Posts By Brad Moore

LargeFormatPrinting

Fine Art Photography: Creating Large Format Prints with Steve Hansen
Make your fine art prints stand out from the pack! Join Steve Hansen for an in-depth look at all of the steps involved in creating a large format fine art print. In this class you’ll learn what makes a print a fine art print, how Steve takes a photo from capture to post production to print, the importance of a test print, and how to decide what type of paper, ink, and printer is best for your type of photographs. Throughout the class Steve shares tips, tricks, and techniques for working in Lightroom, Photoshop, and with all of the materials used in creating the final print. Creating a fine art print is all about bringing your vision to life in a print, and by exploring a variety of finishing options that fit your style you can add value to your work and make it stand out from all of the rest.

It’s our “Throwback Thursday” Class
In case you missed it first time around – It’s all about the edit! You’ve just had an awesome photo session and now you need to narrow it down to just the best ones. How do you do it? Join Peter Hurley as he walks you through a series of live headshot sessions and then talks through his editing process with the subjects at the end. Peter is joined throughout the class by Scott Kelby, and together they edit through multiple different shoots that Scott has brought in. Editing is all about narrowing shots down to just the ones that will go into your portfolio to help you get more work. Learn how to develop this muscle and find your own shabangs!

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Exploring the City with Hasselblad X1D
Hello everyone, My name is Ali Rajabi, I am Hasselblad Master and Photoshop Expert based in New York. Let me start my blog with the name of God, and a very special thanks to Scott who let me to write again as his guest blogger. Oh, It was 6 years ago that I wrote my first blog here and you know, Time flies !!!

Every person who is close to me, they know that I am a photographer who believes in a combination of tools and ideas. When you know more about the tools, it can help you to expand your projects and will reveal the creativity that is inside you. As you might know, the Hasselblad company introduced the first mirrorless medium format camera X1D (it is not yet fully developed) in the world some weeks ago. So, they asked me to take some shots with it and I was delighted to have this opportunity to work with this brand new camera that only a few people in the world have had a chance to test.

It was a 3-day project and I decided to take some photographs in the streets of New York based on the theme,”Freedom.” Although I had a very short period of time to work with the X1D, I did my best to explore the features of it. Honestly, I don’t want to have a deep dive into technical sides and compare it with other brands because you can find very useful articles about the technical features on the internet. But I am going to share my photos, impressions and experiences as a photographer. Although we know, none of us can run from the technical side, ever.

So lets start with some Q&A, and after that I invite you to see some behind the scenes pictures:

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I really liked the shades of light and working with colors, specially when I edited them in Camera Raw.

1) The company said X1D is a Game Changer, Is it ?
If I want to answer this question, we need to know more about the definition of the word “Game Changer.” To me, a game changer is a person or thing that will help and save you in a moment that nothing else can. They do magic in an appropriate time. So, I think Hasselblad X1D is a game changer between the cameras that produce high quality images. Moreover it is handy, light weight, and with its mirrorless feature it captures the exact moment of your scene. It keeps you in the dark in the situations that you don’t want to have the attention of your subjects, especially in the streets when you are taking picture of people. Imagine that you have a 50 megapixel sensor that is a mirrorless medium format and will produce a photo with 14 stops of dynamic range. It rocks.

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I took this shot at Bryant Park, There were lots of people who didn’t feel that I am taking their pictures. Anyway, I showed them the final Image.

2) Is it a camera for professionals or everyone?
If I want to be honest, even if you have a budget to buy it, it is not a camera for everybody, although I believe Hasselblad expanded their audience from the moment that they announced the X1D and it was some of the most positive feedback that I felt. I think it is a camera for a person who knows and wants to do a specific project. I can imagine this camera in the hands of fine art, landscape, fashion, portrait, street and wedding photographers. What I am saying is you should be a person who is completely aware of your skills and abilities as a photographer or as an artist. It is not the kind of camera that you pick up and it shoots as much as you can. Like tegh tegh tegh tegh….

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I was standing in the middle of 6th Ave, Manhattan with my tripod to capture the pedestrians.

3) Is it worth to pay $9000 to buy this camera?
This is a question that everybody asks. I know there are lots of different aspects to answer this question, but I want to keep it simple and answer it very short even if you have your own reasons to reject mine. When you want to go to the next level of your career, you need to pay for it and invest in it. It can be an investment on education, tools, or moving to a different location for the next chapter of your life. I believe the most important question is, is it the right moment for you to move to the NEXT LEVEL ? This is the question that you need to answer for yourself based on the situation that you are. When you find out, I am pretty sure you will decide what is best for you.

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Everything in this world can be Freedom for everybody, It depends that how do you define it.

4) Can you share some of your experiences about the specs of the X1D?
As a photographer I want to have a camera that fits in my hand perfectly, and the X1D is a well designed camera for this part of my taste. It is very handy and portable. The sensor that is located in the viewfinder is very useful for switching between the LCD panel and viewfinder itself. The camera startup is kind of slow right now but the people at Hasselblad told me, they will upgrade the firmware for this issue. The touch functionality on display is very fast, user friendly and the quality of LCD is perfect compared to previous Hasselblad products except the H6D. You only have one focus point and it works based on the contrast detection. There is no True Focus system on it.

The XCD lenses with integral lens shutter are 30mm, 45mm and 90mm with the speed of 60 minutes to 1/2000, but you will be able to use an adapter for using the H-system lenses. I can not talk about the battery life because it was a prototype camera. I really liked the way of changing white balance and ISO on the viewfinder. One of my main concerns was using the high ISO in low light situations, and when I compare it one on one with my Canon 5D Mark III it surprised me with the result. As you can see in the photo below in their 1:1 compare, the color and the quality on X1D is much better than Canon 5D Mark III. You can see the details in the shadows and the texts on the labels are clear. It should be.

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(X1D Left), (5D Mark III, Right) – ISO: 6400 , Focal Length: 36mm, F:8, 1/100,
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Even at the Low ISO:100, X1D (left) produces more accurate light & color with clear details. Although the focal length, shutter speed and ISO are the same, pay attention to the sparkle on the word “Radio” and street lamp.
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Always keep moving forward, you will never know what will happen.
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There is a difference between knowing the path and walking the path.

Anyway, these are just the result of my 3 days experiences with the prototype X1D. I am pretty sure Hasselblad will resolve every issue in the final release at the end of August or early September. You can find more details about it on the Hasselblad website. The only thing that I can emphasize is, continuity is the key of every success. You need to work hard to achieve the goals that you want in the world of photography and art. Tools are always necessary and you can not ignore this fact. But what is more important than the tools is the person who is using them. Be creative, be a hard worker and always update your knowledge in every aspect of your life.

 

The photos below are some behind the scenes from when I was shooting on the streets. Special thanks to Maryam Moradi who captured them.

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Best Wishes
-Ali Rajabi

You can see more of Ali’s work at Ali-Rajabi.com, and follow him on Instagram @nightblueman and @rajabiphotography, Twitter, and Facebook.

7PSTechniques

7 Photoshop Techniques Every Lightroom User Needs to Know with Scott Kelby
Photoshop is an invaluable tool for all Lightroom users, and in this class Scott Kelby teaches you the most important Photoshop techniques you’ll need to know to get the most out of it. Starting off with the basics of moving between Lightroom and Photoshop, Scott moves on to covering the fundamentals of working with selections and layers, and then builds up from there using various projects to demonstrate how it all comes together. Through the class you’ll learn how to remove distractions, how to blend layers with layer masks, how to work with high contrast images, the fundamentals of portrait retouching, how to get started with compositing, and how to deal with all kinds of problems you might encounter in your photographs. By the end of the class you’ll realize that Photoshop is not that hard when you focus on just the techniques you can’t do inside of Lightroom.

In Case You Missed It
Learn how the top commercial advertising pros create stunning composite portraits, with Joel Grimes. In this part one of a two-part series, Joel takes you behind the scenes and walks you through every aspect of his creative process. By the end of the class you’ll know exactly how the pros do it, and learn to shoot your portraits with more creativity and confidence than ever before!

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For those who may not know me, allow me to share a bit about myself. I’m the Executive Director of American Society of Media Photographers (ASMP), this country’s leading trade association representing independent photographers working across commercial and editorial genres. I’m also an internationally known visual journalist with extensive print, broadcast, and online journalism experience, including positions as Managing Editor for Multimedia at The Washington Post, and Director of Photography at the National Geographic Society. Along the way, I have created, directed, and edited visual journalism projects that have earned Pulitzer Prizes, as well as EMMY, Peabody, and Edward R. Murrow awards.

Today I want to discuss an important topic that photographers deal with every day… copyright infringements. We at ASMP have been working together with other organizations to come up with a viable solution to help photographers with this issue.

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Why A Small Claims Solution Must Become Law
To effectively address copyright infringements in the digital age, we must start by acknowledging the realities of our economy and legal system, as they exist today. It is not a stretch to say under current copyright law, professional photographers all too often have rights, but no remedies, when it comes to dealing with copyright infringements.

While the digital age has provided us with amazing tools and new opportunities to create, market, produce and distribute imagery to a global marketplace, it has also opened up a Pandora’s box when it comes to the challenge of enforcing copyright holder protections for photographers and other visual creators, as small business owners.

Professional photographers are finding it very difficult to maintain control of their work in a world when images travel across the globe in an instant upon release into the digital marketplace. The ability to earn a living depends on the ability to license work and maintain the integrity of that process through the life of an image. Today, an image may “go viral” after initial publication and licensing, immediately being downloaded and re-posted repeatedly, but traveling instantaneously and globally without accompanying metadata that details appropriate credit and licensing terms. Because this information is disassociated after first publication, those web publishers seeking to license images legitimately may not be able to locate the rights holder or ascertain the appropriate licensing terms. Further, compounding the problem, we live in a world when more than one generation has been raised with the idea that access to Internet content, including images, should be free and completely unfettered. All undermines the idea of licensing as a means to securing a livelihood from originally created images.

Infringements have proliferated and it is now possible for a single popular image to generate hundreds, if not thousands, of infringements on websites all across the Internet. Responding with takedown requests under terms of the Digital Millennium Copyright Act translates into a giant game of “Whack a Mole” that photographers cannot possibly play successfully. Many of our ASMP members experience the futility of takedown notices as an enforcement vehicle when infringements resurface on the same websites within minutes of a takedown order being carried out.

Currently, the only other recourse is to pursue infringement resolutions in Federal Court but that too is a highly problematic solution. For starters, most attorneys will not bring such a case forward unless the initial value of the infringements is at least $30,000.00 according to a recent ABA study. Secondly, the cost of litigating such cases can be prohibitive for visual creators, in terms of both time and money. A recent estimate put the average cost to pursue an infringement case in Federal Court at about $350,000.00 in legal fees. That is a cost few can bear, particularly when available statutory damage resolutions may not even rise to that level.

Since most visual creators are individual small business owners, they lack the time and resources to face off against deep-pocketed infringers who may hope to exhaust time, money, and resolve by extending cases through complication and delay in Federal Court.

These factors all make the current system untenable for photographers, graphic artists, and other individual visual creators seeking the protections promised under the Constitution to copyright holders for their intellectual property.

To address this issue head-on, American Society of Media Photographers (ASMP) has been working for several years with other organizations representing visual creators to get Congress to create a small claims tribunal as alternative to Federal Court to resolve infringements. Earlier this year, Michael Klipper, ASMP’s outside counsel for advocacy, authored a white paper making the case for this solution, working in conjunction with American Photographic Artists (APA), Digital Media Licensing Association (DMLA), Graphic Artists Guild (GAG), Nature Photographers of North America (NANPA), National Press Photographers Association (NPPA) and Professional Photographers of America (PPA). Together, we have pursued conversations with the U.S. Copyright Office to support their report issued in 2013 that made a persuasive argument for the idea, and we have been talking with House Judiciary Committee Members who have legislative jurisdiction over intellectual property matters.

The years of persistence engagement have now borne fruit with the introduction of H.R. 5757 “Copyright Alternative in Small Claims Enforcement (CASE) Act of 2016”, a bill introduced by Rep. Hakeem Jeffries (D-NY) and co-sponsored by Rep. Tom Marino (R-PA) to authorize establishment of a small claims board within the U.S. Copyright Office to resolve infringement disputes.

We are also anticipating introduction of another version by Rep. Judy Chu (D-CA) after the August recess, and we welcome these developments as an important next step in process we hope leads to much needed relief for photographers, videographers, graphic designers, illustrators, other visual artists, and their licensing representatives.

We are certainly grateful for these Members’ interest, and their willingness to push for legislation that would provide fair remedies for visual creators while also ensuring that the copyright system continues to strike a fair balance between the interests of consumers and creators, an idea embodied in U.S. copyright law from the founding of our republic.

From ASMP’s perspective, the key provisions of the H.R. 5757 are these:

  • Creates a Board within the Copyright Office to hear claims that do not exceed $30,000, with adjudicators with experience in copyright law and alternative dispute resolution.
  • Provides a less formal, streamlined process where legal representation is optional, where proceedings are conducted via video and the parties need not appear in person at the Copyright Office.
  • In order to satisfy constitutional norms, allows defendants upon receiving notice, to opt out within a certain time frame and choose federal court instead.
  • Enables the court to not only decide copyright infringement cases, but contractual issues related to the infringement.
  • Empowers the Board to award actual damages, profits, or limited statutory damages.
  • Allows defendants to raise all defenses available in federal court, including fair use.

During the forthcoming legislative process, ASMP will urge Congress to adopt additional provisions that ASMP believes are necessary to the overall success of any small claims process. For example, under H.R. 5757, a photographer or other claimant who is confronted with an uncooperative defendant who refuses to abide by a decision of the Small Claims Board must go the federal court in the District of Columbia to enforce that decision. This is a major problem for small copyright claimants who live outside the District of Columbia and would be forced to appear and/or retain local counsel to seek enforcement of such a decision. We believe it is imperative that any forthcoming bill must provide that such enforcement actions must not be so limited and should be able to be brought in federal courts more convenient to the claimants.

ASMP looks forward to working with Representatives Jeffries, Marino, and Chu as Congress goes about the critical task of ensuring that the creative works of photographers, illustrators, graphic designers and other visual artists are appropriately protected so that they are incentivized to continue producing works that change how people see their world.

If you’d like more information about this topic and would like to find out what you can do to help, please take a minute to read through this Open Letter To 2016 Political Candidates.

To find out more about ASMP, please visit ASMP.org, and you can follow Tom on Facebook, Twitter, and LinkedIn.

FlattoFlattering

From Flat to Flattering: Lighting Tricks from a Hollywood Set with Mike Kubeisy
Take your photography from flat to flattering! Join Mike Kubeisy as he teaches you a new way to look at light and think about lighting your subjects. We capture images with two dimensional tool, but you can learn how to add a third dimension to your photographs by controlling your lighting to add depth, introduce texture, and make your subjects look fantastic. As Mike takes you through each lighting setup, from in the studio to DIY setups at home, he shares invaluable tips and tricks he’s learned from years of shooting celebrities on Hollywood sets. By the end of the class you’ll have a new set of techniques to apply to your own work.

In Case You Missed It
Capturing great portraits is all about understanding how to manipulate the quality, quantity, and direction of light. Learn how the pros use a variety of light shaping tools to create fantastic portraits every time, and in any kind of situation with Tony Corbell in Simple Lighting Techniques for Photographers!

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Hey everyone, we’re Oxen Made, a small production company based in Tampa, FL. We wanted to start by saying that it’s a privilege to be asked to be a part of Scott’s blog as we’ve been a follower and admirer of his for probably 10 years or so.

Oxen is a small company that focuses on commercial and branded content with a few corporate films thrown in from time to time. We choose to be small intentionally and put a focus on growing and supporting the local filmmaking community by using the tremendous freelancers available in the area. Everyone has different levels of experience or specialties and we love the challenge of finding fresh talent specific to each job; it helps keep us on our toes. Finding a new crew can sometimes mean we aren’t the most affordable option, but by finding exactly the right crew for each job we always offer the best final product.

We tend to handle projects from creative conception all the way through to the final edit. Although we work the full spectrum, we can also work in anonymity along with other video partners assisting as a standalone production or post-production collaborator. Tampa is a small market and we’ve been fortunate to meet some of the most creative individuals in the industry. Those connections help us get the job done right while allowing us to help others as well; It’s all about collaboration not competition. We’re only about a year old but are very proud of what we’ve put together in that time.

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One of our favorite parts of the job is experimenting with new equipment. Since camera technology is changing so fast we have yet to commit big money to a camera system, mostly because it’ll be obsolete in a couple years. When we started the company we purchased a Sony FS7 as a basic in house 4K camera to have for internal and lower budget projects but find ourselves renting for the majority of our projects. Renting is especially rewarding because it allows us to test cameras without sinking a small fortune into them. Recently we’ve used the Canon C300 MKll, the new Panasonic VariCam LT and we just got back from a week long shoot in Colorado where we tested out the Sony FS5 recording 12-bit RAW to Convergent Design’s Odyssey 7Q+.

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We also make an effort to use new technologies to make the filmmaking process easier for both ourselves and our clients. Two of our favorite things we’re currently using are for the pre and post production processes are StudioBinder and Frame IO. StudioBinder is our go to resource for creating and managing our call sheets. If you’ve has ever made a call sheet and used any kind of cringe worthy excel spreadsheet then stop reading this (right now) and go sign up for StudioBinder (right now), trust us you won’t be disappointed. Our second essential resource is Frame IO; it’s used to collaborate with our clients during the edit process, which cuts out a lot of time. Think of it as a cross between Dropbox and Basecamp, it allows for a streamlined method for the client to provide their feedback. One of the most notable features is that they can make frame accurate comments as well as make annotations, download, share and invite other collaborators. Recently the awesome people at Frame IO made it possible to integrate feedback and comments directly inside of Premiere (our NLE [Non-Linear Editing software] of choice) which is HUGE (they do have something for Final Cut Pro X also). They also just released a standalone iOS version of Frame IO which took home a 2016 Apple Design Award.

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Providing value in addition to the content we create is what we go out of our way to do with all of our clients. Since we know all of the in’s and outs of multiple camera platforms, NLE’s and more, we can offer incredible value by implementing our knowledge to specifically meet the unique needs of every client.

Thanks for reading and be sure to keep an eye on our blog where our next post will be discussing our experience shooting RAW with the FS5. Feel free to reach out with any questions and give us a follow on Facebook, Instagram, Vimeo, Twitter, and LinkedIn!

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