Notindoor photography magazine january 2016

Hands of Hope by Gabriel Gomez

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FIRSTWORDS /

Moshe Levis

I can’t believe it. 2015 has already passed. Do you also feel like it was just yesterday?

Like every year, we set ourselves new goals, or new year’s resolutions if you will, whether in our love life, financial aspects, private life, social life etc.

Some of us reach these goals and some do their best but just need a little more time to accomplish everything.

So, my new year’s resolutions in 2016, for NOTINDOOR magazine are very important and I’m going to do whatever it takes to accomplish them, one by one. And guess what, it includes you, and your success in the photography world. Yup! Number 1 goal for NOTINDOOR, is for us to keep on going and have 12 new issues for you to read and hopefuly learn from.

2 - Hiring a team of local talented writers (on top of our freelance writers) so we can bring you a lot more fun, useful and educational content and keep you all in the loop of NOTINDOOR photography.

3 - Creating an active community that will be happy to help each other by giving constructive critisism, meeting up for fun shoots and workshops, and simply making new friends from all over the world. It’s so much fun when you know someone in a country you’re going to visit.

4 - To be one of the top landscape and fine art photography magazines in the world, while keeping it free, forever.

Number 5 will be the last one, but one of the most important goals. When I started this magazine, I started it for one main reason - helping photographers grow financially, socially and educationally. I want to know that by the end of 2016 NOTINDOOR has helpped as many photographers as possible. We will share your photos, show you how to improve and pay you for everything you submit because, likes won’t pay your rent - we will ;) We have a lot more plans, believe it or not.

Big thanks to our content editor, Elizabeth Thurmond - Count My Stars In behalf of NOTINDOOR, enjoy the January issue and have a happy new year.

Moshe Levis Allan Pudlitzke Sarah Marsh 2 NOTINDOOR

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NOTINDOOR PHOTOOFTHEMONTH click here to submit your photos to next month’s contest. You can win $200 and a placement right here.

LOSTINAFAIRYTALE BY DYLAN FOX - Congratulations on this placement and the $200 cash prize 4 NOTINDOOR

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For More From Dylan: Facebook Page | Google+ | 500px | Twitter | YouTube

CAMERA: ILCE-7R • LENS: 16-35mm F2.8 SETTINGS: 16mm • f/16 • 5 sec • ISO 200 LOCATION: Mount Field National Park, Tasmania

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Keith Valcourt photographer/writer

Indu M. photographer

Allan Pudlitzke photographer/writer

Gabriel Gomez photographer

Dylan Fox photographer

Natanel Levis writer

Roberto Pavic photographer

Nancy M. Griffis Writer

Ed Morris photographer

Adnan Bubalo photographer

Julian John photographer

Mathilde Bresson photographer

Jean-Paul Bourdier photographer

Heather Roberts Writer

Adrian Sommeling photographer

Achraf Baznani photographer

Heidi Horvath photographer/writer

Steven Servantez writer/photographer

Kyla Harrington writer/photographer

Kourtney Reppert Model

Candace Couture-Pudlitzke

Michael Wick photographer

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writer

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FEATUREDTHISMONTH

Leslie A. Temanson photographer/writer

FROMOURREADERSGALLERY

clicking an image will open it in a new window

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FEATURED ARTICLES

EXCLUSIVE INTERVIEW - PHOTOGRAPHER MIKE WATT / Keith Valcourt

UNANTICIPATED LOVE / Leslie A. Temanson

EXCLUSIVE INTERVIEW WITH MODEL KOURTNEY REPPERT EXTRA IMAGES

PHOTOGRAPHER OF THE MONTH MATHILDE BRESSON

WORKSHOP - REALISTIC COMPOSITION REVIEW

PORTFOLIO - JULIAN JOHN

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THE LONG WAIT / Ed Morris

SHOOTING MODELS ON THE BEACH / Moshe Levis

PORTFOLIO - ADNAN BUBALO

CAPTURE THE DRAMA / Allan Pudlitzke

ADRIAN SOMMELING 2016 GIVEAWAY

BOOK REVIEW - INSIDE MY DREAMS / Achraf Baznani 9

10 NOTINDOOR

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MAGAZINESECTIONS/STORIESREVIEWSTUTORIALS...

contents

NEW RELEASES

STAFF PICK

GOOD READS

OPINIONS

THE FINDING

THIS COVERED

GREEN PHOTOGRAPHY

LIVING SMALL

GOOD READS

KICKSTARTER OF THE MONTH

GREEN PHOTOGRAPHY

CONCERT PHOTOGRAPHY

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contents

THE ULTIMATE FIGHT

HOW TO

TALKING GEAR

GOOD READS

2015 - YEAR IN REVIEW

PHOTOGRAPHY SAVED MY LIFE

BEHIND THIS PHOTOGRAPH

500PX GALLERY

JOIN OUR MEETUP GROUP

JOIN OUR 500PX GROUP

GOOD READS 13

ALLAB

L E H T OUT

U O B . .

ENS.

S N E L TTHE

New Releases -2015 Sony 24-70mm F2.8 ZA SSM II DxOMark published their test results for the Sony Zeiss Vario-Sonnar T* 24-70mm f/2.8 ZA SSM II (SAL2470Z2) standard lens which is currently priced for $2,100 at Amazon. Sony Zeiss Vario-Sonnar T* 24-70mm f/2.8 ZA SSM II lens test results shows the lens score of 21 points and an excellent performance. Tested on the 24-megapixel full-frame Sony A99 SLT camera, the lens has high sharpness levels in Read More...

Fujifilm XF 90mm f/2 R LM WR The FUJINON XF90mmF2 R LM WR is a fast-aperture prime lens with a focal length equivalent to 137mm* and a maximum aperture of F2.0, that delivers ultra-sharp images with rich bokeh even at the maximum aperture setting. The optical construction of 11 elements in eight groups (including three ED glass elements) minimizes vignetting and creates beautiful bokeh thanks to the rounded diaphragm, which makes it perfect for portraiture as well as other applications.

Read More...

Pentax HD Pentax-D FA 24-70mm f/2.8ED SDM WR A fast, standard zoom featuring a sophisticated optical design, the HD Pentax-D FA 24-70mm f/2.8ED SDM WR Lens from Pentax is designed for use on full-frame K mount DSLRs, as well as APS-C cameras where it provides a 36105mm equivalent focal length range. The constant f/2.8 maximum aperture offers consistent performance throughout the zoom range and pairs with a rounded nine-blade diaphragm to produce smooth, shallow depth of field imagery.

The lens’ design incorporates a trio of extra-low dispersion elements, three aspherical elements, and one anomalous dispersion aspherical element to control a variety of aberrations and distortions in order to produce well-corrected images with notable sharpness and even illumination Read More...

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S N E L E UTTH New Releases -2015

Canon EF 35mm f/1.4L II USM Canon has announced the EF 35mm F1.4L II USM, the second generation of its popular wide-angle prime. It uses newly-designed Blue Spectrum Refractive Optics, which claim to correct chromatic aberration better than any other existing technology.

The 35mm F1.4L II includes a total of 14 elements, two of which are aspherical and the other being “Super UD”. It offers nine aperture blades for pleasing bokeh (and gorgeous 18-ray sunbursts, we hope) and a minimum focusing distance of 0.28m/11in. It also claims to be more durable than its predecessor, dust and water-resistant Read More...

Tamron 35mm f/1.8 Di VC USD Tamron brought smiles to the world when they introduced a pair of record-setting lenses, the Tamron 35mm f/1.8 Di VC USD Lens and the very similar Tamron 45mm f/1.8 Di VC USD Lens, with both sharing the record for being the widest aperture image stabilized lenses available at the time of their introduction.

Tamron had previously introduced the world’s first image stabilized 24-70mm lens (the 24-70mm f/2.8 Di VC USD) and the world’s widest-angle image stabilized lens (15-30mm f/2.8 Di VC USD), so the introduction of the world’s widest-aperture image stabilized lenses Read More...

ZEISS Otus 1.4/28 German optical manufacturer ZEISS has announced it is to add a wide angle to its Otus family of lenses designed for full frame SLR cameras. The ZEISS Otus 1.4/28 is a 28mm lens with a maximum aperture of F1.4, and will be available with ZE and ZF.2 mounts for Canon EOS and Nikon F cameras.

ZEISS claims the new lens will be especially suited to landscape work as it will maintain constant contrast and resolution right across the frame – even at wide apertures. The company says that “corners of the image are completely useable.” The manual-focus lens has an all-metal barrel and uses 16 elements in 13 groups, including one aspherical lens and one double aspheric, as well as eight Read More...

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THEULTIM

NIKON AF-S NIKKOR 500mm f/4E FL ED VR

Nikon’s legendary 500mm super telephoto lens is now nearly two pounds lighter than the previous model and ready for the most demanding conditions. With brilliant optical performance, improved AF tracking, a high-speed electromagnetic diaphragm that keeps pace with Nikon’s fastest DSLRs plus VR image stabilization, the AF-S NIKKOR 500mm f/4E FL ED VR is a game-changer for outdoor, sports, action and nature photographers or anyone looking to get the most out of their current DSLR. The lens comes with a new lightweight hard-shell case.

SHARP AND STEADY Pros know camera movement during exposure robs sharpness. Nikon’s VR image stabilization counteracts camera shake and vibration up to ~4.0 stops*, a must-have feature when working handheld, on a monopod or even a tripod. A specialized Sports Mode is optimized for camera pans and fast-action sports, and the Tripod Mode eliminates the subtle ground vibrations that are constantly passing through a tripod or monopod. Capture subjects with outstanding sharpness, even in low light.

SPECIFICATIONS Lens Construction Angle of View Number of Diaphragm Blades Mininum Aperture Minimum Focusing Distance Filter Size (mm) Maximum Reproduction Ratio Dimensions (Diameter x Length) Weight -

EXCEPTIONAL BURST SHOOTING Track fast moving subjects—even those moving erratically, at random speeds or approaching the camera quickly—with tack-sharp AF precision. During highspeed continuous shooting, the electromagnetic diaphragm mechanism operates in sync with the camera shutter for fast automatic exposure control and consistency between shots, even when using a compatible teleconverter.

According to the Nikon website.

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16 Elements in 12 Groups 3º10’ - 5º00’ 9 f/22 11.9 ft / 3.6 m 40.5mm 0.14 x 140mm x 387mm /5.5in. x 15.2in.

3090g / 109oz.

Nikon F-Bayonet

SPORT VIBRATION REDUCTION For pros shooting fast and erratic moving sports subjects, using the SPORT VR mode will give you a more stable viewfinder image, handheld or when using a monopod, even if you’re panning. Track subjects easier when shooting in Continuous mode and as an added benefit with the D4S, the continuous shooting frame rates and release lag time are not affected while using VR. Even use SPORT VR when shooting HD video.

The Tripod VR function even eliminates the vibrations that may transfer from the ground to the tripod in both Normal and SPORT VR modes.

MATEFIGHT S

CANON Canon EF 500mm f/4L IS II USM

Worthy successor to the lauded Canon EF 500mm f/4L IS USM, the new EF 500mm f/4L IS II USM super telephoto lens features completely redesigned fluorite optics that deliver sharper images with less chromatic aberration and has a lighter weight thanks to magnesium and titanium construction elements. Because image stabilization technology in super telephoto lenses may inadvertently over-compensate and interfere with composing and framing distant or moving subjects, the EF 500mm f/4L IS II USM includes an advanced third Image Stabilization mode (Mode 3) that activates IS only when the shutter button is fully pressed. This allows users to pan fast-moving subjects and then activate IS only when it is precisely required. Additionally, all three IS modes give the equivalent effect of a shutter speed four stops faster, ideally positioning the Canon EF 500mm f/4L IS II USM for professional action photography, from sports to nature. The addition of the Power Focus mode enables smooth focus change when shooting video. Buttons and switches are redesigned for intuitive, deliberate operation, and dust and water sealing keeps the EF 500mm f/4L IS II USM functioning flawlessly in even the most challenging environments.

SPECIFICATIONS Lens Construction Angle of View Number of Diaphragm Blades Mininum Aperture Minimum Focusing Distance Filter Size (mm) Zoom Ratio Dimensions (Diameter x Length) Weight -

16 Elements in 12 Groups 2°45’ - 5°00’ 9 f/32 145.7” 52mm 0.15 x 6.7” x 15.32” 113.1 oz

According to the the-digital-picture.com 17

K C PI FF ST A For More From Roberto: Facebook | 500px

HALLSTATTVII BY ROBERTO PAVIC 18 NOTINDOOR

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CAMERA: Canon EOS 5D Mark II • LENS: EF 16-35mm f/2.8L II USM SETTINGS: 20mm • f/22 • 13 sec • ISO 50 LOCATION: Hallstatt, Austria

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AGOODPHOTOGRAPH.THEBYSTANDERPOV/ Natanel Levis

FORESTSERVICEVOLUNTEER / Michael Wick

I believe that a good photographer should be called a capturer, instead, because they capture moments. These moments can be absolutely random just as they can be meticulously planned to the finest of details: time, place, camera settings etc.

There are many different types of photographers in the world and we all can help keep the environment clean. I‘m one of millions of landscape photographers and I spend a lot of time in nature and wilderness environments. As a landscape photographer I take some very beautiful photos of the forest lands and some very ugly photos.

I appreciate good photography, just as I appreciate other types of art, and by good, I mean, it has to touch my soul, be breathtakingly beautiful or make me think about the journey that led to that moment when the photograph was taken.

As a former Forest Service volunteer in the Pacific Northwest I have seen the beautiful and the very ugly parts of the wilderness. I was told that there wasn’t any money in the yearly budget to clean up the garbage from campsites and side roads The captures that touch me can vary from breathtaking land- in the National Forest. I took a lot of pictures of the damage and showed my supervisor and was told over and over that scapes to photo journalism, documenting lost African tribes the money was not there. So I took it upon myself to do the (National Geographic style), because what matters to me in those images is how I feel when I see them. I think about the best I could to pick it up myself; because I was not paid, I effort made in order to capture those moments, for example; could do what I wanted . At the end of the day I would come climbing high mountains, connecting with compete strangers, back to the office with bags and bags of garbage and camping waiting silently (sometimes for hours) for birds to pass by and things like tents, sleeping bags, camp chairs that people would just leave behind for others to clean up. pressing that shutter release just at the right moment.

In terms of nature photography, the tiny place where I live – Israel – offers an enormous variety of different landscapes, from the northern snowy areas of the Golan Heights to the Mediterranean Sea, and the genesis-looking desert down in the South, that spreads to over 50 percent of the land where you can find the Dead and Red Sea, not to mention the cultural diversity Israel has, which takes us to street photography in cities like Tel-Aviv and Jerusalem.

Tel-Aviv has a more modern characteristic, and the population is of people from around the world, while Jerusalem is more of an important and central place for Christians, Muslims and Jews together and an amazing capture can easily be taken for each and every one of them.

I have seen the trees all shot up and dying from all the bark that was gone and the lead that was in the tree that made the tree unsalvageable; all they could do was to cut the tree down so when it died it would not become a danger to the public.

I have seen old cars abandoned. There was oil all over the ground next to creeks and rivers. You could see the oil making it’s way into the water. I heard of meth labs next to the waterways. So the short of it all is that photographers could help save the environment by their photos, show others and hope the right people see them.

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Nowadays, without a doubt, a photograph can be manipulated with an ease. This can be good when the focus needs some improving, or the colors are not as accurate as we wish, but when the reality is twisted with over-editing (and not for art’s sake) it can affect our whole perception of life. A good example can be found in the fashion industry that encourages, indirectly, youth to try and get to the impossibly skinny sizes of many “Photoshopped” models.

One thing that can change one’s opinion about a photograph is more common and simple than we think – framing. The frame plays the same role as a fancy plate in a chef’s restaurant; it doesn’t change the flavor but it changes the way you think about the dish. A really good picture should stand for itself, but if the frame adds to it, then, why not?

So what’s a good photograph, to me? One that can tell a story and take me to places I’ve never seen before. click here to comment on this article ->

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ILOVEINSECTS / Steven Servantz

IAMTHEWIFEOFAPHOTOGRAPHER / Candace Couture-Pudlitzke

Closer, closer, closer. Photographing insects via macro photography can be fun, frustrating and educational. A new set of skills must be mastered to get the perfect shot. Understanding your camera and lenses is essential to appreciate your new subjects.

So, what is it like to be a photographer’s wife? It depends of course on the kind of photography your spouse does; mine mainly does landscape. For me that means a lot of travel, exploration and a little adventure. Fortunately for me, I have a career that allows me a lot of freedom By creating my own schedule I get the opportunity to travel with my husband on his adventures, which I love.

R e a d s

The most important concept to master is depth of field.

When shooting macro photography, depth of field is dependent on only two factors: magnification and aperture value.

At any given aperture value, the higher the magnification ratio, the smaller the depth of field. This explains why depth of field is so shallow in macro; the magnifications are simply much larger than in any other type of photography. Depth of field may only be in millimeters, which can render many photos blurry. How do we get around this dilemma?

Try to shoot your subject’s main interest points along a single plane of focus. Shoot from all angles until you find the best plane to get the maximum sharpness.

If you are proficient at photo image software, taking multiple photos of your subject at different planes of focus can be done. The resulting images are imported into your software program and “stacked” to make a final image. The biggest drawback to this is moving subjects. I like to shoot in the early morning or near dusk when ambient temperatures are lower and subjects move less.

We live in the great Pacific Northwest. Beauty here is abundant with plentiful opportunities for some great photography.

For my husband this is his work; for me I get to enjoy one of my greatest passions by exploring the outdoors all the while enjoying some quality time with the hubby.

It’s not all fun and games being the “co-tographer”, as my husband refers to me. Standard co-tographer responsibilities include carrying multiple camera bags, tripods, light reflectors, etc. while sometimes navigating sketchy footing and treacherous terrain.

I am all too happy to oblige my husband during our outings, even sometimes when I feel more like the assistant than the wife. Getting to spend time with my husband while he pursues his passion of photography and being able to witness the great happiness that it brings him, makes it all worth while for me.

G o o d

Help him buy me nice things by visiting his site/shop at There are many great articles available to help you understand www.afilteredlife.com and learn about macro photography. Photographing insects has made me appreciate the complexity, the variety and the click here to comment on this article -> beauty of these small subjects and the place they have in our world. You will be amazed at what you will see!

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M SI PLE

yet photoshop tips and trickss

poweful

1

If you are working with a lot of layers you know by now that a clutter is almost inevitable, so why not make life a little easier?

Merging All Visible Layers to One New Layer

Merging all visible layers to one new layer lets you keep all the layers but creates a new layer with a snapshot of your visible canvas.

Why? So you can apply some more filters, styles and adjustments on the whole image and create a new layer clutter ;)

This is SUPER easy to do! But you have to make sure that the top layer visible layer is the selected one because your new layer will be created above whichever layer is selected.

Now, simply press: Mac (Shift+Command+Option+E)

Windows (Shift+Cntrl+Alt+E)

That’s it! Simple, yet powerful.

There are so many ways to convert your full color photos to beautiful black and white images, and today you’ll learn one of them (just Better and Quicker Black & White Conversion in case you don’t know how to) in a few clicks.

Unlike other conversions, we’ll use the Channel Mixer Adjustment Layer to get rid of the colors but keep all of the high details intact.

So, on the bottom of the Layer Palette, hit the Adjustment Layer button and choose Channel Mixer.

The new palette (as in the image to your right) will have Red, Green and Blue channels. Above them you will find Monochrome. Yes, so please check it... and...

Voila!

Now you can play with the Red, Green and Blue channels to your heart desires.

Just keep in mind that you want to have the sum of all channels at about 100%.

That’s it! Simple, yet powerful.

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Retro style is consciously derivative or imitative of trends, music, modes,

fashions, or attitudes of the recent past, typically 15–20 years old.

The fastest way to give your images a retro style is simply The Fastest Way to Retro Style Your Images

to create a new Solid Color Adjustment Layer.

Once you created the layer you’ll have to select the

color (blue is important) for your image.

Then set the blend mode of the Solid Color layer

to Exclusion and reduce the layer opacity to

around 30%.

Guess what. You’re done!

If you chose a nice image for that kind of style

you should be getting pretty cool faded looking

retro style image.

These are actually good for natural lights. Which is why it’s perfect for NOTINDOOR ;)

Once again. Simple, yet powerful.

DON’T KNOW any Photoshop? Just click here ->

The other day I needed to show my work to an agent and since I don’t have the kind of images he wanted, online, I decided to just email Create a Sendable Portfolio In a Few Clicks him a few of them. The problem - the photos are big and take too much space and time to send via email.

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For that I had to scale the images down. A lot. And because I’m a Photoshop kinda guy I just ignored my dear old Lightroom.

Here is a solution for you if you don’t like/know/have Adobe Lightroom. Ready. Set. Go! 1. Open Photoshop.

2. Go to File --> Scripts -->Load Files Into Stack...

3. In the popup window, press Browse...

4. Select the images you want to scale down.

5. Press OK. 6. Wait for Photoshop to finish it’s thing.

7. Select all the layers.

8. Right Click on any layer.

9. Export as...

10. Export to JPG. Done!

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G N O L S A

24 NOTINDOOR

S E K A ASITT

LONG EXPOSURE PHOTOGRAPHY

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ONASILVERSHORE by ED MORRIS | www.edmorrisphotography.co.uk 25

THE LONG

WAIT

When is a good day to capture an image? Well, there’s no such thing as a bad day. That’s how I approach my photography. When I’m out and about I’m always on the lookout for perhaps a sudden change in the light, the interplay of light and shade, the curving contours or linear appearance of a scene, maybe a striking combination of colours or of patterns and textures. They’re all out there waiting to be found, to be explored and to be interpreted in a new way. There’s always something to grab ones attention as long as you keep an open mind and an open eye.

My name is Ed Morris, I’m a keen photographer in my 50s and I’m based in the city of Swansea in Wales, UK. I have access to some great coastal scenery on my doorstep and that’s where I tend to spend most of my time with a camera. I’ve always had an interest in impressionist art, from the famous 19th century French Impressionists to the more modern local Welsh painters such as Kyffin Willaims and Glenys Cour. So I guess I’m a frustrated painter at heart but I’ve used this to my advantage in that I strive to achieve something similar in terms of the end result using my eyes, my imagination, and my camera to guide me through the process.

HDR photography offers one possible route into achieving an impressionist style of photographic image as does the use of long exposure photography for scenes featuring flowing water and skies, but I was never entirely happy with my end results.

That’s when I decided to use these techniques combined with images created using “intentional camera movement”, that is, by moving the camera, or indeed allowing the subject to move, during the time that the shutter is open. Compared to traditional photography, the end result is far more “hit and miss”; results can often be disappointing and very variable 26 NOTINDOOR

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Secondly there is the “thinking phase” – this is where you see the image that you have taken for the first time and review its content. I ask myself the question “does it contain the key elements that I wanted to capture and does the atmosphere that I wanted to convey come across effectively”? If it does then I proceed to the third and final phase. If it doesn’t then it’s in the bin!

Thirdly there is the “refining phase”. I guess this is where I allow the frustrated painter within me to come out. I tend to inject a lot of the final atmosphere into the image at this point, altering the balance of light and shade, exaggerating the textures where and when I think it adds to the “look” I’m after, and maybe altering the dynamic range of the image to suit. Finally I may add a figure to the scene, sometimes sharply outlined, sometimes vague. They supply a focal point and provide a sense of scale to the scene. Some are positioned almost as they were within the original “still” scene and some are shifted in time and in space. This is the only use of “layering” that I allow myself in this type of image. My inspiration for the use of figures came from seeing an exhibition of a piece of time lapse video work entitled “Consilience: as the world turns” by Julia Davis.

What equipment do I use? Well, I have to agree with that well known saying “your best camera is the one that you have with you at the time,” so I use my iPhone as often as I use my Canon 5d mk iii (usually fitted with a 70-300mm lens). In terms of software, I use the Slow Shutter iPhone camera app for capturing long exposure images and for post-processing I use Camera Raw within Photoshop, Topaz Clarity and Photomatix Pro.

from image to image. Changes in camera shutter speed, camera movement speed and direction of movement all make a significant contribution to the end result. But get the combination right and the end results can be very effective and pleasing to the eye. As is often the case, experimentation is the key.

So what approach do I take to my style of photography? I see each image as a transition that involves three distinct phases: Firstly there is the “capture phase” – this involves combining the basic scene in front of you containing the main elements that attracted you to the scene, with the camera technique that defines your own individual style. And remember, what you see is not always what you get, so try a few different versions – you will be surprised with the variety in the results that you get.

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Ed Morris Photographer

In the summer of 2014 I had my first solo exhibition at the Oriel Bach Gallery in the Mumbles followed by a joint exhibition alongside fellow artists Website | 500px | F

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CELEB

T O H P R I TY

R E H P A OGR

juxtaposed pictures alongside diary and poetry snippets. A recent undated version of the collection is now available to enjoy as an E-Book.

I caught up with Mike Watt in Pedro for this exclusive NOTINDOOR interview to ask about his inspiration, technique and talents.

MIKE

WATT PUNK ROCK

PHOTOGRAPHER

by

Keith Valcourt

Mike Watt is a punk pioneer. As bassist and leader of both The Minutemen and fIREHOSE he created some of the genre’s finest moments. These days he is a touring maniac playing with everyone from Tav Falco to Dave Grohl to J. Mascis and a reformed version of Iggy and The Stooges. When he is off the road you are sure to find the longtime California native on the bike trails and waterways of his beloved San Pedro, California. Where he is always armed with a digital camera to capture the beauty in the unlikely balance between nature and industry that is distinctively Pedro.

A first glimpse into his skills as a lens man came when a friend collected up some of those photographs for Watt’s first ever gallery show: “Mike Watt: Eye-Gifts from Pedro” at Track 16 Gallery in Santa Monica, CA in 2010. Many showcasing nature living, often uncomfortably, with the industrial grime of a bustling port. Water, rust, creatures and man made structures collide in flashes of brilliance.

The show led to his first ever published book of these photographic images titled “Mike Watt On and Off Bass.” (2012) It 30 NOTINDOOR

Q:Do you shoot in film or digital?

A: Digital. There are bad things about digital cameras. But not having to buy film and get it developed forces you the chance to take a lot of risks. You don’t have to give a fuck.

This “Digital Age” where you didn’t have to buy film helped me get into photography. In the older days you really had to dedicate yourself to photography. Just buying the camera the first installment. There was a lot. Aesthetically we can have discussions on what you lose in digital. But as a practical thing to get me in? It’s a lot more econo. Digital cameras are like pawn shop guitars. When I was little I couldn’t get a Fender or a Gibson. We didn’t know what they were. Some things need to be entry level.

Q:How did you first start taking photographs?

A: The ability to go econo and shoot digital is how I got into photography. That coinsided with me getting on a bicycle for the first time in 23 years. Some guy was moving to Atlanta and was selling his ten speed for ten bucks. I was so fucking “econo” I went for it. I started peddling around Pedro (San Pedro, CA) and starting seeing things in the morning I wanted to share with my friends. The same thing happened with the kayak. After a while the bike was killing my knees to peddle every day. I have bad knees. So I started kayaking. I live in the harbor. Out of the water I started seeing a bunch of wild shit. I started taking pictures of the shit I saw and sharing it with my friends on email. I didn’t put it out to the whole world. Just my friends.

Q: How did you end up with a gallery show and book?

A: One of my friends who owned a gallery in Santa Monica said, “Hey Watt, you’re sending me this shit in emails. Why don’t you let me put a bunch of them on paper and put them on the bulkhead?” So that was the show. Then some people from New York City who print books they asked me to take the things I see in my town and juxtapose them with things I write in my tour diaries. I said, “Okay.” Both of those things were kind of curated. I did the photos and writing but I wasn’t confident to pick what should be in a show or a book.

These people picked through my stuff and decided what pictures to use and what diary entries to juxtapose.

Q:What was your first camera?

A: My record label (SST) gave me a camera where you put a floppy disc in it. Some brand that started with an M or something. Maverick? I can’t remember the name of it. It wrote to a floppy disc. The idea that you could just delete bad shots

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was great.

Q:How do you compare photography to music?

A: I have always thought of photography as kind of like songwriting which is also kind of like writing plays. The angle I approach it is you start with the title and then try to realize it.

For the cover of “Double Nickels On the Dime” (Minutemen album) I had the image all framed in my head before I shot it. I took the cover photo in three loops around downtown L.A. I had not idea until we took it into the developer and got it back. That was a real dice roll.

Q:What makes San Pedro such a perfect location for photos?

A: I don’t do it because it is the perfect location to shoot. I do it because it is the perfect location to live. I’m just showing you where I live through my photos. I came here when I was nine from Virginia. My dad was in the Navy. And we stayed. Pedro became a special place for me. I haven’t really lived in other parts of So Cal so much. I tried to live for a couple months in Paramount? There was a Monsanto plant on one side of the road and a psychiatric hospital on the other. Other than that I have always lived in Pedro. It’s s probably the only place in Cal where this is no commute. Because people work where they live. We are a working harbor. Mr. Bukowski spent the last 14 years of his life here. He picked Pedro. I like Pedro but I didn’t pick it really.

Q:What are your favorite subjects to shoot?

A: It’s the weird kind of mix of nature and industry. We are like Malibu with Hammerhead cranes. I like that mix.

Q: Is morning your favorite time to shoot?

A: I love the orange yellow light and that only happens at a little part of the day. Something about the morning. The potential. Of what you can do yourself. But also what can nature bring me to shoot.

Q: Are there any plans to do a follow up to your book Mike Watt: On & Off Bass?

A: I have not really planned another book or another show but the E-Book version of my book just came out. It has more pictures. I’m been getting into this little pond we’ve got in San Pedro called Averril. Home to a lot of wild mallards, some geese and domestic ducks. The addendum to the book features 15 or 18 more pictures you can look at it on the pad or (com) puter or your phone.

For all things Mike Watt: www.mikewatt.com

Q: Do you shoot every day?

A: I do pictures every day. Because you don’t know. I go out every morning with the cameras, I call my photos “I Gets.”

Photography is more serendipitous than songwriting. It seems to fall in your lap. You just have to be ready there to catch it.

Q:How long do you take to set up a shot?

A: It’s hard to set up nature shots. I wonder if the best pictures I had the opportunity to snap just dropped on me and I was there to get it. I make my route, a pattern of places I visit every morning. I noticed that when I had a cat he was always checking to make sure everything was still there. I tend to that with Pedro. Here’s the docks. Here’s Point Fermin. The bridge. And I have the camera ready because I may see that fern coming out of his nest.

Keith Valcourt Writer

Passion and adaptability are the two most important things you need in Hollywood. Writer Keith Valcourt possesses both. He’s an LA-based entertainment writer for DC newspaper, The Washington Times, New York City papers... www.keithvalcourt.com

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BEHIND

THIS PHOTO

GRAPH

Hands of Hope

It was noon in Easter week and I went out with my grandma and my photography teacher by that time. We decided to go out to find some nice portraits of people on the street, but we really weren’t looking for something. This time, as many others, we wanted to be surprise by everything who crossed our way. So, walking around we found this homeless guy who didn’t say much really, he just ask me for some change and I gave him my drink and some money I had in my pocket then I ask him politely if it was okay to take a picture of him, he said it was okay so I point him a spotlight in the sidewalk. He sat down quietly over the hood of a car that was parked there for quite a while.

Eventually, I looked at his face and I did some headshots. His face was quite sad, I wanted to know his story but I remember he didn’t want to talk much so I kept forward with photos.

Suddenly I saw his hands posed over his knees and I stopped him before he walked away, I framed a couple of times before I decided which one convinced me the most, I stepped back a bit and I took the photo.

I’ve been taking photos since I was 18 years old and I’ve been loving portraits since then. At the beginning I thought portraits requires a face, and expression that can actually tell you something, feel something, but know that I’m 22 years old, I learned that you that you can tell the story of anybody with fragments of their body or his/her surroundings. So, even though he didn’t tell me much I can have an idea of how hard his life has been or the situation he has been through, makes me understand that sometimes you don’t need words to communicate just look. click here to comment on this story ->

Gabriel Gomez Photographer

In July of 2013 I won my first academic photography contest called FILA U. Best urban photography and best illumination in a photo, pretty important for me and my family these days since photography is very competitive. Since then I got more confidence. Facebook | 500px

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heir derstand t n u E I K t Z u T I b L m UD f using the on’t take o d ALLANP n d a f n a a t l, o u astef ally n re small, t a I’m person y e h t s. if think hat’s a plu t n a h t t purpose. I o h from the s s u c fo y a w a

DAV I D H Ah, wat I N N E N ermarks .I here on FB, sim put a tiny one in pl image a t all. No y for branding. the lower left c ne on m o I it shoul y websit t doesn’t interf rner d be ob ere e, b vio galler y f or order us who took th ecause it’s my w with the e in e able wa termark g prints, I wou pics. Now, if it’ bsite, so ld s so the c there (h lient can put a large, ve a client owever r y notic ’ low-res e it is) an t simply downl oad the d do wh image atever th ey want .

P-A N IL S S O N 960 pixesl at 7 2 dpi but I hard ly ever put a w want that sma atermark. If th ll frame they c ey an have it, and unused materi I never publish al on FB.

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MARIAN OKJERG UILLERM O I have nothing against them.

If it’s a website and people share the pics without your knowing all over the web. Yeah, it’s useful, because people know where the pics come from.

wa te r

I

PI

m ar ks

JACOBCARROLL I personally only use them on select images. I feel they do nothing to protect your image. Anyone who would steal it without a watermark will still do so with a watermark. I only use them so that if someone sees an image and would like to contact me they have an easy start to finding me. I like them small, semi-transparent, and not across the focus of the image.

It is a pet peeve of mine when I see someone’s “First Name Last Name Photography” plastered across the center of the image in a basic font. Seems more often than not those images are not worth watermarking anyways.

one of n i y t i c pa t) R h low o he picture leas t E i L w S d S n E L FA mall a fects t w M A N U ... relatively s er where it af le should kno em op orn ng... pe I use th corners (the c i s i t r e v ad er urpose: ehind it. the low p e n o b nly rapher g ... for o o t o h the p who is

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JA M E S M C E WA N Don’t put big pictures on FB , keep them to 160kb. Anyon no more than e with a minim um of skill can move the wate download it, re rmark and call it their own. I’ a few landscap ve surprised qu e guys by repla ite ying their pictu They all think res at 10 MB . that FB resizes everything

ea ea... I us d i r A a T e l T c E a ost G E R E M or now I haven’t e, but m r O u t N c i E p R e .F th MO 900 px uestion.. k in a corner of e q s g u n I i t y s l e l r ua Inter waterma tures; us e r c i u p t a g i n g b i ad little s ever uplo n I t n a t impor pi. and 72 d

S

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PHOTOGRAPHER OF MONTH

THE

NI: When did you start taking photography more seriously?

MB: That was right after my bachelor’s degree, in 2011. When people started asking me my rates for photo shoots. Every day.

LOL! NI: Why do you really take photos?

MB: Being a photographer is seriously awesome. I love beauty, art , and people. If you mix it, it’s photography. Each photoshoot is a new challenge, where I can express myself and tell a story.

MathildeBresson What a wonderful way to start a new year with our first photographer of the month, Mathilde Bresson. A french photographer based in Los Angeles. Many of us have made that move from our home country to the desirable Los Angeles in California and we know it can be hard, at least in the first few years. As you know, we are all about helping and supporting photographers so with no further ado, let’s see what Mathilde is up to.

Get to Know Mathilde

NI: Can you please tell us a little about yourself?

MB: My name is Mathilde Bresson. I’m French and I live in Los Angeles with my boyfriend Rudy.

Mathilde’s Photography Journey

NI: When did your photography journey really start?

MB: My photography journey began when I was about 19 years of age. My parents are artists. My mother loves photography and painting and my dad is a musician. I grew up with artistic vibes, enjoyed watching them and their passion for it.

It’s always been a great hobby for me, with friends.

I got my first Canon 550D DSLR with a 50mm lens for Christmas. Tested with my best friend Caroline Lagrassa, (she is now a professional model). I practiced a lot with her.

NI: Do you take photos more for your own sake or for others?

MB: The end result is something I really need to share. But I guess more for myself. I need to create. This is a unique sensation. During the photoshoot it’s like if time stops around me.

I just think about what I want. And this feeling after a photo is magical. You feel like you are new, like you just received a new gift for Christmas. And you can’t wait to start working on it and show the work for the team. But I also take photos for others. Because I create to make people like it. To show them the beauty. I am not done when I have seen my pictures, I really need to show everybody! And when people like my pictures, Here I am happy.

M

Let’s Talk About Gear

NI: What kind of gear do you use?

MB: During my four first years, that sounds crazy but I only used my Canon 7D and 50mm 1.8. And natural light. You don’t need more than this to create something when you start. Now I use Canon 5D mark iii, 50mm still my best friend, 35mm 2.0, 70-200 2.8 .

NI: When you travel, what do you take with you? Why? MB: Other than camera and lens, I take my reflector. It can save your photoshoot sometimes and this doesn’t take space.

NI: What is your favorite lens? Why? MB: My favorite lens is my 50mm, because it’s my “heart“ lens, I grew up with this lens. It’s the one I started with and it’s an amazing lens because it’s cheap and you can do a lot with it.

Insppiration Is Important Too

NI: Who’s work has influenced you most?

MB: I like a lot of pictures of course, I am fascinated by those pictures in the magazines, but first I’m inspired by the world around us; music, music videos, fashion styles etc. continue on page 41

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Model - Elvyre Bouillot

Model - Anna Didenko / ANAMA

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Model - Malaika / ANAMA clothing

NI: Who are some of your favorite classic photographers, and how did they influence you?

MB: I am fan of Ellen Von Unwerth, Mario Testino and David Lachapelle of course. But I can’t really say they influenced me. I just love their work, they make me feel like I want to do more and more.

NI: What do you think are some clichés in photography you steer away from yourself?

MB: Money and retouching. You don’t need to spend a lot of money to create the perfect picture and you don’t need to spend a lot of time on Photoshop.

Let’s Talk Shop

NI: In the field, what are your most used camera settings?

MB: Don’t really have set settings, but usually use my aperture between f/1.8 and f/2.8 and keeping my ISO as low as possible.

called ANAMA. We’ll have the photoshoot, for their SS16 collection, in an amazing house near the venice canals at venice beach. Lifestyle type photos, boho, hippie with beautiful models and an amazing team, so excited!

Tips For Our Readers

NI: What are your thoughts and feelings about shooting individually (versus shooting with a friend or small group of friends)?

MB: I don’t really like shooting with friend or small group of friends. I know what I want during my photoshoot and I really need to focus on that. If I bring my friends, I’ll only be focused on fun, and will want to help them or explain them how to do something and I won’t take good pictures lol!

NI: What are some other tips/advice you would give to yourself if you started photography all over again?

MB: Don’t hesitate to share your work with other photographers and take fewer pictures.

NI: What kind of tools do you use for post processing?

MB: I use Photoshop and do a lot of frequency separation, NI: What do you want your viewers to take away from your dodge and burn, and color corrections. I change the setting of work? every pictures, one by one.

MB: I want my viewers to have a glimpse into my world and become addicted to it! Giving the viewer the same feeling that NI: Do you prefer Photoshop or Lightroom? Or maybe some I have when I look through my camera. other software?

MB: Photoshop is my best friend!

NI: What is one question nobody has ever asked you—that you wish they did?

NI: How has social media played a role in your photography? MB: What’s your dreams? Because I am such a dreamer. Since MB: So important, I work a lot on my social media, I try to I was a child I am a dreamer. I have so many dreams. And post every day. My Instagram @mathildebresson is a full day starting a new life in USA was one of them. Now I would job. Seriously! And Facebook was my first client source in say that I’ll succeed in life when one of my photos will be in France (we use more Facebook in France and more Instagram Vogue magazine. in the US).

Thank you very much for sharing and letting us into your NI: When you are out shooting—how much of it is instinctual world, Mathilde. versus planned?

MB: I would say 30% planned and 70% instincts. I try to Website: http://mathildebresson.com/ make it more planned, and keep going with the vision in my mind, but if there is something that I like and that is not Instagram: https://www.instagram.com/mathildebresplanned, I’ll make it happen! son/ NI: What is the one thing you wish you knew when you started taking photos?

MB: That I can use agencies’ new faces for my personal projects!

Facebook: https://www.facebook.com/Mathildebresson-

NI: Among your works, which one is your favorite? Why? MB: It’s always my last photoshoot, I like it when it’s new! My last one is one of my favorites because we had the photoshoot in the california dunes, with an amazing team. It’s too hard for me to choose a favorite.

All other social media: @mathildebresson

NI: What projects/ideas you have going on now?

MB: I am currently working with clothing brands for their next collections and my next project is for a clothing brand

photographer/?pnref=story

Snapchat: @mathildebresson

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Are you going to be our next Photographer of the Month?

Submit your short bio and we’ll contact you.

Submit here -> 41

WORKSHOP RE

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RE ALI STIC

COMPOSITION by Adrian Sommeling

I remember, about two years ago, seeing a very creative and cool looking composite image that simply drew me in. One of those photos you say “Wow! I wish I could do something like that!”, you know what I mean, right?

His creations are very creative and can be; smart, funny, scary, sad, happy... You name it, he’s got it!

His unusual ideas and unique post processing techniques That image was created by a dad photographer (I guess that’s make turn him to a brilliant storyteller. A story told only by what they’re called haha) who is based in the Netherlands. He pictures. One picture to be exact. Each image tells a different combines two of his passions - photography and his son - into story that could not take place in the world as we know it.

Well, most of them at least ;) one beautiful masterpiece. One image at a time.

I found out that he was hosting workshops all over the world and really wished I could attend any of them, but it never happened.

Today, after more than two years of seeing that first image and becoming a fan of his I finally got the chance to talk to him and find out he’s a pretty awesome guy. More than that, he finally has a video workshop! YES!!

You probably know who I’m talking about by now, no other than Adrian Sommeling, that impressive photographer I have come to be inspired by.

I obviously got my hands on one of his workshops and started watching it immedi-

WIND / photo by Adrian Sommeling

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NICE TO MEAT YOU / photo by Adrian Sommeling

ately! Made some coffee and popcorn, set up my station with the MacBook Pro and my lovely Cintiq 13” HD. Turn off the lights and let the show begin.

The video quality is good and you get 11 separated chapters - that way you don’t have go through the whole five hours in one single video - and he wears a small microphone to separate his voice from the background noises.

Today, I am fortunate enough not only to tell you about his new workshop, but also to review it and give my own opinion. If you are a photographer who wants to experiment with a I’m honored. Thank you, Adrian. new style of images and want to widen your horizons, I would definitely recommend Adrian’s workshop.

Here we go:

At first glance, when pressing play you see Adrian introducing the workshop and what we are about to create. He explains how he shoots his models and scenes and what he likes or dislikes, so (as most workshop instructors do) he teaches us his own style and personal preferences.

If you know anyone who likes Adrian’s images and has been following throughout the years, I would say gift them with it as soon as you can.

To sum it all up, I think many photographers and photo lovers out there hoped that one day Adrian would have a video The video is not flashy and artsy fartsy. It’s direct, to the point workshop, because not all of us can just pack up a suitcase and attend one of his workshops. In fact I’m sure that so and it’s pretty raw. It makes you feel like you are sitting in front of him instead of watching a recording made thousands many people, just like me, are thrilled because there are no tutorials from him at all out there about how his magical work of miles away from you. is being created.

Adrian knows his way around Photoshop and he’s using a Wacom tablet, which helps a lot with post processing - I high- And you know what? You will not be disappointed for a moly recommend getting a Wacom tablet or a Cintiq, if you can ment. The workshop is clear, informative, warm, fun, a little afford one - so if you are not familiar with Photoshop already funny and makes for a great way to getting out of your daily it would be very smart to learn the basics and then jump back routines. to Mr Sommeling’s workshop.

Adrian Sommeling, thanks for being an inspiration for so many of us.

Make sure you know how layers work and how layer masks work.

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GET

UPNOTINDOOR

AND SHOOT

Welcome to NOTINDOOR’S Monthly Workshop

From the beginning, when NOTINDOOR was just in the planning process, one of the main things we wanted is to help photographers improve their skills and teach photography enthusiasts how to shoot amazing photos and get out of the camera mode that most people use - Auto Mode.

In order for this workshop to be efficient we don’t want to just start with something right off the bat, instead we thought it would be more useful and meaningful if our readers choose and submit a few things they would want to improve in, learn new techniques, workflow etc.

What to Submit 1. Photos you would like us to recreate 2. Links to an image you’ve seen online 3. Questions regarding your camera 4. Questions regarding camera settings 5. Questions regarding lights 6. Questions regarding locations 7. Any questions you need answered How to Submit We’ve made the submission process as easy as possible, so all you have to do is click the button below. This magic button will let you email us what you’ll want to learn.

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PORTFOLIO - ADNAN Adnan Bubalo (44) is an award-winning landscape photographer from Bosnia and Herzegovina who began his career as a combat photographer during the war in Bosnia

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NBUBALO

500px Facebook Page

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during which he was twice wounded.

His photographs have been published on Internet portals in almost all the countries around the globe some of the more renowned were National Geographic, The Weather Channel, The Huffington Post etc. He also organized his own exhibitions, the most important ones in Rome and Istanbul.

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Bubalo also holds a law degree and he is very active in the field of protection of human rights of people with disabilities.

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Although these two passions do not collide with each other, and the time required to perform them can be a problem sometimes, Bubalo considers himself extremely lucky.

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A C 60 NOTINDOOR

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H T E R

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A M A

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HISTORICHIGHWAY Photographer: Allan Pudlitzke CAMERA: Canon 60D LENS: Tokina 12-28mm F4 FOCAL LENGTH: 12mm APERTURE: f/8 SHUTTER SPEED: 1/10 sec ISO: 200 LOCATION: Corbett, Oregon. Historic Highway 30 in the Columbia Gorge

T HEDR A MA Sometimes what we visualize in our shot doesn’t always come out in the camera the way we anticipated. I love the look of a dramatic photo, edited or not. Whether it be the tone, subject or the surrounding that creates the sense of drama in the image, it brings a little more emotion and creativity to the picture that may have otherwise been relatively bland. There are so many different options to add that sense of drama to a photo. Whether it be a small blast of contrast, some color enhancement or even black and white, it can truly make an image. I am going to start with photo taken from Historic Highway 30 in the Columbia Gorge and use a little bit of contrast adjustment, toning, and curves to get the added effect I was looking for that the camera wasn’t quite able to pull off itself. We are going to do this all from the comfort of Adobe Lightroom CC, and any version should work for what we are going to accomplish.

A new city, a new country, or even a new continent? Wherever you end up travelling, chances are, you will want to take some photographs. Be it documenting your trip or working on your portfolio on the side, there are some things to be taken into consideration.

It’s that time of the year again – you just booked your vacation – for relaxing’s sake!

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HOWTOADD DRAMA TOYOURIMAGES in Photoshop CC First off we go ahead and import the photo into the Library of the program and proceed to the Develop tab.

Here I am going to try and get my white balance set to something I feel will better represent the dramatic tone I am looking for. Now, to make white balance adjustments after the fact, be sure you are shooting in a RAW format. RAW formats will allow for you to make these adjustments after the photo has been taken and creates a backup option if you don’t happen to get the right balance while out in the field. However, be forewarned, RAW files are much larger than the traditional JPEG files you may be using so bring an extra memory card or two if you plan on shooting a lot of photos. Even if you

1

didn’t shoot the photo in RAW there are still a ton of tools available in Lightroom to get you to the point we are looking for with the White Balance, it would just be a little more drawn out than we are going to walk through.

2 For this image I am going to use the Daylight preset. It brings out a little bit of a blue hue to the highlights in the photo, and gives the fog and cloudy skies more of a natural white look.

This will let me tone the shadows and highlights from a good, well balanced starting point.

3 Next I am going to do some minor adjustments to the contrast settings of the photo. For me this will keep the shadows nice and dark, and will help maintain that clean white look in the skies to prepare it to be toned for mood.

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Next, I am going to use the split toning tool to add a little color to the highlights and the shadows of the photo.

This is purely subjective based on how you want the photo to look ultimately. For this shot I decided to use an orange tone to create some variation with the skies and to add a little bit of flavor. With the shadows aspect of the split toning, I take into account that the majority of detail that is going to be adjusted whether it be trees, moss, or other foliage. For this photo, I decided that green would be a good color to emphasize and help make the small highlights in those areas pop a bit more. This is something you can spend a ton of time on to get the look you are looking for, but for the sake of the article I am sticking with a relatively even balance between the two tones.

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We can already see a bit of drama added to the scene with just a few simple steps.

We aren’t quite where I want the photo to be yet, but it is certainly progressing in the right direction. Next I am going to add a bit of vignetting to draw attention to the center of the shot and to darken a bit around the corners. I like to use this look to create a little drama as it adds a little darker feel to the photo without taking away some of the contrast throughout.

Again these setting are purely subjective, and entirely based on what you are looking for with your creation. Enjoy messing with the different settings until you find something you feel fits the look you want.

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The final adjustment I am going to make to the photo here is to reintroduce a little bit of a white haze, and to elaborate the dreary fog throughout the shot. I like to use a very small adjustment as too much tends to brighten the photo up more than I would like. Again these settings are purely based on your personal preference when editing the shot. Personally with the dehaze tool, I have found that a little tends to go a long way. As you can see with a few small adjustments to the contrast, tones, and haze of the image we now have a nice and dreary shot of this old highway. click here to comment on this article ->

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On to the next page for the before and after 65

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What makes an art gallery momentous? Is it the sheer size of the place or magnanimity of the artists involved? Do we want to boast about the prime location of the gallery or about its vibrant history? May be, more than any of these, should the social impact factor shaped by a gallery be the primary consideration? All these thoughts flickered in my mind when I came across a new gallery “PhotoMuse” and their exhibition “Open origins - open ends”.

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India has a lush cultural background. Yet photography as an art form has not developed from its grass root level. When a gallery is located in a comparatively remote area of such a domain, and when it tries to infuse love for art in folks, it should definitely be mentioned instead of all its constraints.

PhotoMuse is India’s first museum dedicated to the art, history and science of photography. PhotoMuse was established in December 2014 by the BAF (Better Art Foundation); a non-profit public trust registered under the Indian Trusts Act 1882. The opening show was based on the theme “cultural plurality of India”. Within a short period of time PhotoMuse hosted vast number of exhibitions and educational programs affordable to budding artists.

The gallery collection includes prints, digital photographs, photographic instruments, negatives, transparencies, motion pictures and digital/printed documents contributing to the knowledge about India’s photography legacy. All objects are preserved in temperature, humidity and dust controlled museum conditions.

The gallery is located at Kodaly in the state of Kerala, India.

The chief curator is Dr. Unni Krishnan Pulikkal, who is a receiver of Associate ship of Royal Photographic Society, London, in 1998 and Senior Fellowship in Creative Photography

by Govt. of India (2014-15).

“Open origins-open ends” was a recent photo exhibition in PhotoMuse gallery that did not have a specific theme and allowed every image to enjoy the freedom of being noncommittal. It was a great platform for upcoming as well as established artists and comprised of 30 photographs shot by photographers from different parts of the country. The show was more distinguished by the novelty of artwork and passion for the medium. Every single photograph that was displayed showcased the unique style of each photographer and highlighted the immense care taken by the curator in the selection process.

The gallery help to make the art form more democratic without compromising the essence. So it is a delight to be a part of it.

Indu M Photographer

Though I express myself through painting and writing, photography is the most comfortable medium for me.

I am drawn to anything under the sun and enjoy the thought process behind creating each image.

click here to comment on this article ->

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BOOK REVIEW

At first glance, Inside My Dreams makes us feel as if we’re about to get into the surreal dreams of Moroccan photographer and filmmaker Achraf Baznani. He lets us into a world where he is just a small creature in scary, yet beautiful, environments.

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As we read through the introduction of the book, we come to find out that the images in the book are Achraf’s interpretation of everyday situations and how we deal with them.

Before every picture, Achraf, lets us know what we’re about to see. Unlike most photo books where we can find the title and details about the photograph, on the photograph, Achraf lets us in beforehand. It almost feels like he’s trying to make us imagine what we’re about to see.

This is a square book and contains more than 100 pages filled with a unique style of square images and beautiful little stories.

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continue from page 51 • BOOKTITLE / Some One

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Inside My Dreams helps you disconnect from any reality and simply dive in to so many worlds; some are magical, some are spiritual, some are just goofy and funny and some that are dramatic and scary. Whatever world you get into, you can choose to stay and be part of it or just move on until you find what your mood is after.

After experiencing all the images, created by Achraf in the book, I would say it has no age, religion or race restriction and can be a wonderful gift for every photography and art lover.

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PHOTOBY: Moshe Levis CAMERA: Pentax k-r LENS: Pentax 18-55mm 1:3.5-5.6 kit lens FOCALLENGTH: 24mm APERTURE: f/3.5 (reverse ring) SHUTTERSPEED: 2 sec ISO: 100

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MY VIRGINITY LOSING

MACRO

A reverse ring? What the hell is a reverse ring? was my initial reaction when I fisrt heard someone using that term.

I remember, a couple of years after I started shooting more “professionally”, seeing a lot of macro shots on websites like 500px and Flickr, and I wanted to try it myself. Some of the shots were really breathtaking.

Back then with my first “professional” camera (at least that’s how I called her), the Pentax k-r, I was confident enough that I could take some really amazing macro shots. How hard could it possibly be? Taking a photo is just a click away.

Boy, was I wrong!

I ordered a reverse adapter ring for my camera that fit my lens kit. I was pretty excited and couldn’t wait to start shooting insects and other tiny subjects, but after attaching the reverse ring I had to stop and think, where the hell am I going to find insects? When I find them, why would I want to touch them?

What if I found a spider? I would probably smash him with my shoes without even thinking (sorry).

For that reason I decided to start with something big, but something that could provide an interesting and very small texture - a sage leaf.

A reverse ring is an adapter that lets you connect the lens to the camera, from the front side of the lens. By doing so, you are reversing the magnification aspect which lets you get closer and closer to your subject while maintaining some focus.

Pretty much a made up, extremely cheap macro lens.

When I got closer to the sage leaf and tried taking a picture I stumbled upon my first problem. The aperture. Because the lens is connected from the other side, all the automatic functions of the camera can’t control the lens. The aperture was to small for any light to get it so I had to control the aperture, manually.

How? There is a small pin that moves from side to side. That pin controls the aperture blades. Great! So I could move it and open the blades as wide as possible. Great! But then what? My finger was in the way! I had to keep the pin at the widest opening but it didn’t stay there, it kept going back because that’s how it works.

So I grabbed a small piece of paper and folded it until it fit the hole, where the pin was, and kept it from moving back.

Awesome!

After taking a few shots I found another problem. Because my aperture was at its widest, my depth of field was extremely shallow so almost nothing (interesting) was in focus. It just wasn’t it!

After Googling and YouTubing what to do - focus stacking - I positioned my camera on a tripod and focused on the closest part of the leaf. Then, shot after shot I focused further away until I covered the whole leaf.

The results? See the previous page.

I also tried it with a dead fly I found in the kitchen - don’t ask - but it didn’t work too well. The fly was... well... dead! So I didn’t try too much anyway.

This is to remember the dear fly. Please let’s all take a minute.

A not edited photo of the sage plant. Right out of the camera f/38 | 30 sec / 55mm / ISO 100

I set up a white table with no strobe lights or speedlights because I didn’t have any. All I had was my kitchen light, and that’s why it took 30 seconds to get the picture above with that aperture. I was just playing around. Testing the waters, you know? Checking the light temperture, the overall texture of the leaves etc.

A few minutes later I was ready to try my reverse ring method.

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A not edited photo of Fly. Right out of the camera settings are not important. Focus on the fly.

After that day in the kitchen, I was confident anough to get out there, to the big scary world, and try capturing things that people don’t usually pay attention to.

I decided not to use focus stacking and just focus on one small part, within that already small subject. I shot everything I saw that might have had some interest to it. Something that might look cool if we could just see it up close.

From nails to cactus spikes, to inside of roses... every object or living thing deserved a photoshoot.

That little adventure taught me something very important.

Reverse ring adapters are potential camera killers.

Beware!

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Moshe Levis Photographer/Author

It’s all about the beauty of our world.

I capture photos of whatever attracts me and inspires me. I shoot portraits, wildlife, macro, landscapes and many personal and original projects.

Website | Facebook | Insta | Twitter

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LETS TALK

GEAR Bellows Units

Similar to extension units, bellows are used to create space between the body of the camera and the lens itself. The additional space between allows the lens to focus closer, thus creating greater opportunities for macro photographs. While they tend to be a bit more expensive they offer a great deal of expandability with the only downsides being the size, weight, and cost of the units.

Ring Lights

Ring lights are great options for up close and personal macro photography. They provide even light distribution and work with almost any camera. The only downside to these great tools is that they have trouble on wide-angle lenses and some do not have adjustable or guaranteed color temperatures.

Additionally, depending on the stickered brand of the product, the prices on equipment can vary quite widely as well as their quality.

Collapsible Diffusers

This easy to carry, cheap, yet effective tool is a bargain to be had for macro shooters. These compact versions make transportation easy. They can be small enough to fit in a pocket, offer great directionality of light to your subject, and can be had for $10 or less in some cases. Additionally, the increased level of light allow for lower ISO settings on your equipment as well as opportunities for greater depth of field.

Focus Stacking Software

It’s very easy to lose depth of focus due to the diffraction in a lens. The key to working around this is patience and focus stacking techniques. There is a variety of options available to get the job done. The most common would be the Creative Cloud Photography plan. It offers access to Photoshop and Lightroom for a small monthly fee. It ensures your software are always on the latest version. There are several other dedicated options for this purpose with prices ranging quite significantly. It really depends on what you’re after. For the most part, NOTINDOOR writers tend to Adobe CC. 80 NOTINDOOR

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LIVINGSMALL

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The Adventures of Leslie Temanson

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UNANTICIPATED

LOVE

Fall in love at my age? Forget it! With an abused 16-year-old girl? No way! Single, never married, no dependents, I was happily retired. Falling in love with a teenager was not part of my plan. Or was it? Cupid’s arrow struck when I turned 67.

I was in love, no turning back. Not even when love turned to pain.

No, I hadn’t been looking for a relationship and it wasn’t love at first sight either. Initially she sickened me. Ugly open gashes covered her head. Long deep slashes, at least 20, a machete most likely the culprit. I wanted to kill the perpetrator. No, not just kill him I wanted him to suffer. Painfully suffer like the defenseless teenager had whom he’d brutalized.

Medical attention was a priority. Suturing the gashes wasn’t to be, the hospital too far. Dirty, the wounds demanded immediate attention so she was constrained. Strapped down tightly. As water ran over the multiple gashes a stiff cleaning brush scrubbed the open cuts, red and raw. She didn’t fight or scream in pain as chunks of dead skin fell from her head.

She didn’t cry, but silently I did.

Q-tips removed any pus, dirt or blood from deep within the cuts. Clean medications were placed on them. She cried only when a large syringe of antibiotics were injected. I felt her pain, I cried with her.

The routine of constraining, cleaning the wounds, removing dead skin and placing medication on the wounds continued daily. I felt her pain even if she didn’t show any.

I stood back as the doctor worked, not sure how she might respond if I got too close. She’d been abused. Would she lash out? She never did as her gentleness captured my heart.

Before long we were eye-to-eye, me cooing while caressing her face. Bonding had begun.

Every morning I’d wake up early to give her special treats before feeding and bathing her. The bond grew deeper.

People began saying our names in the same sentence. We were a couple. I was so happy. I expressed my feelings to those in power but was told she’d been promised to someone already. The deep gashes were the only reason she remained.

Their response did not keep me from loving her more.

With love came pain, the pain of losing her. I could not say her name without my voice cracking. The thought of her leaving brought me to tears. I loved her but found it so hard 84 NOTINDOOR

to talk about it, even with friends. Could anyone possibly understand my sorrow as well as my joy?

As her wounds healed my pain only grew. I didn’t know when she’d leave, but I sensed it could be anytime. I had to do something, but what? How could I describe my feelings without collapsing, looking weak in a foreign macho world?

I decided to script a speech and practice it until I could repeat every word without any emotion. It was a short speech. I loved her and I wanted her to stay.

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One night while having diner with those who held my love’s future I chanced to deliver my speech. I began, only to hear my voice falter and break. Tears flowed. I laid bare my soul.

I couldn’t imagine life without her.

Hearts melted, earlier promises could be renegotiated.

The elephant I’d come to love would stay.

Leslie A. Temanson Photographer / Author

Currently living at an elephant camp in Northern Thailand involved in conservation efforts, after 20 years of non profit work in Africa, five years in hunger related grant making and 14 years as a California public school teacher and mentor. - Blog

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THEH

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HAAAAAVE you

from house, to country, to jazz.

All depends on the mood and environment I’m in.

Kourtney?

met

This month in the Haaaaave you met... segment we want to introduce professional model and social media queen, Kourtney Reppert, with an interview to give us a glimplse into her life.

Kourtney, now based in Los Angeles, is from Lessport, Pennsylvania. She has been modeling for about 11 years, has no pets and raises her one sweet kiddo who she would give her life for. What a hot, and amazing, momma!

Kourtney is an American model dubbed Philadelphia’s Hottest Sports Babe & “Model of the Year” for the Philadelphia Phillies & Flyers. A lifelong athlete, she fell into sports modeling naturally and has been featured by Sports Illustrated, Maxim Radio, and FOX Sports.

Let the grilling begin.

NIM: So, Kourtney, what is the first thing you do when you wake up in the morning?

KR: Look at my phone and try to get in extra 10 minutes of sleep.

NIM: I believe that many of us can relate to that. Haha. Well, what kind of music do you like?

KR: I love music, a lot of different types. Music has always been a tool to make me feel better, to make me feel a certain kind of emotion, or to just escape. Music is a big part of my life. It’s something I need almost every day. My tastes range 90 NOTINDOOR

NIM: Cool. Cool. So let’s get to some real modeling type questions for our readers and your fans. What made you first become a model?

KR: I have older sisters who used me as their Barbie doll growing up. I was put in clothes and makeup and had my hair done all for their entertainment. I would then put on little theatre shows in my living room, I guess you could say I was a natural and it began early. I was awkward looking till about 9th grade, and then I began to get a lot more attention and grew into my features a lot more. I consider becoming a model when I started to get paid for being in front of the camera, and that started at around age 18.

NIM: Have you won any awards?

KR: I was voted to be next Miss America with my senior class in high school. In 2010, I was named by WMMR, Philadelphia’s #1 Rock Station, as Philly’s Hottest Blonde. I was featured on ABC’s Good Morning America, Night Line, three CW network shows, MTV, and working along side former Daily Show star Rob Riggle on Fox’s NFL Sunday pre-game show and more.

NIM: As you probably know, social media nowadays is almost one of the most important ways to success. How did you become such a social media phenomena?

KR: I don’t really know. I would say timing is everything, some luck and a lot of time behind the computer. Just learning with the times because the Internet and social media are constantly changing. Like anything, you have to keep learning and trying new things. I really connected with a lot of other like-minded girls who were also into branding and enhancing their social media numbers and we have helped each other along the way.

NIM: What did your parents first think of you being a model and were they supportive?

KR: I think they were supportive to an extent. But with anything that has to do with the masses of the public there is always some caution and concern. I truly never understood

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NIM: Here’s a fun one - are there any days that guys DON’T hit on you?

KR: I don’t really know. I’m kinda a hermit. I know when I’m being hit on, sometimes people can be nice and you can take it for something else. It’s hard sometimes figuring out between the two. Because there are a lot of friendly guys, who want someone but never make it something because they usually wait for the girl to make it something. It’s confusing, so I like just being chill most of the time.

NIM: You hear that, guys? Don’t be shy, but be nice. Who knows. You didn’t hear that from me ;) Do you remember your best modeling gig ever?

KR: I think it was when I was doing photoshoots on my own terms, usually when I was going through a painful time. I was able to use that pain, into my art, and I like looking back and seeing just how much those times have helped me heal. But on a professional level, probably when I was a stand-in for Jessica Simpson and her Christmas Macy’s commercials.

NIM: This reminds me, we need to get Jessica in here. Haha.

And do you remember the worst one?

KR: I can’t think of any at the moment.

NIM: Do you have an agent? If so how does he/she help you?

KR: I am currently managing everything on my own. I found that being represented isn’t necessary anymore these days.

Back then before you had opportunities to use your own social media as a platform, it was necessary, but I get a ton of jobs, auditions, and exposure doing my own thing. And slowly after taking a substantial time off from it all, I am slowly

that until I became a parent myself.

NIM: Interesting. How did you feel when you did your first ever photo shoot?

KR: It felt natural. I enjoyed it. Almost freeing like.

NIM: You know, some models will do everythig for the money. Are there any photos you’ll never agree to be in?

KR: I am a very private person even though my job is about being so public, but I only let people see what I want them to.

I don’t think I could ever pose nude. The offer was presented to me years ago, and I thought it was going to be a great career move, but in my heart, I just knew I wouldn’t be able to do it. In the long run I think it would tarnish my future, and of course how I felt about myself.

NIM: Understood. Do you prefer indoors or outdoors photos?

KR: Indoors. Mostly because you can control the lighting and you aren’t on a timeline against Mother Nature. However, I do love shooting outdoors. continue on page 92

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getting back into it all. I do have help here and there with a few agencies but nothing where it is a solid representation.

NIM: If you were not a model, what other profession would you have been doing instead?

KR: I would be someone who helps people. Maybe run my own charity that helped and provided for kids, being a parent now, my life and perspective have completely shifted.

I love being a mom, so something along the lines of helping children. But there are hundreds of things I love doing that I could see myself doing. Life is full of opportunities!

NIM: Can’t argue with that! If a young girl/boy wanted to be a model what would your advice for them be?

KR: Never model to find happiness. Do it because you love it, not so it will define you.

NIM: You hear that? Stay real. What are some beauty tips that you can share with us?

KR: Always wash your face and take care of your skin at a early age. Eat healthy and connect with nature often. I think people are so quick to give beauty tips that impact the exteriors, but beauty really does radiate from within. Connecting with nature really helps you in bringing out that beauty and making you feel good!

NIM: What are your favorite designers or stores?

KR: I really don’t do the whole designer thing. I like my clothes cheap, or that fit well. I shop online a lot. I’m a yoga pants & t-shirt kinda girl. Haha. I never understood the hype of spending hundred to thousands of dollars on a clothing item. I’m simple in that regard.

NIM: Do you ever shoot just for fun?

KR: Yes, all the time.

NIM: Have you modeled elsewhere? Other than in the USA. KR: To be honest, I’ve had many opportunities to do so, but I’ve kept a lot of that within the US. NIM: Do you have a favorite photographer? Ahem...

KR: I really don’t have a favorite. Each one has been different and amazing in their own way.

NIM: Does landscape and nature photography interest you in any way?

KR: Of course. I love the beauty of nature. Almost nothing quite like it.

NIM: As a landscape photographer, I can tell you that you’re 110% right! Do you have a photo shoot idea you really want to do?

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KR: I have lots of ideas :) but they usually come to me when I’m shooting.

NIM: That’s great. Creative models are much appreciated.

Kourtney, I want to thank you very much for taking the time and being interviewd for NOTINDOOR magazine. I’m sure, that like me, people have come to know you a little better and find learn that professional models can be approachable if we just show them some kindness.

We’ll finish with one last question. How can photographers and other interested parties hire your modeling services?

KR: Anyone interested can contact via email and visint my website. Teamkrep@gmail.com | www.kourtneyereppert.com click here to comment on this article ->

Are you a model? Do you want to be featured in our next issue? Send us an email to info@notindoorphotography.com and let’s chat.

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of the month

Bodyscapes II Theater of Life

by Jean-Paul Bourdier The book attempts to discern a fundamental current invisible to both the eye and the rational mind that interrelates all elements within and around us, naturally dissolving the customary dichotomy between subject and object. It proposes that the body in which we live, while appearing new and independent, cannot at the heart of its presence be differentiated from the presence of our “ancestors”

or from natural presences like those of the earth, stones and trees. In scientific terms this interrelation has been dubbed the “butterfly effect.”

To give some insight into the intimate nature of the multifaceted relationship between humans and the earth, the book presents staged photographic tableaux (or poetical performances) arranged continue on page 96

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in three chapters. The first chapter engages aspects of our lives that trace back to our cultural and iconic ancestors and are inseparable from them; the second suggests our ties with the four elements (earth, air, water, fire or light) and more particularly our kinship with trees; the third evokes some of the trials we encounter as humans exploring our potentials during our life on earth.

Like human experience itself, the images presented oscillate between moments of clarity where all elements seem to be unified and more problematic moments related to limited patterns of thought that result in conflict and exploitation of the earth’s natural resources.

All photos are staged in nature with bare bodies so as to render the primordial human condition, vulnerable and dispossessed of material necessities in the face of natural elements. The absence of scale communicates the timelessness of human activities within the background of the universe’s infinite nature.

The colored bodies provide a direct commentary on the nature of who we are. As scientists have told us, the atoms of our earth bodies are the same as the atoms of other planets; what appears as matter is actually empty—essentially intangible light manifesting in the color palette familiar to us. Bodies, and the colors they bear, are here an expression of all aspects of light.

The bare simplicity of living is further emphasized by the use of analog photography, 96 NOTINDOOR

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which engages the physical limits of the present moment and the indivisibility of matter and light.

The assemblage of photographs invites reflection upon the nature of framing as a way to see the formless in the form or open space in what appears limited, and marks the power of “cutting” as a reflexive stance on the photographer’s making of the world, or, in this case, his obsession in relating the horizontal way of living with the vertical way of being.

Through the above strategies, the book essentially focuses on a radiance of being independent of time and space, and attempts to evoke a most common human longing for the experience of freedom.

->

Jean-Paul Bourdier is a professor at UC Berkeley and a photographer whose work balances on the nexus of several arts.

Each image is a scene - staged and captured so as to evoke a contemplation, an experience, a thought, and perhaps a smile. In his view, beauty, wonder, and truth are interchangeable words. He does not use any digital enhancement - it’s all analog photography.

What you see on the page is what was really there. JeanPaul is preparing to publish his third book entitled BODYSCAPES II: Theater of Life.

He has launched a Kickstarter campaign which feature many more images and can be found here

Go ahead. Click it.

Do you have a Kickstarter worth spreading? Send us an email to info@notindoorphotography.com and we’ll consider making your campaign our next Kickstarter of the Month

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Rock Concert

Photo graphy

by Heidi Horvath

The thing about concert photography is it can take you over like a drug.. With that I mean, once you experience it, the thrill, the excitement, the lights, with the music, you are hooked. There is nothing like it! So be warned…..

Rock concert photography is one of the most challenging types of photography. Shooting with the constantly changing colored lights, the fast moving musicians, the LOW light

18200mm 3.55.6 G ED DX VR. But that’s my preference. It’s good to try all different kinds of lenses to see what you like best.. When you get lucky to shoot right in front of the stage, you can do well with a Zoom or non Zoom lens. When you can’t get up close to the stage, (some venues don’t allow it) most definitely use a zoom lens.

What’s great is, with this no film technology (digital) era, you can keep taking a ton of photos (and you will), but learn from each one. Most definitely with rock photography, you will need to know your settings, how your camera works, as well as which lens to use, and when. I started shooting in the Auto setting but, that just won’t do shooting a rock concert inside. ”Manual” is the only way to go, you have so much more control of your settings. It can be confusing, but this takes time to learn, be patient and practice, practice practice! I suggest going out to just local club one night and just snap some shots. This is the best way to see if you like it.

A good concert photographer knows his/her camera very well. In the fast dark pace of a rock concert, it’s so important knowing what to do quickly and change settings if you’re not getting the right shots. Each second is a chance to capture

situations, all the while using NO Flash, can be very, very aggravating but exhilarating! For me, this turned into a personal challenge of how well can I do this?!

I actually got into concert photography years ago when I was around many musicians, and began attending their concerts. Actually, I dated one, hence the being at many concerts.

This became a very pivotal point in my life, taking me deep into this direction with my photography. I have always had a camera in hand, being a shutterbug, on trips, events, European family vacations, etc. So it was very natural for me to give concert photography a good try.

Lita Ford / photo by Heidi Horvath

At first, the most challenging thing about this was my cameras I had back then, they just weren’t fast enough! I needed something that captured that exact visual and feeling that l had, as I saw it, nothing slower would do. My search began, looking and testing, I was so happy when I found my Nikon Pro camera! My photography bug, (like a drug) became an even bigger bug! haha...There is so much to learn about photography, not just the camera, it’s constant learning. Editing programs are just an endless learning curve, but that’s a whole other subject.

a wonderful shot! Everything’s happening is so fast, this is where the excitement and the adrenaline comes in. Then you get to see your results and relive that awesome concert over again as you edit. You either love it or leave it. I LOVE it!

Heidi Horvath Photographer / Author

Amongst owning her own Photo Studio, Heidi is well experienced shooting Rock Stars, Actors, Celebrities, Nature and more. Heidi is also a staff Photographer for 4 online Music magazines, and has had many of her photographs and articles published. - Website

Then comes learning about the lenses. Which ones are the fastest in low light is key. Actually a lens that can go to a low number F/stop is the way to go. My Nikon 70 200mm f/2.8 VR is a dream shooting a concert venue, even if I am away from the stage and not close up front. I also love my Nikon

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St

teve Vai / photo by Heidi Horvath

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I live in Abu Dhabi in the UAE but come originally from Brighton in the United Kingdom.

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JOHN

Twitter 500px Facebook Page Smugmug 101

My all-abiding passion is photography. I have recently had my work showcased in the British Press, and Hello Magazine Middle East. My 102 NOTINDOOR

work has also been featured in a photography magazine and I have recently had my first exhibition in Dubai. My main interests are portrait

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and architectural photography. I am inspired by the amazing Sheikh Zayed Grand Mosque, Abu Dhabi which was only completed in 2007.

There are so many many opportunities and it is a truly breathtaking piece of architecture which for me is the one of the modern wonders of the 103

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world. I work with the Nikon D800 and 70-200mm and 2470mm lenses. I am self-taught and have been shooting since I moved to Abu Dhabi in 2010.

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and my wife

SAVED MY

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Tolovana Beach / photo by Allan Pudlitzke

As the clouds start to roll in… You try to reach for the light, but it seems so hard to grasp. You begin to claw and claw to try and fight your way out of the darkness, but somehow each attempt to run from it drives you deeper and deeper into the hole. It is misery, it is mind numbing, and it is difficult. The days seem to get longer and longer. Your hope and passion seems to fade further and further away from you, and no matter the amount of talking or trying to escape the feeling you feel trapped in a hole with no way out.

It is depression, and unfortunately in todays society it has a huge stigma attached to it. You have the “I’ve been there man” type of people that tell you its just your mind and that 106 NOTINDOOR

you’ll just snap out of it if they keep telling you. You also have the family and friends that really just don’t know how to handle the situation. They attempt to comfort you and truly try to understand your pain, but you can tell it makes them uncomfortable, and that really gets to you as well.

That was me for the better part of a year following an extremely rough patch in my life. I spiraled out of control, let my mind take over, and dug myself into the biggest hole I could ever imagine. This continued on for months. I would cry for no reason and tell myself all I wanted to do was to feel normal again, however, even with summoning all of my power I couldn’t. It came to a point where I hit a stretch in which

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I did not sleep for a week. I was so tired and drained I could barely function during the regular hours of the day. I had hit a point in my life where I felt the anxiety and the sadness I was experiencing was so bad that I wanted to give up. I felt I would be better off dead than to try and dig myself out. This had been the only point in my life I had ever felt suicidal, and that terrified me. I had completely lost hope, quit on myself, and nearly quit on everyone around me.

From that point, I began to find interest in my photography again. I began to feel an urge to get out of the house and to experience what the world had to offer me aside from the traditional adult life of the 8 to 5, Monday through Friday routine. I had a sense of belonging in something I had so dearly needed for the last several months. Slowly but surely I began to take my camera everywhere, got out of the house, and got back to being creative. My wife was ever so supportive in my efforts. She consistently urged me to continue, to do the God bless my beautiful, tender and caring wife. She was the things I loved, and to find something I truly enjoyed which I one by my side, calming me when anxious, coddling me when was doing by taking photos. sad, and motivating me to get out of the house to remind myself of the things I was living for in the first place. I needed Depression is a demon. It doesn’t show itself publicly, but my motivation back, and needed to find an outlet for all of once you’ve dealt with it you can see it in others faces if my pent-up energy. A creative mind when unused can become you just look close enough… How can something that is so a demon if you do not harness it. I had lost my leash and common now have such a stigma attached to it? I will never needed to get it back any way that I could. understand, because the only way I was able to come to grips with my condition was to face it head on. I know it may not Personally, I have always been a creative person. From my ever be the last time I deal with it, but I will do my best to not childhood I was a talented drawer, painter, and ambitious let it sneak up on me again. If all else fails take my advice: if designer. I would spend hours sculpting things out of Lego you feel your lowest with no hope and no regard for yourself, building blocks, designing Nike sneakers at the age of 11, and phone a friend or hotline, do your best to find your passion painting whatever medium I had in front of me. I loved the and get back to living. Something so temporary should not arts, I loved to be creative, and somehow as I had become an lead one to the point it led me. The dark places will not stay adult I lost that in the mist of chaos the real world brings. My dark forever, just trust in yourself and the good people around depression had sucked my childhood joys away from me, and you that things will go your way and you will find the light for I needed to do whatever I could to get it back. your darkness like I did.

I can remember my first trip out with my camera during my episode like it was just yesterday. My wife and I decided to go for a walk to try and burn of some emotional stress. We headed to a local trail near Lacamas Lake and I decided I would bring my camera with to try and take photos to take my mind off of the negativity. We didn’t end up taking many photos, but I did take this one, and I will never forget it. This photo represented my journey back to a healthy mind and decisions that would change how I approached my depression.

Now get out, get shooting, and get happy!

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Allan Pudlitzke Photographer

It wasn’t great by any means; directly into the sun, lots of aberration in the shot, and probably not as clear as it needed to be. However, it did what it needed to do, and that was to get me back on the right track.

Living in Northwest my entire life kept the fire of traveling burning.

Camping, hiking and sports help my photography skills as I do it part time while being a technology consultant.

Insta | t | F | 500px | AfilteredLife.com

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Shooting Models

Beach on the

Have you ever gone to the beach with a model and some beautiful jewelry for a company photo shoot?

You know - playing with the sunlight and using your reflector, directing the model to find her best poses, curving her body, focusing on the jewelry as much as possible etc.

That’s what I decided to do for a client shoot, a jewelry designer - Nehita Jewelry.

Mona, one of the owners, provided me with beautiful pieces they made and I had an idea I haven’t seen anywhere else - If you have, let me know - taking the jewelry with a few models and shooting on the beach.

What made our shoot more original and different was the fact that we used models as pretty as flowers, literally.

One of the important thing in shooting photos for a brand is to be unique. And believe it or not there are no creative jewelry photos out there, where the jewelry are in/on different kinds of flowers.

I am happy to tell you about my workflow, from planning the shoot all the way to the final images.

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Moshe Levis Photographer/Author

It’s all about the beauty of our world.

I capture photos of whatever attracts me and inspires me. I shoot portraits, wildlife, macro, landscapes and many personal and original projects.

Website | Facebook | Insta | Twitter

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Planning Is Important

After contacting Nehita and telling Mona about my idea of shooting their jewelry on different flowers, I started planning and researching about the kind of images I wanted to capture. I didn’t want “regular” product shots of jewelry and flowers, I wanted to treat the flowers as if they were models in a photo shoot for a magazine.

The first thing I needed to know was the colors of the jewelry. What size earrings and rings are we shooting? What colors and types gems etc. After knowing that I went to the nearest flower store and selected the my models; Calla, Lilly, Sunflower and Rose.

I chose a location for the shoot - Santa Monica - and decided what equipment to take. Since I wanted it to be light and fun, I just wanted to cary my Sigma 70-200mm f/2.8 and a small reflector.

Let the Shooting Begin

Lucky for us, it was a beautiful and warm day. We started shooting pretty much right when we got to the beach, not wasting any time.

Mona was there to help me with the photos so I directed her how to hold or position the flowers and the jewelry, since the flowers didn’t listen. They just wanted to have fun ;) The browns of the sand combined with the blue and white of the water created a very complementary background to our models.

I made the flowers really feel like they were modeling. We placed the jewelry, on them, like we would on beautiful women getting ready to go out and have fun. We took closeups, full body shots, sexy shots, portraits… We did it all.

To wrap up the shoot, we took a group shot of all the models, just so they’ll have a cool memory from that beautiful day on the beach.

photos to come out, I didn’t really have to edit that much.

Just play with some of the settings, in Photoshop Camera Raw, to make them more vibrant, sharp. Here and there, I tried making some photos to express certain feelings.

Don’t Forget About Editing

The editing was pretty simple. Because I planned how I wanted the 110 NOTINDOOR

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GREEN

PHOTOG

our planet is crying for help

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GRAPHY

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WHAT’S

REALLY GOING ON

OUT THERE

You know what they say… a picture is worth a thousand words, so make it matter!

Photography can be used to expose environmental problems like nothing else is able to. It also has the effect to get people’s attention and get them to care about whatever may be in the picture. Seeing as most people in the world has at least a camera of sorts. This time and age is the perfect one to try and get more people involved in helping save and preserve our environment. If everyone wants to be honest right here, right now the stakes could not be at higher risk. It is absolutely ridiculous to think that we can destroy so many of Earth’s plants, animals and even our own ecosystems. We think that in the end we will okay and none of what we are doing will come back to make us pay for what we have done – what we are doing. I mean it will come back haunt us if continue down the path I am. If more people could take a stand and help save the world we live in, we might be okay. Even if it does start with just a photo.

I hate to be such a Debby Downer but when you take a look outside you can see the changes and over time it has been getting worse and worse. Now, it is more notably falling apart.

The world’s oceans are over-fished terribly and are terribly polluted, the air continues to grow filthier and filthier every year, and there are no signs of any slowing down on the human overpopulation by any means. We may be winning battles on the Warfront side, but we’re losing the war on the Homefront side. The worst part is that many people have been predicting this very thing for decades. That’s the worst part of it all.

So what is the main cause of all of this? I believe it goes deep into human nature itself. As a species we have become 114 NOTINDOOR

extremely successful to a point: we are resourceful, driven, greedy and we are never satisfied. No amount of material goods or money is ever enough for most of our kind. I’m afraid this will be our undoing. I believe that together we can all change the outcome of our home front war. While right now it’s not too late but if we wait too much longer it just might be. Because things are going from bad to worse, it’s more important now than ever to try and save the Earth – our home.

While most people believe that to make a difference you have to be well known or famous and that just is not true. It takes every individual person to make a difference. You can be a local photographer, an inspiring artist, or even the kid next door to get people to see the impact people on their local environment. Local photographers can have this tremendous impact and way of getting their viewers to think about what’s going on environmentally. Ever see a series of photos shot from the same spot showing a meadow over time or a forested hillside being bulldozed and developed into yet another shopping mall? You can’t help but look at a sequence like that and not stop to consider if you’re living the best you can for the world around you.

When I first heard of groups like the International League of Conservation Photographers that are starting to get photographers thinking environmentally. I was impressed to say the least and I was also extremely hopeful that many people would hear about it as well and go and try to become a photographer that makes a difference or a real impact on things that are important. They are also raising public awareness, from the man on the street to heads of state. Cristina Mittermeier has done an amazing thing in founding this group.

Now it’s up to everyone else to really show the world what’s happening out there.

When taking pictures of our environment it is not meaning to take a picture of a deer eating grass in field. That really doesn’t make an impact… that is what everyone is wanting to see. When I think of the outside world I want to think of things like that but that’s just not realistic. What we need to show is the threats or dangers in those ecosystems to these animals or creatures out there. Do we need to continue to show the beauty of nature? Absolutely, I am not saying we shouldn’t, I think we should just be more aware of honest truth about what is really going on out there than a false

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DEAD

truth we wish to believe. But, we can’t pretend anymore that everything is just fine and dandy. Our photos need to inform readers of what’s really going on out there. Since every picture can speak a thousand words... use yours to make a difference.

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Heather Roberts Writer

A 20 year old college sophomore student studying Communications and Psychology. An aspiring writer with hopes to make an impact with her writing.

WAY BEYOND LOW AT MONO LAKE /photo by Moshe Levis

D TREES NEAR MAMMOTH LAKES / photo by Moshe Levis

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Preserving Wonders of the World the

MARROW POINT, BLACK CANYONS, COLORADO / photo by Kyla Harrington

If you are anything like me and you enjoy the great outdoors and everything it has to offer, than you also greatly appreciate it and want to help preserve the environment. It is our duty to help maintain and keep our environment the way it is for future generations to enjoy. The fact that we have the ability to go outside the city limits and take in all the wonderful outdoor activities is truly amazing. The views and experiences are endless once you leave your front door. Stepping outside and getting away from the daily grind is something that we crave and need. Going on adventures is human nature. We come

from a background of explorers and go-doers. Along with having the privilege to see the world we have a duty to maintain it and keep it the way it is to the best of our abilities. We have to prevent further destruction and land loss. It is so important for the future generation to stay involved with nature and preserving these precious places. With the help of land managements and state parks and recreational governments, and our photograph we are able keep parts of the wild outdoors available to everyone to explore.

SAN JUAN MOUNTAIN RANGE, COLORADO / photo by Kyla Harrington 116 NOTINDOOR

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TEXAS SUNSET WITH BLUEBONNETS / photo by Kyla Harrington

Photographing the outdoors, the wild nature, historical landmarks, state and national parks, and even places that have yet to be explored; show that the world is this beautiful, amazing place that offers a wide variety of scenery and activities. Publishing these photos further enables us to help preserve the environment by introducing these places to everyone. I love opening up a magazine such as NOTINDOOR, and seeing awe inspiring, beautifully captured images of the great outdoors. No one gets a great sense of back to the basics from looking at images of the city. We get that feeling like something wild inside of us is calling out for some exploration and excitement whenever we see images of wild animals in their natural habitat, grand mountain ranges, or images of beaches with sunsets filled with brilliant reds, pinks, oranges, and yellows. Something about seeing trees and greenery of the natural world makes us realize that we have a need to get out there and see what it is all about. It is in our nature.

Showing the world through photographs is just one more step to helping preserve the environment by showing the world that the images we are looking at would not have been

possible or will not continue to be possible without the people getting out there and demanding for others to respect it.

Hopefully these beautiful images will catch the attention of millions and cause them to get out and find their own sweet spots. So get out there and wander aimlessly. Stumble upon breathtaking views and capture them for the rest of the world to see and feel the desire to get outdoors! click here to comment on this article ->

Kyla Harrington Photographer

I graduated from the Art Institute of Austin with a BAS in Visual Effects and Motion Graphics. My passions include anything outdoor related and film/ photography related.

Website | Vimeo | Instagram | LinkedIn

MOAB, UTAH / photo by Kyla Harrington 117

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THE FINDING

by Nancy Griffis

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The urge to go in a particular direction fades as soon as I leave, which is disconcerting.

I’ve never heard of anyone losing the intrinsic sense of where the object of our search lies. Then again, it could simply be that no one admits it.

I return to Convict Lake just in case, but no feeling to go somewhere particular arises.

Irritation and impatience rumble through me. As nice as Earth is, I have no desire to remain in its grasp any longer than is necessary. I have work back home.

I dismiss the thoughts as churlish, maybe even petty.

The Finding takes as long as it takes, everyone knows that.

The main point of it is growing as a person, after all.

I fly the ship south, towards the coast. The interior of California is cold, but along the water will be much warmer.

With the shields up, no one will see me from the ground or on radar so I coast at a slow pace that allows me to fly low and enjoy the scenery.

The ship coasts over mountains and empty, low lying valleys waiting for the next crop.

A couple of hundred miles away, the nagging sensation of a direction blooms and I sigh in relief. I angle the ship westward and the twist of my stomach increases into anticipation. I set down in the Santa Ynez Mountains not far from a hiking path. No real snow at this location, though there is enough of a bite to the air to make me shiver as I disembark. I’m glad for the thermal layer to my clothes.

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I walk to the hiking trail and look in all directions only to find an intriguing set of ruins in the distance. There’s no one else on the trail, which isn’t a complete surprise given the temperature and time of year. It takes a good twenty minutes at a brisk speed to reach the remains and I slow as I approach.

It clearly used to be a castle, but my memory of this region doesn’t reveal any feudal lords. It was only inhabited

by Native Americans at the time of Medieval Europe.

A pretty puzzle, I think with a pleased smile. I’ll have to research this later.

The sunlight fades fast this time of year, something I’d forgotten. Soon the pinks and lavender give way to deep blue with the moon shining in the distance. With the mountains all around, it’s a stunning sight to witness.

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I’m reminded of another night spent with an enthusiastic young Earth woman excited about viewing Mars through a professional telescope. She was lovely with dark hair and darker eyes, her hands flying with every sentence to add emphasis that I wouldn’t have missed from her soft but firm voice. It had been something of a surprise not to end the night in her bed–or her in mine–but we’d simply spent most of the time gazing through my borrowed telescope at the beauty of Mars and talking about everything and anything.

Shaking off the memory, I walk back to my ship with careful steps. It wouldn’t do to fall and injure myself in this empty area.

Back in the ship, I shiver violently at the temperature change and wait impatiently for the heat to soak into my body. It’s not until I’m comfortable that I press the button that slides the chair back into the cabin area. I heat a premade meals designed to sate hunger rather than satisfy. There’s no point searching for a hotel at this time of night even as close to Santa Barbara as I am. The savory meal is decent and settles the hunger pangs in short order.

I return the seat to the pilot position and lean it back so I can sleep. I spend some time just staring at the dark carpet above with its pinpoints of stars.

The Finding strikes almost violently the next morning, slinging me from pleasant dreams to full wakefulness. I gasp with the force of it and instinctively put the seat upright and turn on the engines. The ship is airborne within moments and I fly further south without any thought whatsoever.

I set down in the empty parking lot of a church in the suburbs of Los Angeles forty minutes later. I preprogram the ship to go somewhere uninhabited before climbing down to the asphalt with a small bag of necessities. I suspect that I’m going to be here for a while as the Finding roils through me.

I make a quick online reservation for someone to bring me a car from a rental agency. The young Asian man who steps out of the black Mercedes gives me an odd look at the location, but only says, “Are you Wilson Stand?”

I smile and nod, pulling out my forged identification. “That’s me.”

The young man looks over the driver’s license and says, “Great! Have a seat and I’ll drive you back to the agency.”

It’s a good twenty minute drive, but the young man fills the time with chatter about not much at all. It’s only ten minutes after we arrive that I’ve signed my name to the form and drive off the lot with a brand new Mercedes rental of my own.

I drive towards the ocean giving no thought to the streets that I take. I end up somewhere in Venice over an hour later, 128 NOTINDOOR

parking in a restaurant’s lot. It’s nearly on the beach and my stomach’s clenching tells me something momentous is about to happen.

I leave the car and walk across the lot to the faded wooden fence dividing the lot from the beach. I stop at a large, odd bronze sculpture of a man. He is parallel to the ground and holds tight with too-long fingers to what looks like a giant bow with eagles or falcons at the center of the arc. Birds of prey with the man, as some kind of kite. Something about it disturbs me and I stare at it for a long time before I realize…

It looks like me!

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Someone had seen my people before and set out a sculpture of us for the world to see.

“Excuse me, could you move? I’m drawing that.”

The words shiver through me like a hum of power and I just knew that when I turned around, the woman who spoke will be a significant part of my Finding. I turn slowly, breath held.

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