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  • Category Archives Guest Blogger

    I’m writing this post in the wake of the devastating flood that swept through my town of Boulder, Colorado just over two weeks ago.  Like so many others, my family endured the hardship of fighting rising floodwaters only to see them consume 50% of our home.  As if this weren't challenging enough, the City of Boulder drainage system backed up, filling our basement and part of our first level with sewage.  We spent nearly two weeks without the ability to shower, wash clothes, clean dishes, or cook food.  Although my family was shaken by the impact of the flood, I can already feel hope beginning to wash over me.  I attribute this to the love and support of our family and friends and to the resiliency of the creative human spirit.  The flood is giving me a fresh perspective and helping to crystallize several…

    [Note from Brad: This post contains a little PG-13 language/imagery.]

    I would first like to thank Scott and Brad for inviting me to be today’s guest blogger… it’s quite an honor and hopefully I won’t make them regret asking me. Like most of us here, I am an image guy and words are my enemy. So, I will do my best to finish a thought, not use run-on sentences, and in the end, shed some light on what I do as a digital artist.

    For those of you who don’t know me or my work, let me give you the elevator ride explanation of who I am. I have been in the business of making images for high profile clients, ad agencies, and celebrities for over 15 years. After graduating from the University of Michigan, I cut my teeth in a small retouching studio and worked my way up through studio/agency life until venturing out on my own. I consider myself a digital artist, who’s specialty is creating hybrid images. This is done by combining all of my skill sets into one image, CGI, illustration and photography.

    One of the most rewarding aspects of what I do is collaborating with some the best photographers in the world. Working with another artist on a project can be very rewarding, especially when you can combine your talents and create something better than you could have alone. I have had the luxury of working with some great photographers and I would like to shed some light on how the whole process works. Keep in mind that there is no one formula for working together, as we all know, people are very different and so is my approach when working with photographers. The best way to explore this topic is to use real world examples and talk a little bit about approach, collaboration and promotion.


    Photos by Tim Tadder

    I will start off with a photographer who has done the guest blog before and who has inspired me to be a better artist. That guy is Tim Tadder. Tim and I met a few years ago and we both felt an instant connection in our work… wow, that sounded more like a “bromance” story, not that there is anything wrong with that. Anyways, Tim and I have come to rely on each other for creative inspiration and as sounding boards for ideas.


    Photo by Tim Tadder

    Photo by Claude Bauschinger If you decide to read about portrait photography, you’ll find a lot about cameras, lenses, lighting setups, and tricks. Most of that misses the most important ingredient of all -- your relationship with the subject, so frequently overlooked yet just as important as the technical mumbo-jumbo. I was going to call this post “Why I Use Wide-Angle Lenses and Get Up In People’s Faces,” but thought better of it because there’s so much more involved. For me, meeting and talking to my subjects during a shoot is a big reason why I love taking portraits. The camera settings and technical considerations melt away (or, more often, are left to muscle memory), and it becomes two new friends getting to know each other. Since taking portraits is an active process, “taking” doesn’t adequately describe what happens. It’s collaborative, and when it’s…

    Photo by Mike Corrado of Nikon USA Love and Pictures... Around this time, during that fateful fall 12 years ago, Mike Wernick came into the Giant Polaroid studio, then on 2nd St., near the Bowery. He had walked over from his firehouse, Ladder Nine-Engine Thirty Three, tattered, dust laden bunker gear in hand. He got up on the stage we had built for subjects to stand in front of the behemoth camera known as Moby C, the 40x80, the world’s only Giant Polaroid. The camera couldn’t be focused. It was the subject who had to be focused, shuffling, every so slightly, back and forth until their eyes resided within the slimmest of depths of field. The lights would go out. In the darkness, 25,000 watt-seconds of strobe flashed, like the briefest blare of the trumpet section of a mighty orchestra. Then all returned to…

    Hi everyone! Aaron Blaise here. For those that don’t know who I am… I’ve been in the animation industry for almost 25 years now with 21 of those years spent at Walt Disney Feature Animation. I was lucky enough to have contributed to many of Disney’s latest classics including Beauty and the Beast, Aladdin, Lion King, Pocahontas, and Mulan. I also co-directed Brother Bear. In the last few years I’ve been developing several films for various companies by way of story development and visual development/concept design. I’ve been a guest on Photoshop User TV a couple of times and will be an instructor at the upcoming Photoshop World event in Las Vegas! (That WILL be fun!) There…now that I got the intro out of the way, I’d like to share with you the latest project my directing partner, Chuck Williams and myself have been…

    Wow, what a great honor to be this week’s Guest Blogger – thanks Scott! Folks who know me personally know that I’ve never met a soapbox that I didn’t love so I’ll try to keep today’s musing short and succinct.  I’ll have a chance to pontificate at length at this year’s Photoshop World and encourage all attendees to try to catch both of my information packed seminars. On Thursday, September 5th I’ll be presenting The Ten Commandments of Cinematic Lighting.  Although trying to distill thirty years of hard-won Hollywood and high fashion lighting experience down to an hour’s worth of easily digestible tips is an almost impossible task, I’ve taken my best shot at it.  This isn’t a class for hardware fetishists but rather a philosophical primer on the emotional and practical application of any artificial light source, be it large, small, classic, current,…

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