PDNedu, Vol. 16, No. 1, Spring 2017

Page 1

Vol. 16 Issue 01 SPRING 2017

edu

Brought to you by PDN and Nikon

PHOTO © SANDRO

the Innovation issue

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VR Storytelling +RZ YLUWXDO UHDOLW\ LV FKDQJLQJ WKH ZD\ HGLWRUV DVVLJQ SURMHFWV

THE MAGAZINE FOR EMERGING PHOTOGRAPHERS AND PHOTO EDUCATORS

1x

zoom

When you’re an animal Lover, you know that Mother Nature never repeats herself. But to see every unique stripe, you need to get close. The COOLPIX P900’s extraordinary, built-in 83x zoom lens brings you right up to the wildest of subjects. And with a zoom range of 24 to 2,000mm, this compact point-and-shoot is all you need to take in every single detail.

#NikonLove nikonusa.com/P900 Nikon is a registered trademark of Nikon Corporation. ©2017 Nikon Inc.

Contents

VOLUME 16 — ISSUE 01

Snapshots

s Richmond he Parsons lf for her

12 News and Views

Photoshop

The Eddie Adams Workshop, Portland

necessary.

Photo Month and Flash Forward Festival Boston; Q&A with rising photographer Jess Richmond; Star Teacher Greer Muldowney.

14 Media Reports Landon Nordeman’s Out of Fashion; The Moon 1968 – 1972; Zackary Canepari’s Rex.

16 Photo Gigs Emily Keegin, photo director for The FADER.

18 Is It Legal? 1DQF\ :RO΍ DGYLVHV RQ WKH GL΍ HUHQFH between inspiration and illegal copy-

20 Project X A brand-new photography program at College of William & Mary unites traditional practices and new technology.

PHOTO © JESS RICHMOND

ing of a photographic work.

pg.

12

Innovation 24 Innovation: A Field Guide

30 The Wide World of Imaging

39 How It Works

40 Futurology

Five veteran photographers speak to the

&UHDWLYHV LQ GL΍ HUHQW ȴ HOGV ZKR XVH LPDJLQJ

A look inside the KeyMission

Gaze inside our crystal ball to

importance of inventiveness and self-motiva-

to power their careers. BY JESSICA GORDON,

360 camera.

see what’s next for imaging tech-

tion to stay ahead. BY MINDY CHARSKI

MATTHEW ISMAEL RUIZ, BRIENNE WALSH

BY GREG SCOBLETE

nology. BY GREG SCOBLETE

PHOTOS © (LEFT TO RIGHT): SANDRO, CAIT OPPERMANN, LANDON NORDEMAN

24

50

14

Innovation cont’d 44 Grappling With VR

50 How to: Stand Out

Two editors from The New York Times

We ask Cait Oppermann about her

and VICE Media discuss how virtual

multi-level approach to self-promo.

reality is changing storytelling.

BY JACQUI PALUMBO

Dept. 06 Editor’s Letter 08 Contributors 09 Bulletin Board

BY AMY TOUCHETTE

54 How to: Choose Gear 48 How to: Move Abroad

Advice on how to keep up with tech-

70 PDNedu Asks

Want to work outside of the U.S.?

nology and select the right products

Photographers explain which techno-

Here’s how to get started.

for you.

logical advancement changed the way

BY AMY TOUCHETTE

BY GREG SCOBLETE

they work. COMPILED BY JACQUI PALUMBO

56 Product News The latest gear for students and

72 Out of the Past

educators. BY GREG SCOBLETE

Celebrating 100 years of Nikon.

PHOTO © SIMONE SAPIENZA

BY AMANDA BALTAZAR

2

PDNEDU.COM • SPRING 2017

Also Inside: 60 The 14th Annual Student Photo Contest Winners’ Gallery

The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon Corporation and its Affiliates is under license.

When you’re a bird Lover, just thinking about the open sky inspires you to jump out of bed before dawn. Then, you’ll spend hours waiting for that one moment. 153 densely packed AF points and up to 10 frames per second of continuous shooting make it worth waiting for. And with an ISO range of up to 51,200–expandable to over 1 million–that photo can happen in almost any light with the Nikon D500. Plus, its SnapBridge technology lets you share instantly.

#NikonLove nikonusa.com/D500 Nikon is a registered trademark of Nikon Corporation. ©2017 Nikon Inc.

STRENGTH AND GRACE FOLLOW NIKON USA:

instagram.com/NikonUSA

facebook.com/nikon

twitter.com/NikonUSA

youtube.com/NikonUSA

Jerry Ghionis’ powerhouse dance shoot with powerhouse gear. NIKKOR 14-24mm F2.8G ED to complete the ‘full house’ of focal

series by Nikon Ambassador Jerry Ghionis features a

ranges.� And, he adds, the AF-S NIKKOR 24-70mm f/2.8E ED VR

vibrant redheaded model moving energetically across

is “the perfect lens for family portraits, wedding ceremonies

PHOTOS Š JERRY GHIONIS

the frame (pictured above right). Ghionis crafted the compos-

and reception coverage.�

ites using the full-frame, 36-megapixel Nikon D810 and the

After selecting the images with the “biggest impact, emo-

AF-S NIKKOR 24-70mm f/2.8E ED VR lens. Although Ghionis

tional content and the poses that would be conducive to put-

has created composites before, these were special since they

ting them together in a composite,� Ghionis narrowed the list

were commissioned by Nikon as part of a series of images to

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be displayed as 60-inch prints at the 2017 WPPI Conference &

Ghionis worked with Australian Nikon Ambassador Rocco

Expo in Las Vegas.

Ancora from Capture to Print to bring his vision to life.

Ghionis lists the D810’s “quality, detail and dynamic range�

A single portrait of the same redheaded model featured in

as the reason he shoots his portrait and fashion photography

the composite (pictured opposite) is equally deserving of a sec-

work with the powerhouse DSLR camera. “It combines the ease

ond look. This stunning image, shot outdoors against a paint-

of use of a handheld camera with the quality of a medium-for-

ed wall, was captured with the Nikon D810 and the new AF-S

mat camera,� he explains.

NIKKOR 105mm f/1.4E ED lens. “This image,� says Ghionis, “is

Ghionis initially chose the model for her distinctive red hair

a perfect example of the power and brilliance of this lens. Her

and hoped that she was graceful as well. As luck would have it,

avant-garde sleeves in the foreground and the milkiness of the

he says, “after I met her, I found out that she is also a dancer.

beautiful pink background, combined with the compression at

She moved and jumped incredibly well and she easily interpret-

f/1.4, makes this image so much more striking than what you

ed my directions.�

would see with your own eyes.� He adds: “After shooting pro-

Although he didn’t use a storyboard, Ghionis had a num-

fessionally for more than 24 years, it’s exciting to capture imag-

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es with the fastest 105mm on the market. [It] makes my images

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look different than anything I’ve produced in the past.�

taller than the rest to provide hierarchy,� Ghionis explains. He

Still, the newly updated AF-S NIKKOR 70-200mm f/2.8E ED

placed the model in similar positions to keep the lighting and

VR is his favorite lens of the group, particularly for shooting

the shadows consistent and, with the Nikon D810 and AF-S

weddings. Ghionis “loves the additional function buttons on

NIKKOR 24-70mm f/2.8E ED VR mounted on a tripod, captured

the lens itself� and at 50.5 ounces (including tripod collar), the

about 50 images for each composite. “I typically favor a longer

lens is light for a telephoto zoom. Perhaps most importantly,

focal length,� Ghionis says, “[but] since Nikon released the 24-

he explains, “its speed and sharpness are truly exceptional and

70mm f/2.8E ED VR, it has become a great all-around comple-

the compression of the lens makes everyone who steps in front

ment to the AF-S NIKKOR 70-200mm f/2.8E ED VR and the AF-S

of it beautiful.� „

NIKON D810

AF-S NIKKOR 2470mm f/2.8E ED VR

AF-S NIKKOR 105mm f/1.4E ED

ADVERTISEMENT

AF-S NIKKOR 70-200mm f/2.8E ED VR

NIKONUSA.COM/PDNEDUSPRING2017

D

esigned to make you look twice, a recent composite

EDITOR’S LETTER

edu

Innovation in photography can be measured through technological advancements—batteries get smaller, sensors become more sensitive, storage size increases—but in this issue of PDNedu, ZH WDNH D EURDGHU DSSURDFK WR GHȴ QLQJ ZKDW LW

VOLUME 16, ISSUE 1

means to be innovative. How do photographers and their

Spring 2017

editors approach storytelling with new mediums? How can one stand out from their peers? Ingenuity can be imbued in your attitude, lifestyle or business approach, as well as your creative vision. In our “Focus on Innovation” section, we speak with vet-

SVP, PHOTO+ John McGeary

PRODUCTION DIRECTOR Daniel Ryan

VP & PUBLISHER, PHOTO+ Lauren Wendle

PRODUCTION MANAGER Gennie Kiuchi

DIRECTOR, CREATIVE SERVICES Moneer Masih-Tehrani

CIRCULATION Lori Golczewski

eran photographers about how going against the grain, broadening skillsets and embracing discomfort can foster LQYHQWLYHQHVV :H DOVR LQWHUYLHZ VL[ FUHDWLYHV ZLWK GL΍ HUHQW EDFNJURXQGV LQ SKRWRJUDSK\ DQG ȴ OPPDNLQJ ZKR HPERG\ resourcefulness and initiative. And, in our new “How To” series, we outline three ways to lead a more independent photography lifestyle, from packing up and moving abroad, to marketing yourself, to keeping up with technology. Technological advancements are made left and right, so we also take a look at what’s next for imaging in the feature

MANAGING EDITOR Jacqui Palumbo

ONLINE PROJECT MANAGER Reiko Matsuo

ASSOCIATE EDITOR Taryn Swadba

ASSOCIATE PUBLISHER Mark Brown (646) 668-3702

COPY EDITOR Elissa Hunter

SALES DIRECTOR Mike Gangel (646) 668-3717

DESIGN Natalie Ryan

SENIOR ACCOUNT EXECUTIVES Lori Reale (858) 204-8956 Jon McLoughlin (646) 668-3746

“Futurology.” And, as virtual reality is here to stay, we speak to editors about how the new medium is shaping the way they assign work. It’s an exciting time to pick up some new skills, so we hope you’re inspired to get started. We’d also like to wish Nikon a happy centennial. We’ve partnered with them to produce PDNedu since its inception, and in “Out of the Past,” we take a look at the brand’s 100year legacy. Keep up with PDNedu between issues at pdnedu.com and

CONTRIBUTORS Amanda Baltazar, Mindy Charski, Jessica Gordon, Theano Nikitas, Matthew Ismael Ruiz, Greg Scoblete, Amy Touchette, Brienne Walsh, Nancy Wolff

facebook.com/pdnedu.

— Jacqui Palumbo

ACCOUNT EXECUTIVES Dennis Tyhacz (646) 668-3779

PDNedu 100 Broadway, 14th floor New York, NY 10005

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On the Cover A striking portrait of a fencer by Nikon Ambassador Sandro. See how the acclaimed DGYHUWLVLQJ DQG ̥ QH DUW SKR WRJUDSKHU GH̥ QHV SHUVRQDO innovation on page 24.

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CONTRIBUTORS

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BULLETIN BOARD

Letters

Student Photo Op

I love gifting my students with PDNedu

Cody Huntington

because it has something to offer each of them, regardless of their level of study or

Lesley University College of Art and Design Cambridge, Massachusetts

area of interest—I use it in my beginning darkroom course, my digital courses and with advanced students who are developing their own bodies of work. I appreciate the balance of art and technology featured in every issue, as the information about new gear and ways of getting your work out is extremely helpful. And of course, it is always interesting to see the work of other university students and professionals—it is a great avenue for my students to view the work of

In the series “Always,” we meet Heather and her family. When Heather was eight years old, her father Kenny experienced a traumatic brain injury after falling from the second story of their Massachusetts home. Today, he is taken care of in a group home while his family resides in subsidized housing in Quincy. Huntington says: “This painful incident forced Heather and her sister Julie to grow up much faster than any child should have to. However, at the same time it taught them to be adaptable and resilient in the face of adversity.” Huntington tells their story through his own photos, as well as letters and Polaroids from the sisters’ childhoods. See more at codyhuntington.com. — JACQUI PALUMBO

their peers. We are always looking forward to receiving the next issue, so thank you! REBECCA FOLEY Associate Professor, Photography Missouri Western State University I wanted to send a quick note of appreciation for the value PDNedu provides to our Commercial Photography students. Whether it is covering current technological trends— such as the most recent issue’s column on the legalities of drone photography—or the wonderful feature story on Joel Sartore’s PHOTOS COURTESY OF CODY HUNTINGTON

Photo Ark series, your magazine consistently provides valuable insights for our emergLQJ SKRWRJUDSKHUV WR FRQVLGHU , VSHFL̥ cally appreciated the realistic perspective Joel Sartore provided about his career, not sugarcoating the challenges he still faces with his business as a well-established photojournalist and storyteller. Your articles are honest and relevant to what we teach in our photography program and are often used as a platform for our classroom discussions. CHIP WILLIAMS Associate Professor & Program Coordinator Commercial Photography Program Appalachian State University

WANT TO SEE YOUR WORK IN PDNedu? Send your work to jacquelyn.palumbo@emeraldexpo.com, jacquelyn palumbo@emeraldexpo com and we will consider your work for publication in the next issue.

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LOOK K IN N SID DE

Hot Events / Inside Selection

Star Teacher

Media Reports

Photo Gigs

Is It Legal?

Project X

NEWS AND VIEWS TO GET YOU THINKING.

snapshots “Like every great river and sea, the moon belongs to none and belongs to all.”

“SUNSTRUCK, APOLLO 17, 1972.” PHOTO BY GENE CERNAN

— E.B. WHITE

14

pg.

The Moon 1968 - 1972

What do NASA’s snapshots look like? Published by T. Adler Books, this collection of photographs was taken by astronauts during the Apollo program’s six missions to the moon.

SNAPSHOTS: H o t Eve nts / I ns i d e S e l e c ti o n

Many Figures, One Voice Interview by JACQUI PALUMBO

Jess Richmond had just graduated from

since you studied at Parsons. When did you be-

PDNedu: How does your personal work inuence

Parsons School of Design when she was

gin to develop these ideas?

your editorial eye?

The series, “The Madness of Many,� featured

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Richmond and her imagined twin sister, Con-

the driving force behind my photography. I am

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nie, in mind- and body-bending scenarios, and

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has since traveled in Flash Forward 2017 and

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and intellectually. I’m drawn to color and form,

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tions. Her recent clients include Universal Mu-

always been heavily process-based with inter-

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est in imagination, playfulness and deception.

will focus on. I recently shot an album cover for

on fashion and personal projects that play with

These themes have run throughout my

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School created an environment that allowed

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PDNedu: You have been building upon themes

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to my style. If you have a clear voice you will

of identity and the illusion of the picture plane

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awarded Grand Prize in PDN’s The Curator.

the two-dimensionality of photographs.

was devoted solely to one project. I decided

Hot Events

to enlist myself as both subject and creator

PDNedu: You’ve been out of school for almost a

so I had absolute control of the images. I have

year now. What would you say has been your

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biggest learning experience?

scious in front of the camera, but that became something I learned to embrace eventually.

JR: You can’t doubt yourself. There will be enough people that will, and you can’t let

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PDNedu: Where do you draw inuence for your

yourself be one of them. Stay laser-focused on

work? What inspires you?

your goals and be proud of your own personal

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thing that pops into my mind: a word, place,

PDNedu: What has been working for you in

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subject, phrase or thing. It’s a way to physically

terms of promotion and networking?

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a reaction to my imagination than to reality. In

JR: Instagram has been so great for me. It has

each year at the late photographer’s barn

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both prospective clients as well as fellow art-

produce a project, having their portfolios

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reviewed and listening to renowned pho-

imagined with reality. I thrive in that “in-be-

Keep in touch with professors and fellow stu-

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Deanne Fitzmaurice, Gillian Laub, Eugene

and there is freedom in that.

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Richards and Phillip Toledano. HGGLHDGDPVZRUNVKRS FRP THIS PAGE: In Richmond’s work, she replicates herself with life-sized paper cutouts, then fools the eye by experimenting with different gestures and interactions.

$WWHQG 3RUWODQG 3KRWR Month, Flash Forward Festival Boston 7KLV $SULO VSHQG VRPH WLPH LQ 3RUWODQG 2UH gon, during the city’s month-long celebration of photography, coordinated by Photolucida. 7KH QRQSURČ´ W ZRUNV ZLWK ORFDO JDOOHULHV DQG organizations to host events and shows that UDQJH RI SKRWRJUDSKHUV 7KH Č´ UVW ZHHN RI May, Boston will host Flash Forward Festival, ZKLFK RÎ? HUV IUHH SURJUDPPLQJ RI VHPLQDUV QLJKWO\ HYHQWV DQG H[KLELWLRQV photolucida.org/portland-photo-month Čľ DVKIRUZDUGIHVWLYDO FRP

12

PDNEDU.COM • SPRING 2017

PHOTOS Š JESS RICHMOND

IHDWXUH FRQWHPSRUDU\ ZRUN IURP D ZLGH

PHOTOS Š LOUIE DESPRES

SNAPSHOTS: Star Teacher

HEADSHOT Š LOUIE DESPRES PHOTOS Š GREER MULDOWNEY

Star Teacher From emerging photographer to educator, Greer Muldowney builds a network for young photographers in Boston. By BRIENNE WALSH Greer Muldowney says it was “a winding road

with the sense that she liked teaching skills

Foundation (Muldowney has also been a

[and] some really good luck� to become a

that prepared artists for the real world.

regional coordinator for the Flash Forward

photography professor. As an undergraduate

“You have to be a good MacGyver,� she says.

Festival). The competition is open to students

majoring in photography at Clark University,

“[Unexpected things] happen all of the time,

enrolled in a college photography program

in Worcester, Massachusetts, she took a

and problem-solving skills are not innate in all

in any of the New England states. Winners

teaching-assistant job for a darkroom class

students.�

DUH IHDWXUHG LQ DQ H[KLELWLRQ DW WKH *ULÉ? Q

at nearby Worcester State University. “I never

In 2013, Muldowney scored a job as an

Museum of Photography, and are invited to a

thought [being a teacher] would become my

adjunct professor of photography at Boston

portfolio walk with more than 40 photography

path, to be honest with you,� she tells PDNedu.

College, then added another adjunct position

professionals at Gallery Kayafas in Boston.

During a graduate program at Savannah

at Boston University and a lecturing role at

“It’s the networking event I never got as a

College of Art and Design, which she attended

Lesley University College of Art and Design

student,� she says.

from 2009-2011, Muldowney was given the

(formerly the Art Institute of Boston). At all

Muldowney thrives in the energy of her

opportunity to teach at the university’s Hong

three schools, she teaches photography to

busy schedule. Along with teaching, she

Kong campus. The experience left Muldowney

HQWLUHO\ GLÎ? HUHQW W\SHV RI VWXGHQWV QRQ DUW

continues to produce personal work—right

majors at BC, advanced art majors at Lesley

now she’s working on a project about the

and bio and engineering students at BU. “It’s

JHQWULČ´ FDWLRQ RI 6RPHUYLOOH 0DVVDFKXVHWWV

UHDOO\ IXQ EXW WKH GLÎ? HUHQFH PDNHV \RXU EUDLQ

where she lives. “Teaching has been pretty

shift at 45-degree angles,� she says.

great for my practice,� she says. “If you are

As an educator, Muldowney sees an

getting a student to express something, it will

opportunity to break down barriers she

help you to do it too.� Beyond that, teaching

herself experienced as an undergraduate

has allowed her to build a network of peers.

art student in the Boston area. “There are so

“There are certain students who you meet,

many institutions here, but there are silos,�

and you’re like, they’re going to be part of your

she explains. “If you don’t go to one of two

peer group—part of your family.� EDU

PHOTO Š LIAM WEIR

or three institutions, you’re not allowed to participate in certain activities.� To counter this segregation, she founded Undergraduate Photography Now in 2011, which is part of the Flash Forward Festival in Boston, and is supported by the Magenta

THIS PAGE: Muldowney’s personal series, “Urban Turbines� (top left) and “Monetary Violence� (top right); a group shot of Muldowney, center, and her Boston College students (left).

SPRING 2017 • PDNEDU.COM

13

SNAPSHOTS: Media Reports

PHOTOS Š LANDON NORDEMAN

Our Picks for Your Shelf

Out of Fashion by Landon Nordeman | Damiani Hardcover, 128 pages, $50 When one thinks of fashion, an image

suits—and not-so-fashionable protective

of perfect-looking models on a pristine

blue-and-white shoe covers; a woman

runway likely comes to mind. But Landon

GURSV WR WKH Čľ RRU WR GR SXVK XSV DIWHU

Nordeman—who, over the past four

a Marc Jacobs show; an image of a hair

years, has been a go-to of New York

extension and bobby pins strewn across

and The New York Times to photograph

a stain-riddled table reminds us that

backstage at New York, Milan and Paris

fashion can be messy, too.

runway shows—is one of the growing

Out of Fashion is much more than a

number of photographers who take a

peek inside the world of fashion—it is

PRUH RÎ? WKH FXÎ? DSSURDFK WR WKH IDVKLRQ

a humorous deep dive into it. Elisabeth

LQGXVWU\ ΖQ KLV ȴ UVW PRQRJUDSK Out of

Biondi writes in her introduction: “He truly

Fashion, Nordeman shows us the more

enjoys pageantry, the foibles of the style

spontaneous side of fashion that takes

conscious, and the over-the-top displays

place behind the scenes.

of vanity—they all make up the spectacle

With an emphasis on bold colors,

for him.� Though the spectacle is not

bright lights and unique cropping choices,

always in the spotlight, but, Biondi notes:

the images in Out of Fashion demand

“the seemingly unimportant situations on

WKH YLHZHUȇV DWWHQWLRQ DW ȴ UVW JODQFH

the sidelines.�

What keeps the audience’s attention, however, are the unordinary moments that Nordeman has captured. Robotic-like male models line up in fashionable gray

14

PDNEDU.COM • SPRING 2017

–Taryn Swadba

PHOTO BY PETE CONRAD (LEFT); COURTESY OF NASA (RIGHT)

The Moon 1968 – 1972

information from the editors, captions for each image and a transcript

Edited by Evan Backes & Tim Adler | T. Adler Books Hardcover, 48 pages, $18

excursions and the capture of these images. Equipped with specially

RI WKH $SROOR Čľ LJKW FUHZ FRPPXQLFDWLRQVČƒVKHGV OLJKW RQ ERWK WKH designed Hasselblad cameras, astronauts captured nearly 20,000 photographs over the 304 combined hours spent on the moon.

“Like every great river and every great sea, the moon belongs to none

While the images in The Moon were intended to merely document our

and belongs to all,� writes E. B. White in the July 26, 1969 issue of The New

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Yorker 7KLV H[FHUSW ZULWWHQ VL[ GD\V DIWHU $PHULFDQV Č´ UVW ODQGHG RQ WKH

and personal feel: An astronaut’s right foot stepping on the surface of

moon, is an apt preface for The Moon 1968 – 1972, a photo book of NASA

the moon shows us his point of view; a snapshot of an astronaut’s legs

imagery that sits at the intersection of art and science.

dangling out of the ship into space feels like a tongue-in-cheek look at

The Moon shares a stunning selection of images captured by astronauts over NASA’s six missions to the moon through the Apollo pro-

his day job. It’s almost like a pre-Instagram feed for NASA missions, an intriguing collection for scientists, photographers and stargazers alike. –Taryn Swadba

gram. In addition, the accompanying text—which includes historical

Zackary Canepari is not the expected narrative of a boxer’s success; it is a remarkably honest capture of Shields’ life and that of her sister, Briana, in Flint, Michigan. Canepari’s photos, quotes from both sisters and excerpts from Claressa’s diary draw us close to the perspectives of the book’s protagoQLVWV ZKR JUDSSOH ZLWK WKHLU SDWKV IRUZDUG &ODUHVVD Č´ QGV VWDELOLW\ DQG FRQČ´ GHQFH WKURXJK ER[LQJ %ULDQD ZKR VWUXJJOHV WR Č´ QG KHU ZD\ EH comes pregnant with a baby boy to have the unconditional love of a child. Homecoming after the 2012 Olympic Games was not easy for Claressa, Canepari explains at the end of Rex—sponsorships and endorsements never came, her training waned and her home life was complicated—and in 2015, she drove away from Flint to live and train in Colorado Springs. Canepari doesn’t mince words about the town: “Flint is a SODFH RI VWUXJJOH Č‹ %XW WKLV ERRN WKH DFFRPSDQ\LQJ Č´ OP TRex and his ongoing web series “Flint is a Placeâ€? strive to get the message across that Flint is more than just a headline, or a talking point.

PHOTO Š ZACKARY CANEPARI

Rex

When Canepari describes the Shields sisters, he says they are “cut from the same cloth—tough, charismatic, re-

By Zackary Canepari | Contrasto

silient.� Two sides of the same coin, Claressa had boxing to get her out

Flexibound, 196 pages, $50

of the town. “Briana, my little brother Peanut, I know if they got out of Flint they could change their lives,� Claressa says in her opening quote.

Rex brings viewers into the life of American Olympic boxer Claressa “T5H[Č‹ 6KLHOGV ZKR LQ EHFDPH WKH Č´ UVW 8 6 ZRPDQ WR ZLQ D ER[LQJ

“They’re the ones that I want to take with me.� –Jacqui Palumbo

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SPRING 2017 • PDNEDU.COM

15

SNAPSHOTS: Photo Gigs

Emily Keegin 4 $ ZLWK WKH SKRWR GLUHFWRU RI The FADER WKH PXVLF OLIHVW\OH PDJ WKDW VHWV WKH FXUYH IRU SKRWRJUDSK\ DQG GHVLJQ Interview by JACQUI PALUMBO

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that you’ve directed at The FADER?

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PDNedu: Has social media impacted the way

more of, or a new type of media you want to

you direct a shoot? Do you plan for content for

work with more?

Snapchat or Instagram, for instance, in addition to print?

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PDNedu: How do you keep a pulse on new pho-

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tographers? What do you look for in their work

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or background?

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what falls under your role as the DOP? How big

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is the photo team?

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PDNedu: When did you join The FADER, and

IRUHYHU ΖȇP ORRNLQJ IRU FUHDWLYH WKLQNHUV ZKR Emily Keegin: I joined The FADER in summer

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duced by The FADER, or do you publish existing

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work from photographers? What about online?

THIS PAGE: Emily Keegin (above left); Singer Zayn Malik on the cover of The FADER Dec 2015/Jan 2016 issue (below).

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16

PDNEDU.COM • SPRING 2017

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90 DAY TRIAL Adobe Creative Cloud Photography plan included

SNAPSHOTS: Is It Legal?

Is It Legal? Q:

I found a photography series online that looks like mine. Is that plagiarism? It seems like there is a ďŹ ne line between inspiration and illegal copying.

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18

PDNEDU.COM • SPRING 2017

“

It is possible to independently create an image that is similar to another photographer’s work, and independent creation is a defense to copyright infringement.�

individual expressions of those ideas. How-

poses, backgrounds and other styling details

idea or scènes à faire elements of that image.

ever, recreation can reach the point of unau-

without inadvertently violating someone else’s

As a practical matter, a photographer’s work

thorized copying if a photographer purposely

copyright.

should express his or her own point of view.

Highly creative photographs, on the other

If a photographer recreates a body of work

hand, will be entitled to greater protection and

that has been previously created by another

Generally, the more elements of an image

less borrowing will be permitted before the

artist, without adding new meaning or insight,

that have been set up by a photographer, the

copying is considered a copyright violation.

it may cause him or her to be perceived as a

greater the image’s protection under copy-

For example, when a photographer captures

plagiarist or copycat, and whether a claim is

right laws and the less another artist can bor-

a highly orchestrated scene that did not exist

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row or recreate from it. Some works have what

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or career. EDU

courts describe as a “thin� copyright because

these creative elements will be protected as

the subject matter underlying the image is

the artist’s original expression. It is still pos-

common, and no one photographer would be

sible to be inspired by those elements without

entitled to prevent others from making a pho-

reaching the point of unauthorized copying,

tograph of a similar subject matter. Examples

EXW WKH OLQH LV PXFK Č´ QHU LQ WKLV FDVH

tries to recreate some of the main creative elements of the original image.

of permissible inspiration from various cases

Ultimately, whether one photograph in-

include photographing a baby against a white

fringes on the copyright of another photog-

background, commercial product shots or an

rapher will depend on a number of elements,

image taken at a popular tourist destination.

including how strong the copyright is in the

The legal term is “scènes Ă faire,â€? which basi-

original image (how original it is), how similar

FDOO\ PHDQV WKDW WKLQJV WKDW QHFHVVDULO\ Čľ RZ

the second image is to the original and wheth-

from the underlying concept are permitted.

er those similarities encompass the protect-

This permits photographers to use standard

able elements of the original image or only the

Nancy E. Wolff is a partner at Cowan, DeBaets, Abrahams & Sheppard, LLP. Her practice focuses on intellectual property and digital media law. Visit: cdas.com

GOT A LEGAL QUESTION? Jacquelyn.Palumbo@emeraldexpo.com

School of Photographic Arts and Sciences

Photography by Daniel Beim Photographic Sciences BS Class of 2017

When You Remake the World, the World Tends to Notice. RIT’s photography school is the only place that offers both accredited BFA and BS programs with the exibility to customize your undergraduate experience. And U.S. News & World Report ranks our MFA among the top ďŹ ve programs in the country. Enter a world of endless possibilities. Be part of a vibrant community of dedicated students, renowned faculty and state-ofthe-art studios and labs.

photography.rit.edu @rit.photo | @ritphotosciences

SPRING 2017 • PDNEDU.COM

19

SNAPSHOTS: Project X

Something Old, Something New A new photo program at the College of William & Mary is breaking the mold with traditional techniques. by AMANDA BALTAZAR

The second-oldest higher-education school in the country, the College of William & Mary in :LOOLDPVEXUJ 9LUJLQLD KDV ODXQFKHG LWV ȴ UVW photography program. But while many programs begin with 35mm ȴ OP SURFHVVLQJ RU DV LV EHFRPLQJ PRUH IUH quent, skip straight to digital), the program began last fall with students learning how to use 4x5 view cameras, which date back to the PHOTO Š JON MERLINO

19th century—though students use lighter, more compact versions than its historical predecessors. “[Large format is] a way to introduce them to photography before building on that to incorporate new technologies,� says Eliot Dudik, visiting assistant professor of photography, who is designing William & Mary’s pro-

students to consider and contemplate each

gram. “It’s a bit of an experiment, but so far it

frame and really make quite a number of de-

is working fantastically.�

cisions between setting up the camera and

Dudik himself shoots large format and he believes it’s an important foundation for stu-

PDNLQJ D Č´ QDO SULQW LQFOXGLQJ WKH H[SRVXUH DQG WKH GHYHORSPHQW RI WKH Č´ OP Č‹ KH VD\V With this process, students expose fewer

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dents. “It’s a very slow process, forcing the

THIS PAGE: 3KRWRJUDSKV IURP WKUHH ĚĽ UVW year William & Mary students. The program is designed to be a hybrid of analog and digital techniques.

20

PDNEDU.COM • SPRING 2017

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THIS PAGE: A still-life photograph from William & Mary student Tabitha Timm.

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Shadowing professional photographers is an amazing way to learn, and with Nikon School Online, you can keep a team of pros in your pocket. Nikon School Online offers courses that can be watched on your smartphone, tablet or desktop, and continues the tradition of 30 years of affordable Nikon School education. The new online courses include Hands-On with the SB-5000 Speedlight from lighting guru Joe McNally and Photographing Children and Pets from lifestyle-portrait photographer Tamara Lackey. Other classes include Fundamentals of Photography and Getting Started with Your Nikon DSLR.

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NIKON NEWS

Visit online.nikonschool.com for more information.

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SPRING 2017 • PDNEDU.COM

21

NEWS, TECHNIQUES, AND INSPIRATION FOR THE PHOTO PROFESSIONAL

TRY PDN’S DIGITAL EDITION FREE! LIMITED TIME OFFER! ACT NOW!

GO TO PDNONLINE.COM/FREEISSUE

innovation HOW DO WE DEFINE INNOVATION IN PHOTOGRAPHY? In this special section on personal, professional and technological innovation, we dig into the gear that’s changing the landscape of photography, provide advice on leading a more independent lifestyle and feature photographers DQG ȴ OPPDNHUV ZKR IRUJH WKHLU own paths.

Innovation: A Field Guide The Wide World of Imaging How It Works Futurology Grappling with Virtual Reality “How To” Series Product News

SPRING 2017 • PDNEDU.COM

23

INNOVATION

Innovation in Imaging:

A Field Guide Technological advancement marches on, but innovation isn’t just about the gear in your bag. Five Nikon Ambassadors reflect on the foundation of ingenuity. By MINDY CHARSKI

24

PDNEDU.COM • SPRING 2017

PHOTOS Š JOE MCNALLY (LEFT); AMI VITALE (RIGHT)

P

hotography innovation is often discussed in terms of technolRJ\ČƒGLJLWDO RYHUWDNLQJ Č´ OP WKH ULVH RI PRELOH SKRWRJUDSK\ FRP

Thinking Differently About the Status Quo

pact and speedy storage—but in-

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novation in the industry deserves a wider focus.

issue of PDNedu for her forward-looking wildlife conservation stories. She chooses long-

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term topics that she can dig into and capture the progress being made.

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documenting the human-nature relationship. “I

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whose environmental protections are often viewed in a negative light in the United

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who have each left a mark on the industry.

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PDNedu uncovered some elements of the innovation formula by speaking with Balog and four RWKHU 1LNRQ $PEDVVDGRUV 'HDQQH )LW]PDXULFH 6DQGUR -RH 0F1DOO\ DQG $PL 9LWDOH

THIS PAGE: McNally has used mirror tricks in a few shoots over the years, including this one from last March in the Nevada desert (left); Ami Vitale’s image of young monks in Bhutan. The country, she mentions, measures progress through gross national happiness (GNH) rather than GDP.

SPRING 2017 • PDNEDU.COM

25

INNOVATION: A FIELD GUIDE

PHOTOS Š SANDRO (LEFT); JAMES BALOG (RIGHT)

INNOVATION

I think that’s what’s missing very often.â€? Sandro, meanwhile, has found success rejecting what he calls the once “cut and GU\Č‹ QRWLRQ WKDW RQH FDQȇW EH ERWK D FRPPHUFLDO SKRWRJUDSKHU DQG D Č´ QH DUW SKR tographer. “It’s ok, and I believe you should be crossing both lines, because I really

Committing to Personal Projects

believe we need to take care of our souls, and advertising really doesn’t take care of

Balog began developing his unique slant on environmental

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photography in the early 1980s through personal pursuits.

campaigns—such as Reebok’s “Be More Humanâ€? and Dove’s “Choose Beautifulâ€?—as ZHOO DV Č´ QH DUW SURMHFWV ZKLFK KH KDV H[KLELWHG LQWHUQDWLRQDOO\ VLQFH

“I realized the very best work I was capable of was not JRLQJ WR FRPH IURP DVVLJQPHQWV WKDW WKHUH ZDV VRPH

Balog has also challenged the norms. Though the photographer says he enjoys

thing out beyond what the magazine institutions were

shooting “beautiful, celebratory nature pictures as much as anyone else does,� like a

willing to commission,� he says. “I look back on that and

good sunset and the changing colors of leaves, he seeks to go further.

I think, ‘You were just 28 years old, you had barely been

“I don’t think we learn anything new from just repeating the same beauty shots

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that we’ve always known, experienced and seen,� he says. “What I’ve always strived to

ter than what LIFE magazine would assign you?’ Well, that’s

do is to look for other conceptual doorways through which to look at whatever subject

kind of the way I looked at it.�

it is that I’m interested in.�

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“

I BELIEVE THAT THE GREAT CREATIVE DIRECTORS, THE ONES THAT HAVE BEEN AROUND WHO REALLY UNDERSTAND PHOTOGR APHY, THEY WANT TO WORK WITH TRUE ARTISTS.� — SANDRO

26

PDNEDU.COM • SPRING 2017

when “some new language started to come forthâ€? through KLV SURMHFW ČŠ6XUYLYRUV Č‹ LQ ZKLFK KH SKRWRJUDSKHG HQGDQ gered animals in studio settings rather than their natural environments. The shooter would go on to found the Extreme Ice Survey (EIS), which his website describes as “the most ZLGH UDQJLQJ JURXQG EDVHG SKRWRJUDSKLF VWXG\ RI JOD ciers ever conducted.â€?

winning photojournalist. )RU LQVWDQFH \HDUV EDFN VKH VRXJKW WR GRFX PHQW WKH OLYHV RI SURIHVVLRQDO DWKOHWHV RÎ? WKH Č´ HOG :KHQ DJHQWV DQG WHDPV GHQLHG KHU UHTXHVWV VKH JDLQHG DFFHVV E\ EXLOGLQJ UHODWLRQ ships directly with players like Barry Bonds and 7LP /LQFHFXP ȊΖ IRXQG MXVW E\ EHLQJ KRQHVW DQG EHLQJ UHDO and showing genuine curiosity that a lot of times >DWKOHWHV@ ZRXOG DJUHH Č‹ VKH VD\V ȊΖ ZDV DEOH WR JHW VRPH UHDOO\ SHUVRQDO LPDJHV WKDW KXPDQL]H WKHP and show who they are as people.â€? (YHQ DIWHU JHWWLQJ WKH EOHVVLQJ RI WKH SOD\ HUV KRZHYHU VKH KDG Č´ QHVVLQJ WR GR OLNH ZLWK a team aggravated that she went around them. ČŠ6RPHWLPHV Ζ KDG VRPH UHODWLRQVKLSV WR PHQG Č‹ )LW]PDXULFH VD\V ČŠ1R PDWWHU ZKDW NLQG RI VWRU\ ΖȇP ZRUNLQJ RQ Ζ ULVN UXÉž LQJ VRPH IHDWKHUV EXW LI I let that stop me then the stories won’t get told.â€?

Finding a Niche )LW]PDXULFH VD\V FOLHQWV WKLQN RI KHU ZKHQ WKH\ ZDQW LPDJHV WKDW KXPDQL]H LVVXHV RU SHRSOH 7KH /XFLOH 3DFNDUG )RXQGDWLRQ IRU &KLOGUHQȇV +HDOWK for example, recently hired her to document the lives of families whose children have special health needs. 7KDW KXPDQL]LQJ KDV EHFRPH D FRUH SULQFLSOH RI KHU ZRUN ΖW KDV URRWV LQ KHU 3XOLW]HU 3UL]H ZLQQLQJ series on an Iraqi boy named Saleh, who had come to the U.S. after being seriously injured by a bomb he thought was a ball. ȊΖ UHDOL]HG Ζ ZDV DEOH WR DGG VRPHWKLQJ QHZ WR the conversation, something that wasn’t being said LQ WHUPV RI ZDU ȋ )LW]PDXULFH VD\V Ȋ:H ZHUHQȇW VHHLQJ VWRULHV DERXW KRZ WKH ZDU >LQ ΖUDT@ ZDV LP Sandro is also a proponent of doing personal work, which he says keeps him fresh.

pacting an Iraqi family.�

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McNally, meanwhile, has gained a reputation

have to shoot almost exactly what was approved, and it leaves no room for the creative

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process of being able to expand on an idea that comes from the client,� he says.

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that have been around who really understand photography, they want to work with

pics, says he thinks about light all the time.

true artists.�

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Blocking Out Negativity

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Sandro says he is no stranger to those who doubt his concepts, and when they do, he

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resent things.�

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I imagine things about. I’m a pretty good dreamer

Some of McNally’s past assignments at National

41 iconic photographs with actor John Malkovich playing the role of each subject. The SKRWRJUDSKV LQFOXGH $UWKXU 6DVVHȇV Ȋ$OEHUW (LQVWHLQ 6WLFNLQJ 2XW +LV 7RQJXH ȋ $QGUHV 6HUUDQRȇV Ȋ3LVV &KULVWȋ DQG $QQLH /HLERYLW]ȇV Ȋ-RKQ /HQQRQ DQG <RNR 2QR ȋ 7KH ERG\ RI ZRUN HPHUJHG IURP 6DQGURȇV GHVLUH ZKLOH ȴ JKWLQJ VWDJH Ζ9 FDQFHU WR WKDQN WKH SKRWRJ

THIS PAGE: Sandro’s re-creation of Dorothea

raphers who had inspired him, and it has toured the world since its debut at Chicago’s

Lange’s iconic image “Migrant Mother,� played

Catherine Edelman Gallery in 2014.

by actor John Malkovich (opposite page);

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Balog’s image of an Extreme Ice Survey team member surveying Birthday Canyon in the Greenland Ice Sheet in 2009 (above).

Ȋ6R PDQ\ WLPHV SHRSOH VD\ QR DQG \RX FDQȇW OHW WKDW GHWHU \RX ȋ VD\V WKH 3XOLW]HU 3UL]H SPRING 2017 • PDNEDU.COM

27

INNOVATION: A FIELD GUIDE

THIS PAGE: An image from Fitzmaurice’s Pulitzer Prize-winning series on Saleh, an Iraqi boy severely injured by a bomb.

“

I REALIZED I WAS ABLE TO ADD SOMETHING NEW TO THE CONVERSATION, SOMETHING THAT WASN’ T BEING SAID IN TERMS OF WAR.� — DEANNE FITZMAURICE

Broadening Skills Sets and Embracing Discomfort Innovators also keep up with the industry’s changing demands, which today include the need to branch out beyond still photography. “Some projects are just cut out to be multimedia projects,â€? Fitzmaurice says. “It can be D EHWWHU ZD\ WR WHOO WKH VWRU\ EXW DOVR LW FDQ UHDFK D EURDGHU DXGLHQFH WKURXJK GLÎ? HUHQW platforms.â€? For Vitale, creating 360-degree video with the new KeyMission 360 has become inteJUDO WR KHU ZRUNČľ RZ ȊΖ WKLQN LWȇV WKH XOWLPDWH WRRO IRU HPSDWK\ DQG Ζ WKLQN WKDWȇV DOZD\V what I’ve been looking for in my work,â€? she says. “I think 360 is a really powerful tool because it’s not like linear storytelling. It’s more of an experience, and you’re left with a GLÎ? HUHQW XQGHUVWDQGLQJ Č‹ Using other techniques—including audio interviews—has also helped her improve

Geographic involved objects that weren’t the most

her craft. “I think it makes you a better storyteller and stills photographer when you’re

dynamic—like big telescopes—and those challeng-

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es helped him hone that skill. “That’s your job as a

it stretches it.�

photographer to make even the dry and the dusty come alive somehow visually,� he says. Today McNally shares some of his tips and tricks

Yet that doesn’t mean these emerging technologies are easy to embrace. “I fall on my face a lot and make lots of mistakes,� Vitale says, “but I’m willing to put myself in that space of discomfort where you don’t know everything.�

in workshops, blog posts, online courses and

Vitale actually enjoys working through the growing pains of learning a new skill, a feel-

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ing that is often intimidating. “You’re constantly a beginner, and I think it feels really good

the-scenes insights, like how to use four speed-

to be an expert at something,� she explains. “But I also think it’s important to never feel so

lights outside a window to re-create sunlight and

comfortable as the expert that you’ve stopped learning new things.� Not just technology,

how to employ big strobes and continuous lights

she adds, but also about the world and stories to cover.

to freeze movement.

Sandro is currently challenging himself on a project in Papua New Guinea that is far from his comfort zone. He says he’s “stepping over that line of fear into that place of, ‘What if?’ and, ‘Look at what could happen with this creativity if I do this.’� Similarly, McNally says that each shoot is a new way to be challenged. “As a photographer, as soon as you start getting imbued with your own sense of self, you might as well just hang the cameras up,� he says. “The next job is yet another proving ground.� EDU

28

PDNEDU.COM • SPRING 2017

PHOTO Š DEANNE FITZMAURICE

INNOVATION

Winner of the TIPA Award

‘Best Photo Lab Worldwide’ Awarded by the editors of 28 leading international photo magazines

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INNOVATION

The Wide World of Imaging

Becoming a photographer or filmmaker is no longer a straight and narrow path. In this profile series, we report on a handful of self-starters—who range from full-time professionals to part-time enthusiasts—who use imaging to power their careers.

30

PDNEDU.COM • SPRING 2017

PHOTOS Š ELIAS WEISS FRIEDMAN PHOTO Š DAVID FRIEDMAN

The Pupographer M EE T T H E M A N B EH I N D @T H ED O G I S T, EL I A S W EI S S F R I ED M A N . By JESSICA GORDON

S

ami and Harry, a hound mix and

consideration. Instead, Friedman majored in

In three years that’s translated to about

Bernese Mountain dog respec-

psychology and business at Boston Universi-

5,000 dog portraits, and his work has led to

tively, are dating. Then there’s

ty, then moved to New York City and landed a

a New York Times bestselling book The Dogist

Bamba, a four-month-old Pomer-

job in brand strategy, helping large companies

(with another one on the way), a calendar,

anian, who likes chewing paper

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the chance to pursue creative endeavors. “I

called The Catist. “A lot of people have had

Dog lovers know that canines have per-

was writing and producing a web comedy se-

a similar idea, but this is not for everyone,�

sonalities and interests totally independent

ries called Barking at Dogs, and in promoting

says Friedman, who at the time of our inter-

of their owners, and that’s what makes them

that, I started taking portraits of dogs,� Fried-

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so interesting. It’s also the idea behind The

man explains. “Initially it was satirical, like The

down on the streets of New York in below-

Dogist, a photography blog created by Elias

Sartorialist for dogs, but I realized the story of

freezing, damp weather. “It’s about execu-

Weiss Friedman in 2013, that’s since led to

dogs was a deep, rich thing that I could docu-

tion. It’s not a glamorous thing.�

2.5 million combined followers on Instagram,

ment.�

towels and chasing the vacuum.

Facebook and Twitter.

It is, however, a simple, happy concept that

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basically markets itself. Who doesn’t love

It’s a simple concept: street photography, a

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dogs? “Most of the news you read is depress-

cute animal portrait and a couple lines of con-

to keep up with it, it would grow,� he says. So

ing or shocking, and news outlets often make

text. But The Dogist has become more, with an

the photographer went to work on the streets

content just to get impressions,� he says. “I

international audience and a viable career for

of New York City, originally with a Nikon D600,

have always been an optimistic person, and

Friedman, who points to Humans of New York

then a D750 and now with a D5 and AF-S

a fan of positive psychology. I wanted to do

DV DQ LQČľ XHQFH

NIKKOR 35mm f/1.4G lens (“It’s a do-anything

something that added positivity to the world.�

Though Friedman was a hobbyist photog-

street lens that close enough to interact and

rapher from a young age—thanks to a family

hold a dog’s attention,� he notes). He used his

darkroom and a Nikon camera gifted to him

brand-building experience and committed to

by his dad at age 10—it was never a career

posting no less than three photos a day.

THIS PAGE: Images from The Dogist book, published in October 2015.

SPRING 2017 • PDNEDU.COM

31

THE WIDE WORLD OF IMAGING

3+272 k -2-2 :+Ζ/'(1 +%2

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32

PDNEDU.COM • SPRING 2017

PHOTO Š JOJO WHILDEN/NETFLIX

- JOJO WHILDEN

PHOTO Š JOJO WHILDEN/HBO

“

SAY YES TO EVERYTHING AND DON’T BE AFRAID.�

needs to publicize the show. “It requires people skills with the cast, directors and camera department,â€? Whilden says. “You can only really get that from experience, not school. You just have to be there and do it.â€? Whilden’s advice to emerging photographers wanting to break into a similar line of work? “Say yes to everything and don’t be afraid,â€? she says. “Don’t get too myopic in what you want to do, and don’t be uppity when you’re starting out about how much you think you deserve to get SDLG Ζ DOZD\V ORYHG SKRWRJUDSK\ DQG ZRXOG GR VWXÎ? IRU IUHH ZKLFK OHG to contacts and opportunities, which led me where I am now. Be open

PHOTO Š JOJO WHILDEN/NETFLIX

to opportunities.�

THIS PAGE: Whilden’s stills from HBO shows Olive Kitteridge and Girls RSSRVLWH SDJH PLGGOH DQG 1HW̌ L[ RULJLQDOV Orange Is the New Black and The OA (top, bottom).

SPRING 2017 • PDNEDU.COM

33

INNOVATION

THE WIDE WORLD OF IMAGING

PHOTO Š CHRIS PEARSON COURTESY OF SKI UTAH

THIS PAGE: A cliffside view at Rummana Camp, Jordan (left) and a sunset ride in Jordanian desert (above); snow play in Park City, Utah (below).

The Part-Time Adventurer ER I K A W I G G I N S TA K E S O N T H E W O R L D I N H ER S PA R E T I M E .

E

rika Wiggins came to photog-

picked up by publications such as Forbes and

raphy by way of a real estate li-

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cense. As a single mom running

tions wanted photographs as well. “No pub-

her own commercial real estate

lisher wants to source separate imagery,� she

business in Orlando, Florida,

says. To improve her craft, she enrolled in a

in the 2000s, she realized that in order to

photography program in the CrealdĂŠ School

sell properties, she needed great imagery. It

of Art in 2011.

seemed a shame to hire someone else to take

In January 2013, she traveled to Brighton

photographs to promote her properties when

Resort in Utah to write a post on learning how

she could just do it herself. Around the same

to ski after 40 for her blog. “I loved it,� she says

time, to escape the stress of her day job, she

of both skiing and the region. “I went back to

began The Active Explorer, a travel adventure

Florida and packed my bags.� Newly located

Now, she frequently adds videos to her sto-

blog. For that, too, she needed great imagery.

in Salt Lake City, she was approached by Ski

ries. She also has improved her action pho-

So she picked up a camera, and never looked

Utah, a tourism board, which had come upon

tography.

back. “I completely fell in love with the art and

her blog by word of mouth. Although she

Although her online presence would sug-

craft of photography,� she says.

was only a novice skier, they liked her work

gest otherwise, blogging is merely something

She found that photographs were able to

so much that they hired her as a permanent

Wiggins does in her spare time. She contin-

convey the wonder of the places where she

blogger under the moniker “Snow Travelista.�

ues to manage real estate businesses in both

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The content she produces for them is diverse,

Orlando and Salt Lake City, where she’s pri-

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and includes reviews of resorts, female-cen-

marily based.

around the world, from the canyons in the

tric hiking advice and round ups of the best

kingdom of Jordan to the peaks of Zion

things to do while on a ski vacation in Utah.

The best part about living in Salt Lake City, she says, is that she no longer has to travel to

National Park in Utah, and always illustrated

Working for Ski Utah for the past four years

seek out adventure. “I found out really quickly

them with photographs. She gained loyal

has allowed Wiggins to grow as a photogra-

that I enjoy being at home, and only traveling

readers not only by writing about herself, but

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some,� she says. “In Florida, I was traveling to

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isn’t cutting it,’� she laughs of her early work.

the adventure rather than coming home to

travelers and reviewing cameras and gear.

Rather than discouraging her, the criticism

the adventure. In Salt Lake City, it’s right in

compelled her to improve her skills further.

my backyard.�

Before long, her writing began getting

34

PDNEDU.COM • SPRING 2017

PHOTOS ŠERIKA WIGGINS

By BRIENNE WALSH

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By BRIENNE WALSH

The Collaborator

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n Malcolm Gladwell’s 2008 book

I

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order to become world class in any

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book, Preston Kanak—determined to become

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who hired him as a brand ambassador. Some

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He soon realized that he wanted to use the

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SPRING 2017 • PDNEDU.COM

35

INNOVATION

THE WIDE WORLD OF IMAGING

PHOTO Š MEL MELCON /LOS ANGELES TIMES

The Stop-Motion Maestro 6 7 (3 Ζ 1 6 Ζ ' ( 7 + ( : 2 5 / ' 2 ) ) Ζ / 0 0 $ . (5 ' Ζ 5 ( & 72 5 PE S . By MATTHEW ISMAEL RUIZ

E

ven if you don’t know his nom de guerre, it’s

“KaBoom!,� he plays with circuit boards as aerial city

likely you’ve seen PES’ work on YouTube, or

views; and in “Fresh Guacamole,� he transforms food

even just the old-fashioned tube—his short

ingredients into their less-edible counterparts. The

“Fresh Guacamole� was nominated for an

genius of PES’ free-association style is that it doesn’t

Academy Award in 2013, and his Honda com-

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mercial “Paper� was nominated for an Emmy in 2016. His

just enough of a connection for the viewer to just

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“get� it.

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36

PES is always considering the potential longev-

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ity of his work. He avoids references to anything too

sprung from a casual observation while watching a

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::ΖΖ GRF RQ WKH +LVWRU\ &KDQQHO WKDW VRPH DHULDO

impact in 2016. “I’m always looking for something that

bombs looked like hot dogs. Unlike much of PES’ later

is relevant now, but can strike people’s fancy in many

work, it’s not animated; it really does appear that the

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children are about to be bombarded by the planes’

Another key to his wild success has been his will-

aerial assault‌until they open their hot dog buns, and

ingness to embrace the digital distribution model.

catch their dinner.

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His concepts often come from a single, simple

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idea that he builds upon: In “Roof Sex,� he ponders

he saw the audience-building potential early on. And

what old furniture would do with some alone time; in

after pirates racked up millions of views from posting

PDNEDU.COM • SPRING 2017

PHOTOS Š PES

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THIS PAGE: A still from the Emmy-nominated Honda commercial “Paper,� directed by PES (top left); three behind-the-scenes images show the time-intensive process of layering illustrated paper scenes for “Paper� (above).

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SPRING 2017 • PDNEDU.COM

37

THE WIDE WORLD OF IMAGING

COURTESY OF ALEXX HENRY

The Human Digitizer

%XW +HQU\ȇV JD]H LV ȴ [HG ZHOO EH\RQG DGV video games or even visual art. He sees the

HOW ALE X X HENRY IS ON HIS WAY TO

potential for the xxArray to be used in medi-

DIGITALLY SC AN THE HUMAN R ACE.

might be used to detect skin cancer. His most

cal applications, such as a full-body scan that DPELWLRXV JRDO LV WR PDNH WKH DUUD\ DÎ? RUGDEOH

By MATTHEW ISMAEL RUIZ

and mobile enough for everyone in the world to be scanned, with the belief that people can

I

n “Here They Lie,� one of the debut

To that end, Henry and his team developed

use these avatars to make their lives better.

titles on the PlayStation virtual real-

a prototype scanning rig with 21 5K cinema

He cites a Stanford study that used digital

ity platform, players traverse an im-

cameras capturing footage at 24 fps; however,

avatars to conduct a clinical psychology trial,

mersive 3D hellscape. When the ter-

the amount of data produced proved to be

introducing young people to a digital version

rifying beast-humans turn their gaze

unmanageable by 2012 standards. They even-

of themselves, aged by 40 years, and judging

on you, the terror is real, and for that, you can

tually shifted to a photo-based rig, with more

KRZ WKH LQWURGXFWLRQ DÎ? HFWHG WKHLU SODQV IRU

thank Alexx Henry.

than 100 Nikon D5300 cameras. Subjects walk

the future. “One of the things that happens

The characters in “Here They Lie� owe their

into the room and strike a pose; when the rig

when you’re interacting with a potential ver-

likeness to real human models scanned by

LV WULJJHUHG VWUREHV DQG FDPHUDV Č´ UH VLPXOWD

sion of yourself‌you look at the older version

Henry’s xxArray, a massive 3D photogramme-

neously, creating a 3D scan that can later be

of you, and that abstraction [of your future]

try scanning system that uses more than 100

brought to life with animation. Each camera

goes away,� Henry says. “It’s real. And sudden-

DSLRs and computers to capture and digitize

has a dedicated computer and network inter-

ly you’re looking at a version of yourself that

human subjects. It’s one of the more excit-

face, so the processing happens in parallel.

you’re hopefully going to be, and it connects

ing innovations in photo technology, but for

Henry’s partner and CTO Tudor Pascu—who

you a little bit more to that.� EDU

Henry, it’s just the latest step in a career spent

holds a Ph.D. in computer science—wrote cus-

pushing boundaries in imaging technology.

tom code that helps all the components of the

Early in his career, in 2008, Henry created

rig talk to each other.

“living covers� for magazines like VIV and Out-

Right now the applications are limited by lo-

side. The process entailed building a 3D envi-

cation and budget (Henry plans to develop an

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DÎ? RUGDEOH PRELOH YHUVLRQ GRZQ WKH URDG EXW

bringing cover lines and models to life on tab-

even now, the implementations are interest-

let and computer screens.

ing, and sometimes downright stunning. In ad-

But while the environments were 3D, the

dition to video game clients, Henry has worked

PRGHOV ZHUH QRW Ȋ7KDW ZDV WKH ȴ UVW WLPH Ζ FDQ

with artist Alexa Meade, who uses human can-

really remember articulating the desire to be

vasses for her trompe l’oeil installation art, to

able to have the characters—the people—in

allow viewers to experience her work in 3D. He

3D as well,� Henry says. “What that allowed us

also built an iOS app called Art and Skin, which

to do is completely free the camera‌even give

scans people with large tattoos, allowing view-

the viewer the camera.�

ers to explore the work in 3D.

38

PDNEDU.COM • SPRING 2017

THIS PAGE: A still from PlayStation’s “Here They Lie� VR game (top); Alexx Henry’s 100-camera xxArray rig (below).

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SPRING 2017 • PDNEDU.COM

39

INNOVATION

Futurology Gaze into our crystal ball. Here are the trends shaping photography and filmmaking. by GREG SCOBLETE

40

PDNEDU.COM • SPRING 2017

Anyone who follows technology knows that change is the only constant—a process of relentless innovation that shows no sign of slowing down. Photographers and ȴ OPPDNHUV DUH RIWHQ WKH EHQHȴ FLDU\ RI WHFKQRORJLFDO progress, even if it can be disruptive. Moore’s Law has long predicted that processing power will double every two years, but there’s also huge breakthroughs in areas such DV OHQV GHVLJQ RQ WKH KRUL]RQ :HȇYH LGHQWLȴ HG some of the top trends that will shape image making in the years to come. your camera play a direct role in shaping what

(Not So) Big Glass

processing power, but recent advancements point toward a future where we can enjoy

SKRWRJUDSKHUV DQG Č´ OPPDNHUV FDQ GR ZLWK

It’s easy to overlook, but digital photography

lenses that are not only better at resolving

their devices.

is as much about precision glass work and

Č´ QH GHWDLOV EXW DUH SK\VLFDOO\ VPDOOHU WRR

So what’s on the horizon? Better video, for

chemistry as it is about advanced image pro-

One such advancement is the use of Phase

one thing. Today’s image processors can cope

cessing and packing pixels onto sensors. Lens

Fresnel (PF) lens elements. Fresnel lenses are

with 4K video recording, but typically at a res-

technology may not progress as quickly as

hardly new. They were developed originally

olution of 3840 x 2160 at 30 frames per sec-

for lighthouses, but have been recently used

ond. Pushing into higher-resolution 4K (4096

in digital camera optics to help reduce chro-

x 2160, also known as cinema 4K) and faster

matic aberration. In this case, a single PF op-

frame rates requires image processors that

tic can do the work of multiple traditional

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lens elements. With fewer glass elements

data. Next-generation image processors are

competing for room inside your lens,

likely to migrate from the widely used stan-

it’s naturally going to get smaller and

dard H.264 video compression to new H.265

lighter. To give you a sense at how

(also known as HEVC) compression.

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H.265 is an ideal compression format for 4K

troduced a PF element on its new

video (or higher), since it can crunch down

AF-S NIKKOR 300mm f/4E PF

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ED VR lens, it weighed in at 1.5

still retaining excellent image quality. This data

pounds lighter and 30 percent

crunch not only saves memory card space, but

smaller than its hefty predeces-

also means you don’t necessarily have to buy

sor. That’s huge—or should we

the fastest memory card on the market to

say, less huge!

shoot in 4K. But it takes a powerful processing chip to compress 4K in HEVC.

Processing Prowess From image sharpening, to precise

Immersive Image Making

noise reduction when shooting at high

As a Nobel Laureate once reminded us, it

ISOs, to accurate color and contrast ren-

doesn’t take a weatherman to know which way

dition, your camera’s image processor

the wind is blowing. In 2016, there was a strong

plays a central role in delivering high-quality

gust in the direction of an entirely novel form

stills and videos. The capabilities these com-

of image making: 360-degree photography

putational powerhouses bring to bear inside

DQG Č´ OPPDNLQJ

SPRING 2017 • PDNEDU.COM

41

INNOVATION

FUTUROLOGY

once images are loaded onto your mobile device, they can be automatically uploaded to Nikon Image Space, where you’re allotted free, unlimited storage of 2-megapixel images.

Clever Connectivity With the advent of ultra-high-resolution cameras, 4K and 360-degree video, moving these bountiful bytes back and forth between camera, computer and storage drives can become D KXJH ZRUNČľ RZ ERWWOHQHFN )RUWXQDWHO\ D pair of new connectivity standards—USB-C and Thunderbolt 3—are coming online that can ease the pain. Both are fast—USB-C can clock in at up to 10 Gbps while Thunderbolt 3 WRSV RÎ? DW D EOLVWHULQJ *ESVČƒDQG ERWK DUH capable of delivering enough power to run ancillary devices, like hard drives, without extra power cords. But perhaps the most promising potential, particularly for Thunderbolt 3, is that it paves the way for speedy external GPUs. Much like external hard drives provide extra storage for

Getting in Sync

your laptop without requiring a screwdriver

siastic era of experimentation as photograSKHUV DQG Č´ OPPDNHUV WU\ WKHLU KDQGV DW FUH

If there’s a common lament among many pho-

ing power to older computers that can’t quite

ating new visual experiences with 360-degree

tographers, it’s that they have to endure the

keep up with the demands of modern video or

cameras such as the KeyMission 360.

often-arduous process of transferring images

image-editing applications. With an external

There’s reason to believe the world is primed

from a camera to a mobile device for sharing

GPU tackling processing-intensive tasks, you’ll

for 360-degree visuals. In a recent consumer

RQ VRFLDO QHWZRUNV :KLOH :L )L LV MXVW DERXW

be able to hang onto your aging laptop a little

survey, Nikon found that 90 percent of respon-

standard on any new camera, it still requires

longer, freeing up cash to splurge on that nice

dents said that some content would be better

a few steps to pair a smartphone to a camera

prime lens you’ve been eyeing. EDU

viewed in 360, and nearly three-quarters of

and get transfers initiated.

The next several years will likely be an enthu-

those surveyed said they were interested in

Enter Bluetooth Low Energy—BLE, for short.

trying 360-degree cameras for themselves.

Originally

What’s more, people are rapidly scooping up

“Internet of Things � devices, BLE is also making

virtual reality headsets. The market research

its way into digital cameras. Using BLE, a cam-

Č´ UP )XWXUHVRXUFH &RQVXOWLQJ H[SHFWV 95

era can maintain a constant pairing with your

headset sales in 2017 to more than double

mobile device whenever the two are in range.

their 2016 totals.

It can also automatically begin transmitting

developed

to

enable

so-called

As interest grows, 360 cameras will grow in

images as you take them—even if your camera

sophistication. Improvements in video com-

app is closed and your phone is in your pocket.

pression and processing power will enable

This “always on� connection means that when

camera-makers to create devices with far

you’re done shooting, you can pop open your

more than two lenses and image sensors. The

phone and see shareable JPEGs on your device.

more image sensors and lenses you can pack

1LNRQ ZDV WKH Č´ UVW WR SURPRWH WKLV FDSDELO

into a single camera, the more visual informa-

ity under the rubric “SnapBridge,� and other

tion you’ll be able to capture. Aligned correctly,

camera-makers are quickly following suit. In

these lenses will be able to capture stereo-

SnapBridge, you can pair a single camera with

scopic 3D video in 360 degrees, giving footage

XS WR Č´ YH GLÎ? HUHQW PRELOH GHYLFHV 7KLV FRQ

a sense of dimensionality and an even greater

nection not only facilitates image transfers,

sense of realism. Toss in advancements in

but also ensures that date, location and time

360-degree audio recording and you have the

data are synced on your camera automatically.

makings of a media revolution—or The Matrix.

SnapBridge can perform another useful trick:

42

PDNEDU.COM • SPRING 2017

or DIY tinkering, external GPUs add process-

“A beautiful paper, with a nod to both the historic Platinum papers DQG WKH RULJLQDO %DU\WD Ă€EUH SDSHUV Âľ (GGLH 6RORZD\

“Bruma Doradaâ€? from the Edge of Light Series Š Eddie Soloway

, FDQ Ă€QDOO\ VWRS ORRNLQJ IRU D SKRWRJUDSKLF SDSHU $IWHU \HDUV SULQWLQJ LQ WKH ZRUOG RI VLOYHU JHODWLQ G\H WUDQVIHU F SLQWV DQG ,OIRFKURPH LW ZDV D QHUYH ZUDFNLQJ SURFHVV WR H[SORUH WKH ZRUOG RI LQN MHW SDSHUV , ZDV SLFN\ , ZDQWHG D ZLGH JDPXW RI EHDXWLIXO FRORU H[TXLVLWH GHWDLO GHHS EODFNV DQG EULJKW ZKLWHV $QG ZLWKRXW DGGHG EULJKWHQHUV WKDW ZRXOG UHGXFH ORQJHYLW\ $QG WKHQ , IRXQG &DQVRQ ,QĂ€QLW\ , MXVW SULQWHG QHZ ZRUN 6KRML D VRIW OLJKW FHOHEUDWLRQ RI -DSDQHVH JDUGHQV RQ 5DJ 3KRWRJUDSKLTXH 7KH ULFK YHOYHW VXUIDFH DQG DPD]LQJ ZKLWHV ZHUH SHUIHFW IRU VKRZLQJ RII WKH JHQWOH WUDQVLWLRQV RI FRORUV )RU P\ QHZHVW VHULHV FHOHEUDWLQJ WZLOLJKW DW RFHDQ¡V HGJH , UHDFKHG IRU WKH 3ODWLQH )LEHU 5DJ ,W LV D EHDXWLIXO SDSHU ZLWK D QRG WR ERWK WKH KLVWRULF 3ODWLQXP SDSHUV DQG WKH RULJLQDO %DU\WD Ă€EUH SDSHUV , ORYH D SDSHU WKDW KDV GHSWK WKDW FRPHV DOLYH ZLWK OD\HUV RI OLJKW DQG GHWDLO DQG 3ODWLQH GRHV LW , ORYH KROGLQJ D Ă€QLVKHG SULQWÂłLW LV D Ă€QDO H[SUHVVLRQ RI P\ ZRUN DQG , FDQ QRZ JHW WR ZRUN RQ PDNLQJ WKH SULQW UDWKHU WKDQ ZRUU\LQJ DERXW WKH SDSHU Eddie Soloway speaks and teaches for leading photographic institutions including National Geographic Expeditions, Santa Fe Photographic Workshops, and Maine Media Workshops. In 1998, he received the Excellence in Photographic Teaching Award presented by the Santa Fe Center for Photography, and in 2010 Photo District News named Eddie one of America’s best photography workshop teachers. His images may be viewed at: www.eddiesoloway.com ŠJake Rutherford

INNOVATION

Grappling With Virtual Reality

THIS PAGE: A still from the VR VKRUW ̥ OP Ȧ7KH 'LVSODFHG ȧ

44

PDNEDU.COM • SPRING 2017

Creatives from The New York Times and VICE discuss the next frontier of storytelling—and how to navigate it without a map.

V

irtual reality (VR for short) has come a long way since 1962 when Morton Heilig built the Sensorama, a mechanical device that engaged participants’ sight, sound, smell,

and touch. In the past few years, VR has rapidly become an accessible medium to work with. No longer an experience tethered only to gaming, VR

By AMY TOUCHETTE

is being explored by a variety of industries, ranging from healthcare and architecture to crime reconstruction and military training, as well as storytelling by major media outlets. In November 2015, The New York Times Magazine, in collaboration with Within, published its Č´ UVW 95 VWRU\ ČŠ7KH 'LVSODFHG Č‹ DERXW WKUHH FKLO dren displaced by war. The multimedia piece featured photographs by photojournalist Lynsey Addario in the print cover story, and each issue came with a Google Cardboard viewer that placed the viewers in the three young subjects’ lives. The UHOHDVH RI &DUGERDUG WKH Č´ UVW FKHDS 95 KHDGVHW to hit the market, made widespread distribution of the story possible; up until then, only more expensive VR headsets like the prototype Oculus Rift were available, greatly limiting the accessibility of VR to the masses. Looking to build on the creative storytelling this PHGLXP RÎ? HUV The New York Times has published PRUH WKDQ GHJUHH Č´ OPV VLQFH WKHQ VXFK DV WKH KLJKO\ VXFFHVVIXO ČŠ7KH )LJKW IRU )DOOXMD Č‹ 'HVFULELQJ WKH VWRU\ DV D ČŠD OHDS IRUZDUG IRU 95 MRXUQDOLVP Č‹ -HQQD 3LURJ 95 HGLWRU DW WKH Times,

PHOTO Š IMRAAN ISMAIL AND BEN C. SOLOMON

“

[IT FEELS] LIKE VIEWERS ARE INSIDE HIS HEAD HEARING HIS INNERMOST THOUGHTS.â€? Čƒ -(11$ 3Ζ52*

VD\V WKH VWRU\ ȊWDNHV YLHZHUV WR WKH IURQWOLQHV WR H[SHULHQFH WKH ZDU LQ ΖUDT ȴ UVWKDQG ȋ &UHDWHG E\ Pulitzer Prize-winning video journalist Ben C. Solomon, viewers watch Solomon navigate the war-torn area while listening to his voiceover narUDWLRQ Ȋ>ΖW IHHOV@ OLNH YLHZHUV DUH LQVLGH KLV KHDG KHDULQJ KLV LQQHUPRVW WKRXJKWV ȋ 3LURJ VD\V 3LURJ DOVR UHJDUGV WKH Ȋ*UHDW 3HUIRUPHUV / $ 1RLUȋ FROOHFWLRQ D SURGXFWLRQ E\ The New York Times Magazine and Milk(vr), as a particularly effective use of VR technology. Written and directed by Gina Prince-Bythewood, with two by Ami Canaan Mann, viewers experience the story as a character would, with the actors speaking diUHFWO\ WR WKHP Ȋ7KLV VRUW RI LQQRYDWLYH XVH RI WKH VR camera on set, as well as the amazing lighting

SPRING 2017 • PDNEDU.COM

45

GRAPPLING WITH VIRTUAL REALITY

PHOTO Š NEILSON BARNARD/GETTY IMAGES

INNOVATION

“

[VR ALLOWS US TO] FEEL A DEEPER UNDERSTANDING OF THE MOMENTS WE ARE PHYSICALLY FARTHER AWAY FROM.�

design by Santiago Gonzalez and music by

anything, it’s making us even more excited

Terence Blanchard, all create an experi-

about how we can get our viewers closer to

ence where you, the viewer, feel like a char-

the subjects we care about most and, as al-

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ways, stay on the right side of history, tell-

Pirog says.

LQJ VWRULHV WKDW PDWWHU Č‹

— ADAM MIGNANELLI

Also looking to connect with audiences

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in innovative, emotional ways, VICE Media

SUHVVHG LQ 95" ČŠ7KH Č´ UVW SDUW RI P\ DQVZHU

began producing virtual reality stories in

to this question is always: We are still trying

2016. The medium allows the media brand

WR ȴ JXUH WKDW RXW ȋ VD\V WKH Times’ Pirog. But

WR XVH LWV ČŠNQRZQ VW\OH RI VWRU\WHOOLQJ Č‹ VD\V

what she has gleaned about the medium is

VICE design director Adam Mignanelli, “and

that “a good VR story is one where viewers

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are present to witness some action that allows their mind to forget where they are, so

THIS PAGE: Viewers wear Cardboard headsets

ics such as the visionaries of VR technol-

that they use their intuition and instinct to

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ogy and Olympic sports, Mignanelli sees

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the power of VR in journalism to foster

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empathy in a way that traditional media

Rohner, one of VICE’s top VR creatives, “is

cannot. “[VR allows us to] feel a deeper un-

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derstanding of the moments we are physi-

And yet, the power of the medium can still

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lie in unexpected areas. Rohner points to

“Like many storytellers, we are still experi-

Ȋ1RWHV RQ %OLQGQHVV ΖQWR WKH 'DUNQHVVȋ DV

menting with the possibilities of VR, but if

an example. Produced by Ex Nihilo, ARTE

PHOTOS Š IMRAAN ISMAIL AND BEN C. SOLOMON

Though VICE has covered various top-

46

PDNEDU.COM • SPRING 2017

PHOTOS Š VICE MEDIA

WATCH IT NOW

France and AudioGaming, in co-produc-

Despite the various unknowns of VR,

tion with Archer’s Mark, the immersive

The New York Times has gathered a good

VR project is based on John Hull’s sensory

deal of knowledge about its potential and

and psychological experience as a blind

QRZ RÎ? HUV D OLYH VWUHDP VHULHV WKURXJK

person. “A 360-degree visually focused

the School of The New York Times that

medium may not sound like it would be

covers the foundations of VR and the VR

D JUHDW Č´ W EXW WKH ZD\ WKH\ XVHG 95 WR

production life cycle (pre-production,

create an audio-driven world—a world al-

production and post-production). “The

most drawn with sound—shows how any

New York Times VR team has become a

story can be told with VR if you know how

premier leader in VR media,� says VP of

to use the format.�

product

development

Audrey

“Great Performers: L.A. Noir� Gina Prince-By thewood/Ami Canaan Mann nyti.ms/2h8IeJ0

“ The Fight for Fallujah� Ben C. Solomon nyti.ms/2bt10by

Heine-

VR technology “begs a number of dif-

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ferent questions for how we should or

curriculum that not only shares insider

could tell a story,� Rohner adds. “What

learnings, but creates a community to

does ‘framing’ a story mean when there

discuss VR and to build together what it

literally is no frame and the viewer can

can become.�

see in every direction? Do we need a re-

What does the future hold for VR? “The

porter as our proxy for the event when VR

future is wide open,� Pirog says. “We are

Imraan Ismail and Ben C. Solomon

is so immersive it feels like we are actually

still waiting to see how and when and why

nyti.ms/1MKyr9d

there?�

people will watch VR.â€? Or, as Rohner succinctly puts it: “I’ll let you know when I Č´ QG RXW Č‹ EDU

IMAGES COURTESY OF THE NEW YORK TIMES

These are the kinds of open-ended questions that media outlets like VICE

“ The Displaced�

and The New York Times are excitedly looking to answer. As a result, when it comes to assigning VR stories to photographers DQG Č´ OPPDNHUV ČŠLW WDNHV PDQ\ PRUH FRQ versations about goals for the storyâ€? than with traditional storytelling mediums, says Pirog. “It takes research time, as we DVN HDFK Č´ OPPDNHU WR ZDWFK D QXPEHU RI 95 Č´ OPV EHIRUH WKH\ HYHQ DJUHH WR WKH DV signment. And it takes time to allow them to experiment with the camera before

The Daily 360

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Daily 360 -degree videos by the Times

this requires all new training and new

nyti.ms/2fEMK4h

techniques.� Techniques, she notes, for which there is not yet a set of guidelines.

THIS PAGE: Three stills from VICE Media’s virtual reality productions.

SPRING 2017 • PDNEDU.COM

47

INNOVATION

HOW TO

Move Abroad A Photographer’s Guide working outside of the U.S. after graduation %\ AMY TOUCHETTE

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PHOTOS Š ALEX POTTER

Alex

stories in photojournalism I want to do,� she

assignments abroad is “like any other busi-

Potter became impassioned about living

says. “If anything, it enables me to work on the

ness: You make the work and then market

abroad after studying in Jordan and Lebanon.

stories I care about for as long as I [want] with-

yourself. . . . You make one connection, you

Raised in a small town in rural Minnesota, she

out having to really struggle month to month. I

maintain a good relationship, you make good

caught the photojournalism bug while earn-

feel like these days very few people don’t have

work and you make sure the right people see

ing a nursing degree at Bethel University. Af-

a side hustle, and there’s nothing wrong with

it,� and that will lead to work down the road.

ter graduation, she decided to go to Yemen

that.� Even better is a side job that comple-

As with any big endeavor, you have to

because, unlike most European countries,

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start with passion and commitment to your

it didn’t have a large press corps. Then, she

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FDXVH DQG WKHQ Č´ JXUH RXW KRZ WR RYHUFRPH

“fell in love� with Yemen. “To be based some-

Iraq to gather health statistics, which gave her

any practical obstacles standing in your way.

where,� Potter says, “I need to connect with

access to a healthcare story she’s currently

With research and tenacity, living and working

the local population, people, and culture. It’s

working on.

abroad is completely attainable if your heart

Middle

East-based

photographer

not just a place to live; it’s a place that you can

On a practical level, Potter says that getting

is truly in it. EDU

make your second home.â€? But assignments don’t always come rolling in once you’ve moved somewhere. “It’s DOZD\V EHHQ GLÉ? FXOW WR JHW DVVLJQPHQWV LQ

THIS PAGE: Two images from Potter’s recent series on Iraqi medics. Potter has used her nursing degree to both supplement her income and give her access to important stories abroad.

Yemen,� she says. “[What I covered] was either not in the news or not important enough, or when it became important enough, it carried too much liability.� Depending on where you move and what type of photography you do, the challenges will be unique. But Potter’s advice for making work for yourself is universal. “If you really love the place and the story, getting an assignment there or not shouldn’t determine whether you continue to make that work. If it’s something you love, you should keep making the work whether people buy it or not.� It’s also a good idea to have access to another stream of income in between photography jobs. Potter puts her nursing degree to use and funds her travels by intermittently picking up shifts with a travel nursing company. “This doesn’t stop me from doing the

SPRING 2017 • PDNEDU.COM

49

INNOVATION

HOW TO

Stand Out Getting your ďŹ rst few assignments is the hardest part. Here are some ground rules for getting your work out there. By JACQUI PALUMBO

At PDNedu, we ask a lot of photographers how they got their start in order to translate experience into actionable advice. The rare photographer may get lucky and get “discovered� by an editor early on, but for most, it’s a grind to get a steady stream of commissioned work.

50

PDNEDU.COM • SPRING 2017

There’s something that all successful photographers have in common, however, whether it takes a year or ten to build a sustainable career: Someone remembered their name. Edi-

Shape Your Online Presence

WRUV ZLOO KDYH GLÎ? HUHQW SUHIHUHQFHV IRU Č´ QGLQJ

Building a brand for yourself starts online, so

new talent—some hate emails, some toss out

take a critical eye to what you share to repre-

print promos—but once your name registers

sent yourself.

with someone, it plants a seed.

Oppermann updates her website frequently,

Cait Oppermann, a 2012 graduate of Pratt

and on the landing page (caitoppermann.com)

Institute’s BFA program, has been steadily

\RXȇOO ȴ QG D PL[HG FROOHFWLRQ RI DVVLJQHG DQG

EXLOGLQJ KHU FOLHQW OLVW IRU Č´ YH \HDUV 6KH WDNHV

personal work to scroll through. Her photog-

a well-rounded approach to pitching her-

raphy—and the design of her site—gives you

VHOI DQG LWȇV SDLG RÎ? ZLWK FRPPLVVLRQV IURP

an immediate impression of her work.

Buzzfeed, The FADER , The New Yorker, VSCO

Having a recognizable style goes hand in

and WIRED Ζ ȴ UVW OHDUQHG RI KHU DIWHU KHU SUR

hand with name recognition. But that doesn’t

mo featuring Rami Malek of Mr. Robot landed

mean you have to stick to a narrow range of

on my desk. Two months later, I saw her work

VXEMHFWV 2SSHUPDQQ VD\V VKH LV ČŠČľ H[LEOH

published in WIRED’s November issue, guest-

in terms of subject matter, but consistent

edited by President Obama, and decided to

in terms of approach.� Whether she’s pho-

reach out to her to ask her about her strategy.

tographing an editorial portrait of musician

While all photographers’ tactics vary, hers in-

Mitski or a series of solar panels for a story

volve some fundamentally good advice.

on low-cost renewable energy, you can recog-

PHOTOS © CAIT OPPERMANN

THIS PAGE: (clockwise from top left) Comedic alter-ego Joanne the Scammer, photographed for The FADER; Glossier founder Emily Weiss, photographed for WIRED; a collection of postcard promos featuring commissioned and personal work.

she explains. “I thought of clients whose aes-

based on her personal work: Her latest per-

Social media accounts are an extension of

WKHWLF ZRXOG PDNH URRP IRU WKH W\SH RI ȴ QH

sonal project, “Set Piece,” features profes-

your website. Post often, she suggests, but

art work I was making and how that could

sional women’s soccer players, and it has

only with quality content. “My Instagram is

translate to shooting editorial work.”

SURPSWHG VSRUWV DQG ȴ WQHVV DVVLJQPHQWV

nize her images as uniquely hers.

without a doubt the largest public-facing as-

When school ends, so do deadlines. But

You can direct the type of work you want to do

pect of my business, so I treat it that way,” she

that’s not the time to take a break. “Right out

through personal work—she says “Set Piece”

says. “At the end of the day, existing and po-

of school, I was focused on creating a path for

“served as a spark” in the minds of photo edi-

tential clients are looking, which means that

me to continue making work as if I were still in

tors when a project arose.

what I post is an example of what a client gets

school,” Oppermann says. For her, that meant

Another thing you’ll lose access to after

when they hire me.”

shooting every day while backpacking for two

graduation is the availability of thoughtful

and a half months with her friend Yael Malka.

feedback about your work. Oppermann co-

The pair published a book on their travels,

founded TGIF Gallery with four other Pratt

Sea Blues, in May 2013, and Oppermann used

graduates to create a community of photog-

the work to pitch herself for editorial assign-

raphers. “[It was] a response to no longer

PHQWV ȊΖȇP D ȴ UP EHOLHYHU LQ WKH LGHD WKDW

having a guaranteed number of critical eyes

the work you love making is likely your best

on our work like when we were all in school,”

work,” she says. “I’ve seen a lot my friends’

she explains. The co-founders hosted pop-up

2SSHUPDQQ VWXGLHG ȴ QH DUW SKRWRJUDSK\ DW

careers accelerate as a result of a beautiful

shows in a shared studio space and met other

Pratt, but she knew she wanted to begin a path

body of work being seen in a way that could

artists to widen their circle. “It’s super impor-

to editorial assignments. “I paid a lot of atten-

translate easily to beautiful commissioned

tant to seek out and align yourself with peo-

tion to friends and photographers whose tra-

photographs.”

ple whose work you like and who you think

Keep Up the Momentum Post-Graduation

jectories I felt I wanted to align myself with,”

Oppermann continues to get assignments

can speak critically about yours.”

SPRING 2017 • PDNEDU.COM

51

HOW TO

PHOTOS Š CAIT OPPERMANN

INNOVATION

“

THIS IS YOUR CHANCE TO SHOW PEOPLE THAT YOU’RE SMART AND DOWN TO EARTH, AND THAT GIVES PEOPLE A REASON TO HIRE YOU.� — CAIT OPPERMANN

Make a Multifaceted Marketing Plan

Oppermann’s marketing plan consists of quarterly postcards and an email newsletter that contains both commissioned and personal work. She also encourages new photographers to push themselves to network in-person, and says to bring

When it comes down to it, marketing is

IULHQGV LI \RXȇUH VK\ OLNH VKH ZDV DW ȴ UVW

reminding people that you exist, Opper-

“I can’t stress enough how important it is

mann says. But it can be done in a num-

to show up to any kind of photographer/

ber of ways. It’s best to pick more than

client gatherings. This is your chance to

one method, and keep up with it. “There

show people that you’re smart and down

are so many photographers trying to do

to earth, and that gives people a reason

the same thing, and hitting someone up

to hire you.�

at the right time could be the thing that

Eventually, with enough hard work and

puts you in the front of a person’s mind at

some projects under your belt, your work,

a point when they’re looking to hire some-

and word of mouth, will begin to carry

one,� she explains.

some of the marketing for you. Opper-

It’s also a good idea to research photo

mann says she’s reached a point where

departments that hire new photogra-

she estimates that half of the clients that

phers—magazines such as New York and

reach out to her are not clients she has

The FADER are known for fostering new

directly contacted herself. “After years of

talent. And make your notes personal—

working really hard at marketing, my work

no photo editor will be interested if they

is beginning to do a lot of the work for me,

don’t think you’ve done your research on

and that’s a great feeling.� EDU

what types of projects they assign.

52

PDNEDU.COM • SPRING 2017

THIS PAGE: Musician Mitski, photographed for The FADER; runner Rolanda Bell, photographed for VSCO.

Choose Your Gear What’s your gear IQ? Photographers weigh in on keeping up with technology. By GREG SCOBLETE

In a perfect world, photographers could spend weeks analyzing a prospective piece of gear. In the real world, these decisions are often made under the gun. “Sometimes, I have like 30 minutes to research a piece of gear,â€? says Colorado-based SKRWRJUDSKHU Č´ OPPDNHU Keith Ladzinski. To make the right call when you’re on call means keeping up with technology. Here’s how to keep current.

The Internet (Of Course) Social media may be awash in fake news, but the Internet is brimming with great information on photo gear, if you know where to look. New Jersey photographer David PatiĂąo

he adds, both the user-generated kind on photo retail sites like B&H Photo and formal editorial reviews in photo publications like, ahem, PDN.

Social Networks (IRL)

says he doesn’t put as much stock in ultra-

Ladzinski, who teaches photo seminars, fre-

techy sites and photo forums but does spend

quently leans on the advice of friends and

extensive time Googling. “I like to dig through

peers in the industry to learn about technol-

<RX7XEH DQG VHH LI Ζ FDQ ȴ QG YLGHRV RI SHRSOH

ogy. “I can’t stress this enough: a network of

actually using the gear [I’m interested in],� he

peers is tremendously important,� he says.

adds. “That’s become my go-to information

They can be a source of honest feedback about

source in the last few months.�

your work and can also help with gear deci-

Before adding a new piece of hardware to

sions, particularly for smaller, more obscure

his inventory, Patiùo says he’ll ideally spend

SLHFHV RI HTXLSPHQW ȊΖI LWȇV MXVW D OHQV Ζ FDQ ȴ J

a “few days� on what he calls “hardcore re-

ure it out. But if it’s something like a jib or mo-

search.� Then, he says, he “obsesses� for an-

tion time-lapse tracker, I seek feedback from

other two to three weeks, depending on dead-

friends who have used it.�

lines or the expense of what he’s purchasing.

PatiĂąo also taps a real, in-life social network.

For Ladzinski, who is a Nikon Professional

He hosts a monthly meet-up for photogra-

Photographer, social media often provides ser-

SKHUV Č´ OPPDNHUV DQG RWKHU FUHDWLYH SURIHV

endipitous gear news, but he’s also a proponent

sionals in his studio where the talk often turns

of more systematic sources of information like

to gear and tech-related problem solving.

email newsletters. “I do put stock in reviews,�

Chances are, similar meetups are happening

SPRING 2017 • PDNEDU.COM

53

INNOVATION

HOW TO

THIS PAGE: What’s in Keith Ladzinski’s bags? Take a peek at some of his equipment for his still and motion projects.

“

I’D RATHER BUY ONE REALLY GOOD PRIME LENS VERSUS BUYING THREE MEDIOCRE LENSES.� — KEITH LADZINSKI

in photo studios near you—and if they aren’t,

where you live, a local photo retailer remains

(purchased used),â€? PatiĂąo says. “That got me

you can be the one to start one.

DQ H[FHOOHQW LI GZLQGOLQJ UHVRXUFH IRU KDQGV

through 90 percent of the situations I was in. I

on time with newly released gear.

rented any other lenses I needed [but couldn’t DÎ? RUG@ Č‹ KH VD\V /DG]LQVNL FDXWLRQV DJDLQVW VSUHDGLQJ PRQ

measured in a retail showroom or trade

Invest Strategically

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RQ WLPH DV SRVVLEOH %ORFN RÎ? WLPH RQ WKH

ture, so it pays to invest wisely.

nity to physically inspect the item in question,

There’s often no substitute for getting gear in hand, and while some qualities can’t be

calendar to attend photo trade shows like

ȊΖ PDGH VXUH Ζ KDG D PLG UDQJH ]RRP OHQV

PhotoPlus Expo each year. Depending on

SXUFKDVHG QHZ DQG D WHOHSKRWR ]RRP OHQV

54

PDNEDU.COM • SPRING 2017

ey too thin. “I’d rather buy one really good SULPH OHQV YHUVXV EX\LQJ WKUHH PHGLRFUH OHQV es,� he explains. Don’t be afraid of the used

he adds. “In my day, that meant pawn shops. Today, it’s Craigslist.� EDU

PHOTO Š KEITH LADZINSKI

Handle With Care

INNOVATION

Product News

by GREG SCOBLETE

Nikon D5600 With Lens Kit The D5600 is a follow-up to the popular entry-level D5500 DSLR, with some improvements to touchscreen navigation, a new time-lapse feature and the integration of SnapBridge. SnapBridge maintains a constant pairing with your smartphone (Android or iPhone) so the images LQVWDQWO\ SRSXODWH \RXU FDPHUD UROO ΖI \RX ZDQW KLJKHU UHVROXWLRQ ȴ OHV RU ZLUHOHVV YLGHR WUDQVIHUV \RX FDQ XVH 6QDS%ULGJH WR WUDQVIHU ȴ OHV via Wi-Fi to your phone or tablet. You can also automatically upload 2-megapixel backups of your photos to Nikon’s Image Space, where you can house an unlimited number of low-res backups, free of charge. Beyond its wireless chops, the D5600 features a 24.2-megapixel DX format CMOS sensor that performs well in low light, thanks to its ISO sensitivity of up to ISO 25,600. It has a 3.2-inch vari-angle display with touch focusing and can record full HD videos at up to 60p. Included with the camera are the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR and AF-P DX NIKKOR 70300mm f/4.5-6.3G ED lenses, which cover focal lengths from wide angle to telephoto, so you’ll have everything you need to get out and shoot.

Price: $1,150 nikonusa.com

Manfrotto Windsor Backpack This backpack, part of Manfrotto’s new Windsor Collection, will add a touch of class to your photographic outing. Built around a system of interchangeable, modular dividers, you can FRPSOHWHO\ FRQȴ JXUH WKH VSDFH DV QHHGHG 7KH backpack can house a professional DSLR with a 70-200mm f/2.8 lens attached, plus a pair of additional lenses and accessories. There’s also a padded interior compartment that can house a 15-inch laptop. The outside features a waterrepellant fabric and leather trim, and you can attach a tripod via its exterior connection points. If you like the Windsor styling but aren’t in the market for a backpack, there are smaller reporter- and messenger-style bags to suit your needs.

Price: $169 manfrotto.us

56

PDNEDU.COM • SPRING 2017

AF-S NIKKOR 50mm f/1.8G Photographer William Albert Allard reportedly called the 50mm lens “an extremely good discipline lens; it requires you to see in a more reÈ´ QHG ZD\ QRW MXVW WLJKWHU È‹ 1LNRQȇV $) 6 1Ζ..25 PP I * LV SHUIHFW IRU UHÈ´ QLQJ \RXU SRUWUDLWXUH RU HYHU\GD\ VKRRWLQJ DQG FDQ EH XVHG RQ ERWK ); RU '; IRUPDW FDPHUDV RQ '; \RXȇOO JHW D PP HTXLYDOHQW IRFDO OHQJWK 7KH OHQV XVHV 6XSHU ΖQWHJUDWHG &RDWLQJ WR LPSURYH FRORU FRQ VLVWHQF\ DQG UHGXFH ȵ DUH DQG DQ DVSKHULFDO OHQV HOHPHQW NHHSV FRPD DQG RWKHU RSWLFDO PDODGLHV DW ED\ <RX FDQ ERXQFH EHWZHHQ DXWRPDWLF DQG PDQXDO IRFXVLQJ ZLWK MXVW D WZLVW RI WKH IRFXV ULQJ $XWRIRFXV LV GULYHQ E\ D 6LOHQW :DYH 0RWRU IRU IDVW DFFXUDWH DQG DV \RXȇG H[SHFW TXLHW $) RSHUDWLRQ 7KH EULJKW I DSHUWXUH LV LGHDO IRU ERNHK EOXUUHG EDFNJURXQGV RU SXOOLQJ LQ DPELHQW OLJKW LQ ORZ OLJKW HQYLURQPHQWV DQG WKH OHQV VWRSV GRZQ WR I IRU WKRVH WLPHV \RX QHHG OHVV OLJKW :LWK D PLQLPXP IRFXVLQJ GLVWDQFH RI IHHW \RX FDQ JHW QLFH DQG FORVH WR \RXU VXEMHFWV

Price: $220 nikonusa.com

KeyMission 170 )RUJHW FOXQN\ KRXVLQJVȃWKH .H\0LVVLRQ LV EXLOW WR HQGXUH WKH ULJRUV RI WKH RXW GRRUV ZLWK QRWKLQJ EXW LWV WRXJK H[WHULRU WR SURWHFW LW 7KLV XOWUD ZLGH DQJOH DFWLRQ FDP HUDȃWKH VLEOLQJ WR WKH .H\0LVVLRQ ȃKDV D GHJUHH I OHQV ΖWȇV ZDWHUSURRI WR IHHW VKRFNSURRI WR IHHW DQG FDQ VXUYLYH IUHH]LQJ FROG WHPSHUDWXUHV ΖI \RX QHHG WR GLYH GHHSHU \RX FDQ VSULQJ IRU DQ RSWLRQDO FDVH DQG GURS WR IHHW XQGHU WKH ZDYHV 7KH FDPHUD UHFRUGV . YLGHR DW S RU IXOO +' YLGHR DW S DQG WKH PLF KDV D ZLQG UHGXF WLRQ IXQFWLRQ IRU DXGLR FODULW\ <RXU +' DFWLRQ ȴ OPV ZLOO EH VWDELOL]HG XVLQJ 1LNRQȇV HOHFWURQLF Vibration Reduction technology. Camera setWLQJV DQG VKRRWLQJ PRGHV LQFOXGLQJ WLPH ODSVH DQG ORRS UHFRUGLQJȃDUH QDYLJDWHG RQ D LQFK PRQLWRU 7KH .H\0LVVLRQ KDV 1LNRQȇV SnapBridge

technology

to

automatically

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SPRING 2017 • PDNEDU.COM

57

INNOVATION

PRODUCT NEWS

MeFoto Air You can pick up one of MeFoto’s new Air series of anodized aluminum tripods in one of seven colors (though fear not, tripod traditionalists, it’s also sold in black). Beyond looks, the new Air series features a new HyperLock leg-locking system, which, instead of requiring you to unlock multiple leg sections, allows you to extend each leg in its entirety. It also allows you to adjust leg height by twisting the lock at any desired length. All of the tripods in the series KDYH D GHWDFKDEOH WHOHVFRSLQJ VHOȴ H VWLFN DQG include a spring-loaded smartphone holder. They also include a rechargeable Bluetooth remote control so you can remotely trigger your mobile device. The tripods include a ball head with integrated bubble level. The series includes the Walkabout monopod, the BackPacker, the RoadTrip and the GlobeTrotter— check the website for maximum heights and gear weight capacities.

Yuneec Breeze The 1-pound Breeze is operated through your VPDUWSKRQH DQG RÎ? HUV Č´ YH DXWRPDWHG Čľ \LQJ modes to ease newcomers into drone phoWRJUDSK\ 7KH PRGHV LQFOXGH D VHOČ´ H PRGH RI course), a pilot mode for more manual control, as well as an orbit mode that puts the Breeze in motion around a subject. A journey mode sends the Breeze away from the operator and then back, while a follow-me setting ensures the Breeze stays on the trail of its operator. The drone’s onboard camera can record 4K video, snap 13-megapixel stills and stream a 720p HD signal to a mobile device while DLUERUQH 7KH %UHH]H XVHV RSWLFDO Čľ RZ DQG infrared positioning sensors to stay in place indoors or outdoors, and has an automated return-to-home function so users won’t have to worry about tricky landings.

Price: $499 yuneec.com

58

PDNEDU.COM • SPRING 2017

Seagate Backup Plus Portable 5TB Between 4K video and ultra-high-resoluWLRQ VWLOO LPDJHV ȴ OH VL]HV FRQWLQXH WR JURZ 6HDJDWHȇV QHZ %DFNXS 3OXV 3RUWDEOH 7% GULYH WKH LQGXVWU\ȇV KLJKHVW FDSDFLW\ PRELOH GULYH RQ WKH PDUNHW DV RI WKLV ZULWLQJ VKRXOG KHOS \RX NHHS SDFH ZLWK WKHVH PXVKURRPLQJ PHJDE\WHV 7KH %DFNXS 3OXV XVHV WKH FRP SDQ\ȇV %DUUD&XGD LQWHUQDO GULYH ZLWK 6HDJDWH 'DVKERDUG VRIWZDUH WR KHOS \RX RUJDQL]H DQG FXVWRPL]H \RXU EDFNXS RSWLRQV 7KH GULYH ZRUNV ZLWK 3&V RXW RI WKH ER[ DQG ZLWK 0DFV DIWHU \RX LQVWDOO D IUHH 17)6 GULYHU ΖW FRQQHFWV WR ERWK 3&V DQG 0DFV YLD 86% 6L]H ZLVH WKH GULYH PHDVXUHV LQ DW [ [ PP DQG VSRUWV DQ DOXPLQXP FRYHU ΖWȇV VROG LQ EODFN VLOYHU UHG DQG EOXH

Price: seagate.com

Grip Gear Movie Maker :LWK DFWLRQ FDPHUDV OLNH WKH .H\0LVVLRQ GH OLYHULQJ KLJK TXDOLW\ YLGHR LQ XOWUD FRPSDFW SDFNDJHV LW VWDQGV WR UHDVRQ WKDW ȴ OPPDNLQJ DFFHVVRULHV ZLOO GRZQVL]H DV ZHOO 7KH 0RYLH 0DNHU LV D SHWLWH SRUWDEOH VOLGHU WKDW FDQ PRXQW \RXU DFWLRQ FDP VR \RX FDQ DFKLHYH FLQ HPDWLF FDPHUD PRYHPHQWV OLNH JHQWOH SDQV ΖW KDV HLJKW VSHHG VHWWLQJV ZLWK D ERXQFH EDFN IHDWXUH WKDW ZLOO VHQG WKH FDPHUD EDFN DQG IRUWK DFURVV WKH UDLO ZKHQ LW KLWV WKH HQG RI WKH WUDFN 7KH VORZHVW VSHHG PP SHU PLQXWH LV LGHDO IRU WLPH ODSVHV ZKLOH WKH WRS VSHHG RI PP SHU PLQXWH LV LGHDO IRU IDVWHU FXWV 7KH VOLGHU FDQ SXVK D FDPHUD XS DW D GH JUHH DQJOH DQG FDQ DOVR RSHUDWH XSVLGH GRZQ ΖW FRPHV ZLWK D UHPRWH WR FRQWURO VSHHG DQG VOLGH GLUHFWLRQ DQG FDQ DOVR EH RSHUDWHG PDQ XDOO\ ΖI \RX SRS WKH FDPHUD PRXQW R΍ WKH UDLOV \RX FDQ SODFH LW RQ D WULSRG WR WDNH GHJUHH SDQRUDPDV <RXȇOO JHW WZR KRXUV RI RSHUDWLRQ RQ WZR $$$ EDWWHULHV EXW FDQ SOXJ LQWR DQ RS WLRQDO SRZHU SDFN WR JHW H[WHQGHG WLPH

Price: gripgear.com

SPRING 2017 • PDNEDU.COM

59

PDNedu STUDENT PHOTO CONTEST 2017

Winners’ Gallery

DOCUMENTARY / PHOTOJOURNALISM (GRAND PRIZE)

Presenting the winners of the 14th Annual Student Photo Contest. We’re excited to present another group of talented student photographers in high school, undergraduate and graduate programs. Michael Vince Kim will receive $1,500 for his work, and each Grand Prize winner will receive a Nikon DSLR camera, $150 to B&H Photo and a portfolio review. Winners and honorable mentions are also published in an extended online gallery at contest.pdnedu.com.

Grand Prize Winners

60

PDNEDU.COM • SPRING 2017

SPONSORED BY:

DOCUMENTARY / PHOTOJOURNALISM (GRAND PRIZE)

The Jury Elizabeth Kilroy is the chair of the New Media 1DUUDWLYHV FHUWLĚĽ FDWH SUR gram at the International &HQWHU RI 3KRWRJUDSK\ 6KH LV DQ DZDUG ZLQQLQJ LQWHU active designer, business RZQHU DQG HGXFDWRU

Myles Little is a senior SKRWR HGLWRU DW TIME +H KDV SURGXFHG DZDUG ZLQQLQJ covers and features with PDQ\ RI WKH EHVW SKRWRJUD SKHUV LQ WKH ZRUOG

Romke Hoogwaerts runs 0RVVOHVV D SKRWRJUDSK\ PDJD]LQH DQG SKRWRERRN FRPSDQ\ DQG LV FXUUHQWO\ GHYHORSLQJ D SURMHFW ZLWK 5XEEHU )DFWRU\ D SKRWR JDOOHU\ LQ 1HZ <RUN &LW\ȤV /RZHU (DVW 6LGH

Samantha Marlow joined $SHUWXUH )RXQGDWLRQ LQ DQG LV WKH DVVRFLDWH HGL WRU LQ WKH ERRN SURJUDP DQG coordinating editor of The 3KRWR%RRN 5HYLHZ

Mike Davis is the Alexia 7VDLULV &KDLU IRU 'RFX PHQWDU\ 3KRWRJUDSK\ DW 6\UDFXVH 8QLYHUVLW\ȤV 6 , 1HZKRXVH 6FKRRO +H KDV EHHQ D SLFWXUH HGLWRU DQG visual leader at National *HRJUDSKLF WKH :KLWH +RXVH DQG OHDGLQJ QHZVSDSHUV

Roxanne Behr is a senior SKRWR HGLWRU DW New York PDJD]LQH 6KH SULPDULO\ FRPPLVVLRQV SKRWRJUDSK\ for the Cut and Culture VHFWLRQV DQG DOVR FRQ WULEXWHV WR WKH FRUUHVSRQG LQJ YHUWLFDOV DW Q\PDJ FRP

University of the Arts London

Michael Vince Kim “Aenikkaeng� Told through the stories of their descendants, Kim’s series “Aenikkaeng� provides a “poetic account� of 1,033 Koreans who were sold as indentured slaves on henequen plantations in Mexico in 1905, then Cuba in 1910 after they could no longer return to Korea due to Japanese colonial rule. Kim, whose photographic projects explore the historical context of Korean linguistic variations, notes that it was common for Koreans to learn the language of the Mayan Yucatecans they worked alongside, rather than the language spoken by their Spanish masters.

SPRING 2017 • PDNEDU.COM

61

PDNedu STUDENT PHOTO CONTEST 2017

FASHION / PORTRAITURE (GRAND PRIZE)

Dawson College

German Moreno “Montrealers” “Montrealers” is analog fashion-forward portraiture.

62

PDNEDU.COM • SPRING 2017

FINE ART / PERSONAL WORK (GRAND PRIZE)

University of the Arts London

Shi Yangkun “Solastalgia” While nostalgia is experienced while away from home, “solastalgia” is a form of melancholy experienced by people in their homes, evoked by changes that have happened within the home environment. Yangkun says she felt solastaglia when she returned home to China, and says: “This project is about a young Chinese generation exploring memories and seeking identities in the context of tremendous change in China.”

SPRING 2017 • PDNEDU.COM

63

PDNedu STUDENT PHOTO CONTEST 2017

HIGH SCHOOL—ANY SUBJECT (GRAND PRIZE)

Grace Church High School

Tristan Pinto “Pathways of Life From Ahigh â€? An aerial exploration that represents to Pinto the pathways of success, spirtuality and mortality: Manhattan, New York; Miacomet Golf &RXUVH LQ 1DQWXFNHW 0DVVDFKXVHWWV 7KH 0DDVDL 0DUD 1DWLRQDO 5HVHUYH LQ .HQ\D D WHPSOH RDVLV LQ 5DMDVWKDQ DQ ΖQGLDQ KD\Č´ HOG DQG Č´ QDOO\ %URRNO\QȇV *UHHQ :RRG &HPHWHU\

64

PDNEDU.COM • SPRING 2017

MULTIMEDIA/VIDEO (GRAND PRIZE)

Rochester Institute of Technology

Elkin Jaramillo “Philip Jamison Pianos â€? $ VKRUW Č´ OP IHDWXULQJ 3KLOLS -DPLVRQ D PDVWHU SLDQR PDQ

STILL LIFE (GRAND PRIZE)

College for Creative Studies

Lauren Brodzik “Beautyâ€? ČŠ%HDXW\Č‹ LV D VHULHV DERXW KRZ EHDXW\ LV GHČ´ QHG DQG KRZ ZRPHQ DUH SHUFHLYHG DQG WUHDWHG LQ $PHULFD %URG]LN XVHV %DUELH GROOV DV WKH ČŠTXLQWHVVHQWLDO FKDUDFWHUL]DWLRQ RI EHDXW\ VWDQGDUGVČ‹ LQ WKH 8QLWHG 6WDWHV DORQJ ZLWK FRORUV DQG V\PEROV WR FULWLTXH JHQGHU UROHV DQG VH[LVP LQ FRQWHSRUDU\ PHGLD DQG FXOWXUH SPRING 2017 • PDNEDU.COM

65

PDNedu STUDENT PHOTO CONTEST 2017

TRAVEL/LANDSCAPE (GRAND PRIZE)

University of South Wales – Newport

Simone Sapienza “Charlie surfs on Lotus Flowersâ€? Sapienza’s series on Vietnam illustrates a tidal change in the country, which is posied to become one of the fastestgrowing economies in the world. “Like LWV QDWLRQDO Čľ RZHU WKH ORWXV 9LHWQDP is going to rise above the surface of its recent muddy-water past, to bloom with remarkable beauty,â€? he says. But despite the energy of the younger generation, the country is still under Communist rule. The title “Charlie Surfs on Lotus Flowers,â€? he says, “is a metaphorical representation of the society of spectacle in Vietnam, whose people, still ruled with order and control, want to ride the wave of the moment.â€?

66

PDNEDU.COM • SPRING 2017

HONORABLE MENTIONS

Honorable Mentions DOCUMENTARY / PHOTOJOURNALISM University of Texas

Betsy Joles “City Beyond Refuge” A series about displaced Syrians assimilating to life in Istanbul, Turkey, a primary host country for Syrian refugees. But, Joles explains, seeking refuge there presents a new set of challenges. “The story for Syrians is multi-faceted and ever-changing,” she says. “[These are] stories of transition.”

FASHION / PORTRAITURE Rochester Institute of Technology

Sol Ji Park “Untitled” Park says: “This high-key and low-key series is a look into the importance of one’s self-values.”

SPRING 2017 • PDNEDU.COM

67

PDNedu STUDENT PHOTO CONTEST 2017

FINE ART / PERSONAL WORK Fashion Institute of Technology

Lila Barth “My Sister, Look at Meâ€? $ Č´ OP VHULHV DERXW %DUWKȇV VLVWHUȇV SV\FKH DQG VHOI LPDJH XQGHU WKH LQČľ XHQFH RI their mother, and as a reluctant subject in front of the camera.

HIGH SCHOOL—ANY SUBJECT The Bishop’s School

Justine Chen “Untitled� This portrait series, Chen says, is about self-image and the glamorization of youth. “Through color and light, the images aim to show a sense of longing for longevity of youth and beauty, or a crystallization of the present. “

68

PDNEDU.COM • SPRING 2017

HONORABLE MENTIONS

MULTIMEDIA/VIDEO School of Visual Arts

Yiran (Lisa) Chen “Breath” A conceptual video about the importance of environmental protection, illustrating through video art the process of respiratory failure caused by air pollution.

STILL LIFE

TRAVEL / LANDSCAPE

University of the Arts London

St Cloud State University

Nicola Muirhead “Safari”

Tianxi Wang “Listen To the Rivers”

Photographed in Ulm, Germany, in 2016.

Wang returned to China after several years abroad to photograph his homeland with a new perspective, seeking the “unexpected aspects of [its] landscape and culture.”

SPRING 2017 • PDNEDU.COM

69

PDNEDU ASKS

“Which technological advancement has changed the way you work?” Compiled by JACQUI PALUMBO

Imagine for a moment that the technology in your favorite piece of gear hadn’t yet been invented and how it would change the way you create. We asked seven photographers WR UHȵ HFW RQ WKH WRROV WKDW PDNH WKHLU OLYHV HDVLHU

Carli Davidson

Dustin Snipes

Focus: Animal portraits

Focus: Sports and action photography, portraits

“SPEED (FPS)”

“If I’m looking at advances post-digital age, then for me it’s been all about speed. Having the technology at a consumer level with my Nikon D4s to shoot 10+ frames per second has changed the fundamental way I think creatively. Instead of focusing on the technical challenges of how to get the one shot and recreating the scene over and over again, I think about how to edit down to the most pow-

PDNEDU.COM • SPRING 2017

“HIGHSPEED SYNC”

dustinsnipes.com “High-speed sync. Not only is it a much easier way to overpower the sun, but the typical max sync speed of 1/250 of a second was not the greatest when I was trying to freeze the action. Before, in order to overpower the sun and stop PRWLRQ EOXU GXH WR VORZHU ȵ DVK GXUD tions at high power), I would have to use multiple light heads acting as one light. Now, with high-speed sync light-

erful shot of my many options. Also I

ing, I can shoot at any shutter speed

can work with animals that can only

and not worry about stopping the ac-

focus for one or two takes and know

tion while outside on a bright day—my

I’ll have great options, something that

shutter will handle that instead of be-

was more chance than assumed in the

ing limited by the sync speed.”

past.”

70

PHOTO © DUSTIN SNIPES

PHOTO © CARLI DAVIDSON

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71

OUT OF THE PAST [100 YEARS]

A Century of Optical Innovation By AMANDA BALTAZAR

Photographers may know Nikon best for the cameras in their bags, but over

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the past century, Nikon’s optical devices have been used for telescopes,

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binoculars, eyeglasses and more. Nikon also supplies gear for NASA, from

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dance of imaging gear employed on the International Space Station today.

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it was easy to operate and cost a third of competing products.

facturers set up the company Nippon Kogaku K.K. Known as Nikon since

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continued the trend of adopting professional features in smaller bodies,

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their mission to push the boundaries of imaging technology.

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features impacted future cameras from Nikon and became so popular that

day’s greatest photographic talent.

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THIS PAGE: Two-time gymnastics world champion Hollie Vise, photographed by Nikon Ambassador Dave Black in 2012.

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Nikon celebrates its centennial.

STUDENTS, WE WANT YOUR FEEDBACK! Brought to you by PDN and Nikon

SPRING 2017 STUDENT SURVEY

Vol. 15 ISSUE 01 / SPRING 2016

the Commercial Photography issue

Take our survey by April 3, 2017! bit.ly/2lhtPiR

ONE SURVEY-TAKER WILL RECEIVE A $100 GIFT CARD TO B&H PHOTO. KEEP UP WITH PDNedu BETWEEN ISSUES pdnedu.com

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