Life is difficult when you are a portrait photographer and social distancing restrictions prevent face-to-face meetings with anyone beyond the people you live with. Not one to let a global virus pandemic get in the way of a good picture, Shane Balkowitsch combined modern and ancient technology to create a wet-plate photograph of a friend who was almost 4000 miles away using video-conferencing application Zoom. From his studio in Bismarck, North Dakota, Shane photographed Morgan Barbour in London, England, as she streamed video of herself to his computer screen – which he photographed using a 10x8in large format camera with a wet collodion plate loaded in the back.
Morgan in the Zoom video conference on Shane’s screen
Shane tells DPReview that the idea came about when Morgan asked him to make a wet plate image of her. He was going to copy a previous print he had made of her, but having just been introduced to video conferencing the week before it occurred to him that he could make the picture ‘live’ using the computer screen. He sent instructions to Morgan about how she could set up the lighting in her house to create a silhouette and they had a conference call to make the shot.
‘I’d never shot this way before’ Shane explained ‘and I didn’t know what to expect, so I decided that instead of trying to capture a “well lit” portrait we could go for a silhouette. It would take us back to when photography was first invented and the very simple, honest photographs of 180 years ago when photographers were just trying to get any proof of the photograph.’
‘The two plates we made are rather lovely in their simplicity and mood. Our first attempt, which is now known as “A Distance Exposure In Isolation”, is the better of the two. The light reflecting off her upper body adds just the right degree of femininity for me.
Shane tells us that he would usually expect an exposure of ten seconds for his wet plate portraits but this one needed Morgan to remain still while he counted down a full minute. ‘I wasn’t sure how the image on the screen would come out, or if it would come out at all. The wet plate process relies on ultraviolet light to make the exposure, and I didn’t know whether there would be some sort of UV filter on the monitor to protect users’ eyes. Fortunately, however, that turned out not to be the case. It still needed six times the usual exposure to activate the silver on the plate though, and that was for a backlit silhouette. If I’d wanted to get detail in her face I’d probably need two to three minutes.’
Shane says he is stunned by the mixture of technologies that exist 170 years apart, and how the light traveled from Hampstead in London to his Bismarck studio 3961 miles away. ‘There’s no truth in the light I recorded!’ he exclaims. ‘It has been transfigured and translated so many times. It passed through the background in Morgan’s house to reach her phone, where it was converted into zeros and ones to travel across the globe via the internet before reaching my screen. Here it was turned back into light again before passing through my lens and on to the plate. It’s amazing.’
The final image – note the cursor in the top left corner. A sure clue to the mix of technologies
To avoid capturing the texture of the screen Shane says he focused on the outline of Morgan’s lips and nose, and then pulled the focus back a little to blur the pixels of the screen and to create a softer feel to the picture. ‘I didn’t know if I’d get reflections off the screen too, but they don’t seem to show in the picture. There was an odd mark on the plate that I noticed as the image developed. I didn’t know what it was at first, but when I came to remove it I realized it is the arrow cursor from my computer left in the picture area by mistake. Kinda funny!’
Shane’s darkroom, where he sensitizes and develops his plates
Shane will have the chance to practice the process once again this Friday as a model from New York has contacted him since seeing the pictures of Morgan to have her portrait taken. ‘We’ll see what we can come up with. We just got off the phone together, we have never met but she has wanted to have her portrait taken by me for some time.’ Shane says ‘If we ask ourselves, “why would you even attempt this?” the answer is simple – out of necessity. I am usually booked 7-8 months ahead for my Friday sessions in my natural light wet plate studio, but right now I’m having to cancel all those sittings. Now I can shoot remotely. Take that Coronavirus! You think you can stop us from creating? I think not.’
Self-portrait with one of his wet plate cameras
Below you can see the video of the conference call during which Shane made the picture, which also shows the process of sensitising the plate and developing it after the exposure. You can see more of Shane’s wet plate work on Instagram and on his website.
Shane may be the first to shoot a wet plate image directly from a live subject on computer screen, but Robert Matheson used a similar process to record portraits from a live image projected onto a wet plate during the interview below.
Pete Souza, the former Chief Official White House Photographer for U.S. Presidents Ronald Reagan and Barack Obama, has taken to Instagram to show off what camera gear he uses for his work.
Throughout the 12-minute video, he details his equipment of choice and shows off images captured with nearly every camera and lens he mentions. Along the way, he also shares a number of anecdotes from over the years, regarding how his style and approach has changed as camera technology continues to progress.
Despite the fascinating video of his most-used equipment, Souza prefaces it by explaining the camera and lenses are simply tools to get the job done, likening them to a trio of screwdrivers; ‘They all work equally well […] I don’t know what brand or model [the screwdrivers] are. You just have to make a decision yourself on what kind of equipment to use.’
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Info on what tools I used at the White House.
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You can find more of Souza’s work on his website, as well as the archived White House Flickr account that shows more than 6,600 images captured during his time as Obama’s official photographer.
As many artists around the world have had to do amidst the Coronavirus pandemic, photographer Stephen Lovekin decided to make the most of these more isolated times to document families and their messages to the world as shared through the windows of Lovekin’s Brooklyn neighborhood of Ditmas Park.
Lovekin, who’s a Shutterstock editorial photographer, came up with the idea for the project after looking for ways to help people feel more connected despite being separated from one another.
‘As a photographer I have always loved and been drawn to shooting portraits – a process that allows a connection to be made between photographer, subject, and viewer,’ Lovekin says about the project. ‘So, when this Coronavirus began to rapidly spread and people were ordered into ‘self-isolation’ and ‘social distancing’, I began to feel compelled to document this unprecedented time in our history by starting locally by reaching out to people in my Brooklyn neighborhood of Ditmas Park to see how they were feeling and to see what message, if any, they would like to share with the world, whether they be personal, political, or spiritual.’
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The latest installment of my ‘Words At The Window: Self Isolation And The Coronavirus’ project shot in the neighborhood of Ditmas Park, Brooklyn NYC. #shutterstocknow #wordsatthewindow #selfisolation #quarantine #coronavirus #covid19 #washyourhands #wegotthis #alonetogether #socialdistancing #ditmaspark #brooklyn #nyc #blackandwhite #portrait #nikon
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As for how the portraits became a series of shots framed within windows, Lovekin says that wasn’t the original plan. ‘When beginning the project I hadn’t completely settled on the idea of photographing everyone behind a window. Some people would come on their porches or stoops, but that just didn’t feel right to me for some reason,’ says Lovekin. ‘As the project began to evolve the idea of the window started to make more sense. The window being something that we look out on the world from. Something that literally frames how people can look in on us and how we look out at the world. Something that we normally do not enter or exit from.’
The project has only been going on for a week, but it’s already gained a following across social media. Lovekin says the ‘plan is to have it be an ongoing project for as long as I can safely make it possible.’
Shutterstock also caught wind of the project and teamed up with Lovekin to offer the ongoing series as a collection available to purchase, with 10% of all sales going to GiveDirectly, Inc., an organization that ‘allows donors to send money directly to the poor with no strings attached,’ according to its website. Charity Navigator, a third-party charity auditor of sorts, rates GiveDirectly, Inc. four out of four stars, the highest rating it gives to organizations that offer accountability and transparency in their operations.
Below are a few images from the series Lovekin shared with us:
Lovekin offers this parting message to viewers of the project:
‘I hope that in this time of chaos and uncertainty this project will help people feel more connected to the outside world even though we are all literally separated from one another for an unknown amount of time. If we continue to communicate and connect with those around us in a direct, honest, and positive way can get through this together. It will not be easy, but nothing worthwhile ever really is. Stay safe and stay at home! And as my own children’s sign said, “Soon we will be together”.’
You can find the full series on Shutterstock’s website and keep up with the latest portraits on Lovekin’s Instagram profile.
The post Canon Explorers of Light – Q&A with Photographer Terrell Lloyd appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this edition of the Canon Explorers of Light Q&A series, we interview photographer Terrell Lloyd. They share their experiences and give some valuable tips to upcoming photographers.
2019 San Francisco 49ers Season:
Preseason
Dallas Cowboys vs San Francisco 49ers
Thursday, August 11, 2019
Santa Clara, CA
(49ers Photo)
Photographer Terrell Lloyd
How did you get into photography?
I got into photography as a youth growing up in San Francisco. My mother had a film camera, and I would borrow it to take photos.
I had an interest in photography from an early age. When I had a paper route and attended 49ers games as a kid, I would cut out photos from the sports section of the newspapers on Mondays and make my own photo books.
Later, in high school, a friend introduced me to a photo class, and that’s when my love for photography really took off.
What was your first camera setup?
The first camera I purchased was a Minolta film camera in high school. I joined the school’s yearbook committee, and that’s when I started photographing the school’s sporting events and documenting other school activities. I quickly learned that sport was the subject I enjoyed the most.
Once I became serious about photography, and before digital, my first real film camera was the EOS 1V, a 10-frames-per-second camera body.
What camera gear do you use now and why?
Currently, I use the new Canon EOS-1D X Mark III camera. I was fortunate to be able to use this camera in Miami this past February at the Super Bowl, shooting the San Francisco Forty-Niners vs the Kansas City Chiefs.
I have used many of the Canon flagship digital cameras over the years, but once I got the 1D X Mark III in my hands, I was blown away.
My first thought was, and I quote, “this camera is a game-changer.”
The technology of its new image sensor, DIGIC X processor, speed, subject tracking ability, and image quality can be seen right away in post-production.
The images I produced from Super Bowl LIV were fantastic. Overall, the sharpness and exposures were consistent.
My history with Canon digital cameras dates back to Canon’s DCS520 – a 2-megapixel camera that cost $ 12K. I’ve been a believer in the Canon brand since my first serious film camera in high school.
One reason I am loyal to Canon is because of its quality glass, reliability and the Canon Professional Services program, which I believe is the best-of-class in the photography industry.
2019 San Francisco 49ers Season:
Preseason
Denver Broncos vs San Francisco 49ers
Monday, August 19, 2019
Denver, CO
(49ers Photo)
What area of photography do you specialize in and why did you move into that field?
In this stage of my career, I focus mostly on professional and college sports as well as some specialized high-end corporate events.
When I began building my photography business, I was photographing weddings and portraits.
As my business started to grow, I started shooting company events such as holiday parties, corporate meetings, conventions, and travel. Then I transitioned to major high-end clients such as BMW, Yahoo, Intuit, Verizon, and Ritz Carlton, to name a few.
I also added product and commercial photography to my services, however, sports was always on the top of my list.
When I became one of the team photographers for the San Francisco 49ers, I focused my time and efforts on becoming a full-time photographer in the NFL for the 49ers. In addition to everything else, I am also the photographer for San Jose State University’s athletic department and cover all of their Division 1 sports programs.
Are you working on any exciting projects you’d like to share?
Now that our NFL season is over, we are in the process of planning our 2020 marketing and design campaign. This will include some photoshoots around San Francisco and the Bay Area. Unfortunately, I can’t reveal the new 49ers theme but stay tuned on 49ers.com and Instagram @49ers, and you will see exciting new images.
I am very much looking forward to our media photo session with our players scheduled for May. I will be working closely with our design team as we collaborate on a style for the 2020 season.
If you could share any photography tips with our readers, what would they be?
One tip I would like to share is not to limit yourself in today’s industry. Learn as much as you can in the photography world.
When I started, I wanted to know everything, and as I transitioned from my first wedding to sports, I studied it all, from medium format and 35mm film cameras to studio lighting and understanding environmental portrait lighting and the direction of light.
There are so many ways to learn photography using today’s technology, but I think the best way to perfect your skills and craft is to practice, practice and practice more.
Go out and photograph as much as you can. Make sure you get your exposures right in-camera, as you want to spend the least amount of time in post-production as possible.
Terrell Lloyd Biography
San Francisco-based photographer Terrell Lloyd is currently employed by the San Francisco 49ers as their senior manager of the organization photography services and is the full-time lead team photographer.
He has been with the 49ers organization for 24 years, beginning as a contract photographer. For the past six years, he has been a full-time employee of the 49ers, responsible for all of the team’s photographic assignments.
It all began in 1994 when he was given an opportunity to shoot a game from the sidelines at Candlestick Park. According to one of his clients, “Terrell’s sports photography really captures the essence of the game.”
Since 1992, Lloyd has provided professional photography services to individuals and organizations throughout the United States and around the world. He is best known for his special combination of artistic vision and cutting-edge technology and, for the past 15 years, has been the athletic sports photographer at San Jose State University.
Lloyd has also earned a number of championship rings for his work with San Jose State University as well as an NFC Championship with the San Francisco 49ers.
In addition to his photographic skills, Lloyd has earned several awards and accolades as an athlete on the professional bowlers’ tour and leagues with several perfect 300 games and 800 series.
Lloyd was named to the prestigious Canon Explorer of Light program in 2006 and served for four years. After a brief break, he was named again to the Canon EOL program in 2017 and remains current. This is a group of professional photographers from around the world selected to provide educational programs around the country.
The Canon Explorers share their photographic and technical expertise to a wide number of photographers in a variety of personal appearances, seminars and gallery shows. Also, SanDisk® chose Terrell Lloyd for its SanDisk Extreme Team in 2009 and was recently selected to the ThinkTankPhoto Pro Team in 2018.
In 2017, Lloyd received a Legends Award from Xposure101conference in Detroit, which honors individuals who have greatly influenced creativity, diversity and learning in the creative and photographic industries while inspiring others to achieve their goals. Western Digital presented him with their Award for Outstanding Contributions to the Photography Industry in 2019.
Shooting football has opened many doors for Lloyd and enabled him to cover major sporting events such as NFL Super Bowls, PGA golf, professional tennis, MLB baseball, the NBA, and more.
Lloyd has also received many awards of merits for his portrait and wedding work and was Photographer of the Year by AMPP in 2001 and earned his craftsman degree from PPA in 2006.
See more of photographer Terrell Lloyd’s work here:
Inaugural Nature TTL Photographer of the Year 2020 winners
The winning entries for the inaugural Nature TTL Photographer of the Year 2020 competition were recently announced. Over 7,000 images were submitted from wildlife, landscape, and macro photographers in 117 different countries. French photographer Florian Ledoux received the £1000 grand prize and title of Overall Winner for his image ‘Above the Crabeater Seals.’ If it looks familiar, it’s because this photo, captured in Antarctica, was also a Drone Awards 2019 winner.
‘It was a quiet morning and the sun was just about to rise. When I saw all the ice drifting alongside the sailboat in the fjord where we were anchored, with lot of crabeater seals resting on the ice, I immediately knew from previous experiences that this would give me a blast and really graphic and stunning images telling the story of how they use the ice to rest after night feeding,’ Overall Winner Florian Ledoux explains to DPReview about how he pre-planned his capture.
‘It is important that anyone inspired by this style of drone image understands the importance of wildlife and being ethical in your approach. Ensure that your drone does not spook animals or disturb them, and always conduct yourself within accordance of local regulations,’ Ledoux told Nature TTL when he learned of his win.
‘It is important that anyone inspired by this style of drone image understands the importance of wildlife and being ethical in your approach. Ensure that your drone does not spook animals or disturb them.’
Wildlife cameraman, and organizer of the competition, Will Nicholls said, ‘Florian’s image provides a unique angle that is not often seen in wildlife photography. The judges had a tough choice to make, but the detail and strong composition of the seals surrounded by the broken ice made it stand out from the crowd.’
The Landscape category winner, Marek Biegalski, also used a drone to show a flock of sheep resting in a tree’s shade. The Macro category was won by Chinese photographer Minghui Yuan for his simple, two-tone image of a damesfly resting on a blade of grass. The Youth category winner, 15-year-old Saptarshi Guyen from India, depicts a drongo searching for insects fleeing grassland fires.
Thousands voted for the People’s Choice category. Robert Ferguson’s intricate image of a pelican struggling to swallow a fish received the most votes. This is the first of what Nature TTL says is many annual photography competitions to come. Nature TTL offers photographers of all skill levels free tutorials and features that can be found here.
Overall Winner (& Wildlife Category Winner): ‘Above the Crabeater Seals’ by Florian Ledoux
Taken in: Antarctica
About this photo: ‘Aerial view of crabeater seals resting in a group on the ice after feeding at night. The aerial view allow us to better understand how the wildlife use the ice to rest and give birth.’
Equipment used: Phantom 4 Pro+
Runner-up, Wildlife Category: ‘Startled Owl’ by Paul Holman
Taken in: United Kingdom
About this photo: ‘The little baby owl made an appearance within the window during a burst of early morning sun. A couple of jackdaws spooked by his presence started dive bombing him. After a few passes I noticed the jackdaw’s reflection in the adjacent windowpane and decided to try and capture this behavior. The startled look on the little owl’s face adds a little humor to the image.’
Equipment used: Canon EOS 7D II, Canon EF100-400mm Mark II lens
Highly Commended, Wildlife Category: ‘Sleeping the Fall Off’ by Terje Kolaas
Taken in: Norway
About this photo: ‘A Collared Dove in a garden in mid-Norway takes a break in feeding during a heavy snow fall. A remote street light in the background creates a halo around the bird. As soon as the snowfall stops, it shakes the snow off its shoulders and goes back to the daily routine with collecting wheat from the nearby fields. Tried many different shutter- speeds to vary the movement of the snow, this one is at 1/40s.’
Equipment used: Nikon D850 + 600mm f/4 lens
Highly Commended, Wildlife Category: ‘Breathing’ by Bence Ma?te?
Taken in: Romania
About this photo: ‘A brown bear growls a warning of his presence to an interloper, his breath vanishing slowly in the windless forest.’
Equipment used: Canon EOS-1D X Mark II; 400mm lens
Highly Commended, Wildlife Category: ‘Badger Blues’ by Dave Hudson
Taken in: United Kingdom
About this photo: ‘I had been putting in the hours watching a number of setts in the area but decided to focus on this particular one due to the abundance of bluebells. I set myself up close to one of the badger tracks, knowing that I would only have one shot and I would need a lot of luck. After a good couple of hours, I began to hear movement. The light was fading fast and I knew that I would not have long before it would be too dark for any pictures.
An adult badger came towards me first, sniffing the air as they often do and heading towards me. It drifted out of shot and into the bluebells, but much to my delight behind it was a cub. He seemed comfortable enough so I clicked the shutter and got a couple of shots.’
Equipment used: Nikon D3s with Nikon D3s with Sigma 120-300 f/2.8 Sport lens
Winner, Landscape Category: ‘Shadow Game’ by Marek Biegalski
Taken in: Italy
About this photo: ‘Aerial image taken in Tuscany in autumn light. Flock of sheep was hiding in the shade from the sun under the shadow of a tree.’
Equipment used: DJI Mavic Pro 2
Runner-up, Landscape Category: ‘Viking Rainbows’ by Alessandro Cantarelli
Taken in: Iceland
About this photo: ‘I am very attached to this photograph, both because of the technical difficulty and because it took years to make it. Over the last few years, I have found myself dozens of times in Iceland, several of which I was lucky enough to witness incredible conditions on the Vestrahorn.
Seeing such a powerful sunrise on the right was already magical, and the very intense rain made things difficult for me but it gave me a great gift: a double rainbow on my left that perfectly compensated the strong light on the right. 88 layers in Photoshop to create a panorama; 6 shots bracketed.’
Equipment used: Canon EOS 5D Mark IV + Samyang 12mm f/2.8 fisheye lens
Highly Commended, Landscape Category: ‘Valley of the Scheldt’ by Bart Heirweg
Taken in: Belgium
About this photo: ‘In early autumn the valley of the Scheldt is often filled with a thick layer of fog on clear and windless mornings. When the sun starts to rise the fog slowly disappears revealing the landscape underneath. When seen from above this atmosphere is simply magical.’
Equipment used: DJI Mavic Pro 2
Winner, Macro Category: ‘Chinese Painting’ by Minghui Yuan
Taken in: China
About this photo: ‘I was wearing a piece of waterproof overalls in the stream of Dabie Mountain, waiting to observe this Matrona basilaris (damselfly). Matrona basilaris is the king of the stream here. There is a male Matrona basilaris every 3 meters. They were waiting for the female to fly over its territory; the male chased away a male opponent and then stopped at the tip of the grass.
Against the background of the sky, I discovered the connection between the lines of the grass and the subject. Nature itself is a simple painting.’
Highly Commended, Macro Category: ‘Nothing Here but this Tree’ by Caitlin Henderson
Taken in: Australia
About this photo: ‘The Lichen Huntsman (Pandercetes gracilis) is an incredible species of tree- dwelling spider from Australia’s tropical north. Its astounding camouflage enables it to blend perfectly with the tree bark and lichens, and is near impossible to spot by day.
At night, I went searching for these spiders with a torch, using their reflective eye-shine to discover their hiding places in plain sight.’
Highly Commended, Macro Category: ‘Trailblazer’ by Christian Wappl
Taken in: Thailand
About this photo: ‘It was past midnight in the forest of the Peninsular Botanic Garden (Trang, Thailand), but a light still shone in the dark. A large firefly larva (Lamprigera sp.) emitted a constant glow from its light organs.
I wanted to capture the scene in a way that celebrated its bioluminescence, and decided on a long exposure with rear-curtain flash. The shot had to be made in near-total darkness, which meant I had to estimate the position of the firefly larva in the frame.’
Equipment used: Canon EOS 5DS, Canon EF 16–35mm f/4L lens
Highly Commended, Macro Category: ‘Home Sweet Home’ by Jesslyn Saw
Taken in: Malaysia
About this photo: ‘While on holiday at my family home in Malaysia, I set out to document as many different types of jumping spiders as possible in a fortnight.
Battling the rain and heat and humidity of the tropics, the best time to hunt these spiders was early in the morning and late afternoon. It was on one of these late afternoon jaunts that I saw this colorful jumping spider and discovered a nest nearby. Hoping that the nest belonged to this particular spider, I came back again early the next morning to photograph it in its nest. To my delight, I saw that the nest did indeed belong to this spider. However, it took me another two days of early morning visits to finally successfully photograph the spider in its nest.’
Equipment used: Olympus OM-D E-M5 Mark II, 60mm f/2.8 macro lens
Winner, Under 16 Category: ‘Phoenix’ by Saptarshi Gayen
Taken in: India
About this photo: ‘For the last 4-5 years I have seen that, at the end of every winter, farmers of this huge grassland generally burn the grass and reeds to clean the land for upcoming crops.
When the fire spreads across the land, small insects start coming out. Then the brave Black Drongo starts capitalizing on such a moment by eating them and flying above the live fire. The birds usually sit on a branch fearlessly and watch the movements of the insects as the fire spreads into a new area, then it flies close to the fire for the catch. This is a full frame image, and the calmness of the Drongo reminds me of the Roman Emperor Nero.’
Runner-up, Under 16 Category: ‘The Cradle of Life’ by Tama?s Koncz-Bisztricz
Taken in: Hungary
About this photo: ‘Late winter in February, the soda lakes are full of life in Hungary. These lakes are the sanctuary of wide variety water birds.
There is a nice, but unknown, hidden lake between the village of To?mo?rke?ny and Pa?lmonostora which is surrounded and covered with cane and sedge – therefore impossible to observe.
I took this aerial photograph by a remotely controlled drone. I use a special technique to slowly approach the birds from very high altitude, which is a method also used by conservation experts to count the population of the birds.
In the picture the wild ducks roil in the muddy water and leave lines in the yellowish-brownish, sometimes purple, water colored by organic materials coming from decomposition of cane. The sparkling color pallet of the image is composed by the blue sky and the white cloud reflection on the water’s surface.’
Equipment used: DJI Phantom 3 Standard
Winner, People’s Choice Award: ‘I’m Not Going Easy’ by Robert Ferguson
Taken in: Singapore
About photo: ‘This is the Great white pelican (Pelecanus onocrotalus), struggling with a non-native fish. These wonderful birds are free to roam, but have established a large colony on one of the artificial islands in the old Jurong park in Singapore.
I had set up my camera to take some portraits and watch their behavior, and noticed one particular bird that had caught one of the big fish from the pond. I watched, intrigued, as the bird swam in circles, dipping his bill, taking water, then raising his beak to attempt to swallow his large prey. But every time the fish extended its sharp spines on its fins – you can see it hooked on the beak here – and lodged itself firmly.
This went on for over 20 minutes, with no sign of either party tiring. I was fascinated to see the intricate veins in the birds throat pouch, as the overcast day backlit the thin skin, and I had to move and crouch low to the ground to get the shot.’
Equipment used: Canon EOS-1D X Mark II, 200-400mm f/4 lens? ?
The post Artists and Explorers – What Photographer Type Are You? appeared first on Digital Photography School. It was authored by Mat Coker.
What drives you to pull out your camera and take a picture? The answer to this question will help you understand your photographer type.
Does an image of a finished photo jump into your mind, and then you have to go out and make it? Perhaps you pick up your camera and walk out the door, not knowing where it will lead you.
Maybe you’re only compelled to photograph new places you’re traveling to, or your (grand) children as they grow up.
Understanding yourself as a photographer, and knowing what inspires you, is one of the best ways to grow. Once you know your photographer type, you can focus on the photography you love without feeling the pressure to be like other photographers.
“As a photographer, you need to develop a way of working that suits your personality.”
Tim Hetherington, Photojournalist
Let’s look at four photographer types; the traveler, the parent, the artist, and the explorer so that you can discover where you fit in and what your strengths are.
ISO 400 f/11 1/640 sec 14mm I began my journey as the traveler type, mostly picking up my camera when I was on a road trip.
The traveler photographer type
You know you’re the traveler photographer type if you only pull out your camera when you go on a trip. You’re probably not concerned with being called a photographer and mainly want to take snapshots to capture places you travel to. But unlike typical tourists, you want those snapshots to look really good.
Here are some quick tips for the traveler photographer type:
Learn how your camera works, so you’re not distracted and miss the joy of traveling.
Master some useful composition elements to elevate your photos above sloppy snapshots.
Learn to see light and your photos will begin to look beautiful.
Practice new techniques on short day trips before you go on major travels.
As a traveler, some of my favorite places are the South West (USA), the East Coast of Canada, and Niagara Falls.
The parent photographer type
You know you’re the parent photographer type if your baby or children inspired you to get a camera. Like the traveler photographer type, you might not be concerned with being called a photographer. You just want to take snapshots and capture special family memories.
But unlike most other parents or grandparents, you want those snapshots to look really good.
Here are some quick tips for the parent photographer type:
Learn how your camera works, so you’re not fumbling and missing moments.
Master some creative composition elements to elevate your photos above sloppy snapshots.
Learn to see light so that your photos will look beautiful.
Your daily family life will provide you with infinite opportunities to practice these techniques, and you’ll capture a lot of memories along the way.
Once my kids came along, I became the parent photographer type and no longer thought of myself as the traveler.
It’s okay to just want good photos
If you’re the traveler or the parent photographer type, it’s okay to want good photos of your travels and your children without being totally obsessed with photography.
Learn the most powerful camera settings, the best compositional techniques, play with the light, and your photos will begin to transcend sloppy snapshots.
ISO 200 f/4 1/2000 sec 23mm Perhaps you’re even a blend of the traveler and parent photographer types. Things become more exciting when you blend two types together.
The artist photographer type
How do you know you’re the artist photographer type?
Easy! If you talk about making art with your photography, then you’re the artist type. Artists have a vision of exactly how they want their photos to look. Their goal is to go out and make the photo they’ve envisioned.
As an artist, you begin with a vision or at least a basic concept. You work toward making it turn out, and then produce a finished product like a print or collection of photos for some purpose.
When showing their photographs, the artist often says, “look what I made.” Whereas the explorer type often says, “look what I discovered,” or “look what I saw.”
Artists usually take a higher degree of control over the moment and their images. They are happy to transcend the original photo, adding textures, film grains, or swapping backgrounds, etc. Nothing will stand in the way of your vision!
Here are a number of other things that characterize the artist photographer type:
Posing and direction in portraits
The use of advanced Photoshop techniques
Referring to their work as fine art
Specializing in one form of photography
Selling prints
Food photography
Fashion photography
Stylized shoots
Studio lighting
Sticking with things for a long time
ISO 400 f/4 1/2000 sec 56mm I’ve always hesitated to call myself an artist because whenever I meet an artist photographer, I realize how unalike we are. We both have a camera, love photography, study light, and composition, but it seems like we have totally different goals for our work.
The explorer photographer type
If you’re the explorer photographer type then you don’t necessarily have much in mind when you pick up your camera. You wander off into the world and photograph new places, people, and things that you discover.
You might happen to travel the world, but you don’t have to travel far to be fulfilled as an explorer. Your own backyard or city likely keeps you busy.
When you photograph people, you’re not just making portraits, you’re exploring the people and relationships that you photograph.
Often enough, when you photograph an object, it’s more about the interesting light than the object itself.
You often find yourself telling others about what you discovered or learned while exploring.
This list characterizes many explorer type photographers:
Street photography
Travel photography
Nature and landscapes
You’re more of a generalist photographer
Photojournalism
Natural light
Candid, natural
New and unexpected situations
Lifestyle photography
Constantly moving on to new things
ISO 400 f/5.6 1/1000 sec 45mm Explorers are willing to go just a little bit further into the unknown. Just a little further into the murky places.
When it comes to photography, my mind is blank. I have no vision, no idea what I should do, not a clue about how my photos will turn out.
I’m more comfortable heading off into the unknown.
Throw me into a situation that I’m completely unprepared for and I’ll figure it out. That’s because I’m an explorer. I want to learn new things. I want to be thrown into situations that I’m not familiar with. And, for some strange reason, I want to do it with a camera in my hand.
“Taking pictures is like tiptoeing into the kitchen late at night and stealing Oreo cookies.”
Diane Arbus
How are the traveler and the explorer different from each other?
The traveler may only pick up the camera occasionally, and only during times of travel. The explorer is likely dedicated to daily or at least weekly uses of the camera.
The explorer can’t help but pick up the camera more often and is not limited to landscapes and new locations. They also explore relationships. Often, the explorer learns new techniques, not because the technique is necessary, but simply because they are compelled to learn new things.
ISO 1600 f/2.8 1/1000 sec 23mm
The common link between artists and explorers
Even if we have different goals, the common link between artists and explorers is our creativity. When a photographer picks up their Fuji mirrorless to explore the streets, they’re no less interested in light, moment, and composition than the fashion photographer who reaches for their medium format camera.
Perhaps one is more interested in documenting and learning about human nature, while the other is creating art pieces. Photography is big enough for all sorts of intentions.
Exploration and artistry as a supertype
Just as the traveler and parent types can be merged to create a deeper type, so can the artist and the explorer.
If you’re the explorer type, you may find that you have a huge body of work that you’ve done nothing with. Perhaps it’s time to elevate your exploration toward something that approaches art.
Every now and then, an artist might do well to wander off into the world without intentions to create but to just see what they discover. Your art may reach a deeper level the more you explore your world.
Don’t be surprised if your type seems a little fuzzy at first, but pay attention and it will come into focus.
What photographer type are you?
Are you the traveler, the parent, an artist or an explorer?
Let me know your photographer type in the comments and add a link to your photos if you can.
The post Artists and Explorers – What Photographer Type Are You? appeared first on Digital Photography School. It was authored by Mat Coker.
The post Canon Explorers of Light – Q&A with Photographer Vanessa Joy appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this Canon Explorers of Light Q&A series, we interview photographer Vanessa Joy. She shares her experiences and gives tips to upcoming photographers.
Photographer Vanessa Joy
Photographer Vanessa Joy is a Canon Explorer of Light that has been an influential speaker in the community for over a decade. Starting her photographic journey in 1998, she has since branched into public speaking, earned 5 college degrees, received a PPA Photographic Craftsman degree, been named a WeddingWire Education Expert, sponsored by Canon, Profoto and Animoto to name a few.
Vanessa has spoken at almost every major convention and platform in the event industry such as CreativeLIVE, The Wedding School, Clickin’ Moms, WPPI, ShutterFest, Imaging USA, Wedding MBA, WeddingWire World, MobileBeat, in addition to hosting personal workshops and numerous small business and photography conventions around the globe.
Recognized for her talent, and more so her business sense, her clients love working with her. Industry peers also love to learn from her tangible, informative, and open-book style of teaching. Find her at www.VanessaJoy.com.
How did you get into photography?
My mother was a photographer, so I’ve been around it my whole life. Naturally, that meant I hated photography!
It wasn’t until high school, when I had to choose an elective (and I felt like appeasing my mother who was sitting right next to me when I was deciding what to take), that I got into photography for myself.
I fell in love with the darkroom.
My high school photography teacher photographed weddings on the weekends, so after graduation, I worked for him for five years until starting my own business in 2008.
What was your first camera setup?
My first camera was my mother’s Canon F-1 25mm film camera. I still have it.
What camera gear do you use now, and why?
I shoot weddings with the Canon 1DXIII (see video of why I love it here), and for other engagement and lifestyle shoots I enjoy using the Canon EOS R (check out my take on that here).
Both camera systems use the EF and RF lenses, and I prefer mostly primes at that. You just can’t beat the durability, color science, and customer service with Canon.
What area of photography do you specialize in, and why did you move into that field?
I am primarily an NJ NYC Wedding Photographer because that was all I knew of photography when I graduated high school and started working for my high school photography teacher.
That being said, I fell in love with it the same way I fell in love with photography itself. There’s something wildly special about being a part of such a precious time in my couple’s lives.
Are you working on any exciting projects you’d like to share?
I just wrote my first book!
It’s all about off-camera flash and making it easy, accessible and practical to beginner and intermediate flash users. The Off-Camera Flash Handbook: 32 Scenarios for Creating Beautiful Light and Stunning Photographs.
I’m also pumping out a ton of content on my photography education YouTube channel, and I’m really happy with it so far. I’m creating my channel to be a very applicable and tangible view on gear and photography concepts.
If you could share any photography tips with our readers, what would they be?
Assist and work for as many photographers as you possibly can. It’s better than a college education, and most of the time, you even get paid for it!
You’ll discover new photography tips and tricks and learn about the business side of things as well.
The post Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this Canon Explorers of Light Q&A series, we interview photographer Roberto Valenzuela. He shares his experiences and gives tips to upcoming photographers.
Photographer Roberto Valenzuela
How did you get into photography?
My full-time career as a photographer began in March 2006. I had been married for a little over a year, and I decided to take some time off from teaching high school to attend the annual Wedding and Portrait Photographers International (WPPI) convention held in Las Vegas, Nevada.
This convention was the yearly gathering of more than 15,000 wedding and portrait photographers from every corner of the world.
The most exciting part was that some of the world’s top wedding photographers would be there, including the famous Canon Explorer of Light photographers, who are a group of elite photographers carefully chosen by Canon USA as the best photographers in the world in their respective fields. I was in heaven!
During WPPI, I realized that my passion for photography was just too strong to ignore. I felt an inexplicable calling to photography.
A very scary thought went through my head for the first time. The thought that I may want to follow my heart and perhaps leave my high school teaching career that I loved and worked so hard to get to dedicate myself to photography full time. Oh boy! I was in trouble.
How do I tell my wife? The woman I had just married and who relied on my humble income as a teacher to live and provide health insurance.
The thought of leaving a job I adored, and that provided me with a steady paycheck, scared the heck out of me.
Roberto Valenzuela
The trip to WPPI changed my life. It was just an overload of brain stimuli.
I loved everything about photography – the cameras, lenses, lighting, software, the technical side, the artistic side, and – my favorite – the business side. It had it all!
I knew my wife Kim would be receiving her Master’s degree in Engineering in May, and she had landed a great engineering job upon graduation. Kim having her own income, definitely helped to solidify my decision to leave teaching and pursue a career as a full-time professional photographer.
That was probably the hardest decision I have ever made. It felt as if I was jumping into a dark hole without knowing how deep the fall would be.
That following week, I made an appointment with the principal of the school to tell her that I would not be continuing after that school year. I hugged her and thanked her for the amazing opportunity she had given me. But I had to pursue this new profession, or I would regret it for the rest of my life.
Before I left her office, she asked me if I was sure, and with a heavy heart, I said, “Yes, yes, I am.”
After that school year was over, my full-time photography journey began.
What was your first camera setup?
The first camera I bought was the Canon 20D, and the 28-300mm f/3.5-5.6 IS in 2006.
I didn’t have much money, so I put it all on one lens. I had to learn to work with this lens on every portrait and every wedding I shot.
It was especially difficult working with a floating aperture like this indoors, but that’s the only lens I had, so I figured it out.
Actually, it was that experience to only work with one lens that taught me a very valuable lesson – mastering the gear you have is something most people don’t really do.
For example, we all know what a 50mm f/1.2 lens is, but we don’t really know the ins and outs of that lens. How does it behave in the middle, or in the corners of the frame? What apertures provide the best sharpness for that lens? How does taking a portrait with a 50mm lens look at close proximity? Also, how does it differ from photographing a portrait with that lens at further distances?
I actually quite enjoyed knowing everything there is to know about one lens. Then I used that same mentality with all of my other lenses, cameras, and flashes I purchased in the future.
What camera gear do you use now and why?
I enjoy learning about new, evolving technologies. I love my SLR cameras, and I still have them. I have the Canon 5D Mark IV, the Canon 1D X Mark II, and the Canon 5DS.
But as soon as Canon launched their mirrorless line with the introduction of the Canon EOS R, I embraced the technology.
Although it is different than shooting with a regular dSLR, this camera opens opportunities that are simply impossible with a dSLR. For example, with the face-detection AF, I can take the camera away from my face and engage with clients face-to-face, and while the camera is tracking their face, I’m actually taking photos without the clients knowing.
Also, the ability to use a 1-stop to 9-stop variable neutral density (ND) filter that sits inside the lens adapter is one of my favorite features. This saves me from having to buy multiple ND filters for all of my lenses.
The ND variable filter also allows me to achieve a beautiful cinematic look outdoors by keeping my apertures wide open, such as f/2.0. Then I’m able to illuminate my subjects with the full capabilities of my flashes, and I can stay within the camera’s flash sync speed. This is amazing to me!
Regardless of how bright the light outdoors may be, I can drop the light as far as I want in seconds. Then add flash to my subjects with a color gel filter to do in-camera color grading.
How cool is that?
I am also quite excited about the new R EF lenses, especially the 28-70 f/2.0. These lenses are incredibly sharp and offer a great wide aperture.
However, my favorite feature of these lenses is the ability to program the control ring to whatever you want to fit the kind of shoot you are doing. For example, I programmed my control ring to quickly change my ISO in rapidly changing lighting conditions.
What area of photography do you specialize in and why did you move into that field?
My photography career began in Tucson, AZ.
In Tucson, there is not much of a fashion or beauty industry, but it is a very popular place to get married because of the beauty of the Sonoran Desert and Tucson’s famous sunsets.
On top of that, I was getting married myself during that time.
All of these factors led me to the world of wedding photography. And what a world it is!
I learned quickly that most important is what sets you apart from the hundreds of thousands of wedding photographers out there.
If I had to choose one aspect of my life that sets me apart from other wedding and portrait photographers, it would have to be my background as a classical guitarist. Being a classical guitarist forces you to develop a culture of great dedication to practice.
In fact, in my 14 years as a photographer now, I have not missed a single month that I haven’t practiced something. Regardless of how busy I am, I always make time to practice 30 to 60 minutes a month.
This practice has come in very handy in the most difficult of times to create something truly special for my clients.
For example, the photo I took in Sarasota, Florida, during a hurricane. This photograph was taken late in the evening as the wedding came to an end at the Ringling Museum of Art in Sarasota, Florida. This photo has to be one of my all-time favorite wedding photographs in my career.
It had been raining all day and all night due to a hurricane passing by the area. To take advantage of the rain, I asked the Rolls Royce driver if he could park the car in front of the tree. I then asked my assistant to stand in front of the grid of the car with two Canon 600EXRT flash units.
One flash unit was used to backlight the couple, and the second was pointed towards the car’s headlights.
Illuminating the headlights would give the viewer the perception that this photograph was lit by the car’s lights. However, the car was not even on. When everything was set, I then asked the bride and groom to run out quickly. It took us a couple of tries to get it right, and maybe we got a little wet, but the photograph is magical, and it will last forever!
Without my relentless practice sessions with my flashes, I would have never been able to visualize this beautiful photo in the midst of a hurricane passing through the location of the wedding.
I have a full production studio in Beverly Hills now. Although I still shoot a few weddings a year, my focus has switched to commercial fashion photography.
Are you working on any exciting projects you’d like to share?
I am incredibly passionate about the benefits I have received from really taking the time to master all aspects of lighting and posing. The more you know about lighting and posing, the more fun you have as a photographer.
The art of photography just opens up to you in ways you never thought imaginable. The type of work you can produce with more knowledge is just incredible and addictive!
Because of this, I dreamed of creating the ultimate education platform for eager photographers wanting a concentrated level of the highest quality education in pure lighting knowledge.
So, I’m in the process of designing a conference. More details to come.
If you could share any photography tips with our readers, what would they be?
I would say that photography has opened doors in my life that I have never thought possible. But it has come because of my training.
My tip would be to never think you know something so well, that you don’t have to learn anymore. Keep your curiosity as big as that of a child. Learn how to pose so that people don’t look posed.
Also, learn how to light, so that the light communicates something to the viewer instead of using light simply to illuminate and create an exposure.
Embrace education, learning, and the new technologies available to help you expand your capabilities and become an even better visual storyteller.
The post Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
Fashion photographer and Canon Ambassador Lindsay Adler is the first woman to win Rangefinder‘s Icon of the Year Award. The announcement was made during the WPPI 2020 event last week, where Adler was caught off guard thanks to some careful planning by WPPI and Photo Group Content Director Arlene Evans, as well as Adler’s boyfriend and mother.
Rangefinder explains what it means to be named an ‘Icon,’ stating on its website that an Icon is someone who fills many roles; who is ‘super creative and has extraordinary talent’ in addition to serving as a role model, educator and more.
We contacted Adler to talk about her work, the new milestone award and what it means to her. In talking about winning the award, Adler said:
‘Winning Rangefinder’s Icon of the Year in an incredible honor that makes me feel that I am making an impact on my community and its continued success. This award is a beautiful way to show me that my sharing and love for photography and photographers have not gone unnoticed. I am constantly pushing myself to grow, and I hope this journey encourages others to do this same. I’ve been reading Rangefinder and attending WPPI for more than a decade, and this feels like a beautiful culmination… now I just wonder, what’s next! Can’t get much better than this!’
Adler’s photography has been featured in a number of notable publications, including Harper’s Bazaar, Marie Claire, InStyle and more, and she has worked with major brands like Microsoft, Grey and Edelman. In addition to her photography work, Adler also teaches at events and through various platforms, including everything from online tutorials to books. She explains:
‘My life is centered around creating and sharing. I create images and share the process. I create in-depth tutorials answering all the questions I once had as I grew my career. I create and I share, and I am so lucky to get endless love back from the community—whether in the form of praise, encouragement, or those simply following my journey.’
Behind-The-Scenes image of Adler (far-right) at work with a model.
Adler’s work is showcased on her website, which features collections of photos like ‘Seeing Red,’ ‘Editorial Beauty,’ ‘Skin’ and even ‘Cinemagraphs.’ Looking back over her career, Adler says:
‘I am truly the happiest I’ve ever been and am proud to [have] achieved so many of my life’s goals. I know that along the way there have been so many other gracious photographers, educators and industry leaders that have shared their knowledge, given me opportunities, encouraged me and ultimately been so important to my success. Because of this, I realize just how important it is for those with success to share with their community however they can.’
In addition to her website, Adler’s work can be found on her Instagram and her Canon Ambassador page.
Image credits: Photos used with permission from Lindsay Adler
The post Canon Explorers of Light – Q&A with Photographer Bruce Dorn appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.
The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.
In this piece, we interview fashion, editorial and all-round photographer, Bruce Dorn.
Photographer Bruce Dorn
Bruce Dorn has been a professional photographer/cinematographer for 45 years and a member of the Directors Guild of America for 35 years.
Bruce is a Canon Explorer Light, an ARRI Ambassador, a SanDisk Extreme Pro, Western Digital Creative Master, Westcott Top Pro, Light & Motion Ambassador, Tiffen Steadicam Pro, Corel Painter Master, and a Member of the Adobe Dream Team. Bruce seems nice but Chuck Norris trembles at the mere sound of his name.
How did you get into photography?
In July of 1969, just after I turned 18, my brother-in-law loaned me a 35mm Pentax Spotmatic with a 50mm Takumar lens. I had just seen “Easy Rider” and was inspired to take my own road trip through the American Southwest.
I shot a ton of Kodachrome, had a crazy good time, and returned home to pursue a Bachelor of Fine Arts degree in Visual Communications with a minor in photography.
While in my last year in college, I entered and won a creativity competition staged by Conde Nast, the publishers of Vogue Magazine and several other fashion titles.
After graduation, I joined Mademoiselle Magazine as a guest editor, and I began art directing and shooting fashion spreads in NYC, Reykjavik, Paris, and Rome.
Within weeks of receiving my diploma, I signed the lease on a 4,000 sq ft penthouse loft on 5th Avenue in Manhattan and got to work. I’ve stayed busy ever since. A bit of a dream career, really.
What was your first camera setup?
The first camera setup I bought was an inexpensive 35mm Mamiya-Sekor DTL 500 with a 50mm lens. The second piece of kit I acquired was a 500W, 3200K incandescent floodlight. The camera is long lost in the mists of time, but I still have that light. It’s a novelty keepsake at this point, but it serves as a reminder that creative lighting has always defined my shooting style – and kept me gainfully employed.
What camera gear do you use now and why?
I’ve shot everything from 35mm to 8”x10” film cameras for stills and 16mm to 70mm VistaVision cinema cameras, but now I’m 100% digital.
Canon is my platform of choice for both stills and cine, and I always use the latest versions. Currently, I’m really high on the Canon EOS 1Dx MKIII and excited about the upcoming mirrorless EOS R5.
Canon cameras always deliver amazing color, and Canon Professional Services are unequaled. And the lenses? I have a very large collection, from extreme wide-angle to super-telephoto.
Yes, who wouldn’t love this to be the back of their car?
People frequently ask me how much such a huge assortment of gear costs, and I always point out that it isn’t about how much gear costs me – it’s about how much it earns for me.
Just like a championship-winning race car mechanic, full-service professional photographers must eventually possess a very large toolbox. It pays for itself.
What area of photography do you specialize in, and why did you move into that field?
I get bored very easily, so over the years, I’ve worked to become a specialist in a lot of different categories.
I shoot editorial, fashion, beauty, automotive, nature, adventure, travel, extreme sports, underwater, environmental portraiture, aerial, and advertising – in both stills and cinema.
Are you working on any exciting projects you’d like to share?
Always! Unfortunately, the bulk of my commercial work is under a non-disclosure agreement, so I can’t be specific. Follow my Instagram feed, and you’ll see lots of cool stuff posted there – once I’m out from under the NDAs and able to freely share. My Instagram handle is: @dorn.bruce
Between professional gigs, I try to do as much mentoring as I can. I’m currently working with a fourteen-year-old Hopi Indian girl who simply loves landscape photography. We get together for shooting adventures around Arizona whenever our schedules allow!
If you could share any photography tips with our readers, what would they be?
Great photography is all about where you stand, both literally and philosophically. Work on discovering and polishing your own unique point-of-view.
With so much information instantly available online, it’s super-easy to mimic the work of others but don’t – that’s ultimately a dead-end journey. Focus, instead, on shooting a lot, and eventually, your own unique path will be revealed. Own it.
Oh, and light that faint little path…learning to illuminate your world with great lighting is the smartest thing you will ever do. Invest in quality lighting instruments and learn how to use them. I suggest looking at color-correct and dimmable LED units for the greatest versatility. Shine bright!
Bruce Dorn Biography
Bruce Dorn has been a professional photographer/cinematographer for 45 years and a member of the Directors Guild of America for 35 years.
Bruce is a Canon Explorer Light, an ARRI Ambassador, a SanDisk Extreme Pro, Western Digital Creative Master, Westcott Top Pro, Light & Motion Ambassador, Tiffen Steadicam Pro, Corel Painter Master, and a Member of the Adobe Dream Team. Bruce seems nice but Chuck Norris trembles at the mere sound of his name.
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