Last week I had the absolute pleasure of chatting with Peter Hurley for the better part of an hour in order to try and scratch a little deeper into his life, find out what drove him, what keep his motors running, his passion and drive seemingly endless.
What do you think about Lensbaby? It’s kind of a odd chicken, right? On one hand, they are making $100 “cheap toy lenses”, but they they started making “object of desire”, high end $500 lenses. This change is fascinating, and definitely shows a change in how Lensbaby is perceived (by photographers, but also by itself).
We sat down with Ken Mitchell, Lensbaby president for a chat during Photokina 2016 and listened for some of his insights and his plans for Lensbaby as a company.
Forged from rock and steel in the welsh valleys, photographer Ian Munro brings to photography a determination and dedication to keep inspiring viewers with his conceptual storytelling .
His images blur the lines of surrealism and humour. Frozen in time, with shades of Georges Méliès, and mad genius, he creates large sets, sometimes building them from scratch for his models to act in.
You’d think that recording a simple conversation would be quite straightforward. But it’s not as easy as it often looks. If you want to add a little drama you need to put some thought into it.
This video from CinematicJ is primarily aimed at those shooting some kind of dramatic conversation scene for a movie. But, you can also apply some of the techniques and suggestions mentioned in other filming situations.
Interviews are one of the most common video subjects that most people will shoot. Even if it’s not a regular thing for you, an interview is pretty much a certainty at some point. They’re pretty easy to shoot, but there are pitfalls that can catch you out if you’ve not done it before.
In this video from Wolfcrow, filmmaker Sareesh Sudhakaran walks us through the process of how he sets up for interviews. He talks about the things to watch out for, as well as how to eliminate problems that may arise.
At the moment the UK has a movement of dark art and conceptual artists growing from a love of movies and Photoshop. Their work is creeping its way on to more commercial mainstream sites like Behance, and starting to make an impact, amongst the more straight cut photography. One pioneer of this movement is Matt Seff Barnes!
Matt is a self taught digital artist, and the founder of the Dark Realm Collective – a group that he formed. The Dark Realm Collective enables him not only to marry his love of digital art and the macabre, but also afford him the opportunity to work with some of his influences from the digital art world. Matt’s artistic inspiration comes from many mediums, one of which film which is probably his greatest source for ideas and inspiration. Most of his work is created using photographic material, taking stock photography and twisting it into something dark and edgy.
Forget Mr.White, today we’re Breaking Clay!
I am a long time follower of Clay Cook, and one thing that always amazes me is his softly lit group shots. I mean soft light for one person is easy, but a group is a whole other story. I sat with Clay (well, virtually sat with Clay) and asked him about his workflow.
Hey Clay! I can see a lot of interesting factors here that I think the readers will want to know about.
Let’s start top and work our way through.
By now, if you have read my previous posts (which you all should have done, tut tut), you will know that I am inspired greatly by the cinema. I have loved movies since I was a little boy. I would sit for hours on end, watching, and re-watching my favourite movies. If I had to tell you guys right now what it was that sucked me in, time, and time again, it would be one thing. The stories.
As most of us know by now, you can have a movie with the best special FX in the world, but if it is attached to a plot-less, or weak story, the film will suck! How many times recently have you been to the cinema, and exited underwhelmed. Yeah the movie might be visual eye candy, but without its heart, a well written story, it is nothing but another shallow excuse to make money.
As photographers we are all storytellers at the core, but unlike cinema, we only have one image to convey a story. This is something I strive to do in my own work, for each image to be a story, with its own tale to tell. Well there is one photographer in particular, who has this skill down to a fine art (excuse the pun :P)
In 2013, when the photography world was still quite new to me, I remember browsing on Flickr. I was clicking through the photos, when I stumbled onto an image that looked like a still from a movie. It had a young man, cradling a dog in his arms, as he walked away from what looked like a burning building. I stared at the image on my screen, trying to deconstruct it in my head. How had this guy created such a seamless, and cinematic image? There was so much story to tell in this one lone image, that I couldn’t take my eyes from it. Eventually I moved my mouse cursor to the name written at the top, Ryan J Weiss (Fcebook, Flickr), and clicked to see his photo stream.
When it comes to art, I’m very much in the “but I know what I like” camp. I just don’t really do “art”, but I was immediately drawn to William Wegman’s work when I first discovered it a number of years ago.
In this video from The Art of Photography’s Artist Series, Wegman talks about his photography, his paintings, his work with video, and discovering the joy of 20×24 Polaroids.