About Chris Hunt


Chris Hunt is a fashion and advertising photographer, based in New York, Los Angeles and Mexico City. Originally from California, he has spent the last 15 years living and working in Europe, Asia, Latin America, Moscow and across the United States. Beginning his career as a photojournalist, Chris then moved into fashion photography after working as a model agent for several years in L.A. He has recently broadened his portfolio into film, directing TV commercials for fashion and lifestyle brands. Chris balances outstanding creative talent with an impressive level of technical expertise, delivering impeccable professionalism and work of the highest quality with a relaxed and friendly attitude. On the rare moments he is not in his studio, Chris can be found pedaling his road bike through Italy, SCUBA diving in the South Pacific or riding a motocross bike in the mountains of California. His advertising clients include Google, TELCEL, Mitsubishi Automobiles, Pond's, Samsung, GNC, Chevrolet, Knorr and Garnier. He also works for fashion and beauty clients such as BCBG Max Azria, Herve Leger, Forever 21, bebe, ALDO, Nine West, Macy's, GAP, Banana Republic, Wet Seal, Arden B., Jockey International, Avon, Liverpool, Skechers, Fox Girls, Billabong, Stila Cosmetics and C&A. His work has been published in international magazines including VOGUE, Marie Claire, Cosmopolitan, Seventeen, Interview, Maxim, Surface, Men's Health, Nylon and InStyle. High profile clients include sports stars Maria Sharapova and Wayne Gretzky and rappers Ludacris, Ice Cube and 50 Cent.

Posts by Chris Hunt:

The Problem of Viewing Photos on Digital Displays

The Problem of Viewing Photos on Digital Displays

In the good old days of analog photography, print aspect ratio was ultimately determined by the paper size. In other words, if you printed an 8×10-inch, you had to crop your negative to a 4:5 aspect ratio. For slide film, the image aspect ratio was determined by the film format, for instance, 3:2 for 35mm film.

Life was pretty simple back then — photo aspect ratios were determined by either the paper or the film. Sure, we had to rotate each individual print to view them, which is now done for us automatically. Then we had to carefully position and mount them into an album, which is now also done automatically for us. If that weren’t enough, we had to store these relatively huge photo albums that can now be held in one hand or stored in a backpack.

For all of the convenience offered by digital displays, there is still one persistent problem that exists with electronic monitors when used to display photos and that is the size disparity between differently oriented images.

With minor exceptions, monitors are offered in two primary aspect ratios, 4:3 and 16:9. The 4:3, full-screen aspect ratio was chosen originally because it matched the standard television broadcasts of the time. When digital photography arrived on the scene, televisions were still CRT-based and far too bulky to even think about rotating, so it became common practice to simply downsize vertical photographs to fit on-screen (I’m certain the logic being, it was better to view properly oriented photographs even if they had to be downsized by nearly half the size of their horizontal counterparts).

Sometimes you just have to do the best you can with the tools available.

The current trend, again prompted by a change in the video broadcast standard, seems to be moving almost entirely toward the 16:9 widescreen format. This makes perfect sense because the older video format fits easily within the new wider displays and, for multi-purpose devices, it provides additional room for computer applications.

The problem with displaying digital photographs, however, remains unchanged. Maximum image size is still determined by the shortest screen dimension and there is still a nearly 50% disparity in size between horizontal and vertical photographs. As I stated earlier and want to reiterate, 16:9 displays are the only practical choice for video-only and multi-purpose devices!

My problem lies with devices, like digital photo frames and battery-powered digital albums or light boxes. Of all the display devices on the market, these photo-specific viewers should provide a superior photo viewing experience. They have no other purpose than to store, view, share and manipulate photographs. The very first problem makers should have addressed is the lingering conflict between display and image orientations that results in image downsizing.

To make matters worse, I see that the more expensive models of digital frames/albums are now offered almost exclusively in the widescreen format. Not only does this not address the image size problem, but the additional width is also too wide for horizontal photographs and way too short for verticals, so the result is more wasted screen space than on older 4:3 displays.

The $159 10-inch Skylight Frame (left) and the $150 13.3-inch NIX Lux Digital Photo Frame (right).

Apparently, photo-specific device makers feel compelled to include widescreen video in their repertoire, as if there are not enough video-capable devices on the market already. Oddly enough, in their transition from 4:3 to 16:9 they had to increase the surface area of the display by 25%, which accounts in part for the higher cost.

If instead of going wider they had added the same 25% in area to the height of the 4:3 displays, making them 1:1 square, full-sized images could be displayed in either orientation. A square display is not only more practical for photographs, but it is also a considerably more efficient screen shape for photographs than either 4:3 or 16:9 displays.

Additionally, a square display can be divided into a series of grids to display multiple same-sized, properly-oriented images. Since all photo aspect ratios are contained within a square, they can all be fit-to-screen or fit-to-grid utilizing as much display as they need, their size being determined by their aspect ratio, not the screen orientation.

Finally, since a square display essentially has no orientation, it can be held or mounted in any direction — no more rotating a device to view a larger image.

Other than being left with a bunch of less desirable stock, I cannot see a downside in switching photo-specific devices to a design that better serves their stated purpose. Unfortunately, unless manufactures see a demand, it is easier and less expensive for them to just do nothing.

About the author: Sal Ragusa is a lifelong photography enthusiast and a retired Air Force Master Sergeant. The opinions expressed in this article are solely those of the author. Ragusa was the owner and artist of a digital photo restoration business in the greater New Orleans area from 1998 through 2009. You can contact him here.

Source: PetaPixel

The Problem of Viewing Photos on Digital Displays

Witness a “Kiss of the Rabbit God”

Witness a “Kiss of the Rabbit God”
In a newly released 38-second trailer, Chinese American filmmaker Andrew Thomas Huang effectively showcases the seductive vision for his upcoming short “Kiss of the Rabbit God.” The film follows a young Chinese restaurant worker’s journey of sexual awakening and self-discovery after falling in love with an 18th century Qing dynasty god named the Tu’er Shen (兔兒神).

The short film was created in support by Cinereach and commissioned by NOWNESS, a digital video channel owned by Chines…

Keep on reading: Witness a “Kiss of the Rabbit God”
Source: V Magazine

Witness a “Kiss of the Rabbit God”

Ep. 317: AI Is Coming To Getcha! Or Help. – and more

Ep. 317: AI Is Coming To Getcha! Or Help. – and more

Episode 317 of the PetaPixel Photography Podcast.
Download MP3 –  Subscribe via iTunesGoogle Playemail or RSS!

Featured: Street and portrait photographer, Jaleel King

In This Episode

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Show Opener:
Street and portrait photographer, Jaleel King, opens the show.  Thanks Jaleel!

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This AI may improve your photography. (#)

LEE makes improvements on filter systems. (#)

Here’s how to get your FTZ…for FREE. (#)

Samyang drops an 85mm f/1.4 on us. (#)

A judge’s ruling could spell trouble for photographers . (#)

A photographer wins a massive prize and raises questions. (#)

Meike’s 85 may (or may not) be worth consideration. (#)


Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on TwitterInstagram 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!”

Source: PetaPixel

Ep. 317: AI Is Coming To Getcha! Or Help. – and more

Portraits of People in the Remote Himalayan Villages of Bhutan

Portraits of People in the Remote Himalayan Villages of Bhutan

Bhutan is a small landlocked country in the Eastern Himalayas of South Asia located between Tibet and India. Photographer Andrew Studer of Portland, Oregon, traveled to the country in 2017 and 2018 and spent weeks shooting photos of the places and people he encountered. His project is titled, “Faces of Bhutan.”

Studer says he originally expected to focus on the mountains and temples of the country, but upon arriving and meeting Bhutanese locals, he was drawn by their warmth and kindness. His interest then very quickly shifted toward street photography and portraiture.

“As I made my way to the more remote villages of Bhutan, I became more and more inspired to capture portraiture of the people,” Studer says. Here are some of his favorite photos from the trip:

After visiting the country the first time in 2017, Studer returned again in December 2018 in partnership with the travel portal MyBhutan. One of the places he focused on during his second trip was the Brokpa tribe in Merak.

You can find more of Studer’s work on his website, Facebook, and Instagram.

Image credits: All images copyright © MyBhutan

Source: PetaPixel

Portraits of People in the Remote Himalayan Villages of Bhutan

Huawei P30 Pro is an ISO 409600 Low-Light Monster

Huawei P30 Pro is an ISO 409600 Low-Light Monster

Huawei has just announced its new P30 and P30 Pro flagship smartphones, and one of the biggest things Huawei focused on was smartphone quality. Both phones are low-light monsters, and the P30 Pro has a sensitivity that goes up to a staggering ISO 409600.

The back of the P30 Pro features a quad-camera setup with a 20MP 16mm f/2.2 ultra-wide camera, a 40MP 27mm f/1.6 OIS main camera, an 8MP 125mm f/3.4 OIS telephoto camera, and a time-of-flight (TOF) camera for depth sensing. The camera system uses a periscope design to provide 10x of near-lossless zoom. On the front of the phone is a 32MP selfie camera.

At its highly-anticipated unveiling event in Paris today, Huawei spent a considerable amount of time boasting that the P30 Pro has the highest light sensitivity found on the market today.

Huawei notes that while the P20 Pro unveiled in 2018 has a max ISO of 102400 that matches the Canon 5D Mark IV in sensitivity, the P30 Pro blows both of those devices out of the water with ISO 409600.

“It’s unbelievable,” says Huawei business group CEO Richard Yu, who says that the phone is able to capture photos in near darkness with just 1 lux of illumination — by comparison, DxOMark’s low light test only takes cameras down to 5 lux. Huawei says its 1/1.7-inch SuperSensing RYYB sensor that uses yellow instead of green can collect 40% more light than traditional RGB sensors.

At 1 lux, while the iPhone XS MAX and Samsung Galaxy S10+ both capture black frames and when the human eye can’t see anything, the P30 Pro can capture bright, vivid colors.

Yu says the P30 Pro can shoot photos of the starry night sky with a single non-long-exposure shot, showing an example of a f/1.6, 0.85s, ISO 102400 photo:

And the low-light capabilities are useful for parents who wish to capture precious moments of their kids at night — during bedtime, for example:

Turn on Handheld Night Mode, and you can shoot photos of auroras without a tripod:

And in Long Exposure mode, even more creative possibilities are opened up:

Huawei has earned a bad reputation of using misleading photos in its marketing again and again, but DxOMark tested the smartphone and gave it a best-ever overall score of 112.

“The zoom on its own will make the new Huawei an extremely tempting option for many mobile photographers, but the camera performs very well in almost all other areas as well,” DxOMark writes in its review. “The bokeh mode is the best we have seen; image detail and noise levels are excellent across all light levels; and the camera records high-quality footage in video mode.

“There is still some room for improvement in terms of color and artifacts, but these are relatively minor shortcomings that most users will be able to easily live with. [T]he P30 Pro is easily the most versatile mobile imaging tool to date, allowing you to cover a wider range of photographic situations than any other smartphone.”

Other photography features include a 50x digital zoom (that combines OIS and AI), an LED flash, and HDR.

On the video front, the P30 Pro can shoot 2160p at 30fps, 1080p at 60fps, and 720p at 960fps.

Other non-imaging features and specs of the P30 Pro include a 6.47-inch AMOLED display with a resolution of 2,340×1,080, Android 9.0 Pie, 128GB/256GB/512GB storage, a Kirin 980 processor, 8GB RAM, Bluetooth 5.0, USB-C, an in-display fingerprint sensor, IP68 water resistance, and a 4,200mAh battery.

The Huawei P30 Pro is available today over in Europe (in blue, white, amber, aurora, and black) and costs €999 (~$1,127) for 128GB of storage, €1,099 (~$1,240) for 256GB, and €1,249 (~$1,409) for 512GB.

Source: PetaPixel

Huawei P30 Pro is an ISO 409600 Low-Light Monster

Techno Queen, Nicole Moudaber at SXM Festival: A VMag Exclusive

Techno Queen, Nicole Moudaber at SXM Festival: A VMag Exclusive
Nicole Moudaber, “La Reina de Techno,” is one of the headliners at the SXM festival in Sint Marteen – a bifurcated but very much bipartisan Dutch and French territory where the motto is “be nice” and everyone chimes in with the national joke, “that will be x-dollars,” followed by a chuckle and “just kidding.” Who isn’t kidding? The reigning queen – she isn’t kidding when she says she doesn’t care for the label, “female DJ,” or fellow house, techno, and dance music…

Keep on reading: Techno Queen, Nicole Moudaber at SXM Festival: A VMag Exclusive
Source: V Magazine

Techno Queen, Nicole Moudaber at SXM Festival: A VMag Exclusive

‘Tonight Show’ Shot an Entire Episode on the Samsung Galaxy S10+

‘Tonight Show’ Shot an Entire Episode on the Samsung Galaxy S10+

Smartphone camera quality continues to hit new heights, and here’s another example of how far we’ve come: NBC will air an episode of “The Tonight Show” shot entirely on the Samsung Galaxy S10+.

Variety reports that tonight’s episode will be an unusual one that diverges from the show’s standard recipe of an opening monologue and sit-down with guests.

Host Jimmy Fallon will reportedly open the episode by informing viewers that it was shot entirely with the smartphone, and the episode will go on to feature some of Fallon’s favorite spots in New York:

“Tonight” viewers will see Fallon, announcer Steve Higgins and house band The Roots dining at Rao’s; Fallon delivering meatballs to New York firefighters; and Fallon and The Roots visit New York jazz club The Django. Fallon will sing with Conor McGregor at New York Irish pub. He will also interview Michael Che at the Comedy Cellar and show comic Rachel Feinstein performing a set there. Fallon and The Roots will also be spotted crooning doo-wop against a New York City backdrop.

As you’ve probably guessed, it’s part of a big marketing effort and an advertising deal that NBCUniversal signed with Samsung.

The $1,000 Samsung Galaxy S10+ was announced in February, and it features a 6.4-inch screen, dual cameras on the front, and a triple camera system on the back.

(via Variety via Engadget)

Source: PetaPixel

‘Tonight Show’ Shot an Entire Episode on the Samsung Galaxy S10+

Create Interesting Catchlights for Eye-Catching Portraits

Create Interesting Catchlights for Eye-Catching Portraits

Photographer Miguel Quiles made this 7-minute video tutorial on a trick you can use to shoot eye-catching portraits. It’s all about paying attention to and manipulating the catchlights in your subject’s eyes.

“As is often said, the eyes are the windows to the soul, so use this idea to take the best portraits you possibly can,” Quiles says.

In the video, Quiles shows how focusing on the light reflecting in eyes and positioning your model accordingly can make a huge impact on the resulting portrait quality.

Weak catchlights.
Stronger catchlights.
Stronger catchlights.

“Just by taking a look and taking a moment to assess the catchlights in the eyes, beyond just looking at what the lighting is on the person’s face, beyond just looking at the background, you’re able to take a much more interesting portrait,” Quiles says.

And when shooting with flashes and light modifiers, creating interesting catchlights is even easier. Here are some examples by Quiles of catchlights created with artificial lighting:

If you enjoyed this tip, Quiles previously shared an inspiring video on how he uses storytelling to get great portrait poses from ordinary people.

Source: PetaPixel

Create Interesting Catchlights for Eye-Catching Portraits

GuruShots Raises $5M for Its Crowd-Based Photo Game

GuruShots Raises M for Its Crowd-Based Photo Game

The Tel Aviv, Israel-based startup GuruShots has raised $5 million in Series A funding for its crowd-based real-world photography game, which gamifies photography for enthusiasts around the world.

The funding, led by Altair Capital, Buran Venture Capital, and Ervington Investments Limited, brings GuruShots’ total funding to $6.5 million and will help the company accelerate its growth.

GuruShots is designed to turn photography into a fun, interactive, global online competition through the Web and mobile devices.

Users can submit photos to daily themed challenges (e.g. “Black and White” and “Beards”) and have their work rated through crowdsourced voting. The highest ranked photos are surfaced, and users receive real-time feedback.

Winners of these mini competitions can win prizes, from in-game power-ups to photography gear to gift cards to spots in international photo exhibitions.

GuruShots hots five photo exhibitions each month around the world.

Since launching back in 2015, GuruShots how boasts over 4 billion votes per month across over 500 challenges, and over $600,000 in prizes has been awarded. About 5,000 members are recognized for their achievements each month, and tens of thousands of photos have already been exhibited.

“GuruShots, one of the world’s largest image ranking platforms using UGC [user-generated content], is easy and fun enough for anyone to start, and challenging enough for everyone to get hooked,” GuruShots says. “As users level up in the game, they find themselves improving their photo-taking skills, too.”

If you’d like to give GuruShots a shot, you can participate through the website and by downloading the app through the iTunes App Store and Google Play.

Source: PetaPixel

GuruShots Raises M for Its Crowd-Based Photo Game

Heroes: Troop Beverly Hills

Heroes: Troop Beverly Hills
On March 24, 1989, the Exxon Valdez oil tanker careened into an Alaskan reef and leaked 11 million gallons of crude oil into pristine coastal waters, serving as a handy metaphor for the end of the ’80s: the toxic excesses of the “greed-is-good” years spilling over and suffocating everything in its path. That same day, on movie screens across an anxious nation, another emblem of the era would make her auspicious debut: Phyllis Nefler, the plucky housewife-cum-troop-leader at the center …

Keep on reading: Heroes: Troop Beverly Hills
Source: V Magazine

Heroes: Troop Beverly Hills