Episode 308 of the PetaPixel Photography Podcast. Featured: Photoshop guru, Unmesh Dinda In This EpisodeIf you subscribe to the PetaPixel Photography Podcast in iTunes, please take a moment to rate and review us and help us move up in the rankings so others interested in photography may find us. Show Opener: Sponsors: Stories: A defunct lens maker returns. (#) Yet another camera store gets hit…in under a minute. (#) A photographer is surprised when his photo actually sells. (#) Sony urges users to update their camera’s firmware or potentially lose data. (#) Loupedeck adds support for Photoshop, but is a dedicated keyboard the answer? (#) Nikon drops two popular DSLRs. (#) Connect With UsThank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on Twitter, Instagram and Facebook (all @LensShark) as we build this community. We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome! You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!” from https://petapixel.com/2018/12/31/ep-308-predictions-for-2019and-2018s-hits-and-misses-and-more/
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Photographer Greg Sheard has suffered from depression for nearly two decades now, but two years ago he took up a new weapon in his fight against it: his camera. In this 5-minute video, Sheard shares his personal experience in how photography has been helping him combat depression. âOne thing always remains in common when I go out to do photography, and that is: suddenly all of my problems seem to go away,â Sheard writes. âI feel at one with my camera and the location I am in and I have this sense of focus and perspective.â
âI give myself goals and targets to make my photography better and every day I am learning something new,â Sheard says. âIt could take years before I become a professional photographer but I want to keep going as for me it makes me happy.â
âIâm not saying photography is the cure for my depression but it helps take the edge off,â Sheard says. âHaving a hobby you can really get your teeth stuck into helps immensely and I certainly recommend if you are ever struggling, just try something different and who knows? It could be the missing jigsaw puzzle in your life.â You can find more of Sheardâs photos and videos on his Instagram and YouTube, respectively. (via Greg Sheard via Fstoppers) from https://petapixel.com/2018/12/31/how-this-photographer-is-using-his-camera-to-combat-depression/ The camera superstore B&H Photo Video is the largest non-chain camera store in the United States and one of the (if not the) largest in the world. The store made this 1.5-minute video that tells the story of how the juggernaut of the industry came to be. B&H was born over 45 years ago, back in 1973, as a “mom and pop” camera store in the Tribeca neighborhood of Manhattan, New York City. It took its name from its husband-and-wife co-founders Blimie and Herman, who originally had a single employee. Over the decades, B&H grew and grew, and now it’s a three-story megastore in NYC with over 1,000 employees and over 400,000 products. If you’ve ordered from B&H before and have wondered where your product ships from, here’s a glimpse of a B&H warehouse that’s seen in the video: In an age in which major retail stores and chains are closing down left and right due to Amazon’s domination, B&H has somehow managed to not only survive but thrive. (via B&H via The Digital Picture) from https://petapixel.com/2018/12/31/a-brief-history-of-bh-the-largest-non-chain-photo-store-in-the-us/ I’ve been photographing weddings for 10 years now, so I’ve seen and dealt with nearly every lighting scenario possible, from a dark church with no windows, to a wedding ceremony at high noon with not a cloud in sight. But one thing most photographers don’t know is how to photograph in dappled light! As a professional, you don’t have can’t excuse yourself for bad photos because you were given bad lighting situations. There is ALWAYS a way to make it work. Some scenarios might be more complicated than others, but I will always believe that where there’s a will, there’s a way. And it’s important for your clients to know that they’re in capable hands when you’re documenting their day. There are no re-shoots for wedding days. So, dappled light. This is probably one of the worst types of light that a photographer can come across. And yes, in general, I would say that you should avoid it at all costs in most situations. (Note, I would absolutely avoid this kind of lighting with big groups.) However, if you’re working with a couple, it is workable. First things first: your camera settings and equipment. This kind of lighting can leave “hot spots” on the couple, which may or may not work for you. If you can find a way to make it artistic, absolutely go for it. If not, here’s what I recommend… 1.) If you have external lighting or reflectors, you should definitely use them in this situation. It will work as a fill-light and soften any weird lighting. (I would worry more about how the light is falling on their faces more than anything else.) 2.) If you aren’t using external lighting, then underexpose so that none of the “hot spots” or highlights are over-exposed. Now, once you have taken the photos, here is where you’ll do the real work. I had to learn this earlier this year when I was doing a styled shoot. (Where you would think we would have control over things like that!) We had set up this gorgeous wedding arbor on a trail up at Ohiopyle, but by the time we started the session, the sun was coming through the trees at such a weird angle that it was completely unflattering on the couple (insert rage and sadness here). So, here’s what you do next. 3.) Load your photos into Lightroom. Use whatever presets you normally do to your photos, and then go to the specific photo you want to fix. Now, dappled light is super contrasty, right? Okay, well, take the Contrast slider, and move it at least halfway over to the left. Now, use the brush tool, and use the clarity slider, and move it slightly to the left as well. Use this brush over the area of dappled light to ‘soften’ it a bit. Still have some weird lighting? Take it into Photoshop, and use the ‘Patch’ tool, and ‘Clone’ tool as-needed, add back any contrast back that you lost earlier, and voila! P.S. If you’re interested in learning more, you can also contact me about my photography mentor sessions! About the author: Angie Candell is a wedding and fine art photographer in the Pittsburgh, Pennsylvania area. The opinions expressed in this article are solely those of the author. You can find more of Candell’s work on her website, Facebook, and Instagram. This article was also published here. from https://petapixel.com/2018/12/31/how-to-shoot-portraits-in-dappled-light/ There is a particular obstacle that stands in the way of almost all travel, documentary and cultural photographers alike and, for some reason, no one seems to be willing to talk about it — so I’m going to. The way I see it, that obstacle could be best described as ‘misconception.’ No matter how hard I try to prepare for what may lay ahead in my photography projects, it never ceases to amaze me how much of a difference there is between what I think I’m going to find and what is really out there. So many times places I thought would be completely isolated from the outside world were overrun by travelers, and cultures I thought would be extremely protective of their arts turned out to be some of the most hospitable and welcoming people I ever met. My last photography journey in Ethiopia was a perfect example of just how these misconceptions can affect a photography project. Note: The photos below contain some nudity. In November 2018, I set off for my second photography journey to Ethiopia. Since I traveled in the northern part of the country before, I thought things would be somewhat similar in terms of how locals reacted to my work as a photographer and to me as a traveler. But, with this idea in mind, I didn’t plan to revisit the places I traveled to before and decided that on this trip I would head south to a place known as the ‘Omo valley’. The Omo valley is a particularly unique area in Ethiopia for its high concentration and diversity of indigenous tribes, many of which still maintain their own traditional lifestyle and ancient traditions. I chose to go there because, based on the portfolios of my peers and many photographers that I look up to, I recognized that it could have great promise for me, in terms of finding interesting stories, as well as, beautiful images to accompany them. It took us over 4 days of driving across the wilderness until we reached Karoduss village which is located on the shores of the Omo river. Karoduss village is home to a tribal community known as ‘Karo’ a name which loosely translates to ‘the fish eaters’ and was given to them due to their stronghold by the river. The Karo people are visually distinguishable from other tribes because of their almost exclusive use of white color in their traditional body painting designs, they are also part of the last few tribes who still hunt crocodiles in the river – both of these were cultural characteristics I was eager to photograph. But my misconception about the environment I thought I was going to work in became clear to me within a few hours of our arrival in the village. I hoped that the sheer challenge of arriving at this remote village, which involved crossing the vast harsh desert terrain and long days of non-stop driving, would be enough to ensure that we would avoid major influences of tourism on the locals, but as soon as I pulled out my camera I got my ‘wake-up call’. I was walking around the village – trying to get a ‘feel’ for the place. I reached the edge of the village and was surprised to find old concrete buildings, harshly contrasting the common traditional huts that composed most of the village. Suddenly a young kid with white colors on his face tugged my camera strap and as soon as I turned to look at him, he said: “Hello, photo?” Now, while I don’t usually like doing these random portraits, the peeling yellow walls of the abandoned concrete building and the character of the young Karo kid definitely seemed to me like a great and fun way to ‘kick-off’ this photography project. So I decided to give it a go. But before I could even get my camera settings in order and figure out how I wanted to photograph this young kid, I felt another tug on my camera strap. Two more kids, with white colors on their faces, stood behind me and said “Hello, photo?” to which I agreed mostly due to the sheer peer-pressure of them standing there – the more the merrier, right? Within less than 15 minutes it seemed like the whole village followed one another and gathered around us, young and old alike. All were either already decorated with the distinct traditional white patterns or were in the process of applying it onto themselves. All of them were constantly repeating the sentence “Hello, photo?” to me and my guide, as if it was a religious mantra of sorts. I decided to go with it and let the situation unfold itself as to see where it would lead me but, I must admit, I had quite mixed feelings about it all. From a cultural point of view, this was an amazing experience for me since, in a relatively short and immediate time frame, I got to meet and interact with diverse group of characters from all over the community. This gave me a visual perspective and ideas about the kind of people I could work with. But as a photographer, as soon as a crowd formed around me, I knew that this scenario was not ideal for making great photographs. Quite quickly everything turned into chaos; people were arguing about who was there first, who should have his body painted next and with some almost standing on me, blocking the light and making fun of whomever I was photographing. But most importantly everyone made sure that my guide and I knew how much they were expecting to get paid for their ‘modeling services’. For me this was a bittersweet experience, while I managed to get a few decent portraits, this initial experience made me realize how I had a big problem. That night I didn’t get any sleep. I was lying in my tent, looking at the night sky and trying to figure out a way to penetrate this well-established barrier of “photo tourism” that stood between me and the villagers around me. I knew that if things kept going like this, I wouldn’t be able to build any kind of genuine relationship with the villagers or truly learn about their way of life. That night I made the decision to focus my efforts on telling a story of a single character from the village, rather than trying to tell the story of the Karo people as a community. Early the next morning, my guide and I set off to visit a handful of huts we spotted the previous day standing far off the edges of the village. These families seemed to be living away from everyone else, I guess you could say they were the village’s ‘suburbs’. As soon as we entered one of those huts, I recognized a young girl that I photographed the day before. Her name was Turrgo, I distinctly remembered her because of her unique personality. Unlike the other kids who were around her that day, she was very confident and independent, I remember that she insisted putting on the traditional white colors by herself and was more interested to talk to us than having her picture taken. Turrgo’s family was extremely welcoming and they were more than happy to invite us into their world. Turrgo’s lifestyle was fairly simple, as she spent most of her days playing with the other kids, helping her family with daily chores, taking care of her baby brother and looking over the goats. I joined Turrgo and her grandma and as the two set off to a nearby forest to collect wood for a fire. I loved the simplicity of it. It was a stark contrast to what I had in mind before arriving at the village. Where I thought I would be photographing epic shots of the Karo people hunting the rivers for crocodiles, performing ancient rituals and guarding their village from neighboring tribes, I was amused by the fact that I ended up photographing a very relaxed and simple lifestyle, which was quite magical. What I liked most about it, on top of the simplicity of it all, was the fact that everything was honest. For example, the act of applying the white colors on Turrgo’s face wasn’t a scared ancient ritual but more of a bonding activity for the family. Her grandma chose to wear her traditional cow-skin dress not because she saw me with my camera but because it was the best thing to wear while in the forest as the bushes and thorns couldn’t tear it. The family’s isolated location outside of the main village meant that we were left alone, getting to know each other and staying away from the majority of villagers who were more interested in offering their “modeling services” to the stream of new jeeps coming to visit the village each day. The lack of pressure from others really made the difference for me, within a few days of working with the family I felt like we managed overcame the ‘photo tourism’ barrier I noticed before, as I was no longer treated as a photographer by the family but as a frequent guest – a small distinction which made a world of difference. As photographers, when we set off to find new and interesting stories, we need to be able to overcome obstacles in our path in order to flourish, with misconception being probably the most difficult one to deal with. When we arrive at a situation which is completely different from what we were expecting, most of us have the natural tendency to mainly focus on what is wrong or imagine how perfect things would be if only ‘this’ or ‘that’ were different. If you want to overcome the barriers that misconceptions present and become a better photographer or storyteller, you need to think differently. Don’t get fixed on what you wished was there and just let things unfold, allow the subject to lead you. As I once wrote, in a different blog you might want to check out later (link below), that as a photographer the question you should be constantly asking yourself is: “What can I fall in love with here?” For me, that was Turrgo and her family, as we spent the rest of our time in the village together, both learning about each other’s cultures, photographing and even crocodile hunting with her uncle – but that is a story for another time… About the author: Asher Svidensky is a freelance photographer specializing in art and documentary photography with a strong passion for mixing the two with storytelling. The opinions expressed in this article are solely those of the author. Svidensky’s work has been published by international outlets including the BBC, National Geographic, The Guardian, and many more. You can find more of Svidensky’s work on his website, Facebook, and Instagram. This article was also published here. from https://petapixel.com/2018/12/31/how-misconceptions-can-affect-your-travel-photography-project/ Are you a portrait photographer in search of a 2019 New Year’s resolution? I don’t know about you, but I’ve been really stressed over the prospect of another year of not reaching my photography goals. In 2018, I was supposed to shoot a minimum of 3 days a week… and I was supposed to finally kill my Aperture library and be 100% on Capture One Pro… and I was supposed to sell my old unused gear. I accomplished exactly none of it. Can you relate? Have you ever set a New Year’s resolution and failed to reach your goal? If so, you’re not alone. 80% of New Year’s resolutions fail within 6 weeks, according to Joseph J. Luciniani. The failure rate for photographers is probably even worse! So maybe I shouldn’t feel like an idiot: most New Year’s resolutions are unrealistic by nature. And I think I know why: we are so ambitious in setting big goals that it’s easy to get discouraged at the first sign of trouble. We quit early because the end result just seems so far away. That’s why I’m taking a radically different approach to my 2019 New Year’s Resolution: instead of shooting high, I’m shooting low. I’m setting the bar so damn low I can’t fail. When you read my 2019 New Year’s resolution, I actually want you to think, “Really, Mike? That’s it?” Because I’ve learned something in life: earning a small victory can give you the momentum you need to build up to big results. When my junkyard-like bedroom needed a deep cleaning, I was so overwhelmed that I couldn’t get started. And then it dawned on me. Instead of tackling the job all at once, I could break it down into tiny steps, each of which was easy to accomplish. I started by throwing out exactly one piece of garbage – a broken umbrella. And then I threw out a second, and a third, and a fourth. Then I did all my laundry. And I donated some books and clothes that I didn’t want any more. After 5 days of one-little-baby-step-at-a-time cleaning, my room was spotless. All because I started with that one small victory that resulted in a positive chain reaction. I’m challenging you to start 2019 with a small victory of your own. Find your own damn broken umbrella, and throw it out! I’ll share my 2019 New Year’s resolution and then present you with 4 options that might work for you. #1. My Resolution: Take a Retouching ClassI’m actually embarrassed at how bad my retouching skills are. I just plain suck at Photoshop. I’m proud of my lighting, composition, and subject-interaction abilities but I have a long way to go when it comes to post-processing. Every time I pull up an image in Photoshop, I feel like I’m stumbling around blindfolded with one hand tied behind my back. Most of the time, I feel like I’m randomly playing around with stuff like the Healing Brush and Clone Stamp tool. And when I do get a decent image out of Photoshop, I feel like it was by accident! So what’s my goal? It’s to spend 3 hours taking a Photoshop retouching class. I’m not going to promise myself that I’ll go back and retouch 20 of my favorite portraits, or to create an image worthy of a Vanity Fair cover. Because I suck at hitting big goals. I need a small goal with zero chance of failure. By giving myself that small victory, I’ll probably be inspired to apply what I learned. So I’ll probably sit down and retouch one portrait… and then another… and another… And eventually, I’ll develop real retouching skills. Then maybe in 2020, I can learn to use a Wacom tablet like the cool kids. That’s me. But what about you? I have 4 suggestions for you, and none of them involved spending a single penny. #2. Shoot a Single Street PortraitIf I’ve said it once, I’ve said it a million times, if you want to be a better portrait photographer, shoot street portraits. Think about it: if you can make a solid portrait of a complete stranger in less than 30 seconds, then you can probably do the same for just about anybody. With a street portrait, you have to figure out your composition and exposure in a matter of seconds, while getting a decent expression. Plus, you have to overcome a very common fear: talking to strangers! So again, aim low! Don’t try to shoot 20 street portraits. Just shoot one! Because here’s what will happen: once you knock out that first street portrait, you’ll be primed to engage a second person… and a third… #3. Photograph a Family Member Whom You Have Never Photographed BeforeIt is very common for portrait photographers to never get around to making portraits of their own families! My single biggest regret as a photographer is that I never created a real portrait of my mother before she died in 2010. That’s why I’ve made it a point to shoot regular portraits of my dad. It may seem like you’ll always have time to shoot a portrait of your uncle, your grandmother, or even your daughter. But time can run out when you least expect it. So get it done now. I’m not going to challenge you to create a giant portfolio with every single person in your family. Start small. Pick a single member of your family and spend 20 minutes with them making a single portrait. It could be the most rewarding thing you do as a portrait photographer. #4. Make a Cold Call to Promote Your Photo BusinessMaybe you’re business-minded and want to make more money in 2019. You want your bank account to take a leap forward. Take a single action to move forward. Something you’ve never done before. That can be making a cold call to a small business or a photo editor. Because one call can lead to two… to three… and before you know it, you’re in motion. Or maybe you’re a family portrait photographer. You could spend an hour handing out business cards to Moms in the park. Or, you could ask 5 past clients for referrals. Whatever. Again, the point isn’t to accomplish something big. It’s just to accomplish something, period. Just find one thing that could lead to a positive chain reaction in your business. And do it. #5. Add 3 New Images to Your PortfolioIt’s almost a universal maxim that photographers have a hard time keeping their websites up to date. And for good reason – updating your online portfolio is a real pain in the ass. You have to figure out which of your new images are portfolio worthy, and which ones are ready for the trash bin. Then you have to sequence them all together in a way that makes sense. So don’t get crazy. Don’t try to remake your entire website in one go. Instead, replace 3 images in one of your portfolios with new work. Just 3. I’m sure you can guess what happens next – you’ve got the ball rolling, and you’ll probably accomplish more. What victory are you ready to achieve in 2019? About the author: Michael Comeau is the Editor of OnPortraits.com, an all-new online community dedicated to simple, classic portrait photography. Click here for more information. The opinions expressed in this article are solely those of the author. This article was also published here. Image credits: Header photo by JogiKenobi from https://petapixel.com/2018/12/31/5-new-years-resolutions-a-portrait-photographer-can-actually-keep/ Photographer J Salmeron of Metal Blast sparked a huge outpouring of support from other photographers and creatives last week after he shared how he was blacklisted by the band Arch Enemy while trying to protect his copyright. Now the clothing business at the center of the controversy has closed up shop in response to all the âhate and threatsâ it has received. Salmeron originally shared how he discovered that Thunderball Clothing was using one of his photos without his permission to promote its products. The photographer offered to let Thunderball use the photo and keep the post up by retroactively licensing it through a â¬100 donation to the Dutch Cancer Foundation. Instead of responding directly to Salmeron, Thunderball (i.e. fashion designer Marta Gabriel) decided to turn to Arch Enemy instead. After a little back and forth with the band, manager Angela Gossow (who was the previous lead singer) informed Salmeron that he has been blacklisted from all future performances. âWe have immediately removed the picture you took at FortaRock,â Gossow wrote. âBy the way, we are sure you donât mind that you are not welcome anymore to take pictures of Arch Enemy performances in the future, at festivals or solo performances. âI have copied in the label reps and booking agent who will inform promoters â no band wants to have photographers on site who later send such threatening correspondence to monetise on their images.â Unhappy about how the whole situation unfolded, Salmeron turned to the Web to share what happened. His post then went viral in not only the world of photography but in the music world as well. Less than 48 hours later, current Arch Enemy lead sinder Alissa White-Gluz posted the following statement to her Facebook page defending both Thunderballâs actions and Arch Enemyâs right to ban Salmeron: âThe photographer of this particular photo was ALWAYS fully credited for the ENTIRE duration of his photo being on my Instagram and Martaâs,â White-Gluz wrote. âAs soon as he expressed discontent the posts were immediately removed. There was never ANY attempt made by Thunderball or Arch Enemy to use that photo for commercial use, and certainly not without compensation. [â¦] âWe reserve the right, however, to decide who is allowed to photograph our shows and after having corresponded with him we didnât want any more issues like this in the future, especially when passes are limited and we know so many photographers who love having the opportunity to get a photo pass and have fun with us at shows. âIn conclusion, no one from Arch Enemy nor Thunderball ever denied paying the photographer in question for the commercial use of his photo: We simply did not use it.â This response didnât sit well with people, and White-Gluzâs has been flooded with angry comments and reactions. The next day, Thunderball Clothing issued an apology:
âI would like to publicly apologise Mr J. Salmeron for reposting one of the photos he took, on my Instagram page, without having his permission,â Gabriel wrote. â[â¦] As I did the repost with an app that included all original credits and watermarks, I thought that itâs OK. I meant no harm, and it wasnât my intention to promote any product, however, I do agree that it might looked like that, and I understand that the author of the photography could feel upset about it. And I am sorry about it.â Gabriel also states that she interpreted his original copyright infringement notice email as spam or a scam, so she decided to contact the band about it. âNot only Iâm willing to discuss with him how to compensate him and fix the situation, but also how to make sure similar situation wonât happen ever again,â Gabriel writes. âAfter all, weâre all playing in the same team, and we all have one thing in common. We love music.â But the next day, Gabriel announced that she has shuttered Thunderball Clothing:
âThe photographer, J. Salmeron, accepted my apology for reposting the photo he took, without having his permission, and as this was his request, I made a donation to the charity organization of his choice (the Dutch Cancer Society),â Gabriel states. âI believe we can say this ends the dispute between us.â But itâs the flood of âhate and threadsâ that she is unable to handle, the fashion designer says. âWithin last 2 days I received literally hundreds of comments and messages that Iâm a whore, a nazi, a communist, a worthless cunt, and that I either should quickly die, or that I should kill myself,â she writes. âThere is no anger in me, and I apologise everyone that felt hurt or upset by this situation. Anyway, there is no Thunderball Clothing anymore. You won.â Hereâs Salmeronâs response to the news of Thunderballâs closure: âWhat Marta made was a mistake, a mistake that in no way justifies her losing her livelihood or seeing her life negatively impacted to this level,â Salmeron writes. âShe deserves, like all the rest of us, the opportunity to move on from it and to continue her creative career.â â[W]hile we sincerely appreciate the support that we have received from thousands of people from around the world, we categorically and absolutely reject any and all threats of any kind made against Marta, Alissa, Angela or, frankly, anybody else. Nobody deserves to be terrorized, or to fear for their safety, because of things like these.â Salmeron notes that he too has received death threats â from supporters of the band â and that he will be passing the messages on to authorities. Band manager Gossow also took to social media to weigh in after Thunderballâs announcement. âI am reacting to the bully rally this photographer has set lose with his well crafted (he took 6 months to get it done and released), well timed mash up of different subjects at hand,â Gossow writes. âThe details often get lost in the emotion of the narrative â and the narrative is often controlled by who presents the story first. Mr photographer threw a bunch of different things into one pot and highly emotionalized it.â Gossow writes that (1) Arch Enemy didnât infringe upon any copyright and wasnât involved at all in that core aspect of the controversy, (2) Salmeron should have billed Gabriel directly and donated to charity himself, (3) she didnât ask anyone outside her âcircle of peopleâ to blacklist Salmeron, and (4) Salmeron threatened Gossow with legal action over parts of her original public statement, which led her to edit the post. âI took away the word sheep because those people who damaged Marta beyond repair, who are threatening Alissa and me in very serious ways are not sheep â they are much worse. They are bullies,â Gossow writes. âWe wish to move on from this and wish Mr Photographer the best with the career.â Gossow left the comments section open to promote discourse, but sheâs still being slammed for her handling of the situation and blamed for the outcome. âBecause of the way you âhandledâ this fiasco from the start, an actual good person, Marta Gabriel (who was the only one to apologize for the error) is now ending her clothing company,â writes a Matt Vicente in the most popular comment. âNice job. And you STILL donât get it.â from https://petapixel.com/2018/12/31/thunderball-clothing-shuttered-due-to-outrage-from-arch-enemy-photo-ban/
Being able to craft a consistent look and feel across all of your images can take a long time in post, but with the use of presets you can not only save many countless hours, you can also elevate your images to a higher level with the single click of your mouse. Right now you can save an additional 50% on Pro Lightroom Preset Bundle which has over 9,000 presets. For the next 24 hours this bundle is just $19.50!! The Lightroom Portrait Series which features over 30 unique brushes is just $9.50, and elegant 5th Avenue Lightroom preset bundle is a steal at $13.50. Head on past the break to find out more about these and other red hot deals!
from https://www.thephoblographer.com/2018/12/31/get-an-additional-50-off-of-these-pro-grade-lightroom-preset-bundles-few-hours-left/
Shapes, patterns, symmetry, repetition -- all of these are elements and qualities that we often see in all kinds of projects across photography genres. But wedding and event photographer Valentin Rizvan must have thought of combining all of these to breathe life into creatures, scenes, and structures of his imagination. The result is an ongoing body of work aptly called Other Worlds, which began during his university years and continues to the present as part of his film photography journey.
from https://www.thephoblographer.com/2018/12/31/valentin-rizvan-other-worlds/
Heads up, camera collectors! If you've been waiting for our next awesome vintage finds on ebay, we're back with another item to pique the interest of you curious lot out there. This time, it's an interesting and rare aerial horizon camera (at least what we think it is) with a hefty price tag to match.
from https://www.thephoblographer.com/2018/12/31/ebay-super-rare-aerial-horizon-camera/ |
Paul DeckerHi I Paul Decker,32 years old from Arizona,AZ,USA,working on 3D animation from the last 4 years.Here I am sharing tips about it. Archives
April 2019
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