Picking favorites is hard. Nevertheless, our readers were up to the task when we asked them to submit their best shots of 2014. We received over 1400 submissions, and it was no small job picking favorites. We didn’t need the reminder, but it underscored just how talented our readership is. Photos were divided into three categories and we settled on a small selection to feature in each.
Articles: Digital Photography Review (dpreview.com)
Picking favorites is hard. Nevertheless, our readers were up to the task when we asked them to submit their best shots of 2014. We received over 1400 submissions, and it was no small job picking favorites. We didn’t need the reminder, but it underscored just how talented our readership is. Photos were divided into three categories and we settled on a small selection to feature in each.
Articles: Digital Photography Review (dpreview.com)
As the calendar flipped to 2015, we asked DPReview readers to look back at their photographic year and send us their favorite shots from 2014 so we could feature some standouts on our homepage. The response was overwhelming. We’ve sorted through 1400+ submissions and made selections of our favorites in three categories – people, places and things. Take a look at some of our readers’ best work from the last year. See galleries
Articles: Digital Photography Review (dpreview.com)
[ By Steve in Architecture & Houses & Residential. ]
Rising from the trashes of vandalism and neglect, Glasgow‘s former Luma Light Bulb Factory has recaptured its Art Deco glory as the residential Luma Tower.
The “Dirty Thirties” were especially gritty in Scotland but as the dark clouds of war gathered, from Glasgow’s mighty Sheildhall Manufacturing Complex there emanated a brief shining moment of brilliant light. The British Luma Co-Operative Lamp Company was the source – opening in 1938 in conjunction (though not part of) the Empire Exhibition held in nearby Bellahouston Park, the Anglo-Swedish joint venture company was housed in a strikingly beautiful Art Deco edifice which featured a glazed “conning tower” soaring 84 feet into the Scottish sky. Kudos to Flickr user Andrew Lynch for our lead image and the Glasgow City Archives for the circa-1939 photo above..
The combined factory/office building was designed by Cornelius Armour, an architect employed by the Scottish Cooperative Wholesale Society. Armour’s signature flourish was the tower: a visually riveting architectural feature that powerfully melded form and function. Flickr user Ben Allison captures the restored glory of the Luma building in the above series of shots.
Mounted inside the windowed room were a plethora of testing equipment that allowed employees to test light bulbs of all types. That each bulb glowed with superior brilliance was no accident: testing was conducted using electrical voltages above and beyond the lamps’ designed capacity in order to explore longevity issues.
As environmentally friendly CFL bulbs are becoming the norm, the old fashioned light bulb is becoming even more appealing for reuse.
Click Here to Read More »»
An iconic new mixed-use development in the heart of Montpellier in southern France, L’Arbre Blanc (The White Tree) grew out of a design concept tied to the …
Click Here to Read More »»
If you’re rich enough to live in the Porsche Design Tower, you’re rich enough to have a mega-expensive car or two worth hauling up to your …
Click Here to Read More »»
[ By Steve in Architecture & Houses & Residential. ]
[ WebUrbanist | Archives | Galleries | Privacy | TOS ]
Alana Tyler Slutsky is back on FashionPhotographyBlog.com, after sharing the steps to take when approaching a new modeling agency for the first time, to share some tips with our readers that are useful to remember when working with models from agencies in order to maintain a working relationship with both the models and the agencies they are from. Take it away Alana!
Hey FashionPhotographyBlog.com readers!
A LOT of people have asked how to approach agencies to work with their models, so here are some tips for working with agency models.
– DO NOT SHOOT NUDE/IMPLIED NUDE – nudity isn’t really necessary. It won’t end up in the models book, it doesn’t look good on you, just don’t do it! If you shoot nude, there is a very good chance that agency will not be sending you another model to test. Remember – ** A lot of the girls you’ll be sent are young. Shooting nude or dressing models in sheer clothing is risky business when you’re working with a 16 year old **
– THESE IMAGES ARE FOR YOUR PORTFOLIO – whatever you do DO NOT make the mistake of shooting client work with a model under the impression that this is a test shoot. The agency will find out and they’ll send you a bill.
– DON’T BE A JERK! – I would hope no one is going to be a jerk anyways, but keep in mind that everyone on a test is donating their time. Don’t be mean. Models will review you to their agent. Keep that in mind when you have the urge to yell and make the model cry “to draw out the emotion.”
– KEEP THE IMAGE USABLE – by that I mean don’t go heavy on the makeup and keep the hair simple. The more you do to the model, the less likely they’ll be able to use it in their book. As pointed out before – agents love simple, natural, clean images of their models. Leave the crazy stuff for editorials. If you become that guy known for extreme makeup and hair, chances are you’re not going to be sent more models to work with.
The best advice I can give is to start with smaller agencies and work your way up, (that is what I did and I’m still in the process of doing). Don’t know who to contact and who to hold off contacting? Do some research! Models.com is a great resource that shows the top agencies for men and women. They also have a directory of agencies which you can view by country/state/city. I would advise to stay away from the top agencies until you’ve tested a bit, build up your confidence and know what you’re doing.
Good luck!
– Alana
Did you find Alana’s post useful? Please leave your comments below in the comment section. We would like to know what you thought about this post. If you enjoyed this article, do stay tuned as Alana has another post just around the corner on FashionPhotograhyBlog.com. If you want to know more about approaching modeling agencies, check our upcoming post on Reaching Out To Modeling Agencies.
IMAGE SOURCE:
Feature image & images 1: courtesy of Alana Tyler Slutsky.
Liebe Leser, in den letzten Wochen haben wir wie immer fleißig Foto-Artikel gesammelt und gemeinsam mit den Links des Tages im Ausblick gesammelt. Für all diejenigen, die nicht jeden Tag bei uns mitlesen, folgt nun eine handverlesene Auswahl der Texte und Essays, die mir – Martin – imponiert haben.
Wenn sich Fotografen mit einem bedeutenden Erfahrungsschatz zu einem Thema äußern, ist die inhaltliche Dichte meist sehr groß. Dies ist auch der Fall bei der Frage, inwieweit die Digitalisierung das Genre der Straßenfotografie beeinflusst hat. Popular Photography ließ drei Street-Koryphäen zu Wort kommen, die Ihre Meinung zum Besten geben: Jack Simon, Melanie Einzig und Richard Bram. Dringende Lese-Empfehlung. → ansehen
+ Melanie Einzig schrieb im Mai 2014 im Rahmen des Artikels „Was es bedeutet, Mensch zu sein“ über ihr fotografisches Credo. Auf kwerfeldein.
Für Furore sorgte zu Beginn des Jahres ein Rant des professionellen Fotografen Kenny Coverstone. Er ließ sich darüber aus, wie befremdlich er das Miteinander (und den Neid) unter Fotografen im Netz findet und rief zu gegenseitiger Unterstützung auf. Coverstone unterstrich das mit der Konklusion, dass durch gegenseitige Unterstützung nicht nur Einsteiger fotografisch wachsen, sondern auch die Fortgeschrittenen. Beiträge wie diesen kann es nie genug geben. → ansehen
Gute Artikel müssen nicht immer 100.000 Zeichen haben, um den Horizont zu erweitern. Dies ist am Beispiel der Bildanalysen des Fotografen Erez Marom zu sehen, der die Frage aufwirft, ob ein beinahe sklavisches Einbinden von Vordergründen in der Landschaftsfotografie nicht kontraproduktiv ist. Marom geht noch weiter: Mit guten Argumenten vertritt er die These, dass gerade das Nicht-Vorhandensein eines Vordergrundes Naturaufnahmen eine individuelle Tiefe gibt. → ansehen
Eine Mischung aus beeindruckenden Luftaufnahmen und einem brillianten Bericht von Vincent Laforet wurde in den letzten Wochen durch das Internet gereicht. Laforet präsentierte eine wahnsinnig gut fotografierte Serie über New York City, für die er sich bei Eiseskälte und in der Schwärze der Nacht in bedrückender Angst (aber in Sicherheit) befand. Eines der innovativsten Projekte des Jahres bislang. → ansehen
Die erfolgreiche Fotografin und Psychologin Jenna Martin schrieb sich die Seele aus dem Leib, als sie ein Plädoyer für die fotografische Leidenschaft verfasste. Sie ging der Frage nach, ob Leidenschaft ausreiche, um sich selbstständig zu machen und bejahte dies mit überzeugenden Argumenten. Ihrer Auffassung nach geht eine Passion über das übliche Maß an Begeisterungsfähigkeit hinaus. Des weiteren ist sie davon überzeugt, dass es für alles einen Markt gibt. Wie recht sie doch hat. → ansehen
Fehlt Euch in meiner Sammlung ein Artikel? Habe ich etwas verpasst? Lasst es mich in den Kommentaren wissen. Ich wünsche einen angenehmen Lese-Sonntag!
kwerfeldein – Fotografie Magazin | Fotocommunity
Hey FashionPhotographyBlog.com readers!
A LOT of people have asked how to approach agencies to work with their models so, here’s a crash course in testing with agency models! First things first, you have to have the type of images an agent would like to see. Agencies like to see clean photographs:
– Images that aren’t too shadowy or weirdly lit
– Photographs with nice hair and makeup- keep it simple!
– No intense, crazy eye-shadow
– No big, teased hair
– NO NUDITY
The whole idea behind testing with an agency is that they want clean, beautiful images of their models to put in the models portfolio. This means images that show the model as they naturally look, not images that show the model with 15 pounds of makeup and Photoshop’ed past recognition. Make sure all your images aren’t of one or two people, have a variety to show the agency that no matter who they send you you’ll be able to take a damn good photo!
Have those clean portrait/fashion portrait images already? I suggest having a website you can link the agency to. If you don’t have a site yet, no worries. Attach around 5 images in your email to the agency so they can view your work and get a sense of your style. (Make sure you have 10-15 good images to show, in case you’re asked to provide more.)
Now you’re ready to reach out!
1. Call the agency you’re interested in working with and ask who you should speak to in regard to testing with their new faces. You’ll probably be given the email address to a booker (model agent) and asked to send over your portfolio.
2. Email the booker:
– Start with a nice introduction, explain who you are and that you’re looking to test with their new faces.
– Include your portfolio: Link the booker to your website or attach 5-6 photos.
3. Wait.
4. Got a response? Congrats! You’ll most likely be sent a package (a listing of available models in need of images for their book) and will have the opportunity to choose who to work with:
– Sometimes the booker will ask if you have a team (aka creative team – hair, makeup and wardrobe stylists) Be honest with them. Don’t lie and say you have a team if you don’t. It will show in the final images you produce. The agency wants to make sure they’re sending their girls out on shoots that will help their books, not waste their time.
– Sometimes you’ll be asked for a mood board. What is a mood board anyways? (Well get into that in another post) In short, a mood board is a compilation of images that show what it is you’re trying to accomplish. Inspiration for hair, makeup, wardrobe, overall outcome of the shoot.
5. No response? That’s okay. Just be persistent, keep shooting and try again. Never take “No” for an answer! There have been plenty of times that I’ve been turned down but I kept shooting and eventually was given a break. I’m currently testing with agencies that had previously not responded to my emails. Believe in yourself and someone will come along who believes in you too!
– Alana
Did you find Alana’s post useful? Please leave your comments below in the comment section. We would like to know what you thought about this post. If you enjoyed this article, do stay tuned as Alana has another post just around the corner on FashionPhotograhyBlog.com. If you want to know more about shooting with models from agencies, check our upcoming post on Tips For Working With Agency Models.
IMAGE SOURCE:
Feature image & images 1: courtesy of Alana Tyler Slutsky.
Das Bild des Tages von: Michaela Knizova
Dass das Kolorieren alter Fotos nicht nur Arbeit, sondern auch Spaß macht, wissen wir. Was noch mehr Freude bereiten kann, ist dabei zuzuschauen, wie sich ein historisches Bild durch das Auftragen der Farbe in seiner Wirkung komplett verändert. Fubiz stellt dies anhand einiger Gifs vor. Wir möchten dennoch anmerken, dass die Gifs nicht die tatsächliche Kolorierungsarbeit nachvollziehen, sondern ein gesonderter Effekt benutzt wurde, um die Wirkung zu verdeutlichen. → ansehen
Die Michael-Horbach-Stiftung stellt derzeit eine Retrospektive der Fotografin Bettina Flitner aus, deren Arbeiten stets heftig diskutiert wurden. Der Grund für die vielerorts emotionalen Reaktionen liegt darin, dass Flitner Menschen (auch aus der rechten Szene) zu Wort kommen lässt, ohne dies zu kommentieren. Somit entsteht eine Spannung, die zwar bei der eigenen Reflexion helfen kann, für viele Menschen aber unerträglich ist. Der Kölner Stadt-Anzeiger berichtet. → ansehen
Kodak wagt die Flucht nach vorne und bringt ein Smartphone heraus: Das IM5. Die Zielgruppe für das Gerät sind allerdings nicht junge Hipster, sondern die älter Generation der Baby-Boomer. Kodak selbst hat das Smartphone dessen ungeachtet nicht selbst konzipiert, sondern die Arbeit dem britischen Unternehmen Bullit überlassen. Ob dieser Schritt das Unternehmen aus der Versenkung retten kann, ist fraglich. → ansehen
kwerfeldein – Fotografie Magazin | Fotocommunity
I’ve been using studio lights for a couple of years now, I’ve used a few different brands with all sorts of different modifiers, from the basic softboxes that your less expensive lighting kits might come with, to my current favourite, the 2 meter Octa from Studio-Flash.com.
The one consistency with bundled lighting kits is that they mostly all come with a set of lightweight stands that, for the most part, are great and will certainly do what you need them to do when you’re starting out and they’ll get you a long way with clever use of sandbags and counterweights. But when you start using bigger, heavier modifiers on these stands, you may find it’s time to get yourself a dedicated “big” stand.
Enter stage left, Kupo Grip. (Thanks to the crew at ProTog for sourcing what I was after – also available on Amazon)
I wanted a stand that was going to take anything I’d ever use, I wanted it to be modular and easy to put up and tear down, I’m a one man show and setting up and packing down needs to be easy! (I’m not lazy, honest) so after visiting the crew out at ProTog in Melbourne, I settled on the 40″ C-Stand (C for Century, folks) with the Kupo Turtle base. The base and the upright pole come apart for easy packing and transporting.
They come in 20″ or 40″ and in black or silver (I went for the black option, for no real reason…)
It isn’t always the strength (or weight) of the stand riser that gives you problems, it might be when you first get a 70cm beauty dish and put it on the front of your studio light and then find that the locking mechanism that holds the stand’s legs in place just doesn’t have the wherewithal to hold it all up. Maybe you simply need something more sturdy to hold a light and Kupo Convi Clamp
The other main reason I love my C-Stands is that with the legs the way they are, sticking out low to the ground and horizontally to the riser pole, you can load them up with some big heavy sandbags and use them in most any weather. If you’ve ever had even a single flash on a lightstand blow over and smash on the ground, you’re most likely nodding along right now! I have a special umbrella at home that’s kind of flat on one side – as a reminder. Use a solid stand OR bag your lightweight stands.
No sand bags, a lightweight stand in a light breeze… An accident waiting to happen.
As I mentioned earlier, with the ‘Turtle base’ they’re easy to pack down but obviously not as easy as a small telescopic light stand or a tripod with a long neck and you might not want to fly a whole lot with them, but when you need a heavyweight and you want innovative, maybe take a look at the Kupo Grip Master C-Stand.
Kupo Grip gear (well, my stands at least, I’ve not checked ALL of their products) comes with a two year warranty which, if you register, gets you an extra three years giving you five years warranty.
My summary, if you will… They’re priced nicely, they have a really solid build and a great finish, I can’t fault the things – that’s five big smiley stars from me.
googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );
googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );
The post Kupo Grip Master C-Stand Review by Sime appeared first on Digital Photography School.
You must be logged in to post a comment.