Every year I host a meet-up of Project 52 members. Part workshop, part social, full on fun. There is no fee for this, we share all expenses, so it is a very comfortable and relaxing time with the tribe.
This year we will also be doing a road trip to the north country. The itinerary is the same as this workshop that I planned last year. We have two 12-passenger vans, an aggressive plan, hotel rooms booked, and cameras ready.
Along the way we will be doing portraits, landscapes and still life. I hope to be able to post to the blog next week, and if I can it will probably be video. (I really need to do more video… so do you.) I will also hope that we can post some images from along the road. That week will be a mish-mash of posts, so bear with us as we try something new.
If you have ever taken a Lighting Essentials Workshop, or been a member of the Project 52 groups, you are welcome. I will post next years week when I get back. We will be going to Canyon Lands on that trip, as well as the Grand Canyon and Antelope Canyon. As I said, more to come.
Matt Mahurin is a a multi-discipline artist who uses film, photography, and illustration to create a pallet of amazing work. (Wiki)
From American Photo Mag:
“When you commission a graphic from Matt Mahurin, you never know what you’re going to get. Which is the whole point. Skipping around his toolbox, Mahurin uses whichever media combination will help him create charged images to illustrate difficult stories. No wonder, then, that publications such as Time, Rolling Stone and Men’s Journal hire him to make visual sense of complex topics like Abu Ghraib or the Wall Street crisis.
But while his technique is top-notch, editors and art directors come to Mahurin, based in New York City, for something beyond Photoshop expertise. “They come to me for my point of view,” says Mahurin, who began working with Photoshop soon after its launch in 1990 and personally executes every stage of his photo illustrations. “I walk the line of having an emotional take while working with the point of view of the article.”
Illustrator of the Week: Matt Mahurin
“Matt Mahurin is an illustrator, photographer and film director. He often uses images of himself as reference for his digitally-manipulated photo-illustrations, once posing as Sigmund Freud for a Time magazine cover. Mahurin is also well-known for a darkened image of OJ Simpson on the cover of Time, based on Simpson’s mugshot at the time of his arrest, which raised some controversy when it appeared next to the unaltered mug shot on the cover of Newsweek on the magazine racks.”
“Judd Apatow & Matt Mahurin join Mark Seliger to talk about photographing tragedy, finding humanity with comedy, and meeting their heroes. From Tom Waits to Seth Rogen and Steve Martin to Henri Cartier-Bresson, they share stories of collaborating throughout their careers.”
Photographers you should know is an ongoing weekly feature. You can find more by using the category link to the right of this article.
Nadav Kander shoots a lot of different subjects and I think he does them extremely well. I love his classic approach to composition, and the understated approach he uses to lighting and presentation. His imagery is clean, uncluttered and created with deliberation and attention to detail.
Nadav Kander (born 1961) is a London-based photographer, artist and director, known for his portraiture and landscapes. His work is included in the collections of the National Portrait Gallery, the Victoria and Albert Museum and other galleries and museums.
Nadav Kander: Radioactive ruins of secret Soviet towns: a fantastic set of images of places we may never see.
From his Rep Agency in Europe: We Folk.
From Nadav Kander’s American Representatives: Stockland Martel
From Nadav Kander’s Website.
Yesterday I spent the morning wandering around an area north of Phoenix for a few hours. Joined by photographers Dennis Mong and Miachelle DePiano, we took a loop through a beautiful part of central / north Arizona.
I had no expectations other than hoping I could capture a few shots of the fall colors that seem to last but a moment each Autumn. We took the I17 North to Camp Verde, had breakfast while hoping the very gray skies would open up with some sun, but moved on toward Strawberry, AZ when that didn’t materialize. As we went up the mountain toward Strawberry, Pine, and Payson, the sun began peeking out just a bit. The resulting soft light was really pretty.
I used two cameras, with only two lenses. The drive wasn’t formally constructed to do that, but it ended up that I used a moderate wide and a telephoto for all the images.
Nikon Df, 35MM f2.0
Canon 6D, 200MM f2.8L
So I either chose a moderate wide or a tighter tele for all the shots I did, not once changing the lenses on the two cameras. That forced me to look for tight or compressed images or things that could be presented within a wider context.
I may do this again in a week or so… 28mm on the DF and 135MM on the 6D and look for shots that fit those two specific image views. Or not… LOL. I do not have any idea what I will do in a couple of weeks.
5 Photographs with the Nikon Df and the 35MM f2:
5 Photographs from the Canon 6D, 200MM f2.8L.
The assignment was to illustrate a double truck (2 page spread) magazine story on the Origins of Halloween. Layout was furnished as a layered PSD file and the P52 students had to shoot TO that layout – reversed copy and all. The assignment was a great example of how photographers can take a single topic and make something totally different than other photographers. (NOTE: a few of our photographers are from areas in the world that do not celebrate Halloween. They chose something more in tune with their regions.)
The first time I saw Aaron Jones work was in a Communication Arts Magazine a long time ago. At that time he was in Portland (I believe) and the work was so amazingly incredible I will never forget that moment. Those images must have resonated with a lot of other folks because soon afterwards, I started seeing his work in national magazines and some very high end advertising. Soon after, he moved from Portland to San Francisco.
Jones invented a lighting tool that provided a unique and very interesting look. Over time, he was able to turn that lighting tool into a product, “The Hosemaster”.
Here is a good article on how the Hosemaster works.
Essentially the Hosemaster was a very fancy tool for light painting.
In the early 90’s Jones moved to Santa Fe and built a studio there. He continued to work as a commercial photographer for many more years. I am not sure what Jones is doing today. If anyone one knows, let me know. Thanks.