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PIX Feed LA
A look through Helmut Newton’s contact sheet http://ow.ly/ufdpi (NSFW) Yup, it is #Newton.
Elle photographer Gilles Bensimon’s work on display at Sofitel
Gilles Bensimon’s photographs celebrating women are showing at the Sofitel Hotel. Included are portraits of Kate Winslet, Charlize Theron and Audrey Hepburn.
((Via LA Times))
S t o r m s
If you haven’t had a chance to check out Richard Renaldi’s project Touching Strangers you should take a second and check it out. Renaldi’s goal for the series was to create intimate moments between complete strangers.
I must say, if you can make complete strangers relax around each enough for a portrait, you can photograph any difficult model that ever comes your way.
He recently completed a kickstarter campaign to fund his book of the same name that will be out sometime in Spring 2014.
Listen to his NPR interview here.
We have signage people! Our front sign is nearly complete! Be on the lookout next time you’re driving down La Brea!
Check out our new collection of the best and greatest of Canon.
Here is a list of what we just got in!
Call us today to rent and test out one of these awesome new Canon products! ((I know I’m dying to test out the 8-15 variable fisheye! So cool!))
And don’t forget to drop by our new location and say hi! Located just down the road from our pervious spot just past Olympic.
1109 S La Brea Ave, Los Angeles, CA
After the firestorm of controversy regarding allegations and confirmation of some of the photography communities’ best and brightest, it seems offenders Jasmine Star and Doug Gordon have removed themselves from the WPPI 2014 speakers list.
After reading up briefly, my first reaction to Jasmine Star’s acts of twitter plagiarism left me wondering if it really was such a big deal or were people just chomping at the bit to take down this popular heavy hitter. After all, conferences that she speaks at tend to pack up pretty fast— numbering in the hundreds and even thousands(of attendees).
All opinions aside, she’s hailed as a marketing genius and social media is a big part of that. Maybe consider this a warning to think twice before you use other people’s words because the internet is not anonymous anymore. It may start out innocent enough, but bad deeds have a way of coming back to haunt us.
Here’s a quick refresher on how to protect your copyrights.
Also see Jasmine Star’s public apology.
So, what makes these different from the rest?
Taken from Profoto’s Blog Post
First of all, the sturdy yet collapsible squircle-shaped metal frame is equipped with two ergonomically shaped handles. This makes the reflectors much easier to fold and hold in various positions. Also, the Collapsible Reflectors have a squircle shape that is quite unique.
Secondly, we put a lot of effort into making sure our Collapsible Reflectors are as tough and reliable as possible. They are designed with high-quality fabrics and the frame itself is far tougher and durable than your average reflector.
Last but not least, Profoto’s Collapsible Reflectors are available in no less than ten different versions. Four types of two-sided reflectors are available: Silver/White, Sunsilver/White, Gold/White & Matte Black/White. There is also a translucent screen available to be used as a diffuser. Each of these is available in two sizes: Medium (80 cm /32’’) and Large (120 cm /47”).
Los Angeles Times Critic’s Choice
Review: Christopher Colville works in flashes of inspiration
By Leah Ollman
September 26, 2013
Christopher Colville redefines “flash” photography in his stirring series of “Meditations” at Duncan Miller.
Working at night in the desert outside Phoenix, Colville places small objects he has brought or gathered on-site onto sheets of silver gelatin photo paper. He then sprinkles a bit of gunpowder onto the arrangements and ignites them. With a small bang, light, heat and force birth an image.
The prints are modest in size (as little as 2-1/4 inches per side) and dense with suggestion. Shadowed specks freckle and sometimes pit the page. Swirls of soft gray and glowing light turn liquid or atmospheric. Colville’s chance-driven process produces tonalities evoking charcoal, graphite, rust, smoke, ash. The pictures feel profoundly elemental. They are serendipitous. And gorgeous.
Cai Guo-Qiang’s gunpowder drawings come naturally to mind, as do early modernist experiments in photographic abstraction — solarized prints and photograms — and any number of postwar painters set on violating the sanctity of the picture plane.
Colville stages a kind of fleeting violence, a performance that leaves an intriguing trace. For all the noise and clamor of their creation, the works feel deeply reverential and intimate. They point to the underlying unity of the micro- and macrocosmic, as well as the botanical, biological and especially the celestial.
Several of the most beautiful images resemble grains of sand blown across the paper — grains of sand in which, as per Blake, we can see the world.
Copyright 2013, The Los Angeles Times
This exhibition is on display through November 2. Open Wednesday-Saturday, 11-6.
Certainly, one thing I forgot to consider about Adobe switching to a cloud service is the myriad of cyber attacks that seem to be omnipresent in other places where your personal data is concerned. We’ve all heard horror stories of Twitter, Facebook, and even sometimes banking companies being compromised that usually prompt us to change our password and hope to heaven none of our personal data falls into the wrong hands.
Today Adobe confirmed that 2.9 million accounts were unlawfully accessed and important information was gathered such as account IDs, passwords, credit card numbers, expiration dates, ect. They will be contacting the compromised accounts and are taking proper steps to insure a resolution to this matter.
Always take steps to protect your identity, too! Doing simple things like changing your password every few months, and clearing your browsing data could help keep your information safe and avoid a world of headache.
Announcing the new GoPro HERO3+ ! This leaner, meaner model has some new features such as 30% stronger battery life, improved audio, and sharper images with less distortions. Check out some more specs and pre order here
Check out this interesting piece on sexism in editorial photography.
Gillian Wearing, Self Portrait as My Uncle, 2003
On Sexism in Editorial Photography
Disclaimer: I am a white, cis male photographer. I don’t claim to speak for anyone but myself or those I’ve been in direct conversation with. In this post I will reflect more broadly and hypothesize, but I can only speak to my own experience. I end up talking a lot about myself in this post because that’s my point of entry into this issue and it’s the only way I know how to talk about it. It’s not total narcissism, it’s just what I know. This post is meant to initiate a broader conversation and nothing would make me happier to have many different types of people call bullshit on the things I’m saying and setting the record straight. So please, reblog, repost, rewrite, respond.
It would seem that the biggest magazines with the most hiring power hire mostly male photographers. This post is meant to begin a discussion on the how’s and why’s of sexism in the commissioned photography world. Note that this is very specifically about editorial/commercial photography, and not the art world or fine art photography world (although those questions and concerns are totally valid and should be addressed!).
It seems that magazines tend to hire more men than women, and I want to reflect on the conditions that support (willingly or unwillingly) this tendency. My perspective on the issue is somewhat limited; I’ve been working in the industry for only five years and most of my friends that do this work are men (by virtue of the fact that I was in a group of friends that were all friends when we started doing this work (Adam, Jake, Joe and TJ initially, and the circle grew over the years with Geordie, Thomas, Ryan and others)). I believe that I am complicit in the inequality precisely because I am friends with mostly men that do this kind of work and we tend to present ourselves as a crew of available freelancers, a tight circle of friends.
I identify as a feminist, and have always felt a strong obligation to inquire about perceived imbalances in my most immediate worlds, this being a major one that I participate in. Not only do I participate in it, but it’s how I make money. This is about a power imbalance made more complicated by its very direct relationship to capital. It’s been weighing heavily on me for awhile and I’ve been talking about it with friends, but when it came up again recently in a conversation with Liz, I decided to reach out to photo editors and magazines to ask for their perspective and insight. I also started a dialog with my core group of photo friends to get their perspective. Here is some of the issues we are working with, and I’d like to open it up to the community at large:
-A couple photo editors mentioned that they just didn’t know female photographers that fit the aesthetic of their magazine. To me this a chicken and the egg situation - a lot of male photographers that consistently work for magazines have developed an aesthetic specifically in response to those clients. There’s no apparent reason why a woman wouldn’t respond the same way. To further complicate this issue, one editor mentioned that most media, art and literature is made to fit a masculine perspective, and perhaps that’s why men are more “apt” at photographing that content. Again, not my opinion necessarily, but a perspective that was brought to my attention.
-On the other side of aesthetic content is the logistical management of shoots. In my own personal experience shooting high-profile people and situations, shoots can get tense quickly, and you have to be able to be aggressive and assertive in a time-crunch situation. That is in no way meant to suggest that women can’t do that, but here is where sexism rears its ugly head - if women are perceived as being less able to handle those situations, that can definitely factor into the decision to hire men.
-On a similar note, many people enter the industry through assisting. I’ve heard through many people that it’s very difficult to get consistent assisting work as a woman because of blatantly sexist and untrue bullshit (male photographers suggesting that they don’t want to hire women because they can’t keep up physically or emotionally).
-Something that a couple of editors across different magazines mentioned to me, and always with a preface of “this is so painful to admit,” is that men are more aggressive about establishing new clients. This involves everything from emailing, to setting up meetings, to their behavior in those meetings. I’m going to play devil’s advocate here again and point out that this is paradigmatic - if men are being hired, it’s clear to other men that they can do this line of work. It encourages them to be aggressive. A woman who is new to the industry might be discouraged by what she sees as a hiring imbalance and that might reflect in her being less aggressive about getting the work. Again, I don’t know if any of this is true or not, I’m just trying to work it out.
-Most photo editors I know are women. I haven’t taken a hard survey, but it seems very likely that an overwhelming majority of photo editors everywhere are women. A couple female photo editors that I talked to mentioned, albeit skeptically, that maybe this is because women are “natural nurturers” and the hirer/hired power would then break down as women/men, respectively. There also seems to be a lot more women at ad agencies, photo agencies, and in creative positions. I’d be curious to see a snapshot of the industry more broadly, to see if the gender disparity is more broadly pervasive. But irregardless, the face of the content being produced, the actual photographs, are shot by photographers, who tend to be male and who have the most visible position in this kind of exchange.
-I’m personally skeptical of the nurturer explanation. This is my opinion, but I think larger systems of oppression, like sexism and misogyny, replicate themselves very effectively on smaller scales. You see this in niche industries and subcultures all the time, even when there are progressive attitudes and a general self-awareness about inequality. I strongly believe that at the end of the day, the magazine world is sexist because of…sexism!
-When reflecting on all of our photo college programs, at least half of our classmates were women. So at the point of entry into the field, there was no perceived gender disparity.
-I am partially to blame. My friends are partially to blame. We identify as a crew of hirable people in a spirit of collectivism but in a perverse twist, we are complicit in the lack of visibility for new female photographers. If we are all white dudes shooting for the same magazines and repping each other’s work (on visible platforms like Tumblr), how do people get added to that mix? On some level, this is exactly what we wanted; our strategy of promotion was meant to be antithetical to the crass “me me me,” properieity, self-promoting trends that we perceived in the industry a few years ago. I came from DIY punk and it always made sense to help your friends and work collectively. That serves the greater good and yourself in the long run. But it has back-fired, and now that we are all working consistently, our scope is too narrow. We haven’t done a good job of including women, and when new people have entered the circle, it’s been other white men. I also don’t mean to suggest that we are getting all the work or we are the most visible working magazine photographers, because that’s actually not even close to true, but we have created an internal echo-chamber without being self-aware about it. That’s something we can change.
-Magazines took a risk with me at some point, and for a lot of my friends. There was no “clear” reason I should have been hired on those initial assignments. And that’s the beauty of photo editing. A good photo editor will recognize the potential in someone’s work that can translate to a really interesting assignment. Why are more magazines not taking that kind of risk with women?
These are some of the issues. Now we have to consider solutions, and that’s where I think putting this out to the community can have the most effective influence. Currently a group of us are working on a list of killer women photographers that would do great work for magazines (while being very aware of our position as potential validators of this list). I’ll post that soon as a resource to photo editors and creatives who are looking to hire more women. There are other issues that are somewhat related - are there enough queer photographers working, or photographers of color? In attempt not to conflate all of those things into one (the totalizing effect of “other-ing” everyone who is not white, cis male, straight), I’ve made this post specifically about sexism. But obviously those issues are real and I hope others will talk about them.
And maybe an obvious solution is to put forth a challenge to those with hiring power - hire women. As much as you hire men. Or more.
And to other male photographers that are working today (and women of course) - support female photographers, recommend them for work when you can’t take a job, hire young women to assist who are entering the field so that they can get experience.
So look for that list of links soon. And I’m also talking to a few other photo editors about doing more formal interviews/discussions which will be posted online.
Thanks for reading, keep the conversation going!
Did anyone get to check out Glow in Santa Monica?
….Photographers live for the light. It inspires and nurtures our imaginations. And for one night every two to three years in Santa Monica photographers and visitors alike can seek out the light in luminescent public art installations at an event called Glow… ((read the rest here))
Say hello to the Nikon 6mm f/2.8 Nikkor AI Fisheye Lens. All fisheyes shutter in comparison to this 1970s beast. 12 elements in 9 groups and 220 degrees of angled view, this baby weighs in at 11.5 pounds!
Focal length/Aperture: 6mm f/2.8
Lens construction: 12 elements in 9 groups
Picture angle: 220°
Aperture scale: f/2.8-f/22 on’ both standard and aperture-direct-readout scales
Exposure measurement: Via full aperture method; meter coupling ridge provided for Al cameras and meter coupling shoe for non-AI cameras
Distance scale: Graduated in meters and feet from 0.25m (0.9 ft.) to infinity (oo)
Weight : 5,200g
Dimensions: 236mm dia. x 171mm long (overall); 160mm extension from lens flange
Filters: Built-in: skylight (L1BC), medium yellow (Y 48), deep yellow (Y52); orange (056), and red (R60)
Front lens cap: Slip-on
Lens hood : None; Lens case :Trunk case
Usable teleconverter: TC-200, TC-201
And it can be all yours for the bargain price of 94,050.00 on Ebay. ((Link))