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Nick Turpin’s fascination with photography began seemingly by accident, when he signed up for a photography course at school simply to fill a gap in his timetable. Before long, he and his friends were responsible for re-opening the school’s darkroom, which had stood unused for a decade. Gaining access to the darkroom also unlocked Turpin’s enthusiasm for the craft, in that printing his own photographs allowed him to be involved in the entire photographic process from start to finish, which he found to be wonderfully empowering and engaging. He went on to study photography at university and later worked on staff at The Independent newspaper in London, England, for seven years. While at the newspaper, Turpin acquired and refined the skills needed to make a living as a photographer, which he has done ever since. Street photographers working in 1960s New York, such as Garry Winogrand, Joel Meyerowitz, Tod Papageorge, and Mitch Epstein, have had a great influence on Turpin. He is also drawn to the work of contemporaries, such as Jeff Mermelstein and Martin Kollar, who are capable of capturing what is unique and special in an everyday scene on an ordinary pavement. If there were ever a seminal moment for Turpin, however, it would have to be leafing through the newspaper’s review copy of Bystander: The History of Street Photography (by Joel Meyerowitz and writer/curator Colin Westerbeck) and making the sudden discovery that his hobby did, in fact, have a name. Much the way he initially fell into photography, another apparently random coincidence illuminated an important open door. How fitting, as street photography itself relies on such a peculiar blend of happenstance, timing, and intention. Keen on capturing real life, Turpin has always seen photography as a natural extension of his general inquiry into the world at large. He acknowledges that he uses photographs not only to communicate to others, but also to more fully explore the society in which he lives. Over the years, Turpin has come to realize the vital role street photography plays in holding up a mirror to the decisions we make as a people and, as members of a modern democracy, how important it is that we remain free to make exposures in public places. Regarding the tricky issue of privacy, Turpin boldly asserts that private activity cannot exist within a shared, common space — what occurs in public is available to all onlookers. To further this logic, he does not distinguish between witnessing an event occurring in public and photographing one. According to Turpin, actions are the result of individuals’ decisions, and the presence of others, including street photographers, is of no consequence. For their records to be genuine, it is imperative that street photographers work in a candid manner with no interaction whatsoever with their subjects. Because Turpin does not use his street photographs in a commercial manner, there is no need for him to get a model release signed. It is acceptable in the United Kingdom to publish street photographs in a book and exhibit them in galleries, provided that product endorsement is not implied and subject matter is not misrepresented. Only a few countries have privacy laws, an example being France, astonishingly enough, considering the mutually inclusive relationship between freedom of expression and democracy. Turpin’s book of photographs titled, The French, will be published everywhere except the country in which it was shot, in order to highlight France’s legislation prohibiting the publication of photographs without the subject’s consent. With the trend in the late 1990s of visual artists embracing photography as their medium of choice, photographic realism, including street photography, appeared to be falling out of fashion. In an attempt to redress the balance, in 2000, Turpin undertook the admirable task of promoting the work of photographers, like himself, who still employed basic yet immensely powerful tools: the shutter and the rectangular frame. He invited street photographers such as David Gibson, Matt Stuart, Richard Bram, Trent Parke, and Gus Powell to show a folio of their images together in one place in cyberspace. As a talented collective with Turpin at the helm, In-Public was the first of its kind to use the Internet to bypass the gatekeepers of traditional photography exhibition, instead reaching a vast, international audience. A private members’ forum soon followed, allowing street photographers worldwide to connect, share ideas, and organize exhibitions of their work. On the tenth anniversary of In-Public, 20 members celebrated with an exhibition in London and the publication of 10, a book containing, unsurprisingly, 10 images created by each member. In a similar vein, PUBLICATION magazine, produced by Turpin’s own imprint, Nick Turpin Publishing, was invented to provide the growing online audience of street photography with the quality printed outlet both they and the photographs they enjoy deserve. According to Turpin, a variety of factors are contribute to the current interest in street photography, including the pervasion of inexpensive, high-quality digital cameras, and an ever-expanding online presence of street photographers fuelled by websites such as In-Public and the image-sharing site Flickr. This surge is creating a veritable street photography tipping point, which is not going unnoticed by publishers or curators. A decade of photography having been dominated by the conceptualizing influence of the art world and the sophistication of technically manipulated images has left consumers of photographic art craving authenticity and has spurred a return to the basic honest magic of the medium itself. Turpin suggests we are coming home to the remarkable ability of a compelling photograph to show us the familiar in a truly novel way, a way that can be held and kept. In Turpin’s experience, making a career, or even just a living, in street photography is exceedingly challenging. Because of the time commitment involved, a successful year might result in only a handful of outstanding shots. If aspiring street photographers remain undeterred by the lack of income potential, Turpin suggests looking at a great deal of existing photographs both for inspiration and to become familiar with prevalent clichés. Contemporary street photography often incorporates a high degree of empathy with the subject matter, careful and discerning attention to composition, and the ability to trigger an emotional response. Turpin advises acquiring an inexpensive camera and using the frame and shutter button to transform the chaos of ever-changing events around you into something beautiful and poignant. He proposes avoiding contact with subjects, and in the unlikely event of a confrontation, he keeps moving or diffuses the situation with a smile or a compliment. Turpin encourages novices to be patient, study their surroundings, and not to hesitate to attempt making a seemingly impossible picture. Try standing in one place, try walking all day, try shooting close, try lots of different strategies and find what works for you, he recommends. In closing, Turpin offers what could be considered a veritable street photographer’s mantra: “Above all, be an observer and let life unfold in front of your lens; it can really surprise you.” www.nickturpin.com #streetphotography #NickTurpin #travelphotography #urbanphotography #documentaryphotography

Maurice Henri is a new breed of photographer. He is not driven by financial reward but by a genuine concern and passion for humanity. Henri’s interest in photography began as a young man in 1977 while working as division manager at a Woolco store in St. John’s, Newfoundland. His love for the people and scenery of this beautiful province motivated him to pick up a camera and start shooting. When he realized that his hobby was becoming a passion, Henri upgraded his Instamatic to a more advanced camera system and a photographer was born. Soon, Henri was living a double life. He spent 10 years working a day job in an optical business in Moncton while moonlighting as a photographer on the weekends. In time he was specializing in family portraits and weddings. In 1989 he finally decided to follow his heart. On a Friday afternoon, he resigned from his day job and the very next Monday morning opened his first studio. He ran the studio successfully until 2003 when he decided he wanted to travel more, meet new people, and photograph different locations. Another turning point for Henri came in 2005 when he decided to join fellow photographer, friend, and mentor Freeman Patterson on a photographic excursion to South Africa. It was an incredible opportunity — two weeks of stunning landscape photography. Henri decided to stay behind for an additional two weeks to see and experience what really interested him, the villages and people of South Africa. He rented a four-wheel drive, hired a translator, and set off to explore. Henri happened upon a small village in the mountains called Nourivier where he met a very special little girl named Sandouy. He knew there would be many hungry children in this village, so he took with him as much fresh fruit as he could to give them. Sandouy received an orange and made a lasting impression on Henri because she was more interested in hugging and smelling the rare delicacy then eating it. Henri spoke with her and eventually asked if she had a dream. What she replied changed his life forever. Her dream was for her village to have a school where she could learn to read and write and eventually, when she got older, she could take care of her village. Henri was so moved by this little girl’s story that, in the heat of the moment, he promised to help and build her the school she was dreaming of. When the reality of what he had said sunk in, Henri panicked. How was he going to make this very big promise come true? The solution came to him during a fundraising event that helped launch the Stephen Lewis Foundation’s Grandmothers to Grandmothers Campaign. In one night almost $150 000 was raised by selling limited edition photographs from the trip to Africa. On that same night, Henri also sold a one-of-a-kind landscape photo for $10 000. This generous corporate sale is what built the promised school in Nourivier in 2006. From the success of the Nourivier project, Cameras for Healing was born. Henri kept thinking of that little girl in Africa and all he wanted to do was help even more. He then spent time thinking and researching art therapy, trauma in Africa, and child soldiers, which eventually led him to a post-civil war Sierra Leone. In this country, 10- to 12-year-old boys had been kidnapped and brainwashed to become killing machines and girls had been forced into sex slavery by the rebel army. This brutal war ended in 2004 after 12 long years of pain and suffering. After 12 months of planning, Henri spearheaded and almost entirely financed the first Cameras for Healing trip to Sierra Leone. Armed with the belief that art can be therapeutic, he took a small team of volunteers and camera equipment with him to a small village near Freetown. He partnered with local people who where able to bring together groups of young adults that were still traumatized and emotionally damaged from the 12-year war. The Cameras for Healing project in the village took place over seven days. The participants were taught some basic tips on how to use the cameras. This progresses to a walk around to photograph life in the village. Later, as they gain more confidence with the camera, specific projects are assigned. Henri states, “They had to document what gave them hope, what makes them happy, and what makes them proud.” To his surprise, Henri saw that almost all photographed their children. Henri witnessed the power of the photograph when the prints were given to the participants. “They all embraced their photographs and shouted and screamed with joy. The photographs gave them proof that their children existed. Many in the village who had lost their children had no such evidence and had only their memories.” A couple of remarkable participants in this project stood out to Henri. A girl, named Fatima, about 26 years old and with seven children. She was so cautious and unsure that for the first while she just sat in silence looking at the floor. After almost two days of activities she finally came around and started taking pictures. Slowly but surely her eyes came up and little by little she started smiling. The project was slowly drawing her out of her shell. She finally shared with Henri that as a young girl she had been kidnapped by rebels and locked in a small room with no windows. She did not see the light of day for nine years and was a victim of rape and physical abuse at the hands of her captors. On the last day of the project she quietly called Henri over, looked him in the eye, gave him a tight hug and whispered, “Thank you. Don’t forget me.” Another individual named Sillah was so traumatized by the war that he had not slept a full night for the past 12 years. Henri tried to draw him out and asked him what his dream was. Sillah mentioned that he was good with his hands and dreamed of becoming a mechanic. In this area, mechanics work their trade on the side of the road. Henri gave him a project to photograph the mechanics and make some connections. The next day Henri was horrified to see Sillah black and blue all over. Henri asked, “What happened?” Sillah replied, “I did what you told me and started photographing the mechanics. Then the mechanics beat on me and wanted to steal my camera.” At this point Sillah proudly pulls out the camera from his pocket and adds, “But they did not get it.” Sillah continues, “Right there and then I was willing to die to save the camera because it is giving me hope.” What the mechanics did not realize was that Sillah was a former soldier; with a proud voice he exclaimed, “You should see what they look like.” Henri also completed a five-year commitment with Cameras for Healing in Sierra Leone. During this span he travelled there twice a year, worked with multiple groups of wartime survivors, built a brand new school and refurbished another. He also supplied a local college with 300 computers for its educational needs. Because this project was so new and difficult to understand by potential investors in North America, Henri had to finance about 85 percent of the project from his own wallet. His only major sponsor in the beginning was Olympus which graciously supplied him with the cameras he needed for the participants. Henri has a three-year commitment with Cameras for Healing in Haiti, working with teenagers abandoned and orphaned by the earthquake of 2010. The boys typically find themselves in trouble with crime, gangs, and drugs, and many girls fall into sex slavery and prostitution. Henri is using photography to gather and gain these children’s trust, but the ultimate goal is to find a family to take them in and provide for their schooling. Education is always a priority with Cameras for Healing. The problem is that many Haitian families already have three or four children to feed and send to school. As an incentive, Henri is committing to feeding all the children in the household in exchange for the parents taking in one orphaned teenager. He is hoping to sponsor up to 30 of them. Henri is planning more Cameras for Healing projects. If Henri’s story leaves you wondering “How can I help?,” he most needs volunteers with a strong passion for photography and humanity. If you consider helping, do not hesitate to contact him because Henri is always willing to talk about his vision. You never know what may happen — maybe you too can join the new breed of concerned photographers. ----------- We featured Maurice Henri and this article in our Spring/summer 2014: The Concerned Photographer - Issue #40. If you’re looking to be inspired by other conscientious photographers- get the issue HERE. Check out what Maurice Henri has been up to lately at: www.camerasforhealing.com #MauriceHenri #documentaryphotography #sociallyconsciousphotography #CamerasforHealing #blackandwhite #peoplephotography

“Why is a raven like a writing desk?” the Mad Hatter asks in Lewis Carroll’s Alice’s Adventures in Wonderland. This unworkable riddle is dropped in a conversation, inspiring the reader to imagine a quirky world filled with the impossible. For fans of such impossibilities, the appeal often comes not just with the story itself, but with the evocative interplay in its telling. For photographers, the perfect light can be fickle and inspiration fleeting; however, when the image is realized, that single work of art is said to be worth a thousand storyteller words. This statement can certainly be applied to Joel Robison’s photography. But perhaps we’re getting ahead of ourselves. After all, a story is best started at the beginning. Robison grew up in Cranbrook, British Columbia, a small town nestled in the southeast corner of the Rocky Mountains. He spent his childhood playing on the doorstep of some of the most spectacular natural scenery the world could offer and takes much of his inspiration from those dramatic Canadian canvases and their wide-open spaces. “I’ve always been a visual person,” Robison admits. “Since I was young, I’ve interpreted my world through images.” As a child, he loved coming up with stories, but it was through photography that he eventually found his voice. He shares, “With photography I feel as though I’ve found an avenue to express my thoughts.” Robison’s process differs from shoot to shoot. Experience has taught him to spend his time carefully choosing the perfect location and to never settle. He wanders an area looking for the perfect spot and light before setting up his tripod, framing the space, and beginning the shoot. His shots are often layered in post-production like a puzzle, showing the viewer an ethereal, fantastical world that seems so perfectly irrational it can’t help but spark the imagination. “My photographs are interpretations of conversations, fears, dreams, and goals. Often they mean something different to me than to my audience, but they help give the viewer an opportunity to really see the world in a new light.” Robison openly admits he likes to hide messages in his pictures, intending that everyone sees the picture differently. The result is a personal experience unique to the viewer. Today, Robison is a conceptual portrait photographer with a fascinating resumé. “You can never predict what people will like,” Robison says, regarding the astounding number of Facebook followers he has acquired. “I think Facebook is one of the easiest ways for artists to connect with a large audience.” The turning point in Robison’s career can be traced back to a social media project. Robison’s objective was to photograph a well-known brand, and in a moment of inspiration he took several bottles of Coca-Cola, dropped them in a pristine snow bank, and started shooting. Satisfied, he uploaded his best shot and moved on to other projects. However, as with any good story, the beginning layers often act as catalysts later on. Such was the case with that picture, which came to Coca-Cola’s attention nearly a year later. “An employee messaged me to ask if they could tweet the shot. They also noticed I liked using their brand in my other work,” explains Robison. That led to contract work with Coca-Cola and eventually to an offer that was so fantastic it might have come from the Mad Hatter himself. “I got this call one day at lunch. Coke is the biggest sponsor of the FIFA World Cup, and they wanted me to join their global tour. Essentially, I would be using social media to help bring soccer to the world.” Robison accepted the offer, and over the following nine months he travelled with a small group to all the countries that had a sponsored team, 85 in total. “It was crazy. We had a private jet, and almost as many stops as Lady Gaga’s tour. I definitely learned a few things.” One of the things Robison learned was that owning stuff can weigh you down. For almost a year he lived on the road, taking only what could fit in an overhead bin. Before leaving on the tour, Robison gave away clothing, furniture, and knick-knacks, paring down his life to a handful of boxes. “I felt like I was transforming into a lighter, cleaner version of myself,” he admits. On his December 22, 2014, blog post, Robison reminisces over the artists that had come into his life in the past year. He states, “I truly believe that to be the best artist you can be, you should surround yourself with artists and other creatives that share their passions and talents.” He discloses some people to watch in 2015: Robert Cornelius, who Robison calls a “god of Photoshop”; Matt Hayton, a.k.a. Fawnlorn, a whimsical painter; and Jen Brook, the writer-model who convinced him to move to the United Kingdom when the FIFA World Cup tour ended. Today, Robison can be found haunting the back alleys of London and the fields of southern England. He’s working on a new series called Stories of the UK, which seeks to interpret some of the U.K.’s most famous literary works through photography. He has 20 photo shoots planned, with inspiration coming from Alice’s Adventures in Wonderland, Peter Pan, The Lord of the Rings, Harry Potter, and more. Robison has some great stories to tell. Watch out for the next chapter! See more of Joel Robisons work at: joelrobison.com This article originally appeared in our Spring/Summer Issue in 2015. Get the TELLING STORIES issue HERE. #JoelRobison #canadianphotography #fineartphotography #experimentation #imagemanipulation #photomanipulation #visualstorytelling #BritishColumbia

Starting out with still life/ small object table-top photography doesn't have to be expensive. Sometimes the simplest designs work out the best. Here is a simple, economical solution to window light tabletop still life photography. Here's HOW: Cut open one end of a cardboard box and attach seamless paper to form a cove. Using a cove eliminates the distracting horizontal line formed where the vertical and horizontal surface meet. Position the box, with side open and seamless paper in place on a chair, table, or stand that is lower than a window. Select an object that is not too small or too large for the set. Avoid glassware and reflective objects — these require other lighting techniques. Keep the composition simple — one or two items only. Turn off the room lights. Window light should be the only source of light. You may find that the form and cast shadows are too dark. Use a white matte board or white foam board as a reflector to fill in the dark shadows and provide a fill light. Use a tripod and bracket your exposure. BASIC LINGO COVE: A concave surface forming part of a base at its edges so as to eliminate the usual seams or angles. CAST SHADOW: A shadow cast on a surface or other object. Information given by a cast shadow: If the object is resting on a surface That the surface is real and actually there That the object fills a certain amount of space It tells us up from down (one of the most fundamental factors in space perception) The location (direction) of the source of light HIGHLIGHT: The area on the object that is reflecting white light. Highlights provide strong visual cues for the shape of an object, how shiny or dull the surface is, and its location with respect to the light sources in the scene. FORM SHADOW: A form shadow is created on the side of an object not facing the light source. Using a relatively large light source will help in making the highlight to shadow transition very subtle. Form shadows are essential to creating the illusion of volume, mass, and depth. FILL LIGHT: A light source or reflector used to lighten the shadows created by the main light, thereby reducing the lighting contrast. The fill light opens up the shadows, making them more visible. When using window light only, a reflector is used to bounce light back to the subject. #stilllifephotography #studiophotography #lightingtechniques #HowTo #DIY #phototips

Carlos Cazalis has documented some of the world’s largest cities. Whether on rooftops high above São Paolo, or down in the muddied alleyways of Dhaka, Cazalis’s lens has focused on both the macro aspects of urban development — seemingly never-ending skylines of built-up environment — and the deeply intimate, such as his series on the living spaces of the urban poor in Osaka. While each city that he photographs is unique, Cazalis uses his global experience to comment on the precarious state of megacities. Cazalis was able to correspond with PhotoEd to talk about his initial attraction to megacities, his work method for documenting them, and his thoughts on their future. Q. What was the original impetus for focusing on megacities? A. The first idea for this project was “home,” including my own, since I have traveled extensively and lived in over 10 countries since I was four. From that moment on, the impetus has continued as if the project itself was a megacity expanding. My work in Osaka was inspired by living in Dubai but also by my recent work in São Paulo. At that time I was surrounded by all this wealth in the Middle East and I discovered that the Japanese not only are ashamed of their poverty but also purposely try to eliminate and segregate it instead of allowing the poor a dignified life. My Dhaka work came out of curiosity for global climate change, as hundreds of thousands fled flooding and mudslides in the Bangladeshi countryside. It’s the fastest growing megacity, receiving 300 000 people a year, and it’s an environmental calamity. Tehran for me represents some sort of poetic injustice: living in a magnificent cultural city but where people must live two lives, a public and a private [life], because of religious and political ideals. Mexico is now all about infrastructure, sustainability in an ironic twist of fate. Mexico City, once Tenochtitlan, stood on water. Today massive urbanization has permeated the soil and dried the wells, and the city imports 25 percent of its water, while flood rains stream into the sewage system and threaten to flood it because [the city’s] underground infrastructure has been collapsing and has not grown fast enough. Next I’ll be doing work in Lagos and Guangzhou. Q. What are the themes or subject matters that you want to evoke when documenting these megacities? A. It’s too complex to have one thematic definition. Yet all these cities have one thing in common—this dramatic number of 20 000 000 inhabitants. They are all relatively close to that mark or already beyond it. Cities are really amazing places. Millions of people gathered in these high concentrations are thriving and surviving. My hopes are that we can see clearly how far we are from our natural environment, rich or poor. In cities, concrete, noise, people, automobiles, buildings, and garbage constantly surround us. Everything is in constant motion. There is little peace of mind, yet here are some of humanity’s greatest and oldest populations. Q. How did you arrange for your aerial shots? A. Because this project started as independently financed, I was limited to how I could shoot from above. Often in Brazil I could exchange photos for flights. As the project grew, I’ve depended on finding rooftops, often sneaking into buildings, as I did in Osaka. Ideally what I was always looking for was to show population density in terms of habitat and pollution, and to give the public a sense that all cities, no matter how good the infrastructure is, have a particularly unnatural development for human living. Q. How do you organize your excursions? A. Each city excursion requires research and a freedom to explore. I had to adapt to the city, to its size, to the areas relevant to the project, and to my budget, which meant that I was happy to do a lot walking, and in that process amazing situations occurred. Often when I was done shooting, something would just be there and it was part of the life of the city. This was especially evident in Dhaka. Yet, since each city had a theme or an issue to deal with, it was important to try to go to places multiple times over a year to see how it had changed. The entire project is focused on sustainability, but primarily through habitat, because after all we have to live in these spaces. The majority of the population in these cities, except for Osaka, belonged to the lower classes, so it was important to show that the majority of these people really live in extreme situations, yet they adapt in incredible forms, although that does not diminish their hardships. Q. What are your thoughts for the future of cities? A. Cities are an amazing feat of humanity, and each city has a unique energy. One can really feel the struggles and glories of humanity once you have been in several of them. I do have a pessimistic view because I feel that 20 million people in areas like the ones I have documented cannot be able to sustain themselves much longer. Because of the rapid pace of development, I find it hard to see how in the short term we will want to slow down, for example, re-urbanizing, resettling, or drastically changing our way of living. We have thought of ourselves for too long as supreme beings on this planet and are only now realizing, accepting, and educating ourselves that Earth is a far larger living thing that we must be a part of and not just have environmentally politically correct feelings for. Yet, we are like any animal on the planet, with thousands of years of evolution and adaptation. So will the world collapse? Not likely. Will cities collapse? Well, if you look at Mexico City and Dhaka now, both in seismic zones, overpopulated and with serious water problems, then the answer is yes, we are probably very close to collapse or a gradually forced exodus. www.cazalis.org #CarlosCazalis #visualstorytelling #landscapephotography #urbanphotography #climatechangephotography #travelphotography

Corrie White’s fascination with creating liquid drop images has become an addiction. She started experimenting in 2009 by using a simple camera and a medicine dropper set-up. Since then, she has moved on to more complicated electronic drip kits and her images have become not only more intricate, but seemingly less like simple liquid photography and more like abstract organic artworks. “I was always interested in macro photography, so this fit in quite well as far as a new direction for me,” White says. “For the first year, I did some experiments manually with a medicine dropper, and within two weeks I was able to get a two drop collision, with the second drop landing on the jet of the first and creating a mushroom or umbrella form. I used my camera pop-up flash, so my first drops were quite basic. There were not many tutorials available then, so I had to figure out the procedures for myself.” One of the intriguing aspects of liquid drop photography is the unique shapes and textures inherent in the form each drop takes, especially as new liquids and additives are tested and experimented with. “I love to take things to the limit and then to go beyond that to see what is possible,” White says. “It is a challenge to come up with different shapes that haven’t been done before. I enjoy moving the flashes around to get the best result possible with the lighting. There are so many combinations of light and colours for backgrounds that it’s easy to always have different results in the outcomes of the final images.” White first discovered the art of liquid drop photography on the Internet, a medium that she, in turn, has used to promote her own work worldwide. This includes her e-book The Ultimate Guide to Water Drop Photography. “Sharing my work on photo sharing websites over the past few years has given me a tremendous amount of exposure,” White says. “I see a lot of people trying things out that they saw from my work. First comes imitation, then comes innovation. From there, artists find their own special methods and style. We all have to start somewhere, including copying other artists’ styles for inspiration, until we find our own.” White, who identifies her 100mm macro as her favourite lens, is considered a master of liquid drop photography. She credits the “Three Ps” — patience, perseverance, and persistence — for her success. “You need to start at the beginning and watch what happens when drops fall, so you can recognize the results and know how to proceed to get the desired result,” White says. “A lot of people ask me how to get the tall, fancy, complex shapes. People never get very far with water drop photography starting at the end because they have not learned how to proceed with experimentation. They have not learned by experience to recognize what’s happening and how to make changes to get better results.” A love of drops and the integral challenge in this photography style’s magical distinctiveness is what motivates and keeps inspiring White. “It is a great creative outlet and helps keep me sharp,” she says. “It’s a challenge to find new liquid combinations that work and new shapes and techniques to keep the process unique. Quite often it’s the work with the parameters that leads to a unique shape; you have to be able to tweak the right things to proceed to a desired image. I find the creativity more in the colour aspect than the shapes. When you have advanced in this field, it is difficult to come up with something unique, but knowing there is something else out there keeps me trying to find the undiscovered.” White feels it is important for aspiring photographers not to get discouraged with their work when they see only “picture perfect” images by other photographers. “What you see online is my best work,” she says. “You don’t see the ones I delete that just don’t make the grade! I take a lot of pictures and only a few of them make it online. People see the results but don’t realize that a lot of work went into producing the images. There is a great deal of disappointment when things don’t go right; but on the other hand, it’s exciting when things come together and new shapes appear.” See more of Corrie White's amazing splash photography at: www.liquiddropart.com #studiophotography #womeninphotography #CorrieWhite #experimentation #stilllifephotography #motionphotography #photoart #fineartphotography #OntarioPhotographer

A quick and easy technique for creating phantograms. All you need is: A slide bar, A tripod, PhotoShop & your camera. Concept and object selection Start with a target or reference rectangle of known size, such as a standard size piece of paper. Phantograms are designed to be viewed at a 45° angle — viewing them on a vertical monitor will not work. Select a size that can be easily printed. For this exercise, a sheet of white letter-size paper is used (size 8.5 × 11 inches). The angle at which the object is photographed is going to be the same as the viewing angle (45°). Select an object/subject that has some height and stands up from a flat surface. The entire object must lie within the reference rectangle when viewed from the camera position. Camera position is about 1 metre from the object horizontally and 1 metre vertically. This will give the camera a position of 45° to the object. Setup and shooting Centre and level the camera on the slide bar so that the object is centred in the viewfinder. Adjust view so that the entire rectangle is seen when the camera is shifted 3 cm to the left and 3 cm to the right. Shift camera 3 cm to the left of centre and take the first image. Shift camera 6 cm to the right and take the second image. Processing (using Photoshop CS5) Open the left image. Select the crop tool and make sure the Perspective box (far right of the menu - Fig. 1) is checked. This will allow each corner to be moved to the corners of the reference rectangle. Do this as accurately as possible - hint: use the magnify tool. Crop the image and save as the left image. Do the same for the right image and save as the right image. Resize image to reference rectangle. Go to Image > Image Size. Deselect Constrain Proportions and enter Width: 8.5 and Height: 11 inches. Do the same for the right image. (Fig. 2) Making the anaglyph and viewing With the left image open, select the Red channel (Fig. 3). Select all (⌘+A) and copy. Open the right image with the Red channel selected and click on RGB box in the top left to view all channels. Paste. The phantogram effect is achieved. Crop the resultant anaglyph as desired. Print and place paper on flat surface - view from a 45° angle about 1 metre away. #3Dphotography #HowTo #Phantogram #DIY

A photograph often documents a single event, representing one moment in time. Colin Carney’s compositions augment the perception and experience derived from an image through his unique enhancements of photographic art. Carney’s images feature stacked exposures that compress multiple instances and vantage points. An adherence to his distinctive process and selection of subject matter create opportunities for honest expression and new meaning from familiar sources. Although Carney says that he “dabbled in photography over the years,” he first recognized photography as a primary medium through which he could fully express himself while he was in graduate school at the University of Waterloo. Carney was working with video at the time, analyzing multiple images and looping sequences, and this experience compelled him to re-evaluate the visual representation of time, space, and movement. He further developed his aesthetic by comparing these physical perceptual layers to lithographic plates. Initially, Carney worked in black and white, stating that he wasn’t yet ready for colour in the early stages of his photographic work: “Black and white photography was a good place to begin, but making photos that seem to evoke a memory sensation and that are open-ended led me to think more about multiples, exploring more element and design issues and using colour. I wasn’t ready for that in the beginning.” Subsequently, he began to further consider the use of multiple images and layered exposures in relation to perception and memory. Instead of representing time, motion, and objects in a chronological medium (such as film or video) or through a temporal medium (such as a single exposure), Carney found that by layering multiple images of the same subject, he could convey more meaning. He says that this technique allows him to “put the viewer in the primary visual perception and make that perception last longer.” Carney’s pieces feature multiple instances that are stacked, with no particular image taking primacy over another. Carney achieves his images by taking multiple shots with a digital camera. He then uses Photoshop to lower the images’ opacity and creates overlapping layers with them. He states that he is “interested in the technical similarities” of the composite layers that then generate a new image when combined. Although Photoshop is important to his process, Carney notes that he is very restrictive in the application of his methods: “I’m restricting myself in a number of ways. The images are not cropped or tampered with, save using the two ‘x factors’” (i.e., layering and lowering the opacity). In addition to these technical restrictions, he says that he also imposes artistic restrictions that are “constantly in flux” upon himself. While he preserves his principles, his methodology is always changing to some extent. Although his work may appear abstract, Carney states that stacking images more closely represents an experience and enables his work to more fully describe a situation than a photograph depicting a single frozen instant would. Presenting an authentic account of experience is a central concept within his aesthetic: “I’m charmed by the parts of art history built in a moment of brutal honesty; work that seems to last usually has an idea of honesty.” Carney’s desire to represent truth and honesty in his work is largely inspired by Jack Chambers, an artist who primarily worked and resided in London, Ontario, and Stan Brakhage, an American experimental filmmaker. Carney specifically acknowledges Chamber’s film featuring a study of his backyard as a particular inspiration to use familiar settings and personally relevant items as subject matter: “I’m not looking to make epic allegories. I’m interested in things I encounter in an honest capacity.” Although Carney’s art begins as separate exposures of familiar subject matter, the final composition functions as an interactive display, yielding multiple interpretations, because time, movement and, memory are all potentially affected by the layers. “The personal aligns but extends into something more open-ended,” Carney explains. The plasticity of Carney’s creations invites interaction from viewers, stimulating their own perceptions: “Your story [as a viewer] based on an image would be one of a kind,” Carney says. “That is the function of working this way. The work is alive and functioning if people are responding that way.” Carney’s art acquires its life as layers of subjects and instances substantiate the parallel assembly of perception, memory, and experience. The result is an experience that provides meaning for the artist, and the viewer, through a creative extension of photography. See more of Colin's work at: colincarney.com This article originally appeared in our Winter Issue PHOTO ART in 2010. Get the issue HERE. #ColinCarney #doubleexposurephotography #canadianphotographer #fineartphotography #experimentation #photoart #photoshoptechnique #imagemanipulation #visualstorytelling

The easiest ways to gain inspiration are to do what you love, work with people who are passionate about what you do, and make good art. That is the simple formula that photographer Benjamin Von Wong follows as he pushes his ideas to new levels every day. Benjamin Von Wong discovered joy in photography when the woes of a personal relationship and its subsequent break up led him to quit his job as a mining engineer in Nevada and photograph beautiful night skies instead. A self-taught photographer, Von Wong takes anywhere from days to months to prepare his shoots. His team of collaborators are directed by Von Wong’s enthusiasm and imagination. He believes that the best team consists of people who share his ardour for projects. In 2012, a dream came true for Von Wong when Underwater Realm, a collective of underwater filmmakers responded to his request to collaborate. Even though he was still working as a miner at the time, he couldn’t pass up the opportunity. He met with the team in Europe to draft the shoot. The idea was to present the viewer with a behind-the-scenes sneak peek into the workings of a film shoot. On a tight schedule, Von Wong and the team organized complex makeup, models, costumes, and highend underwater shooting equipment. Painstakingly put together, the shoot finally came together, stamped with Von Wong’s unique creativity. From the rustic dust lands of Israel to the cool refreshing waters of Bali, Von Wong has travelled to diverse places for shoots, instilling new forms of wonder at every location. Recently, he brought to life a scene from a Disney film. Von Wong and his crew gained “a few priceless hours in the oldest monastic library in the world and were given free rein to create some magic.” The Beauty and the Beast shoot at the Admont Abbey in Austria led to some trademark surreal images. Von Wong wants the viewer to be transported from everyday life into something magical, even if just for an instant. He does not wish to direct a viewer’s experience but does want people “to feel something.” he explains. In his blog, he writes that inspiration is the momentum that drives an idea to completion and he looks forward to instances that “move and transform.” He states, “I definitely am attracted to all things that are surreal and stand out.” The photographer encourages artists seeking inspiration to “Get out there, meet new people, and listen. Everybody has a unique story, and these tales can trigger emotions that may inspire you.” Von Wong’s blog provides a guide, of sorts, on what photographers should do once they have a brilliant idea. Putting things into motion can be a challenge for many people. Fighting inertia and finding the cues for inspiration that will help to push through moments of procrastination can make all the difference. Von Wong says believing in your project is crucial. He also encourages people to be confident in the success of their projects. “If you let your passion show in your eyes and in everything you say about it, others will latch on to the excitement and follow you till the end.” When looking for a great team to work with, he suggests that the stakes for all those involved should be held in clear view. “People are going to want to know what’s in it for them,” he writes in his blog. “In creative collaborations, people are donating their time and talent and will be expecting something in return.” Keeping in mind what other people will gain by partnering up with you will get you honest and sincere work. Of course, to get people to follow you, they need to be presented with a strong portfolio. Stories of success speak for themselves. Von Wong writes, “It does not matter if the projects [in your portfolio] are slightly unrelated. People are looking for proof that you won’t be wasting their time.” For those just starting out, Von Wong recommends going with smaller projects and building from those achievements. In short, create an impressive track record. He also recommends, “It can become overwhelming when there are too many pieces to hold together. Try to delegate responsibilities. Not only will this lighten your own workload, it will also make people feel included and acknowledged.” Von Wong constantly emphasizes the importance of following up with collaborators before the shoot. The photographer, as the glue holding the whole project together, should follow up with fellow artists to ensure they are still on board. “It is your duty to keep that excitement going. Let them be aware of the progress to keep the momentum alive.” Von Wong’s advice on starting a project is simple yet full of wisdom. He says, “I think that the key to starting something is to simply start it. People have the tendency of doing things ‘later’ and they never get done. If you have an idea in mind, give yourself a deadline and make it happen. Don’t worry about making it perfect right off the bat … you will make mistakes, guaranteed! You will also fail at some point in time, so accept that reality and try anyways. Whatever it is you want to do in life, start today.” Check out Von Wongs' latest projects at: www.vonwong.com #BenjaminVonWong #visualstorytelling #travelphotography #peoplephotography #fineartphotography #experimentation #OntarioPhotographer

Trying to light glass using the same techniques employed when photographing opaque objects will give you unsatisfactory results. The glassware will reflect everything in the room/studio and show flare from the light source. The solution lies in the problem, that is, that glass is transparent. Rather than bouncing light off of the glass, try to have the light go through the glass. This can be done by illuminating the glass from behind or below. The light must be diffuse to eliminate glare. I recommend using a translucent material such as white Plexiglas as the stand for the glass. Light tables using Plexiglas are commercially available or you can build your own. (We’ve got an easy how-to for a simple DIY light table in our winter 2014 issue – Get the full instructions HERE.) What you will need: • A camera • A tripod • Glassware • Several sheets of seamless paper (e.g., black or white construction paper) • A light table with translucent Plexiglas • A light source Before you start, clean the glassware well and turn off the room lights to prevent unwanted reflections and glare. Here are some techniques to try. Light from below Place the glassware on the Plexiglas. Try some shots and vary the distance of the light source from the base. Experiment with light modifiers such as cut-outs. Since the light source is from below, you can experiment with different backgrounds and take advantage of another characteristic of glass: the ability to bend and distort light rays. Light from behind As in the lighting from below process, experiment with the distance of the light source and the use of light modifiers. You could also try to use a strip of black construction paper as a base for the glassware. Leave enough of the Plexiglas clear on either side of the paper to light the object. If the object is placed on the Plexiglas, two strips of black paper can be used on either side to define edges and contribute to the overall composition. If you are lighting from behind, the base does not have to be translucent. This opens up possibilities for other materials — mirrors and other reflective materials work well. A visit to your local home building supply store might turn up some interesting possibilities. These techniques are only a fraction of what is possible. Staging and creative composition also add to the challenge. Lightroom and Photoshop provide infinite post-processing techniques. Consider converting your images to black and white or adding a colour interpretation. Shooting glassware can reward you with new insights into how light. #HowTo #studiophotography #stilllifephotography #lightingtechniques #experimentation