As the majority of us would concur, there are many forms of art. Some are traditional and others are not. Some are looked at with respect, others with a bit of disdaine. And on occasion, some have both fans and critics on both side. That is surely the case with street art.
Personally, I like it and think that fans as well as those who dismiss right away do might benefit from giving it a shot. That’s where publications like A. Tarantino’s “Seattle Street Art” (volumes 1 though 3) come in.
The photography and stories behind these books, available in both paperback and e-book, is really something to admire.
You can find out more at the official seattlesreetart.com.
As you probably realize by now, I enjoy being artistic with my photos. This being the case, one of the tools I find interesting is what are commonly referred to as gobos. I mentioned these in another post as any material that is placed in between the light and the subject to make a pattern out of shadows.
The biggest problem with today’s gobos are that they are big, heavy and tend to allow for just a single pattern making them inconvenient and costly. I recently invented what I call my “Universal Gobo” that solves ever one of these problems.
You can buy our Do It Yourself guide for just $3.00 and the materials should cost you less than $20. This is a lot nicer than paying around $20 each for those available in stores and over the web.
For the first time, now offered exclusively by the arts services company Three Rivers Creative Arts, people can get professional photos taken from any location at any time! All you need is a reliable connection to the web and either a webcam or device with video camera like a cell phone.
The process includes a number of steps and a propriety cocktail of software and tools but it can be done quickly and easily at a rather reasonable rate.
Whether you need headshots for a model portfolio or just want some good ones to send to relatives, it can be arranged.
For more details, see the remote photography page.
Form time to time, most of us photography enthusiasts mess up a shot with high or low exposure. Our first instinct might be “oh, crap!” but once you step away from the moment for a bit, you could realize that a tiny bit of “incorrect” exposure isn’t always a bad thing.
See the charts below. They show a fairly significant swing in a typical meter. But, let’s suppose your shots hit less that 1 on either side, or even just the first dot. You have two options:
- Easily adjust in basically any editing program.
- Go with it because it might just produce a cool shot.
The photo on the right-hand side is one I took at Station Square in Pittsburgh but I used editing software to make the other two so as to give examples of extremely over and under exposed shots.
Here are a few shots people just went with or even did on purpose:
Disclaimer: This post is not intended to offend it was just a catchy title bases on a slogan from Trix cereal that was part of many of childhoods.
Now with that said…
One thing that always dumbfounds me is when people make things harder than they have to be. We see this in all walks of life and across ages and cultures. As a person who works with portrait and model photography, I’ve noticed this when is comes to outside shooting sessions.
I have noticed fellow shooters lugging around all sort of contraptions from soft boxes to reflectors and everything in between for a shoot in the local park, at a pool or whatever setting it may be. The problem it, it’s not necessary and in some cases might even be a negative.
Simply put, NOTHING, and I mean nothing, beats working with natural light, especially during the “golden hour” period. It gives off a glow that just can’t be replicated with strobe units and reflecting devices. Basically, because it looks -natural.
No disrespect to people who do use studio fixtures outdoors. This is my opinion and this is art. Far be it for me to ever say anyone’s art is “wrong” in any way. Do what you do and if you are satisfied, fine.
But I have run into several shooters who instantly get defensive or cop an attitude about it. Some would state that people only prefer natural light because they don’t know what they are doing with studio gear. My response would be that perhaps those who want studio fixtures in outdoor shots don’t know how to use natural light. In fact, I would suggest that it’s harder to work with what is available rather than having something at your hands to manipulate things.
If you shoot natural light (whether or not you do studio work too) and would like to join a group that uses this method, check out Natural Light Photographers International.
A lot of my recent book writing ventures focus on the electronic format and have included how-to style guides on artistic concepts. But I am excited to have just competed a book for display purposes with art pieces called “Optical Artistry.” Check out some sample pages I have added to this post and buying option on my author site.
The other day I was walking around town and thought for a moment, boy there are a lot of WI-FI signals out there. They cross through our skies and weave through one another, all behind the scenes and invisible to the human eyes.
What is we could see them? What might they look like?
As it turns out, a fantastic artist Nickolay Lamm worked with M. Browning Vogel, who has a Ph.D. in Astrobiology and is a former NASA employee. Together, they created a visual representation of what the world might look like if WI-FI was visible.
Check out some of the stunning shots below.