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Commercial photography technique: Lighting jewelry

By in Photography

Commercial photography technique: Lighting jewelry

It can be difficult to isolate jewelry from the background. With this commercial photography technique, I’ll show you how to float a necklace named Pegasus. Bonus! It can be any color at all.

Reminder: I am a Fotopro Featured Photographer and a Platypod Pro.

The set

The set consists of a four-sided rectangular box. Bottom, two sides and back. The front is left open to allow LED lights to add color to the background. The stage has a 30-inch threaded rod which is mounted in a 2×4 for stability. This is the product platform. A piece of drafting vellum is painted with black watercolor. A hole is made to slide the vellum over the threaded rod.

Point the camera straight down. With this configuration the product — in this case, Pegasus — blocks view of the rod from the camera. A dab of tacky wax holds Pegasus in place. The vellum paper adds texture and gives a cloudlike appearance to the surface under the product. With no shadows possible from the main light the product ‘floats’ in the scene.

pegasus jewelry photographed
Final image showing a commercial photography technique to float an object. Photographed at f/5.0 to keep the background soft and smooth.
pegasus jewelry before processing
Pegasus jewelry before processing. Final image showing a commercial photography technique to float an object. Photographed at f/5.0 to keep the background soft and smooth.

The gear

In addition to the set you’ll need a tripod. I’m using a Fotopro T-Roc Max. Make sure that your tripod adjustment collar is secure so you camera lens doesn’t crash into the rod. The camera is suspended over the set using a Platyball and Platypod Handle. With the camera suspended it’s wise to weight the tripod for stability. I’ve used a Neewer sandbag filled with pea gravel. You could use a weighted backpack as well. The Handle works well as it can be adjusted in many different configurations. At the end of the handle is a second ball-head. There are three Platypod Ultras. Two are holding Platypod Goosenecks. I’m using these to display the chain. The third Ultra is supporting a Falcon Eyes F7 fold LED light. With two LED panels completely controllable you can dial in ANY color and brightness desired.

Look into the gear description above to see how everything comes together.

Camera and lens

Olympus OM-D E-M1 Mark III is my camera. A 60mm M. Zuiko f/2.8 Macro lens gets great detail. The wide aperture is important in whatever lens you choose to use. The wide aperture allows the background to fade to super softness. Closing down your aperture lets more of the black watercolor read in your image adding a bit more texture and more choices for the look for which you are going.

Main light is an COB LED from Zhiyun and is behind the scrim to keep the light from being too harsh on the subject. The larger the light source the softer the shadow edge transitions on your subject. Check out my review on the Zhiyun 100 watt LED light.

The shoot

With a super reflective subject such as jewelry you want to get light into spaces. Rather than spend a lot of time adding more confusion to the set I suggest using Photoshop as your lighting tool making a couple exposures holding a white card in place and moving it around the set. Ultimately I’ve found this to be a faster and cleaner way to work.

pegasus photographed at f/11 for more depth of field
Note the extra detail in the background. Photographed at f/11.

Photoshop

After capturing your images, it’s a quick trip to Adobe Camera RAW (or Lightroom if that’s your preferred software). Take the frames for blending and load them as layers in Photoshop. Take the photo that has the most information you want and place it on the bottom. Highlight all layers, and just to be safe, click Auto-Align Layers in the Edit menu. If there was a slight bump of the camera this will ensure you won’t end up with blurry fills. Add black masks to the upper layers. Paint with a soft white brush to allow the other areas to blend into the bottom layer working one layer at a time.

photoshop layers palette for commercial photography technique
Layers palette. Three layers for capturing all the light from different angles masking in what is wanted. See the text for the rest of the post production.
hue saturation layer illustration photoshop
Even thought there is complete color control of the background on the set sometimes clients change their mind, imagine that! Masking out the jewelry a Hue Saturation placed below allows for even more possibilities.

Even though we have complete control of the color of the background during capture, we can change the color in post as well. Adding a Hue Saturation layer while masking out Pegasus gives us even more control.

Finishing moves

I made a couple tweaks to complete the post-production. One side of the chain fell out of depth of field because I was trying to allow the background to go super smooth. Instead of going back to the set, I made a copy of the camera left chain, flipped it and masked it into the right side. There was a little dodging and burning on a Soft Light layer. Finally, I added a Levels layer with a mask to vignette just a bit to keep the viewer’s eye from escaping out of frame.

If you have any questions about this commercial photography technique please don’t hesitate to drop them in the comments below.

Yours in Creative Photography, Bob

Why AI Food Photography Is So Unappetizing

By in Photography

Why AI Food Photography Is So Unappetizing
image

The other day I found myself, as one is wont to do, wasting 10 minutes by playing around with an AI image generator. I was hungry at the time, and so eventually I began creating options for a hypothetical lunch: a shadowy charcuterie platter, rising up like the ruins of an ancient city with a sunset in the background; rings of rigid-looking calamari, seemingly made from lucite or glass, arranged in an artfully askew stack; and a circle of 12.5 cartoonish, smooth, translucent-red shrimp under a banner of cursive text that read, simply, “Shimp.” Some of the images looked like food; none of them looked edible.

As my lunchtime experiment showed, getting AI to generate a quality image requires knowing what you’re doing — starting with well-written prompts (beyond just “plate of shrimp”), a crucial step I had not taken. Sometimes, the results are amazing, like the AI-generated images Bon Appétit recently commissioned from artist Bobby Doherty, which accompanied a piece about an editor’s conversation with ChatGPT as it developed dishes for a hypothetical New American restaurant. Some of AI’s ideas for the menu were eye roll-inducing, as can be the case with New American restaurants, but Doherty’s vivid, otherworldly art still looks good enough to eat.

It would seem, however, that the average AI-generated food image is not quite there. In various corners of Reddit and Google Images, pizza slices and leaves overlap strangely or blend into each other, curries shimmer around the edges, , and other supposed foods . On Adobe Stock, users may monetize AI-generated art, provided they have the rights to do so, and label their uploads as illustrations. Most of the platform’s photorealistic still lifes and tablescapes are passable, though a few veer into the grotesque: , all body and no head, or . Images like these, and even ones that are less absurd, often reside somewhere in the uncanny valley — a much-debated locale that looms large in many conversations around AI.

Still, as tech companies tout AI’s applications for recipe development and even teaching cooking techniques, artificial neural networks are also making their entrance into the world of food photography. Some stock photo agencies, including Shutterstock, have partnered with AI platforms on their own image generation tools. Startups like Swipeby and Lunchbox intend to court restaurants and delivery operations in need of visuals for their online menus. Of course, a way to create visuals — paying food photographers to do their jobs — already exists. And beyond that ethical morass is a more immediate legal problem: Some AI models have been trained with creative works, often unlicensed, scraped from the internet, and can respond to requests to mimic specific artists. Understandably, the artists are starting to take things to court.

All moral concerns aside, for the time being, at least, food still looks most reliably delicious in the hands of food photographers, videographers, and food and prop stylists. So what is AI getting wrong? Karl F. MacDorman, a scholar of human-machine interaction and associate dean at Indiana University’s Luddy School of Informatics, Computing, and Engineering, says there are many theories as to what might cause certain representations to elicit feelings of eeriness or unease as they near full accuracy. “The uncanny valley is often associated with things that are liminal,” MacDorman says, as when we are not sure if something is alive or dead, animal or non-animal, real or computer-animated. This can be especially pronounced when an image mixes disparate categories, or assigns features to a subject that usually belong to very different things. It’s perhaps unsurprising that AI, at this relatively early juncture, might struggle with all of this.

While the original uncanny valley hypothesis, posited in 1970 by roboticist Masahiro Mori, was concerned only with humanoid figures, other uncanny valleys have since been demonstrated. There can be a similar effect with renderings of animals, and in a 2021 study, MacDorman and psychologist Alexander Diel found that houses can be uncanny, too. MacDorman suggests that food, likewise, has the capacity to be uncanny because of how intimately it’s connected with our lives.

John S. Allen, author of The Omnivorous Mind (published in 2012), has explored that connection from both a scientific and cultural perspective. An anthropologist who specializes in the evolution of human cognition and behavior, Allen speculated as to why some AI food can be so off-putting. “The familiar but slightly-off images are maybe the most disturbing,” he wrote in an email after I sent him some of my weirdest finds. “Maybe I interpret those in the same way I might look at something that I would usually eat, but which has spoiled or become moldy or is harboring a parasite or is in some other way not quite right.”

In The Omnivorous Mind, Allen argues that young children develop what he deems a theory of food (“sort of like a first language,” he says) that is shaped over time by varied experiences and cultural influences. “Our first visual impressions of what we eat set up expectations, based on experience and memory, about what something should taste like or whether we will like it or not,” Allen says. “When the food looks off, that sets up a negative expectation.”

MacDorman’s research supports a similar idea. When it comes to “configural processing” — simultaneously responding to many features at once, as with face perception — he says humans do rely on models we’ve developed of the food that we’re eating. “We have a model of what a shrimp should look like, what’s a good example or a bad example of shrimp,” he explains. If you see a shrimp that’s strangely long and thin, it’s not uncanny because it’s novel; it’s uncanny because it’s bringing to mind a familiar model, and when we try to fit them together, “there’s something definitely not meeting your expectations.”

Still, MacDorman thinks there can be feelings other than uncanniness at play in an adverse reaction to an AI-generated food image. “It could even be empathy,” he suggested. With a headless shrimp, for example, “you might feel bad because you wouldn’t want to be it.”

Some foods may provoke stronger reactions than others. “For me it’s the meat, all the way,” says San Francisco-based food photographer Nicola Parisi. “I do think meat in general is a very hard thing to photograph, even as a human, and I can see some of the same struggles with AI” She thinks it also has yet to master other things some humans have trouble grasping, like composition, styling, and staying on trend. A dated backdrop, or a plating technique that’s no longer en vogue might not trigger any deep psychological phenomena, but they can certainly contribute to an overall value judgment of an AI-generated image. “A photo can be taken with a nice camera, and you can light it well, but it can be boring, or the styling won’t be great,” Parisi says. “A high-quality image could still be bad, you know what I mean?”

Luckily, there are professionals out there who know how to make food look great every time, and unlike AI, they can actually eat.

Hannah Walhout is a writer and editor based in Brooklyn.

Designer Desktop August 2023 With Kapitza

By in Design

Designer Desktop August 2023 With Kapitza

Design studio Kapitza, founded by sisters Petra and Nicole, wants “to color the world with positive and uplifting works of art, as we believe that color has the power to make us feel better in ourselves and our communities.” We completely agree! Located in East London, the duo collaborates with brands and institutions to create everything from large murals to pop-up events to products and more – you can check out some of their projects below!

Our Designer Desktop for August features Kapitza’s abstract composition entitled NEW WAVES. It’s full of curved line segments that connect and cross each other to create “a flowing rhythm.” Petra and Nicole shared, “We were inspired by one of our favorite artists, Vera Molár, the first female artist to incorporate computers into her practice and her constant search for challenges, new materials, and surprises.”

overhead image of a person working on a colorful geometric painting

Diversity Painting

two light-skinned people wearing all black sit in a space space filled with multiple stripe patterns and colors

Kapitza Photo: Stefanie Freynschlag

DESKTOP: 1024×768  1280×1024  1680×1050  1900×1200  2560×1440

MOBILE: iPhone XS  iPhone XS Max  iPad Pro

Learn more about Kapitza here.

View and download past Designer Desktops here.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

Art Gallery: Preston Singletary – Cowboys and Indians Magazine

By in Native

Art Gallery: Preston Singletary – Cowboys and Indians Magazine

Celebrating themes of transformation, heritage, and nature, glass artist Preston Singletary (Tlingit) has become a national figure within the Northwest Native glass art movement.

Ravens. Eagles. Totem poles. Think Northwest Native glass art and his name springs to mind. With his global reputation, glass artist Preston Singletary (Tlingit) stands front and center in Seattle’s celebrated studio glass movement. His pieces range from blown and sand-carved glass tabletop sculptures to massive multisensory installations — and you’ll find them in museums from Seattle to Alaska, Massachusetts to France, Sweden to Scotland. 

Inspired by his Tlingit roots, Singletary reinterprets Native American art in glass sculptures carved with the curving arcs of the Northwest coastal Indigenous formline design. Transformation is inherent in the work. When light hits the luminous glass, it can seem alive, as if with a spirit inside. “Glass changes when the sun hits it and makes it very dynamic,” he says. “It’s also transforming the cultural art.”

Stillness, blown and sand-carved glass, 19″ x 9.5″ x 8″.

Singletary grew up in Seattle, learning about his heritage from his Tlingit great-grandmother, who passed on her culture to her family in the traditional matrilineal way, relocated the family from Alaska to Seattle, and kept a pet grizzly bear in the late 1800s. “She lived to be 100. She died in 1981,” he recalls. His bohemian-inclined parents played folk music, and Singletary plays in a mostly Native band. Glass art drew him in as a teenager in this city near where blown-glass sculptor Dale Chihuly took the world by storm and co-founded the Pilchuck Glass School, where Singletary maintains continuing ties.

Dominant themes in Singletary’s art tend toward transformation, animal spirits, and shamanism. Ravens appear frequently. “The raven is the basis of a lot of the stories. How Raven brought order to the world. Not only did he steal the sun from this old man who was hoarding it, and give it as a gift to the world, but he also did several other actions. He essentially brought order to the world. He stole the spring water from Petrel and tried to swallow it up, and the water dripping out of his mouth became the rivers and streams,” Singletary explains. Eagle is the other Tlingit tribal moiety. “There was this boy playing on the beach and there was famine, so the eagle dropped salmon down for the boy. So that’s Eagle as a spirit helper in the context of the story. He provides food to the boy, who shares it with his village and becomes a leader because of his special connection with Eagle,” Singletary says.

Killer Whale Totem (reverse), lead crystal, 106″ x 33.5″ x 22″.

Influenced by both modernism and primitivism, Singletary, 59, often works with amulet forms. “There are a lot of shaman amulets, like pieces of bone or tooth. I make them larger as sculptural objects. Then I’ll put themes of transformation—animals morphing into humans. So it alludes to the spirituality of humankind,” he says. Recently he’s been delving deeper into symbolism and metaphors. “I’ve been working with elders, with people who help me understand the stories from different perspectives, so more of a Joseph Campbell type of approach,” he says. “You can create an art piece from any action within the story.”

His monumental Killer Whale Totem standing over eight feet tall was created with woodcarver David Svenson then cast in lead crystal in the Czech Republic. “It’s talking about the killer whale as the main crest symbol representing my family and the eagle moiety on the top, and the bottom is a wolf design, which is a more archaic crest symbol,” Singletary says. There’s also a thunderbird representing the clan that adopted Svenson.

Golden Eagle, blown and sand-carved glass, 20.5″ x 14″ x 11″.

The Two Ravens totem explores cross-cultural mythology. “Odin is there because my wife is Swedish,” Singletary says. “He’s a Norse god and kind of a shaman figure. The two birds on his shoulder are ravens. Odin is always associated with ravens. The other characters are my daughter and my son and a wolf representing our cockapoo. And my wife on top.”

Raven in the Beginning of Time is a stand-alone raven covered with formline designs. “Raven is originally a white bird. Most albino animals in Indigenous culture are thought of as supernatural beings, so the raven has transformational capabilities,” Singletary says. The regal Golden Eagle has a curved beak. “It’s a newer form with the extended wings. Eagles are a symbol of power. And they’re hunters and pretty special. They have powers in their own right.”

The Place Where You Go to Listen, blown and sand carved glass, 22.75″ x 24″ x 7″.

The untitled oystercatcher rattle in black and amber portrays an oystercatcher on the top with a mountain goat on the bottom. Lying across it is a reclining shaman figure. “The shaman is emaciated and fasting, or potentially dying, based on a real traditional image of a shaman I’ve seen in carved style,” Singletary says. “Those rattles were originally made to connect a shaman to his spirit helpers and for healing rituals.” 

A poignant egg-shaped sculpture titled Unassimilated depicts a raven in front of a cityscape. “It was based on a song my band does. It’s a spoken-word piece about Raven coming back from a long journey. He comes back to his homeland and instead of tall trees, he sees these tall buildings. He finds this tree that’s been washed out to sea, and it’s all heavy with salt water. So he’s sitting on this log and sort of crying because his homeland is transformed to where he can’t even recognize it.”

Unassimilated, blown and sand-carved glass, 18.5″ x 12.5″ x 3.5″.

Standing outdoors in Portland, Oregon, the abstracted Tlingit Dancing Staff sculpture was a collaboration between Singletary and David Franklin. “That’s a steel and glass construction for public art. We were looking for durable materials that could be made and installed outside,” Singletary says. The red dot on the top represents the sun, with a raven’s beak holding it up.

Taken as a whole, Singletary believes his work is “a connection to ancient tradition, but now it’s very modern. Now the culture has a new medium.” 

Raven in the Beginning of Time, blown and sand-carved glass, 20.75″ x 9″ x 16″.

Preston Singletary’s traveling exhibition Raven and the Box of Daylight is on view at Chrysler Museum of Art in Norfolk, Virginia, through July 2, 2023, then at Oklahoma City Museum of Art in Oklahoma City November 11, 2023 – April 28, 2024. He is represented by Blue Rain Gallery in Santa Fe, Sandra Ainsley Gallery in Toronto, and Traver Gallery in Seattle. Smaller works may be found at additional galleries and museum stores. Visit the artist online at prestonsingletary.com.

Services Marketing Essentials dives into the art of marketing intangible services

By in Art World News

Services Marketing Essentials dives into the art of marketing intangible services
Services Marketing Essentials is an indispensable manual for marketers and founders to learn the foundations of marketing services.

Services Marketing Essentials is an indispensable manual for marketers and founders to learn the foundations of marketing services.

Vishal Desai, author of Services Marketing Essentials, is an experienced sales and marketing professional.

Vishal Desai, author of Services Marketing Essentials, is an experienced sales and marketing professional.

Vishal Desai is also the author of Sales Marketing Essentials You Always Wanted To Know by Vibrant Publishers.

Vishal Desai is also the author of Sales Marketing Essentials You Always Wanted To Know by Vibrant Publishers.

Vishal Desai combines his two decades long experience and research to write an “essentials” book on marketing services

BROOMFIELD, COLORADO, UNITED STATES, August 1, 2023/EINPresswire.com/ — This July, Vibrant brings out a marketing manual for service businesses by Vishal Desai, an esteemed professional with an experience of two decades in sales and marketing. The review copy of Services Marketing Essentials You Always Wanted To Know is now available on NetGalley for interested readers and reviewers. The book will be published in October 2023.

“Services and products are different and hence, marketing them requires developing a different strategy and approach. A major difference between them is that services are intangible and are all about the experience. Marketers need to understand the ways in which to reach the right consumer at the right time and convince them of using their services. This is not a cakewalk as it also involves understanding the psyche of the consumer,” says Vishal Desai who strongly felt that the marketers and founders should have a handy and simple-to-read guide for promoting their services.

Upon asking him how Services Marketing Essentials is different from other books in the market, he replied, “This book is an amalgamation of my 20+ years of hands-on experience in the marketing field and my continuous research efforts. I have explained the concepts using real-world examples and in simple, conversational language. Reading this book will give the reader a quick and thorough overview of the services marketing domain without encountering heavy jargon.”

Vishal Desai has worked at leading companies like Reliance ADAG’s Zapak.com, Shemaroo Entertainment Limited, and Milestone Interactive Group where he has held leading positions in the sales and marketing domains. He is also the author of Sales Management Essentials You Always Wanted To Know published by Vibrant Publishers.

Services Marketing Essentials is a self-learning book and a new addition to the popular Self-learning Management series. It comes with practical downloadable templates for the reader to apply the strategies in the actual world. The teachers and instructors who may want to adopt this book will receive instructor resources like a PowerPoint presentation and quizzes to use in the classroom.

The book is now available on NetGalley where interested readers can request a review copy and leave their review.

About the Author

Vishal Desai has two decades of formidable work experience as Category and Business Head at leading Indian entertainment companies viz: Reliance ADAG’s Zapak.com, Shemaroo Entertainment Limited, and Milestone Interactive Group. He has worked extensively in sales and marketing strategy, brand and product management, and corporate strategy. His expertise lies in launching new products with an optimal marketing mix and managing products through their entire life cycle. The portfolio of brands launched by him, while working at Indian licensee companies, includes Sony PlayStation One, Slumdog Millionaire, Spiderman, WWE Raw, and several other franchises across gaming and movie entertainment.

About Vibrant Publishers LLC
Vibrant Publishers LLC is a Colorado-based book publishing house that started its operations in 2011 and focuses on publishing high-quality books for entrepreneurs, IT professionals, management professionals, and graduate students. Vibrant Publishers has redefined the way in which rich content can be made available to today’s fast-paced generation. This new generation’s need-to-know-now attitude and a highly competitive business environment have triggered this series of books with ‘just the essential information’. Vibrant Publishers is committed to publishing books that are content-rich, concise, and approachable, enabling more people to read and benefit from them.

Title: Services Marketing Essentials You Always Wanted To Know
Publisher: Vibrant Publishers
ISBN: Paperback – 9781636511733
Hardback – 9781636511757
E-Book – 9781636511740

###
Media Contact:
Sales, PR, and Marketing

Jisha Maniar
Vibrant Publishers
reachus@vibrantpublishers.com

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iPhone does it again: 2023 iPhone Photography Awards winners announced

By in Photography

iPhone does it again: 2023 iPhone Photography Awards winners announced

Many people love the camera of the iPhone, and for a good reason – it takes amazing photos regardless of the model. Apple’s iPhones have powerful cameras, and the winners of this year’s iPhone Photography Awards (IPPAWARDS) prove it.

The iPhone Photography Awards announced the winners of its 16th annual competition. The winning photos are from all over the world and tell stories that can make you cry, laugh, and feel all sorts of emotions. The one thing they have in common is they were all taken with an iPhone.This year, the Grand Prize Winner is Ivan Silva from Mexico, who used an iPhone 12 Pro to take the winning photo. 
The First Place Photographer of the Year award goes to Thea Mihu for her photo “Soy Sauce Village,” taken with an iPhone 12 Pro Max.

Sasa Borozan from Bosnia and Herzegovina wins the Second Place prize with his captivating image “Taming Waves,” taken with an iPhone 13 Pro. The Third Place Photographer of the Year Award goes to Derek Hager from the United States for his photo, “Tucson Morning,” captured with an iPhone X.

There are also 14 other categories with winners from different countries like Sweden, Australia, China, and Brazil. Most of the 2023 winning photos were taken with the iPhone 12 Pro or Pro Max, making the iPhone 12 Series the star of the 2023 iPhone Photography Awards.

If you want to join the next edition of the IPPAWARDS, you can submit your entries until March 31, 2024. Anyone using an iPhone or iPad can participate in this global competition.

Photographer Deletes Cousin’s Wedding Photos After She Didn’t Pay

By in Photography

Photographer Deletes Cousin’s Wedding Photos After She Didn’t Pay

Bride

A photographer has taken to Reddit to ask if they did the right thing deleting their cousin’s wedding photos after their relative refused to pay.

A Reddit user by the name of MostFitBobo explains that they are a “semi-professional” photographer and was hired for their cousin’s wedding in December 2022 who apparently agreed to pay $1,000 for their photo services.

According to the photographer, their agreement was that they would be paid in full before sending the pictures. After editing the photos, the cousin allegedly didn’t want to pay in full, preferring to set up a payment plan over eight months instead. The photographer tells their cousin that’s fine on the proviso that the photos won’t be delivered until it is paid in full.

“It’s not that I don’t trust her but once you start opening such doors you’ll find it hard to close,” writes the photographer.

“February rolls in and she asks to at least see ‘samples’ to confirm that they were worth the price. I sent four pictures and she says she’ll show them to her husband and get back to me.

“Cue silence for a week or two until I asked for an update and she responded saying she’s still discussing it with him. I told her this was getting long and she must just start paying now and she ignored me again.”

Family Problems

u/MostFitBobo goes on to explain they saved the photos on a roommate’s flash drive but just recently the roommate needed to use the flash drive and asked if he could delete all of the files from it — including his cousin’s wedding photos.

“I saw [sic] fine and he deleted them. I still had about 20 of the photos saved on my phone from when I was choosing/sending the samples so I just explained the situation in a message to her and sent the existing photos free of charge,” writes the photographer.

Unsurprisingly this did not go down well with the photographer’s cousin who is now “slandering” the photographer online.

“It’s quite literally created a division between our families and to the point that our mums don’t talk now,” the photographer explains.

“I obviously feel bad but also feel like given the circumstances, I wasn’t really in the wrong though still acknowledge that it’s obviously very s**tty for her that I would’ve wished to avoid.”

The photographer posted their story into the r/AmItheA**hole subreddit and most Redditors seemed to agree that MostFitBobo was not in the wrong.

“Your cousin contracted you for a service, with payment agreed. She failed to pay,” writes one user.

However, it seems there was no physical contract which wedding expert and editor of Hitched Zoe Burke tells Newsweek is “essential for couples and vendors as they protect both parties should something not go to plan.”

Last week, PetaPixel reported on another viral Reddit post where a photographer demanded $1,000 to be trained in the art of horse photography.

Image credits: Header photo licensed via Depositphotos.

This is the final week to see Linda McCartney photography exhibit in Tucson

By in Photography

This is the final week to see Linda McCartney photography exhibit in Tucson
image

Arizona Daily Star

The North American premiere of “The Linda McCartney Retrospective” ends Saturday, Aug. 5, at the Center for Creative Photography on the University of Arizona campus, closing out a months-long exhibit there.

The exhibit features 180 of McCartney’s photographs separated into three distinctive areas of her life and photography:

— Artist, including photographs of her husband, Paul McCartney, and his Beatles bandmates as well as other music giants of the 1960s-70s;

— Experimentation, which looks at her photographic innovations;

People are also reading…

— And family, including photos she took of herself and Paul and their four kids throughout their 29-year marriage.

The Center for Creative Photography, 1030 N. Olive Road, is open 10 a.m. to 4:30 p.m. Tuesdays through Saturdays.

Admission to the exhibit is free.

“We sort of leaned into the ties to Tucson in the family and artist sections,” the center’s chief curator Becky Senf told the Star in February, noting that many of those photos were taken from the McCartneys’ Redington Road home in Tucson. Linda McCartney died at the home in 1998 after battling breast cancer.

Paul and Linda bought the two-story house, sitting on 151 acres in the shadow of the Rincon Mountains, in 1979, and for years, spent winter and spring breaks in Tucson with their four children.

Her love of Tucson stemmed from her college years studying art history and taking photography classes at the University of Arizona.

Sir Paul McCartney said he used artificial intelligence to help create what he called the “final Beatles record.”


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#pu-email-form-daily-email-article,
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font-family: -apple-system, BlinkMacSystemFont, “Segoe UI”, Helvetica, Arial, sans-serif, “Apple Color Emoji”, “Segoe UI Emoji”, “Segoe UI Symbol”;
}
#pu-email-form-daily-email-article h2 {
font-size: 24px;
margin: 15px 0 5px 0;
font-family: “serif-ds”, Times, “Times New Roman”, serif;
}
#pu-email-form-daily-email-article .lead {
margin-bottom: 5px;
}
#pu-email-form-daily-email-article .email-desc {
font-size: 16px;
line-height: 20px;
margin-bottom: 5px;
opacity: 0.7;
}
#pu-email-form-daily-email-article form {
padding: 10px 30px 5px 30px;
}
#pu-email-form-daily-email-article .disclaimer {
opacity: 0.5;
margin-bottom: 0;
line-height: 100%;
}
#pu-email-form-daily-email-article .disclaimer a {
color: #222;
text-decoration: underline;
}
#pu-email-form-daily-email-article .email-hammer {

border-bottom: 3px solid #222;

opacity: .5;
display: inline-block;
padding: 0 10px 5px 10px;
margin-bottom: -5px;
font-size: 16px;
}
@media (max-width: 991px) {
#pu-email-form-daily-email-article form {
padding: 10px 0 5px 0;
}
}
.grecaptcha-badge { visibility: hidden; }

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