the photography thread.

[essal]

Been shooting a bit of disposable cameras lately. I mainly just point and shoot or shoot when drunk. Sorry if these are fucking huge...

[Shawn]

some older digital skating shots...

sorry about the size of the images...







www.shawncollie.com

[Mooley]

in no particular order

[saucy ragu]

Damn Mooley, love those. What film are you using, particularly for the second through fourth shots? If it's alright to ask that is.

[Randozzi]

Good stuff man! Keep it up!

Have to photo-vent a little bit. I've been working at a bookstore for about two years now. The main manager has let me have my camera on my shoulder and shoot pretty much whenever I wanted. I didn't abuse or even use this privileged all that much. Did photograph a couple customers with their permission but for the most part I just shot how and whenever the mood hit me but did not let it effect my productivity. In March the store even paid me to shoot a party when we got store of the year.
Yesterday the main manager pulled me aside and asked if I took photos during the store meeting a few days before, told him yes I did. Someone didn't like that and said it was an invasion of privacy. Because of that complaint I can not shoot or have my camera on me when I am working.
I'm kind of pissed because the person didn't come to me and made this a management issue. It also puts a stop to a project I had started when I start at the joint. Had been hoping to get enough shots together to go to the company and see if they would like to buy the set for promotional/internal use. Still had about a dozen or so images I wanted to get. Even more so since I have the Hasselblad to have fun with in there. I do have some images that I like but not enough variety to present to the company as a complete set.
It's depressing that the person made this an issue when he/she could have just talked with me.

[Paco Supreme]

Some people are weird/shy around that kind of thing, it sucks that because of it it's ended something you were working toward.

[Matze]

maybe it's a good thing if you apologize to the person and be the bigger person, although that does not help you with the project. the blad will find its own way into new projects.

I made some unexpected cash with working in berlin the past 6 months and just bought a mamiya 7ii ... hope I'm done with buying cameras for a while. shit is addictive.

looked up some reviews on youtube and found this guys channel https://negativefeedback.co.uk/.

he's into palace, travelling and film cameras, which is a good combination. watched a few of his episodes and he made me want to go out and shoot badly. do you guys have any good links o videos/instagrams or blogs that are great?

[eranka]

Was visiting Glasgow a couple months back and got to skate the new Riverside museum spot

[Mooley]

Damn Mooley, love those. What film are you using, particularly for the second through fourth shots? If it's alright to ask that is.

Thanks man, those ones were Ektar.

Good stuff man! Keep it up!

Have to photo-vent a little bit. I've been working at a bookstore for about two years now...

That sucks about the series coming to an abrupt end. Not easy to slide into that kind of project, but hopefully something comes along to kick you back into gear.

maybe it's a good thing if you apologize to the person and be the bigger person, although that does not help you with the project. the blad will find its own way into new projects.

I made some unexpected cash with working in berlin the past 6 months and just bought a mamiya 7ii ... hope I'm done with buying cameras for a while. shit is addictive.

looked up some reviews on youtube and found this guys channel https://negativefeedback.co.uk/.

he's into palace, travelling and film cameras, which is a good combination. watched a few of his episodes and he made me want to go out and shoot badly. do you guys have any good links o videos/instagrams or blogs that are great?

I like this guy's channel: https://www.youtube.com/user/ProfetaParanoia

I've been after a medium format rangefinder for a while, jealous of your Mamiya. Hopefully it lives up to the hype. On the total opposite end of the spectrum, I impulse bought a Kiev 60, pretty stupid decision. Big bastard doesn't fit in any of my bags, and overlaps all the frames. The addiction is real.

A few while I'm at it











and the first two I liked from the new shitbox

[ImportantGuy]

Amazing stuff in here, keep shooting!

[Hash Slinging Slasher]

[Alan]

A friend is working on a cool lighting tool, so I thought I'd plug his kickstarter here. Hope the mods don't mind. And please share with any photogs who might be interested in this!

https://www.kickstarter.com/projects/1716883695/isolite-the-worlds-first-intelligent-light-modifie?ref=327929&token=5f4f955b

Isolite is a system of hardware accessories that attach to your speedlights or studio strobes.

These revolutionary modifiers let you change the light AFTER the image has been captured.

Isolite is not an app!

It does not just lighten, darken, or change the contrast of an image.

It allows you to turn real lights on and off inside the picture.

The effect is instantly captured in a single click of the shutter and stored on a single RAW file, straight out of your camera.

It will allow you to perfectly light (and re-light) the faces, hair, clothing, and surrounding environment without the need for special camera or 3D render.

In fact, no other tool, app, smartphone, or Portrait Mode can do what Isolite Light Modifiers can do.

Sample photos and demos can be seen on the kickstarter page.

[natenola forever]

180 fakie nosegrind, Canon 5D. New Orleans

[JB]

i dont really mess around with real cameras anymore, but the lightroom mobile app is really fun and easy to use so ive been snapping more with my phone than usual. nothing special, just some shots from a few recent trips.

[Dwyck]

great shit JB, what phone are you running?

[JB]

samsung s7 edge.

[KoRnholio8]

In the light of the recent flat earth debacle I would your opinion on skateboarding or sports photography - is the photographer documenting the trick (and the progression of skateboarding) or is he "allowed" to push for a creative photographic techniques and possibly ruining the impact of the trick? Ty's use of UWA lens and very quick editing takes away from the gnarliness of tricks and the watchability of the video (forgetability).

I always saw myself as a documenter of skateboarding and used strobes to help skateboarder stand out. I know this can become extremely repetitive for a professional who wants to grow as an "artist". But then again, photography is not rocket science and you should be able to leverage you knowledge of how a trick is going to look like to give a fair representation for the public.

Seeing as a photographer's career is potentially a lot longer than that of a PRO skateboarder, I can see this job becoming tedious and also hard to build a proper mainstream portfolio with. In my view, the skateboarder's effort is worth more and you should only experiment when given permission.

[PAWL]

In the light of the recent flat earth debacle I would your opinion on skateboarding or sports photography - is the photographer documenting the trick (and the progression of skateboarding) or is he "allowed" to push for a creative photographic techniques and possibly ruining the impact of the trick? Ty's use of UWA lens and very quick editing takes away from the gnarliness of tricks and the watchability of the video (forgetability).

I always saw myself as a documenter of skateboarding and used strobes to help skateboarder stand out. I know this can become extremely repetitive for a professional who wants to grow as an "artist". But then again, photography is not rocket science and you should be able to leverage you knowledge of how a trick is going to look like to give a fair representation for the public.

Seeing as a photographer's career is potentially a lot longer than that of a PRO skateboarder, I can see this job becoming tedious and also hard to build a proper mainstream portfolio with. In my view, the skateboarder's effort is worth more and you should only experiment when given permission.

I think most of us have better taste than Ty Evans, and also probably most of us don't shoot people with
an actual 'career' in skating. So, experiment if you want, unless you know you're gonna bum someone out.

[Randozzi]

There is a balance between pushing something photographically versus the trick. I think certain shots have helped push skating but have also helped to refine skate photography. But personal style will always shine through. It's an interesting topic for sure.

Have the opportunity to take the Annie Liebovitz masterclass online for free. Think I'll do it, you get access to all of the material for a year.

[poophole]

Have the opportunity to take the Annie Liebovitz masterclass online for free. Think I'll do it, you get access to all of the material for a year.

I'm all about Herzog's Masterclass, totally worth it. It was incredibly well produced and sold me on them. Tight that you're getting a free link, I'm definitely curious to hear how it is. Paying for Leibovitz without knowing if it's any good I figure is a bit of a gamble. Her late-career lighting and shooting style is famously financially disastrous. Looks like the articles have been pulled so I don't remember the numbers but she once had what was like a $5 mil budget for the Disney portraits and spent like $9 mil shooting them. I'm pulling those numbers out of my ass but the proportions of financial mismanagement were around that scale. Well her money problems extend far beyond her production budgeting but I think it wouldn't be a ridiculous presumption to think this Masterclass might be a good quick moneymaker for her. If you want to learn how she lit the Disney shit you can read about it here. But then at the same time I don't know why anyone would want to emulate her style. It's unique, pompous, and doesn't look like it'll get trendy again any time soon unless you're interested in shooting perfume campaigns for the rest of your life

[Randozzi]

Yeah, I'm not a big fan of her work. Her early stuff is great and in the preview for the class it looks like a lot of computer post production that she isn't doing herself. I think there are things to learn from her - decades of experience behind the camera etc. But I'm hesitant because of her shady financial history and that this could just be a fluff piece instructional class. To be honest, I think that $ could better be use toward equipment I need like an eyepiece prism finder for my Hasselblad.

[poophole]

Yeah, I'm not a big fan of her work. Her early stuff is great and in the preview for the class it looks like a lot of computer post production that she isn't doing herself. I think there are things to learn from her - decades of experience behind the camera etc. But I'm hesitant because of her shady financial history and that this could just be a fluff piece instructional class. To be honest, I think that $ could better be use toward equipment I need like an eyepiece prism finder for my Hasselblad.

her early work is dope for sure.

[natenola forever]

In the light of the recent flat earth debacle I would your opinion on skateboarding or sports photography - is the photographer documenting the trick (and the progression of skateboarding) or is he "allowed" to push for a creative photographic techniques and possibly ruining the impact of the trick? Ty's use of UWA lens and very quick editing takes away from the gnarliness of tricks and the watchability of the video (forgetability).

I always saw myself as a documenter of skateboarding and used strobes to help skateboarder stand out. I know this can become extremely repetitive for a professional who wants to grow as an "artist". But then again, photography is not rocket science and you should be able to leverage you knowledge of how a trick is going to look like to give a fair representation for the public.

Seeing as a photographer's career is potentially a lot longer than that of a PRO skateboarder, I can see this job becoming tedious and also hard to build a proper mainstream portfolio with. In my view, the skateboarder's effort is worth more and you should only experiment when given permission.

IF you look at skateboard mags from the early 90s the pics are a lot more experimental and truthfully a lot more exciting, you can see dudes were just sorta going for it, or maybe just doing things wrong and getting lucky with a cool image. From my research the drastic change came along when Atiba became a transworld photographer, his techique was really sound and really solid from a professional photography stand point, and i think he forced everyone to rethink how they shot skate photos, the quality went up drastically but i think it made a lot of dudes forgo creativity to have a really perfect picture. IF you look at most mags in the last 15 or so years, they are filled with great photos but for the most part they are pretty boring and blah.

[Randozzi]

Expand Quote

Yeah, I'm not a big fan of her work. Her early stuff is great and in the preview for the class it looks like a lot of computer post production that she isn't doing herself. I think there are things to learn from her - decades of experience behind the camera etc. But I'm hesitant because of her shady financial history and that this could just be a fluff piece instructional class. To be honest, I think that $ could better be use toward equipment I need like an eyepiece prism finder for my Hasselblad.

[close]

her early work is dope for sure.

Read a couple reviews of the course, doesn't seem worth the cash for the most part.

[Silky Johnson]

A few shots from an older roll

[Francis Xavier]

Expand Quote

In the light of the recent flat earth debacle I would your opinion on skateboarding or sports photography - is the photographer documenting the trick (and the progression of skateboarding) or is he "allowed" to push for a creative photographic techniques and possibly ruining the impact of the trick? Ty's use of UWA lens and very quick editing takes away from the gnarliness of tricks and the watchability of the video (forgetability).

I always saw myself as a documenter of skateboarding and used strobes to help skateboarder stand out. I know this can become extremely repetitive for a professional who wants to grow as an "artist". But then again, photography is not rocket science and you should be able to leverage you knowledge of how a trick is going to look like to give a fair representation for the public.

Seeing as a photographer's career is potentially a lot longer than that of a PRO skateboarder, I can see this job becoming tedious and also hard to build a proper mainstream portfolio with. In my view, the skateboarder's effort is worth more and you should only experiment when given permission.

[close]

IF you look at skateboard mags from the early 90s the pics are a lot more experimental and truthfully a lot more exciting, you can see dudes were just sorta going for it, or maybe just doing things wrong and getting lucky with a cool image. From my research the drastic change came along when Atiba became a transworld photographer, his techique was really sound and really solid from a professional photography stand point, and i think he forced everyone to rethink how they shot skate photos, the quality went up drastically but i think it made a lot of dudes forgo creativity to have a really perfect picture. IF you look at most mags in the last 15 or so years, they are filled with great photos but for the most part they are pretty boring and blah.

Taking into consideration Atiba was under Grant and Swift at Transworld it's no suprise. Especially when all those dudes started TSM, I remember being amazed at how nice the photos were. With digital photos it's seemed to have become a little bland sometimes,even if its a great photo/trick; but I love film and romance the days of what was done before everything went to an SD card.
If you get a skater that you shoot a lot I'm they'll let you mess with lighting and whatnot as a means to experiment. I've been trying to link up with a homie so I can tinker with this Nikon D7100.

[shitcunt]

Expand Quote

Expand Quote

In the light of the recent flat earth debacle I would your opinion on skateboarding or sports photography - is the photographer documenting the trick (and the progression of skateboarding) or is he "allowed" to push for a creative photographic techniques and possibly ruining the impact of the trick? Ty's use of UWA lens and very quick editing takes away from the gnarliness of tricks and the watchability of the video (forgetability).

I always saw myself as a documenter of skateboarding and used strobes to help skateboarder stand out. I know this can become extremely repetitive for a professional who wants to grow as an "artist". But then again, photography is not rocket science and you should be able to leverage you knowledge of how a trick is going to look like to give a fair representation for the public.

Seeing as a photographer's career is potentially a lot longer than that of a PRO skateboarder, I can see this job becoming tedious and also hard to build a proper mainstream portfolio with. In my view, the skateboarder's effort is worth more and you should only experiment when given permission.

[close]

IF you look at skateboard mags from the early 90s the pics are a lot more experimental and truthfully a lot more exciting, you can see dudes were just sorta going for it, or maybe just doing things wrong and getting lucky with a cool image. From my research the drastic change came along when Atiba became a transworld photographer, his techique was really sound and really solid from a professional photography stand point, and i think he forced everyone to rethink how they shot skate photos, the quality went up drastically but i think it made a lot of dudes forgo creativity to have a really perfect picture. IF you look at most mags in the last 15 or so years, they are filled with great photos but for the most part they are pretty boring and blah.

[close]

Taking into consideration Atiba was under Grant and Swift at Transworld it's no suprise. Especially when all those dudes started TSM, I remember being amazed at how nice the photos were. With digital photos it's seemed to have become a little bland sometimes,even if its a great photo/trick; but I love film and romance the days of what was done before everything went to an SD card.
If you get a skater that you shoot a lot I'm they'll let you mess with lighting and whatnot as a means to experiment. I've been trying to link up with a homie so I can tinker with this Nikon D7100.

This exact line of thought is what made me decide to sell my digital stuff to buy more film gear. The photos that get me the most stoked are old ones from mags growing up like what science_vs_life or memoryscreen post on insta. I looked through the most recent thrasher and was shocked by the fact that not one photo made me want to look at it for more than a couple seconds. Nobody's paying me so I'm gonna make the photos I want to. Plus let's be real it's not that hard to get a simple 1 or 2 flash shot right.

[KoRnholio8]

Well yeah, it is nice to experiment, but it is also nice to know you are walking with a usable photo whenever you land a hard trick (from a skateboarder's perspective).

It's even more critical in filming - you can shoot non-landed sick photos for multiple angles, but when you are filming, you usually stick with one angle. And if that angle/lens combo is the flat earth ... well you know my opinion on that.

[shitcunt]

Well yeah, it is nice to experiment, but it is also nice to know you are walking with a usable photo whenever you land a hard trick (from a skateboarder's perspective).

It's even more critical in filming - you can shoot non-landed sick photos for multiple angles, but when you are filming, you usually stick with one angle. And if that angle/lens combo is the flat earth ... well you know my opinion on that.

As long as the photographer knows what they're doing film is just as reliable as digital with few exceptions (roll of film got cooked in a car or something). People have this weird idea that film is chance based as if it wasn't used on the damn moon landings. The shots may not come out as sterile and perfect as digital but the photog has to fuck up really hard for it to fail to convey the trick.

[Randozzi]

With some x-mass cash help, I pulled the trigger and bought a metered prism finder for my Hasselblad. Looking forward to using it!