Lead ImageDalen is wearing a top in silk SAINT LAURENT BY ANTHONY VACCARELLO SS24. Stylist’s own thong and hold-upsPhotography by Momo Okabe, Styling by Raphael Hirsch
Hair and make-up: Ryunoshin Tomoyose. Models: Eight Hoshina, Yoshi Kawasaki, Rio Gushiken and Dalen Wang. Casting: Alter. Styling assistants: Storm Foster and Dominika Szmid. Production: Babylon. Special thanks to Kate Foster
This story features in the Summer/Autumn issue of Another Man, as well as covers the limited edition version of the same magazine. Order while stocks last here.
A look from the Travis County Jail as students and others arrested at the pro-Palestine rally on the UT campus are being released. One of those arrested was a FOX 7 Austin photographer who has been released from jail.
Posted April 25, 2024 11:15am CDT
If you’re a photographer who works on locations often, then you know how annoying white balance issues can be. Well, the Lightroom Presets that we’ve made have that in mind. We encourage you to start out at either 3200K or 5600K, apply our presets, and then work from there. We’re pretty sure that they’ll give photographers whatever they need. This article gives you visual examples of all 20 presets in our Photojournalism Presets Pack, as applied to various portraits we’ve taken over the years. And if you want, you can purchase them right here at our store.
The Phoblographer has a large database of portraits that we’ve shot over the years. So we’ve tested these presets on Canon, Nikon, Sony, Leica, Panasonic Lumix, Olympus, OM System, and Fujifilm RAW files. No matter what camera you own, you’re probably going to like these Lightroom presets.
A total of 20 different presets make up our first Presets Pack. Ten of these are color-based and the remaining 10 are focused on black and white results. We developed these to ensure the results don’t overlap between presets, and keeping in mind that they are meant to help you edit with ease. Some of these are Adaptive presets, meaning they scan your photos for faces and skies and skilfully apply edit masks only to those areas. They were developed by us on Adobe Lightroom Classic and you can even adjust the intensity of the presets using the Amount slider in the Develop module
For those of you who’d like to use these presets on the go, we have good news for you. You can even upload these presets to Adobe Lightroom (formerly known as Lightroom Mobile), to be able to use them on your mobile devices.
Use the sliders below to see the effects of each preset on the portrait.
These are available for purchase right now. You can buy the color or monochrome sets separately or buy both of them together at a discount. Visit our online store to buy them.
Ah yes, the perpetual ‘get it right in camera or fix it in post‘ debate that drives photographers a bit crazy. These days, there are myriad ways of creating an impactful image, particularly with all the new AI processing tools we have. But which way is correct?
In this video, Scott from Tin House Studio explains his take on the whole argument. Of course, he is approaching it from the lens (pun intended) of a commercial photographer. This of course, will be a different point of view from say a photojournalist or fine art photographer. But none-the-less, his approach is worth listening to.
Scott explains that high-end commercial shoots often have a lot of money riding on them and generally involve big teams of people on set. This can lead to a lot of pressure to get everything right.
Scott says efficiency is key for product shoots. Each hour represents a significant investment on the client’s part.
Sure, getting the perfect shot straight out of the camera is ideal, but what if there’s uncertainty about background colour or minor blemishes on the product? In such cases, it might be more economical to shoot on a neutral background and address any issues during post-production.
Similarly, when shooting moving images at high frame rates, every second of footage counts. While it’s tempting to aim for flawlessness in-camera, some imperfections, like dust particles, are more efficiently dealt with in post-production than during the shoot itself. This, of course, is not the same for a video shoot. You are absolutely going to remove any dust spots in real life first.
However, it doesn’t just boil down to what is most cost and time-efficient. It’s also about maximizing creativity and versatility. In today’s commercial landscape, clients often demand flexibility. They may require images to be cropped, composited, or repurposed in ways that weren’t initially anticipated. This is where shooting with high-resolution cameras and keeping post-processing options open becomes invaluable.
In the end, what matters most is not how you achieve the final image but the impact it leaves on viewers. Whether it’s a flawless product shot or a breathtaking landscape, the journey to get there is secondary to the emotional response it evokes.
So, the next time you find yourself torn between getting it right in camera and fixing it in post, remember this: there’s no one-size-fits-all answer. Embrace the flexibility that modern photography offers, and let your creativity guide you, whether you’re shooting for profit or pleasure.
“Arctic Sea Travel Diary.” All images © Elsa Guillaume, shared with permission
Whether capturing the sights of a dive in the remote Mexican village of Xcalak or the internal mechanisms of a sailing ship, Elsa Guillaume’s stylized sketchbooks record her adventures. Glimpses of masts, a kitchen quaking from shaky seas, and a hand gutting a fish create a rich tapestry of life on the move. “Daily drawings (are) a ritual while traveling,” she tells Colossal. “It is a way to practice the gaze, to be attentive to any type of surroundings. I believe it is important to train both eyes and hands simultaneously, and regularly.”
The Brussels-based artist’s frequent travels provide encounters and research opportunities that fuel both her work and devotion to the beauty and wonder of the sea. In fall, she explored the arctic aboard the Polar POD, and she’s currently sailing on a 195-meter container ship called the MARIUS for a residency with Villa Albertine. The vessel launched this month from Nouméa in the South Pacific and will travel the Australian east coast, New Zealand, and the Panama Canal before docking in Savannah, Georgia, in May.
During the six-week journey, Guillaume plans to continue her daily drawings and create a vast repository of ocean life. “It gives space and time to discover and observe an all-new environment to me, the merchant marine,” she says. “How human beings either explore, travel, or exploit the ocean has always been a very strong source of inspiration to me.”
“Arctic Sea Travel Diary”
When the artist returns to her studio, encounters with new-to-her creatures and the discoveries of her travels often slip into her three-dimensional works, sometimes unintentionally. The process “is very probably an unconscious continuity of what I have noticed, of what I have felt, though I don’t necessarily make an obvious connection between these two practices. I like to think of my sculptures, installations, exhibitions (as) projects from scratch, nourished by many other things,” she shares.
Often in subdued color palettes or monochrome ceramic, her sculptures tend to display hybrid characteristics, like the human limbs and animal heads of “Triton IX.” Others disassemble ocean life, revealing the insides and anatomy of flayed fish.
While on the MARIUS, Guillaume will create larger collaged ink drawings that will be shown along with a new sculpture in October at Galerie La Patinoire Royale in Brussels. That solo show will “create a new narration, around human’s shells, like a lost civilization of the seas. This time at sea, connecting the French island of New-Caledonia to Savannah in the U.S. will infuse in many ways this exhibition project.”
Guillaume has limited internet access during the residency, but follow her on Instagram for occasional updates about her journey.
“Arctic Sea Travel Diary”
“Triton IX” (2022), ceramic, 39 2/5 × 16 1/2 × 23 3/5 inches
“Arctic Sea Travel Diary”
“Arctic Sea Travel Diary”
“Tritons” (2020). Photo by Tadzio
“Arctic Sea Travel Diary”
“Arctic Sea Travel Diary”
“Thinking About the Immortality of the Crab” (2022). Photo by Jérôme Michel
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Informed by Research Aboard Ships, Elsa Guillaume Translates the Wonder of Marine Adventures appeared first on Colossal.
On April 24, Ucross announced that next week, on May 3, four Ucross Native American Fellows will travel from across the nation to engage with the Sheridan community in free events for students and the public.
The artists will discuss their work in “Celebrating Complexities,” the current exhibition on view at the Ucross Art Gallery. The exhibition artists, who received the 2022 and 2023 Ucross Fellowship for Native American Visual Artists, include Gerald Clarke (Cahuilla Band of Indians) of Anza, California; Savannah LeCornu (Tsimshian, Haida, and Nez Perce) of Bellingham, Washington; Mikayla Patton (Oglala Lakota Nation) of State College, Pennsylvania; and Cara Romero (Chemehuevi Indian Tribe) of Santa Fe, New Mexico. The exhibition is guest curated by Brenda Mallory (Cherokee Nation) of Portland, Oregon.
On Friday, May 3, Ucross will host an artist talk at Sheridan College’s Kinnison Hall at 11 a.m. Clarke, LeCornu, Patton, and Mallory will discuss their artwork, their creative process and the impact of their time in Wyoming during their Ucross residency. This talk is is open to the public, with free registration at ucross.org.
Next, the artists and curator will visit the Wyoming Girls School for a private talk and arts-focused conversation with the full student body.
Finally, at 6 p.m., Ucross Art Gallery will host a public reception, which will include exhibition tours, the opportunity to meet the artists, a curator talk and complimentary refreshments by the Ucross chef, Jackie Vitale. This reception is open to the public, with free tickets at ucross.org.
In “Celebrating Complexities,” the talented artists work across many different mediums, including photography, sculpture, painting, drawing, printmaking, beading, quillwork and basketmaking. Hailing from diverse backgrounds, geographies and tribal affiliations, they are at different stages in their careers. Each artist explores and celebrates complex ideas in their work, looking at the specific to elucidate the universal. They emphasize their connections to their families, their ancestors and their communities, presenting an Indigenous worldview that encompasses the past, the present and the future. They are reclaiming materials and techniques, narratives and identities, and their work tells rich contemporary stories about people and cultures that are vital and thriving.
“I’m honored to come back now to curate this exhibition of works by these recipients of the Ucross Fellowship for Native American Visual Artists,” Mallory said. “Having the opportunity to study their work closely, to listen to their public talks, to delve deeper into their thinking and motivations has been enriching and gratifying. It makes me appreciate anew what Ucross can provide to Native artists.”
Launched in 2018, the Ucross Fellowship for Native American Visual Artists was designed to support the work of contemporary Native American visual artists at all stages in their professional careers. Each year, two artists are selected and presented with a four-week Ucross residency, which includes uninterrupted time, a private studio, living accommodations, meals prepared by a professional chef, staff support and the unparalleled experience of the majestic High Plains. The fellowship also includes the opportunity to be featured in an exhibition at the Ucross Art Gallery and a $2,000 award.
“I am grateful to Ucross not only for creating the Fellowship for Native American Visual Artists and for the opportunity it affords these artists to advance their themes and careers, but also the opportunity for us, the viewers who see the work, to broaden our own thinking and worldview through their considerations and creations,” Mallory said.
“Celebrating Complexities” is on view at the Ucross Art Gallery, located at 30 Big Red Lane in Clearmont, Wyoming, through May 17. Admission is free. The exhibition and events are supported in part by a grant from the Wyoming Cultural Trust Fund, a program of the Department of State Parks and Cultural Resources. Additional exhibition support is provided by the Arete Design Group and the Wyoming Arts Council, with support from the National Endowment for the Arts and the Wyoming Legislature.
The gallery is open Monday through Saturday from 10 a.m. to 4 p.m. The onsite Ucross Café, which offers coffee, tea and freshly baked pastries by the Ucross artist residency chef, is open Wednesday through Saturday from 10 a.m. to 2 p.m.
For more information, to view the exhibition’s brochure and to register for the May 3 events, visit ucross.org or call 307-737-2291.
April 25, 2024
