A degree in fine art with a major in photography has been one of the long-standing pathways of entering a photography career. At the end of your degree, you’ll end up with a good-looking portfolio, as well as skills that enable you to translate ideas into photographic art. Is it a good idea? Is studying 3-4 years going to get Continue Reading
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Demonstration of Canon’s Custom Shooting modes for www.FStoppers.com. Recap: 1) Menu, Camera User Settings 2) Register 3) Select C1, C2 or C3 4) Confirm “OK”
Video Rating: 3 / 5
Nikon D3X, Imation Wireless Projection Link, Targus Bluetooth Laser Mouse, MacMerc.TV DIRECTOR Neal Campbell PRODUCERS Neal Campbell Luria Petrucci Campbell SCREENWRITERS Luria Petrucci Campbell Neal Campbell
Please let me know what you think of this review! I’m thinking of doing more. I LOVE this lens! It’s my baby. All still shots taken by me with this lens at 10mm. Check my other videos for some more bits of cinematography with this lens, including hitting a pile of rice.
2012 started with an upheaval of change. Painful, gut-wrenching, seismic change. From January 1st, my life began a new journey. Part of that new journey was my reconciliation with the way I see. The thing is, I’ve always been a little weird. I’ve been told my work is “edgy” since my college days. “Dark, mysterious, seductive, depressing, edgy, suicidal, achingly beautiful, tortured, cathartic”…..these are all words I’ve heard over the years describing my work. So I tried to conform, to shoot in a style that wasn’t mine but would appease the masses. I shot freckled girls in denim jeans on white backgrounds holding puppies and smiling toothy grins of teenaged innocence. I’ve shot long legged girls in itsy-bitsy bikinis on pearl sanded beaches with come hither eyes. I’ve shot commercially acceptable, masses approachable, clean, honest and totally sans “edge” fashion photographs.
But it hasn’t been my vision. This work was not mine! So with the upheaval of change that this year forced upon me came the renewed sense of my own Self, facing me again, asking myself, what’s it all about. I came up with this: if I can’t shoot what I love and how I see, what’s the point.
I flew to my hometown, Los Angeles, on January 9th and I threw myself into work. I know, ironic right? I leave NYC land of fashion uberness to go to tacky LA to throw myself into work. I find it very odd that NY’ers hate LA people but LA people LOVE NY’ers. I think when you’re laying in the sun on January 15th in the backyard sipping on a mojito planning the menu for your outdoor barbeque that evening, there’s really nothing for an LA person to hate on a NY’er. But that’s just one theory. Any way, back to me going home: I shot 4 editorials and 2 video commercials in 6 weeks. I collaborated with my dear friend Rodney Burns who styled all the shoots. Ben Trovato being one of them.
The technical specs on this shoot can’t be any simpler. I shot with no artificial light. I used a large window to the right of the set as my key. That’s it. I shot with the Nikon D3 with my 85mm at 1/160th of a sec at about F4. I shot anywhere from 400 to 1000 ISO. I was inspired by a picture I found of Keith Richards. One picture. That’s all it took. What really tied the shoot together for me was shooting the story on a Fashion Back Drop. I have mentioned my friend, Sedi Pak, in previous posts. Her back drops are amazing and really embellish my shoots! You can view the full editorial on Ben Trovato here.
I look at the results, the final pictures, and I’m pleased. But the feeling goes beyond being “satisfied”. I’m home. If that makes any sense. Shooting what I love and how I see fashion. My greatest wish for myself is that I can stick to this and not listen to people anymore telling me I must conform and change to shoot in a style that isn’t mine. I guess we’re all going to find out together if I can stick to my guns and stay true to my vision now. I’ve shed a lot of baggage so far this year. A lot of negative, heavy, cumbersome baggage. And I’m continuing to shed more. The excuses to NOT stick to my guns are getting fewer and fewer. Since my blog is very public (haha….understatement of the century) you’re all along on this journey WITH me…….so as I like to say…..stay tuned.
Fashion Photography Blog – A Resource for Fashion Photographers, Created by One.
July 20, 1969 Video of man’s (Neil Armstrong’s) first steps on the moon. This crude video was taken by a Slow Scan video camera attached to Lunar Excursion Module (LEM) and broadcast on live TV. For 3D: view anaglyph (Left lens=Red, Right lens=Blue).
Video Rating: 5 / 5
Today on The Daily Brief we took a look at the following topics: Supermodel Kate Upton dancing the Cat Daddy: www.terrysdiary.com Call Of Duty: Black Ops 2 trailer releases: goo.gl Peter Berg gives an exclusive interview to AskMen about Hancock 2 Your viral video of the day: youtu.be AskMen: www.askmen.com Follow us on Facebook: www.facebook.com Follow us on Twitter: twitter.com Follow us on Foursquare: foursquare.com Let us know know your opinions by commenting below! First up, besides giving us that awesome shout-out, supermodel Kate Upton created a red-hot stir yesterday with a video of her dancing the Cat Daddy for millions of adoring YouTube fans. Actually, she performed the raunchy, impromptu dance for notorious fashion photographer Terry Richardson who got her to do it using his magical handlebar mustache. In any case, the video is so hot that YouTube took down the original – forgetting that once something’s been online, there’s no taking it back. See? Cat Daddy also managed to overshadow an ad for Skullcandy that was also uploaded yesterday. Titled Take a Supermodel to Work, the video features Upton keeping Kevin Durant and James Harden company while they train. It’s a funny ad, although now we know all it takes get your attention is a little of this. Next up, all you first-person shooters out there can start counting the days until November 13. That’s when Treyarch releases their next installment of the Call of Duty franchise. Boom! A trailer for Black Ops 2 hit …
Video Rating: 4 / 5
Interactive version at www.sprawl2.com (webcam and broadband recommended) A project by Vincent Morisset & friends Dear friends, This song was inspired by the book Mountains Beyond Mountains … If you haven’t read it yet you can pick it up here (http or at your local bookstore. Or if you would like to give to Partners in Health – the organization the book talks about – you can go here (donate.pih.org Love, Arcade Fire ox Credits: Music by Arcade Fire – Win Butler, Will Butler, Régine Chassagne, Jeremy Gara, Tim Kingsbury, Sarah Neufeld & Richard Reed Parry Director – Vincent Morisset (AATOAA) Producer – Jean-Luc Della Montagna (1976) Choreographer – Dana Gingras Art Director – Renata Morales Director Of Photography – Christophe Collette Editor – Stéphane Lafleur Cast – Régine Chassagne, Karine Denault, Gabrielle Desgagnés, Noémie Dufour-Campeau, Mark Eden-Towle, Alan Lake, Milan Panet-Raymond, Esther Rousseau-Morin & Michael Watts Film Production – 1976 Production Manager – Guillaume Bilodeau Production Assistants – Alexandra Larocque-Pierre, David Deias, Jonathan Vermette & Jonathan Lamirande Stylist – Renata Morales Stylist Assistants – Charlotte Eedson, Ana Luisa Rodriguez, Marilis Cardinal, Adam Dekeyser & Vanessa Vick Make Up – Leslie Ann Thompson Set And Prop Design – Yola Van Leeuwenkamp & Sylvain Lemaître Papier Maché Heads – Vadi Confident of Jacmel, Haiti 1st Assistants Camera – Yan Clément & Guillaume Sabourin Data Wranglers – Sean Sweeney & Sébastien Landry …
Video Rating: 4 / 5
In keeping with my commitment to stay true to my vision and to continue shooting in a style that is my own, I shot this white story for Kurv Magazine’s spring issue in a way I’ve always wanted to see a White Story.
Shot and Edited by: Marty Martin
I’ve done plenty of white stories over the years, but I always sort of compromised here and there because whoever I was shooting for didn’t want to go exactly in the direction I wanted to take it in. In the end, I was always a bit disappointed in the results. But not this time. This shoot, I’m fairly pleased with.
Again, I collaborated with Rodney Burns from Church Boutique in Hollywood, California. I can’t even begin to describe how amazing it is to work with Rodney. He’s on my DVD, I write about him all the time, and yet every time I work with him it feels so magical, as if it’s the first time we’re collaborating and I can’t believe my eyes! He’s THAT good! He pulled these pieces from designer Furne One that truly blew my mind. And he coordinated the clothing to compliment the pieces. I trust his eye completely and just KNOW that my shoots are going to rock because of his amazing taste.
I wanted two blondes for this shoot. I’ve worked with Sarah Deanna before and she’s just amazing. She’s as beautiful on the inside as she is on the out! She also is publishing a book soon called Model Skinny. She writes about her healthy secrets on how one can get skinny and stay skinny the healthy way! I love a girl who gives back to our industry in a positive and loving way! I thought Jennifer was a good match for Sarah Deanna because, well ,she’s a stone cold fox as well! Both girls were on point and really knew how to emote for the story. James from Photogenics helped me cast this shoot. It was nice to work with “the old team”, so to speak.
I worked with make up artist Camille Clark from AIM Artists. I’ve worked with Camille many times when I lived in LA and she’s a very talented make up artist. I was excited to work with her again and ended up using her on 3 out of 4 editorials that I shot in LA. Hair stylist Jonathan Mason came on board that day. This was actually the first time I worked with Jonathan and that day we sort of bonded to the point that now when I am in LA, he’s my go to hair stylist. Thanks again to Timothy Priano, owner of Artists by Timothy Priano, for making that introduction!
I used window light and Christmas tree lights behind a silk against a backdrop as my lighting sources. That’s it! I know, I’m sorry I don’t have some great big lighting set up to break off for you. This is my lighting and how I see fashion shot and I never have liked seeing things over-lit. I’ve said that numerous times. Over and over, I’ve reiterated how I use one light, or “less is more” or keep it simple. Well, I’ve gone even more simple now, using available light from a window or the continuous light from the room we are shooting in as my key or main lighting source.
Of course, I used the Nikon D3 and my 85mm lens for the shoot. I also used my 24mm lens and a 50mm lens as well. I think what makes this shoot really work is the amazing styling from Rodney and the emoting from two very professional models, Sarah Deanna and Jennifer. And me staying true to my vision! More to come and excited to continue to share with you my vision! Keep it real! xoxo
Fashion Photography Blog – A Resource for Fashion Photographers, Created by One.
Nikon has announced two digiscoping accessories for its 1 System cameras, allowing them to be used to take pictures through telescopes. The DSA-N1 can be used to connect a Nikon 1 system camera directly to a telescope eyepiece. Meanwhile the DSB-N1 is a bracket that holds the camera behind the telescope, and includes a mechanical cable release adapter. Both will be available in December, with RRPs of £219.99 and £169.99 for the DSA-N1 and DSB-N1 respectively.
Nikon has announced two digiscoping accessories for its 1 System cameras, allowing them to be used to take pictures through telescopes. The DSA-N1 can be used to connect a Nikon 1 system camera directly to a telescope eyepiece. Meanwhile the DSB-N1 is a bracket that holds the camera behind the telescope, and includes a mechanical cable release adapter. Both will be available in December, with RRPs of £219.99 and £169.99 for the DSA-N1 and DSB-N1 respectively.
Der 19-Jährige David Talley macht in seinem Alter Bilder, bei deren Anblick so manch erfahrener Fotograf vor Neid erblasst. Der junge Mann schafft es nicht nur, komplexe psychische Zustände in einem Bild zu vereinen, sondern setzt auch noch einen drauf: Es ist er selbst, der sich portraitiert.
„Die meisten Ideen für meine Selbstportraits – und auch den Rest meiner Arbeit – kommen von Gefühlen und Geschichten von Liebe, Herzschmerz, Mysterien und Abenteuern.“ Dem geneigten Betrachter entgeht nicht, dass dies auch die Schlüsselemotionen sind, die der Nachwuchsfotograf wirksam kommuniziert.
„Meine besten Bilder beginnen mit einer klitzekleinen Idee, die aus einem Charakter ensteht, den ich in meinem Kopf kreiert habe“, berichtet der in Los Angeles Gebürtige. Weiter verrät er: „Das ist dann der Startpunkt, von dem aus ich eine Welt um meinen Charakter baue – und das skizziere ich als Bild in meinem Zeichenblock“.
Was so einfach klingt, ist jedoch verwurzelt in den Hunderten Versuchen des Künstlers. Das Shooting selbst „dauert dann fünf bis dreißig Minuten. Die Bearbeitung des Bildes bis hin zu drei Tagen.“ Und diese Arbeit lohnt sich, denn so erreicht David Talley die Menschen, die sich auf seine Werke einlassen, auf eine intime, persönliche und unverwechselbare Art und Weise.