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.
Christopher Burkett has spent four decades photographing landscapes with a large format film camera. It’s no easy feat. Burkett has to lug the large camera around, struggle with depth of field and battle motion blur.
But Burkett’s biggest challenge is a looming deadline: the moment he runs out of his 10 year supply of Cibachrome paper.
The NewsHour documents Burkett’s work, his printing process and the bittersweet reality that he will soon be closing the lights in his darkroom for the last time.
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The Hasselblad H6D-100c is a 100-megapixel medium format DSLR that costs $33,000 without a lens. Throw in a Hasselblad H lens and the resulting camera kit can easily cost over $40,000, or more than the average car. Here’s a 5-minute video by photographer Tyler Stalman that explores why a single camera can be worth this much.
Stalman points out that it’s a very, very small subset of professional photographers that actually need the resolution and image quality of a camera like the Hasselblad H6D-100c. Even for advertising, giant billboards can be effectively shot with far fewer megapixels than you might think since viewers are looking from so far away (Stalman points out that Apple’s Shot on iPhone campaign is successfully done with just 12 megapixels).
“There are diminishing returns as you spend more on your gear,” Stalman says. “A $1,000 camera has most of the important features that you’re going to find in a $5,000 camera.
“But there are always professionals that are pushing the technical requirements of this gear to its extreme, and it’s incredibly expensive to research, develop, and manufacturing that cutting edge of technology.”
Take a Peek Inside Myles B O’Neal’s Dior Photo Diary
Another day, another amazing Dior party. This time around, the celebration was for their new fragrance, Sauvage Eau de Parfum. The party was held in Joshua Tree, California at the unique Pioneer Town Motel, where some of the VIPs included Tyler, the Creator, Goldlink, Jacob Banks, Skip Marley, 6lack, They, and Black Atlass. The party kicked off before the first Coachella weekend, and model Myles B O’Neal served up some looks accompanied with quips to chronicle the event, exclusively for…
Photographer Luc Kordas first moved from Europe to New York City in 2014 after living in six different countries in six different years. Since then, he has made his living as a photographer while doing street photography for himself. And one of the recurring subjects he has captured is the idea of loneliness in a big city.
“Loneliness is New York’s leitmotif,” Kordas tells PetaPixel. “This feeling is palpable everywhere in the city—a place filled with 8 million people, many of whom are immigrants and transplants. I witness the isolation and seclusion every day. There are different shades of it.”
“New York keeps surprising me even after almost 4 years of living here,” Kordas says. “I see it as a marriage of heaven and hell. All walks of life from all over the world walk the same streets of Manhattan – this bizarre Tower of Babel is a true feast for a street photographer.
“The city fascinates me one day and makes me think of leaving the other. I know many New Yorkers feel the same way.”
“Ironically, despite New York’s density, it is not hard to feel alone,” says Kordas. “So many people are focused on money or careers, that’s why they come here, there’s little time left for relationships or hanging out.
“William Klein said of New York it is a monument to the dollar. The dollar is responsible for everything, good or bad. Everybody comes for it, no one can resist it. Everyone’s busy.
“Although it isn’t difficult to find company, many of the interactions we have with each other are shallow. It’s easy to be lonely and anonymous in a city like this.”
This series is part of a larger body of work titled “The New York Chronicles.” You can find more of Kordas’ photos on his website and Instagram.
Image credits: Photographs by Luc Kordas and used with permission
I really enjoyed reading the Photography: The Definitive Visual History and it got me thinking about blending older forms of photography with newer digital equipment. I became obsessed with TLR (Twin Lens Reflex) cameras — not for their ability to view through one lens while capturing an image through the other, but for the style of photography that this type of camera forces the photographer to adopt.
Generally, you hold a TLR camera at your waist level so you can look down at the viewfinder to compose your image. Also, you need to use a crank on the side of the camera to move the film forward after capturing each image. Life seemed to slow down when I have used this type of camera in the past.
I thought, there must be a digital equivalent to this camera. So I searched the internet and I found a Seagull CM9 camera which was 10 megapixels. To be honest, I didn’t really like the look of the camera and that they were over $1000 on eBay. I even found that Rolleiflex made a Rolleiflex MiniDigi AF 5.0. I tracked one down and it is beautifully made, but the sensor is tiny and the resulting images are not great.
That is when I came across this post on PetaPixel that changed everything. I loved the idea of building my own waist level viewfinder camera using a camera with a foldable viewfinder like the Canon PowerShot N. I knew that I couldn’t make a digital TLR with two lenses, but this was an alternative that would give me a camera which I could look down from above to capture images.
I wondered to myself: instead of building a wooden box around the camera like the author did in his post, maybe I could use an old TLR camera as the frame and somehow insert the digital camera into the body. Before I knew it, I had purchased a less-than-fully-functioning Yashica-Mat TLR camera online and found a used Canon Powershot N2 (a model newer Powershot N used in the post where I got the idea from). Now it was time to see if I could make my idea become a reality.
The first thing I did when I had both cameras was to measure the N2 beside the Yashica-Mat. Ideally, the N2 would be small enough that I could simply fit it on the front of the camera. It looked like it might be too big but I still had to take the front lens off the Yashica-Mat. But before I did that, I took the back and the pop-up shade off the camera.
I had to take off the leather type siding to get to the screws. I wanted to save this siding but it was brittle and flaked off and broke. I didn’t worry about it and figured I would find a solution when I got to the point of putting the camera back together. With the screws exposed, the whole lens system came off quite easily.
It was clear that the N2 wouldn’t fit so I had to make my first big decision – cut into the top of the Yashica-Mat so I could slide the N2 camera into the body of the TLR camera. I talked to John Zobrist, head of Design Tech at UWCSEA East, and he helped me learn how to use the drill press. Before I could make the slots in the camera, I had to take off the sides so that I knew what I was cutting into. I took pictures along the way to help me remember where everything went and I put different sections into separate ziplock bags.
I used the drill press to create a slot in the Yashica-Mat so the N2 could slide in but I had to go back to the drill press to keep cutting and make some adjustments.
I needed to widen the space so that I could add a little felt so the N2 wouldn’t get scratched.
Now came my biggest challenge: to somehow attach one of the two original lenses back onto the TLR camera. I knew I would have to cut the original lens assembly into two separate parts but right away I saw that the bottom lens was way too big to put back on. The N2 wouldn’t fit with that lens underneath it. My plan was to turn the whole lens system upside-down and use the bottom lens instead. I might just have enough room but I still wasn’t sure. I started by taking the lens system apart so I could figure out how to cut it.
I used a hacksaw and tin snips to cut the separate parts of the front lens and make it as small as possible. I didn’t know if I was going to be able to reattach the parts but I felt that I would be able to figure out a way when I started reassembling the camera. I was solving problems as they appeared and I saw possible complications as puzzles to figure out. How could I make this work? What possible approaches could I take?
I eventually figured out a way to reattach the lens to the body that involved reconnecting the focusing system which moved the whole front lens system back and forth. Originally, I hadn’t planned on reattaching it because it would bump into the N2 camera but I decided to use the hacksaw to cut out sections of the metal so the digital camera could fit and I could reattach the one lens I had back onto the front of the camera.
Space was tight and I had to do some sanding of the metal parts but I managed to make it fit. You’ll notice in the photo below that the hole for the lens in the body of the TLR camera doesn’t line up with the lens that I had to reattach.
Then I started to reattach the rest of the parts of the camera. There were a few problems, like the winding mechanism that, if turned, would bump into the N2 digital camera. So I had to go back into the TLR camera and cut out some parts so it would still wind, but not interfere with the N2.
Also, to attach the viewfinder back on, I needed to cut off two metal sheets that slid into the body of the Yashica-Mat otherwise the viewfinder wouldn’t be able to be reattached. This also meant that I couldn’t close the shade of the viewfinder when the N2 was attached to the camera but there was no way around this issue. In addition to this, I took the glass prism out of the viewfinder because it wasn’t needed.
I put the sides back on the camera and the next step was to paint the N2 camera black. I went back to the Design Tech space at UWCSEA and used some matte black paint. Before I painted the camera, I used some fine sandpaper on the white parts of the camera to help the paint adhere better.
If you will remember, I had destroyed the leather siding when I took it off the camera at the beginning of the project when I first exposed the screws to open up the camera. I found a place on eBay that sells replacement siding for my camera and I am eagerly awaiting the arrival of my order so I can finish it off.
I have really enjoyed the process that took me from idea and inspiration to a camera that has the look and feel of an old-school camera with the convenience of a digital camera. I know that I am essentially using a digital point and shoot camera in a frame and I won’t have the quality of a TLR camera but this project is more than that. The next step is to take this camera out into the field and start capturing some images and see if it does change my photography. I am especially interested in capturing images of people from my waist level point of view.
I like the fact that the digital camera gives me options like the choice to shoot square format if I want. I like that I can choose to shoot in black and white too and see what the results will be right in the viewfinder before I even take the photo. I like that the process of capturing photos will probably slow down with this camera.
What is the point other than creating what I think is a pretty cool looking camera? Recently, the World Economic Forum posted a list of the “10 Top Skills That Will Land You a High Paying Job by 2020“. Not that getting a high paying job is the most important thing – but the list of skills is important for anyone, especially the students in our schools.
Numbers one, two, and three on the list of skills are complex problem-solving, critical thinking and creativity. I feel like this project embodied these skills. I wasn’t following a procedure or a manual. I was encountering problems that came up along the way and I had to come up with multiple options or solutions and weigh the pros and cons of each. I had to make decisions (like cutting into the camera) that I couldn’t go back and undo. I had to make sure that I was able to plan ahead and analyze the situation and think logically to complete the project.
And of course, it all started with me using my creativity to create something that was an idea that came to me while reading about one of my favorite subjects.
Quick Tip: How to ‘Auto’ a Single Slider in Lightroom
Lightroom Classic has long had an “Auto” feature in the Develop module that will automatically set basic sliders for you based on the image at hand. But did you know that you can now “Auto” set individual sliders?
This simple but useful trick is discussed and demonstrated in the 44-second “Lightroom Coffee Break” tutorial above by Adobe. Benjamin Warde shares how the basic Auto system has been revamped in Lightroom Classic version 7.1 to more intelligently auto adjust your photo to give you a solid starting point for your edits.
But in addition to automatically setting the values for all sliders, you can select individual sliders by holding down Shift and then double-clicking the label for the slider you wish to intelligently Auto set.
This is a simple way of letting Photoshop intelligently suggest values for some aspects of a photo while you keep others under your sole control from the beginning.
Testing the Speed Boost in Luminar’s Jupiter Update
Luminar has a new update, and it’s fast! Although I recently published an extensive review of raw processors that included Luminar 2018 v1.1, the new update called Jupiter (v1.2) has significant changes and improvements. I believe it warrants an updated review covering the important changes. So here it is.
Bottom Line First
The most significant and usable improvement in this version is speed! I used two very challenging raw file types to try out the advance copy provided to me by Skylum: Fuji X-Trans raw files, which use a sensor pattern that requires special processing, and Sony 42MP raw files, which are a challenge due to their sheer size. Luminar Jupiter handles them easily and quickly. Keep in mind I’ve been using a pre-release build so it’s possible the official release version may do even better.
The Luminar “Jupiter” upgrade for existing users of Luminar 2018 is free so that’s a no-brainer (Luminar menu->Check for Updates…). If you’re new to Luminar or upgrading from pre-2018 versions, I believe it’s still worth it. I’ve advocated this program for a long time because it’s so intuitive and enjoyable to use, not to mention pretty inexpensive. And with this upgrade, it just got better. You can upgrade for $39 (use coupon code WOLFSON for these prices) and new users can buy it for $59 (use coupon code WOLFSON). There are a host of useful freebies included as well that Skylum values at $202.
Raw images open dramatically faster. I really noticed this on my 2014 MacBook Pro laptop which has average specs by today’s standards. Previously it took 21-23 sec. for a Fuji X-Trans RAF file to open. Now it’s 4-5 seconds to see the image and about 10 seconds total before sliders have an effect. Sony 42MP raw files are even faster. All of this is fast enough that you barely have time to find the slider you need before the sliders are already active!
You will still see the “Processing” wheel in the lower left corner continue for an additional 15 sec or so after the image is visible but the only aspect it affects is immediately zooming to 1:1. In this case, you will wait 17-20 seconds for the image to fully render at 1:1.
Remember we’re talking an average laptop here, nothing fancy. This is a huge improvement in efficiency (and IMO enjoyment) as I don’t have to wait to that 20+ seconds just for the image to open and I can start doing my initial raw adjustments right away.
On my faster desktop machine (2017 iMac Retina 5K with 4.2 GHz Intel Core i7 with 32 GB RAM and GPU is Radeon Pro 580 8GB) there are commensurate improvements but they are less important as Luminar was plenty fast on my desktop in the previous version.
Export speeds have also been improved. See my chart further down. You can compare the numbers to my previous review.
Windows users will see more parity with the Mac version than before including batch processing, free transform feature, faster export, editing speed, full-screen preview, and localization/language updates.
“Auto” Distortion and CA Corrections
The not so automatic corrections are a welcome improvement but really a stepping stone to full implementation of automatic lens correction. Luminar 1.2 fixes lens distortion and chromatic abberation by clicking checkboxes in the Raw Develop filter under the Lens tab. There is no apparent way to manually adjust fringing. Currently, automatic correction of light falloff (some call this vignetting) is not implemented. There are two tools available to correct light falloff: Devignette sliders under the Raw Develop Lens tab and the Vignetting filter.
Some lenses have light falloff that is difficult to correct properly with the Devignetting or Vignette filter. One of my test images I use I shot with the ubiquitous Fujinon XF 18-55mm lens which can yield very dark areas in the extreme corners. I have also seen this type of falloff in other companies’ lenses as well. The distortion button, which ends up cropping the image as part of fixing the distortion goes a long way to eliminating the dark spots but there are still remnants.
In some images, you could clone this out but this is time-consuming, especially if you have a lot of images from the same lens with this issue. Whether good or bad, lens manufacturers are assuming automatic lens correction when designing new lenses, particularly those for mirrorless cameras.
Although the click boxes for distortion and chromatic aberration certainly help, it still entails extra steps. I will be much happier when full automatic lens correction is implemented.
I really had no problems with the image quality in the previous version but Skylum states “Enhanced image quality on image view” is one of the improvements. I did notice, however, that the initial image is better than before. By “better” I mean less flat with slightly more contrast and slightly more vivid color and overall a sharper appearance. From what I can gather the rendering is just more refined at any magnification. Previously it looked exactly like the Adobe Standard which is pretty blah and we have come to accept that as the “look” of a raw image. I often say raw is blah.
There is actually a good reason for the flat look of raw images, in that if your image is contrasty and saturated at the onset you have probably sacrificed some subtle detail in highlights and shadows and nuances of variations in hue and tone. I saw a similarly improved version previously with ON1 Photo Raw. Initially, I was a little taken aback with the changes to ON1’s rendering in this regard and then realized that nothing was lost and it is just less work to get a raw file back to a starting point that is more like the original scene. Furthermore, even Adobe offers variations of their standard profile via Camera Calibration which offers different looks/starting points. Of course, if employ major manipulation then these subtleties are a moot point.
Below I’ve included my tests of the previous version of Luminar for comparison. Note that the results for updated version 1.2 of Luminar (Jupiter) are in red. I’ve evaluated the factors that are important to everyday editing, particularly Fuji X-Trans files along with Sony ARW 42MP files, both of which are a challenge to any processor. For timing, I used a digital stopwatch and did numerous runs of each test.
There are some not-so-obvious but nice features. Some of these are new with this version and a few were implemented previously. They are:
• F key shortcut for full-screen preview
• Cmd-L to see/hide filters
• Ability to see just your favorite filters (selectable) or other categories
• Ability to save custom workspaces
• Separate opacity slider for each layer and ability to rename layers
The speed increases alone in Luminar “Jupiter” version 1.2 make it well worth the update/upgrade. The only real shortcoming was just my wish that Skylum would have incorporated full automatic lens corrections instead of the checkboxes. I’m sure we’ll see it soon and one needs to consider the many pluses. The speed increase is impressive and useful. Most importantly I think it also leads to an increase in enjoyment as you can start using that lovely interface right away when opening raw files — even those pesky Fuji X-Trans raw files.
About the author: Joel Wolfson is an internationally published photographer who loves teaching as much as shooting. The opinions expressed in this article are solely those of the author. He shares his 30 years of experience as a working pro with other photographers and enthusiasts by way of his workshops, 1 on 1 training, webinars, articles, blog and speaking engagements. He is one of the pioneers of digital photography, having conducted digital photography seminars for Apple and other corporations starting in the early 90s. This article was also published here.
The Photographer Who Captures Life’s Beauty Without Hands or Legs
Achmad Zulkarnain is a professional photographer in Indonesia who has been gaining international recognition for creating his images without hands or legs. This 3-minute video by Great Big Story is the latest look at Zulkarnain’s life and work.
After being born without hands and legs, Zulkarnain became passionate about photography through shooting ID card portraits for fellow villagers. Creating a custom go-kart has allowed Zulkarnain to become mobile with his services as his photography business has grown.
One of the main things that has drawn people to Zulkarnain is his positivity — despite the challenges he has been forced to overcome, Zulkarnain remains upbeat and extremely thankful for his life as a photographer.
A little nubbin found on his right limb is what allows Zulkarnain to press the shutter button on his DSLR.
“I use the camera with the extra flesh on my little limb that God has given me,” Zulkarnain says. “I want to help people who have the passion to learn photography
“I am proud of the disability I have. Yes, I am disabled, but I’m not defective. Instead, I’m someone different.”