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.
In case you missed it the first time around, a woman named Pam Dave Zaring just sparked a huge viral sensation on the Internet after sharing what she claims are family photos delivered by a professional photographer Zaring had paid $250.
Karppinen studied the photos and broke down the steps you’ll need to take to correct harsh shadows in the same way. Here’s the photo he started with:
First, you’ll need to take a dark brush and bring more definition to the eyes, nose, and mouth by drawing them in over the original photo.
You then smooth out the subject’s skin by using the Mixer Brush Tool with the Wet setting at 50% and Sample All Layers checked.
Painting some more colors into the facial features and add some eyebrows, and you’re getting close to your final result.
The final step is to drop the Saturation of your photo and use Selective Color to cool down the tones.
Here’s a before-and-after comparison showing the effectiveness of this technique:
Watch the fantastic 11-minute tutorial video above for the full step-by-step guide on this retouching process. You can also find more of Karppinen’s work and tutorials on his YouTube channel, website, Facebook, and Instagram.
‘Tilt-Shift Effect’ Drone Shots of Tiny Kayakers in a Tiny World
Here’s a beautiful 2-minute short film by Raphael Boudreault-Simard of Flow Motion Aerials that shrinks kayakers and the beautiful outdoors into a miniature world using a tilt-shift effect.
“We shrunk two kayakers and this happened,” writes Red Bull, which published the video.
Boudreault-Simard was a kayaker himself before his career was cut short by a shoulder injury and surgery a few years ago. He then started flying a camera drone and picked up aerial filmmaking.
For this short film, Boudreault-Simard piloted his drone through difficult terrain to film athletes Aniol Serrasolses and Nouria Newman doing their thing in British Columbia, Canada. After 5 intense days of trekking and shooting, Boudreault-Simard edited his aerial footage, speeding up the frame rate and carefully applied the digital tilt-shift effect (his drone doesn’t support a tilt-shift lens).
Voila! Tiny kayakers riding rough waters in a tiny world.
Shooting a Rolleiflex with Studio Flash and Rolleinars
In this fast-changing age of digital photography, one ingredient missing is a full frame square format camera or digital back. Yes, you can always crop off for a square, but this is not the same as looking through a dedicated square format camera with full resolution. So, what does a photographer preferring the square format do? My option has always been to shoot square format film cameras.
This article is about a studio shoot using a Rolleiflex T, Rolleinars 1, 2 and 3, and a Profoto D1 Air 500 w/s monolight. I have no experience with any other Rolleiflex models, so please research flash synchronization with your particular equipment, and because Rolleiflex cameras are antiques (mine was originally purchased in 1959 as per registration card), make sure your camera has been serviced and is ready to shoot. My Rolleiflex was fitted with x-synchronization from the factory which made my preference of shooting with remote control flawless.
I enjoy abstract art and decided to shoot geometric shapes for this test. I find playing with shapes fundamental to how I approach framing shots. I like to keep things simple with lighting, so I will use one light with mirrors-as-fill light, and the camera will be mounted on my studio camera stand. Take note that because of the waist level design, the camera will be low to the ground since I am 5’3”.
Here is the connection between my studio light and the Rolleiflex, a basic PC Sync Cord with a 3.5mm mini plug to PC (Prontor-Compur). I buy these a few at a time because from my experience, the PC cord is the first to break the connection between camera and flash. Before I retired from commercial work, I had Paramount Cords make custom cords for my equipment, and I may resort to that again, but as long as I have a few in the studio, I have backups. Different remotes may use different sized mini plugs, so do your research here as well. If your light does not have a remote-control trigger, use a cord that fits your light’s PC connection and your camera.
Now that the lighting is set, I can test the Rolleinars. Why am I testing these? Because the first time I used them, I screwed up a few photos by not paying attention to a very important Red Dot. The newest of the Rolleinars come in a set of two. The smaller lens is for the taking lens (bottom lens takes the picture), and the larger lens is for the seeing lens (top lens is for seeing). The top part of the Rolleinar is larger because it incorporates a prism along with the diopter that corrects for close focusing parallax.
If you do not have the Red Dot aligned as shown in the photo, “what you see is not what you get.” At least in my case that is what happened, as I lost about a third of my photo. Not only did I want to test for parallax in this session, but I also wanted to see from a standing position what I could do with the power of the Rolleinars.
The photos below were shot at f/16 with Acros 100 developed in Pyrocat HD. The film was scanned on an Epson V700 and post-processed in Lightroom. There was no stacking of filters and the four photos were shot in an orderly sequence: no Rolleinar, Rolleinar 1, 2 and 3. The following photos are shown not in the sequence as shot, and it is up to your vision to try to guess which Rolleinar was used. I hope you have enjoyed what you have read and seen in this article. Happy Holidays!
About the author: Darlene Almeda is a commercial photographer and photography teacher of over 30 years. You can find more of her work and writing on her website and blog. This article was also published here.
Proenza Schouler Unveils Earthy SS18 Campaign
Barely a month after releasing a sexy campaign spread for Spring 2018, New York-based duo Jack McCollough and Lazaro Hernandez reunited with photographer Tyrone LeBon to show off more from Proenza Schouler’s SS18 collection. Trading sensuality for elegance, the spread features items from the designer label that were featured in Paris during their Haute Couture show last season.
With a picturesque Long Island sky as the backdrop, model Sasha Pivovarova is draped in breezy pastel gowns and swi…
Fujifilm Lenses Have Quality Control Issues: Reports
Fujifilm may have a quality control issue on their hands. Two reports have emerged this month of new Fujifilm lenses arriving with sizable dust specks, cracks, and excessive variations between copies.
Photography Life reported on January 3rd that they discovered “multiple samples of a number of lenses” having debris between lens elements that is impossible for the photographer to remove without having the lens serviced at a repair center.
“While I am generally happy about lens variation of GF lenses and I am especially happy with their excellent performance, I am not a big fan of Fujifilm’s QA processes,” writes Nasim Mansurov. “It seems to me that Fuji is almost rushing with the medium format GF lenses, trying to deliver as many units as possible to try to match the demand, while paying less attention to its manufacturing processes.”
Mansurov says he has found that this issue is particularly rampant in Fuji GF lenses. For one lens, the GF 110mm f/2, Mansurov had to return two different copies in search of one that was dust-free.
What’s more, Mansurov has found that cheaper Fujifilm lenses have too much quality variation between copies of the same lens.
“[C]heaper lenses like the GF 45mm f/2.8 and GF 63mm f/2.8 have shown more variation than I would like to see,” he says. “The lens to watch out is the GF 32-64mm f/4. While it is a pretty solid performer overall, the samples I have tested so far had uneven corner to corner performance, indicating poor assembly / decentering issues.”
“I know there have been some reports of a speck here or there, but I have never seen a lens this bad from Fujifilm, nor have I ever purchased a lens that came in this shape,” Ferreira writes. “There was no damage to the shipping container or box and these lenses come very well packaged, so I have to presume this damage occurred entirely at Fujifilm.
“The lint coating had to have happened at the factory because the lens comes tightly wrapped in plastic and the plastic and inside of the box were clean. The cracked hood also likely occurred at the factory before packaging and went unnoticed while packaging.”
We’ve reached out to Fujifilm for comment and will update this post if/when we hear back.
Over the last few months, I have been in contact with Phase One to test their latest medium format camera, the IQ3 100MP Trichromatic. The standard 100MP backs from both Hasselblad and Phase One, already have incredible colors, due to being able to produce 16-bit raw files. Phase One, however, decided this wasn’t enough and their latest sensor is a genuinely brilliant update.
I have been rather tough on medium format in the past, however, this new camera is a significant step in the right direction. I will confidently call this the best sensor currently on the market.
The best, unfortunately, comes with a price, and the Trichromatic isn’t cheap (to say the least). Spending around $40,000 on a camera isn’t feasible for many of us, however, it may not be necessary.
In my latest video I demonstrate how you can achieve colors up to and possibly even beyond the capabilities of the Trichromatic with your full frame camera. Using a few techniques, I compare colors from the Canon 5DS R and the Phase One Trichromatic.
First thing is to ensure that your monitor has been correctly calibrated and to do this I use the i1 Studio from X-rite. I find this to be the best and most accurate. I’ve used a number of different calibrators and settled with the i1 due to the results and the ease of use. It may be advisable to have a number of custom ICC profiles that you can use depending on the project.
Ensuring that’s already been done, to get the desired colors from your full frame camera, I use a color checker passport. You may have already seen a number of videos about how the passport works, but, chances are you’ve probably never seen it compared to medium format and you’ve definitively never seen it compared to the Trichromatic. It’s incredible how much of an impact this small, relatively cheap device can have on your images. For less than $100.00 you’re able to create images with colors, that compete with and to some extent beat one of the most expensive cameras currently available.
As you can see from the images above, difficult colors like purples, reds and greens are more accurate and vibrant on the Canon image. There are certain areas like the CIF bottle on the far left and the highlighter on the bottom right of the image that really display differences. Of course, this is not to say that the Canon 5DSR with a profile is going to be “better” than the Phase One because it is still limited to 14-bit. The Phase One with its 16-bit files is going to have a much wider gamut and have far more flexibility.
Having said that, it’s still incredible what the color checker can do for your images and for that reason, I strongly recommend that every photographer have something like this in their workflow. Colors are extremely important.
Check out the full video for a more detailed comparison.
About the author: Usman Dawood is the lead photographer of Sonder Creative, an architectural and interior photography company. You can find more of his work on his website, Instagram, and Twitter.
How My Photo Ended Up in the New York Times Without Credit
The Internet is becoming a hectic and volatile place for photographers to share their work. Social media enables photos to be put in the hands of tens, thousands, and even millions in a matter of minutes. However, one small break in this sharing frenzy can lead to massive loss and frustration for the creators that dedicate themselves to doing their passion well.
My story begins with a simple tweet. On the night of Sunday January 7th, 2018, a Falcon 9 rocket lifted off from Florida’s Space Coast, and the rocket’s first stage landed back on Cape Canaveral shortly after. I took a long exposure image of the launch and landing, and I posted my creation to my usual social media following.
A day after the launch, I began to recieve word that my image was shared via a personal Twitter account along with a breaking news headline about the rocket’s status.
The tweet lacked any form of credit for my image and was being shared among the space news community. Whether the image was taken purposefully or accidentally is unknown, but the person responsible for the tweet offered an apology after being informed that the image was stolen.
While the tweet was frustrating at most, seeing my image in the New York Times pushed me over the edge to take more action. I asked my social media friends and those on Reddit for advice.
The general consensus was that I needed to contact the New York Times and have the article altered to provide proper credit to all parties involved. The email response from the New York Times stated the following: “The newsroom has edited that Tweet so that the picture no longer appears within the NYT story. Thank you for alerting us.”
While this is not quite the fix I was hoping for, I am unsure about pursuing the issue any further. I would rather focus my time and energy into creating new images.
As I was writing my story, I received another email from the NY Times. The email contained a much deeper apology and explained that the image was never handled and uploaded by their photo department. They also apologized for the image being seen by a lot of eyes before being removed.
So, what are the lessons that can be taken away from this story? Always watermark your images if they relate to breaking news or high-profile topics. I have never been a fan of using watermarks for social media, but this scenario has taught me to see otherwise. A small watermark with my name, social media handle, or website would have allowed the image to be tracked along this whole headache of a process.
The second lesson is for those thinking of sharing images taken by others. Asking the photographer for permission is the polite, proper, and legal way to handle sharing. At the very least, always share the image by including the photographer’s name and/or contact information. The consequence of failing to do so can quickly cause a hardworking content creator to lose critical and deserved recognition for their work.
About the author: Marcus Cote is a 19-year-old photographer and college student on Florida’s Space coast. The opinions expressed in this article are solely those of the author. He captures photos of rockets, space, surfing, and other interesting aspects of Florida from the land, air, and sea. Ypu can find more of his work on his website, Facebook, Instagram, and Flickr.
I Built the First Natural Light Wet Plate Studio in the US in Over a Century
There are fewer than 1,000 wet plate collodion artists practicing around the world, and as far as I know, I am the only one in the state of North Dakota. 5 years ago, I didn’t own a camera and knew nothing about photography. I saw a wet plate online and I was immediately drawn to it, and thus my journey began.
I was told early on that there was no way a non-photographer who has never owned a camera can figure out this archaic process from 1848. 45 days after that conversation, I had made my very first wet plate photo.
Fast forward 5 years, and I recently just completed construction of a natural light wet plate studio, built from the ground up.
My new studio is surely the only one in this state. I also believe that it’s the first natural light wet plate studio constructed in the entire country in over 100 years. The name of my studio is Nostalgic Glass Wet Plate Studio and it is located in Bismarck, North Dakota.
The new studio is 1,800 square feet in size and features a huge wall of glass and skylight, just as they used in the Victorian Era. In fact, I could not source proper glass for the studio and it took me 6 months to sort this one problem out.
All modern glass has either a film inside of it to block out U.V. or is two panes of glass with gas inside that also block out U.V. People don’t want the items in their houses and buildings to be damaged and faded by the sun, so you cannot usually find glass these days without this protection.
Wet plate collodion photography requires natural ultraviolet light in order to create an exposure. In fact, it requires a lot of natural light. If I did not solve this issue with the glass, I might as well have put up a brick wall instead of a window.
So I asked myself: what industry wants as much natural UV light as possible to be transmitted through glass into a space. I finally found my answer to that question: a greenhouse!
The windows’ dimensions and pitch were taken from a book written by Dr. Felix Raymer titled “Photo Lighting: A Treatise on Light and Its Effect Under the Skylight, Including Chapters on Skylight and Skylight Construction, Window Lighting and Dark Room Work.” It was published back in 1904.
I initially designed the building on a napkin and then we were off and running. The entire build took 2 years of planning and 8 months of building. Instead of using artificial electric bulbs in the studio, I was going to harken back to the early days of photography, when the only light source ever used was the sun.
In the 19th century, there was no making of pictures at night — if it was overcast or in the dead of winter and the sun was not available, photographs were generally just not taken.
I built this new studio out of the love of history. I knew all those studio photographs that I adored from the 19th century were taken using a natural light studio and I was determined to bring this craft to my home state of North Dakota.
I’ve made over 2,500 wet plates in the past 5 years, have had numerous exhibitions, and have had my plates are curated by numerous museums in different parts of the world. My wet plate of Evander Holyfield is currently at the Portrait Gallery in the Smithsonian. I am presently working with the Heard Museum in Arizona, which is going to acquire 3 of my Native American plates.
I have been working on a series called “Northern Plains Native Americans: A Modern Wet Plate Perspective”, and have over 200 plates permanently curated by the Historical Society of North Dakota.
I have only been using the new space since November 1st, but the light and magic that is being brought by that natural light is incredible. It is amazing to be able to create and compose images.
When you abandon the quick digital and film technology, something rather remarkable happens. It can take up to an hour to compose, expose, develop and fix a wet plate. We are not taking hundreds of images and picking the what we like the best. In one of my Friday afternoon sessions, I make about 5 plates over 4 hours. When you slow down, when you utilize a 160-year-old technology to makes works of art — things are just different.
By being slower and having to follow a very strict set of rules to make an image, you find a way to work around the limitations of the process and the process pays you back, tenfold.
Here are some of my recent works that have been created in this new studio space:
The new studio is allowing me to light and shape the light like never before. The possibilities are endless and I look forward to spending the rest of my days creating in my little piece of heaven on Earth.
Life was simpler during the wet plate era, they were more difficult and tough, but they were simpler and when I create in my new space, I feel that I am transported back to another time. A time before the digital camera movement gave us information glut and excess, when images had to be made by hand and you got what you put into the image.
When I make a black glass positive ambrotype, that is the only one in the world. It is a one-of-a-kind and it cannot be duplicated. There is something special about that, but then again, I am a hopeless romantic who feels the world is a better place when the wet plate collodion process is still practiced by people like myself that really want to create something from nothing.
There is no finer photographic process in the world than the one that I hold so dear to my heart.
About the author: Shane Balkowitsch is a wet plate collodion photographer based in North Dakota. He is the owner of Nostalgic Glass Wet Plate Studio. You can also connect with Balkowitsch through Facebook.
Image credits: Black and white photographs by Tom Wirtz
Watch Alice Glass’s Dark New “Forgiveness” Video
Alice Glass just dropped a brand new video for her track “Forgiveness”, released on her self-titled EP from last year. Directed by Lindsey Mann, the video follows Glass as she deals with ideas of forgiveness, religion, love, and loss in the dark, moody style we’ve come to expect of the artist’s visuals.
“This song is about rejecting the idea of forgiveness,” Glass said in a statement. “Forgiveness isn’t always a moral act, the way some religions portray it. Sometimes forgiveness ca…
H&M Slammed for Photo of Black Boy in ‘Monkey’ Hoodie, Mom Hits Back
The clothing giant H&M sparked controversy this week after people noticed a photo in its online store that showed a black child model wearing a hoodie sweatshirt with the words: “coolest monkey in the jungle.” Now the boy’s mom is speaking out and criticizing the critics.
In the year 2018 there’s no way brands/art directors can be this negligent and lack awareness. If look at other sweaters in same category they have white kids. We have to do better. pic.twitter.com/Av4bS4t6yn
The New York Times reports that H&M publicly apologized for the photo on Monday and promised to pull the shirt from all stores worldwide.
“We are deeply sorry that the picture was taken, and we also regret the actual print,” H&M wrote in its statement. “Therefore, we have not only removed the image from our channels, but also the garment from our product offering globally.
“It is obvious that our routines have not been followed properly. This is without any doubt. We will thoroughly investigate why this happened to prevent this type of mistake from happening again.”
But at least one person involved in the controversy is now speaking out in defense of the photo. Terry Mango, the mother of the child model in the image, took to social media to criticize the controversy.
“[I] am the mum, and this is one of hundreds of outfits my son has modeled,” Mango writes. “Stop crying wolf all the time, [it’s] an unnecessary issue here. Get over it.. That’s my son, [I’ve] been to all photoshoots and this was not an exception. Everyone is entitled to their opinion about this… I really don’t understand but not [because I’m] choosing not to, but because it’s not my way of thinking. Sorry.”