Buy Black Triad: 3 photographers to shoot your family holiday photos!

Updated: 11:53 AM EST Dec 14, 2023

YEAH, GRABBING A GRAB I SHOULD SAY THE MATCHING OUTFITS AND BRING YOUR BEST SMILE. THE HOLIDAYS CAN BE A GOOD TIME FOR UPDATING YOUR FAMILY PHOTOS, AND THERE ARE SEVERAL GREAT PHOTOGRAPHY AND STUDIOS RIGHT HERE IN THE TRIAD AS WELL. TO TELL US MORE ABOUT THOSE JOINING US NOW LIVE IS TAMARA JEFFRIES, THE OWNER OF THE BUY BLACK GUIDE. TOMORROW WILL SHARE THREE OF THOSE STUDIO SPACES WITH US. GREAT TO SEE YOU AS ALWAYS, TAMARA. YES. GOOD MORNING. SO TELL US ABOUT STILL SHOTS, PHOTOGRAPHY AND THE SELFIE SPOT. ABSOLUTELY. SO WHEN IT COMES TO SELFIES, THE SELFIE SPOT WELCOMES YOU TO A WORLD OF COMPLETE EXCELLENCE. AND THIS HOLIDAY SEASON, THEY HAVE PARTNEED WITH STEEL SHOT PHOTOGRAPHY TO BRING YOU BEAUTIFUL HOLIDAY SETS FOR PHOTOS WITH FRIENDS AND FAMILY. THEIR MOST POPULAR SET IS THE CHRISTMAS BLACK NOIR SET, WHICH FEATURES AN ALL BLACK SET WITH A MESMERIZING FIREPLACE, A MONOCHROMATIC TREE AND BIRTH OF THE FESTIVE VERSION IN WHITE, SILVER AND GOLD. THEY ALSO FEATURE FUN SETS LIKE CANDY CANE LANE, PERFECT FOR A CHIC FAMILY PORTRAIT, AND STEP INTO THE MAGIC OF CHRISTMAS WITH THEIR WHIMSICAL LONDON PHOTO BOOTH. SET. THE SELFIE SPOT IS LOCATED IN DOWNTOWN GREENSBORO AND IS OPEN THURSDAY THROUGH SUNDAY AND ALL TICKET INFORMATION CAN BE FOUND ONLINE, SO FOLLOW THEM ON SOCIAL MEDIA FOR MORE INFORMATION ON. THAT WAS A GREAT PHOTOS TO TAMARA. I DON’T WANT TO ALARM YOU, BUT THE WALL BEHIND YOU IS ON FIRE. OH. JUST PLAYING. ALL RIGHT. TELL US ABOUT 20 4K STUDIO SPACE. AWESOME. SO A 20 4K STUDIO SPACE. IT’S BACK WITH THE ANNUAL CHRISTMAS POP UP PHOTO SHOOT EXPERIENCE. 20 4K STUDIO SPACE IS MADE UP OF A HUSBAND AND WIFE DUO, AND THIS IS THEIR THIRD YEAR IN A ROW DESIGNING BEAUTIFUL CHRISTMAS SETS. SO THIS YEAR THEY ARE OFFERING FOUR CUSTOM CHRISTMAS DECKS AVAILABLE FOR FAMILIES, PHOTOGRAPHERS, CONTENT CREATORS AND ANYONE WHO WISHES TO CAPTURE CHRISTMAS MINIS WHEN BOOKING WITH THEM, YOU GAIN PRIVATE ACCESS TO ALL FOUR SET AND THEIR GLAM DRESSING ROOM TO PREP FOR YOUR SHOOT. THEY ALSO HAVE LIGHTING EQUIPMENT AVAILABLE FOR PHOTOGRAPHERS AND CLIENTS WHO OPT TO DO SELFIES. SO THE LAST DAY TO BOOK IS ON DECEMBER 29TH, SO YOU STILL HAVE SOME TIME. UM, AND THEY ARE LOCATED IN GREENSBORO, NORTH CAROLINA, SO YOU CAN HEAD TO THEIR WEBSITE TO BOOK YOUR HOLIDAY MINI SESSION TODAY. JUST BEAUTIFUL BACKDROPS IN THOSE PHOTOS. MY GOODNESS. TELL US LASTLY THIS MORNING MK PHOTOGRAPHY. YES. SO MK PHOTOGRAPHY IS A PROUD BLACK OWNED BUSINESS THAT BRINGS YOU VISUAL STORIES TO LIFE THROUGH ON SET STUDIO PHOTOGRAPHY AND VIDEOGRAPHY. THEIR ANNUAL CHRISTMAS SETUPS ARE A FESTIVE DELIGHT, OFFERING FAMILIES A MAGICAL MK PHOTO SHOOT EXPERIENCE. THEY OFFER SEVERAL DIFFERENT SETUPS, FROM CASUAL TO ELEGANT, TO ENSURE THAT THEY HAVE SOMETHING THAT YOU WILL LOVE. ENJOY COOKIES, SOMETHING WARM TO DRINK AND LET THEM CAPTURE SOME HOLIDAY MAGIC. AND THROUGHOUT THE YEAR, MK PHOTOGRAPHY DEDICATES THEIR LENS TO BUSINESS OWNERS AND ENTREPRENEURS SPECIALIZING IN BRANDING, PHOTO SHOOT, HEADSHOTS AND LIFESTYLE SESSIONS, AND AT THE DYNAMIC HUSBAND AND WIFE TEAM. THEIR MISSION IS TO CRAFT UNFORGETTABLE EXPERIENCE FOR YOU SO YOU CAN LEARN MORE ABOUT MK PHOTOGRAPHY BY LIKING THEM ON FACEBOOK OR VISITING THEIR WEBSITE. I WOULD IMAGINE YOU HAVE TO BOOK A LOT OF THESE, UH, THESE. WHAT DO YOU CALL THEM? APPOINTMENTS, I GUESS WITH PHOTOGRAPHERS AND STUDIOS PRETTY FAR IN ADVANCE. BUT, UH, IT’S WORTH CHECKING IN WITH SOME OF THESE PEOPLE DURING THIS TIME OF YEAR, YOU KNOW, FOR THE HOLIDAY CARDS THAT PEOPLE LIKE TO SEND OUT. THESE ARE ALL BEAUTIFUL OPTIONS FOR THE HOLIDAYS. BUT TOMORROW, ALL THREE OF THOSE, I MEAN, THEY’RE ALL YEAR ROUND BUSINESSES, RIGHT? I MEAN, EVEN PEOPLE LIKE TO DO SPRING OR FALL PHOTOS WITH THEIR FAMILIES OR MAYBE WHEN THEY HAVE A, YOU KNOW, A LITTLE ONE BEING BORN, THEY LIKE TO GET THOSE OUT, TOO. SO THESE ARE GREAT OPTIONS ALL YEAR ROUND. ABSOLUTELY. THANK YOU SO MUCH FOR YOUR TIME TOMORROW. I LOVE YOUR FIREPLACE, BY THE WAY. ON YOUR TV SCREEN, MISTER BRIAN. NO, IT JUST CAUGHT ME OFF GUARD FOR A MOMENT. BUT YES, THIS IS VERY FESTIVE. TAMARA. YES, WE LOVE THAT. ALL RIGHT, HAPPY HOLIDAYS, TAMARA. AND HERE ARE THOSE PHOTOGRAPHERS ONE MORE TIME ON YOUR SCREEN. STILL SHOTS. PHOTOGRAPHY FEATURING THE SELFIE SPOT, 20 4K STUDIO SPACE AND MK PHOTOGRAPHY. YOU CAN EVEN FIND MORE OF THOSE BLACK OWNED RESOURCES AND ALL OF THE LOCAL BUSINESSES THAT TAMARA OFFERS. JUST VISIT B

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Buy Black Triad: 3 photographers to shoot your family holiday photos!

Updated: 11:53 AM EST Dec 14, 2023

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The photographer Ramak Fazel (1965), born in Iran and raised in the United States, arrived in Milan in 1994. Attracted by stories that labeled it as “a challenging city to live in,” he chose the Lombard capital as his new home. He arrived at the Central Station with just one bag and immediately started working on Milan Unit. A project that concluded in 2009, when Fazel left the city to return to the States. «I had the desire to encapsulate everything that happened in Milan within a container,» Fazel tells us via Zoom, explaining how he managed to conceal this “box” all this time. Today, the work emerges from its private and inaccessible dimension to be exhibited publicly while still retaining its air of mystery. This particular aspect intrigued us during the last edition of Artissima when Viasaterna presented it in a monographic booth. A fluorescent green archive consisting of files, boxes, and folders encapsulating Ramak Fazel’s years in Milan.

What does Milan Unit collect?

Milan Unit doesn’t aim to be autobiographical but rather seeks to document a period. «I didn’t want it to be a narrative of Ramak’s life,» the photographer explains. «Milan Unit tells the story of a specific period, bridging two eras. At the same time, it’s also a tribute to Milan, which has been very generous to me». Fazel was warmly welcomed by the city, which was experiencing an artistic experimentation phase. The photographer was absorbed into Milan’s cultural scene, frequenting the right places and circles. Among others, he developed friendships with prominent designers like Ettore Sottsass and Enzo Mari, some of whom are featured in his shots. Beyond portraits, Ramak Fazel is fascinated by street photography. The archive is packed with urban shots – on the streets, in public transportation, in bars – all strictly captured with the same methodology and cinematic lighting. In these shots, which Ramak Fazel chooses to showcase and share, there’s an evident pursuit of a unified language, where the only allowed variant is the subject.

I have an engineering background, so I was quite interested in all the mechanical apparatus of photography. Using lights in the studio and then taking them outdoors was very stimulating for me. I wanted all the photos to be the same, with the same light, the same camera, and film. The only thing that varied was the subject, not the technique. This became a sort of working method during those years, which revealed itself over time and practice.

Why fluorescent green?

Milan Unit isn’t just a photo archive, «it’s a fusion of photography and life, containing various things like notes and invoices, concealed within folders and subfolders,» he explains. All compiled within a container that revealed itself over time, assembled by Ramak himself and tinted in fluorescent green. A color that adds an additional layer of mystery. «The color choice stemmed from the desire to have a hue that was hard to reproduce. Just like the hidden photos, I wanted a color that can be inaccessible».

A private dimension in the age of sharing

Milan Unit has always been private. So much so that when Fazel leaves Milan, he decides to wall up the archive in his rented studio. Literally buried, Milan Unit appears to us as a shoebox collecting our most intimate memories. And, like all private things, we choose to share it only with those we want. With this concept of hiding, a nostalgic aspect emerges, unusual for our time accustomed to oversharing. Even more atypical in relation to photography, which is assumed to serve and represent something. In this sense, Ramak Fazel goes against the tide. He tells us he had to “resist” various requests to share his archive – from foundations seeking designers’ shots to friends, whom he showed the archive only physically, never online.

«Milan Unit might be closer to photographs in a shoebox rather than to a Getty Archive,» remarks Ramak, amused by our analogy. «The purpose of Milan Unit isn’t about sharing. It shouldn’t be a functional or digitized archive, nor easily accessible to everyone,» he continues. «It’s something you have to physically touch, look through envelopes, search among folders. You have to put in effort to explore it. It shouldn’t be something easily digitally browsed with just a click». In an era of sharing, with Milan Unit, Ramak Fazel has the ability to prompt us to consider the private and material sphere, suggesting that we take care of it. Almost creating a kind of nostalgia that urges us to “retrieve our memories from the cloud and bring them back to reality.”

Courtesy Ramak Fazel & Viasaterna Gallery

Working to become a professional photographer takes a lot of careful study and practice, with the ability to juggle multiple skills at the same time. If that is your current pursuit, check out this fantastic video tutorial that features an experienced photographer sharing five skills budding professionals need to learn. 

Coming to you from Laura BC, this awesome video tutorial discusses five important skills professional photographers need. One that I think is particularly important is social media. Social media has revolutionized how photographers showcase their work. Platforms like Instagram and TikTok have become the new-age portfolio, allowing photographers to display their talent to a global audience. Creating a cohesive and engaging social media presence requires a strategic approach. It involves understanding the platform’s algorithm, curating content that resonates with the target audience, and regularly engaging with followers. Many of us don’t really care for social media or feel exhausted by it, but like it or not, it’s a crucial tool.

As a photographer, your social media account is more than just a collection of your best shots; it’s a reflection of your brand. Each post should tell a story, convey a mood, or showcase a unique perspective. This not only helps in building a loyal following but also attracts potential clients who are looking for a photographer that aligns with their vision. Check out the video above for the full rundown. 

If you would like to learn more about the business of photography, check out “Making Real Money: The Business of Commercial Photography With Monte Isom!”

Join me in dissecting the extraordinary cinematography of “Parasite.” We’ll unearth the secrets behind its compelling composition, vibrant color schemes, and evocative lighting. This film offers a wealth of insights for photographers to learn from.

Keep in mind that the movie tells a story of greed and class differences, portrayed through the contrasting lives of the wealthy Park family and the struggling Kim family. As we analyze these scenes, this central theme will illuminate the rationale behind each artistic decision in composition, color, and lighting.

If you prefer video format, be sure to watch the video version of this analysis covering all the scenes:

Parasite Scene Analysis

1. Introduction at the Park Residence

Scene Context:

The focus here is on Ki-woo observing from outside as the housekeeper Moon-gwang wakes the Park family matriarch to meet him.

Scene Composition:

The scene’s composition utilizes layering and framing techniques. It is structured with a foreground, middle ground, and background. Ki-woo occupies the foreground, Moon-gwang and the Park wife are in the middle ground, while lush greenery forms the background. This layering creates a sense of detachment, positioning us as viewers outside the affluent world, both physically behind a glass wall and metaphorically.

The scene also employs effective framing. Ki-woo and Moon-gwang are together in one frame, divided by a line on the glass wall, while the Park wife is in a separate frame.

For those familiar with the film, this arrangement symbolizes the socio-economic divide between Ki-woo and Moon-gwang, and the Park wife.

Color Palette:

An analogous color scheme is used here, predominantly featuring greens and yellows. These vibrant and rich colors symbolize the enticing and luxurious lifestyle that remains elusive to Ki-woo.

Lighting Details:

Natural, soft light characterizes the scene’s lighting, contributing to the tranquil and picturesque atmosphere of the Park residence. The contrast between the bright outdoors and the dimmer interior where Ki-woo stands further highlights the disparity between the two worlds of the characters.

2. Sister Involvement

Scene Overview:

In this pivotal scene, we observe Ki-woo’s sister preparing to interact with Mr. and Mrs. Park, set within the Park family’s home.

Scene Composition:

Echoing the structure of the earlier scene, this one also employs a combination of layering and framing. The composition includes a foreground featuring a plant, a middle ground with Ki-woo’s sister, and a background occupied by Mr. and Mrs. Park. This layered approach visually represents the disconnect and separation among the characters.

Color Scheme:

The scene utilizes an analogous color palette, comprising greens, yellows, and oranges. These colors blend to create a soft, warm glow, enhancing the scene’s homely yet affluent setting.

Lighting Dynamics:

Interior lighting is strategically used to focus on the main areas of action. Firstly, light streams down the stairwell, illuminating the character on the left. Secondly, the dinner table is well-lit, drawing attention to Mr. and Mrs. Park. This lighting technique, along with the contrast between well-lit and darker regions, reinforces the notion of Ki-woo’s sister as an outsider looking into a world she is not a part of.

3. Escape in the Rain

Scene Context:

This scene captures the Kim family hastily departing the Park residence during a nocturnal rainstorm, after a close call of nearly being discovered.

Composition Elements:

The scene is segmented into three frames, each employing leading lines to depict the Kims’ metaphorical descent down the socio-economic ladder as they return to their own home.

The first frame employs an S-curve to convey movement.

The second frame uses a diagonal line to illustrate their downward trajectory.

The third frame again utilizes diagonal lines to accentuate the descent.

Color Scheme:

The scene predominantly features an analogous color palette. The initial frames primarily use a cold mix of blues and greens, symbolizing the stark contrast in their circumstances. In the final frame, as they approach their home, red is introduced. This stark red hue signifies danger and the “hellish” reality they face, with their home flooded and the unresolved issues at the Park house.

Lighting Design:

Dark lighting dominates these frames, accentuating the grim reality of the Kim family’s situation. This dim lighting serves to highlight the stark contrast between their current predicament and their earlier experiences at the Park house.

In conclusion, as photographers, we can learn a lot from analyzing scenes from movies like “Parasite.”

If you want to see all the scenes, be sure to watch my video above!

On the 75th anniversary of the Universal Declaration on Human Rights, the Office of the United Nations Resident Coordinator in Bangladesh (UNRC) and the Drik Picture Library jointly organized a photography exhibition titled “Rage and Hope”.

An opening program of the photo exhibition was held on Thursday. The exhibition will be open to the public from 3pm-8pm daily till December 18, 2023.

Afroza Islam Akhi, the coordinator of Mayer Dak, photographer and coordinator of Bangladesh Garments Worker Solidarity Taslima Akhter, Senior Human Rights Adviser of UNRC, Photographer and the Managing Director of Drik Shahidul Alam attended the opening program. 

The program was hosted by the Curator ASM Rezaur Rahman.

Representatives of the Office of the United Nations Resident Coordinator in Bangladesh (UNRC) and the Drik Picture Library look at photos at the opening of a photography exhibition titled “Rage and Hope” on Thursday, December 14, 2023. Photo: Dhaka Tribune “}”>

Shahidul Alam said: “The exhibition features pictures that are challenging to capture. I appreciate the photographers for their courage. The images depict not only human rights violations but also include some uplifting moments. We all aspire to overcome these challenges, despite the arduous and lengthy journey ahead.”

Huma Khan said: “Equality among all humans is a distant reality, but we are committed to the long journey towards that goal. Our dedication lies in working for the rights of the people of Bangladesh. We embrace diverse opinions and various ways of thinking.”

Taslima Akhtar said: “The images presented here offer a distinct perspective on the UN concept of human rights for individuals as human beings and citizens. In reality, we are living in fear of violence, disappearance, and the inability to express ourselves. Currently, the ordinary citizens and workers of the country are experiencing a suffocating situation, and we yearn to break free and breathe openly.”

Afroza Islam Akhi said: “We are all aware of the current stifling situation in Bangladesh. The families of every missing person, along with their loved ones, endure profound suffering daily. However, there is hope as many individuals, including myself, who once led secluded lives, are now protesting and voicing our concerns on the streets. Currently, in response to international pressure, the government resorts to suppressing dissent through public arrests and disappearance cases, rather than addressing the underlying issues of disappearances and murders. We demand justice for all these activities.”

Mahmud Hossain Apu, on behalf of the photographers who participated in the exhibition, said: “We have many photos that cannot be printed in the newspaper as a photojournalist. In such cases, there requires more such events where we can showcase our work.”

The exhibition features 29 photographs, an audio installation, and one video installation on human rights from the last four decades, covering border killings, tea plantation workers’ movements, protests on violence against women, movements for democracy, victims of the legal process, and judicial harassment, justice, extraneous killings, structural discrimination, movement to protect nature, workers’ working environment and other incidents.

On December 10, 1948, the draft resolution of the Universal Declaration on Human Rights was approved by the United Nations General Assembly in Paris which has since been considered as the general standard of human rights for all nations and cultures worldwide.

It was the result of the experience of the Second World War. With the creation of the United Nations, the international community promised to never repeat this type of brutality.