption id="attachment_78094" align="aligncenter" width="1024"] via Sony[/caption]“This camera breaks through all barriers and limitations of today’s professional digital cameras, with an overall feature set that simply cannot be matched considering the restrictions of mechanical SLR cameras,” said Neal Manowitz in a press release.Preorders for the Alpha 9 begin next month. The camera is priced at $4,500 and will begin shipping in May. The lens will be available for $2,500 and begin shipping in July.This announcement comes just days after Sony revealed that their continued growth has vaulted them into the number two overall position in the U.S. full-frame interchangeable lens camera market.Resource is currently attending the Sony launch event for this gear, and will update this post with more information. [post_title] => Sony Announces the A9, Its New Flagship Mirrorless Camera and Groundbreaking G Master Lens [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => sony-announces-the-a9-a-new-flagship-mirrorless-camera-and-groundbreaking-g-master-lens [to_ping] => [pinged] => [post_modified] => 2017-04-19 16:38:47 [post_modified_gmt] => 2017-04-19 20:38:47 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78088 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => 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 ))
I turn into a zombie on that stuff so I think it's dependent upon the human being who's firin' it up.
16. 'Be your professional best,' Karaminder Singh Ghuman, Photographer, 35
I’ve barely smoke weed, but when I’m shooting I need all my wits about me. Often times, it’s not about being creative, it’s about managing time, the client, the subject and putting out fires and being creative with all the limiting factors. I believe any intoxicant (weed, alcohol, etc.) is a hindrance to being your professional best.