Emerging Designers Score With Adidas and MLS
Kicking off the 2019 soccer season, Adidas and Major League Soccer hosted Seams, a sporty fashion show in downtown LA’s Fashion District. The MLS jersey-inspired runway looks, courtesy of the day’s MVPs—emerging fashion forces Sara Gourlay of Frankie Collective, Corey T. Stokes, Pierre Davis of No Sesso, and stylist Andrew Andrade—reflected a stadium-meets-street aesthetic, ranging from athleisure to the avant-garde.
Hardly in competition, the featured designers’ aesthetics played o…
This Beer Was Developed to Process Kodak Super 8 Film
The popular craft brewery Dogfish Head is launching a new gose beer called SuperEIGHT. The brew shares more than a name with Kodak’s famous Super 8 film format: the beer was actually designed to process the film.
The 5.3% ABV beer is made with 8 special ingredients: prickly pear, mango, boysenberry, blackberry, raspberry, elderberry, kiwi juices and a touch of quinoa, along with an ample addition of Hawaiian sea salt.
Back in 2018, Dogfish founder and CEO Sam Calagione joined the Kodak podcast The Kodakery to chat about analog processes in the digital age. And during the conversation, Calagione learned that the heightened levels of acidity and vitamin C in certain beers can actually allow them to serve as processing agents for film stocks.
It just so happened that Dogfish was already working on a new beer that would feature extra acidity and vitamin C, so Calagione had them specifically design it to process Kodak Super 8 film well. The result was SuperEIGHT, and early batches of the beer were sent to Kodak to confirm that it could successfully develop film.
Here’s the recipe for using SuperEIGHT beer as a developer with Kodak Tri-X film:
Want to see how well the beer does as a film developer? Dogfish actually teamed up with Kodak to create a short film shot on Super 8 film and developed with SuperEIGHT beer:
“From the can to the stop bath, there’s a whole lot of science and alternative processing that takes place to bring the imagery to life,” Dogfish says. “And it’s so totally worth it.”
Doghead SuperEIGHT will be available across the United States in 6-packs of 12-ounce cans in late March or early April. The “vibrant red” beer “has a slightly tart taste and pleasantly refreshing finish, with delicious flavors of berries and watermelon.”
Is your Photoshop running a bit sluggish at times? There might be a way to speed things up. Here’s a helpful 10.5-minute video by photoshopCAFE that goes over 10 tips that will help you squeeze the fastest possible performance from the program.
Here’s a rundown of the 10 tips covered in the video (along with the timestamps where they’re found):
00:50: Lose the welcome screen
01:30: Shrink the New Document window
02:00: Increase Recent Documents to 100
02:45: Use 80% of your RAM
03:20: Fix display issues
03:48: Legacy compositing
04:15: Scratch disk
05:38: Don’t copy and paste
06:40: Free up resources
07:42: The fix all (resetting preferences)
Here’s an article we published a few years ago with a closer look at a few of the tips covered in this video.
On a recent trip through the Canadian Rockies, I had this special lens with me. I knew of this tree in Banff National Park and knew I wanted to photograph it. While originally a typical portrait (vertical orientation) photograph, I later switched into landscape orientation and took a vertical panorama (8 individual images), yielding me a larger perspective and much higher resolution.
Now, this tree could have been photographed with my 16-35, or even my 70-200 – but to be able to shoot it at 400mm with my 100-400 lens yields far different and unique results. Thankfully, this specific area afforded me the ability to step back further from the tree, but by zooming in I was emphasizing the lens compression you get when you shoot at longer focal lengths.
What Is Lens Compression?
Lens compression (although it has more to do with a given focal length and nothing to do with the lens itself) works because we’re able to get further away from our subject but still zoom in as if we were much closer. As a result, it creates the appearance that the background has been pulled in closer, distorting it to be larger than it is. This in turns has a bit of a flattening effect on the scene, making subjects throughout the depth of the scene appear far closer to each other than in actuality. The inverse happens with wide angle lenses, as we will stand closer to our subject it appears larger proportionally to the background.
In the example above, we can see at both 20mm and 35mm, we can clearly see the space around the tree — we can see lots of foreground and background trees, and the trees along the side of the road also appear further away from our tree in the middle. At 20mm, we cannot get close enough (without tilting the camera too far upwards and distorting the photograph in a different way), and as a result, it looks small in the scene.
As we get out to 70mm and beyond, we start to see the lens compression phenomenon kick in. As we step back and increase our focal length, the scene gets flatter and flatter where once we reach 400mm we’ve included far more trees along the road, the trees behind our main subject appear to sit almost right behind it, and we lose the ability to sense that in fact there is about 100m (300 feet) of tree-lined road in front of the main tree (or more!).
Lens compression is often talked about in portrait photography for the same principles. Longer focal lengths give us the ability to increase our distance from our subject, which gives us the effect of creating a more flat, less distorted face.
Photographing the Tree
I shot this video when I was photographing the tree, so you can see first-hand the area and get a better idea of the area I was photographing in as well as just how far away I was from my subject when shooting at 400mm.
About the author: Kaitlyn McLachlan is a landscape photographer based in Vancouver, Canada. The opinions expressed in this article are solely those of the author. You can find more of McLachlan’s work on her website, 500px, Twitter, and Instagram. This article was also published here.
Team Re-Edition releases pages and pages from issue 11, we examine
Eva Herzigova by Juergen Teller | Stylist Jo Barker With its latest, Re-Edition Magazine celebrates its 11th birthday––or 4 in human years as ink hit the page for the first time in 2015. That was then and this is now: Mert Alas and Marcus Piggott shoot for the publication for the first time; a Burberry […] More…
Class of 2019: The Society
This spread appears in the pages of V118 our Spring I
They say fashion is like high school. This model-off (dress code: SS19) puts theory into practice. In V118, The Society Management’s power players Mayowa, Sara Grace, Adesuwa, Vittoria, Liu, and Cat take “minimalistic drama” to new heights.
Photos Inside the Art Institute of Seattle After it Abruptly Closed
I photographed the Art Institute of Seattle 3 days after it was abruptly shut down. I taught photography at AiS since October 2007. I think it is important for these images to get out as this is what it looks like when a school closes.
On Friday, March 8, 2019, the Art Institute of Seattle abruptly closed with just two weeks left in the winter quarter, leaving students, faculty, and staff scrambling in a rough situation.
On Monday, March 11th, 2019, I wandered the halls of AiS after having taught there for over twelve years.
This is what was left.
About the author: Melinda Hurst Frye is a Seattle-based exhibiting artist, working in themes of implied environments and shared experiences within the still life aesthetic. The opinions expressed in this article are solely those of the author. Her current work illustrates the mystery and activity of Northwest subterranean and residential Seattle ecosystems, including her front yard. Hurst Frye has been featured on Humble Arts Foundation, Lenscratch, WIRED Photo, and in various solo and group exhibitions. You can find more of her work on her website and Instagram. This series was also published here.
How a Joint Photo Shoot Helped Me Understand Style
What is style? This is a question to which I’ve given a lot of thought. The best answer I’ve come up with is that your style is the sum of all your choices.
Warning: This article contains portraits that may not be safe for work.
Style is not presets or filters or film emulators. Those are all just choices that can contribute to your style. Style is not your in-camera “Picture Control”: Standard, Neutral, Portrait, Vivid, etc., but those too can contribute to your style if you use them with purpose. Black and white itself is not a style, but the deliberate choice to use it to achieve a specific result is (and for that matter, a black and white image is not automatically “artistic”).
The Rule of Thirds is not style either, but your choice to adhere to it, or to deliberately break the rule, can be part of your style. Your ultra fast prime, your new mirrorless body, your sensor size, and resolution; these things are definitely not your style, but how and why you choose each tool and how and why you use them, is.
Style develops slowly over a long period of time. When I first started out, I shot everything: portraits, still-lifes, street, landscapes, macro, sports, etc. I was sampling all these different kinds of photography and in doing so, learning what topics interested me and what topics did not. After some time, my focus began to narrow, and I found that I favored certain topics more than others. But I also found that I started making and repeating certain choices again and again: lenses, lighting, angles, models, poses, etc. At the same time, I also began to observe and recognize the developing style of my photographer friends.
Sometimes the best way to think about style is to think about it relative to someone else’s style. The choices you make consistently may contrast strongly with those of a fellow photographer and that could help you start to see and understand your style. I got a chance to see this in action in a joint photo shoot with my friend and fellow photographer, David Hatfield.
Since Dave did the work to put this collaboration together with Breanne, our model, and since they worked jointly on the concept, Dave took the lead in the shoot. He was the primary photographer, which meant that the pressure was on him to deliver good photos. This had two unexpected benefits:
1. With no pressure on me, it meant I was free to just play. I could experiment with different compositions and try out some ideas—ideas I might have otherwise not considered because I’d be too worried about getting a “safe” and usable shot (if only I could approach every shoot this way!).
2. It helped to really highlight the differences in our respective styles.
I was never a big fan of the idea of joint photo shoots. I always figured I’d end up with the same shots as the other photographer(s). But this photo shoot showed me otherwise. And the added benefit of being able to shoot without any pressure and without any real attachment to the result made for a really fun shooting experience. I’d recommend it to any photographer out there asking questions about style. Get together with a friend, set up a photo shoot, and see how different (or how similar) your results are.
Over the years, Dave and I have developed and grown together as photographers. I think he is the better photographer of the two of us. But in terms of pure technical ability, we’re at the same level. So we should technically be able to make the exact same photos. And yet, our style can and does differ substantially.
Check out the results:
And here are Dave’s photos from the second half of our shoot:
And my photos from the second half of the shoot:
Dave likes grit and texture. He likes film emulations and film grains especially. But he uses them well. They’re necessary to his process. They work for him. When I use them, it feels weird, forced.
I like a really clean image that’s got minimal post process. And yet, I’ll obsess over every last detail. I didn’t like the position of some water droplets in some images from the shower scene, so I removed them or repositioned them.
I will go through multiple versions of each photo, taking weeks to arrive at a “final” edit (quotes added because I might come back at an even later date to make more tweaks to my photo!). Dave will take his JPEGs directly from his camera, make some quick global edits, apply and tweak whatever effects he decides are needed (and masks them out where they’re not needed), crops, and he’s done and on to the next project. I don’t think I’ve ever known him to go back and re-edit old work.
We both like high contrast images. But I prefer softer lighting while Dave often favors harder, direct light. For this shoot, Dave lit the shower scene mainly with handheld LED flashlights (usually ~$8 to $15 each). That would never have even occurred to me.
Speaking more generally, our approaches are different too. He’s more confident and tenacious. For the shower scene, he put his camera in a water housing so he could get water spraying directly on his lens (within the housing) while he made some portraits. Again, I’m not sure it would have occurred to me to shoot this way. Instead, I shot through the glass of the shower door, alternately focusing on Breanne, and also on the water droplets on the glass. I think both are good approaches and make for dramatic, moody portraits. Is one better than the other? I don’t know, but Dave’s work is pretty d*mn good if you ask me.
I’m the more introverted of the two of us. I prefer to observe, hang back a bit, and then approach a scene carefully and methodically. I like to do a bit more planning and studying. In a shoot like this one, it can take me dozens or even hundreds of frames to arrive at a scene and composition I like, and even then I’ll keep shooting, to be absolutely sure I have the shot I want. Dave gets there faster, and moves along to the next scene, faster. He’s more decisive with his compositions.
And yet, for all my indecision, all that clicking around can often get me to a shot that turns out to be really successful, one I would never had made if I hadn’t persisted. I’m not sure Dave has the patience for that kind of process. But my approach isn’t necessarily better. My persistence doesn’t always pay off. I’ll stay on a scene and shoot hundreds and hundreds of throw-away shots, looking for a something that works, where Dave will quit the scene and find another shot, and fast.
He likes to be spontaneous where I’m a bit more cautious, deliberate. I think we need both kinds of photographers. Both are valid. I like to joke that if he’s Kirk, I’m Spock. Our personalities are very different, and these differences are reflected in the kind of photography we do, and, ultimately, in the photographs we make.
To anyone thinking about how to further develop their style, the advice is simple: Shoot more. A lot more. Then go back over your work, and see what choices you’re making consistently. Better yet, get together with your fellow photographers, consider doing some joint photo shoots, and see just how different (or similar) you are. See what you can learn about your own style, but also take the opportunity to learn from each other. And of course, share the results.
About the author: Carlos Chavez is an aspiring photographer based in San Diego, California. You can find more of his work on his website. This article was also published here.
How Lightroom’s Range Mask Tool Can Instantly Improve Your Photo Editing
Lightroom has a powerful tool called Range Mask that can transform the way you post-process your photos, but photographers are often unaware that the tool even exists. Landscape photographer Thomas Heaton decided to make this 12-minute video to show how the tool can be invaluable for improving your photos.
Range Masking was introduced in October 2017 and it allows you to limit local adjustment tools to a certain range of colors or tones. It’s non-destructive and re-editable.
For his first example, Heaton uses the Graduated Filter tool to reduce the Exposure and Highlights of the sky above snowy mountains. But the problem is that it applies in equal amounts to the darker side of the sky as it does to the brighter side, and it darkens the mountaintops as well.
The solution is to use a Luminance Range Mask to only apply the edit to the brighter areas of the sky. This reduces the amount applied to the darker areas of the sky and instantly ignores the mountaintops at the same time.
For his second example, Heaton shows a photo in which he wanted to use a Radial Filter to boost the shadows of the dark cluster of trees. But this would by default introduce a glowing halo area in the frame that’s centered on the trees since it would equally affect the sky in the background.
So to avoid this issue, Heaton uses a Luminance Range Mask to target only the darker trees and hills while ignoring the brighter sky.
“If you didn’t know about this and you haven’t used this in Lightroom, give it a go,” Heaton says. “It transforms the look of the processing of your image, so you get a much more natural finish on your image.”
World Recycling Day Style Guide
In honor of World Recycling Day, we’ve got five wardrobe additions that are perfect for the trendy yet socially-conscious shopper. It’s 2019, and we are living in a time where being environmentally friendly has never been so important. When it comes to feeding your shopping addiction, it can be hard to satisfy the needs of both your inner fashionista and global warrior.
To make things easier for you, we picked these spring must-haves that your closet and the earth will love. These brands …