In any industry, most especially the creative industry, and specific to photography, it’s pertinent to become acquainted with all the available resource avenues at our disposal. One of the most constant sources of valuable (and FREE!) information is PhotoShelter, a resource-outlet whose goal is to maximize a photographer’s, or creative-minded individual’s exposure, marketing, and sales.
One of the more overlooked aspects of a film or television show that is equally vital to the project’s collective presentation and visual experience is undoubtedly the opening title sequencing and design. As we all have seen, but many times never paid close attention to, the unraveling of credits leading to the title, when done right, pulls the viewer into the project’s realm, clearly incorporating the projects tone, artistic flare, and core themes.
How to Photograph Billionaires: An Hour Long Webinar With Forbes Magazine on Creating Portraits of Powerful People
Recently, Photoshelter, the incredibly valuable resource hub in the world of photography, linked-up with Forbes’ Senior Photo Editor, Michele Hadlow, for an hour-long webinar, detailing many of the facets associated with not only creating a seller front page portrait for one of the most powerful voices in business news, but also working with the high-profile individuals who are being photographed.
If you have yet to be acquainted with Joel Grimes and his fantastic approach to composite portraiture, the hour long video above, presented by Catherine Hall and Sarah Lane of TWiT Photo, is a great way to get accustomed to a great resource in the world of photography.
Getty Images, a leading stock photo agency based out of Seattle that many of us are very familiar with, has released information pertaining to the 2012 Getty Images Grants for Editorial Photography. Established back in 2004, the grants objective is to endorse distinction and brilliance in photojournalism by providing photographers of all levels with the financial means to pursue their creative dreams, specific to personal and journalistic importance.
Darren Levine, Director and Founder of New York City’s Filmmaker’s Festival, knows some of the misconceptions and questions first time festival submitters can experience concerning whether or not their film will openly embraced and accepted or denied, and if their work meets all the criteria that festivals look for in a serious submission. The build up to receiving that final answer is one to make a filmmaker sweat and has the potentiality to alter his or her opinion of their completed works.
Google’s Decision to Can Picnik Leaves the Door Open for Flickr to Find a New Photo Editing Home in Aviary
Back in January, Google made the business-oriented decision to prioritize their focuses by setting a plan to shut down Picnik, the original photo editor for Flickr, which was bought by the company in 2010 to focus on other endeavors such as the improvement of Google+. Due to Picnik’s termination, which is set to officially end on April 19th, Flickr made it a point to quickly find another photo-editing solution that would allow its users to continue editing their images within the site itself.
In this day and age where camera comparisons are a dime a dozen, and the ever-so-rigid pixel-peepers are quick to jump at the chance to prove why his or her weapon of choice for motion picture capturing is superior to the next person’s, it easy to lose sight at what these devices are intended to do for a filmmaker in the first place- to provide the methods in which our stories, held deep within the depths of our creative minds, can be told.
YouTuber and certified camera tech aficionado, Dylan Bennett, has sure been on the lecturing spree as of late, bringing us illustrative and informative explanations of ISO sensitivity, depth of field, and today, the f-stop scale – depicting the technical side of something many of us know how to control in the grand scheme of composing and capturing an image, but fewer know what exactly is going on underneath the hood of our digital devices.