Array (  => WP_Post Object ( [ID] => 77967 [post_author] => 47235 [post_date] => 2017-04-11 15:55:50 [post_date_gmt] => 2017-04-11 19:55:50 [post_content] => Michael David Adams
and his wife, Viktorija, have always had love and respect for the water, from the gorgeous, exotic beaches and the smell of rain to the vast allure of the sea. Growing up, Adams studied martial arts for 10 years, and to this day lives by a Bruce Lee quote he discovered in his youth: "Be like water...," Lee said, because according Adams, "Water always knows what to do and where to go. It adapts and survives everything, it gives life, yet it also can take it away."
Today, Adams is a New York-based photographer who showcases his love for water by combining it with his passion for photography. He's shot for both international and U.S. versions of popular magazines, such as Harper’s Bazaar, ELLE, and Glamour, and has led fashion and travel photo shoots around the world. We caught up with Adams to learn more about what it's like to shoot beneath the sea. https://www.youtube.com/watch?v=kNEiUC_aoGU
Somewhere along the way, you apparently became interested in underwater photography, which is quite a niche area. Can you tell me about that?
On my honeymoon in Croatia in 2010, my wife’s friend from her youth, who is a scuba instructor and underwater nature and wildlife photographer, introduced me to underwater photography. She took us to an ancient shipwreck off the coast of the Omis, where my wife grew up. The depth was only around 10 feet, so we could easily hold our breath and get to the bottom with the help of a weight belt. The surface of the water that day was very choppy, yet when you got underwater it was calm and serene. It was there, standing on the bottom of the sea in the crystal clear waters of the Dalmatian Coast, a place where the human body is not supposed to be, with schools of fish swimming around me, that I became obsessed with taking my personal style of photography to the underwater world and making it a reality. Photographing for intentional results underwater can be very challenging, but the imagery you can achieve is unmistakable. Well-executed underwater fashion photography is beyond inspiring to say the least.
Viktorija and I started our careers independently, but we met early on and developed our skills, talents and vision together. Creating images and all sorts of things together has been the underlying theme of our relationship and is one the joys in our life. One main goal of ours is to always better ourselves, personally and professionally, so we have the respect and ability to be more honest with each other about our shoots and what we would like to achieve, or what we can improve on in the future, perhaps more so than other creative partners. Having been born on the Dalmatian coast of Croatia, Viktorija has always had a love for water too, but it’s more me that had the desire to explore it as an environment for photography. We're excited to work together on anything, and the thrill of water work is an added bonus.[caption id="attachment_77994" align="aligncenter" width="786"] "Sent From Above" by Michael David Adams[/caption]
Have you ever encountered any dangerous situations, especially working with models that are perhaps untrained, on underwater shoots?
When shooting underwater, safety is the utmost importance. Many things have the potential to go wrong or not as planned on any shoot, and working underwater raises the level of things to be prepared for. On my first shoot, I had a scare for myself, when in a moment of exhaustion, I almost couldn’t get back up to the surface when I needed to breathe. I was in only about 4 feet of water but was practically laying down on my back on the bottom and I had weights on my arms, as I hadn’t known fully yet the best places to wear weights. I didn’t realize how tired I was, but couldn’t get my footing to get up. I had a minor panic moment, but quickly realized I needed to calm down and just roll over to get feet and legs under me. So having experienced that myself, I always make sure the models and crew are safe and explain everything to them about the shoot requirements and safety aspects of working underwater.
"The project is our way of interpreting fairly tales and folklore in ways that visually speak to us."
You've built an impressive portfolio of underwater work. Is there a particular shoot or image that stands out to you?
I don’t always use compressed air to breathe when I shoot. It really does help, but if not everyone is using air, it can potentially be a little bit of a communication barrier between the photographer and models. If I'm the only one who has air, I still like to start out the day with the models doing breathing exercises for them to get the hang of controlling their heartbeats and breathing to keep them relaxed. It can be exhausting work and confusing at times, so communication is really important.
I’m super in love with the SnowDrop
series I’ve just finished. I had a vision of depicting SnowDrop,
which is the original title of what's become known as Snow White
, while she was unconscious in the forest after being poisoned. I’ve wanted to begin incorporating my underwater photography into our Story-Tellers
project, so what better way to show a person in suspended animation then to be floating underwater.
I also really love the Breath from Another series, a story of lovers who depend on each other to share their breath of life. I enjoy working with multiple people, capturing the interactions or tensions between them. I definitely want to shoot more multiple people underwater in the future.
[caption id="attachment_77992" align="aligncenter" width="1571"]
"Breath From Another" by Michael David Adams
On your website, you say Story-Tellers is "a very special project by the husband and wife team." What makes it so special?
This project is special for many different reasons. The first one is for our daughter who is 2-and-a-half years old. She has brought so many wonderful things to our lives, so projects like this take on new meanings and understandings. Viktorija, having grown up in Eastern Europe, was raised with a respect and teachings of fairytales and folklore that isn’t really taught too much here in the U.S. anymore. She was shaped by Hans Christian Andersen stories and various Grimm fairy tales, among other local folklore. Unfortunately, during the war in former Yugoslavia, that precious book was lost and she always had a dream of creating her own book as an homage to her childhood and others who grew up with fairy tales and legends as learning tools.
The project is our way of interpreting fairly tales and folklore in ways that visually speak to us, and ways that we would love to see. Our lives in the industry have always been about telling stories through photography, either in the realm of fashion or beauty or commercially in advertising. This project allows us to approach image-making from a more artistic side of the craft. Although we still love to incorporate fashion and the other industry specialties we have access to, this project is also very much about collaboration of artists and creative minds.[caption id="attachment_77993" align="aligncenter" width="786"]
"Heavy Like Rain" by Michael David Adams
Can you elaborate more on some of the specific stories and tales you're interpreting?
The concept of the project is not strictly stories that have been previously written or documented, for example, the first image we did is a vision of Viktorija’s, which she called “Rush.” She wanted to portray what it felt like when you've been emotionally frozen for a long period of time, and something or someone comes along to help bring those inner butterflies back to life and bring color back into your world. Another one of her concepts we brought to life is called “When I grow up,” which is the dreams of a little girl who sees herself breaking free from her cage that holds her, flying free with the birds among the vibrant colors of her new and future world.
The very latest image I finished is a concept I photographed with our daughter. A friend in Croatia, who is also a photographer, asked if I would participate in an upcoming show for National Geographic, where photographers he knows from around the world would contribute an image to a projection wall installation that pertain to his overall show. The images all show a person with a finger to their lips, to say “shhh,” and is a comment and contemplation on global warming for an Earth Day event. I immediately knew I wanted to use our daughter as the subject to represent youth and the future of the planet, as well as a composition of NYC buildings with the tide rising around her. It was great to photograph her as well as the city, and perfect for our project with such an important and relevant message behind it.
[caption id="attachment_77990" align="aligncenter" width="617"]
"The Witching" by Michael David Adams
[post_title] => Diving Into the Mystical Underwater Photography of Michael David Adams [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => diving-into-the-mystical-underwater-photography-of-michael-david-adams [to_ping] => [pinged] => [post_modified] => 2017-04-11 16:44:44 [post_modified_gmt] => 2017-04-11 20:44:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77967 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 77940 [post_author] => 47243 [post_date] => 2017-04-10 15:13:04 [post_date_gmt] => 2017-04-10 19:13:04 [post_content] => Pedro Oliveira began taking pictures as a hobby. It was his way of coping with his homesickness, in which he spent about half a year polishing his skills. At the time, he was living in the rainy Portland, OR, a completely different climate and landscape than his home country of Brazil. One day, during a walk in a local park, he found his passion for portraiture, and his project, "Careful: Soul Inside," began.For two hours, he had unsuccessfully searched for squirrels to photograph, when he sat down on a bench and started chatting with a white-bearded man. He soon learned the man was homeless."After talking to him for a couple of minutes, I asked him to let me take his picture. At first he was hesitant, but eventually he relented," Oliveira said. "That picture was entitled 'King James,' and became one of the most award-winning pictures in my portfolio."[caption id="attachment_77944" align="aligncenter" width="2048"] "James is a homeless guy who lives on the neighborhood, and I always see him around. Different than most of the others he doesn't drink, smoke, or ask for money, and is often reading magazines or newspapers that he carries around. Today he seated next to me, looked at the camera and asked if I " take pictures." I said yes and we talked for a bit about it, and after a while I asked if he would mind me taking a picture of him. He was very shy, and at first he didn't agree, but after I asked him to take one of myself he was so excited that he allowed me to take this portrait of him."[/caption]Oliveira quickly received an immense amount of positive feedback online, so he decided to create an entire series dedicated to highlighting the issue of homelessness. "That was when I realized that by taking pictures of homeless people and telling their stories, I could encourage awareness of the homelessness issue and make people, who would otherwise be unaware of the issue, pay attention," Oliveira said.Since July 2015, Oliveira has captured over 50 portraits on the streets of Portland, as well as various locales in Southern California, Brazil, Denmark, and the UK. Most of the photographs he publishes are accompanied with the stories of these homeless subjects, depending on their conversation. Sometimes, subjects are hesitate or uncomfortable with telling their stories; other times they'll give Oliveira something to write about. When approaching subjects, he doesn't come at them with a camera. He likes to get to know them first, then inform them about his project, show off some previous work and ask permission to take their photo."Whenever I see interesting subjects, I approach them, and most of the time, I don't even take my camera out at first. I talk to them and listen to whatever they have to say," he said. "Sometimes I can capture long narratives, at times just a quote. What matters to me is telling their story as accurately as I can, regardless of whether what they're telling me is true or not."[caption id="attachment_77943" align="aligncenter" width="2048"] "Veronica told me that no one but herself was to blame for her condition. She explained that it started on her early teenage as a form of freeing herself, but she realized she had dove too deep to get back. After editing this pic I sent the result to her and the answer was just heart-breaking: "I loved it, but it made me cry. You're able to frame my soul, capture my feelings and show me how I actually look like".[/caption]One experience that sticks out to Oliveira was a touching conversation he had with a subject named Veronika. She was a 26-year-old girl who became addicted to heroin at 16 and has since struggled with this addiction for 10 years."Perhaps because she was the same age as my sister, Priscila, and had a fun personality, it touched me personally," Oliveira said. "I still think about how Veronika is doing even today. I really hope to meet her again someday and to find that she has recovered from her tragic addiction."As one could imagine, there are several difficulties that arise when dealing with a prominent issue like homelessness. Oliveira said there are two major problems he faces when photographing these subjects: not connecting with them and apathy. He has taken over 50 portraits since 2015, but capturing photographs of the homeless has not been easy, as the number of times he's been turned down is more than the number of times he has actually gotten a shot. He said his subjects have often been suspicious about his intentions, but when someone says no, he makes it a point not to persist.In regards to apathy, Oliveira said people tend to develop this feeling about the cause at hand. He said to some, his project has lost its novelty and relevancy, so people nowadays tend to lack indignation toward issues like this. "Somebody being on the streets due to mental illness, domestic abuse or losing a job isn't new anymore, so people tend to eventually accept it as part of our society and therefore not care," he said.[caption id="attachment_77945" align="aligncenter" width="2048"] "Glen was born in Southern Oregon, has never been anywhere else but the great and pretty state of Oregon. He never got a college degree but has (proudly) never been a vagabond either: 'I worked yes, yes. I used to be a bartender, labor worker, lumberjack. I've done many things, but when one gets old and the economy crashes at the same time...' He stops for a minute and looks always, like if he was actually thinking about how he did end up there, then continues: 'Not all of us are bums, you know? I don't even drink. I smoke but a lot of people do. Everybody does.'"[/caption]However, there are many positive sides to the project as well. Oliveira has received supportive responses from both strangers online and those in the real world. And to some extent, his series has become an embodiment of the phrase "a picture is worth a thousand words." Oliveira said he thinks the series became popular because it gave those looking from the outside in a new perspective, and that the essays are complementary and essential in understanding the final work."Their eyes scream emotion. You can see it clearly—their pain, their hopelessness, their fear of rejection. Nevertheless, I believe what made the project so popular is knowing a little more about who they are," he said. "You have a different perspective when you are looking at 'Glen, a guy who lost everything after working hard all life long,' than just looking at a sad face to which you cannot relate."[caption id="attachment_77946" align="aligncenter" width="2048"] "Sandra is a StreetRoots’ vendor that I met a couple of months ago. Always very polite and upbeat, what called my attention on Sandra was her style. She is always in my neighborhood and every time I see her, she is wearing a different fancy and stylish dress."[/caption]Oliveira said he hopes to bring awareness to an important issue through his artistic vision, and while he appreciates his audience's love for his work, he wants them to realize that there is beauty everywhere, and that everyone is equal."The best way to put this is quoting what Glen, one of my subjects, told me, during our conversation: 'Not all of us are bums, we just had bad luck. Most of society is one bad paycheck away from being where we are.'"For more beautiful shots from this project, check out Oliveira's Instagram. [post_title] => Photo Series Captures the Tragic Spirit of the Homeless [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => photo-series-captures-the-tragic-spirit-of-the-homeless [to_ping] => [pinged] => [post_modified] => 2017-04-10 15:13:04 [post_modified_gmt] => 2017-04-10 19:13:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77940 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 77887 [post_author] => 25217 [post_date] => 2017-04-06 11:02:02 [post_date_gmt] => 2017-04-06 15:02:02 [post_content] => Today, Adobe revealed a sneak peak into one facet of its research technology powered by the mystical Adobe Sensei, its AI and machine learning platform, and it's absolutely absurd. It demos a combination of perspective effect editing, automatic, software-only portrait masking, and portrait style transfer all within smartphone portraits, using deep learning and AI to turn ordinary smartphone portraits into "good ones."The one-minute video shows an average-looking man on an iPhone, as he turns a selfie into a portrait, adjusting distance and perspective with the slide of a finger. Then, in a tab called 'segmentation' he applies automatic portrait masking, letting him easily adjust depth of field in just one swipe.Now this is where things get scary—in a part of the platform called 'Search for styles,' he's able to comb through what appears to be a standard image search, and copy and paste the style of any photo he comes across to his own."In one click, you can edit it like a pro," the video says.I'm all for efficiency, but at what point do things become too easy? I would never argue that a platform such as this would cannibalize photography, but it surely raises questions of what defines plagiarism when it comes to digital imagery. Just imagine the edit of any photo you posted online could be easily taken and applied to any image by any person, with no way of protecting yourself.That may very well be the future we're looking at, but one things for sure, it's that your selfie game won't suffer. [post_title] => Adobe's New AI Platform Will Transform Mobile Portraiture and Your Selfie Game [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => adobes-new-ai-platform-will-transform-mobile-portraiture-and-your-selfie-game [to_ping] => [pinged] => [post_modified] => 2017-04-06 11:02:02 [post_modified_gmt] => 2017-04-06 15:02:02 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77887 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 77880 [post_author] => 25217 [post_date] => 2017-04-06 10:09:39 [post_date_gmt] => 2017-04-06 14:09:39 [post_content] => Internationally Acclaimed Photographer Joe McNally is not the type to wait for brilliance or inspiration to strike. Instead, throughout his career, he's focused on developing a reliable strategy and craft that could be applied to every scenario, client or assignment. He's created a unique way to make his work stand out, using his method of constant creativity—and a steady stream of income—to live and work by what he calls his “Rolodex of Survival.”But the good news is he's not one to keep secrets. In fact, he values photography community as a “pass-it-along” society; he believes in sharing his knowledge to help photographers gain the confidence and versatility needed to shoot in any scenario, and the professionalism needed to handle any client.https://youtu.be/kJcAoTW4vEkThis is why he's partnered with CreativeLive for an in-depth, 16-lesson course, Lighting, Logistics, and Strategies for a Life in Photography, that can be watched live entirely for free. The class runs from April 5 - 7, covering everything from the technical learnings of a photo shoot to a deeper look at how to conduct business as a career photographer. [caption id="attachment_77882" align="aligncenter" width="1024"] © Joe McNally via CreativeLive[/caption]Here are some of the specific things covered in the course:
Can you tell me about the post-production process behind your work?
Post-processing can be a big part of some of the images from the project, but it depends on what the vision is for the final image. I’m not opposed to composition work and even enjoy the aspect of the images being a new “multi-media” endeavor, but I do try to get most of “the shot” in camera when ever possible. For example, the image of “When I Grow up” is photographed all in-camera. For that image, we collaborated with the amazing costume designer, Miodrag Guberinic, who designed the headpiec, (as well as created the butterflies for “Rush,” and Viktorija painted the watercolor background, then created the makeup to feel the same as the paintings, as if she was painted too. I do, however, have a lot of ideas that have to be done as composites, as it’s impossible to do otherwise or without a million dollar budget.
“Snowdrop,” which was partly a collaboration with the New York Fashion designer Morgane Le Fay, took a bit of time to do from concept to finish. I photographed the forest during December two winters ago, and then had to wait to do the underwater part until it was warm this past summer. I did have tree branches in the water for the closer shot, but then as the editing process progressed, my vision for the shot concept became much more than originally planned, so more post-processing than originally thought went into that one as well.
We have another image series coming, which we photographed in Venice while on a Fashion shoot. It will also become a composite shot with other elements needed to make it convey what I have in mind, being that we really couldn’t close down Saint Marks Square for a few days. But that would have truly been amazing to do and would have had stories of its own!
Click here to enter the CreativeLive broadcast now! Class is in session! [post_title] => Free Joe McNally Photography Survival Course on CreativeLive Happening Now! [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => free-joe-mcnally-photography-survival-course-on-creativelive-happening-now [to_ping] => [pinged] => [post_modified] => 2017-04-06 10:09:39 [post_modified_gmt] => 2017-04-06 14:09:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77880 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 77831 [post_author] => 47250 [post_date] => 2017-04-05 12:25:33 [post_date_gmt] => 2017-04-05 16:25:33 [post_content] => We’ve recently witnessed the shutdown of American Photo and Popular Photography magazines, two of the photo industry's longest running giants. In addition, in December 2016, Conde’ Nast set in motion a chilling example of what’s to come for the media conglomerate by dropping Self Magazine in print, going exclusively digital with “more cuts on the way.” With a rocky future ahead for other publication consortiums such as Hearst and Time Inc., it’s hard to gauge how far this epidemic may go and how fast it will come. About 20 years ago, during the heyday of the current titles that are now struggling, a professional photographer may have been hired for as much as $3000 a day. Today, it would be more common for a photographer to receive $250-500 per day from a major publication; over an 80 percent drop in their day rate. While this red flag has been waving since the dawn of the internet, it's only now that the "print is dead" threat is truly starting to come to fruition.
- Get an inside look on location, learning how to work with light to capture the story of your subject and their surroundings.
- Expand your knowledge in a studio setting by using multiple flash units to create various looks.
- Gain confidence in your career as a photographer by obtaining a better understanding of contracts and relationship management with clients.
- Learn more about your own work from Joe’s student critiques.
"New York Times is said to be "more than doubling" its day rate for photographers, from approximately $200-$250 to $450..." As editorial rates have been withering away, advertising budgets have been dropping as well. After speaking to a few photographers and understanding the many factors that play into their final profit from a job—such as usage, creative fees, equipment, pre-pro, and post—there has been a definitive decrease in rates. Today's advertising rates, for example, fall between $3000-30,000 a day while 20 years ago it ranged from $15,000-100,000 a day. On the high end, we're looking at up to a 97 percent drop in day rate. Now consider overall economic inflation and the number is even more staggering.However, it is important to note that it was recently reported that the New York Times is said to be "more than doubling" its day rate for photographers, from approximately $200-$250 to $450, still barely meeting the average editorial rate of today. Not to mention that this will be made possible by a rise in digital-subscription revenue that almost reaches the billions, according to a Times report.So what’s the connection between magazine shutdowns and commercial photography? Print publications are losing audience to digital platforms, which leads to lower budgets; companies and brands are reallocating ad dollars to digital outlets that can reach more people for less money, which means it is up to you, the photographer, to adapt to this ever-changing market.
"With photography becoming a commodity over an art, talented photographers are being found in abundance..." Even more, other tangible industries are dying off such as retail shops like Payless, Macy's and Staples, among others. This is a general indication that "IRL" (in real life) is becoming the greatest dinosaur of all, as we enter deeper and deeper into a digital reality. The appetite for content on the internet is bigger and hungrier than that of any print magazine in history, which means there is more content that must be created and the world needs it now.Can you still make a living as a professional commercial photographer? Absolutely, but the cards have changed and are continuing to do so. With photography becoming a commodity over an art, talented photographers are being found in abundance, equipment is becoming more and more accessible, and megaphones like Instagram are making it easier than ever to find them. That said, commercial photography is not what we traditionally know it to be, but it will evolve with our evolving world of content, opening new doors for those willing to create beyond what photography once was. [post_title] => The End of the Traditional Photo Industry is Now [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => the-end-of-the-traditional-photo-industry-is-now [to_ping] => [pinged] => [post_modified] => 2017-04-05 13:49:51 [post_modified_gmt] => 2017-04-05 17:49:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77831 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 8 [filter] => raw ) => WP_Post Object ( [ID] => 77532 [post_author] => 47246 [post_date] => 2017-03-23 16:44:06 [post_date_gmt] => 2017-03-23 20:44:06 [post_content] => Most of us know Adorama as a photo retailer or New York trusted rental house, but today the company announced its position a finalist for the Shorty Awards' "Best Influencer and Celebrity YouTube Campaign" for its "Top Model"-inspired competition for photographers, as well as “Best in Retail and E-Commerce.""Top Photographer with Nigel Barker" aired its first episode via YouTube in November of last year. The series includes five episodes that run for 20 minutes each; and needless to say, the drama of reality television moves at a lightning pace from one episode to the next. The web series is one of Adorama's three original shows, a happy addition to "Alex and Henry Take the Road" and "Through the Lens," which is now on its second season.The Shorty Awards are on its ninth round of accolades. It has recognized influencers, companies and campaigns that dominate social media, such as the #LikeAGirl campaign by Always (who won a silver for the consumer brand category) and the "I Fucking Love Science" Facebook page. Finalists are chosen by the Real Time Academy for the Arts and Sciences, which aims to bring together a mixed bag of personalities: Arianna Huffington and Jenna Marbles being part of the coalition."The demand for quality content across social media platforms is skyrocketing, and Adorama is developing all of its programs with this appetite in mind,” said Lev Parker, Adorama's chief marketing officer, in a press release.The Shorty Awards will take place on April 23 in New York City. Other finalists for the Influencer and Celebrity YouTube category are last year's #VoteIRL starring President Barack Obama, Undercover Lyft with Shaquille O'Neil, Nick Offerman's "New Year's Eve", the Goodwill Ambassadors campaign, and a Scott-sponsored vlogs featuring cardboard rolls. A lot of cardboard rolls.Nonetheless, it's refreshing to see some well-deserved and much-needed recognition among the photo industry. See more from AdoramaTV here.[featured image via Shorty Awards] [post_title] => "More Than a Camera Store": Adorama Nominated as Shorty Awards Finalist [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => more-than-a-camera-store-adorama-nominated-as-shorty-awards-finalist [to_ping] => [pinged] => [post_modified] => 2017-03-23 16:44:06 [post_modified_gmt] => 2017-03-23 20:44:06 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=77532 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 76081 [post_author] => 47247 [post_date] => 2017-02-15 13:04:09 [post_date_gmt] => 2017-02-15 18:04:09 [post_content] => Vogue is under fire for racism after featuring model Karlie Kloss in its "Diversity Issue" dressed as a Geisha. This comes just day after the publication was heavily criticized after allegedly retouching the cover of its latest issue to make plus size model Ashley Graham look thinner.The photo shoot took place in Japan where Kloss was posed in a kimono. On the cover, the magazine features Chinese model Liu Wen, which has drawn question as to why an Asian model wasn't used for the Japanese themed story within the magazine.The images quickly received backlash via Twitter and other social media platforms, expressing distaste and underlining a theme of cultural appropriation and exclusiveness in what was supposed to be an inclusive "Diversity Issue."On the other hand, while Vogue has come under fire, Teen Vogue has been praised for its political coverage and recent shift toward social issues, identity, and activism. See what Twitter's saying below.[embed]https://twitter.com/TheCut/status/831636203220918272[/embed][embed]https://twitter.com/Emzileenie/status/831819458696065024[/embed][embed]https://twitter.com/theglossier/status/831636498852282369[/embed][embed]https://twitter.com/ira/status/831608325766672384[/embed][embed]https://twitter.com/ChinHuaLu/status/831650378923978754[/embed][embed]https://twitter.com/frglmasculinity/status/831632504729780225[/embed][embed]https://twitter.com/Unwrinkling/status/831623366087933952[/embed][embed]https://twitter.com/blessurmart/status/831611723727589376[/embed][embed]https://twitter.com/GeeDee215/status/831633603981352961[/embed]Here you go, Gene.[embed]https://twitter.com/karliekloss/status/831778961600417793[/embed] [post_title] => Vogue and Karlie Kloss Under Fire For 'Yellowface' Photo Shoot [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => vogue-and-karlie-kloss-under-fire-for-yellowface-photo-shoot [to_ping] => [pinged] => [post_modified] => 2017-02-15 13:04:09 [post_modified_gmt] => 2017-02-15 18:04:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=76081 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 75858 [post_author] => 25217 [post_date] => 2017-02-10 11:40:04 [post_date_gmt] => 2017-02-10 16:40:04 [post_content] => The analog world loves getting creative by minimizing technology. Recently, we wrote about the world's most environmentally friendly instant camera, but now there's a new imaginative contender on the block: a 20 x 24 inch camera made out of 32,000 drinking straws.The Straw Camera was created by UK artists Michael Farrell and Cliff Haines, a joint venture that started in 2007. Using a box stacked with approx. 32,000 black drinking straws, it produces a multipoint perspective from an array. Light is collected by each individual tube—each of which have their own density and hue—recording it onto photo sensitive material placed at the opposite end. This makes it a direct analog process with a direct 1:1 view of the subject, and the results are pretty interesting.[caption id="attachment_75864" align="aligncenter" width="1024"] image via Straw Camera[/caption]"The straws have a “raw” ƒ stop, where a 10” (254mm) long, 2mm diameter straw, gives an aperture of about ƒ127, and this was used as a rough starting point for exposure," writes Haynes on the camera's webpage. "There isn’t depth of field - the clarity of image produced by the straws recedes into the picture plane."The artists' work on The Straw Camera has been published as a book, featuring portraits, still life, and work in progress with the camera. It also includes an account of the collaboration and evolution of the process written by Haynes, alongside an essay by Liz Rideal. The book can be purchased here and images taken with the camera can be viewed on the web. [post_title] => This Bizarre Camera Was Constructed With 32,000 Drinking Straws [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => this-bizarre-camera-was-constructed-with-32000-drinking-straws [to_ping] => [pinged] => [post_modified] => 2017-02-10 12:33:01 [post_modified_gmt] => 2017-02-10 17:33:01 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=75858 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 75581 [post_author] => 47241 [post_date] => 2017-02-10 11:03:16 [post_date_gmt] => 2017-02-10 16:03:16 [post_content] => Fashion Week is a monster when it comes to photography. The pits are jam-packed, the scene is high-energy, and photographers flood the runways and streets, all for the same purpose: to shoot, work, network and find a way to stand out from the rest. For young photographers, it's an absurdly intimating world to break into. But there are some who are pulling it off.Meet Nick DeLieto, a 22-year-old college student and emerging fashion photographer. He got his start at NYFW when only a freshmen in college, sneaking into shows and working contacts he met on the streets for a chance to shoot. Over the years, he's built an impressive portfolio, shooting for publications and brands like Coach, Raf Simons, and Hugo Boss. We caught up with DeLieto to learn more about how he faked his way into Fashion Week as a teenager and how to build your name as a photographer in the industry.[caption id="attachment_75847" align="aligncenter" width="1024"] Photo by Nick DeLieto[/caption]You've been a photographer for a while but how did you get into fashion? What prompted you to go to NYFW?My love for fashion photography started with the desire and admiration I felt for capturing the dream world of fashion. The fashion industry interacts with art to create this world of beauty; these designers essentially create wearable art. Now, of course, fashion isn't all pretty, but when you take the time to examine the art that's being made across the industry, you can't help but appreciate the efforts. My interest in high fashion came from delving into the history of high-end brands such as Saint Laurent, Gucci, and Dior. Haute Couture made me appreciate the thought, determination, and mastery it took to create world wide trends and insightful art pieces. Seeing the Manus ex Machina exhibit at the Met this past year reaffirmed that admiration I felt for artists in the industry. Also, when I was younger, I saw a John Paul Gautier exhibit in Brooklyn with hundreds of designs that took weeks to hand-make.What was the first Fashion Week show you attempted to go to?Fall of 2014 (Spring/Summer 14).I noticed you've shot Reem Acra. How did you initially get into it?In the winter of 2015, my friend and I were freshman in high school just waiting around Lincoln Center. I found a back door and just walked in like I belonged. Someone noticed my friend and I sitting along the sidelines in the waiting area taking everything in and offered us a front row ticket to Reem Acra. He said he liked our energy and how young we were.[caption id="attachment_75851" align="aligncenter" width="1024"] Photo by Nick DeLieto[/caption]Can anyone take photos at Fashion Week?Anyone can follow the shows around outside from place to place. Street style photos are a huge part of the industry and I've seen great street style photographers hit the jackpot in their careers. Phil Oh shoots for Vogue US and started developing his eye by shooting outside of shows.So how did you get into the rest of the shows?I snuck in a lot. I faked confidence, gave fake names, name-dropped editors that I knew were big. It was a gamble every time and sometimes it straight up did not work. I was also offered opportunities by friends I made by just being around Fashion Week. I got my start helping cover shows for some stylists and assisting other photographers I befriended. One of my really good friends in the industry is another photographer I met at Lacoste. We actually got in a fight the first time we met, but smoothed things over and exchanged information. He loved my work and started offering me opportunities to succeed. When I started to gain a respectable portfolio in the industry, I began reaching out to publications and offering to cover for them.[caption id="attachment_75849" align="aligncenter" width="1024"] Photo by Nick DeLieto[/caption]Dope. Can you tell me how you've gone about getting backstage?I snuck backstage when I was younger, which was significantly harder than just watching the show from the front of the house. Once a season or two started to pass, I began to email PR teams to request access. Most of them denied me as I was not with a major publication (or any publication) but some respected my work and offered me backstage access in return for some of the photos.Can you tell me a bit about the networking opportunities Fashion Week provides for photographers?Instagram. People that follow you for long periods of time start to build up this picture of you in their mind. They oftentimes then reach out to you and offer to collaborate or ask you for help. And I honestly just talked to people, and tried to be as down to earth and friendly as possible. Even now that I'm "allowed" to go to shows, I try to be open and friendly to anyone backstage. We're all in the same boat and I realized that the industry can sometimes be difficult to navigate—it's often harsh. Photographers and the like should be able to support each other and help each other out.[caption id="attachment_75848" align="aligncenter" width="1024"] Photo by Nick DeLieto[/caption]Which shows have you shot?For publications I've shot Coach, Raf Simons, Monse, Hugo Boss, John Varvatos, Vfiles, Robert Geller, Diesel Black Gold, Suno, and Carolina Herrera, among others. For myself I've shot Calvin Klein, Marc Jacobs, Givenchy, Desigual, Todashi Shoji, Prabal Gurung, Lacoste, Proenza, Carmen Marc Valvo, and more. I would sound lame if I named them all, but trust me, not all of them were my own doing. People in the industry have definitely supported me and guided me to where I am today, giving me opportunities and outlets to develop my eye and creativity.Were you asked to shoot any of the shows?Ah, here's where I get my cover blown. But yes, the majority of shows I've shot, I was asked to. The others I either accompanied another photographer or got in on my own.[caption id="attachment_75846" align="aligncenter" width="1024"] Photo by Nick DeLieto[/caption]How did you get to shoot Grazia Italy? Did they approach you? Was it for Fashion Week or was it an editorial assignment?It was just backstage coverage, not editorial. My photographer friend—the one I met at Lacoste—offered me some shows a few years ago that he needed help covering. Like I said, he liked my work and gave me opportunities.Got it. Do you have any tips you can provide our readers for branding your business?Post things you're passionate about; things that catch your eye and really show your vision. Just because you have a picture of a celebrity doesn't mean it's good. Or just because you shoot film doesn't mean it's good either. If you focus on making good art you're proud of your "brand" or portfolio will fall into place.[caption id="attachment_75852" align="aligncenter" width="1000"] Photo by Nick DeLieto[/caption]And yet you're still very young. What kind of guidance have you had from mentors along the way?I've received countless tips from other photographers. Sometimes I'm blown away by the way other photographers invest their time and energy into helping me. I'm still young and inexperienced in the community and always trying to learn everything I can and strive to learn from those around me. I've gotten tips on how to negotiate my worth as photographer, how to push for opportunities, how to pitch products, and, as lame as it sounds, to trust my instinct.Do you have any other advice for faking it until you're making it?You're never too young. Confidence and passion for what you do will carry you forward. Stay open, stay humble, and keep pushing. [post_title] => How One Young Photographer Faked His Way Into Fashion Week [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-one-young-photographer-faked-his-way-into-fashion-week [to_ping] => [pinged] => [post_modified] => 2017-02-10 13:07:17 [post_modified_gmt] => 2017-02-10 18:07:17 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=75581 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 75583 [post_author] => 47241 [post_date] => 2017-02-08 17:25:19 [post_date_gmt] => 2017-02-08 22:25:19 [post_content] => For centuries, people have been using drugs and alcohol to aid them in their plight of artistic innovation. We know that it was a rarity to see famed writer Ernest Hemingway without a drink in his hand, for example, but recently it's been revealed that even the multi-faceted artist and inventor Leonardo DaVinci might have used opiates to spur new ideas.But what about photographers? Here are 10 famous photographers who used drug culture to inspire their work, whether it was using drugs themselves or documenting it. Please note that this is an extremely dangerous way to get inspired.
Annie Leibovitz [caption id="attachment_75669" align="alignnone" width="1280"] Yoko Ono and John Lennon in bed for peace (Photo: Anne Leibovitz)[/caption]Drug: CocainePerhaps one of the most iconic female photographers in history, Leibovitz almost lost it all after she worked for the edgy rock mag Rolling Stone. She describes the magazine as a "drug culture" in a film made by her sister, adding, "Who were my mentors? Hunter Thompson, who was a total maniac, never off drugs. Cocaine propelled you...it made you think you were thinking. I got professional help, and it was done." However damaging, the photographs taken during her time with the magazine are still some of her most recognized and worshiped to date.
Larry Clark [caption id="attachment_75673" align="alignnone" width="733"] Photograph of Larry Clark[/caption]Drug: AmphetaminesLarry has described himself as one of the most important photographers of the last half-century. He first made waves in 1971 in the photo book Tulsa, where he depicts sex, violence, and drug abuse in the youth culture of Oklahoma in the 1960s. In the book's introduction, Clark admits, "When I was 16, I started shooting amphetamine. I shot with my friends every day for three years and then left town, but I've gone back through the years. Once the needle goes in, it never comes out." Since then, he has gone on to produce the controversial exhibition Teenage Lust, and most recently the film, The Smell of Us.
Michael Cooper [caption id="attachment_75620" align="alignnone" width="1024"] via Wikipedia[/caption]Drug: HeroinBritish photographer Michael Cooper took pictures of some of the most legendary musicians during his time in the 1960s and '70s. Shooting magazine covers for The Beatles and The Rolling Stones, while shooting heroin into his arm. For him, creativity was apparently a warm gun, mama.
Nan Goldin [caption id="attachment_75676" align="alignnone" width="779"] Photograph of Nan Goldin[/caption]Drug: Heroin and cocaineNan Goldin's epic photo series, The Ballad of Sexual Dependency, focused on the hardcore drug subculture she was a part of in New York's Lower East Side during the 1980s. In a recent interview with The Guardian, Goldin admitted, "When I was 19, I put the needle down and I think that decision saved my life. And, though I mixed heroin and coke, I never smoked crack. There is something genetic inside me that is about surviving, but, so many people I know have gone that I do have survivor's guilt."
Dash Snow [caption id="attachment_75679" align="alignnone" width="713"] Artists Dash Snow with a bottle of wine in one hand and cigarette in the other.[/caption]
Drug: Cocaine, Heroin, THC, Alcohol...etc.
Named by New York Magazine as one of "Warhol's Children" the Lower East City heir and rebel photographer Dash Snow lived a short life due to his perpetual desire to get high. His drug induced antics are often mirrored in his photography.
Graham MacIndoe [caption id="attachment_75686" align="alignnone" width="678"] The cover of Graham MacIndoe's book about his drug addiction.[/caption]Drug: HeroinGraham MacIndoe photographed himself during the years he was addicted to drugs. He used a cheap digital camera and self-timer to document himself filling a crack pipe, cooking heroin, or shooting up. He did pay some attention to the lighting and composition, but he wanted the photographs to appear as natural as the habits that inspired them.
Terry Richardson [caption id="attachment_75724" align="aligncenter" width="800"] via Wikipedia[/caption]Drug: Heroin, Valium, Alcohol Famous celebrity photographer Terry Richardson, who has been deemed a predator by some, was also a heavy heroin user in the ’90s. After breaking up with his girlfriend three days before Christmas in 2001, Richardson put on a suit, consumed $100 worth of heroin and a handful of Valium, and drank a bottle of vodka. He was found unconscious by friends and admitted to rehab the next year. Perhaps that's what inspired him to shoot this photo of former Jackass star Steve-O after he too went to rehab for drug addiction.
Andy Warhol [caption id="attachment_75698" align="alignnone" width="747"] Andy Warhol and Ulli Lommel on set of Cocaine Cowboys.[/caption]Drug: ObetrolAndy Warhol was notorious for partying until dawn at the star studded club Studio 54 in the 1980s, but to keep up with both the party scene and his artwork, he used Obetrol (known today as Adderall) to produce iconic works such as his celebrity polaroids.
Les Baker https://www.instagram.com/p/jZZwgMEpZC/
Drug: Methamphetamine, Oxycontin, MDMA, Cocaine, Crack, Psilocybin, LSD, Ketamine, THC, Beer, Hard Liquor, Adderall, Nicotine, Caffeine This photographer isn't famed for his drug use, but he did make them his muse in his series Inebri-Nation, which features everyday people on drugs varying from beer to crack cocaine. Though he doesn't reveal who, at least one of the people he photographed is an artist. Can you guess which?
Bert Stern Drug: Alcohol and Amphetamines The Vogue photographer shot 41 covers for the magazine during his career, but was made even more famous when he shot Marilyn Monroe in a private Hotel Bel-Air room over a number of days. The shoot was "fueled by a case of 1953 Dom Pérignon champagne, Monroe's favorite, Château Lafite Rothschild, and vodka," says New York Times best-selling author, Michael Gross in his new book Focus. He admits to getting Monroe drunk and sleeping with her to get the famous shots. He continued using this method in his photography over the next decade with the addition of amphetamine pills given by his doctor to keep up the lifestyle. He eventually broke bridges with his family and the iconic photographs that he took of Marilyn Monroe made him enough money to sustain him and his addiction for the rest of his days. [post_title] => 10 Photographers Who Used Drug Culture to Inspire Their Work [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 10-photographers-who-used-drug-culture-to-inspire-their-work [to_ping] => [pinged] => https://vimeo.com/109014245 [post_modified] => 2017-02-08 17:25:19 [post_modified_gmt] => 2017-02-08 22:25:19 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=75583 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 75436 [post_author] => 14 [post_date] => 2017-02-07 10:35:35 [post_date_gmt] => 2017-02-07 15:35:35 [post_content] => We spoke with photographers Jen Rozenbaum, Sarah Maple and Natalie Keyssar about living and working as women in photography. While all of them operate in different facets of the medium, they agree that throughout history, discrimination has existed for women in the industry, and, at times, still does in their lives today. Here’s how they’re fighting to change that. [caption id="attachment_75441" align="aligncenter" width="1000"] © Jen Rozenbaum[/caption]Jen Rozenbaum is a self-taught boudoir photographer who started her career in 2008 after having her first child. Today, she runs her own photography business, which took her three years to create. With "Shamelessly Feminine" as her tagline, this mantra also serves as Rozenbaum's life philosophy. “It's putting the ‘feminine’ back into feminist.’ We can embrace who we are and our unique qualities and still be taken seriously, even in high heels,” she said. What themes do you focus on in your work?As a female photographer who photographs women, I write and speak a lot about empowerment and community—lifting each other up and spreading positivity. I also speak a lot about my own struggles as a woman. Topics like infertility, body image issues, and self-esteem are common themes in my work.Since I only shoot boudoir, it's always about the woman. In fact, in most of my images you won't see much besides the woman. My images aren't typically environmental. I love a woman against a plain wall. That’s how I can highlight her the best. There are no distractions. Just her and all her beauty.How do you think the photography industry has changed for women since you started?When I started eight years ago, the photography industry was just starting to turn. A lot more women were coming into it, and the industry was starting to take notice. Now it is much more common to see women photographers at conventions and workshops, which I love! Some conventions are even geared only toward women! Sadly though, there is still sexism and stereotypes we are trying to conquer. Women are typically much more emotional shooters and not as technical—a generalization, but one that resonates with me. Sometimes people that are very technical think emotional shooters aren't as serious. I always like to remind people it's about the end product. And there's more than one way to get there.[caption id="attachment_75442" align="aligncenter" width="1000"] © Jen Rozenbaum[/caption]What are your thoughts on the gender wage gap within the photo industry?I think the gender wage gap is horrendous and we should be mortified that it exists in 2016. There will be an end to it, but it will take time as most things do. As a modern day feminist, I believe fighting for "equality" is an antiquated way of thinking. We are different than men and we should embrace that and use our unique qualities to get paid what we deserve, which is maybe as much as men, or maybe even more!So what’s your life like outside of the industry? How do you balance your photography career with your family? I have two children, 11 and 7, and have been married for 12 years. They are my first priority. Photography has actually given me the opportunity to create a life and schedule in which I can work and still be home for them at 3 p.m. It can be challenging. I work a full-time job in part-time hours, but I wouldn't change it for the world. Children are a full-time job on top of my full-time job. Luckily, I have a husband who isn't afraid of getting into the mix and helping me out when I travel or on a long shoot. He is very key to my success both at home and at work. [caption id="attachment_75445" align="aligncenter" width="1800"] © Sarah Maple[/caption]Sarah Maple, a British visual artist, graduated with a fine arts degree from Kingston University in 2007. She mainly studied painting during her time in college and only began studying photography five months before graduation. At first, she hadn’t taken photography seriously and only planned to do it for a few extra credits. But after she realized she could experiment with performance-based ideas and even recreate her paintings as photographs, she adopted photography as one of her main artistic mediums. Maple’s work has been exhibited internationally at galleries and institutions, such as Tate Britain, A.I.R. Gallery, AGO, The New Art Exchange, Golden Thread Gallery, and Kunisthoone. How do other female photographers influence the way you go about your work as a female?Over the years I’ve become great friends with other female photographers my age, and I think we all influence each other in some way. It’s an interesting time to be a “female artist.” In some ways, that identity comes through in our work. It’s funny because many of us do self-portraits and I think it’s because women are starting to take control of our own identities a lot more. We are always told how to be [a certain way]…and now through our work we have a voice and we can control exactly how we want to be seen by the world. It infuriates me when it’s dismissed as narcissism, which is extremely frustrating.What are some ways you go about capturing the feminine spirit, female empowerment, and female subjects in general? My work has been strongly about feminism. It feels natural to make women the key element in my work. However, I do not exclude men because men are just as important in the conversation. I like to make images of women that are sort of unusual in a way but empowering, and images of women that you wouldn’t usually see. Like in my piece, Lollypop Lollypop, it’s completely pink, pretty and feminine, but then I have this hairy armpit. Or, in Fighting Fire With Fire No.2, I’m dressed in my traditional Islamic dress but then with a cigarette hanging out. I like to challenge the idea of what traditional roles or images are expected for women.[caption id="attachment_75443" align="aligncenter" width="1000"] © Sarah Maple[/caption]So do you believe that woman photographers have been treated unfairly compared to their male counterparts? Women are more likely to be dismissed and their work not taken as seriously as men. All you have to do is look at the statistics. Women have far fewer shows than men and sell their work for far less [money]. We are not held in as much high regard, but I think that’s probably the case for women in most professions. Have you ever encountered any evidence of the gender wage gap in your line of work? In the art world, women sell less work and when they do it’s for less money. It’s a vicious cycle, and outside of art, we still have a long way to go. I think a lot of it has to do with having children, which causes trouble for professional women. It needs to be more balanced and not assumed that the man will be back to work after two weeks like nothing happened. [caption id="attachment_75439" align="aligncenter" width="1000"] © Natalie Keyssar[/caption]Since she was young, Natalie Keyssar, a freelance photojournalist, has always been interested in activism, class systems, and civil rights. These interests motivated her to study art in high school, and later study painting and illustration at Pratt Institute in Brooklyn. Once she graduated from art school, she realized her true passion was for taking photos like the ones she’d always used as references. Initially, Keyssar worked for photographers Julie Platner and Shaul Shwarz, who put the first camera in her hands. She later did a fellowship mentored by Gary Knight and a Foundry workshop with Maggie Steber. Keyssar’s work primarily focuses on youth culture, activism, class and the effects of political tension on society.Did any of your mentors affect the way you approached the industry as a female or how you express femininity in your work?With all of the women photographers I know, it’s a constant conversation. I think we bounce a lot of ideas off of each other and form our own opinions, which vary a lot. When I was first starting out, Julie Platner taught me a lot about how to carry myself powerfully, professionally, but in a totally relaxed, unimposing way while shooting in delicate situations. From affirmative conversations with my circle of girlfriends in the industry, I started to realize that there are many big ways we are treated differently from our male counterparts. And I don’t really think about expressing femininity in my work; it’s just there. But I don’t know how much my eye is influenced by the male gaze and how much it’s a rejection of it. I know I gravitate toward shooting women but balk completely whenever someone says, ‘Why don't you shoot a story about women in Venezuela or Congo’ because honestly, I think it’s sort of narrow minded to say, ‘Hey! You're a female photographer, why don’t you shoot women's issues?’ I’m just shooting the issues I care about, and I think all artists (and I count photojournalists as artists in many ways) gravitate towards reflections of self, and other women. It’s easy for me to access what they might be thinking or feeling maybe more so than with male subjects sometimes.What female themes do you touch upon within your work?Some of my work in the past has dealt with issues of empowerment and objectification within youth subculture, certainly on some level from a feminist perspective. But I sort of have a double truth in my head about women's themes. I am a feminist and a woman, and that perspective touches everything I do. I’m also frustrated by the idea that women are needed in photojournalism to tell stories from a tender perspective, or document women in a given situation. This stereotype makes me squirm…It’s not that we need girls to shoot war zones because they'll shoot the women there better, or somehow more gently or whimsically, because that is how girls eyeballs work, which to me sounds preposterous. It’s that the more different kinds of eyes we have on the world, the more of a 360-view we get on it, and that doesn’t manifest as “women shoot this way and men shoot that way,” but rather the sum of all of our different experiences.Speaking of experiences, have you ever been treated unfairly as a female photographer compared to your male counterparts?Absolutely—from older male and female power brokers, to my male friends and peers. I can't say how often I see the disparity. Or how many times I've heard a successful female photographer described as a “bitch” because she possesses the assertive qualities that we value in men instinctively. I think it’s especially true for women like myself who are interested in covering subjects related to unrest and violence. I see young men in college photojournalism programs chomping to get out and cover all kinds of hellish situations, but the girls often can’t even admit to themselves that they want to. It even took me a long time, and on the spectrum I’m pretty assertive...People ask me routinely "where the photographer is" while I’m holding my camera. My male friends and colleagues, even those sensitive to these issues, often don't listen to their female colleagues with the same respect or attention that they do men. In the beginning I had to absolutely scrap to get sent to cover a situation like Venezuela or Ferguson, which might get violent. I've never let any of that stop me, but the business isn’t exactly easy to begin with. We need more space for equity in men and women shooting stories in the field. [This story was originally published in the fall 2016 “Humanity Issue” of Resource Magazine.] [post_title] => Female Photographers Are Changing Their Presence in the Industry [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => female-photographers-are-changing-their-presence-in-the-industry [to_ping] => [pinged] => [post_modified] => 2017-02-08 12:54:30 [post_modified_gmt] => 2017-02-08 17:54:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=75436 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 75058 [post_author] => 30241 [post_date] => 2017-02-01 17:12:29 [post_date_gmt] => 2017-02-01 22:12:29 [post_content] => GoPro is confident that the problems that plagued the GoPro Karma have been solved, as the much maligned drone is back on the market today. The drone was pulled from store shelves and universally recalled from all owners last November over issues that would cause the drone to fall out of the sky without warning.According to the Verge, at a small press meeting at CES this year, GoPro CEO Nick Woodman said that they were "a little bit embarassed that it was something as basic as a battery retention issue," and that, "at the same time we’re relieved that we can show the world that we do understand drones, we do understand the technology, and that it was an unfortunate mechanical engineering slip-up that led to the recall of Karma.”The Karma is again listed as a product on GoPro.com and is showing to be available at the end of March on B&H.The Karma was hit with the unexpected competition of the DJI Mavic last year, which many reviewers found to be a lot more reliable than GoPro's much-awaited drone. Some even went so far as to say that it wasn't just not as good as the Mavic, but it wasn't really as good as any other modern drone of the same class (or even those heavier and bulkier like the Phantom 4).https://www.youtube.com/watch?v=-xmqthgCvxkNot long after the announcement of the Karma recall last year, GoPro said they would be cutting their workforce by 15% amid sliding sales, and their stock has not improved much since that point last year. Hopefully the Karma's second shot at flight will help a company searching for anything to pull them out of the slump. [post_title] => Three Months After They Recalled All Units, GoPro's Karma Drone is Finally Selling Again [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => three-months-after-they-recalled-all-units-gopros-karma-drone-is-finally-selling-again [to_ping] => [pinged] => [post_modified] => 2017-02-01 17:12:29 [post_modified_gmt] => 2017-02-01 22:12:29 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=75058 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 75050 [post_author] => 30241 [post_date] => 2017-02-01 16:50:12 [post_date_gmt] => 2017-02-01 21:50:12 [post_content] => Currently only advertisers have access to a feature that lets you publish multiple images to a single post (I'm sure most of you have encountered these "galleries" on Instagram), but that feature is coming to us all soon, according to a report on The Verge. A beta release of the Android application is showing evidence of this feature, as discovered by Droid Life and Philip Chang on Twitter (though it doesn't seem to be working quite right).
Instead of tapping on a photo, you long-press. From there, a prompt instructs you to select up to 10 images or videos. You can apply a single filter to all of them, or tap into each photo to apply separate effects before posting everything in a single gallery. Your followers and other Instagram users will be able to like individual photos in each post. -The Verge This is a cool feature that has somewhat limited usage for those who are what would be considered "Instagram power users." Most folks with large followings share one to two times a day, stretching out their content to last as long as possible. Posting multiple images may be helpful in sharing a story, but also compress shares that could be used to extend activity.I personally think it already works really well for advertisers who don't have this problem, and there are of course uses for it for the average person as well who might want to share three or four images from an afternoon, rather than "spamming" their feed with four or five consecutive posts.[Via The Verge] [post_title] => Instagram Will Soon Allow You To Share Multiple Photos in a Single Post [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => instagram-will-soon-allow-you-to-share-multiple-photos-in-a-single-post [to_ping] => [pinged] => [post_modified] => 2017-02-01 16:50:12 [post_modified_gmt] => 2017-02-01 21:50:12 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=75050 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 74995 [post_author] => 47235 [post_date] => 2017-02-01 15:43:11 [post_date_gmt] => 2017-02-01 20:43:11 [post_content] => "I’ll try to keep this as brief as possible, not least because this is an e-mail I really never wanted to have to write [sic]," wrote Tiggertrap Founder Haje Jan Kamps in a Medium FAQ. After an 18-month downward spiral, the company finally broke the news that the business is shutting down.[caption id="attachment_75016" align="aligncenter" width="1343"] Triggertrap once was a thriving company...[/caption]Triggertrap was founded in 2011 after crowdfunding nearly three times more than its goal. The company quickly became a pioneer in hardware and software products centered on triggering SLR cameras. In May 2012, Triggertrap introduced Triggertrap Mobile for iOS, followed by a version for Android in September 2012. At its peak, Triggertrap covered more than 300 different camera models and thousands of photographers in more than a hundred different countries.But then there was "Triggertrap Ada," an infinitely expandable camera trigger aimed at making high-speed, camera trap and time-lapse photography affordable for everyone. The company, once again, raised much more than its goal, but eventually failed to bring the product into production.[caption id="attachment_75011" align="aligncenter" width="558"] Where it all went wrong...[/caption]
"For the past 18 months, we’ve been operating with just a few team members, who have been working their asses off to keep the lights on. But ultimately, we weren’t able to claw our way out of the hole." — Haje Jan Kamps So Triggertrap has now come to an end. As of Feb. 1 2017, users will no longer be able to get technical support. The apps will remain intact, so existing equipment will continue to work as it does today, until a future iOS or Android update breaks its functionality. There are still a few hundred Triggertrap Mobile kits available for purchase in the world, as well as in the company's warehouse, which will also be closing in the next couple of weeks."Triggertrap has been a part of what I’ve done for many years now. I’m proud of what we’ve accomplished as a team, and the Flickr group continues to amaze me," wrote Kamps. "You’ve created so many beautiful photos using Triggertrap products. Please keep doing that, even as the company itself fades into the night. Thank you for all your support." [post_title] => Camera Trigger Pioneer 'Triggertrap' Is Going Out of Business [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => camera-trigger-pioneer-triggertrap-is-going-out-of-business [to_ping] => [pinged] => [post_modified] => 2017-02-01 15:43:11 [post_modified_gmt] => 2017-02-01 20:43:11 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=74995 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 74944 [post_author] => 47235 [post_date] => 2017-02-01 12:43:29 [post_date_gmt] => 2017-02-01 17:43:29 [post_content] => On the last day of January, a Ukrainian team of instant photography enthusiasts kicked off a 30-day crowdfunding campaign on Kickstarter to bring to life their vintage and jolly looking new instant film camera. They were aiming at $15,000, and they didn't even need a full day to reach their goal.What exactly is this thing people are so excited about?Jollylook is a simple fold out camera for analog photos, made entirely from recycled paper and cardboard. No electronics, batteries or chargers, some paper, a pair of lenses and a cartridge for instant mini photos. It's the world's most environmentally friendly camera!
“When I showed my son what's inside an analog camera [...] I thought 'what if the package itself transformed and fulfilled the function of the camera and the picture turned out immediately?'" —Oleg Khalip, co-founder and author of the idea Khalip says the shutter was the most difficult part to develop. No existing structure worked for Jollylook, so they had to invent a new shutter. After picking the right lens and calculating the aperture, they then created a "folding accordion" camera body from paper, then the case where the instax cartridge is placed, and then they moved to the design. No doubts there: it had to be "retro with a little steampunk" look. The last obstacle was to find a way to pull the photo out from the cartridge. "But after testing many options, we achieved a perfect result," Khalip says. Photos are now developed and pulled out with a rotating handle. How does it work? Just like with an analog plastic and metal camera, you first set the lens position to landscape, group, portrait or macro. You then choose the aperture and simply pull out the viewfinder! Up next: taking the picture! Simply look through the viewfinder and press the shutter-release button whenever you're satisfied. Then you roll out the exposed photo by turning the handle for developing. The rollers actually break the capsule with the processing liquid, and initiate the developing process. After just a few minutes, you have a new shot in your hands! Jollylook uses Fujifilm Instax Mini, instant film cartridges that are available worldwide, which can be changed "many times," according to the developers.Technical specifications:
The crowdfunding campaign will stay on Kickstarter until the end of February and the first mass produced Jollylook cameras are expected in June 2017. There's no explicit unit price set for when that happens, but the fact that pledgers who gave $35 got a camera, is an indication. [post_title] => This Is the World's Most Environmentally-Friendly Instant Camera [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => this-is-the-worlds-most-environmentally-friendly-instant-camera [to_ping] => [pinged] => [post_modified] => 2017-02-01 12:43:29 [post_modified_gmt] => 2017-02-01 17:43:29 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=74944 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ))
- Lens - a meniscus lens with a focal length of 110 mm ( 4.33 in ), allows to take photos from portrait to landscape. can be moved up to shoot through the pinhole.
- Viewfinder - a Fresnel lens
- Aperture - a switchable diaphragm with manual adjustment for the seven values: f / 8, f / 11, f / 16, f / 22; f / 32; f / 45; f / 64 + pinhole.
- Shutter - automatic with shutter speed of 1/250 or 1/160 and manual shutter mode with the possibility to control the exposure time manually.
- Pinhole - a round hole in a copper foil 0.6 mm (0.023 in) in diameter, located on the diaphragm disk
- 10 shots per instax mini cartridge (the cartridge can be changed many times)
- Storage conditions - store in a dry and dark place at room temperature.
- conditions of use - use at temperatures between 10 - 35 °C (50 -95 ?) in dry weather.
- Size when folded 85 x 127 x 48 mm ( 311?32 x 5 x 157?64 in )
- Fujifilm “instax mini” instant film cartridge
- Photo size 46(W) x 62(H) mm