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.
The First Great Photography Craze: Cartes de Visites
Before Instagram, selfie sticks, disposable cameras, Polaroids, and box brownies, there were carte de visites — small photographic albumen prints, mounted on card, which were wildly popular during the Victorian era.
Also known as CdV, carte de visites followed the early pioneering photographic techniques such as daguerreotype and ambrotype, which were expensive and difficult to reproduce. Cartes de visites were born from calling cards, which bore the owner’s name and usually an emblem, and were presented to the host during a social visit. Homes often had a tray near the door for collecting calling cards.
In 1854, Paris photographer Andre Adolphe Disderi patented the 2 1/2″ x 4″ carte de visite format. They were created by using a sliding plate holder and a camera with four lenses. The technique spread to the photographic studios in the great cities of the world. Carte de visites were extensively used in the American Civil War era as families sought mementos before loved ones left for war. Queen Victoria had numerous albums filled with images of her extensive family.
Small and inexpensive to produce, cartes de visites became the international standard. They were collected, exchanged and placed in family albums. Most carte de visites were taken in studios but some adventurous photographers took them outdoors in early examples of photojournalism.
For many people, posing for a carte de visite was the first time they had been photographed. Smiles are almost completely absent. Some people look ill at ease. Most photographers posed their subjects as if they were being painted for a grand oil painting. Look past the stern expressions and you will see Victorian fashion, various accessories and props, uniforms, and hairstyles and epic facial hair.
From 1860 until the end of the century, carte de visites were immensely popular. But people didn’t just want pictures of themselves or loved ones, carte de visites of celebrities were also in demand. Images of politicians, authors, explorers, sports stars and other people of note were widely circulated. Eventually the larger cabinet cards replaced CdVs as the technology behind photography continued to advance.
A Selection of Carte de Visites
About the author: Richard Davies is the Content Manager at AbeBooks. This article was also published here.
15 Useful Photoshop Shortcuts You’re Probably Not Using (Yet)
If you’re always looking for ways to optimize and streamline your photography post-processing workflow, here’s an 11-minute video for you. Jesús Ramirez of Photoshop Training Channel shares 15 helpful Photoshop keyboard shortcuts (AKA hotkeys) that aren’t as commonly known.
“Photoshop Keyboard Shortcuts improve your everyday workflow and give an absolute boost in your productivity,” Ramirez says. “These hotkey combinations will certainly come in handy for every Photoshop user not matter if you are a Windows or OS X user!”
Here’s an index of the topics covered in the video:
00:42: Clone Tool Shortcuts 02:02: Load Luminosity 03:01: Lock Transparent Pixels 03:36: Restore Liquify 04:28: Puppet Warp 05:08: Cycle Through Brush List 05:38: Activate Layer Mask 06:19: Fill Only Opaque Pixels 07:09: Restore Last Selection 07:30: Change Brush Size and Hardness 07:46: Revert File 08:17: Increase Space Between Characters – Kerning 08:39: Pick Colors Outside of Photoshop 09:22: Cross-Hari on Painting Tools 10:10: Bonus – Banana Tool
Perhaps you know and regularly use some or most of these, but hopefully there was at least something you’re able to glean from the video to improve your Photoshop skills.
The Man Who Makes Cameras Out of Everything from Fruit to Campers
ILFORD PHOTO just released this 15-minute short film that looks at the work of Brendan Barry, a large format photographer, lecturer, and camera builder who does unusual work with cameras and photography. It’s titled, “The Camera Maker.”
But that project is only a slice of what Barry has been working on. He builds cameras out of things like fruit (a melon) and mannequins. And using his homemade cameras, he creates prints on direct positive paper as well as black-and-white paper negatives.
The film also shows the inner workings of his camper camera on location while he shot in Dartmoor National Park. Barry also converts an abandoned Royal Air Force air traffic control tower into a camera and darkroom.
Tom Ford To Be CFDA Chairman
Rumour has it, American designer Tom Ford is set to take over as chairman of The Council of Fashion Designers of America. According to multiple reports online, Ford will be replacing Diane von Furstenberg as she plans to step down from her current role that she has held for an impressive 13 years. And during which she has dramatically changed aspects surrounding the council as well as in how the fashion world operates.
We will have to wait until next week to hear whether Ford is appointed on…
SXSW 2019 Film Festival and Awards Recap
The annual South by Southwest (SXSW) Conference and Festivals has been in full session, with yesterday’s 2019 Film Award ceremony celebrating the talent and creatives that participated in this year’s program.
The ceremony took place at the Paramount Theatre in Austin, Texas and is an official qualifying festival for the Academy Awards Short Film competition as well as a BAFTA-recognized festival for the EE British Academy Film Awards.
Making MAYA, the Only Darkroom Timer You’ll Ever Need
MAYA is a darkroom timer project that was born out of necessity when my old darkroom timer had started to malfunction. It has become a pretty successful crowdfunding campaign so far, exceeding 300% of its initial goal with a few days left to go.
Like many people who still have a darkroom, I’ve bought most of the equipment in the used market. As is the case with such niche markets, you can’t always pick your choice from an endless supply of brands, models, and variations so I went for the best deal I could see, a Kaiser 6002 with several boxes loaded with all kinds of darkroom supplies. The seller was one of the nicest people I’ve met and explained in great detail what I was walking out with. In one of those boxes, there was a darkroom timer.
He had fully explained that it wasn’t the best timer in the world. It would only have two functions, turn the enlarger lamp on and off at my will so that I could focus and upon pressing the countdown button, it would turn the enlarger on for a set amount of time, making an exposure. Except that every now and then it would get stuck (usually around the 15-second mark) and give me an unending exposure, resulting in crushed blacks and grayed out highlights, depending on how late I was to react to the needle getting stuck.
I had looked for replacement timers and I still remember closing down all the tabs in my browser in frustration. Even the simplest timers, similar to what I had, would cost more than I’m willing to pay. As I had gained more darkroom experience, I began to realize I didn’t want a similar replacement anyway. Having such a simple timer became quite limiting as I had begun to work with split grades, multiple exposures, dodging and burning, flashing the paper… Each session I was finding myself more willing to get a much more capable unit, something that would let me set it up as I want and then simply get out of the way as I was making the final print.
Then on one such day, I was met with my timer’s much-worsened situation. Now it would get stuck much more often and at every single spot on the dial. It was almost impossible to even make a reliable test strip with repeated 5” exposures. So I began revisiting all the manufacturers who still make a darkroom timer, along with the used ones commonly available.
Did not like any of them.
I was looking for something more practical. Even though I shoot film, mostly using equipment that was designed and built decades ago, that doesn’t mean I want to work with a badly designed interface with 4-digit numeric codes and lookup tables requiring multiple button combinations and memorizing what and where everything is. It’s 2018 (it was back then), why can’t we have something with a proper LCD? Why is anything with F-Stops so expensive? Why am I expected to pay 350$/€/£ for some add-on which is basically a 0.20$/€/£ electronic part attached to a cable? Why do I have to buy a different model with different capabilities which clearly runs on the exact same hardware, if all I want is some of those capabilities? Why can’t this be done with a simple firmware update?
I could do better than this.
I knew people were already building simple timers using Arduino microcontrollers. So, why not build something far more advanced? It’s a small computer that is available cheaply and is easily reprogrammable. If it handles 3D printers, CNC machines and all kind of silly robots that you can find all over the Internet, how hard would it be to ask it turn a light off and on?
A few seconds after these thoughts, my industrial designer instincts kicked in. “It’s just software in a box”, a voice said from the back of my head. “Just build another box, upload the software and you have a copy that you can sell. If it turns out as good as you imagine it to be, people will buy it”.
So I went out, bought two Arduino boards, an LCD and assorted lengths of wire and started working with them. Did a whole notebook worth of sketches of both the physical and the graphical user interface. From the start, I wanted to have dials and a few buttons that I could repurpose as I saw fit. It has a screen, after all. I could communicate with the user, telling what each of these dials and buttons does in a given menu or mode. Yet at the same time, I would keep the two most essential buttons serve only one purpose, one to focus and one to expose. No double clicks, no press and hold, no excuses. Press them and they should do their job.
Even though having an LCD is nice and informative, I wanted to have another way of displaying the most crucial information, the countdown time and the contrast filter that I’m supposed to use. For that, I added two large displays to either side of the LCD. Shortly afterward it became natural to look at those displays to figure out what I was supposed to do next when making a print; expose for a certain amount of time, replace the contrast filter, dodge or burn a certain area.
Maybe I should have gotten two egg timers. Nah, I’ll just design and build a small computer:
After deciding on the basic design language, I began to design the graphical user interface, all the menus and screens. There were many variations, seemingly good concepts that were abandoned shortly after using them in the real world and seemingly dead ends that made it back somehow into later versions.
One such concept was replacing the LCD with an E Ink display. Would’ve been easy to read under the red safelight and I liked the idea of displaying a clock face on the e-ink display to act as a progress bar. Had to abandon this idea after realizing even with partial refresh, e-ink displays have a very low refresh rate and a very annoying blink when refreshing the whole screen. Shelved the concept without building a single prototype and maybe I’ll bring it back one day but the progress bar idea made it into the next version of the hardware, as a series of LEDs that visualize my progress along the whole print recipe or the current countdown.
Here’s me making some test strips with F-Stops (don’t have to follow the time display, the progress bar tells me how long it’ll take):
Until about that point, the whole thing was still a pet project that I intended to build as a replacement for my timer. When I shared it on a few Facebook groups (The Darkroom and Medium&Large Format film Photography, both excellent places of exchanging information and photography), it was met with great encouragement, very positive feedback and quite a few new ideas. There were also the occasional “yeah cool but I like having a basic timer,” which is still valid feedback, some people don’t care for what I was after at all. That day I had made up my mind, I would prioritize this project, get it out on the market for everyone who’d like to have one and… then what?
What if I had built an enlarger as well? Or an automated film processor, some people really like that idea as it’s been demonstrated quite a few times in the last years. What else? There is quite a capable microprocessor inside MAYA and if I had planned the hardware ahead, I could’ve come up with all sorts of darkroom related hardware and make them work with it via a simple firmware update. How about an affordable densitometer? A shutter speed tester? A head probe for people who use cold light enlargers, one of the many great ideas that came from that thread on Facebook? Support for Ilford Multigrade heads? I had already separated the Power Bar (where all the darkroom appliances are connected to) from the control unit so most of these enlarger-unrelated add-ons would simply use the same interface for communication and with the right hardware, I could even use MAYA as a sous vide machine.
Is it sous vide if you do everything by hand? (It already does have a separate mode for film process timer and an auto-compensating thermometer)
With all my plans set, I could finally launch a crowdfunding campaign. I knew that there’s a great deal of negativity surrounding crowdfunding projects these days, especially in our community thanks to a few projects who have cheated out quite a few people by either overpromising with fancy looking non-working prototypes or cool-sounding concepts that became to no fruition of any kind. With no previous projects of this kind or a bought-and-repurposed brand name that is familiar in the industry, I had to be as transparent as possible. Which meant taking an extra month or two developing the concept into a later stage, shoot a lot of videos, share them around, show MAYA in use for everyone to see and understand.
Since I’m in such a late stage of design, there isn’t much to do before finalizing the product. One aspect that I had not finalized is the final choice of materials and production methods. For that, I had to see how many of these I’d expect to build. Even if I had sold only a handful of units, I could still be able to deliver by using traditional production methods. If I had approached triple digits, I could use some more sophisticated materials and techniques to build them. Deep into triple digits would’ve been pretty much mass production with me being much less involved in most of the steps, except for final assembly, quality control, and delivery.
All I had needed in the first place though, was a handful of people to believe in my project.
Met that initial goal in about than 39 hours. Had doubled it in less than a week and with only a few days to go, I’ve passed 300% of my initial goal. This could only happen with the help of some lovely people in the community. The people who spread the word around. What we see the most often is all the negativity in the comment section and forum threads but we don’t hear enough praise for people who share their enthusiasm with others.
So once again, thank you everyone who had ever left a comment on any of my posts anywhere. Thank you to everyone who shared the word around, in the forums, Facebook groups, mail groups and Discord servers they hang in. Couldn’t have done this without some people spending night after night of their own time, giving me new ideas, feedback and encouragement. We, as a photography community in general, are getting fewer in numbers (even though film photography is actually growing) and the best part of this project has been meeting all the lovely strangers over the Internet. Thank you, everyone.
And here we are. With the crowdfunding about to be completed, hard work awaits me. I have to debug my code, do a few experiments with the future projects to ensure compatibility, finalize the design, order and manufacture the parts and put everything together. With the extra funding raised, I’ve already begun working on a few of those steps and assuming everything goes smoothly, will deliver the first batch in July and the second batch in August.
Then I’ll return with another project. Something that I’ve already been working on…
About the author: Can Çevik is an industrial designer and film photographer based in Istanbul, Turkey. The opinions expressed in this article are solely those of the author. Çevik is the inventor of MAYA, an advanced darkroom timer. You can find more of his work and photos on Instagram.
A few months ago, the Czech car brand Škoda got in touch with Hungarian photographer Benedek Lampert and asked him to shoot car photos. But instead of expensive shoots featuring real Škoda cars, the company asked that Lampert only use 1:43-scale models of the cars.
Lampert uses as little Photoshop manipulation as possible for his photos, opting instead to spend hours and hours creating miniature scenes with as many real elements as possible (e.g. smoke and dirt). Most of the photos took him 7 to 12 hours each to complete, but one particular shot took a whopping 10 days for set building, concept work, shooting, and post-production.
While it would be easier to fake things like motion blur using Photoshop, Lampert actually captured it on camera — the blur you see in the backgrounds and in the cars’ wheels wasn’t the result of digital manipulation.
Here are the photos that Lampert created for Škoda, with each one followed by a behind-the-scenes look at how it was created.
Here’s a 5-minute behind-the-scenes video that provides a closer look at how certain shots were done:
Hungary Using ‘Distracted Boyfriend’ Couple to Tell Couples to Have Kids
The Hungarian government has launched a public campaign to encourage couples to have more children. What’s humorous is the choice of stock photo: whoever was responsible for the giant billboards chose the same couple that appears in the well-known “Distracted Boyfriend” photo meme.
Shot by Spanish photographer Antonio Guillem back in 2015, the “Distracted Boyfriend” photo went globally viral as a meme in 2017. It shows a man with his girlfriend turning around to check out another girl who’s walking by (much to the annoyance of his girlfriend).
So it’s hilarious that Hungary decided to use this same couple for its latest ad campaign that aims to increase the country’s birthrate.
The happy couple gracing the Hungarian government’s campaign advertising its new family policy is already famous on the internet…and not for being madly in love. pic.twitter.com/wBljm6eiF7
The billboard went viral after a man living in the Budapest district of Zugló shot a photo of a local billboard and shared it on Facebook.
“I was driving my kids to school and my son noticed this new billboard — it’s the Hungarian government’s new ad for their pro-family benefit programs,” the man tells BuzzFeed News. “And my son immediately said, ‘this is the couple from that meme.’”
The Internet is now poking fun at the stock photo choice.
Life Ball 2019 Aims to Meet Somewhere Over the Rainbow
On June 8th, one of the largest charity events in the world will return to Vienna’s City Hall. Every year, Life Ball (also known as Celebrate Life Ball, Protect Your Life Ball, and Get Your Life Ball) accumulates seven-digit proceeds that go towards global aid projects donated to international partner organizations to support people with HIV and AIDS. Coincidentally, the event will align with the 50th anniversary of the Stonewall Riots that took place in New York in 1969. This year, Life Ball…
Sony’s FE 135mm f/1.8 GM May Be the Sharpest Lens of Its Kind
Sony’s new FE 135mm F1.8 GM lens will hit store shelves next month, but it’s already dropping jaws with its sharpness. According to one new test, it may be the sharpest lens of its kind on the market today.
“I mounted the first one, sipped my coffee and then lost my mind and started shouting various expletives, enough to bring Aaron running in from the other room to see what I’d broken,” Cicala writes. “I hadn’t broken anything; I just saw MTF curves higher than anything I’d ever seen in a normal-range lens.”
“Let’s make this simple and straightforward,” Cicala writes. “In the center, that’s the highest MTF I’ve seen on a non-supertelephoto lens. The highest.
“Let’s put particular emphasis on the purple line, which is 50 lp/mm. That’s a higher frequency than any manufacturer tests (that we know of), appropriate for fine detail on the highest resolution cameras. We would consider an MTF of 0.5 at 50 lp/mm to be very acceptable. This is hugely better, nearly 0.8 in the center. We’ve never seen that kind of resolution before.”
Cicala compared the Sony 135mm’s MTF charts to the $1,400 Sigma 135mm f/1.8 and $1,500 Zeiss Batis 135mm f/2.8, two lenses praised for their sharpness, and found that Sony’s sharpness is noticeably better in the center half of the image (and on par at the edges).
“[T]his lens can resolve fine details that would be a blur on excellent lenses,” Cicala writes. “What does this mean for you? Well, in a couple of years if you are shooting a 90-megapixel camera, this lens will be the one that wrings the most detail out of that sensor. Right now it looks at your 43 megapixels and goes, ‘that’s cute.’
“[T]he results are pretty simple. This is the sharpest lens we’ve tested. Period. (At last count, that’s out of 300+ lenses tested.)”
Image credits:Crown art in header illustration by Heralder and licensed under CC BY-SA 3.0