How to Easily Make Photo Selects with a Client Using Lightroom Web
You’ve always been able to do selects from Lightroom on the Web, but until now you needed an Adobe ID. Convincing a client or model to sign up for an Adobe ID can be a challenge. Now they can authenticate using either Facebook or Google, making the process much simpler for everyone. If you are already using collections, you’re halfway there!
If you haven’t been syncing with Lightroom Mobile or have no idea what collections are, let’s take a look.
Now you’ll be able to set your preferences. I typically do “picked only” but if I am in a rush and haven’t finished my culling, I can do “picked+unflagged” and the client/model will see both (but no rejected shots). Copy the adobe.ly share link and send it to your model/client.
When your model/client visits the gallery link, they should see the images right away. Note: anyone with the link can see the images, too, so be mindful of where you share it. The client can then log in via the profile picture in the top right.
This will then allow your client to ‘heart’ (or like) images as well as leave comments. You can also leave or reply to comments.
And of course, back in Lightroom Desktop you can view the comments as well.
Here’s a 3-minute video version of this same tutorial:
See Every Glittering ‘80s Inspired Look From Gucci’s Spring 2018 Collection
Since claiming the helm as Gucci’s creative director back in 2015, Alessandro Michele has been churning out a steady flow of fashion hits at the revamped Italian fashion house—and this season was no different. For Spring 2018, there was a high-wattage, ’80s-glam element as models took to the runway with teased hair, larger-than-life shoulder pads and a bounty of glittering sequins. There was bedazzling on jumpsuits, panty hose, gloves and blazers—faceted in a plethora of colors—that…
This Short Film Was Lit Entirely with Drone Lights
Using drones to illuminate scenes and subjects using flashes and powerful LED lights is a new trend made possible by the emergence of affordable and intelligent consumer drones. If you’d like to see what the latest experimentation is producing, check out the 2.5-minute short film above, titled “mémoires”. It was lit entirely with drone lights.
“I think its this is an absolutely revolutionary way of film lighting — both in a creative and technical sense — allowing for both very traditional (big crew) setup with a very tiny crew and also creating some surreal, nearly painterly lighting effects that I haven’t seen before” cinematographer Tim Sessler of BROOKLYN AERIALS tells PetaPixel.
Last year, Sessler and his crew shot the world’s first drone video to use the dolly zoom (AKA the “Vertigo effect”) to create a mind-bending video.
For this latest project, there was one major challenge the team had to overcome.
“Because the light was hard mounted, all drone movements would translate into the light,” Sessler writes. “While flying, this usually isn’t a huge issue (it is less noticeable), in a stationary shot every little movement of the drone (compensation for wind) would result in a shift of the light beam and become very noticeable.”
To overcome this, the crew mounted multiple 100W LED chips onto MoVI stabilization systems to keep the light beams stable while the drones moved around in the air.
They ended up building three lights: a 900W floodlight supported on a MoVI M15, a 400W spotlight with parabolic reflectors on a MoVI M15, and a Maxa Beam Xenon light (with a spot as narrow as 1 degree) on a MoVI M10.
“The big question was: how could we use a drone light in a new way?” says Sessler. “How could it replace traditional film lighting – both in a very subtle way (that wouldn’t immediately give away that it was lit by a drone) and in a creative way?”
The team came up with a number of ideas for the project, including using the drone light as a (1) stationary key light, (2) overhead stationary spotlight, (3) orbiting or moving key light, (4) stationary panning spotlight, and (5) painterly light for creative effects.
“We think this kind of lighting could be revolutionary for the film industry – pushing creative lighting in a completely new direction and open doors for indie filmmakers as well as high-budget feature films, commercials or even music videos,” writes Sessler. “We are very excited to see where this technology is going and how we can use it on future projects!”
Shooting Boiling Water with a Macro Lens and Colored Lights
Recently, I’ve become interested in photographing boiling water in a glass tea kettle. It may sound boring and uninteresting, but with the right lighting, you can get some truly fascinating images.
It all began when I was boiling my tea water one day in January this year, and I happened to have my camera with a macro lens and a speedlight mounted, lying nearby. I decided to see what would happen if I photographed the boiling water in the glass teakettle, and I was very surprised by the results! It looked like melted metal, and the shapes were a lot more intricate and detailed than I would have expected.
When experimenting with this, I have gotten the best results when using a macro lens with a long focal length. I used my trusty Sigma 150mm f/2.8 macro. You could probably get interesting photos with a non-macro lens, but you would likely have to do some cropping to take away the edges of the teakettle and the background, as you wouldn’t be able to focus as closely.
I set the aperture to around f/6 or f/7 for the sharpest results, and I focus fairly close, but not all the way to 1:1 magnification. I make sure that the room is as dark as possible, as this gives the photos a calmer background.
I use either a normal speedlight mounted on the top of the camera or, for more interesting results, I use two speedlights with colored gels, placed at different angles towards the tea kettle. I used two Godox TT 685s, a cheap but incredibly well-built wireless speedlight.
Then I turn on the tea kettle and let the water start boiling while pressing the shutter as many times as possible. Be prepared to take a lot of photographs, and know that most of them will turn out not that great. When I recorded my video about this, I took thousands of shots, and only deemed around 10 to 20 of them to be “good”. But when you get a nice composition of bubbles, with perfect sharpness and that metallic, futuristic look, it is worth the effort!
The most interesting photos seem to come at two stages: when the water is boiling the most – when it is total chaos inside that teakettle — and when it has stopped boiling and you only see small, flat bubbles rising from the bottom with some distance between them. Photographing boiling water is a fun and interesting experiment to try at home on a rainy day!
About the author: Micael Widell is a photography enthusiast based in Stockholm, Sweden. He loves photography, and runs a YouTube channel with tutorials, lens reviews and photography inspiration. You can also find him on Instagram and 500px where his username is @mwroll.
Q&A: Yancey Richardson on Gender Diversity in the Art World
A study published this spring by The City University of New York’s Guttman College argued that the art world remains predominantly white and male. Nearly 70 percent of the artists represented at 45 prominent New York galleries were male, the study suggested.
One exception to this trend is Yancey Richardson, who represents 18 women and 25 men. The women on Richardson’s roster include Terry Evans, Lisa Kereszi, Laura Letinsky, Zanele Muholi, Mickalene Thomas and Bertien van Manen, who, as Richardson told PDN, sell just as well as her male artists. We interviewed Richardson as we researched the September Diversity Issue of PDN and asked her about representing women and whether or not collectors and curators display bias against women artists. Richardson also spoke about the challenges women face in the art world, about a younger generation of curators who are working to improve gender and racial diversity in museum collections, and about current opportunities for gallerists and curators to promote artists who may have been previously overlooked by a more white-male-centric art world of the past.
Photo District News: Women are still underrepresented on the rosters of New York art galleries. Your roster is more balanced between men and women artists, however. Is that by design?
Yancey Richardson: It happened organically. I really do not select my artists according to any kind of formulaic program. It is completely driven by my response to the work—the freshness of the ideas, the intellectual approach, the execution of the object. It just so happens that I have, I think, a really strong stable of women artists.
PDN: Is there a perception that collectors or curators favor male artists?
YR: I don’t think so. If anything, we sometimes run across either a collector who is specifically interested in collecting women artists, or museums that are trying to balance their collections. In the past say, two to five years, a younger generation of curators is coming into positions at museums and they’re assessing the collections. They’re seeing that they have a deficit of work by women, work by artists of color—that the work is not diversified, that they have all white male artists represented in the collection.
I have found that some curators are expressing interest in work, and then telling me subsequently that they are trying to build up that aspect of the collection—they’re looking for work by really strong female artists. But I by no means find that there’s a discriminatory attitude on the part of collectors against women artists where they’re dismissed in any way.
I don’t know if there’s some subtle discrimination on the part of collectors that I’m not recognizing, but I would say what we see for the most part is people coming in and just responding to the work. Our bestselling artist right now is a female artist. The bottom line is that my female artists sell as well as my male artists.
[The impression of bias] might be a holdover from some other time. I don’t know. I just don’t understand it. And we have these amazing women gallerists like Marian Goodman, who is extraordinary, or Sprüth Magers in Europe. I do feel that the art world is one where the female gallerists have really been able to make a mark.
PDN: Do you find that women curators are making more of an effort to support women artists?
YR: I can’t say that I’ve seen that there’s a particular sensitivity on the part of female curators to balance the collection that way versus their male counterparts.
PDN: There’s been a lot of discussion about women balancing career goals and family goals. How do you see that playing out in the art industry?
YR: I think that women have a particular hurdle because many women want to be mothers, and unless you are a mother you just cannot conceive of the amount of time and energy that goes into being a mother. It’s just different than being a father, it just is. That can really slow some of the female artists down and it’s just the reality of it. You can’t travel the way that you would [if you are a male artist]. Some artists [rely on travel to] make their work. It’s a very global [art] world now so [artists are] traveling to be at every exhibition, to give lectures all over the place, to participate in biennials, things like that. It’s hard to do that and do that other job [of being a mother], so that might undermine some women. It doesn’t mean they’re not making the same quality of work and it doesn’t mean that there isn’t appreciation of their work, they just can’t push their agenda forward in the same way. And I’m a mother, so I’m just speaking from experience.
PDN: Does gender diversity come up in your conversations with your gallerist colleagues?
YR: It doesn’t come up. I think if anything, one might have the opportunity to “rediscover” an extraordinary female artist from an earlier generation that’s been overlooked. As I’m thinking out loud, and I’ve not had this thought before, that there’s probably a real opportunity there. Like Carol Lee Schneeman. She won the Golden Lion at the Venice Biennale this year. She’s an artist that’s been around making work for a long time, but nobody was really doing that much with her until first P.P.O.W. and then P.P.O.W. in collaboration with Gallery LeLong. Or say Barbara Kasten, who was rediscovered as a hero of all these younger artists doing studio-based work along the lines of abstraction. I could go on and on with examples.
One of the things that is going on is that people are looking for these artists that have been previously overlooked, and I think a chunk of them are women. It was harder for them, and I’m not saying it’s easier now, but it might be a little easier now and people are more sensitive to artists that have been overlooked. There is also a huge interest right now in artists of color that have been making great work all along and just weren’t being looked at.
PDN: Is that interest coming in response to what collectors are asking about, or as a response to the zeitgeist?
YR: Part of it is the appetite maybe of the market and trying to break some fresh ground. I know as a dealer I’m certainly interested in younger artists, but sometimes they’re not so well-formed when they’re young, they need some time to clarify their ideas, strengthen their practice, right? So the other thing that can be interesting is an artist who has now got two or three or four decades of art making under their belt and maybe they were a maverick when they first came on the scene and then the spotlight shifted somewhere else or the zeitgeist shifted, and they’re still making their work and they’re still good.
Having only just got started with their crowdfunding efforts, the project has already surpassed the goal of $50,000. If it successfully funds and launches, the lens will be the only lens in the entire world with a 17-blade aperture.
“We absolutely wanted to maintain the optical features of the lens. We wanted to keep its subtleness, its wonderful ability to catch lights and colors and, of course, its legendary center focus and the one and only Biotar bokeh,” writes Oprema. “In other words, we wanted to build a worthy continuation of the famous blueprint while maintaining the grace of the original design.”
It’s all possible because of the lens’ fully manual design. Autofocus lenses have fewer blades to reduce the number of moving parts, but the Biotar doesn’t have to adhere to these limitations.
The lens will have less than 1% distortion, a minimum focusing distance of 0.5 meters, a 58mm filter threads, and a weight of 410 grams.
Here are some sample photos that show what the working prototype of this lens can do:
Here’s a short video introducing this new lens:
The Biotar 58mm f/2.0 lens is on Indiegogo with a minimum contribution of $1,000 if you’d like to receive one of the first units. The lens will come in mounts for Canon, Nikon, Sony, Fuji, and Leica M. It’s expected in October 2018, and by that point will retail for $2,000.
For their ongoing “Craigslist Encounters,” the Los Angeles-based photography team Kremer Johnson has been shooting portraits of completely strangers who are each found using Craigslist. Each subject responded to an ad titled “Characters Wanted” and agreed to pose for $20 an hour.
Fstoppers writes that photographers Neil Kremer and Cory Johnson have posted the ad three times so far, and each time it goes up they receive about 70 to 100 responses.
The photographers have shot portraits of about 30 people so far, and they’re aiming to photograph over 100 more in the upcoming year.
Each subject is interviewed to determine a portrait location that’s meaningful to them.
Marques ‘ Almeida Make A Nod To Americana Style For Their Spring 2018 Collection
This season, designer-duo Marques ‘ Almeida is back in business once again and for their return to the runway for Spring 2018 the pair have been hard at work devising a collection that pays homage to classic American style. Known for their reworked denim staples, Marques ‘ Almeida revisited the all-American staple yet again and whipped up a cropped denim biker jacket, along with hip-grazing pants fashioned from strips of denim in contrasting shades of blue. Other subtle nods to Americana…