Fall 2012 by Alexandra Niki

fall 2012

A VERY ENGLISH INTERVIEW WITH PETER DENCH

KNOCKERS, PISS-UPS, AND PORRIDGE

PREMIERE ISSUE Pho to g raphe r Of the We e k INCLUDING: SAM COMEN// JEREMY AND CLAIRE WEISS AKA DAY 19// TURE LILLEGRAVEN//

THE

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ALSO: ROY SCHWALBACH OF JACK STUDIOS// CASEY KELBAUGH OF SLIDELUCK// BACK TO SCHOOL GEAR// GLEN WEXLER AND VAN HALEN// INSIDE A SCORO PACK// PLAYBOY SHOOTERS// BOB CAREY AND THE TUTU PROJECT// STOP MOTION HOW-TO//

HIGHLIGHTS

Page 168

Page 170 Page 68

PAGE 26

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BIZ- BEHIND THE BIZ: Roy Schwalbalch of Jack Studios Meet the man behind the studio.

PAGE 68

PAGE 112

PAGE 168

PAGE 170

Page 184 PAGE 184

TECH- CAMERA REVIEW: Pentax K30 A review.

PRO- SPECIALITY: Shooting for Playboy The dream job, explained.

RISE- THE EXPERIMENT: Stop motion animation You’ll need a camera... and to be anal retentive.

FEATURE- PETER DENCH SHOOTS THE SHITE

Peter Dench is making doc-photography waves in Europe, and he’s at least as colorful as his work.

FEATURE- INTO THE REALMS OF THE UNREAL: Kirsty Mitchell’s Wonderland Kirsty Mitchell creates beauty out of loss and pain.

Page 26

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CONTENTS Page 8 YOUR ESSENTIALS 8 12 16 18 208

Masthead Editors’ Letter Re:Sourced Shoot Talk Directory

Page 26 BIZ 26 30 32 38 40 42 44 48 50 52 54 56

Behind the Biz: Roy Schwalbalch of Jack Studios Sell Yourself: Hypnotism and Photography – The unusually complementary pair Get Smart: PhootCamp – A professional photographers' summer camp Going Pro: Part IV – Building Brand Recognition Client File: Eric Taub, Creative Director of Canvas Lands’ End Pro-Pinion: Casey Kelbaugh on networking Portfolio: “Small Business” by Blaise Hayward Graph-Ic: Photo Crossword Stock: The world about us – the NOAA Photo Library Trends Of Now: KSC Kreate caters to ecommerce growth Tips: How to effectively tag your photos for the Web SocioMediaPath: How to protect your images online

Page 58 TECH 58 66 68 70 71 72 74 75 76 78 78 79 80 82

Ask a Geek: Goes back to school De-Constructed: Boncolor Scoro 1600E Camera Corner: Pentax K30 What’s In Your Closet? Daymion Mardel Do It With Style: Pimp your camera Software: CS6 for retouchers Bookmarked: Internet revives TV Do It For Fun: Point Grey Flea3 camera Rigged: F. Scott Schafer – Photographer with a zest for jest On The Scene: Skip’s Summer School 2012 Sick App: Vyclone Do It Yourself: Transfer photos on wood Retouch That: Color Balance Capture This: Formatting hard drives

Page 84 PRO 84 94 98 100 106 108 112 122

Photo Pro-File: Erik Johansson and his impossible photographs History: Van Halen, Balance, by Glen Wexler Crew Pro-File: Julius Poole, Producer Extraordinaire Master Class: Michael Corsentino PhotoGraph: Dan Busta shoots the band Eating Faces Editor’s Pick: Christopher Hench Speciality: Shooting for Playboy Videography: Can you delete yourself?

Page 124 RISE 126 136 160 164 166 168

Rising in: Rus Anson Photographers of the Week – Sam Comen, Jeremy & Claire Weiss/ Day 19, Ture Lillegraven Breaking In: Multimedia Documentarian Rick Gershton Mobile Photo: The Phonetographers – The members of Mobile Photo Group talk about mobile photography Unpublished: Lost In A Good Way The Experiment: Stop motion animation

Page 170 FEATURES 170 184

Peter Dench Shoots the Shite Into the Realms of the Unreal: Kirsty Mitchell’s Wonderland

Page 196 ARTS & ENTERTAINMENT 196 200 204 206

Gallery: “Heinrich Kuehn and His American Circle: Alfred Stieglitz and Edward Steichen” at the Neue Galerie Book Club: Fall crops Cause: The Tutu Project – A man in a pink tutu fight breast cancer. Flashed: Los Angeles Street Style by Patrick Liotta COVER SHOT BY SAM COMEN: www.samcomen.com

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EDITORS IN CHIEF Alexandra Niki, Aurelie Jezequel CREATIVE DIRECTORS Alexandra Niki, Aurelie Jezequel ART DIRECTOR Alexandra Niki DESIGN Rachael Tucker TECHNICAL ADVISOR Adam Sherwin CONTRIBUTING PHOTOGRAPHERS Rus Ason, Misho Baranovic, Rachel Been, Dan Busta, Bob Carey, Sam Comen, Garrett Cornelison, Michael Corsentino, Tim Dalton, Day 19, Peter Dench, Arny Freytag, Sion Fullana, Rick Gershon, Steph Goralnick, Christopher Hamilton , Blaise Hayward, Christopher Hench, Chase Henderson, Ross L. Hockrow, Erik Johansson, Anton Kawasaki, Teo Kaye, Everardo Keeme, Stephen Kosloff, Olly Lange, Ture Lillegraven, Patrick Liotta, Lost In A Good Way, Daymion Mardel, Steve McCurry, Kirsty Mitchell, Paul Octavious, Brook Rieman, Star Rush, David Sacks, F. Scott Schafer, Greg Schmigel, Adam Sherwin, Peter Slusza, Yutaka Takanashi, Tim Walker, Steve Wayda, Glen Wexler CONTRIBUTING WRITERS Janet Alexander, Aimee Baldridge, Sophia Betz, Dan Busta, Skip Cohen, Michael Corsentino, Charlie Fish, Blaise Hayward, Ross L. Hockrow, Aurelie Jezequel, Casey Kelbaugh, Stephen Kosloff, Leslie Lasiter, Isaac Lopez, Daymion Mardel, Alexandra Miller, Alex Niki, Michelle Park, Shannon Roddy, Stephan Sagmiller, Justin Sedor, Adam Sherwin, Jason Tuchman, Jeffrey Zuschlag CONTRIBUTING ILLUSTRATORS Kelly Kaminski, Shirley Hernàndez Ticona COPY EDITORS Janet Alexander, Justin Sedor, Jeffrey Zuschlag INTERNS Camille Augustin, Thomas Bloch, Katelyn Eige, Iliana Hagenah, Ashley Hager, Brooke Johnson, Rachel Gurchin, Keith Peter Smith PUBLISHER - REMAG Inc. DISTRIBUTION - info@resourcemagonline.com ADVERTISING Alexandra Niki alex@resourcemagonline.com Adam Sherwin adam@resourcemagonline.com

Resource Magazine is a quarterly publication from REMAG Inc. info@resourcemagonline.com SUBSCRIPTIONS: $40 in the U.S., US$50 in Canada, and US$60 globally. For subscription inquiries, please email us at info@resourcemagonline.com or go to our website and look for the subscription link: www.resourcemagonline.com SPECIAL THANKS TO: John Champlin/ LUX-SF, Mark Chin, Landon Garza and Patrick Liotta. We welcome letters and comments. Please send any correspondence to: info@resourcemagonline.com The entire content of this magazine is ©2012, REMAG Inc. and may not be reproduced, downloaded, republished, or transferred in any form or by any means without written permission from the publisher. All rights reserved. For more info and your daily dose of Resource, please visit our website: www.resourcemagonline.com And check out RETV, Resource’s easy to read online video platform: www.ResourceTelevision.com FIND US ON NEWSSTANDS ACROSS THE COUNTRY! EASIER YET, GET YOUR ONLINE SUBSCRIPTION AT www.resourcemagonline.com AND NEVER MISS AN ISSUE!

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CONTRIBUTORS 1.

3. 1. Casey Kelbaugh:

Casey Kelbaugh is a NYC-based photographer and the founder and director of Slideluck. When he is in NY, he’s usually shooting for editorial and commercial clients, riding his bicycle around town, or in his kitchen, cooking. When he’s traveling, it’s usually because he’s hosting a Slideshow Potluck somewhere or other. Most recently? Toronto, Seattle, and Tel Aviv. www.caseykelbaugh.com www.slideluck.com

2. Daymion Mardel:

Daymion Mardel is a New York fashion photographer and an all around sweet guy. Here’s what he had to say when asked to talk about himself: “Honestly, all I really want to say is, ‘Thank you Mum. Thank you for believing in me. Without you, none of this is possible.’” www.daymion.com

3. Patrick Liotta: Even though Patrick Liotta came come from a family of doctors, he chose to be an artist. He has been a professional photographer since the age of nineteen and landed his first magazine cover at twenty-one. Since then, he has traveled the world to capture images that stir his soul. www.patrickliotta.com

4. Ross Hockrow: 7.

Ross Hockrow is a 26-year-old writer/director and a die-hard Celtics fan. He’s currently locked

in an editing fortress, working on his last feature film, “Out Of Order” (also the name of his 2013 fall tour where he’ll teach editing). In December, he’ll direct a TV pilot about a female con artist from London. www.cinestories.com

5. Peter Sluszka:

Director Peter Sluszka specializes in animation and mixed media and can frequently be found hunched over a puppet in a dark room. He is currently finishing a video for Bat For Lashes’ new album The Haunted Man. www.PeterSluszka.com

6. Dan Busta:

Born and raised outside Chicago, Dan Busta uses the camera to graphically compose, craft and organize each image. Using color, pattern, repetition, shape and people to delicately and meticulously create each piece. He is a true Capricorn, constantly bending his style, trying new things, climbing, playing and growing. www.danbusta.com

7. Blaise Hayward:

Blaise Hayward talks about shooting his “Small Business” series: “I have always had a bit of a ‘laissez-faire’ attitude when it came to safety. But for shooting ‘The Beekeeper,’ I eagerly donned my suit. It was over 90 degrees that day but I did not mind in the least!” www.blaisehaywardstudio.com

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letter

This issue marks our 5th year anniversary. As the saying goes, “We’ve come a long way, baby!” A lot of people have asked us how the magazine got started, so I thought we should tell our story once and for all. Alex and I met, appropriately, on set; I was working as a producer, she as a prop stylist. In April 2007, she called me up to discuss an idea of hers. We met at Café Mogador in the East Village, and she laid out the basics of what was to become Resource Magazine. Although there were a lot of photo magazines, there was nothing that really showed our lives—the mini-community that a photo shoot generates, the behind the scene antics, the excitement and pressure people experience in this business. You have to admit, this business can get crazy, with hours-long conference calls, casting sessions that feel like a slightly nicer version of The Hunger Games, and endless discussions about the shade of the background (or of a plate on a table)... We wanted to make a magazine that was not just about gear and camera but was for everyone involved on a shoot: from the photographer to the producer or stylist, to the guy who drives the RV. We also knew that there’s always this moment when there’s nothing to do on set—the model is getting dressed, the light is getting set up—so we wanted our magazine to be there to fill in that downtime. We decided to place it for free in studios, labs and equipment and prop rental companies so it will always be accessible to photo professionals. We went for it, a bit on a lark, a bit because we loved the idea of creating a magazine, and a lot because we loved this industry and wanted to celebrate it. We mapped out what we needed to do, from finding a printer to defining content and a budget, and we just dived right into publishing. I guess people felt we had a good idea (or maybe they were just curious to see where we were going with this), but contributors and advertisers alike gave us a chance. We started small, placing the issues in key places in NYC only, but the magazine quickly gained traction. In year three we expanded our free distribution network to LA, Miami, Chicago and SF, and started working with a distributor to get Resource into Barnes and Noble and other newsstands across the U.S. and Canada.

When Adam joined the team, we launched Resource Television, our online video platform, and went through the integration of still and motion as the industry was going through it. In an effort to be more useful to our readers, we had a major redesign last year, expanding our content, changing how we broke down and presented the information, and included more gear articles (we had to give in: photographers love their gadgets!). We’ve re-launched our website earlier this year to make it a continuous source of information, and we’re having fun exploring all the options that the digital edition offers, from embedding video to linking social networks on an article. We’re working now on a redesign and new formula for 2013—stay tuned for more to come! It has been a fun and crazy adventure so far, and I have no doubt it will continue to be. The response has been incredible: it seems we struck a chord and filled a void. Resource has been growing during one of the worst crisis in publishing (and the economy at large) of all times. Over the last five years, we’ve met incredible people, both contributors (some of whom have worked with us since the very first issue—hi Charlie!), and advertising partners (I’m not singling out anyone here, we love you all!); without them, Resource would not exist. Our knowledge and appreciation of the industry and of photography have grown tenfold—we knew only our little corner of it, the fashion/advertising market, but there’s a big wide world of photography out there, from wedding to wildlife. We’re learning every day, getting new ideas that we can’t wait to try and celebrating this crazy business of ours. Happy birthday to us! And to you, Resource readers!

Photo by Blaise Hayward

EDITORS

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RE:SOURCED

By Janet Alexander

Breasts that Pop—We Celebrate and Support: The 3D cover of our

summer 2012 issue, Breasts that Pop, proved to be a cause for celebration and inspired its photographer, Henry Hargreaves, to create a celebration for a cause. Ilford Paper, Gotham Imaging, and Resource joined forces for Bosom Buddies: The Breast Auction Ever, where 300 guests gathered at Go Studios to bid on 30 of Henry’s eye-popping images. All proceeds were donated to the Youth Survival Coalition, a NYC-based organization dedicated to breast cancer education and support. Brooklyn Brewery, Vitamin Juice, Cristal, Aguila, Cusquena and SixPoint generously provided refreshments).

Editor’s Moment:

I don’t know which one to choose! Too many things have happened recently: Speaking at Skip’s Summer School in Chicago in August with Adam Sherwin, our Technical Advisor and resident photographer. My first public speaking event ever! In all honesty, I was so nervovvus I thought I was going to be sick, but it went well and no one seemed to notice. Selecting images with one of the Playboy photographers we interviewed for our Speciality article (see page 112). Since he was on location, I had to describe said images. Like, “Well, we really like the photo of the girl... you know, she’s not wearing much but she’s in some incredibly fancy location…” Meeting Producer Extraordinaire Julius Poole, a high fashion, high-energy machine, to discuss the state of the business and fashion’s shenanigans. (see his interview on page 98)

- Aurelie

EDU Contest 2013:

Close your books and put down your pencils: it’s time to venture outside the classroom and put those photography skills to use. Resource’s EDU 2013 Contest is now open to submissions through October. Focusing on students’ work, we’re looking for the next great imagemakers across six distinct categories—fashion, portrait, tabletop, fine art, photojournalism, and landscape—and selecting a Grand Prize winner who’ll be published in an upcoming issue of Resource and get enough gear to start off his/her career. Sponsors are Broncolor, Sigma, DFStudio, Sun-sniper.com, Tiffen, Dfx, Gotham Imaging, Gitzo, CRU, Lowel, Phase One, Avenger, Manfrotto, liveBooks, Sunbounce.com, Gura Gear, and APA. WEntries will be accepted through October 2012. Check out our website for more info: www.resourcemagonline.com

Blog Highlight:

Beyond tips and tricks, how-to’s, inspirational photography, profiles, contests, and events, Resource online is now offering more news and in-depth coverage than ever before. Back in June, news of the Nets move from NJ to Brooklyn became a cause for a multi-media campaign called, “Hello Brooklyn.” It may have been exciting enough to announce the Brooklyn Nets, but Resource wanted to know more. We tracked down the Creative Director of the “Hello Brooklyn Support Campaign,” Michael Wiehart, to hear the vision behind the slogan.

“There are no rules for good photographs, there are only good photographs.” - Ansel Adams

Icon Guide:

You will find icons throughout the magazine now. Here is the guide for what they represent. APP EXTRA will be coming along shortly when our second app is released. Enjoy the Resource multimedia experience!

R RETV EXTRA

WEB EXTRA

DIGITAL EDITION

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SHOOT TALK: Words and Research by Alexandra Miller

01 j u l y NIKON plays golf

JULY

Nikon celebrates its twentieth a n n i ve rs a r y a s t h e m a i n sponsor for the UK Open Championship, the oldest major golfing tournament in the world. Nikon is celebrating by hosting activities throughout the tournament, while displaying their newest products.

PRINT TO WALGREENS APP

JULY

The Kicksend app for iPhone and Android gives users the ability to print photos in any of Walgreens 8,000 stores. This is an easy and efficient way to get prints straight from your camera phone.

RESOURCEMAGONLINE.com

WACOM CINTIQ 24HD TOUCH

JULY

MILK GALLERY PRESENTS NEW EXPOSURE

This new multi-touch Wacom tablet is a helpful tool for creative professionals looking to work with their hands. The Cintiq 24HD’s large screen and large color gamut is a must for all professionals.

JULY

Fashionistas flock to New Exposure , a photo contest sponsored by RED and Bottega Veneta. The show displays the f inalists — up-and-co ming fashion photographers from around the world, with the winner being An Le. Photo by Billy Barrell/ Mike Howard

NIKON 800mm 5.6 TELEPHOTO

JULY

Nikon’s longest lens ever, this 800mm f5.6 lens with built-in VR is certainly extravagant. Retailing at $10,000, this pricey piece of equipment will make its first appearance at the Open Golf Championship in England.

SIGMA 180mm F/2.8 APO MACRO LENS

JULY

Sigma has come out with a new macro lens with an amazing 1:1 ratio. Anyone interested in macro photography, rejoice!

31 INSTAGRAM OF STORM OVER NYC GOES VIRAL

JULY

Captured by ex-NFL player Dhani Jones, this Instagram photo of the concentrated storm over NYC gathered a lot of buzz on the Internet. With its incredible point of view, the photo shows Manahattan at the eye of the storm. Photo by Dhani Jones

BLURB OFFERS INDESIGN EBOOKS FOR IPAD

JULY

The new Adobe InDesign plug-in allows photographers and designers alike to create ebooks for the iPad. The program creates ebooks in fixed format with online editing, which will make it easier to make creative blurb ebooks.

FUJIFILM DISCONTINUES VELVIA 100f VELVIA 50

JULY

With all the news of Fujifilm’s cut backs, it’s no surprise that they’re discontinuing some of their less popular films. Velvia 100f in 35mm, 120, and 4x5 and Velvia 50 in 4x5 and 8x10 will no longer be in production.

CANON EOS M MIRROR-LESS CAMERA

JULY

Canon EOS M is the newest addition to the Canon line. The mirror-less 18MP pointand-shoot camera offers the versatility of interchangeable lenses and HD video.

WEDDING PHOTOGRAPHER SUED FOR $300,000

JULY

Photographer Gary Fong recently shot a wedding that turned into a nightmare: the couple didn’t like the photos and decided to sue him for $300,000. Make sure to always have of a contract and a good lawyer! Photo by Gary Fong

INSTAGRAM HITS 80 MILLION USERS

JULY

Did you know that Instagram was popular? Well it is—there are 80 million other users and counting. This peak comes after their purchase by Facebook— the app gained 30 million users in less than 2 months.

SHOOT TALK: “Photographic Timeline of the Last Quarter” Page 19

SHOOT TALK:

01 A u g u s t NATIONAL GEOGRAPHIC WINNING IMAGE

AUG

Photographer Cedric Houin captured the winning image for National Geographic 2012 Traveler photo contest. The photo was taken in the Kyrgyz land of the Wakhan Corridor in Afghanistan, and shows a mother and daughter sewing in their home. Photo by Cedric Houin

NEW YORK TIMES FREELANCE PHOTOGRAPHER ARRESTED

AUG

Robert Stolarik was shooting a street fight when police officers ordered him to stop. He refused and was subsequently arrested; both sides say the other became physical. This moment illustrates too well the difficult relationship between the press and the police. Photo youtube.com

FIRST PHOTO FROM MARS ROVER CURIOSITY

AUG

The first photo from the rover Curiosity shows the heavily distorted rocky scenery of Mars. NASA is planning to send another camera to take highres and color photos. Photo by Rover Curiosity

RESOURCEMAGONLINE.com

SMITHSONIAN’S NOMINEES

AUG

Smithsonian named Sara VanDerBeek the 2012 winner for the Contemporary Artist Award. This award is given to artists under 50 who have large bodies of work and are considered major forces in contemporary art. Photo by Sara VanDerBeek

COLOR PHOTO PRINTED AT HIGHEST RESOLUTION EVER

AUG

The 100,000 dpi print of the industry test standard, Lenna, is a groundbreaking achievement in the world of printing. The photo, 50x50 micrometers, is about the same size as one pixel on an Apple display. Image courtesy of Playboy

MEDIUM, A NEW PUBLISHING PLATFORM

AUG

Created by the co-founders of Twitter, Medium is the newest publishing platform that provides a way for text and great photos to come together. The photos are presented huge and full bleed on your browser. It’s still in closed beta, but will hopefully be available to the public in the near future.

31 GETTY PURCHASE

AUG

Getty Images was purchased by the private equity firm Carlyle Group for $3.3 billion dollars. It seems that the stock agency has been doing well— it was originally purchased for $2.4 billion only 4 years ago.

MARTINE FRANCK PASSES AWAY

AUG

Photographer Martine Frank is best known for her work in Asia and her documentation of life around her. In 1970, she married renowned photographer and Magnum cofounder Henri Cartier-Bresson. Photo by Henri Cartier-Bresson

INSTAGRAM 3.0 MAPPING FEATURE

AUG

The newest feature to the latest Instagram is Photo Map, which displays your geo-tagged shots on a map. Although there are some features missing, Photo Maps adds another way for Instagram users to connect with one another.

FBI SEAL TO STOP PHOTO THEFT

AUG

The FBI has given photographers a new way to keep their photos secure. The FBI seal can be downloaded from their website and added to your site as a deterrent. Perhaps now people will ask permission before taking your photographs.

NORMALIZE APP IS THE ANTI-INSTAGRAM / HIPSTAMATIC

AUG

Have you ever wondered what your photos would look like without Instagram’s snazzy filter? A new app, Normalize, takes out the filter and leaves the unprocessed photo, showing you the unadulterated truth for just 99 cents.

MALCOLM BROWNE DIES

AUG

The renowned photojournalist Malcolm Browne passed away at age 81. His most famous work, an image of a burning monk marked a turning point in the early Vietnam war, and earned him a Pulitzer Prize. Photo courtesy of AP

SHOOT TALK: “Photographic Timeline of the Last Quarter” Page 21

SHOOT TALK:

01 s e p t e m b e r TALK BY TARYN SIMON AT MOMA

SEPT

Taryn Simon’s series, A Living Man Declared Dead and Other Chapters I- XVIII , was taken over 4 years and explores the different bloodlines and their personal stories. The different chapters are split into 3 parts that examine each bloodline through photography and text.

HUBBLE CAPTURES DISTANT SUPERNOVA

SEPT

The Hubble Space Telescope discovered the exploding star in the galaxy of NGC 5806. This will aid scientists in their research of supernovae, which are extremely rare to find. Image courtesy of NASA

The new Livestream Studio HD500 really is “a studio in a box.” It features 5 live video inputs/outputs for SD and HD, audio mixing, and a video recorder and player— eve r y t h i n g yo u n e e d fo r production without the hassle of extra equipment and gear.

ADOBE RELEASES PHOTOSHOP TOUCH 1.3

GO BROOKLYN ART

SEPT

Adobe releases Photoshop Touch for iPad and Android tablets. This update features the ability to edit images up to 12MP, new effects, and better touch sensitivity. The update is free for current app users.

RESOURCEMAGONLINE.com

LIVESTREAM RELEASES STUDIO IN A BOX

SEPT

08-09

GO is a community-curated studio project organized by the Brooklyn Museum. Artists from all over Brooklyn open their studio doors to the public for a weekend. Viewers are encouraged to vote for their favorite artists; the top 10 will be showing their work in an upcoming exhibition at the museum.

APPLE ANNOUNCES NEW iPHONE 5

SEPT

The Internet had been eagerly awaiting details on the new i P h o n e fo r m o n t h s , w i t h speculations and rumors in high gear. The new phone is thinner, lighter, and has a twotone shell. It uses iOS6, can shoot panoramic photos, and has a 4" Retina display.

31 GOOGLE+ HANGOUT HOSTS A MOVIE TRAILER

SEPT

With Google+’s increasing popularity, the social network plays host for the première for the trailer of Lincoln , Steven Spielberg’s new movie. Spielberg and actor Joseph Gordon-Levitt join the Hangout to answers questions from their fans. The film, which stars Daniel Day-Lewis, will be out November 9th.

Canon announces the EOS 6D full frame DSLR.

SEPT

The first Canon DSLR to include built-in GPS and Wi-Fi. The 6D features Canon’s new 20MP CMOS sensor and promises better low-light capabilities than even the 5D MKIII, plus the ability to turn your smartphone into a wireless remote with the EOS Remote App.

PHOTOKINA

SEPT

18-23

Photokina, one of the leading imaging fairs in the world, always features many new products from leading camera makers, a number of photo competitions, workshops, and photography exhibitions

ICP BOOK SIGNING WITH SAUL LEITER

SEPT

Saul Leiter may have started his career as a painter but ICP celebrates his renowned photo color work. His book, Retrospective , showcases a variety of his work throughout his career. Photo by Saul Leiter

NY ART BOOK FAIR

SEPT

28-30

Virtual and digital are great but a beautiful art book is a treat. The New York Book Fair is a free event that showcases artists, books, zines, periodicals, and catalogs, with artists and publishers from all over the world.

MARTHA SWOPES EXHIBITION AT NYPL

SEPT

The New York Library for the Performing Arts’ exhibit of photographer Martha Swope opens. Swope was a recognized photographer of dance and theater, as well as the official photographer for the New York City Ballet.

SHOOT TALK: “Photographic Timeline of the Last Quarter” Page 23

WHAT’S COMING UP IN Q4 OCTOBER 8 2012 THE LUCIE AWARDS BEVERLEY HILLS, CA

Known as the Oscars of Photography, The Lucie Awards commemorates its 10th Anniversary by returning to its original location, the Beverly Hilton International Ballroom, and honors individuals and organizations from the US and abroad. www.lucieawards.com

OCTOBER 24-27 PHOTOPLUS CONFERENCE AND EXPO - NYC

Widely known as the most significant annual photo event, PhotoPlus Expo showcases the newest imaging products and features a wide range of exhibits. Choose from over 90 of this year’s professional seminars. www.photoplusexpo.com

NOVEMBER 15-18 ANSEL ADAMS GALLERY PALTINUM PRINTING YOSEMITE NATIONAL PARK, CA

This four-day class explores the alternative process of digital and film negative printing, from creation of the image, to printing and the specific technique behind platinum printing. www.anseladams.com

DECEMBER 17 APA IMAGE MAKER SERIES PRESENTS: MICHELLE PEDONE - NYC

APA presents the Image Maker series with Michele Pedone, a well-known NYC advertising photographer. Pedone shoots incredibly vibrant, stylized portraiture, and recently started some promising video projects. www.apany.com

By Alexandra Miller

OCTOBER 15-21 2012 CHICAGO, ILLINOIS FILTER PHOTO FESTIVAL

The Midwest’s premier photography event, featuring workshops, lectures, exhibitions, mixers, and its highly anticipated portfolio reviews—all of which connect emerging, mid-level, and professional photographers with educators, curators, editors, and gallery owners—will also be hosting its first ever Photo Book Fair. www.filterfestival.com

NOVEMBER 5-7 INTENSIVE ADOBE PREMIERE PRO CS6 - SANTA FE, NM If you’re having a hard time working your way through Adobe Premiere Pro CS6, then this intensive course is just for you. By the end of the weekend you’ll know the ins and out of the newest Premiere. www.santafeworkshops.com

DECEMBER 2 JULIA BLACKMON PHOTOGRAPHY LECTURE LEXINGTON, KY

This Photography Lecture Series, hosted by the University of Kentucky, presents Julia Blackmon, who’s known for her beautiful and complex images of family life. www.uky.edu/ArtMuseum/blackmon_rcmay

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SHOOTTALK: ”A briefing of the latest news, notes, and nonsense in the photo industry.” Page 21

Roy Schwalbach of Jack Studios

BEHIND THE BIZ

By Isaac Lopez I Photos courtesy of Jack Studios

Now, we could just have you sit there and read a bunch of really bad puns about Jack Studio’s name. “They DO know Jack.” “This studio is all ‘Jacked’ up.” “Jack ain’t wack.” Etcetera, etcetera. We’d never do that to you, I swear (never mind the fact that we just kind of did). All that would only delay us from telling you that the owner and founder of Jack Studios, Roy Schwalbach, is quite frankly the man—how many other people do you know can say they’re a model-turnedagent-turned-studio owner-turnedgame-fisher-turned-eyewear-designer? We suppose you can call him a JackOf-All-Trades. (We’re really sorry.)

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Jack Studios After being in front of the camera as a model and commercial actor overseas in the 1990s, Schwalbach conceded to being only a “legend in [his] own mind.” It was time to change career paths, and through a series of chance encounters, he came to New York and became an agent for various photographers, directors, and other creative types.

MEET THE MAN BEHIND THE STUDIO

“The funny thing was that I didn’t know anything about the photo business,” Schwalbach now admits. “I just knew that I could go out and talk to people.” In 1995, Schwalbach’s entrepreneurial, do-ityourself spirit drove him to open up Jack Studios, a then relatively modest affair with only one space. He settled his new home in the Chelsea area of Manhattan, in the famous Starrett Lehigh Building, a colossal monolith encompassing an entire city block. Fashion behemoths such as Club Monaco, Tommy Hilfiger, and Hugo Boss call it home, though, when Schwalbach started up Jack, those guys were nowhere to be found.

BIZ: BEHIND THE BIZ-“Jack Studios” Page 27

BEHIND THE BIZ

THe building management used my studio as a showroom to bring ralph lauren and other big designers into the builidng.

“When I came, there was nobody here,” recalled Schwalbach. “In a way, I bought the entire business here—the building management used my studio as a showroom to bring Ralph Lauren and other big designers into the building. And now the building is full.” When the need for an expansion came, Schwalbach was told there weren’t any available spaces: this was in the middle of the dot-com boom, and the building was inundated with small Internet companies. In classic Schwalbach style, he used his ingenuity to get around that problem. "Director" frame

“I was sitting in my office and looking around; I started thinking, ‘If I moved this wall ten feet, and I [demolished] my office and moved the lobby and the bathroom, I could make another studio, and I won’t have to spend one more cent in rent,’” Schwalbach explained. So he called a contractor, had a team of twenty people come by one Friday night to take sledgehammers to the walls, build new ones, install sheetrock, and paint the space. By the end of that weekend, his second studio was nearly completed. Since then, Jack Studios—named after a chocolate Labrador Schwalbach had at the time— has become a full-service facility offering digital, grip and lighting,

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pre- and post-production, and more. The space is huge, with seven gorgeous studios totaling a whopping 50,000 square feet, amazing views of the city, a beautiful lobby, and the requisite espresso bar. Jack Studios is perhaps one of the cleanest studios you’ll ever set foot in as well. Now, you’d assume that having a spic-and-span space would be a given, but, according to Schwalbach, you’d be surprised. “We take a lot of pride in the cleanliness of Jack Studios,” said Schwalbach. “You’ll never sit down on a wet toilet seat here. That’s disgusting! And it happens everywhere, not just in studios! For me, it’s one of my pet peeves.” Come December 2012, an eighth studio will open up, topping off a pretty busy year for Jack. So, what else is in store for Schwalbach? A completely new and non-photo related endeavor: the launching of his own eyewear line, appropriately named Jack Eyes. “While game fishing, I noticed guys would fly in with their jets, get on their $4-5 million boats, with their platinum Rolexes, all the while wearing really inexpensive delaminated plastic frames,” said Schwalbach. “They’d go to dinner with their beautiful clothing and watches, and they had on cheap glasses… It just didn’t fit their image.”Seeing a business opportunity, Schwalbach teamed

up with some eyewear designers h e k n ew an d got to work developing high-end, premium eyeglass frames. Jack Eyes is targeted toward high rollers who desire a finely crafted product— everything is handmade, from the frames in Japan to the leather casing in Colombia, and shows Schwalbach’s meticulous attention to detail. “It takes sixty-one steps to make these frames. There are men and women working in Japan on a wheel, hand-carving each temple,” said Schwalbach. “It’s pure craftsmanship and the result is an amazing fit. Plus we chose a nice variety of designs and colors to fit into a good range of lifestyles.” In between managing a successful photo studio, participating in competitive fishing, and launching a high-end eyewear line, it could be easy to assume that Schwalbach is all about work. However, as devoted as he is to his work—and trust us, he is devoted—there is one thing that takes priority above all else. “The most beautiful gift in the world is to be a dad,” said Schwalbach, speaking of his fouryear-old son, Luke. “He’s my life. I live today for my son, and I do all of this for him… Every day, I thank God for having that little boy, because he’s really made me a different person and given me a life beyond my wildest dreams.”

APA/Sony Photo Assistant Basic Training Copyright: Know It Or Blow It, Digital Imag ng For Photographers, Strategic Licensing EDUCATION with Jeff Sedlik,COMMUNITY Successful Self Promotion DemystifyingRepresentation, INSPIRATIONSomethingPer onal Exhibition,ACTIVISM An Evening with Matthew Rolston, Digital Workflow Revenue Streams uccessful Stock Image Digita APA/Sony Photo Assistant Basic Training, Copyright: Strategies, Know It Or Blow It, Digital Imaging For Photographers, Strategic Licensing with Jeff Sedlik, Successful Self Promotion, Masters Lighting, Master Series Demystifyingof Representation, Something Personal Exhibition,Lecture An Evening with Matthew Digital Workflow Revenue Streams, Successful Stock Image Strategies, Digital DanRolston, Winters, Social Getworking, Erik Masters of Lighting, Master Lecture Series: Dan Winters, Social Getworking, Erik Alma Almas - Evolution of an Intriguing Style, Demystifying Motion, The Art & Strategy of Estimating, Evolution ofASpecial anWay Intriguing Style, Demystify RenegadeCreatives, ofSeeingwithArnoldNewman. Photographer’s Survival Guide with Suzanne Sease & Amanda Sosa Stone, Why We Hire You, Finding Your Creative ng Direction, Motion, The &Solving Strategy Estimating At a Glance, CreativeArt Problem with Art Strieber,of Beauty Retouching with Dennis Dunbar and Lisa Carney. Bruce Davidson: Canon Explorer Of Light, An Evening Renegade Creatives, AVoice, Special Way ofTheSeeing with Jeff Divine, Define & Market Your Visual Affordably Simple Marketing, ABCs of Dollars & Cents, Working With a Retoucher, Get Found: Search Engine Optimization for withPhotography Arnold Newman. Photographer’s Surviv Websites, Secrets of Video Production for Photographers, Multi-Platform Editing, Digital Cocktails: Believable Imagery When Should We (Dis)Believe Photos and al Guide with Suzanne Sease &Survive?? Amanda Sos Why, A Photographer’s Survival Guide for Today’s Market, Think THRIVE!, Let’s Talk Legal, Buyers Weigh In: Websites That Work, QuickBooks for Photographers tone, Why Hire You, Finding Your Cre Seminar, The Art ofWe Estimating and Bidding, Portfolio Review, Peer to Peer Networking/ Hours, Architectural Photo Roundtable, Analog Film Roundtable, Digital Asset ativeSocial Direction, Glance, Problem Management Roundtable, At DigitalaArchive Roundtable,Creative Phone App Roundtable, Action Sports Roundtable, Portfolio Roundtable, Women’s Roundtable, Lawyer Up, Holiday Print olving with ArtPhoto Strieber, Retouching Exchanges, Plastic Fantastic Contest, NakedBeauty Photo Contest, Estimating, Stewart Philipp Scholz Rittermann, Michael Grecco, Tim Tadder, Capture One Training, Jim withCohen, Dennis Dunbar and Lisa Bruc Marshall, Bil Zelman, Tim Mantoani, Summer Film Series, MBACarney. Business of Photography. Davidson: Canon Explorer Of Light, An Eve ning with two Jeff Divine, Define & Market You Over thousand educational Visual Voice,since Affordably Simple Marketing events 1985 and more Theevery ABCs of Dollars & Cents, Working week. Keep current at With a Retoucher, Get Found: Search Engine Opti apanational.com mization for Photography Websites, Secrets o Video Production for Photographers, Multi CHAPTERS: ATLANTA CHARLOTTE, NC COLORADO LOS ANGELES MIDWEST NEW YORK NORTHWEST SAN DIEGO SAN FRANCISCO WASHINGTON, DC

Page 29

SELL YOURSELF

By Michelle Park Illustration by Thomas Bloch

T H E U N U SA L LY C O M P LEM EN TA RY PA I R ome may see a person in trance as a passive marionette without his or her willpower, under control of a hypnotist. However, this bewitching reputation is a misconception; in fact, hypnotism is a natural state of focused concentration, occurring repeatedly throughout the day. For instance, when an artist is immersed in his or her creative process, apart from the questioning

conscience—that person is under trance. “I personally see hypnotherapy as a goal of using hypnosis as a tool to change behavior,” says Gene Hirschel, the certified hypnotherapist behind Vital Trance. Based in New York, Hirschel combines traditional hypnosis with over twenty years of NLP (Neuro-Linguistic

WHAT DOES HYPNOSIS ACTUALLY MEAN? The word hypnosis is very misleading, because “hypno” means sleep, and there’s nothing about sleep in hypnosis. It’s actually the opposite; it’s focused attention. “If I put you to sleep, then you are not hearing anything that I am saying—there’s no change going on.” We are often in this focused state or “trance,” in varying degrees through the day. For example, when you are doing your creative work, you are in a state where you are not even aware of what you are doing; it’s just happening—that’s hypnosis. It could be deep, or very light, depending on you; some people get in very deep and they don’t even

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Programming) and other modalities to help eliminate unwanted thoughts, stress, and habits. With his unique techniques, subjects are able to rely on their instincts to make decisions, rather than being distracted by the babbling conscience. Recently, Hirschel taught a class at SVA to draw a seemingly bizarre connection between hypnotism and photography.

remember creating their art. For dancers, sports figures and many other “peak performance” endeavors, this also applies. Most learning, and most behavioral change occurs during some sort of focused trance. SO, WE CAN PUT OURSELVES UNDER HYPNOSIS? The simple answer is yes. But you don’t put yourself “under” it; you just naturally go back and forth between a state of focused attention to a state of full awareness. Our memories form when we get input both from the conscious and the subconscious. But

the conscious mind is a fairly new addition to the brain; it’s only a few million years old. Before that, we were all instinct—now we are thinking, conscious beings. The conscious mind has a lot of processing power, and it needs it, but the part of the brain that does the real work, like keeping your body functioning, running at your top speed, and following your creativity, all that—that’s instinct. That’s your subconscious mind performing. Remember years ago when a PC had very limited capabilities, equipped with only floppy drives? Think of that as the front end of a huge array of supercomputers. Now the little computer, which has very little memory and very little disk space, thinks that it runs the show. It also wants to take credit for running the show—our conscious mind thinks that when we do something, it’s the conscious part that’s actually doing it. I think that the only time when we excel is when we shut down the conscious mind, and we let the subconscious supercomputer do all the work.

SO “GO ON INSTINCT”? Exactly. When you are being creative, your “supercomputer” has unfettered access to your instincts, memories, and your full emotional spectrum. When you are doing your best creative work, no selfcensorship or self-doubt is happening. Learning to be a great artist is learning how to let the supercomputer do all the work, and let your conscious mind, sit back, and watch. Maybe make suggestions to the supercomputer as to what to do, but not guide the process. WHAT ARE SOME METHODS YOU EMPLOYED IN YOUR SEMINAR WITH THE SVA GRADUATE STUDENTS? I taught them to recognize internal conflicts and get underneath them. Imagine a person who takes a drag of a cigarette and says, “I want to quit smoking.” What’s going on there? The answer is that there are many different parts of us—some parts want to smoke while the other realizes the damage that’s being done—and there is an internal conflict. Now picture your future as an artist: I want you to make that picture very dark, really dull, very black and white and grayish. How much do you want to be an artist now? Less than before? OK now, take the same picture, make it really bright, make it wrap around you, make it full motion, and step into it. How do you feel about being an artist now? Most people will feel much more engaged in their future at that point. By doing a very tiny trick that takes less than three seconds, you are able to moderate how much you want to have the career that you’ve chosen. Changing certain things about a thought effects a thought. Changing the language also—like if a person says, “I want to try to be an artist,” “try” is for many self-defeating. While “I am looking forward to being a great artist” is a much powerful statement. That’s Neuro-Linguistic Programming: you are listening to what you are saying; most people are constantly programming themselves into negative places, and it’s not necessary. It’s more fun to program yourself into a good place. There were a number of different goals to the SVA seminar. One was to open the students’ voice, just like when you are a singer and you use specific exercises to open up your voice. You want to give artists techniques, because when they open their voice, then the real art starts happening. If they are blocked by what they think people want to see, there are two or three different voices, fighting for attention. That’s going to create frustration, possibly failure. The artists’ voice should be open and clear. Another important skill we taught is to summon confidence and the ability to automatically connect to others. Being able to express what your work means to strangers is a key part of a successful artists’ world, so we did exercises to open up and build communication. CAN YOU GIVE AN EXAMPLE? Two examples are how you shake a hand and how to match another’s voice volume. If they lean forward, then you join them, to the point they are comfortable. Clues will tell you whether or not you are on target, so open up your eyes and understand some of the

techniques to bond with a client, a curator, or even your subject. When you are putting your mind at a similar frequency as theirs, they start feeling, “Oh, she’s kind of like me,” and a deep communication can happen which benefits both parties. Let’s face it—art is art—it’s just something that’s really weird to judge. If I like the artist, do I like the art? Since it’s a reflection of what’s inside the artist, then I see the work in context and I get to really love the piece. But if the artist is stuck in his head, thinking people are not going to like him, then he’s going to fail. Not guaranteed, but he’s probably going to fail, because that’s the pictures that you are making, the signals you are giving off without being aware of it. People pick up these signals and might say, “Well, I am not thrilled about this work. It’s not really what we are looking for, sorry.” So giving artists the tools they need to create a bond with their clients or gallery owners, or whoever, is just as important as the colors you are using to create the work. Have a clear artistic voice, and have a good way of connecting with the people who are reviewing your work and promoting it—those are two critical steps.

hypn otism is a natu ra l state o f fo cused co n centrati o n, o ccu r r i n g r epeated ly th ro u g h o ut th e day. The third step is a more specific to photographers and other portrait artists: it’s getting your subject in the right state of mind. When a person is in a receptive state of mind to an emotion, that emotion goes up to a peak, and in the class, students learned how to create that experience. The peak is where the interesting things happen: it doesn’t have to be happy—it can be intense, it can be sexual, it can be intellectual, it can be emotional angst, it could be any one of those things. If the artist can understand the process, they can more easily capture that peak, and the emotion comes out in the final image. The goal is to get the subject into that intense state of mind, where everything inside is just coming out, emoting on their face and the way they are holding their body, and then capture it—because you know when it’s coming.

WANT TO SEE FOR YOURSELF? Sign up now for a special indepth version of the Artistic Actualization Workshop previously held at the School of Visual Arts. Open to the general public for the first time, this class will focus on activating the skills described in this article. Every moment of this two-day workshop will focus on useful tools that can be used immediately. For more information and to lock in a Resource Magazine advance discount, email work shop@ VTrance.com before November 1st. The wo rk s h o p w i l l b e presented in Northern NJ on December 1st and 2nd and repeated in New York City on December 8th and 9th. Seating in this heavily requested class is very limited.

Gene Hirschel is the creator of Vital Trance life transformation in the New York City area with a practice in Manhattan and i n N J . T h e Vi t a l Trance method fuses advanced hypnotic and trance technologies with the latest methods in behavior change that are reshaping traditional medical and mental health sciences.He blends his many years of NLP experience with his own special hypnosis-counseling programs, including complementar y medical hypnotism, clinical hypnotism, and pediatric hypnotism. Mr. Hirschel is also available for keynote speaking engagements and targeted workshops. Read more at www.VTrance.com

What is every good artist? A hypnotist. If you are a good artist, you cannot only entrance many who view your art, you can also command intense emotion from your subjects. You will be able to reach into them for something that’s really sensitive and precious, and bring it out completely. That’s why photographers in general can benefit from this class. These days, sophisticated digital cameras make good photographic decisions for you; you don’t need a lot of classes to stick a camera into somebody’s face anymore and expect a good technical photograph. So what’s left? Learning to create a bond with your subject; getting emotions to step forward; gaining the knowledge of when that peak is coming, and capturing it.

BIZ: SELL YOURSELF“Hypnosism and Photography” Page 31

By Janet Alexander

GET SMART

Phootcamp RESOURCEMAGONLINE.com

A professional photographers

Photos courtesy of Adrienne Pitts, Rachel Been, Cody Bratt, Henry Busby, Dan Busta, Garrett Cornelison, Liz Devine, Gabriela Herman, Nina Westervelt, Matt Nuzzaco, Michael O'Neal, Lauren Randolph, Steph Goralnick

As a freelance designer and the former editor in chief of JPG Magazine, Laura Miner is able to expertly organize editorials, photography, and websites. She combined these talents for Pictorymag.com, her photo blog for which she curates daily submissions. However, ask Laura what she really does and you’ll find out that it’s more than meets the eye. “My first

priority is the magic of bringing special people together through creative adventures,” she likes to say. And her most recent adventure, Phootcamp, has garnered her a reputation as a “curator of people.” Inspired by O’Reilly Media’s Foo Camp (a retreat for the best and brightest in the tech industry), Laura conceived the idea of Phootcamp back in 2009. “I’d been working on Pictory alone in a room, and missed being around people,” she recalls. While talking to photographers she knew through JPG, Laura quickly realized how much she and her peers had in common. “Creatives tend to be independent folks, but you can’t achieve your wildest dreams on your own. While we don’t always know who these important people in life are going to be, or how we’re going to do the best work of our careers, getting a bunch of talented strangers in the same place seems like a good start to finding out.”

Fo r the first Phootcamp in 2009, Laura invited eighty strangers— people with whom she’d only ever emailed— to go camping for two days in China Camp, located in San Rafael, California. Among the twenty who actually went were famed British photographer, Kevin Meredith, a.k.a. Lomokev, and Austrian editorial shooter Daniel Gebhart. “It was terrifying, but it worked,” Laura remembers. Realizing the need for a better balance among the participants, Laura arranged the attendance of the second Phootcamp with two-thirds alumni and onethird new talent. “Phooters,” as the campers are called, are grouped into “camp buddy” pairs of veterans with rookies. Anyone twenty-one or older willing to pay the newly instated $20 fee can apply by submitting a self-portrait and answering, “Why would you make this the best Phootcamp ever?” Space is limited to thirty-

BIZ: GET SMART-“Phoot Camp” Page 33

GET SMART

Phootcamp: www.phootcamp.com

"I'm sure people think we're hipster assholes."

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five, and with so many professionals in one place, Laura emphasizes the value of the application process. “Most people who would sit down and ‘lower’ themselves to apply are going to fit in at Phootcamp,” Laura explains. “Ideal Phooters play well with others, come willing to share and teach, and love photography.” And Phootcamp is unlike any other trade event, fostering cooperation and friendships that outlast four days of camping. Although it may be considered a professional springboard, the retreat is decidedly not a networking opportunity, but rather a support community in which Laura regularly reinforces a “no personal gain” credo. While some Phooters come to camp already having volunteered to lead discussions and how-to instructional lessons, the staple of Phootcamp’s learn-by-doing atmosphere has proven to be its campers’ collaborative shoots. As self-described Instagram addicts, who double tap for high fives just as one double taps to like on the site, Phooters come in knowing, “What happens at Phootcamp stays in Phootcamp goes everywhere.” #Phootcamp has over a million Instagram followers who can’t get enough of the inventive concepts, crazy costumes, and fun personalities of this photography fantasy land. This year’s theme, “Moonrise Kingdom meets Wet Hot American Summer,” attracted two hundred applicants, including returning Phooter Gabriela Herman. She describes, “The group dynamic is a creative explosion.” Gabriela, who confesses to following over 250 blogs, stumbled upon the Los Angeles Phooter’s blog last year, and thought she’d fit right in. “I was in a funk, looking for a creative release to just focus on photography.” Her sentiments are commonly felt among those attracted to Phootcamp who are often, “burned out and trying to rediscover their joy for photography,” Laura explains. Based on Phooter feedback requesting “a little bit more fire be put under [their] asses,” Laura upped the ante by arranging an exhibition of Phoot photography at this year’s Photoville in Brooklyn, New York, which took place just four days after the camp ended. “I’m sure people think we’re hipster assholes,” Laura remarks, but as the popularity of Phootcamp has quickly outgrown its capacity, what she’s actually concerned about are those who wish to be one of the hipster ass-holes, but can’t. “It breaks my heart; I hate the idea of creating a warm, supportive group that ends up making people feel excluded.” Laura’s next project will be figuring out how to expand the Phoot community. “I’d love for it to be a permanent part of my life.”

BIZ: GET SMART-“Phoot Camp” Page 35

GET SMART

"What happens at Phootcamp stays in Phootcamp goes everywhere."

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Page 37

GOING PRO

By Skip Cohen I Illustrations by Shirley Hernàndez Ticona

What good is creating the greatest images of your life,

if nobody knows who you are?

Own Your Zip Code This is where ever ything starts, and it couldn’t be more basic. No email, no direct mail—just good old meet and greet. Yeah, I know, you just want to buy a list and blast away, but photography is a service business and nothing will go farther than literally knocking on the doors of all the businesses in your zip code and introducing yourself. No matter what your specialty, some aspect of your photography skills is beneficial to every business in your area. You’ve got to let them know you’re there!

Community Involvement If you’re looking for your community to be good to you, you have to be good to your community. Jay Conrad Levinson, the father of guerilla marketing, talks about the importance of giving back—consumers like buying products and services from companies they perceive as philanthropic. That means you’ve got to build a reputation for being involved in your community. Take part in local projects and events, as a volunteer or photographer. If you’re looking for local involvement with national photo-centric non-profits, here are a few of my favorites: The F.I.L.M. Project

N.I.L.M.D.T.S.

HeartsApart.org

Help-Portrait.com

DIRECT MAIL Some people disagree with me on direct mail being alive and well, but used in conjunction with other activities it’s still a great way to build your brand. Make your mailing memorable and make it count by sending oversized postcards to everybody in your target audience. Partnerships will help reduce your costs. For example, a wedding photographer might team up with a travel agent and florist to share the cost of producing a mailing. Bringing in two partners will cut your costs to a third of what it would have been doing it by yourself. If you’re looking to buy a list from a list broker, you have to pay attention to the demographics of your target audience. For example, a children’s photographer might focus on parents of newborns, women 25-35, summer camp prospects, etc. Just about every database company offers lists sortable by lifestyle criteria and zip code.

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There are hundreds of companies to choose from: I’d recommend you Google “Lists” and see what you get. Make a few calls and compare their price. While you don’t have to buy a huge database, don’t get less than 500 names—you need a big enough sample size to measure the results. If I had two to three partners, my goal would be to develop a mailing list of 2,500 people for a start.

Shirley Hernàndez Ticona: www.unchililin.com

Branding is about getting through the noise. You want to build top-of-mind awareness, so when clients need a photographer your name is the one they think of. In order to do that, you have to market yourself and build brand recognition. These days i t ’s n o t o n ly w h o y o u k n ow , b u t w h o k n ow s you. The challenge is, how can you get through the noise and develop a solid consumer recall?

NETWORKING LUNCHEONS

Publicity and Press Releases I’m amazed at how many exciting things happen to photographers, but nobody ever talks about them! Some stories are more interesting than others, but the real issue here is: if you don’t talk about it, nobody else will. The most routine event can be newsworthy with the right spin. Did you attend a workshop or convention? Were you hired to shoot a high-profile wedding? Do you print your work yourself and are using new papers—or, are you about to buy a new large format printer? Are you working with a new lab? Did you cover a recent community event? Are you involved in a new charity? Do you volunteer at a school program? The list goes on and on. Each topic has the potential to help you become a publicity machine, but you have to take the time to write a press release about it (or find somebody who will).

ver y photographer has the ability to start one. Here’s what Dawn Shields, a photographer in Missouri, does: each month, she hosts a lunch for wedding business providers. The cost is $10 a person and strictly covers the food and tip at a local coffee shop (she takes no profit). She invites florists, travel agents, music promoters, limo companies, bridal salons, photographers, caterers, venue managers, wedding planners, tux shops, etc… These luncheons are a great opportunity to build brand recognition—no one competes directly, but every bride needs the services of each attendee. Children’s photographers could bring together kid’s venues, restaurants, children’s clothing stores, toy stores, etc. In fact, virtually every specialty has a network of companies to draw from in every community.

Your press releases should go to anybody who publishes anything reaching your target audience. Send it to wyour local newspaper, your Chamber of Commerce, or if you’re involved in the Kiwanis, Rotary, Exchange Club, etc, all these organizations have newsletters and blogs. Post it on your own blog, and send it to relevant magazines and even your hometown paper if you’ve moved away but still have roots in the community. And don’t forget those doors you’ve been knocking on as your work to own your own zip code.

Let’s assume you’re going to a photography convention; here’s a template you can use (yup, you can plagiarize all you want—it’s yours).

For Immediate Release Your city, Today’s Date Area Photographer Attends [event name]. In [his/her] continued efforts to expand the broad selection of cutting-edge photographic services, [your name] recently attended [name of the convention], a ____day, professional photographic workshop and convention. “There’s never been a more e xc i t i n g t i m e t o b e a professional photographer or, to have images created by a professional. Digital technology is changing all the time and I want to make sure I’m offering my clients the very best!” said [your name]. [Your name] is the founder of [your studio] and is located at [address]. The studio offers a full range of [commercial portrait, wedding, children’s, etc.] p h o t o g r a p hy s e r v i c e s [alternative: _________ plans on continuing as a freelance photographer, etc.] Fo r m o r e i n fo r m a t i o n contact: Your name, phone, and email address.

Last but not least, send everything in a priority Fedex, UPS or US Post Office envelope—it immediately gives your information a level of importance (yeah, I’m suggesting good old snail mail to get through the noise). Although this template is specific to attending a convention or workshop, the elements of any press release are always going to be the same: 1. A headline and an opening paragraph describing what the release is about.

2. I like a quote that explains your position as it relates to your customers.

3. The third paragraph describes your business, who and where you are. It’s boilerplate and should be on every release.

4. Close with a contact line so people know where to find you.

Always include a photograph of you at the event interacting with other attendees, a speaker or a vendor (the more people in the image, the more likely it will be published). You need to put the image and the press release on a disk, and include a print.

There are also some outstanding companies, like PRWeb. com, that send press releases out electronically. I’m suggesting you go hard copy in your community, and if national, electronically. These are a few ideas to start building your brand; in the next issue, we’ll cover another half dozen projects to get your name out there. Most important of all, be patient— most of you will be starting from scratch, and it takes time to build a following.

Here’s the hard part (it’s not really hard, but people never do it): develop a press list with the actual names of the people you want to contact. Sending your press release to a newspaper or magazine editor is not enough—you need a name on the front of the envelope.

"The key to everything is patience. You get the chicken by hatching the egg, not by smashing it open!"Arnold Glasgow Author of 6 books on photography, including Going Pro this article series is based on, Skip Cohen has been a fixture in the photographic industry for 41 years. He’s served as President of Hasselblad, Rangefinder/WPPI, and in 2009 founded Marketing Essentials International. www.mei500.com

BIZ: GOING PRO-“Building Brand Recognition-Part 4” Page 39

CLIENT FILE

By Issac Lopez | Photos courtesy of Canvas Lands’ End

Starting with a blank canvas

WITH ERIC TAUB, CREATIVE DIRECTOR AT LANDS' END CANVAS

Founded in 1963 as a sailing outfitter, Lands’ End eventually transitioned over to clothing and established over the years a classic look and a well-known name. When the Wisconsin-based retailer decided to develop a brand that appealed to a younger, slightly edgier crowd, it asked in-house Creative Director, Eric Taub, to help define its style. Launched in November 2009, Canvas is successfully using its nautical spin. Resource recently spoke with Taub, who clued us in on how the new brand is making a name for itself independent of Lands’ End, the challenges of launching a brand from scratch, and what he looks for when hiring photographers.

ERIC TAUB: CREATIVE DIRECTOR OF CANVAS LANDS’ END DEAL-BREAKER WHEN HIRING: A photographer’s portfolio should be their best work, so if I see a lot of images that are not interesting or too commercial it’s a turn off. There is often beauty in the simple and in the ordinary; just don’t be simply ordinary.

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YEARS IN THE BUSINESS: TWENTY-TWO

LOOKING FOR IN A PHOTOGRAPHER: I look for someone who sees the art in every image—someone who sees beyond the obvious. I also want to work with people who are naturally great collaborators.

FINDS PHOTOGRAPHERS IN: Usually, I find great photographers through their editorial work. Magazines are always a great source, and there are a lot of great magazines around today. I also discover great talent through friends and colleagues—both where I work and through connections in the industry

"WE ALWAYS WANT TO FEEL LIKE WE’RE TELLING A REAL STORY." TELL US ABOUT YOUR CAREER— HOW DID YOU BECOME THE CREATIVE DIRECTOR OF CANVAS? I’ve always loved fashion and clothing. My mother was a clothing designer, my dad was a department store executive, so it was something that was, in a sense, in my blood. After graduating from Allegheny College, I returned to New York City and I very quickly landed a job at J.Crew. It was the original heyday of the brand; I worked in their art department, but just as a production person. The catalog designers at J.Crew were mentors to me, so when an Assistant Art Director position opened up, I went to the head of Creative and told him, “That’s what I want to do. I would love for you to give me a chance.” And he agreed. I had a wonderful start to my career at J.Crew. I worked as an Art Director on the catalog for several years, eventually overseeing the design for about half of the book, and by the end of my stay I was running jcrew.com from a creative perspective. After a few years freelancing in New York, a headhunter told me about an Art Director position at Lands’ End, just as my wife and I were talking about leaving the city. I came to

Wisconsin for an interview and kind of fell in love with the place, so we moved out here in 2005. After two years or so, I became a Creative Director for the Men’s Division, but when Lands’ End began to plant the seeds for a new brand geared for the next generation, I was asked to develop its look and feel. DESCRIBE CANVAS AND HOW IT’S DIFFERENT FROM LANDS’ END. Lands’ End is a great American lifestyle brand. Our founder, Gary Comer, started the business as a sailing outfitter. Canvas very much wanted to draw on the history of Lands’ End, so we looked back and drew inspiration from that nautical heritage. Our clothing is both functional and classic, but it has a modern sensibility, both from a styling and fit perspective. HOW DID YOU BUILD AWARENESS OF CANVAS DURING ITS INITIAL LAUNCH? The catalog was our main vehicle in getting the brand out, followed by the website. We did some advertising in a few major magazines as well. And there was definitely some residual awareness of Canvas just through the Lands’ End brand.

WHAT ARE SOME OF THE CHALLENGES YOU FACE IN LAUNCHING A NEW BRAND FROM SCRATCH? Every brand attempts to develop a look and feel that is unique to them. Working with a single photographer on our launch, I think we came out strong on both photography and design: we developed a distinctive visual style that we felt would separate us from other brands that were playing in the same field. Our goal was to make our catalog stand out—if you threw a bunch of catalogs on a coffee table, our hope was that the one that jumped out at you and got you to open the page and take a peek was Canvas’. I UNDERSTAND YOU JUST WRAPPED UP A BIG PHOTO SHOOT. WHAT CAN YOU TELL US ABOUT IT? We just finished our 2012 holiday shoot. I feel like this last shoot will show a nice progression for our brand—both in our product offering and in the way we put the brand out there to the public. We worked with a new photographer and a whole new cast of characters. You always want to present your brand in new and exciting ways, but you also want people

to recognize you for who you are. We’re lucky to have Lands’ End be the heritage we can rest on, but at the same time, we want to look fresh and different. We’re always trying to move forward and to be relevant to who we view our customer to be. HOW DO YOU CHOOSE THE PHOTOGRAPHERS YOU WORK WITH? WHAT ARE GENERALLY YOUR CRITERIA WHEN BOOKING A PHOTOGRAPHER? For each new season, we look at the products, talk with our designers and our merchants and figure out the story we want to tell through our catalog, our website, and our brand. We review the work of a few photographers, have some conversations with them, and arrive at who we feel would best partner with us to tell that story. I t ’s ve r y i mp o r t a n t to u s t h a t people relate to the subjects in our photography—we want the images to be very approachable and real. We always want to feel like we’re telling a real story.

BIZ: CLIENT FILE-“Starting with a Blank Canvas” Page 41

Photo by Melissa Cacciola

PRO-PINION

SURPRISE, SURPRISE:

It’s Who You Know. CASEY KELBAUGH, FOUNDER OF SLIDELUCK, TALKS ABOUT NETWORKING. hen Dan Winters decided he was ready to start shooting, he dropped his book off at Metropolis Magazine and then went for lunch. By the time he got home, he had a voicemail from the art director—the magazine had a couple assignments for him.

That's pretty much how it works for all of us, right? Unfortunately, the main reason why this story has stood out for me is because it never happens. Sure, Dan is an incredible photographer and had probably put together a singular por tfolio, but how of ten does a blind drop-off yield anything but dehumanizing trips to delivery entrances? There are a lot of tools out there designed to make a photographer succeed in this hyper-saturated, hyper-competitive market. I work with many of them: my website is run on the Viewbook platform; I review other photographers portfolios through Eyeist, an ingenious new global portfolio service, as well as on the brilliant photojournalism crowdfunding site, Emphas.is. I read relevant

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articles; I try to keep up with what’s going on in the industry, and I attend conferences whenever I can.

That being said, in my thirteen years in the business, I have never gotten a job out of thin air the way Dan Winters did. Every single break, every assisting gig, every big campaign, every meat-and-potatoes job has come to me through some kind of relationship. I use the word relationship rather than connection because we are all connected now. I have upwards of 2,000 Facebook friends whom I’ve never heard of, but who work in the industry and with whom I share 150 to 500 friends. You know what that makes us? Facebook Friends. We are connected–but that is different from having a relationship. Relationships are people who have entrusted projects with you in the past; people who have been referred to you because you worked with one of their colleagues; people who you know socially, and people who you have interacted with recently.

When I’m in need of a graphic designer, I don’t just type those words into Google search. I think about who I know who’s doing the kind of work I’m looking for. I think about friends who work with good graphic design. And oftentimes, I think about the most recent designer I talked to at a party. I’m pretty sure it works like that for photographers too—and probably electricians for that matter. While I know this concept is not revolutionary, I think we sometimes lose sight of the simple power of human connectivity. I have spent the last twelve years building an organization, Slideluck that is dedicated to physically bringing people together in celebration of food and art. It would be fascinating to quantify the number of relationships that started at one of our events and have resulted in representation, gallery shows, and jobs. While we consider this a tangential aspect of what we do, it cannot be denied. So let’s just call a spade a spade here: making great work is important—as are all of the tools for producing, editing, and presentation—but without some attention to building relationships, good luck pulling off a Dan Winters.

Slideluck, formerly known as Slideluck Potshow, has been bringing multimedia slideshows and potluck dinners to cities across the world for the last twelve years. This fall, they’re launching a new website, with improved photo/slideshow viewing, community engagement, and accessibility. Each cit y will have their own page, in their native language, and the submission process is now run seamlessly through Viewbook (viewbook.com). And most exciting of all: Slideluck’s DIY version is now available! You’ll find all the resources needed to get up and running in your own town on their site: slideluck.com

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Page 43

For many photographers, the challenge of balancing commercial and personal work can be a difficult and draining one. Some, like Blaise Hayward, h o w e v e r, a r e f i n d i n g that art and commerce need not necessarily be mutually exclusiveâ&#x20AC;&#x201D; indeed,Â sometimes, one can feed into the other.

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PORTFOLIO

"Small Business" as seen by Blaise Hayward

Blaise Hayward: www.blaisehaywardstudio.com / Represented by John Kenney & Ed Varites: www.jkand.com

By Justin Sedor Photos by Blaise Hayward

"To some it was just a job, but to others it was much more _ a calling, a craft, a profession." Hayward’s new and aptly-titled series “Small Business,” which takes as its subjects various small business owners, began as a personal project but evolved into a promotional effort for prospective corporate clients. As Hayward says, these “environmental portraits” were an ideal concept, as they “could be applied to an infinite number of clients,” from banking to the health care industry. For his part, Hayward has long admired those who run their own businesses, empathizing with the struggles they face. “There are good days and bad. There are the thrills of success and the agonies of defeat. I know this first hand; I think my own experiences over the years have given me a unique perspective in approaching each and every photograph in this on-going series.”

Hayward started working on the project in 2011, looking for subjects within driving distance from New York City—some friends, others complete strangers. He handpicked a wide array of businesses, “from the diverse to the mundane”—including a beekeeper, a cobbler, and a luthier. At the same time, he was careful to capture a sense of each subject’s pride in his or her work that shines through across the series. Says Hayward, “To some it was just a job, but to others it was much more—a calling, a craft, a profession.” Hayward plans to turn the series into a “beautiful printed piece,” with selected photographs and accompanying copy, to distribute to prospective clients.

BIZ: PORTFOLIO-“Blaise Hayward” Page 45

PORTFOLIO

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BIZ: PORTFOLIO-“Blaise Hayward” Page 47

GRAPH

By Alexandra Miller

ACROSS

PHOTO

In 1905, the U.S. experimented with aerial photography using what type of aircraft?

6500k is the color temperature of what?

Thomas and John Knoll both created what program?

8 MP is equivalent to 8 ____ pixels.

35mm refers to the measurement of the ____ on the film.

True or false? Depth of field is inversely proportional to sensor size.

In which state can the largest photograph in the world, measuring 32 feet by 11 feet, be found?

The process of using silver on a copper plate is called a _____.

Discovered by Johann Heinrich Schultz in 1727, what is the inorganic compound that darkens when exposed to light?

True or false? A Raw file is uncompressed.

Finish this photo lighting mantra: Angle in, angle ____.

GURA GEAR BAG!

Resource is a photo and video magazine published how often?

Fill out this crossword puzzle and send it in to: Resource Magazine 139 Norfolk St. #A New York, NY 10002. The first contestant to send in a correct crossword will win a brand new Gura Gear Chobe bag! Please be sure to include your Name, Address, Email and Phone Number to be eligible.

How many hours did the first photograph take to develop?

The soon-to-be largest digital camera in the world will have 3.2 billion pixels, and is being created in which country?

CROSSWORD

PUZZLE WIN AN AWESOME

Good Luck! Resource Magazine

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DOWN 2

How many versions of Photoshop have been created?

The most expensive camera is made by _______.

Starring James Stewart as a peeping tom photographer, the film Rear Window was directed by who?

Popular during the early 20th century, this style of photography uses soft focus and painterly qualities.

Which camera brand is the most popular (market share): Canon or Nikon?

Which famous photographer said, “I went into photography because it seemed like the perfect vehicle for commenting on the madness of today’s existence”?

A latent image on film is visible after ____.

Who shot the most expensive print sold?

Which photographer is responsible for shooting 142 covers of Rolling Stone magazine?

The first aerial shot in 1858 was taken in which country?

CUT ME OUT

Play Win! AN AWESOME

GURA GEAR BAG! FILL OUT THIS CROSSWORD PUZZLE AND SEND IT IN TO: RESOURCE MAGAZINE 139 NORFOLK ST. #A NEW YORK, NY 10002. THE FIRST CONTESTANT TO SEND IN A CORRECT CROSSWORD WILL WIN A BRAND NEW GURA GEAR CHOBE BAG! PLEASE BE SURE TO INCLUDE YOUR NAME, ADDRESS, EMAIL AND PHONE NUMBER TO BE ELIGIBLE.

BIZ: GRAPH-“Crossword Puzzle” Page 49

STOCK

By Leslie Lasiter | Images courtesty of NOAA

The World About Us:

What was once unexplored, even unseen, can now be accessed with ease and shared an infinite number of times thanks to the NOAA Photo Library.

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The National Oceanic and Atmospheric Administration Photo Library: www.photolib.noaa.gov

The National Oceanic and Atmospheric Administration PhotoÂ Library

99%

OVER OF THE LIBRARY’S IMAGES COMES FROM NOAA PERSONNEL’S

PRIVATE COLLECTIONS As minute as Earth is to the universe, it can seem vast and infinite to its inhabitants. We simply cannot be everywhere at once and see every inch of the world within our lifetime. Photography brought us the closest way to share our knowledge and experience with someone else, someone unknown to us and perhaps hundreds of miles away. Photographs can travel the vast surface of the Earth in the time it takes to release the shutter of a camera. They help educate people on any facet of our environment—where words fail to capture the complexity of a coral reef, a photograph fills in the gaps. There are a myriad of resources for finding these images, yet few are as extensive and thorough as the NOAA Photo Library, which carries a treasure trove of copyrightfree photographs. After retiring from his position as a NOAA Corps Captain in 1995, Albert “Skip” Theberge began working as a member of its Library’s reference staff. In 1997, Janet Ward was responsible for designing the NOAA’s homepage and went to him looking for historic imagery. When she saw his personal archives, she realized the potential and worked with him to start the NOAA Photo Library. From Theberge’s original 4,000 photographs and documents, it evolved into the extensive stock agency it is today, with over 54,000 images of the natural world. The Library aims to make this information available free of charge to the public in order to educate, inspire, and amaze. “Both myself and Janet Ward have always been firm believers in the good that NOAA does for the nation and world. The Photo Library is a way to help inform the public of that work and the insights into our environment gained by NOAA personnel and their partners,” explains Theberge. “All of these [images] should be shared with the citizens of our nation—particularly our students and teachers.” The NOAA is part of the U.S. Department of Commerce and provides scientific, atmospheric, and marine biological information to other official agencies and the public at large. Its personnel include scientists, corps officers, technicians, and administrators. They work at over 200

facilities across the country, from observatories, environmental prediction centers, laboratories, to we a t h e r fo re ca st o f f i ce s . Their research covers all natural elements; for instance, the Severe Storms Laboratory in Oklahoma is developing a more efficient Doppler radar system to better estimate rainfall, while the Michigan Great Lakes Laboratory is studying nonindigenous species thriving in the Lakes. Theberge states that, “NOAA’s responsibilities extend from the surface of the sun to the bottom of the sea.“ Its mission is to inform anyone interested in the environment—something “NOAA works to understand and protect.” NOAA uses its findings to better lives—even save them. “Fisheries have been protected and better understood to assure sustainable yields. 98% of all U.S. cargo by weight comes through our ports on ships navigated by NOAA charts. The remarkable imagery from NOAA satellites helps track storms across the planet,” Theberge explains. Over 99% of the Library’s images comes from NOAA personnel’s private collections and efforts, official NOAA images taken during research projects, and private citizens. With access to images from the 1800s, the Library d o c u m e n t s n o t o n ly c u r re n t advances in the environmental sciences, but the history of these sciences as well. This resource for scientific imagery has proved to be an educational cornucopia for teachers and students alike, here and abroad, with over 170 countries accessing the Library in June alone. Most of NOAA’s photographs are in the public domain, therefore free of charge to those who wish to use them. In fact, the Library has never paid a cent for an image, and never will, as Theberge asserts. So far, their only expenses are equipment and a $179 database program, which acts as the Library system’s backbone. Everything else is a labor of love and an adjunct to regular NOAA duties. What visitors of the Library find, Theberge states, is “the work of NOAA science and, to some degree, the beauty of our nation and the world about us.”

BIZ: STOCK-“NOAA” Page 51

TRENDS OF NOW: ECOMMERCE STUDIOS

By Leslie Lasiter I Portrait by Al Diaz, The Miami Herald | Studio photos courtesy of KSC Kreate

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OUR BUSINESS GROWS BETWEEN TWENTY TO FORTY PERCENT EVERY YEAR. EVEN INTHE DOWN ECONOMY, WE’RE GROWING.

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www.KSCKREATE.com

HOW HAS ECOMMERCE CHANGED THE WAY WE SEE, AND PURCHASE, A PRODUCT? Some of it depends on which country you’re in. Studies show that in the U.S. a lot of people go look in the store and then buy online. While in parts of Europe, it’s actually the opposite: consumers research online and then buy in the store. But regardless of these specificities, there’s definitely a trend toward information gathering and buying more online. In the old days, we’d separate each, I’ll say, “bucket” within a company, whether their store or online presence. Nowadays, brick and mortar and dotcom are becoming grouped into one. We used to have clients who had paper catalogues, a website, and brick and mortar stores; nowadays they all feed each other—we’re seeing more co-mingling of creative and utilization of budgets. WHAT KIND OF SERVICES DOES KSC KREATE OFFER? We’re selling ourselves as a creative services agency. Photo studios still exist (kind of), but they are becoming a hybrid nowadays because of clients’ changing needs. Clients don’t have the time or the staff anymore, so they rely more heavily on their vendors. We’ve always been a strong photography studio; over time we added retouching, creative art direction, technology, and video production. We even do a lot of 3D rendering now. Video represents huge growth for us, so our sales efforts are focusing on the video side, and we try to bolt all of our additional services onto it. For a lot of our clients, we’ll do the creative, shoot the photography and video, 360° photography, packaging photography, retouching, set up a QR Code integration, and then we’ll deploy all of it through our technology. We’re an end-to-end solution.

HOW DID KSC KREATE TRANSITION FROM PHOTOGRAPHY TO ECOMMERCE TECHNOLOGY? The evolution has been ongoing since I started the business in 2001. My job as the owner of the business is to foresee the future. I’m constantly looking ahead to see what our clients are going to need next, so when they ask us, we’re ready, and we’re not trying to figure out how to do it. A client recently told me, “Every time I come to KSC and ask you for something, you tell me you’re already doing it!” We acquired a technology company over the last two years, so we can implement software process tools, which is huge for us. Now, we don’t just create the content, we serve it up online and host it, and we understand the analytics and work on the search engine optimization. We work with our clients closely to understand their customer. HOW DO YOU FIND THE STYLISTS, PHOTOGRAPHERS, ART DIRECTORS, DESIGNERS, ETC. FOR YOUR NUMEROUS SHOOTS? It’s our job to work within a client’s budget. The beauty is that we do so much work that we have stronger buying power, because we book people often. For instance, we have about fourteen photo shoots going on today. Summer is our busy season—we’ll probably average anywhere from eight to fourteen shoots a day from now until October. We have a lot of crew, whether full time or freelance and it’s our job to bring the right talent to the right job—if we don’t, we lose the client. We also have a great working environment, and we give everybody the opportunity to grow. An intern can become a photo assistant, and then a photographer. The same goes with stylists. We have cultivated a lot of

great talent in-house, and I think that’s very important. We also develop relationships with freelancers, so they know when they come into our building that they are a part of the team. They understand the process; they understand where everything is and how to work with us on a day-to-day basis. We’re about relationships with our freelancers and our staff. HOW DOES KSC KREATE STAY ON THE CUTTING EDGE OF ECOMMERCE AND TECHNOLOGICAL INNOVATIONS? Our process tools are incredible. We built process tools internally, and we’re actually selling what has now come turn into a new segment of business for us--from project management, to sample tracking, to content management systems, to interactive product tours (I.P.T.). We have eight developers on staff writing code daily to maintain internal systems, facilitate projects and develop technology for the future. WHAT IS KCS KREATE HOPING TO ACHIEVE IN THE FUTURE? We have great clients and do all we can to sustain the relationship and continue to add more services to our offering. Our business grows between twenty to forty percent every year. Even in the down economy, we’re growing. We’ve grown about 1,200% over the last five years. We give people the best service and they stick around. You have to understand your client and give them what they need before they actually need it.

BIZ: TRENDS OF NOW-“KSC Kreate Caters to Ecommerce Growth” Page 53

TIPS – TAGGING

By Adam Sherwin

Much like the SEO tools we use to get our website noticed by search engine spiders, effectively tagging your photos on social networking sites and blogs also helps others find you and your images with ease. Although the following tips and tricks don’t apply to your everyday business website, these days your site is only one place you put your photos for others to see—using social media and blogs to share your photos can bring additional traffic and clients to your main site.

Effectively TAG Your Photos For the Web 1. KEEP IT REAL When posting photos don’t tag your images with keywords that have nothing to do with the actual photo. If you took the photo with a Canon, don’t tag your image with “Nikon”. If it’s a wedding photo don’t tag it as a nude. This type of practice can be perceived as spam by search engines, and it will most certainly damage your search ranking on future posts.

3. WHAT'S IN A NAME? The filename of your image can help search engines and users determine the subject matter. Fat-manskinny-jean.jpg is much more descriptive than IMG0001.jpg. And remember to use hyphens in your filenames, not underscore. While Google claims to not give preference to either one, Google like other search engines or blog programs is built with code that commonly uses underscores. Avoid taking the chance of getting your images confused with some form of code in the programming of a website.

2. DESCRIBE THINGS IN DETAIL Make sure to include a caption or description of the image and use “ALT” text in your HTML code to describe the content of your image file, not just tags. Include information like gear used, location, colors, etc… If you’re using “ALT” text, make sure to use short descriptive keywords. Don’t use long lists of keywords as this is often referred to as “stuffing” and can cause your images to be perceived as spam by search engine spiders.

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4. ALWAYS USE PROTECTION [WE'RE REFERRING TO YOUR IMAGES HERE]

Many web users will just take images from other sites and post them as their own or without giving you credit. But using some form of watermark or copyright text can affect the overall perceived quality of your image and can decrease search results. The best option is then to license your images via Creative Commons or some other license that requires attribution. Including a snippet of HTML code that allows users to embed your image is also smart. And you can embed links in the snippet back to the image on your original post or, better yet, back to your main site

5. SIZE MATTERS One of the most important tips: optimizing your images for the web will decrease the physical size of the image and take less time to load, thus improving the overall user experience. Many sites will give you size options for uploading; chose appropriately for each place you’re posting. For a social media site or blog, don’t upload 300 dpi images—72 dpi is enough. If the user needs a higher resolution image, let them contact you directly.

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kevinwinzeler.com Page 55

SOCIOMAEDIAPATH

By Jeff Zuschlag

Nowadays, gaining exposure has never been easier. Photos are no longer confined to galleries and magazines, but flow freely on the 1’s and 0’s of the World Wide Web; a New-York based photographer can post shots on their website or blog and have a magazine editor in London discover their work. Unfortunately, while the internet has made it easier to share images, it’s also made it difficult to control their dissemination and use. With most online images only a few keystrokes away from being copy-pasted across the Internet, many photographers are looking for ways to ensure their work remains theirs. Here are some tips and techniques you can use to maintain control over how your images are used.

n i ca

l Tricks

Following the Photo There are services out there that allow you to track your photos online, allowing you to catch copyright-violators in the act. You can choose from for-pay software like PicScout and Digimarc, or free search engines like TinEye. While none of them are perfect, signing up for them can give you some powerful tools to check that your shots stay where you want them.

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Write a script into your web page that disables visitors from right-clicking on images. Although this can be circumvented if a viewer is tech-savvy, it should still foil casual copiers. “Shrink wrap” the shot by placing a blank, transparent image on top of it. That way, when someone right-click copies the picture, they get the blank decoy instead. Displaying your images through Flash also can make it difficult for Joe Cntrl+C to download you image, though, again, there are workarounds for this, should someone really want your shot. Uploading your images in a lower resolution (such as 72 dpi) will prevent people from printing them off of your site, though it will not stop them from being digitally used.

Tips Trying to hold down content on the Internet can be like trying to stem a flood with your bare hands. With some of these tips, however, you can help prevent your work from being completely swept away.

Keeping Credit (And Copyright) Adding a watermark to your images will discourage people looking for an unmarked prey, as well as ensure that you retain credit, even when they appears elsewhere. Of course, making a watermark present without detracting too much from the image can be tricky. Besides watermarking, some photo-editing programs, and even some cameras, allow you to embed copyright information right into the exif metadata of an image. Although possible to remove, this subtle inclusion can help you maintain proof of ownership, even as your image is plastered across other people’s sites. Keep in mind: even though taking a photo usually gives you automatic copyrights to it, those copyrights aren’t (easily) legally enforceable unless the work is registered with the U.S. Copyright Office. So get on that: www.copyright.gov/eco/

Capture. Edit. Organize. Share. Streamline Your Workflow with a First-Class Setup + CAPTURE ONE PRO 6 +

Resource is teaming up with Phase One and DF Studio for a monthly contest that gives readers the chance to experience some of the most cutting-edge gear on the market. Upload your shots to Resource Online to be entered to win a shot at all of the following: • A complete Phase One Medium Format Camera System to use for a month to experience the professional favorite first-hand • A free copy of C1 Pro, the ultimate RAW conversion software • 6-month trial of DF Studio, the latest in cloud-based management and storage It gets better: The work you create with the Phase One Camera System will be featured on Resourcemagonline.com — and be considered for a Phase One or DF Studio ad campaign. We’ll choose one winner per month for a year — that’s 12 chances to win! For more information and to upload submissions, check out the contest page at:

resourcemagonline.com/p1-df-contest To get started enter our contest link in your browser or scan the QR code. You’ll be invited to join our VIP contest list and shortly after receive a link to submit your photos. Submit up to 5 photos per week. Each month the editors of Resource Magazine will chose a winner to receive this incredible prize package and feature your work on our website for everyone to see. For a full list of contest rules and submission guidelines please visit resourcemagonline.com/p1-df-contest-rules

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phaseone.com

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// ASK A GEEK

GOES BACK TO SCHOOL GEAR AND GADGETS FOR PHOTO STUDENTS By Adam Sherwin Ah, fall. The air cools, the leaves change color, and we welcome in one of Mother Nature’s more beautiful seasons… Oh, who are we kidding? Summer is over. Everything sucks and, in a collective zombie-like invasion, thousands of young people across the country have packed their bags and headed back to their individual establishments of higher education to endure another year of long days and late nights earning their stripes in the war-like trenches of college education. Well, Resource Magazine is here to make your life a little easier. Forget the hot plate and mini-fridge. Our Tech Editor, Adam, has been pulling all-nighters to find and share with you a list of his favorite gear that will keep you studying like an honor student and shooting like a pro.

Canon EOS 6D

Just in time to start begging your parents for an awesome Christmas present that is sure to do nothing less than make you the next Vincent Laforet, Canon introduces its newest DSLR, the EOS 6D. Built around Canon’s new 21MP full-frame CMOS sensor and supported by a DIGIC 5+ processor, the 6D promises stunning low-light results a full stop dimmer than even the 5D MKIII. It’s also the first Canon DSLR to feature GPS and WI-FI for communicating with printers, smartphones (via the EOS app), and uploading directly to popular sites like Facebook and YouTube. Of course, all the video features you would expect are there, including full 1080p at 24/30fps, 60fps at 720p, internal mic, external mic input, and a mini HDMI connector. Unfortunately, Canon left out the headphone jack for monitoring sound while shooting video, but this little beauty will still be the envy of all your studio mates. $2099.99 – Body Only $2899.00 – As a kit with 24-105mm IS lens www.usa.canon.com

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Apple iPad

Olympus TG-1 iHS Compact

There comes a time in every photo students life when you’ll wish you had left your expensive HDSLR at home. It’s usually right about the time when, A) that drunken a-hole at the pub bumps you and spills his beer all over you, or B) you’re acting like a drunken a-hole and you drop your camera while taking photos of your beer-bonging friends. For those moments and more, you have the TG-1 iHS from Olympus, a 12mp compact with a feature set worthy of many professional cameras. This tough camera is waterproof (up to 40ft.), shockproof (up to 6.6ft.), freeze-proof (to 14˚F), and crushproof (up to 220lbs). Considering all those things could happen in an average weekend at college the TG-1 iHS makes sense. Throw in a 24-105mm f2.0 lens, with great lens converter options, and some decent video and low light capabilities and you’ve got yourself a camera to shoot with under almost any conditions.

While it might be a little on the expensive side, the iPad has proven itself an invaluable tool for photographers and students alike. With a plethora of productivity apps and content partnerships with some of the largest textbook makers, it’s perfect for the classroom. The Retina display is great for showing off your portfolio, watching web TV, or renting movies from iTunes. Skip the mobile data plan and stick to wireless to save some money, and use the built-in camera for keeping in touch with friends and family. (Note: If the 5MP camera and Retina display are not that important to you save some money by finding an iPad2) Pro Tip: Pair your iPad with a wireless card in your digital camera and you’ve got an affordable and lightweight solution for capturing and viewing digital images on the go. 32GB - $599 64GB - $699 www.apple.com/ipad/

$399.99 www.olympusamerica.com

TECH: ASK A GEEK-“Goes Back to School” Page 59

// ASK A GEEK

Apple iPod Touch

If you’ve got a laptop to do the heavy lifting and would rather eat than pay the astronomical fees that come with a two-year iPhone contract, this might be the gadget for you. Announced hot on the heels of the new iPhone 5, the 5th generation iPod touch offers a cornucopia of upgrades that make it a valuable tool for any photo student. The new touch sports a larger 4" Retina display and pairs nicely with the iSight 5MP camera and the 1080p HD video capabilities. The front facing FaceTime camera got a slight upgrade for better video calling, and you can use Apple’s AirPlay to display your photos and video on a larger TV via Apple TV. SIRI has been added to give you a little help with life’s big questions, while the Bluetooth connectivity and fast wireless technology will keep you emailing, surfing the web, or downloading from Apple’s vast library of games, apps, and movies on the iTunes store wherever you can find a wireless connection. 32GB – $299.99 64GB – $399.99 www.apple.com/ipodtouch/

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Echo 4GB Smartpen

Forget traditional note taking with a pen or pencil. The 4GB Echo Smartpen by Livescribe is rechargeable and allows you to record everything you say, write, or hear for up to 400 hours. Playback everything you’ve written with the tap of the pen on Livescribe’s innovative Livescribe Paper (sold separately). You can also play back your notes via your smartphone or desktop, as well as share it via Google Docs, Evernote, and email them in the form of a Pencast. $149.95 www.livescribe.com

SanDisk Extreme SD & CF Cards

If your camera took film, would you go to the local deli to pick up a roll or two? Probably not. The digital media you put in your camera should be viewed the same way. There are many inexpensive options for CF and SD cards, but in my opinion, you get what you pay for. I have SanDisk CF cards from 8 years ago that still work perfectly well. They may not be as fast as cards today, but I can still trust them to capture my digital images and store them safely. The Extreme CF and SD cards may cost a little more, but they’re worth every penny. They have fast read/write speeds and reliable secure storage for your photo and video needs. If you’re not shooting a ton of video, go with the smaller 16GB cards to save some additional coin. If you’ve got the extra funds to spend, take a look at the Extreme Pro cards for even faster performance. 16GB Extreme CF 60mb/s - $49.95 32GB Extreme CF 60mb/s - $89.95 16GB Extreme SDHC 45mb/s - $20.95 32GB Extreme SDHC 45mb/s - $38.95 www.sandisk.com

Eye-Fi Mobile X2 SD Card

Not to be considered a replacement for your regular SD cards, but the Eye-Fi X2 does offer some fantastic options. First it eliminates the need for a router by turning itself into a wireless hotspot, allowing you to connect and upload photos directly to your iOS and Android-powered devices. The Eye-Fi app also lets you flag photos via your mobile device to upload to your computer once you’re back on a wireless network. The Mobile X2 is a little slow and will only work for JPEG transfers, so if you want to transfer RAW files, you’ll have to upgrade to the Pro model and learn to be patient with the increased transfer times. Both cards come with 8GB of built-in memory storage that automatically frees up as photos are transferred to your computer. $79.99 $99.99 for Pro X2 version www.eye.fi

LaCie Rugged Key

Every photographer needs storage, and storage on the go has become an important part of our daily workflow. Take your files anywhere and keep them safe and secure with this super fast USB3.0 LaCie Rugged Key. In addition to data transfer speeds up to 150mb/s and 256-bit encryption, the Rugged Key is heat, cold, water and drop-resistant. It also comes with LaCie’s WUALA storage that offers 1 to 1 online storage (ie. 16GB key = 16GB online). The clincher? There is a free WUALA app for iOS and Android, so you can access and manage your data across multiple platforms and access it on the go from just about anywhere. 16GB – $39.99 32GB – $69.99 www.lacie.com

TECH: ASK A GEEK-“Goes Back to School” Page 61

// ASK A GEEK

CRU-Dataport Tough Tech Duo 3SR

As photographers, the vast majority of our image library is digital, and while cloud storage is becoming ever more popular and affordable, the comfort we get from having a hard copy close by is irreplaceable. The Duo 3SR can store dual 2.5" 750GB laptop drives that are easily swapped out with a screwdriver. With the touch of a button, it offers a USB 3.0 transfer up to 5Gbps or eSata at up to 3Gbps in a RAID 0 (striped) or RAID 1 (mirrored) configuration. The onboard LCD display keeps you informed of all your drive settings and status and the provided software allows you to program the enclosure to notify you of any changes via LED warning lights or an audible alarm. $325.99 â&#x20AC;&#x201C; Enclosure Only www.cru-dataport.com

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Canon PIXMA MX512 all-in-one printer

You may not need to make digital prints every day, but an all-in-one printer is a handy tool to have around. The MX512 can fax, copy, scan, and print at 4800 DPI. It has built-in WI-FI, Bluetooth, and AirPrint, as well as a 2.5" LCD for viewing images from a USB thumb drive or SD card. For an extra $50 you can upgrade to the MX892, which has a few more paper choices, larger capacity, 9600 DPI resolution, as well as CF card printing. However, it comes at the cost of 5 ink cartridges vs. 2 in the in the MX512, a considerable expense for budgetconscious students. $149.99 ($99 on Amazon) www.usa.canon.com

Kelly Moore Thirst Relief Bag

A little style never hurts anyone, especially when it comes to strolling your college campus with camera in tow. For the fashionable photographic gentleman, we present the Thirst Relief Bag from Kelly Moore. Its vintage look is augmented by the antique brass hardware; it has 3 padded, adjustable Velcro dividers that will hold lenses up to 10", camera body and flash, with still plenty of room for accessories. The 17" laptop divider can be removed to make room for books. There’s an outside pocket that fits an iPad or laptop up to 15" as well as a dedicated CF card storage. The bonus here is that a portion of the proceeds from each sale is donated to thirstrelief.org. $229 www.kellymorebag.com

Cheeky Lime Livy Bag

Cheeky Lime also has some really well designed bags. Fashionable and functional, the Livy bag is weatherresistant, stands up on its own (so not to spill your gear), and provides a decent level of protection for everyday use. It has a large divider for an iPad or laptop up to 15" and fits a DSLR with lens attached. The adjustable Velcro interior provides flexible storage options for adding a couple more lenses or flash to your kit, while leaving room for books. There is also a zippered outside compartment for phone, memory cards, etc… $129.99 www.cheekylime.com

TECH: ASK A GEEK-“Goes Back to School” Page 63

// ASK A GEEK

AiAiAi Capital Headphones

Hailing from Denmark, AiAiAi is creating some quality ear candy to help phase out annoying roommates during those marathon retouching sessions, or to give you a little mood music when you’re kicking around town taking photos. They’re foldable and rugged so you don’t have to worry about them in a cluttered camera bag. AiAiAi also made them water and impact-resistant so you can wear them in any kind of weather. The inline remote will keep you connected to all the features of your mobile device. $125 ($99 on Amazon) www.aiaiai.dk

Maxi-Matic 3-in-1 Breakfast Station

Breakfast, as we know, is the most important meal of the day—and no, “beer-i-o’s” is not an actual food. Get off to a great start every morning no matter how small your dorm room is. Whip up some eggs, bacon, pancakes, coffee, and toast. With this little beauty you’ll have a solution for a healthy start and the late night munchies. $49.99 www.maxi-matic.com

RESOURCE

// Free

O4 // Free

O2 // Free

ShopSavvy The only thing missing from this bar code scanning app is the king of price comparison himself, Bob Barker, enabling you to “Find out if the price is right!”

shopsavvy.com

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Mint.com Personal Finance Avoid making the same mistake our national banking system did back in 2008; this personal finance management app allows you to check yo’ self before you wreck yo’ self.

mint.com

// Free

Flipboard Social News Magazine Flipboard creates custom magazines, aggregating anything shared with you and organizing the content into flippable pages. Browser windows be gone!

flipboard.com

Evernote Your student planner just went digital. Evernote allows you to save and edit audio and text content, so you can create to-do and task lists. Organize all of it into smart notebooks and share it.

evernote.com

// Free Basic

(in App Purchases extra)

LogMeIn LogMeIn gives you remote access to your PC or Mac from you iPhone or iPad wherever you are. No more forgotten assignments! The app upgrade gives you options like file manager, cloud integration, and HD video.

secure.logmeine.com

DSLR Bank

Canon or Nikon Lens Shot Glasses

Didn’t get that DSLR you wanted for graduation? Guess it’s time to save all that loose change and buy it on your own. And what better motivation to keep saving than inserting said loose change into a replica model piggy bank of the camera you’re saving up for? Got the camera you wanted? Then the DSLR bank has a removable lens so you can stash whatever you want inside. (Wink, wink.) $24 www.photojojo.com

Whether it was a tough week in class or you just finished that big assignment, there is no better way to celebrate your photographic victory than to raise a glass and toast your studio pals. Available in a set of three, these ceramic replica Canon or Nikon lens shot glasses will declare your brand loyalty and give you a vessel to deliver your… um… creative juices. And hey, if you’re a college student who doesn’t drink (ah!), you can always use them to plant herbs… or something. $18 for set of 3 www.photojojo.com

I Am The 18% T-Shirt

Photographers unite! In the old days you could tell who was a photo student because they smelled like fixer. In today’s digital age, it’s harder to tell who’s one of us and not. Wear your passion for photography like a badge of honor. This t-shirt also acts as a great conversation starter in bars—be prepared to explain who the 18% are. $15 www.unknownphotographer.bigcartel.com

// Free

(in App Purchases extra)

// $6.99

ScanBiz Cards Business Card Reader It’s never too early to start networking. Scan Biz Cards lets you capture business card images, edit it, add it to your contacts, send a quick intro email and connect via Linked-in. All without ever leaving the app.

scanbizcards.com

Adobe Photoshop Express Exactly what it sounds like. PS Express is a mobile version of Adobe’s legendary image manipulation software. This is much more than just filters.

photoshop.com

// $1.99 // Free

Viber Connect with any other smart phone user in the world for free. Call, text, and send photos across all 510,072,000 sq km of the earth. Epic.

viber.com

Turbo Scan Add scanner to the ever-growing list of devices iPhone replaces. Multiples pages can be stored and emailed as PDF or JPEG files.

turboscanapp.com

// $2.99

Photo Transfer Download and exchange photos from your iPhone or iPad to your computer without cables or extra software. Easy sharing just became even easier.

phototransferapp.com

TECH: ASK A GEEK-“Goes Back to School” Page 65

// DE-CONSTRUCTED

By Adam Sherwin Images and info courtesy of Broncolor

Broncolor has a long standing tradition of creating top of the line lighting gear that is used by some of the world’s top photographers. The Scoro line is the latest addition to the famous broncolor family, and it comprises two models—the E and the S. Both units are available in 1600J and 3200J power output options and weigh in around 19lbs and 25lbs respectively. All the Scoro packs offer some incredible features: fast flash duration, individual power adjustment of multiple heads, and radio control from over 300m away using broncolor’s RFS/2 system. Not to mention the impressive ECTC (Enhanced Color Temperature Control) technology, which adapts flash voltage and flash duration to maintain color temperature consistency across the entire range of power outputs on each head. While pricier than the Scoro E, the S offers a few beneficial features not found on the less-expensive E model. The first and most obvious difference is the number of flash head inputs: the Scoro E has 2, whereas the Scoro S offers 3. In addition, the Scoro S offers interval, delay and alternating modes, as well as speed mode for faster recycling, a memory function, and the coup-de-grace—individual color correction of each flash head, a perfect companion for highend beauty and product shooting. Any way you look at it, broncolor has once again raised the bar and given photographers another chance to push the creative limits of their work.AS

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Is a device used to amplify and switch an electronic signal.

HEAT SINK Is a component that is used to absorb heat to keep an elecrontic device or component cooled.

FAN Used to keep the air circulating and the environment inside a unit cool so that the electronic component can run to its optimal.

RESISTOR A two terminal component used as a current limiter.

broncolor: www.broncolor.com

BRONCOLOR SCORO 1600E

TRANSISTOR

DIODE Is a two terminal electronic device that flows current in one direction.

RELAY Is an electrically operated switch used to isolate circuit board and prevent electrical damage.

CHOKE Made up of wire wound on a magnetic core used to block certain frequencies and AC Current.

CAPACITOR ELECTROLYTIC Come in many sizes and shapes and are used to store energy.

FLASH CAPACITOR Is a component that stores energy to briefly illuminate a high-voltage flash tube.

Cut-off Technology Flash duration and light output are the two decisive factors in light control. A microprocessor in the Scoro calculates the shortest or longest flash duration for a given output for you. This enables rapid flash sequences with up to 50 flashes per second.

Constant Color Temperature – ECTC Scoro is the only studio flash system which can maintain color temperature over the entire power range at all three outputs, or, when you need to, change it in calibrated steps of +/- 200 K at constant power (only Scoro S). The second generation of our patented ECTC (Enhanced Color Temperature Control) technology, which adapts flash voltage and flash duration to each other, achieves a constant color temperature over the entire variation range at all lamp.

Individual Power Distribution The Scoro S has three lamp outlets, the Scoro E two. Each has an individual power controller with LED display, and can be adjusted independently of the other outlets. The unit therefore behaves like three (or two) independent power packs. With the Scoro family you have a choice of 11 f-stops to set the flash output you need. That is a control range from 3 to 3200 J.

Speed Mode In Speed mode, the charging time and flash duration are reduced by up to 50%–this way, you can achieve up to ten shots per second at full output, or up to 50 at reduced power. This makes the Scoro S a top-class flash unit for fashion shoots; with its fan cooling, even long flash series are no problem. In Speed mode the maximum flash energy is reduced by 25%.

Cut-off Technology For a consistent flash energy, flash durations can be substantially shorter.

TECH: DECONSTRUCTED-“Broncolor Scoro 1600E” Page 67

PENTAX

K30

// A MID-LEVEL DSLR THAT PUTS YOU IN CONTROL. Photos courtesy of Pentax Words by Adam Sherwin

The first camera I ever shot with professionally twenty years ago was a Pentax and oddly, there was a certain familiarity when I picked up the K30 for the first time. Obviously everything about the two cameras was completely different—that is, everything but the high standard of manufacturing and dedication to image quality I have come to expect from the Pentax brand over the years. The company has a long history of creating photographerfriendly cameras, and the K30 is no exception. It offers a ton of features in a compact weather-sealed body that will withstand just about anything Mother Nature can throw at it. Pentax seems to have separated itself from the constant Canon vs. Nikon battle, and some don’t think of it as a serious contender. However, it’s this separation that has allowed Pentax to c o n t i n u e c re a t i n g great cameras, with loyal users and n e w c u sto m e rs coming on board every day.

//FIRST IMPRESSIONS

// CAMERA CORNER

Right out of the box the K30 looks and feels fun. It’s a pretty frisky little camera with aggressive styling. It has a fast auto-focus with a processor to match. The durable weathersealed body is dust, cold, and water-resistant, with a deep rubberized grip that makes it comfortable to hold and allows the user to easily access camera controls. The K30 offers a multitude of features that are easily accessible through various external controls, which, while abundant, don’t overwhelm its compact body.

To help newcomers embrace and learn all the techniques of traditional photography and experiment with the modern creative control of digital effects, the K30 lays out its numerous features in well designed and easy-to-navigate menus, including a fourway controller for your basic settings and a fifteen-option dashboard for accessing most of the camera’s other functions. For a mid-level DSLR in the $1K range, the K30 is packing a ton of features.

//IN THE FIELD I put the K30 to the test on several outings but didn’t take it into the studio. While it provides speedy shooting and a decent file size, it lacks some of the muscle needed for studio jobs, including the inability to shoot tethered. Don’t get me wrong, using it for a quick headshot or some portraits would be fine, and the K30’s ability to capture low-light images with great dynamic range and little noise makes it a good choice when shooting indoors. But overall I got the impression that the K30 is meant more as a general use camera for beginners and enthusiasts who may find themselves in a variety of situations while traveling or in dayto-day use.

Based on its specs, the K30 performed as promised. The 11-point SAFOX IX+ AF was fast, even in low light, and the K30’s metering delivered wellexposed images in all types of light, including high contrast situations. Generally speaking, the K30’s 70+ other features did not feel overwhelming upon the initial set-up, but there were a couple of moments when I got a little tripped up while shooting and trying to make adjustments to some of the more advanced features. Fortunately, the most commonly used ones were quickly accessed and easily adjusted, so I could stay focused on shooting and not fumble through menus.

// BODY ONLY: $845.95 // AS SHOWN WITH 18-55MM LENS: $899.95 // AVAILABLE WITH 18-135MM LENS: $1196.95 www.pentaximaging.com The K30 puts out a beautiful RAW DNG file, making it easy to work on the images in a variety of image editing software. Pentax includes their proprietary SilkyPix software, which is pretty decent. It offers the basic features for editing and correction, but it doesn’t do much that you can’t do in-camera, except process out RAW files. If you want to get into RAW file manipulation and editing, you

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may want to go with something else once you get your files out of the camera and on your computer. I was very impressed with the image quality I got when shooting in low light conditions at higher ISO settings, and with the lack of noise in both video and stills files at ISOs up to 3200 (for most general users these ISO higher files, above 3200, would be fine for web and smaller

prints). The camera provides various solutions for in-camera processing and file correction, including color balance, distortion correction, and a variety of digital filters. These filters can be applied, previewed, and individually adjusted to your liking. The K30 also incorporates an HDR mode that combines a series of JPEGs into one shot and expands its already impressive dynamic range.

//THE FILES AND SOFTWARE

// UNDER THE HOOD

//THE CAMERA As a photographer who shoots a ton of video, my biggest point of contention with the K30 is how it seriously lacks the quality needed to produce good video. The built-in image stabilization feature is more of a hindrance than an asset, as it noticeably distorts the image while you’re using it. This, combined with the inability to use the K30’s Focus Peaking feature while shooting video, the lack of external microphone input and no HDMI connection, makes it a difficult choice for photographers looking to expand their video toolbox. On the upside, the K30’s video function has the ability to shoot fairly decent video in low-light, high ISO conditions. Where the K30 lacks in video, it makes up for it on the photo side. The feature-rich K30 offers a ton of creative options through digital filter integration

similar to the looks and effects created with today’s popular smartphone apps and image editing software. The new 11-point SAFOX IX+ AF system is fast and accurate, and the 9 cross-type AF points make for improved focus tracking. AF is available with Live Preview, but it’s slower than going with the viewfinder, which also offers 100% coverage for incredibly accurate composition. The lightweight construction of the K30 makes it easy to carry and shoot with for long periods of times, and the weathersealing means you don’t have to worry about getting caught out in the rain.

Sensor Size:

1.5x APS-C

Sensor Type:

CMOS

Total Pixels:

16.3MP

File Types:

DNG RAW, JPEG (good, better, best)

Storage

SD/SDHC/SDHX

Continuous:

High 6 fps Low 3 fps

ISO:

100-12800 in auto and manual modes. 25 600 extended

Shutter Speeds:

1/8000th-30 sec. Flash Syncs at 1/180sec

Video

1920 x 1080 30/25/24 and 1280 x 720 24/255/30/50/50

Pentax KAF2 lens mount only. Built-in pop-up flash with 18mm (28mm equivalent) coverage GN12@100iso Auto, Red-Eye, Slow Sync, Slow Sync+, Trailing Curtain Sync. External flash is available via the onboard hotshoe and offers high-speed sync, as well as wireless capabilities with Pentaxdedicated flash. 11 AF points with Single, Continuous, Phase Detect, Multiarea, Tracking, Face Detection, and Live View AF modes and Manual Focus. 77-segment evaluative metering as well as spot, center weighted, and center weighted average. 3" TFT color LCD with approx. 921,000 dots. Includes brightness and color adjustment. Connects via USB 2.0. Reinforced polycarbonate and rubber body over a stainless steel frame that weighs about 1.5lbs, without lens but including card, rechargeable Lithium-Ion battery or 4 AA batteries with optional holder.

// PROS The K30 is incredibly easy to use. From turning it on to taking a photo, it takes just one second!

//OVERALL IMPRESSIONS

Camera shake-reduction is built into the body, meaning you can use it with any lens.

I know I’ve said it earlier but the K30 is really fun to use. As a professional shooter, I found it had all the features I was looking for, and they were well laid out in easy-to-navigate menus so as not to overwhelm newcomers. The K30’s durable construction and weatherproofing make it a great camera for enthusiasts who are planning on traveling, even if it’s just to the beach. The K30 lets users explore their creativity and gives them a little shooting muscle. Photo students on a budget who need the diversity of a DSLR to keep them in touch with the technical foundations of photography will find the K30 to be a reliable system, and they will appreciate its cool design and color options. Overall, the K30 is an impressive yet affordable camera with a ton of options that speaks to a diverse audience of photographers and delivers the image quality that has become synonymous with the Pentax name. It still needs a little work before it becomes a well-rounded photo/video system that can compete with some of the other cameras in this range, but it’s close—with the recent release of the upgraded K-5II, I’m sure we’ll see a number of improvements in future adaptations of the K-30.

Focus Peaking allows for the use of older manual focus Pentax lenses on this mirror-less body. Optional adapter for AA batteries for powering up in a pinch. Come rain, come sleet, come snow, the K30 performs well under the most horrendous environmental conditions.

// CONS HD video lacks the quality of its counterparts. No external mic input or HDMI output. Can’t use Focus Peaking feature in video mode. No tethering. Focusing in Live mode is considerably slower than through the viewfinder.

TECH: CAMERA CORNER-“Pentax K30” Page 69

// WHAT’S IN YOUR CLOSET

DAYMION MARDEL

3 PIECES OF EQUIPMENT YOU COULD NOT LIVE WITHOUT: Nikon D3X Midi Elinchrom Octabank Eizo monitor 1 PIECE OF EQUIPMENT THAT SETS YOU APART FROM OTHER PHOTOGRAPHERS: My team sets me apart from other photographers, not equipment.

3 PIECES OF LIGHTING EQUIPMENT IN YOUR CLOSET THAT YOU USE ALMOST ON EVERY SHOOT: Midi Elinchrom Octabank Photek umbrella Chimera extra small Softbox THE SMALLEST ITEM I N YOUR CLOSET: Thumbtacks THE MOST EXPENSIVE ITEM IN YOUR CLOSET: Custom-built Apple Tower THE OLDEST ITEM IN YOUR CLOSET THAT STILL WORKS: Rolleiflex Carl Zeiss Planar 80mm f2.8

Daymion Mardel: www.daymion.com

Words and Photo by Daymion Mardel

HOW DO YOU SELECT THE GEAR THAT YOU HAVE? Mostly from trial and error.

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YOUR POINT AND SHOOT OF CHOICE: Canon G11 YOUR USELESS GADGET OF CHOICE: Pocket wizard 3 ITEMS YOU WISH WERE IN YOUR CLOSET: A DJ Apple Tower with USB 3 More space! 5 THINGS THAT YOU LOVE, THAT ARE NOT IN YOUR EQ CLOSET: Anything Broncolor Joker 1600W RED Epic Media Pass/ Badge for traveling Polaroid camera

RED EPIC

NIKON DX3

// DO IT WITH STYLE

PIMP YOUR CAMERA By Alexandra Miller

EIZO MONITOR

Old film cameras are great looking but not always convenient in our fast-paced digital world. Fear not: you can now have the look of a vintage camera without the hassle of film. PimpMyDigiCam designed a leather wardrobe for Nikon J1s—your camera will look like vintage ‘50s and 60s Nikons, like the nostalgia-inducing Nikon SP and rangefinder cameras. You just need to press on the faux leather stickers on your camera body, and voilà!

Around $36 (carbon fiber and leather kits also available for the Nikon V1) www.pimpmydigicam.com

POCKET WIZARD TECH: WHAT'S IN YOUR CLOSET-“Daymion Mardel” Page 71

// SOFTWARE

RETOUCHERS VIRTUALLY UTOPIA: A PHOTOSHOP CS6 REVIEW

By Stephan Sagmiller, Lead Retoucher at CYAN JACK Adobe Photoshop CS6 is an elegant return to basics. Some of its best new features were born out of a project the Adobe engineers charmingly call, “Just Do It enhancements” (JDI’s). A JDI is a basic feature sourced from users’ requests. This new philosophy doesn’t hype flashy new tools that brutishly justify user upgrades—although there are a few, like the content aware move tool—but rather, it offers subtle enhancements to preexisting aspects of Photoshop. The tools that we use day in and day out are faster, more intuitive, and have more features than ever before. Out of CS6’s 65+ JDI enhancements, I’ll review a few of my favorites.

My favorite “JDI” features

Background Saving and Recovery:

I love this option— it’s total peace of mind. Since Photoshop now saves versions of your work in the background, in the event of a system crash, your work is recoverable. If you can get Photoshop to crash, that is: CS6 is far more stable than previous versions.

Liquify:

It just works now. Images load quickly with or without pre-selection, and the GPU processing makes the tools very responsive. The brush shortcuts are saving me days! You can now use any brush shortcut within the liquify panel and you can increase the brush size up to 15000 pixels. As a bonus, you can use Command+F to repeat the last liquify adjustment. This is great when you need to liquify a mask to match your retouching layer because your client changed their mind... yet again. There are a couple of downsides: zooming is still slow, and you may encounter a few bugs depending on the quality of your video card

• Adobe Mercury Graphics Engine, leveraging untapped GPU processing • Maximum brush size increased to 5000px • Increased maximum Liquify brush size 15000px and added option to load last mesh • Option to ignore adjustment layers for the eyedropper tool

• Added dither options to Layer Styles for Gradient Overlay and Gradient Stroke • Allow changing of blend modes for multiple layers simultaneously • Allow locking of multiple layers • Allow Cmd+J to duplicate layers and layer group • Allow changing of color labels for multiple layers simultaneously

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UI Redesign:

The beautiful new streamlined interface looks great, but black? Really?! This was the first preference I changed (to light grey). If you flunked color theory and don’t mind all of your images looking too dark, leave it on the default, but it’s nice to have options.

CYANJACK: www.cyanjack.com

• New mode for eyedropper to select layers current and below

Layer Filtering:

This tool is helpful for those 50+ layer projects. You can now filter your layers by type: kind, name, effect, mode, attribute, and color. No more searching for a needle in a layer stack.

Color Range (Skin tone and face detection):

Finally, a bit more accurate selection of skin tones. And a Detect Faces feature that occasionally helps to identify facial features when masking.

New lens blur filter gallery:

New lens blur effects take advantage of the faster rendering made possible by the Adobe Mercury Graphics Engine. The live preview is lighting fast. It has three main styles, Field Blur, Iris Blur, and Tilt-Shift. It’s not often that I need to simulate depth of field, but when I do, the new Tilt Shift—complete with bokeh sliders and symmetric distortion control—will be my go-to.

Other new features include: • Background Save and Auto-recovery • Content-aware Patch and Move tools • ACR 7 • Properties panel • Video support • Oil Paint filter • Auto correction settings • Adaptive Wide Angle filter • Type Styles • Printing UI • New and re-engineered design tools • All-new Crop tool • Preset migration and sharing

Auto-select transform interpolation:

While using Transform, I would highly recommend that you change it back to bicubic interpolation instead of the new bicubic automatic default. If not, you are in for some puzzling transforms.

A matter of time:

From a retoucher’s perspective, I was hoping for a few more jaw-dropping features, but it is a relief to see Adobe focusing on a solid foundation. Just having a more stable program is worth the upgrade for me, not to mention that the massively improved liquify panel and selection tools have already saved me countless retouching hours. control—will be my go-to.

ADOBE IS OFFERING UPGRADES AT $199 AND A NEW CREATIVE CLOUD MONTHLY SUBSCRIPTION SERVICE AT $49 PER MONTH RESPECTIVELY. TECH: SOFTWARE-“Creative Suite 6” Page 73

// BOOKMARKED

INTERNET REVIVES HOW REDUX IS CHANGING HOW WE VIEW ONLINE VIDEOS. By Jeffrey Zuschlag

Internet video is evolving. Originally the breeding grounds of cheap flash videos and lo-res home video bloopers, the world wide web has now become a robust source of everything, from nature documentaries to funny cat videos (some things never change). While the content has come a long way, however, the viewing experience largely hasn’t. Redux TV seeks to change that. Rather than confine the viewer to a computer screen, Redux allows for Internet channels, like our very own Resource Television/RETV, to stream to HD TV’s worldwide, encouraging a more relaxed, “lean-back” viewing experience, emphasizing quality content over quick clips. I sat down recently with Andrew Schneider, one of the minds behind the blossoming TV app to discuss its past, present, and future.

REDUX ORIGINATED AS A UC BERKELEY PROJECT. HOW DID THE IDEA COME UP? WHAT WERE THE EARLY DAYS OF REDUX LIKE? HOW DID IT GROW INTO WHAT IT IS TODAY? The main idea behind Redux came to us pretty quickly. Most of us know web video uploading has grown exponentially over the last few years, and even more of us know it’s a pain to find content worth watching. We always knew we wanted to help solve this, and we realized something pretty simple: when I come home, I plop down on my sofa, turn on my TV, and channel surf for a few hours. That’s the time and place I want to be surprised by something great. Regardless of how popular watching video on a computer has become, it pales in comparison to being in the living room. And, thanks to you guys and your readers, there are tons of truly amazing web-exclusive videos being produced that deserve to be seen somewhere better than a computer screen. We saw an opportunity in building a “lean-back” TV-like discovery

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experience that was natively built for Connected TVs and tablets, offering spectacular content you can consume easily and passively without having to mess about with the remote. That, and we all pretty much gave up on old guard TV programming a long time ago. Not that everything on TV is garbage, but the refreshing diversity and honesty of independently produced web content has eclipsed the majority of what I see on broadcast and cable TV. WHAT SEPARATES REDUX FROM COMPETITORS LIKE VIMEO AND YOUTUBE? It really all comes down to what you want to do. If you want to search for a specific video or find content by keyword, YouTube and Vimeo have you sorted out. We’re not touching that, and it’d be foolish for us to try. However, on the living room TV side of things, most of the time you’re not in search mode but in discovery mode. You’re not looking to spend time and effort hunting and pecking with a cumbersome remote, with little confidence that what you find will look awesome on your 60" LCD—instead, you’re looking to lean

back and let the good stuff find you. That’s what we’re handling. Everything comes your way through a TV-like interface. What you see is only high-quality, curated content, all packed into cable-like channels you can surf through like old school TV. TALK TO ME A LITTLE BIT ABOUT THE CURATORS. HOW DOES ONE BECOME A CURATOR? HOW DO YOU MAKE SURE THEY DON’T GO ROGUE AND START POSTING THINGS YOU WOULD RATHER NOT HAVE ON THE SITE? Anyone can be a curator, though only the best of the best get featured on our channel guide. We have an editor selection system that helps us find, feature, and support these elite members, helping them manage an excellent channel that gets millions of views worldwide. All content selection and programming on Redux is done by tastemakers, organizations, celebrities, and those with domain-specific expertise. In other words, people our audience trusts. And they’re people we trust too—it’s their channel; they take

Redux: www.redux.com - If you’re interested in the platform, shoot them an email at artist@redux.com.

"ANYONE CAN BE A CURATOR, THOUGH ONLY THE BEST OF THE BEST GET FEATURED ON OUR CHANNEL GUIDE."

// DO IT FOR FUN

POINT GREY FLEA3 By Adam Sherwin The last year has brought a flurry of large sensor cameras to the market. As small as each one claims to be there is not a single one that doesn’t overshadow the tiny Flea3 webcam from Point Grey. A 4K-resolution camera that fits in the palm of your hand, the Flea3 boasts a back-illuminated Sony Exmor R sensor, which is almost twice as sensitive as conventional front-illuminated sensor.

it seriously and they conduct themselves accordingly.

you can appreciate them in all their subtle glory.

OBVIOUSLY, THIS BEING THE INTERNET, IT’S IMPORTANT TO HOP ON TO VIRAL BANDWAGONS (A PHRASE THAT WOULD’VE MEANT SOMETHING COMPLETELY DIFFERENT AND HORRIBLE A COUPLE DECADES AGO). HOWEVER, IT’S ALSO IMPORTANT TO FIND ORIGINAL, INTERESTING CONTENT THAT HASN’T BEEN SEEN BEFORE. DO YOU THINK YOUR CURATORS DO A GOOD JOB OF STRIKING THIS BALANCE? Our philosophy about video is pretty different than the Internet’s, and usually entirely divergent given how different video looks on a flat-screen TV, versus a corner of a 15” laptop screen. In most cases, we’ve noticed that clippy viral videos tend to do poorly on Redux because, well, they kinda look like crap on your 60”. Conversely, wellproduced, more nuanced videos that do poorly online perform really well on Redux, likely because

Conveniently, the latter is the type of stuff that our curators tend to share, both because it looks great on a TV, and because they can proudly be the first to blow it up it to a big audience…

One of the Flea3’s most powerful features is its ability to send a video signal at 5Gbit/s to any USB 3.0-enabled device in real time. While this all sounds pretty incredible, we probably won’t see the Flea3 being used as an A camera on any Hollywood blockbusters, and at $945 you probably won’t be using as a replacement for your current web cam. However, its tiny size could lend itself to being used in production situations where it’s tough to fit a larger camera and for high-end video conferencing or surveillance needs when you need a ton of detail.

$945 www.ptgrey.com

TALK TO ME ABOUT THE CHANNELS THEMSELVES: HOW ARE THEY CREATED? HOW MANY ARE THERE NOW? WHAT TYPES OF CHANNELS ARE THERE? HOW DO YOU DECIDE ON WHICH CHANNELS MAKE THE CUT? Just as anyone can be a curator, anyone can create a channel, but only select ones make it to our guide. We regularly add to and refresh that list to make sure it’s the best available, and we have a few hundred of channels up and running at any given time. Everything’s in easily sortable buckets based on subject, like nature + science, art + culture, music, sports, news, vehicles, etc. We tr y to keep the channel selection as diverse as possible to CONTINUED ON PAGE 213.

TECH: BOOKMARK-“Internet Revives TV” Page 75

// RIGGED

F. SCOTT SCHAFER PHOTOGRAPHER WITH A ZEST FOR JEST By Michelle Park I Photos courtesy of F. Scott Schafer

“We built it—it’s real,”

says celebrity photographer F. Scott Schafer. For his shoot with Lonely Island’s Andy Samberg and rapper Rick Ross, Scott collaborated with Bryn Bowen, a NY-based set builder, to construct a colossal money wave. Referencing his own surfing experience, he came up with the angle for the wave. The structure was constructed out of chicken wire, with counterfeit money pasted onto it. Scott remarks that most of the image was captured in camera: “It’s them, in that space. They are not shot on a seamless and stripped into this environment.” Scott believes in lighting but keeps things simple with bare bones equipment. “I’ve been trying to tear down and use less equipment, less stuff—back to old school. One to two lights, tops… Big, broad studio set-ups with eighteen lights are like movie productions. But to do simple stuff like shoot in environments and use one light, that’s awesome.” A reflection of his own humorous photographs, Scott is a funny guy himself, a self-described “jester.” ”A teacher told me that 20% of your success is your work, and 80%, your personality and the way you deal with people. You are the guy people need to open up to, so you have to be kind of crazy and outgoing.... I act like a dipshit [on set]; then you get a reaction— people laugh, and it’s funny. But you know at the end [of the shoot], I go home and cry in a fetal position!” F. Scott Schafer is a commercial photographer and a recent NYC transplant to LA. As he sees it, “I don’t think you hunt for a style; you just end up shooting the way you like to see, and that happens naturally.“

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F.Scott Schafer: www.fscottschafer.com

Skip’s Summer School: wwww.mei500.com

Resource goes back to Summer School.

// ON THE SCENE

By Adam Sherwin I Photos by Everardo Keeme, Mark Gunter, Brook Rieman There are a plethora of options for courses, programs, and online training platforms to help you develop your photography skills. Problem is, with so many options, it can be difficult to choose which one will suit you best. While we recommend trying a variety of programs to find the one that best answer your questions, there is one that stands out as a Resource favorite.

SEE ADDITIONAL PHOTOS FROM SKIPS SUMMER SCHOOL IN OUR DIGITAL EDITION

Skip’s Summer School is the brainchild of photo industry legend Skip Cohen and his good friend, the equally legendary Scott Bourne. In its fourth year, SSS2012 moved from Las Vegas to Chicago and brought with it top-notch educational platforms and great instructors like Kevin Kubota, Sal Cincotta, Jerry Ghionis, Clay Blackmore, Bobbi Lane, Tony Corbell, Roberto Valenzuela, and more. The growing community of photographers who call Skips Summer School home for three days has access to classes and presentations that expand their skills in marketing, lighting, posing, and HDSLR filmmaking (from award-winning film education team Cinestories). Although SSS may seem similar to other programs, it differs by offering attendees an incredible hands-on experience. The classes are smaller and more affordable than what you can find elsewhere, but with the same top-level educators. In addition, the opportunity for attendees to meet and mingle with instructors and sponsors creates a networking atmosphere that is more like a night out with friends than an educational event. If you’re looking to expand your skill set and make some incredible lifelong photography friends, Skip’s Summer School is definitely something that should be on your calendar for next year.

// SICK APP

VYCLONE By Alexandra Miller

Platforms: iPhone, iPad, and iPod Touch

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Summary: Vyclone is a brand-new social media video app that allows users to make collaborative films. It combines your video with the videos of other users who are geographically nearby. Imagine you’re at a concert, one of thousands in the sea of phones aimed at the stage: after recording, you can combine your video with videos from other Vyclone users, taken from other angles and perspectives. The app instantly synchronizes and edits everyone’s clips, but, if you’re feeling creative, you can get the raw footage to remix your own cut, use different filters, and even add an audio track. And most importantly, the app is free!

Who needs it: Anyone interested in a social media app that is actually social. Vyclone enhances group experiences by combining your perspective with other people’s viewpoint.

// DO IT YOURSELF

TRANSFER PHOTOS ON WOOD YOU NEED:

By Alexandra Miller Illustrations by Kelly Kaminski

A photograph on regular photo paper, A block or piece of wood, Liquitex Matte Acrylic Gel, Mod Podge glue, sealer and finish , Clear varnish

Loves: The user-friendly controls and the ability to customize the videos. It’s so easy to use, film novices like your mom can take advantage of Vyclone. You can also share your movies directly from the app to Twitter and Facebook.

1. COVER WOOD WITH LIQUITEX MATTE ACRYLIC GEL

2. PLACE PAPER PICTURE SIDE DOWN

3. FIRMLY SMOOTH OUT ALL BUBBLES

4. LET DRY OVERNIGHT

5. WET SURFACE WITH WATER

6. GENTLY RUB WET PAPER OFF

7. CLEAN ALL PAPER RESIDUE OFF

8. COVER WITH MOD PODGE

9. LET DRY

10. FINISH WITH VANISH

Hates: Since it’s new, Vyclone is still gathering users, which makes its network a little small. But the amazing response to the app shows that it is going to be a hit.

Final Rating:

TECH: ON THE SCENE-“Skip Summer School” Page 79

// RETOUCH THAT

COLOR BALANCE

EXAMPLE A: ORIGINAL IMAGE

By Jason Tuchman, Owner, Pistol Studios

Have you ever had an image with skin tones that are unbalanced, un-even and un-healthy looking? I know I have. In fact, I have to look at them everyday. There’s a basic, yet highly effective way to balance out and neutralize un-even colors that can also be used on anything that needs balancing. The concept is as follows: we are going to first de-saturate the image and then re-create the desired tone using a separate curve to add the color back into it. The technique has been around since the dawn of photography. Back when photography was only black and white, if people wanted to see color photos they would use oil paints to literally paint the photo with color. They did this with movies as well. If you have ever seen the colorized version of The Wizard Of Oz then you have seen what I am talking about. What I am going to show you goes along those lines, but it’s not quite as harsh—it has been updated and modified so it can be used in modern photography.

Step One: See Example A If you analyze this photo, you will see that there are a lot of color shifts going on in the face. The mid tones are a very warm red colorcast, the highlights and lighter tones are a very yellow and green colorcast, and the shadows have a bit too much cyan. Overall, the skin tone looks un-healthy and un-even.

Step Two: See Example B I applied a 40% desaturation to the parts of the image I wanted to affect. Since this is a close-up, I can de-saturate the whole image and don’t have to mask out the areas I want to work on). If you do not mask out the desired areas, it will balance the whole image together, which is not something you would want to do. I would not recommend going past a 40% desaturation, unless it’s an extreme case, because there is such a thing as too even. Our goal here is to balance the colors—if you go too far, the skin will begin to look fake and flat.

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EXAMPLE B: DESATURATE

Step Three: See Example C Now that we have removed most of the tonality from the image, it’s time to “add” it back in. We are going to do this with the ever-so-powerful curve tool. The reason I use curves is because they create smooth transitions between tones without any breaks or jumps in the color. There is no right or wrong here: all you need to do is create a healthy-looking skin tone. Sometimes it’s a good idea to open up a magazine to get a reference of a skin tone that you like, and then use the curves to put those colors back in. For example, if you want the skin to be warmer, you would add some red and some yellow. If you think it looks too green, add some magenta. There is no special formula—just keep in mind you are going for a natural, smooth skin tone.

HERE ARE SOME GUIDELINES TO HELP YOU ACHIEVE THE BEST RESULTS POSSIBLE:

EXAMPLE C: ADD COLOR BACK IN

Try not to use more then 3 points in a curve. I like to pin down the highlights, mid-tones, and shadows. If you have too many points on the curve you can end up with color banding and harsh breaks in the tones. By limiting the amount of points you make you are actually creating smoother tones. Nothing in photography is perfect. In fact, sometimes too perfect is a bad thing. You want to keep things as natural and realistic as possible. When you are adding back in the color, try to make subtle moves to create some differences in the skin. Try putting a little more magenta in the shadows than in the highlights, or perhaps a little yellow in the mid-tones, or a slight bit of blue in the highlights. By keeping things like that in mind while working, you will create a more realistic color tone.

Pistol Studios: www.pistolstudios.com

Make sure you do not affect the rest of the image. When working on skin tones, I remove the mouth and the eyes from the mask and only affect the skin. If I didn’t, they would end up almost the same color as the skin, which would look weird, especially for the whites of the eyes. As you can see, the skin tone now has a more natural and even-looking tone to it. I could have taken the skin in many directions, but this worked for this image. This is where experience comes in: after doing this enough times, you know when you have a color or a tone that is not only pleasing to the eye, but also works with the image as a whole.

FINAL IMAGE

Recap:

Start with an image that has an un-even color cast, remove the colorcast using the desaturation tool, and add the color back in using the curve tool. This is just one of many techniques to help with colorcasts. This is one more to add to your bag of tricks. Most of what retouching is all about is using good judgment and knowing which technique is going to get the job done. Remember to make colors bold and interesting while keeping your moves subtle and natural. And most of all, have fun doing it.

TECH: RETOUCH THAT-“Colour Balance” Page 81

// CAPTURE THIS

FORMATTING HARD DRIVES By Shannon Roddy, Digital tech

Be sure to select the correct hard drive to be formatted. *Note that when you do this, all data will be erased from the hard drive, so be sure to back it up elsewhere before reformatting.

Select the Partition tab and change the Volume Scheme from Current to 1 Partition. Select the Partition tab and change the Volume Scheme from Current to 1 Partition. On the same tab, give your hard drive a name under “Volume Information,” select Mac OS Extended (Journaled).

Below the Partition selection, drop down click on the Options button. This is where you will select the partition scheme for an Intel-based Mac. Select GUID.

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Lastly, you want to select Apply: a window will pop up asking if you are sure you want to reformat (this is your last chance to make sure you have selected the correct hard drive before all data is erased!). Select Partition—and the drive will be reformatted.

Shannon Roddy: http://www.linkedin.com/in/shannonroddynyc

This tutorial is about reformatting a hard drive for an Intel-based Mac running OS x 10.4 or later. If you are unsure which OSx you are using, you can check by going to the top left corner of your screen and selecting the apple icon tab. Scroll down to “About This Mac.” A small window will appear with your computer’s OS and type of processor details (you want it to say OSx 10.4 or later and Intel as the processor).

You should always partition and format a new hard drive to be used for data storage for optimal performance. With Disk Utility, you can easily reformat your hard drives. The apple partition map scheme is intended for an older Power PC Mac. If you are using an Intel Mac, your hard drive partition scheme should be GUID. To check which scheme your hard drive is formatted for, launch Disk Utility. The Partition Map Scheme is listed at the bottom right of the Disk Utility Window. To reformat your hard drive, go to Applications>Utilities, and select Disk Utility.

Secure Storage for Your Digital Workflow

Mobile Acquisition/Storage

Capture/Post Telephone: 1.800.260.9800

Backup/Archive

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PHOTO PRO-FILE

Erik Johansson and his Impossible Photographs By Michelle Park I Images by Erik Johansson

Salvador Dali may have painted unbelievable dreams, but Swedish photographer and retoucher Erik Johansson seamlessly crafts dream-like realities through his clever photographic montages. A giant fish, one so big that it takes up the whole depth of a lake, one so big that it become an island, complete with red houses and green bushes on its back, may sound like a ridiculous idea when expressed in words, but in Erikâ&#x20AC;&#x2122;s image, Fishy Island, the preposterous is made into complete sense. Combining selftaught drawing, photography and retouching skills with his education background in Computer Engineering, Erik now works on both personal and commercial projects. He tells us here about how he achives his impossible Â photographs.

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YOU ARE SWEDISH AND WORK MOSTLY IN EUROPE. YOU’VE ALSO WORKED WITH SOME U.S. CLIENTS; IS THE EXPERIENCE DIFFERENT? I have clients from all over the world. Right now, I’m working on a retouching job for a New York agency, an album cover art for a Swedish band, and a concept image

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for a Swedish company. The work isn’t really different in the U.S. compared to Europe—it’s always the same short deadlines! [laughs] AS A RETOUCHER WHO PHOTOGRAPHS, I FEEL THAT “RETOUCHER” DOESN’T FULLY DESCRIBE WHAT YOU DO. I WOULD SAY THAT YOU ARE AN ARTIST WHO PAINTS, COMPOSES, AND SMEARS PHOTOGRAPHS INTO ONE IMAGE. HOW WOULD YOU DESCRIBE YOURSELF? It’s true that for personal projects I never use stock images. I always want to be in control of the material I use. It’s a limitation that I like— the ideas that I can create somehow reflect the world around me. For jobs, I sometimes have to use stock images but I always prefer shooting

myself. The truth is, I don’t know what to call myself: I’m not really a photographer as I change every little part of an image, but at the same time, I want it to look simple and like if it was shot. I guess I’m a “photo-composer” or a “digital surreal photographer”—if anyone comes up with a good title, feel free to contact me! YOU SEEM TO HAVE A WILD IMAGINATION, AS IT SHOWS IN YOUR PHOTOGRAPHS. TELL US ABOUT YOUR INSPIRATIONS, YOUR FAVORITE QUOTE, AND YOUR PHILOSOPHY IN PHOTOGRAPHY. I don’t really have to try that hard to come up with ideas. Inspiration is everywhere. I think it’s more about thinking differently about the world.

My work is a combination of having wild ideas and knowing the tools to realize them. I try to capture my imagination frame by frame and hopefully inspire people, like I get inspired myself. I didn’t start out to make a living out of this work; people just seemed to like what I did. WHAT’S IN YOUR TOOLBOX? WHAT EQUIPMENT DO YOU SHOOT WITH, AND WHAT PROGRAMS DO YOU USE? I usually don’t use that much equipment, every light needs to have its purpose—to me it’s more about keeping the image simple and realistic. I try to set up my light like if it was the sun. When shooting on location outside, I often simply use natural light, so the weather gets to decide the mood of my photo.

Erik Johansson: www.erikjohanssonphoto.com

TELL US HOW IT ALL STARTED. TELL US ABOUT A PHOTO YOU DISTINCTIVELY REMEMBER TAKING, WHEN YOU FIRST HELD A CAMERA AT THE AGE OF FIFTEEN. I took all kinds of photos, everything around me, nothing special, really. I think that is what got me started working on retouching—reality was a bit too boring to me.

Erik Johansson

Erik Johansson “INSPIRATION IS ErikEVERYWHERE.” Johansson Erik Johansson Erik Johansson Erik Johansson Erik Johansson

I shoot mostly with a Canon EOS 5d Mark II, and with a Canon 24-70mm lens. For light, I use Elinchrom RX flashes, and Canon Hot Shoe for location shoots. And I use Photoshop on my home-built PC, which runs Windows 7. I SEE THAT YOU USE HANDS-ON DRAWING AND SKETCHES AS INFLUENTIAL PARTS IN YOUR IMAGE-MAKING PROCESS. HOW IMPORTANT IS THIS FOR YOU, AND DO YOU SEE FINE ART AS A TOOL IN PHOTOGRAPHY? The reason why I paint some elements myself is to get them as realistic-looking as possible. It’s easier than trying to create them in Photoshop. I also always work on sketches in the planning phase of every project. It’s an important step, but I would (almost) never use these drawings in the final image, it’s only a part of the overall process. I don’t really put labels on my work—photography, drawing, illustration, retouching. I just realize ideas that I have. AROUND HOW MUCH TIME DO YOU INVEST IN EACH PROJECT? DO YOU SPEND MORE TIME PHOTOGRAPHING OR RETOUCHING? For me photography is about collecting material so it’s the fastest step in the process. I spend most of the time working on the postproduction, but the overall planning takes up a lot of time too—[I have to map out every element I need before starting combining them.]

PRO: PHOTO PRO-FILE-“Erik Johansson” Page 87

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Erik ohansson Erik Johansson Erik Johansson Erik Johansson Erik Johansson Erik Johansson PRO: PHOTO PRO-FILE-“Erik Johansson” Page 89

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WAS Erik “REALITY A BIT BORING Johansson FOR ME.” Erik Johansson Erik Johansson Erik Johansson Erik Johansson Erik Johansson Erik

WHAT’S THE TRICK TO GETTING A NATURAL, BUT REALISTIC PHOTOGRAPH? You need to combine materials that have the same perspective and light. You also have to add photographic defects to make the final image look like a photograph—reality isn’t perfect, so adding defects makes the image look real. In the end, it’s a lot about looking at the world and wondering, “What would this look like if I would shoot it?” I discussed this in my TED talk: have a look at ted.com, and search for Erik Johansson.

TELL US HOW YOU ARRIVED AT THIS IMAGE, HELPING FALL. I shot the same tree twice, at an interval of a couple of months, in order to get one image with leaves and one without leaves. I could then easily mask the areas where I wanted the leaves to be. The fence and background have been placed afterward [and come from different places], but the people and tree were shot at the same location.

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TELL US ABOUT YOUR PUBLIC ILLUSION PROJECT IN STOCKHOLM, MIND YOUR STEP. HOW DID YOU COME UP WITH THE IDEA, AND HOW DID PEOPLE REACT TO THE PHOTO INSTALLATION? It was a very fun project; Microsoft sponsored it, to show that you can be creative without using an Apple product. It was completely up to me to define what to do. I wanted to put my retouching in a public space, to see if I could create a street illusion that would look realistic. I’ve seen many painted street illusions but I’ve never seen anyone doing it with a printed photograph before. I wanted to put the image at a location where as many people as possible would see it, so I picked the largest square in the middle of Stockholm, Sweden. It was out there for six days and got a lot of publicity. S o m e m o re i n fo a b o u t i t h e re : h t t p : / / erikjohanssonphoto.com/work/mind-your-step/

WHAT’S NEXT FOR YOU? Right now I’m working on a couple of new personal projects, one of them for a famous band. I’m also thinking about summarizing the last couple of years in a photo book, revealing some behind-the-scene images.

I would love to do more events and perspective illusions. I also want to move more into the film side. I still have a lot to learn and ideas to realize. Technology is getting better and better, but in the end it’s your imagination that sets the limit.

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HISTORY

Van Halen, Balance Heavy metal and hard rock got a dose of sunny California with one of rock ‘n’ roll’s most popular, chart-topping and revenue earning bands, Van Halen. Eddie Van Halen’s mastery with the guitar kept fans and critics pleased, while longtime on-again, off-again front man David Lee Roth’s larger than life persona, one-liners and stage antics made him an instant favorite with the media. With behind-the-scenes tensions leading to numerous highly publicized lineup changes—including the introduction of Sammy Hagar, who fronted the band for a sizable eleven years—it would be easy for some to overlook the band’s staggering, enduring success and loyal fan base.

By Glen Wexler Words by Charlie Fish

In 1995, following a string of well-received, Hagar-fronted albums, the band released Balance, which was decidedly less upbeat and more introspective, and was the last album to feature all-new material by Hagar. Its somber tones reflected the death of the band’s longtime manager, Ed Leffler, and Eddie’s health concerns (he was in need of a hip replacement). Photographer Glen Wexler, known for his outstanding work with photocompositions and for creating “improbable realities,” has worked on album covers for acts like Black Sabbath, ZZ Top, Rush, and Kiss. Having already created Van Halen’s F.U.C.K. (For Unlawful Carnal Knowledge) album cover, Glen was an obvious choice for crafting the band’s new release. Resource interviewed the very busy Glen, who discussed the controversial album cover art, why another version was created for the Japanese market, the band’s introspective turn, and the popular misconceptions surrounding the image.

PRO: HISTORY-“Van Halen, Balance” Page 95

GETTING THE ASSIGNMENT Jeri Heiden, the creative director at Warner Bros. Records, commissioned the project. Alex Van Halen, Eddie’s older brother and the band’s drummer, was “the art guy” from the band and he was involved in selecting me, as well. I had created the cover of their previous album, F.U.C.K., which was a photographic logo treatment. I was doing a lot of those, but Jeri and Alex were both very aware of my more fantastical “improbable reality” conceptual images, the work I am most passionate about. THE CONCEPT The original title of the album was The Seventh Seal. I worked on concepts to illustrate that title, one of which involved a composition with a young child. During the casting session, I found this very androgynous four-year-old boy, but the band came to the conclusion that The Seventh Seal was not the right title and we switched directions for the cover art. When I asked what the new title, Balance, meant to the band, Alex discussed the turmoil and changes surrounding Van Halen. A lot was going on for them, including coming to terms with the recent death of their long-time manager, Ed Leffler. Alex had this notion of exploring the duality of the human psyche. It was very unexpected when he made the suggestion. Van Halen was

perceived as being a fun-loving party band, and here was a very smart, introspective, and challenging concept to visualize. That said, in terms of Van Halen’s growth and maturity, seventeen years after the huge success of their first album, it would make perfect sense that the band would want to reveal a more complex side of their personality, including reflecting on some of the deeper issues they were experiencing. I produced several rough sketches to illustrate the concept, including the conjoined twins on the seesaw, which would be created by combining photographs of the androgynous child. Other than the obvious expression of inseparable male and female characteristics, the realization of the idea began to focus on a number of ironies: the impossibility of the conjoined twins actually playing on the seesaw; the “calm” twin actually being the aggressive one, pulling the hair of his sibling to create the appearance of an aggressive child; and having no one else to play with in a desolate post-apocalyptic setting, in which unusable playground equipment is the only object in sight. I also had the opportunity to “design” the twins to mimic the shape of the “VH” logo. ON THE SET, LIGHTING, SET UP AND SHOOT Since the talent was cast, all I needed to do was to build the seesaw prop on a

foreground set and create a miniature set for the landscape. I also selected the sky from my archives. The shoot was at my studio in Hollywood. I shot the images of the boy on the seesaw first. We created a foreground set with sod, rocks, and weeds. I locked down the camera, a Hasselblad, and shot the boy in the two main positions. I shot about 10 rolls of 120mm film over two hours. The following day we set up and shot the miniature landscape for the mid and background terrain and mountains. It was a wedge-shaped tabletop built in forced perspective. It was only about 6-feet deep and 8-feet across in the back. I shot a bracket of 4x5 film, about six sheets with a Sinar P2. The lighting was simple. I used a Mola dish for the key light on the boy, with ambient “sky light” from strobes bouncing off the white ceiling. The key for the miniature set was replaced with a 2K Arri. I had brought all the postproduction imaging of my work in-house by 1992; the film elements were drum-scanned and combined using Painter. At the time, it was a better image-editing program for photocomposition than Photoshop, which didn’t have layers yet. Painter had layers, which were called “floaters.”

DISCOGRAPHY

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Van Halen

1979

Van Halen II

1980

Women and Children First

1981

Fair Warning

1982

Diver Down

1984

1986

5150

1988

Ou812

1991

For Unlawful Carnal Knowledge

1993

Live: Right Here, Right Now

1995

Balance

1996

Best of Van Halen, Vol. 1

1998

Van Halen III

2012

A Different Kind of Truth

Glen Wexler: www.glenwexlerstudio.com

ALBUM TITLE: 1978

WORKING WITH THE CHILD MODEL Once I got him in place, it was a matter of getting the right expressions. The yelling shot was easy: I asked him to “roar like Simba from The Lion King,” which he loved doing. My daughter was five at the time and she was the hand model pulling the hair. The “calm” shot was a challenge, as it was the boy’s first shoot and he was anything but calm and cooperative. My daughter was very helpful in getting him to settle down and focus on the shot. Those moments were fleeting and few and far between. MEETING EDDIE VAN HALEN Alex and Eddie came by the studio following the shoot to look at the work in progress. It was the first time I’d met Ed, whom I got to know better years later as our sons became close friends during grade school. Ed gave my son his first electric guitar. YOU’VE GOT IT ALL WRONG T h e re a re a c o u p l e p o p u l a r m i s c o n c e pt i o n s a b o u t t h e p roj e c t . Warner Bros. gave us a heads up to the Japanese cultural stigma of portraying human deformities in advance of the release. Any information I’ve received on this topic has always been directly from my clients. For example, when shooting Japanese advertising projects, I’ve been told that’s it important to see all the fingers on a person’s hand. Knowing that conjoined twins would not be well received in the Japanese media, we created the second version for that market depicting a single child. MTV and other press made a big deal about the album cover being “censored in Japan.” That was simply a distortion to fabricate a “news” story.

Many Van Halen “aficionados” have mistakenly blogged and reported that the boy in the photography is Wolfie Van Halen, Ed’s son. It’s not. Wolfie was younger at the time, only three, and has dark brown hair. PUBLIC REACTIONS TO THE SHOT When first released, there was a conservative religious group that asserted the image was “pornographic” and tried to get Walmart and other retailers to ban the album. The cover was included in publications about children represented in art, in a “best album covers” book, and in a number of lists of the top all-time album covers. In addition, Communication Arts selected the image for one of their Photography Annuals. I have limited-edition prints available that are in several art collections. Out of my 300-plus album cover projects, this one is probably the best known. Now that my print work has shifted primarily to advertising assignments, it’s interesting how many art directors seem to respond favorably to this as a legacy image and have requested prints. Of my commercial works, album covers are often the best opportunities to fully flex my creative muscles. For me, these projects have played an important role in demonstrating what I bring to the party in the more collaborative advertising arena.

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Fashion holds a special place in the photography world, with its boldfaced names, breathtaking clothes, skinnier than skinny models, and overblown budgets worthy of a short film feature when you’re shooting for an international luxury conglomerate. Everyone hears tales of ridiculous excesses, big egos, and “drama” (like the story of the PR girl who got slapped by a fashionista who had been denied a seat at a fashion show and is now suing for one million dollar). While these shenanigans make it easy to dismiss fashion— and fashion people—an incredible amount of work goes into producing fashion shows and the spreads in your favorite glossy magazine. It was a sweltering summer evening when I met Julius Poole at the Standard Hotel NYC for a drink and discussion about the stress and glamour of working

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in fashion. Julius is a photo shoot and fashion show producer who has been able to carve a place for himself, working with some of the biggest photographers and supermodels. Born and raised in New York, he started his career as a shoe designer. A friend of his who owned a model agency invited him to tag along while he went scouting new models in Europe. Julius was instantly hooked: the job was fun, it was interesting, it was new. He gave his notice and, within two weeks, was working at the model agency—only to realize that the job was in fact “really, really not for him.” Instead of backtracking into his old path, he forged ahead and free-lanced for a season for KCD, one of the major PR and fashion show production companies. As Julius explains, producing a show is a schizophrenic

mix of big-picture planning and micro-managing: you work with the designer on the story and atmosphere, and then place options on hair and makeup and stylists who suit your vision, look for an appropriate venue, define the lighting and music, and work on timing the models. You also need to know who to invite and where to sit them. With so much riding on these fifteen minutes, there’s no room for error. The models are a big part of the show, intensely scrutinized from head to toe, down to how they walk. Julius credits his experience as a shoe designer for his ability to teach girls how to do “the runway walk.” He came into that job in a fortuitous, and

pretty fabulous way. A party promoter he knew used to draw a fashion crowd; at some point in the evening, he would shine a flashlight and scream, “Runway time!” inviting people to do their best imitations of Naomi, Christy et al. One night, Julius did a slow motion version of the runway walk; people were hollering, and an agent at Next Models hired him on the spot. Julius’ advice for walking with heels? “Just be natural. Use the rhythm that you have. If you are too busy trying to walk like Naomi but you don’t have her rhythm or body shape, you could end up looking like somebody who just came out of a mud fight.”

ROFILE

CREW P

Julius Poole: www.juliuspoole.com

girls you want, but your carefully orchestrated ballet is often turned upside down when another designer tries to override your show. That’s when things get vicious—it’s “Wall Street” as Julius puts it: you have to negotiate and fight for the models you want.

Julius went from producing fashion shows to casting them, diving into the time-consuming and nerve-racking mayhem of competing with major designers for the same girls. “First, you send all the project information to the agencies: the show concept, who the hair and makeup artists are, the fitting time, the show date and time, the compensation,” Julius explains. “Then you set up a go-see during which you pick your first, second, and third choices.” Scheduling fitting and hair/makeup test for each model is “a juggling act.” Your work closely with the designer to define which

Production is definitely not for the faint of heart. “You really have to be calm,” Julius explains. “There is so much pressure and stress, and there are so many shows—nearly 300 in New York alone last year—you really have to be the one who remains calm. Your job is to be the problem solver and the miracle worker.” There’s a saying among producers: “You should hope for the best, but prepare for the worst.” Julius knows that first hand. “You always have to go into any project, whether a photo shoot or a fashion show, thinking, ‘There’s going to be a problem, how do I solve it?’ I used to think everything was set once the call sheet was sent out—never is it ever set.” He gets phone calls in the middle of a night before a show—or even backstage the day of—about a girl who is sick, got booked for something else, or is running late. It’s a stressful moment: no one wants to say to a designer on their big day that one of the models they loved (and fitted the clothes on) is no longer available. And definitely no one wants to have to find a replacement at the very last minute while Fashion Week is in full swing. But you make it work— after all, that’s what being a good producer is about.

Since fashion shows happen only twice a year, it made sense for Julius to move into photo shoot production. He worked for a while with Foundation World, a New York-based Japanese production company which had a lot of Asian clients at the time. As Julius recalls, “Editorial shoots were huge then—the magazines would come to the U.S. and pay cash on the day of the shoot. They could get the biggest models and photographers this way.” Ever since he’s been working on his own, he feels that getting work is “really about referral and reputation.” For once, name-dropping is a good thing: “Clients see on my website the list of people I’ve worked with, and that’s all that matters.” His site is clean and simple, reflecting his belief that “people don’t need Flash, they don’t need music; they just need something that is straight and to the point.” So, after producing the Versace show, working on Neiman Marcus 100th anniversary with Linda Evangelista and German Vogue covers with Naomi Campbell, sharing jury duty with Anna Wintour, and surviving years of Fashion Week, how does he keep his cool? “In this industry, one thing I have learned is that you have to stay true to yourself and stay down to Earth.” Julius credits his upbringing and big family for keeping him grounded. He knows that people are just people. “After a job, I go home, I turn on the Cartoon Network, and I watch Teen Titans or Justice League Unlimited—it’s OK to take life seriously, but you still need to have a sense of humor about it!”

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MASTER CLASS

Michael Corsentino

LIFESTYLE PHOTOGRAPHER By Leslie Lasiter Photos by Michael Corsentino

Michael Corsentino’s photographic endeavors began at the age of twelve when his father, a photographer himself, gave him a Polaroid camera. “I was just really drawn to the magic and science of photography.” As a teenager Michael had a home darkroom and recalls “the excitement of seeing the latent image appear in the developer tray.” Now a sought-after portrait and wedding shooter, one of Michael’s greatest realizations, both as a photographer and business owner, happened when he found himself between two roles: photographer and production person. He changed his workflow and subsequently, his business, for the better by outsourcing editing tasks for some of his jobs. “A lot of people feel like they are losing their creative control if they outsource,” Michael explains, “but those are the hurdles, the mental challenges, to overcome, its all part of building your team” It may be counterintuitive—trusting your work in

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Michael Corsentino: www.corsentinophotography.com

the hands of someone else—but by allowing others to assist him, Michael has been able to focus his attention more fully on new business, sales, improving his craft, and building relationships. As an avid Canon shooter, working mostly with his 5D and 5D Mark II, Michael is now “lusting after the 1D X.” His technical knowledge led him to education—he puts tutorials on his site, leads workshops, speaks at events and tradeshows, and recently wrote a book, Canon Speedlite System Digital Field Guide, which features the new 600 EXRT radio enabled Speedlite wireless flash system. When it comes to selling his own work, Michael argues that the key is having clients come into the studio to see the final images, rather than posting them online. “If you have people come in, it’s more of a personalized approach, a boutique kind of experience; you’re building relationships and excitement. For me this has resulted in a dramatic increase in sales.”

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Michael Corsentino

LIFESTYLE PHOTOGRAPHER

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Michael Corsentino

LIFESTYLE PHOTOGRAPHER

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Dan Busta Shoots The Band Eating Faces

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Words and Photo by Dan Busta

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Dan Busta: www.danbusta.com

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///1.This bow is used with a cymbal to create some strange sounds.///2.Lighting was simple, yet thought-out. I knew that because of the quick movements of my subjects I could not be on full power with my strobes, so I powered down to decrease flash duration. I shot this at F7.1.///3.Collins Schude is the band’s drummer and was part of developing the concept for this shot. He wanted a picture that showed the elaborate set up of his drums and said it would be best seen from above. I agreed.///4. Love the way the cymbals reflect and take the light! ///5.To compress all the details and depth of the props, I used a telephoto lens. I was at about 100mm.///6.Fake sweat: Collins just ran his head under the sink.///7.Placing the maroon shirt here added the necessary contrast between the timpani hammer and the ground.///8.The band logo and illustration are by Sven Barth. ///9.Collins is always drinking coffee.///10.Setting up the set was pretty easy at first, but the fine-tuning of moving things around was a challenge. It was hard to describe the exact placement of things from my vantage point. I ran up and down a few times, but eventually I just had the guys move the objects. Sometimes, I’d stop the shoot and have them move things by the inch.///11. The direction of light came from one Profoto Acute bare head with reflectors from camera, and two crossing Dynalite umbrellas on the sides. The sidelights give the image a sort of 3D quality that I like, with the move¬ment and the overhead angle.///12. My old saxophone—now a great prop.///13.This dark area is completely unlit. I think what is lighting it is just bounce from my building and the adjacent building’s walls.///14.Getting the perfect birds-eye angle was pretty tough—I was four-stories up, hanging off a balcony shooting down on our studio driveway. If I was to do this over, I would tether from a boom.///15.We used seamless paper for the ground. We cut out about 240 foot sections, which spanned out across the driveway—a space that is about 30 feet by 15 feet.///16.Cal Passaro’s Italian family crest tattoo.///17.Most of these pedals are not even plugged in or working.///18.Most people don’t know how to take this picture. Is it vertical? Is it horizontal? I say horizontal, but I have had lot of people rotate my whole book to view this piece.///19.No major photoshopping here—just some basics, like contrast and color—it’s all pretty much out of my 5Dmk2.///20.Extra cords were placed to really bring the design together and make the set look crazy. Most of these cords aren’t doing anything.///21.I propped up some of these amps on sandbags. That way, they had some dimension in the above view.///22.This is pretty much how they actually play—lots of noise and lots of exhilaration.

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EDITOR’S PICK

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Christopher Hench: www.christopherhench.com

Christopher Hench

A b o u t t h e a r t i s t : Coming from a fine art education background, I always tend to focus my work toward an evolved concept or specific mood. Even if I want to convey something as simple as an emotion, I map this out from the very early stages of developing an idea. That being said, I do feel that talking about your work too much in an attempt to convey its meaning somewhat strips it of its original purpose and raison d’être. Most times, simple is better—trusting my feelings as an artist is how I approach the entirety of my image-making process. I aim to connect with the subject and remove the sterile image-making environment, and in a way achieve more of a conversation with the camera and subject.

W h y I l i k e i t, b y A l e x a n d r a N i k i , E d i t o r - i n - C h i e f : To be honest, I rarely care much for fashion photographers these days. However, Chris’s work offers a refreshing naivety and air of youth. I feel he goes with his gut on most shots, which gives his work a more instinctual appeal. There is a glaring difference between projects that are shot with a forced direction by a client and the images that come from Chris’s mind. Don’t get too clean Chris… your “dirt” is your power.

“Most times, simple is better.” PRO: EDITOR’S PICK-“Christopher Hench” Page 109

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Shooting For

Playboy SPECIALITY By Jeffrey Zuschlag Photos by Arny Freytag and Steve Wayda

Shooting beautiful women by day and partying with Bunnies all night—being a Playboy photographer sure seems like the greatest profession ever.

It’s a job that sounds more like a vacation; a career where the daily grind is replaced with daily glamour, where the morning commute might be to Paris one day and to the Caribbean the next. But is it really all fun and games? Recently, I sat down with Playboy veterans Arny Freytag and Steven Wayda to help peel back the glitz and glamour, to look past the flashing lights and beautiful models, and find out whether the dream job is more than just a fantasy. RESOURCEMAGONLINE.com

Although they both tout an impressive list of Playboy covers and centerfolds, Arny and Steve entered the “House that Hef Built” in very different fashions. While studying at a Santa Barbra

photo school, Arny began shooting women as a hobby to supplement his “commercially boring” curriculum of architecture and jewelry assignments. “I just photographed girls from my neighborhood, girls I met, girls I wanted to meet,” he recalls. “I did portraits, fashion-y kind of work, did some nudes, just for fun.” When a professor caught sight of Arny’s eye for female beauty and sexuality,

Archival Playboy Magazine material (including the June 2008 and September 2007 Covers of Playboy Magazine). Copyright ÂŠ 1996, 1999, 2000, 2007, 2008, 2009, 2011 by Playboy. Used with permission. All rights reserved.

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he set the young photographer up with an internship at Playboy. Under the mentoring of then-centerfoldshooter Ken Markus, Arny quickly made a place for himself, and eventually earned the record for centerfolds published. Around the time that Arny was dabbling in sensual shooting, Steve Wayda was in Utah, trying to make it as a photojournalist for The Salt Lake Tribune and as a local commercial photographer. “I’d be doing my dayjob, which was my newspaper work,” Steve explains, “and then after that, I’d do shooting in the evening and then stay up ‘til four or five o’ clock in the morning putting all the shots together.” When Steve lost his biggest client, he began submitting his work to Playboy. Some photos were accepted, some were turned down, but his perseverance earned him the attention of Marilyn Garbowski, a Playboy editor who eventually brought Steve aboard and helped him earn a spot on the centerfold team. “It was a lot of persistence and luck,” Steve recalls. Now seasoned Playboy veterans, Arny and Steve’s prolific careers offer surprising insights into how centerfold shoots aren’t as sexy as they seem. Photographing beautiful women may seem like an easy and instantly rewarding job on the surface, but there’s a lot of thought and work underneath each shot. As Arny describes: “Most glamour photographers who are new to photography think it’s all about the girl, but with Playboy, it’s all about the set and the story. We always design a set around [the subject’s] personality: is she a student, is she a nurse, a flight attendant?... I shoot basically the entirety of the set, light it perfectly, and then put the girl in.” “Everything has to be perfect,” Steve echoes. “There’s a reason the women wear the garments they wear, and why the fabrics and props are where they are: to enhance the model.” Steve and Arny aren’t alone in this strive for perfection; although it varies depending on the shoot, the editors, set-designers and hair/make-

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up artists are often on hand critiquing and collaborating in equal measure. With all this thought and care going into each shot, it’s easy to see why a single centerfold shoot usually lasts three to five days. That’s assuming, of course, that everything goes as planned; but sometimes, especially in exotic locations, the dream job can turn into a nightmare. One of Steve’s shoots, for instance, was interrupted when a hurricane decided to come tearing through Mexico. “We were in an eco-resort, which was remote—you got to it by dirt road. So when the rain came down, all the roads were washed out, the rivers were flooded, and we were cut off. Some of the buildings up on stilts were safe, but the ones built on the ground were flooded,” he recalls. Huddled around the bar, with nowhere to run or take shelter, Steve and his crew were seriously worried they might be facing “their last days.” Fortunately, the storm eventually turned away from shore, and the Playboy crew lived to shoot another day. Even when not life-threatening, though, there are still plenty of stressful scenarios centerfold shooters have to work through. While shooting in Australia, Arny’s carefully planned assignment quickly disintegrated when the “Indigenous Aborigine” provided by the producer turned out to be a native New Yorker in a grey suit, and not the local tribesman Arny requested. “We had to scramble for aborigines, which, as you can imagine, is not easy,” Arny jokes. The shoot was further set back when, en route to location, the entire boat crew got sick, and the boat itself ended up running into a coral reef and began to sink. Arny summarizes, “It was the one day when nothing seemed to go right.” Despite the difficulties posed by their sets and locations, both Arny and Steve agree that the real challenge lies with the models. The girls of Playboy come from various sources—some submit applications to Playboy’s website, while others

are found during casting calls or by agents. However, regardless of how they are discovered, Arny explains, “Ninet y-nine percent of our Playmates are not models—they’ve never ever been in front of a camera.” “They’re beautiful women who are taking a chance, they’re taking a risk,” Steve elaborates. “They’re coming into an environment of strangers, of uncertainty, of expectations, and they’re going to be as vulnerable as they’ll ever be.” Unlike fashion magazines and their professional, full-time models, Playboy strives to find the literal “girl next door,” which presents the photographers with a unique challenge: getting the subjects comfortable is certainly a big step—nothing ruins a shoot like a stiff and anxious model. Even more of a challenge, however, is getting the girls to a level where they’re able to really express themselves in front of the camera. “A few have, like, the ‘deer in the headlights’ look,” Arny jokes. “So the challenge becomes drawing something out of them; you’re basically asking them to be an actress.” Not that shooting actors is always a cakewalk either. Celebrities provide their own unique hurdles when it comes to Playboy shoots—it can be hard to bring out the “real person” from someone who is constantly “in-character.” As Arny sums up: “A lot of actors have a hard time just playing themselves.” Other times, celebrities have their own agenda; while on location with Pamela Anderson in Paris, Steve advised the star to get plenty of sleep before the morning’s impending sunrise shoot. Steve turned in at a reasonable nine o’ clock, but Pamela had the crew do her makeup, and then she hit the town, dancing in clubs and picking up boys all night. “She came back at about four o’ clock in the morning,” Steve recalls “They put her down in bed and put pillows around her so she wouldn’t roll around on her makeup. They arranged her in such a way that, when I popped over and asked, ‘Are we ready to go?’ she was like, ‘Yeah!’” Looking back, Steve can’t help but laugh. “It wasn’t the first time the crew kept something from me.”

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“We always design a set around [the subject’s] personality: is she a student, is she a nurse, a flight attendant?... I shoot basically the entirety of the set, light it perfectly, and then put the girl in.”

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Yet, despite the intricate ( o f t e n ove rl o o ke d ) s e t planning, stressful location challenges, inexperienced models, and difficult celebrities, Arny and Steve find the positives far outweigh the negatives. “When I push the button and I look at the screen, and the picture looks great... it’s like an adrenaline rush,” Arny explains. Both photographers assure me that while the travel is nice and the Playboy parties are a blast, it’s really shooting good photography that keeps them going. “The best part about shooting for Playboy is having the ability to make great pictures, and to make a lot of them,” Steve confirms. Although I expected the dream job to be an illusion, Steve and Arny clearly think otherwise. Throughout my

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investigation, both of them reiterate to me constantly how much they love their work. “People often say it’s the best job in the world, but I’d say it’s maybe... the second best job in the world,” Arny jokes. “I love my job,” Steve says. “I’ve been very fortunate to have it.” Even beneath the glitz and glamour, being a Playboy photographer is about going to amazing locations, and taking stunning photographs of beautiful women—it’s a job that anyone would dream of. Which leaves me with one last question on my interview sheet: Do you have any openings?

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Can You Delete Your self?

By Ross L. Hockrow Images courtesy of CineStories

VIDEOGRAPHY

My new film is about facebook addiction, and it asks the following question: “Can You Delete Yourself?” (which is conveniently also the film’s title). It’s a challenge that I pose to all facebook users. Go ahead: I’ll wait right here while you log into your account and delete it. While people complain about the uber-social network, facebook is a lot like smoking—do you really want to quit? At the 9:48 mark in the video, Mario, the main character has a little devil/angel moment. He is debating on whether or not to delete his account. It looks a little something like this. The shot is actually three separate shots, two of them filmed on green screen, and took two separate days to complete. In your filmmaking endeavors, you will need to know how to do green screen work; here’s how we did it.

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To do green screen properly, you don’t need a lot of money, space, or even a professional screen. Go to an arts and craft store and purchase some green felt: voilà, you now own a green screen. Take a look at our set up: we were in a bedroom and taped $20 worth of green fabric to the wall—nothing special or expensive. However, there are a few tricks to making green screen a success: Make sure the light on the green screen is even. It needs to be flat light across the screen. No shadows at all. If you have shadows, you have problems. When you go to key out the green you’ll end up keying out the subject if there are different shades of green in your shot— this is the most important thing to remember about using a green screen. The best thing to do is to light from up high. The trick is treating the screen and the subject as two separate shots. First light the screen, then have the subject step into the shot, and then light both of them. Modify the green screen lights once the subject is situated in the shot. Make sure there is no green that is a part of the shot. If your subject is wearing a green hat, shirt, sock—anything—you’ll need to change that. Go into the Picture Style setting on your camera and turn the Sharpness all the way up. Now be very careful with this—sharpness is not something you want to turn up on a regular shot; had we used the shot above in a full screen manner, we wouldn’t have done that. Turning the sharpness up gives you cleaner lines when keying out your subject and eliminates the little green ring around them.

Step 1: David, our actor, played both the devil and the angel, as well as the main character—he was having essentially a conversation with himself. The first and most important thing we needed to do was to nail down the

Step 2: Edit the green screen conversation together before filming the master shot—this is really important. When making our master shot, David had to know the timing of the devil/ angel discussion by heart so he knew when to move his head as

timing for each side of the conversation. We needed to film the devil/angel first, before we filmed the main shot; after a few practice rounds, David stepped up to the screen in his white shirt/angel costume and played the angel shots. I read the devil lines to help him with timing.

he pretended to listen to them. To help him further, behind my camera was a screen where David could watch the devil/ angel cut for reference.

We moved on to the devil shot. There was no change except for the facts he was facing the other direction and wearing a different shirt. The key to making all of this work is to have that final shot in your mind (or on a storyboard)— you are just then creating the different pieces.

We also added a shot of his shoulders for safety. Just in case the conversation wasn’t timed out correctly (or we needed to shorten it), getting a shoulder shot was important— it enables us to cut into the shoulder at any point of the dialogue and control the flow of the conversation.

adjust Color Tolerance, Edge Thin, and Edge Feather. Every shot is different so there are no presets I can give you, but a good starting point is to put Tolerance and Edge Thin up a little bit. The last thing you adjust is Edge Feather.

Let’s LET’S REVIEW

Putting Tolerance up to 113 and lower Edge Thin by 1 gives me a pretty good start. The problem here is I need Edge Thin to be higher, but that will start to eat away at the subject. Take a look: These are the things you need to be careful with Step 3: We then had to put it all together. Before I handed off the pieces to After Effects guru Kris Castro, I needed to cut the conversation myself so he knew the timing. Since I can’t stand to look at green blocks, I key the green out myself. I know most of you won’t have an After Effects guru at your disposal so let me show you how to key. Pay attention now.

Shoot the green screen first Use even lighting and a separation light on the subject

First, you need to crop out all the other stuff before you key. Go to the Effects bin -> Video Effects -> Transform -> Crop; drag the Crop Effect on to your clip and drop. Then double click the clip, go to Effects Controls, and crop the shot so you see nothing but the subject and green felt. You’re now ready to key.

when keying things out. If I add a little Edge Feather that should bring his face back but there’s a cost to doing so—see below: The Edge Feather brings back his face but takes away

Quickly edit the green screen shots to make sure you got what you wanted Crop the shot so you only see the green screen and subject Color key Start with matching the color Then Color Tolerance Edge Thin Edge Feather if needed

Select Color Key from the keying folder in the Effects Bin, and just like for the Crop, drag and drop. Once you’ve done that, go back to the Effects Controls where you did the cropping and position the Paint Brush next to a solid color (usually blue).

Click on the Paint Brush, then click on the green part of you shot. You’ll know you’ve done this correctly when that solid blue color next to the brush turns the color of your green screen. Now comes the hard part. On the Effects, you need to

the sharpness of the edges. For this particular shot, it’s actually what I want because we are putting a glow around the devil/angel, but most of the time you won’t want that edge. (Using a separation light when you’re shooting would be a good way to solve this problem). We could get rid of Edge Feather and most of the edges would vanish, like so: The shot is now ready to be worked on by an After Effects guru.

For those who say they’ll never shoot green screen, you’re just not thinking. If you carry green felt around with you, you’ll use it more than you think. What if it’s raining outside the window behind your subject? Tape some green felt on the window and then put a sunny day outside in editing—you control the weather. There is always a use for green screen that goes beyond the conventional use. To view the video, just google “can you delete yourself facebook,” it should be the first entry. Ross L. Hockrow is a Washington, DC cinematographer. Want to know more? Visit www. GetInMotionTour.com and check out CineStories DSLR filmmaking tour. 40 cities, 4 1/2 hours, cheaper than film school.

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Ru s Ans on By Leslie Lasiter Photos by Rus Anson

Born in a small town near Barcelona, Spain, Rus Anson learned the basic elements of art—colors, shapes, and forms—in her uncle’s studio when she was five years old. Using his paintbrushes on any usable surface, Rus recalls, “These were my firsts steps in the art world, and for sure some of the most influential.” Rus was awarded a scholarship to earn her MFA in Photography from the Academy of Art University in San Francisco. Now signed with New York City photography agency Cake-Factory, she’s busy with fashion, editorial, and advertising assignments, often traveling back to California for work. Her fantastical and surreal creative approach, she explains, is rooted in her homeland: “I grew up only thirty miles from where Salvador Dali was born. This proximity to the birthplace of one of the most preeminent Surrealist artists has really influenced my style.” She loves shooting with old film cameras, specifically her Pentax 6x7 and Sinar 4x5. While Anson’s photographs incorporate dreamlike imagery from different historical eras, she finds a reflection of herself in them, “sometimes naïve, sometimes a bit innocent and absent-minded, but always colorful and welcoming.”

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Rus Anson: www.rusanson.com

“I grew up only thirty miles from where Salvador Dali was born.”

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By Janet Alexander I Photos courtesy of the artists

Everyday we choose and present on our facebook a Photographer of the Day, who is then responsible for garnering as many Likes as they can to become the Photographer of the Week and get a write up on our website. A week later the fandom ends, and with it so too does the Internet fame. We thought it might be nice to revive the titleâ&#x20AC;&#x2122;s glory for three photographers from this past quarter beyond our virtual wall and into the pages of Resource.

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05-30-2012 WINNER

u s ing celebr ity pho to g raphy m o t i fs in d ocu m e n tary s ett ing s, I hold up my “ By s ubjects as e v e ryday icons w o rthy o f the sam e att e n t i on an d ad o rat i on as any acto r o r m u s ician I sho o t in my co m m e rcial pract ice.” ” Starting out as a photojournalist at Northwestern University’s college paper, Sam Comen learned photography the old fashioned way—through repetition, ”shooting many, many rolls of film.” His undergraduate experience led to a documentary photography style, or as Comen calls it, a “walking-down-the-street, this-is-what-I-see type of picture.” Comen was inspired by his hometown of Los Angeles, “expecting to distill these moments of humanity—but it didn’t seem to click for me.” So he started asking people he passed on the street to look at the camera, and realized, “We always read our own experiences into images of ‘the other.’ And when that gaze is looking right back at the viewer, it’s very powerful.” For Comen, art imitates life, as he believes, “You have to make an effort to engage with the communities you’re part of.” To this end he thinks of social media as a megaphone: “The bigger your reach through the various networks, the bigger your megaphone is for when you announce that you’ve updated your site.” Making the private public is a central tenet of Comen’s photography—as he recommends, “Get close, physically, and be open, emotionally, as much as you can when you’re photographing people.” www.samcomen.com

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<< 06-06-2012 WINNER

Jeremy and Claire have an unlikely career based on an equally unlikely love story. After they had met in their home state of New Jersey, Jeremy moved across the country to California to snowboard in Lake Tahoe and then to Southern California to skateboard. Realizing he wasn’t going to be the next extreme board sports star, Jeremy returned to New Jersey, rekindled his relationship with Claire, and shot his first roll of film at a Split-Lip show. A fanzine wanted the photos, but as Jeremy confesses, “they asked for this black, sloppy border around it, and I had no idea what that even meant—I knew nothing about photography. I took a photo class in a community college just to learn how to make that border so I could give them the photos.” From then on Jeremy was hooked, and subsequently, got Claire hooked too. After attending a trade school in Boston together, Jeremy and Claire Weiss became a husband and wife team in life and photography. Describing their dynamic as “completely freeform,” Jeremy adds, “Since we’ve worked together for so long, our styles have kind of come together as one.” For those looking to promote their own photography, Jeremy errs on the side of caution: “If you can use social media and have fun with it, then do it. But if you just have it because someone told you that you needed it, then no one is going to pay attention to it.” www.day19.com

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st liv ing in Cali f o rnia— “Ju w e’r e constan tly a r o‘u n d p e o p l e d o i n g co ol shit. An d i f w e’r e n o t d o i n g s o m e t h i‘n g , it j u st mak e s u s f e el lazy. S o I g u e s s the f ear o f be ing lazy i s what ins pi r e s u s m o st. We g o a little crazy i f w e hav e a day o r tw o o ff.”

”

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<< 06-13-2012 WINNER Driven by the idea of capturing sound in sight, Ture Lillegraven’s photography has always been rooted in music. He grew up in the Black Hills of South Dakota, where he became enamored by its hardcore punk scene and began taking pictures of the bands that toured through. After attending school in Arizona, where Lillegraven admits, “I wasn’t really stoked on the photo class I was taking, so I approached the dean and started doing independent studies,” yet again, he took his passion into his own hands and moved to New York. As the saying goes, “You can take the boy out of the country but you can’t take the country out of the boy.” Lillegraven may be miles and years away from his native South Dakota punk scene, but his previous life influences his new one: “I’m listening to music all the time; it always inspires me. I always have music on my shoots. It’s super-important to me, and the subjects always dig it as well.” Besides some bumping tunes, Lillegraven is known to improvise on shoots, as he did on an impromptu trip to Tokyo with comedian, Aziz Ansari. “I shot them in a hotel room, on a bed, all eating ramen. That was actually my room, and that’s not even where the bed was. I dragged the bed over to make the shot more interesting. Then I went to buy a cheap, cup-of-noodle ramen, and stole some bowls from the hotel.” Rather than offer advice to aspiring photographers, Lillegraven prefers just to remind others, “If you’re not enjoying it, not having fun doing it, I’m not sure what the point is.” www.turelillegraven.com

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n ““Whe the r e

yo u sho o t f ilm, ar e s o many o the r ele m e n ts: yo u hav e a f ilm stock yo u li k e, yo u hav e a way yo u pr oce s s it, yo u hav e a ce rtain pr in t e r that pr in ts yo u r pr in ts. All tho s e thing s help the lo o k o f yo u r i mag e aft e r yo u captu r e it. That was the har d e st part f o r m e: g ett ing the sam e k in d o f lo o k w ith d i g ital.”

”

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Interview by Aimee Baldridge Photos by Rick Gershon

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THE

DEADLIEST SHOT

If photography is the art of visual economy, multimedia work is an exploration of narrative plenty. Instead of streamlining complex issues into a series of single images, multimedia creators apply a broad array of tools to craft the right combination of video, still imagery, and sound for each story they tell. Brought to life in the online world of the 21st century, multimedia storytelling is still an evolving form of communication. Rick Gershon, an awardwinning veteran in the field at the ripe old age of 30, talked to us about his own evolution from photojournalist to multimedia documentarian, and explained what the landscape looks like for young multimedia creators today. Did you go to college to study photojournalism? No, I went to college to play football. I’m from Texas and I went to the University of North Texas. I played for my first two years there. I grew up in a small town in the middle of nowhere, and my mom worked at the newspaper there. I was home on Christmas break after my first semester of college, and they asked if I could cover a basketball game because they were short handed. I shot some pictures and did a little article, and the editor called me a couple days later and said, “These are really good. Have you thought about majoring in photography or journalism?” I thought, “That could be cool.” How did you get into the field after you left school? I won College Photographer of the Year in 2004, and I also placed in POYi. In journalism, they want people who win awards, so I got hired by the Dallas Morning News. I actually got hired the day Hurricane Katrina hit. I worked on a story on the migration out of New Orleans. I was going to all the shelters. Buses would show up and they’d say, “We’ve got ten apartments and thirty jobs in Indianapolis,” and these people who had never

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left the Ninth Ward would get on, and I would follow them wherever they went. During that time, I felt a limitation on my ability to tell stories. I was on my own, without a writer, and the photos weren’t doing justice to the story. I never got into photography for a love of photography, but because of its storytelling ability. I love to tell stories that impact culture. All I wanted to do was change the culture and change the world, you know? A guy named David Leeson, who was one of the pioneers in doing video at the Morning News, handed me a video camera on one of my trips. It took the storytelling to a whole other level. You now work at the highly esteemed multimedia studio MediaStorm. What are your clients there like? Most of my films are for NGOs. And I do some corporate work for clients like Starbucks, and video ads and promotional work for the Discovery Channel and History Channel. I do a lot of that kind of stuff for money, and then I work on my longer-form personal projects that we’re not getting paid to do. How should young photographers who want to get into multimedia work get started? Attach yourself to somebody who’s doing what you want to do. I really believe in the apprentice/mentor relationship. Do whatever you can to get constant feedback from someone you really trust and respect. There was a period when big organizations were hiring as many kids out of school as they could because they had skills nobody else had. These wonderkids could code websites, edit films, and do motion graphics. But now it’s saturated. Every university is teaching multimedia, these kids aren’t so much in demand anymore, and there are so many of them. And just because you know how to do something that someone else doesn’t, that doesn’t mean you’re the best at telling a story. Ultimately, the skills are tools to tell a story. Do you think it’s critical for people to cobble things together for themselves, as opposed to looking for a career track laid out by an organization?

“All I wanted to do was change the culture and change the world, you know?”

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Yes. The traditional staff jobs really aren’t there, and I think they’re going to go away even more. Things will work more on a freelance basis, because the companies don’t have to pay insurance and be on the hook for a salary every year. It really seems like such a Wild West kind of time, when people are trying to figure it out and scrap their way around. The blessing and curse of the Internet is that people are doing their own stories and publishing themselves. That’s really great, but the hard part is people aren’t getting paid. I do think that in the future, as the quality rises and the demand for quality grows, people will start paying for it. We’re starting to see that more and more.

Rick Gershon: mediastorm.com/contributor/rick-gershon/57

What do you like least about what you do? It’s got to be sitting in front of a computer, editing. It’s rewarding, but it’s like that old line: “I don’t like to write, but I like having written.” Sometimes I spend 18 or 20 hours a day trying to cut a piece together to meet a deadline. It’s really rewarding, but it’s such a beating. I’m a photographer. I want to be in the field, interacting with people.

What’s the best thing about being where you’ve arrived? The depth of the stories I’m telling now. I’m always going to be learning and I’m always pushing forward into areas that I’m not great in, but it does feel good to get to a point where you have a really strong skill set down. I now feel really comfortable about telling stories. When I was younger, I would hear photographers talk about developing a personal style. I never understood what they meant. But now I do. You get to a point where you develop a vision and a style in your work, and you can go after that and continue to develop it.

But it’s such an invaluable process to edit your own work. There’s no better way to see how much you blow it than when you have to cut your own stuff and build a scene out of your own footage. You learn how you see a scene and how you moved and operated in that scene. If you don’t edit your stuff, you’re really missing out on a learning opportunity. How do you organize a multimedia shoot? The preproduction process is so much more important than it was when I was a still photographer. I really have to anticipate and storyboard in my head what I’m going to be doing, or I’m just running around, wondering what’s going to happen. There’s so much more planning. And you’ve got to find a subject. You’re not just shooting images that represent themes. You’re telling the story of a character. No matter how pretty your video is, if your character is not interesting or compelling, it’s not going to be a strong piece. I need somebody who not only has a great story visually, but can tell that story and is outgoing enough to carry an interview, and has that spark that can make someone connect by just looking at them.

The “Breaking In” series asks successful young professionals in photorelated fields about what it took to get into their line of work. You can find more “Breaking In” articles and other resources for photography students, educators, and emerging pros at MAC-On-Campus.com.

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THE The members of Mobile Photo Group talk about what they love—mobile photography. By Jeffrey Zuschlag Photos courtesy of MPG

Although once an exclusive tool reserved to professional imagetakers, cameras have become a banal and everyday life technology. Cameras are just one of the many expected features in phones and other mobile devices these days, and their ubiquity suddenly allows anyone to play photographer for a minute or two. Some photographers lament this new commonplace practice, denouncing how it dilutes the medium and takes cultural and artistic clout away from professional shooters. Others, like the members of Mobile Photo Group, choose to embrace change, and adapt the march of progress to their own artistic beat. First off, what is so special about mobile photography?

Misho Baranovic:

Freedom. All you need is right there in your hand: intricate touch-based capture controls, endless editing possibilities, and the vast online universe, all at your fingertips. In my three years shooting on an iPhone, I have taken over 100,000 photos, have used countless apps to recreate and reimagine many classical photo styles, and have become friends with gifted photographers from around the world. I no longer worry about pixels; I focus instead on capturing my world, my way. That’s pretty special. How did Mobile Photo Group get started? How did it grow to where it is right now?

Star Rush: In the summer of 2011, Greg Schmigel, a pioneer

in the movement of mobile photography, shared with a number of photographers the idea of coming together to form a collective. Members would share a similar mind, aesthetic, and enthusiasm for mobile photography [and see it] as an exciting, viable, and inspiring medium. The collective would bring together photographers who inspired one another. We consider annual applications, which includes reviewing an individual’s portfolio and engagement in the mobile photography community, among other criteria. We have eleven founding members, and in our first year added two new members. This is likely our pace of growth for now.

Anton Kawasaki:

We’re taking a very “slow and steady” approach, as we don’t want to become too big too fast. There are many mobile photographers out there we greatly admire and hope to work with at some point, whether within MPG or not, but juggling just thirteen personalities and getting everyone on the same page regarding group decisions is already complicated enough—we don’t want to make things even more confusing by adding members too quickly. We feel it’s very important to have a close, intimate environment where we can have a tight focus on our goals as a group… We probably could have had an “open to all” approach to MPG membership, but then it would have been a completely different group. What would you say is the mission of Mobile Photo Group?

Star Rush:

MPG is first and foremost a collective of photographers who are inspired to observe and record their worlds, explore ideas, tell or share visual stories, and shoot compelling images with handheld mobile devices. We’re inspired by and curious about this creative medium, as both a technological device of our contemporary age and a new evolution of the camera. We’re also curious about these devices as a conduit

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of creativity, communication, and culture across our multi-cultural, multi-lingual world. The collective adds to the public discourse on the impact of mobile photography—a new connected photography—upon conventional genres or practices of photography, community, curation, or communications. Members do this by creating compelling photography, participating in the mobile arts or mobile photography communities across the world, presenting seminars or workshops, and regularly talking or writing about the issues and implications they see emerging… Coming together allows everyone to do more, to extend reach and pursue professional, artistic, and communitybuilding opportunities. What sets you apart from all the other people taking pictures with their phones out there?

Sion Fullana: Well, it’s not that we are above and beyond the rest

of mobile shooters, like in an elite class of some kind. But many of us have been around since the very beginning of what was called then iPhoneography, back in 2008, and were heavily involved in the origin of the first mobile photo community… Together, we amount to some of the biggest successes in the field worldwide, with members in the U.S., Europe, Asia, and Australia.

photography faster. I’ve then applied those rules to my work, regardless of the camera that I am using. Anyone who thinks mobile photography is simple hasn’t pushed themselves hard enough. Good photography will always require dedication and focus—the device isn’t as important as your mindset.

Read the rest of this article on page 213.

“the device isn’t as important as the mindset of the photographer.”

What is the current opinion most photographers have of mobile photography? How has this changed over the years? Where do you see it going?

Misho Baranovic: For me, most photographers I’ve met over the past few years have been very open toward mobile photography. They judge the photo on its message and content, not on the device it was taken with. Yes, there are gear heads who think the world is ending, but that will always be the case with technological change.

Mobile Photo Group: www.mobilephotogroup.com

I think increasing numbers of photographers are embracing the connectivity offered by mobile photography to find new work, interact with peers, and expand their audience. I’m particularly excited to see how photographers harness this connectivity to explore new forms of collaborative storytelling. With mobile device cameras becoming more sophisticated, and with apps allowing for easy “image tuning,” it has never been easier to take good-looking photos. Some worry this is diluting the art form of photography; what’s your take on it?

Oliver Lang: No amount of “image tuning” can make a bad photo

look good. Yes, there is too much bad mobile photography justified with a retro filter. If you don’t like the photography you’re seeing, then avoid it—there’s more than enough good mobile photography out there for you to see. How does working with a mobile device, as opposed to a traditional camera, change the way you shoot? Have you had to adapt your style to the limitations presented by working with such a simple setup?

Oliver Lang:

Mobile photography has completely changed my beliefs about my own photographic ability. Photography is about results, and my mobile photography proves that every day. If you look at the contact sheets from great photographers, you see that failure is an essential part of their success. Mobile photography allows me to fail more often, and this has allowed me to learn the rules of

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Words and Photos by Tim Dechent

My name is Tim Dechent, and I started photography only two years ago. I grew up in a lazy, boring small town near Frankfurt, Germany. There was absolutely nothing to do other than to be creative to get out. So, I started playing the guitar in a pop/rock-band; it never quite fulfilled me, but it led me on the incredible journey to photography.

In 2010, the band arranged a photo shoot with a lovely and talented American photographer, Allister Ann from Nashville; from that day on, I was hooked! I joined her Euro-Trip, bought my first camera in Berlin, and soaked up everything I could possibly learn from her on the road.

For a photographer, being published in a magazine is like hearing your song on the radio for the first time for a musician. You have your images printed on paper; you can see, touch, and feel them, it’s something material, not digital. That’s a pretty big deal. As a photographer, you have a vision about your work and seek out mags that would best represent that vision. You won’t give your images away to anybody just to be published: you’re an artist and you want to be introduced to the world as an artist by artists! So, when I read about Resource’s search for photographers who had never been published, there was not a second thought in my mind. This is the perfect magazine for my first leap into the printed world of photography. So join me on my journey of being lost in a good way!

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www.lostinagoodway.com

There was never a question about analog vs. digital. I just fell in love with film—the grain, the leaks, the perfection of its imperfections… I soon got my hands on an old Canon AE1 and tried out Polaroids, Lomography—pretty much everything you could imagine. My artist name “lostinagoodway” is truly my story: photography set me free and I got lost in it… but in a good way.

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By Janet Alexander I Photos by Peter Sluszka

Resource searched high and low to find a stopmotion expert only to realize there was one right around the corner from our office. Depending on the day, Peter Slusza’s studio, located in the Dumbo neighborhood of Brooklyn, NY, can take the form of an art department, wood shop, or shooting stage. Since 2005, Peter has been represented by Hornet Inc. for commercial video assignments, and explains that he got into stopmotion naively, taking “continued education” SVA animation classes after graduating with an English degree from Columbia College. Now with over a decade of professional experience, Peter likens his stop-motion interest to a longterm relationship. Each project is a labor of love, a painstakingly tedious process, requiring extraordinary commitment and patience, but they also offer an infinite number of creative possibilities through combining design, sculpture, and visual effects. While stop-motion animation may seem daunting at first, Peter likes to remind novices that, “You can make it as simple or complex as you want, but at the end of the day, it’s just a sequence of photographs.”

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1. Pick your subject—a lump of clay, a

puppet, a person, whatever you want; it can literally almost be anything!

2. Set up your camera and keep it there. A still camera will ensure

continuity between frames. Peter recommends setting a digital SLR to its manual settings, so you can control your exposure.

3. Invest in Dragon Frame or some other

capture software (but really, Dragon Frame).

4. Visualize

. Every second of an action will be a single frame you need to capture. Think about it. Know the trajectory—from start to finish—of what you’re filming.

5. Start shooting!

Start shooting! In animator lingo you’re either “shooting on 1’s” (capturing one increment, that is, photograph per move), “on 2’s” (taking two shots of every movement), or “on 4’s” (shooting four shots per move). It’s up to you how you want the finished video to look. Shooting a single frame before moving your subject into the next position will be the most tedious, but also look the smoothest— as long as each increment is a subtle change from the previous. Shooting each subject’s move more than once (2’s or 4’s) results in jerkier animation, but it will be a quicker process allowing for larger changes in position.

6. Dragon Frame

can playback your photographs at a frame rate of your choice. The higher the frame rate, the smoother the video sequence; the lower the frame rate, the jerkier it will look. 24 frames is standard for film, and 30 is standard for video intended for the web.

7. On Dragon Frame —or some other