In today’s world of social media and YouTube, it is easy to think every time a photographer goes out, they come back home with portfolio-ready images. If you begin to believe this, it can impact your own landscape photography. This video looks at the real truth behind landscape photography.

It can be pretty depressing to spend a morning or day out practicing landscape photography and come home with no great images to share, especially when it seems like everyone else around you is capturing fantastic photos on every single trip or outing they make. In this video, William Patino shows the ugly truth behind landscape photography.

We follow as Patino makes his way through challenging terrain with several slippery scrambles to get a possible waterfall composition. As we follow along, we learn he’s already hiked several miles in and is even further from any real civilization just to reach this location as he works through several compositions.

Patino returns to the office and talks through three of the compositions that he is just going to throw away. He explains what was wrong with them and why they aren’t portfolio-worthy, but more importantly, explains this is the truth of landscape photography. Sometimes, we go on an outing, expend significant effort, and still don’t come home with anything.

I appreciate Patino’s perspective that the process overall can still be enjoyable. More importantly, his advice to evaluate what he calls the four killers of an unsuccessful outing can help you still learn something and improve your skills in the long run.

“Ikigai”: the Japanese word for the purpose of one’s life. To National Geographic photographer and SeaLegacy founder Cristina Mittermeier, this is the intersection of what you love, what you are good at, what makes money and what the world needs. On Friday, May 10, Mittermeier spoke as part of UC Santa Barbara’s Arts and Lectures “Earth, Air, Fire, Water” series, sharing with audiences her experiences as a photographer and how they led to her life-long dedication to ocean conservation — her ikigai.

Ocean and environmental conversation is a pressing topic for today’s generation. Issues like climate change and rising sea levels have become part of daily conversations, and conservationists like Mittermeier are seeking to address them.

Mittermeier started her journey with what she calls a “traditional Mexican woman’s upbringing” in Mexico City. She came from a family with little interest in the environment, but found herself fascinated with the ocean from a young age. 

This fascination stayed with her, and Mittermeier went on to study at the Tecnológico de Monterrey in Mexico, gaining a degree in biochemical engineering in marine sciences. Although she had gone to school intending to learn more about how to protect the ocean, she later realized that she was actually learning “everything you need to know about how to extract enormous amounts of biomass from the ocean.” Mittermeier quickly realized this was not what she wanted to pursue, but she knew she had a desire to be involved in ocean conservation. Despite her scientific background, she decided to approach the issue through storytelling.

Not knowing where to start, she settled on borrowing a camera and began shooting. She attended Corcoran School of the Arts & Design’s fine art photography program, where she honed her skills. Over the course of her career, she has traveled to 133 countries as a photographer on assignment and her work has been featured in National Geographic, TIME Magazine, CNN and many other publications. Mittermeier’s goal is to build awareness of people’s responsibility to the environment, and our duty to protect it.

Mittermeier is adamant about the importance of storytelling in enacting change, particularly in ocean and environmental conservation. According to Mittermeier, “without stories, the ocean dies in silence,” arguing that “the right story can change everything.”

Telling the right story is just what Mittermeier has set out to do throughout her career. She described her first assignment photographing Indigenous peoples in Brazil who were going to be displaced due to the construction of the world’s fourth largest hydroelectric power plant, the Belo Monte Dam. Mittermeier hoped that her photographs would bring attention to these peoples, and perhaps halt the dam’s construction.

Mittermeier was unsuccessful and the dam was constructed. However, she said her job was “to tell the story of the mothers, the children, the families that were going to lose their homes.”

Mittermeier did exactly that, detailing the peoples’ connection to the Amazon. She described their tattoos made from semi-permanent ink, derived from the genipap fruit, which indicates their marital status, household and much more. Every two weeks this has to be reapplied, with children sitting for hours as their mothers paint them. Mittermeier even described the people’s desires to paint her, and her struggles in communicating with them about it.

According to Mittermeier, it was incredibly difficult to speak with the Indigenous people, even with a translator. But one term she did pick up was “maykonome,” a common greeting meaning “I see you.”

Mittemeier emphasized the significance of the word’s meaning, explaining that “your life depends on being seen by the rest of the community, on being accountable”.

It is this ideology and ingenuity of Indigenous peoples that Mittermeier believes we need to learn from in order to address current environmental and oceanic issues. She wishes to implement their techniques and approaches to problem solving for conservation.

Despite being highly successful and sought after, Mittermeier decided to leave her position as a professional photographer for National Geographic at the height of her career and founded the nonprofit SeaLegacy. SeaLegacy’s mission is to “inspire people to fall in love with the ocean, amplify a network of changemakers around the world, and catalyze hands-on diplomacy through hopeful, world-class visual storytelling.”

SeaLegacy aims to tell stories in the hopes of  saving the ocean and help the world meet the seven recovery wedges that comprise the UN Sustainable Development Goals. These recovery wedges are steps meant to restore the ocean’s health and ocean wildlife. They include protecting more of the ocean, preserving biodiversity, restoring degraded habitats, stemming the flow of ocean pollution, rethinking how food from the ocean is sourced, viewing the ocean as a solution to climate change and achieving ocean equity and justice for coastal communities.

Mittermeier believes that following these wedges would allow marine life to rebuild in a single generation. However, she says we have to do so ourselves, because “No one is coming to save us.”

To realize this, Mittermeier has been raising funds and working to protect the environment. For example, when the Canadian government refused to protect a subspecies of gray wolves specific to British Columbia from hunting, Mittermeir and a group of photographers took matters into their own hands. To protect them from being hunted, the group raised funds and bought all of the hunting licenses for these wolves.

Mittermeier emphasizes the importance of not only the work by conservationists and nonprofit organizations, but also efforts at an individual level. She describes Americans as “the most philanthropic people on planet Earth,” donating 480 billion dollars per year on average. Yet of this, only 1.8% goes to the environment, 0.25% to the ocean specifically. She urges people to donate more towards the environment, stating that “our lives depend on it.”

Mittermeier also described her newest crowdfunded project, “Hope”, a book featuring a collection of her work throughout her career. Proceeds will be donated to the communities photographed within the book. 

“Hope is a choice … the minute we lose the hope we have lost the fight,” Mittermeier said.

To close, Mittermeier emulated the beginning of her talk, and the accountability we owe each other. Mittermeier urged the audience to say, “I am accountable to you, I’m going to do everything in my power to keep our planet alive.” As, according to Mittermeier, “That’s what I’m doing the rest of my life … maykonome to all of you.”

Trailblazing photographer and travel enthusiast Billie Buchanan

A fiercely independent woman, it is assumed by Colin and his wife Sarah whom Olympics.com spoke to at their countryside house three months before Paris 2024 begins, that his mum’s passion for photography accelerated after her new husband, Laurie, left the country days after their wedding to work overseas as an oil industry engineer.

They didn’t see each other for a year.

Prior to the marriage Billie had worked as a photographer, firstly for weddings and then industrial, including photographing the testing of the prototype of the first commercial gas turbine engine, at an aircraft factory in North London.

Post-marriage, she didn’t work, as per the era, and also because the family regularly travelled overseas, “but she kept her camera with her all the time”, says Sarah.

This shared passion for travel meant the couple and their three children – Colin, his twin sister, and younger sister – lived in the Netherlands, Spain, then under General Franco’s rule, and Nigeria.

Cinefilm footage from the latter, filmed by Billie and found by Colin, reveals both domestic scenes and tribal customs in an era when overseas travel was unusual.

Billie’s adventurous, independent spirit likely emulated her mother’s, who was left to bring up her two children alone after her husband, Chris Duffield, a Thames riverboat fireman and amateur rower, died of peritonitis when Billie was six years old.

Fyffe – originally called Florence, which she hated, so changed her name after seeing a truck go past one day with Fyffes bananas written on the side – worked full-time, starting with washing floors in a canteen and eventually as a restaurant co-owner. At a time when women weren’t expected to work, Fyffe was ambitious for herself, and determined that her two girls would be educated properly, so homework was a priority.

On leaving school, Billie studied photography at college, but no one in the family knows from whom this passion stemmed. The fact that Billie was a photographer at the London 1948 Opening Ceremony was still a surprise for her children when they were looking through their mother’s effects after she died in July 2021.

Say hello to Lucienne Nghiem, known in the digital world as luxxienne, a Richmond-based photographer, whose artistry is painting the town in shades of dream-pop and disco. Lucienne has transformed her passion into a full-time endeavor, infusing her work with a distinct feminine aesthetic inspired by early 2000s chic and the vibrant pulse of 70s disco beats. As we delve into her journey from dabbling in high school photo classes to styling entire shoots as a creative director, Lucienne reflects on the growth of her career and the vibrant Richmond scene that fuels her creativity.

ed. note: This interview was originally published in RVA 40 back in March of 2023, Lucienne is now tour photographer for Chappell Roan. Super happy for her.

Who are you? I always say your name like Lux-zine. But someone said it’s actually Loose-zine. 

It’s all good. I always say– anything said with love. My real name is Lucienne. I guess a lot of people call me looks Lux on the internet. I don’t really know how the name started, but I like it. It’s cute.

What do you do?

I’m from Richmond and I’m a photographer. I also style, and love to act as a creative director. And I do it full-time now. This is my second year doing it. I hope to get into more tour work this year. I’m definitely thankful to RVA Mag; I think I got my first PhotoPass from you guys about five years ago maybe? 

How long have you been shooting photos?

Six years this year. But I started really taking it seriously three years ago.

Did you go to school for photography?

No, but I did take classes in high school. I had a photo class and a graphic design class. Graphic design caught my eye and the teacher really taught me how to manipulate in Photoshop. 

Your photography seems very feminine and dream-pop-based. Where does the inspiration for your photography come from? Is it a specific era? I see some 70s disco and modern techno in it.

Yeah, my favorite genres of music are pop and hyper pop. I love the 70s Disco vibe. I get most of my inspo from early 2000 movies. I love 13 Going On 30 and all of the girly movies. I’m interested in how those girls in the movies dressed and how they paired accessories, like earrings, with their clothes. I try to get colors to pop. I love sparkly anything–I love pink and red and purple. Love the show Euphoria. 

How’d you get into event photography?

I used to live right by a coffee shop that did open mic nights on Thursdays. So still to this day, Thursday is my favorite day. When I was in high school, I really wanted to be a makeup/beauty YouTuber. So I got a little digital camera and I started bringing it around to the open mic nights. And I was like, wait, it’s fun to take photos of people who are performing. I was enamored, I would stay really late. I’d be the last one there. 

Later I got disposables from CVS and I started doing photography by shooting birthday parties for my friends, like sweet sixteens. I’d get my photos printed at CVS or Walgreens. One time someone asked if they could pay 20 bucks for one of my rolls of film and I was like wait, you can make money from that? I thought it was so much fun and I just kept doing it. I’ve been doing it ever since. 

I definitely started on film. The photo class I took in high school was film-based and that taught me a lot, like how to shoot with colors and how to get the lighting right. I did give up the YouTuber dream but I definitely still kept up with photos. I’m really thankful to have lived and grown up by that coffee shop. They don’t do open mics anymore, but I’m hoping to find another one in Richmond. 

I snuck my camera into the Bradbury one time five years ago and that was the first show I had ever been to by myself. I had no idea what I was doing. I had no idea that there was a gate in front of the stage. I remember thinking, what is that? Why are photographers there? I have a camera– why can I be there? So I tap the guy’s shoulder in the front and he told me that I had to have a press pass. He set me aside and explained to me what it was and how to go about getting on. I was like, Whoa, I have no idea what any of this is. But it seems really cool. I did a Google deep dive when I got home. And yeah, I’ve been doing it ever since.

That’s when you hit us up, right? 

Yeah, it was about that time. 

Your work has really matured in the last year and a half. Can you talk about that transition and where your career is going? 

I think I just started taking it seriously. Versus doing casual shoots and casual approaches. Over the last year, I put a lot of thought and effort into how people are dressed and the shoot location, and the lighting. Through friends that are into YouTube, I learned more about lighting and editing this year. I found my own style. I’ve always had a kind of colorful style, but I think I’ve finally found something that I’m happy with and that I’m sticking with. I’m using warm and disco-inspired colors. I’ve also tried to be as booked and busy as possible. And practicing really often is important. I hope I’ve grown over the past year. 

Definitely. You mentioned before the interview that this is your full-time gig now. Was it scary to take that leap?

Very. I used to be a swim teacher and I was happy to quit. Committing to it was scary and stressful, but I think I love it so much that it makes it worth it. I have a lot of friends and people that support me and are willing to help out and assist– they let me borrow clothes for shoots. Having a close loving group of people around you that are supportive is huge. 

What are you excited about for this year?

I’m really excited to start traveling more for gigs. I was in New York a couple of weeks ago. That was the first time I was booked for a photoshoot in New York and the whole experience was eye-opening. And really, really nice. I have a couple of photoshoots booked for the month of March in Nashville that I’m very excited about. 

So yeah, I’m looking forward to going to other places and being not exclusively Richmond-based. Although, you know, my family lives here. I’m from here, and it’ll always be home. 

What do you feel that, as a creative person, Richmond provides for you?

Having grown up in the Richmond creative scene, I feel like everybody knows each other. That’s helpful when you’re trying to get started versus if you had grown up in New York, getting your foot in the door would be harder, just because it’s so concentrated. There are fewer artists here compared to other major cities because fewer people live here. I like the fact that everyone knows each other. There’s a sense of community here, which is unmatched in a lot of other major cities. I loved being raised here because of that. 

Almost anybody can pick up a camera and start going, right?

Totally. And I hope people do. Make friends here. I think that’s the only way to get your foot in the door. And don’t be afraid to ask for help. 

Give her a follow at HERE

Gareth McConnell’s new photo book brings together pictures from Britain’s biggest ever protest, juxtaposed with close-ups of cherry blossom

May 23, 2024

HUNTSVILLE, Ala. (TENNESSEE VALLEY LIVING) – If you’re a new mom or a mom-to-be, Jessica Lee Photography can help preserve one of the most special times in your life.

Dawn Pumpelly, editor, and owner of The Scout Guide Huntsville explored options with Jessica Silver of Jessica Lee Photography in the latest edition of SCOUTED.

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Copyright 2024 WAFF. All rights reserved.

CINCINNATI — An Ohio photographer’s recent photoshoot is going viral after capturing a newborn with a mean side-eye.

Lauren Carson, the owner of Drawing in Light Photography in Cincinnati, told our news partners at WCPO that she’s been photographing newborns for a decade, but has never had a session like the one she had with a little boy named Trent.

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“I don’t think I’ve ever had a baby as expressive with as intense eye contact along with it,” Carson said.

Trent was giving looks his mom had become accustomed to as well.

“That’s just a normal face for him,” Carson said.

Carson shared several photos from the shoot on social media. The post has gone viral, racking up more than 155,000 likes and 35,000 shares.

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“I never would have guessed in a million years that it would have gone to this level,” she told WCPO. “My inbox is very full right now.”

Trent’s photoshoot lasted two hours, which is typical for a newborn.

“He was perfectly comfortable. He wasn’t upset. He wasn’t crying. He wasn’t fussing. He was just scowling,” she explained.

©2024 Cox Media Group

After a 16-11 regular season and 4-6 showing during the Bucs’ first season in a difficult Eastern League, Mission Bay had done enough to earn a spot in the CIF playoffs with the No.11 seed in Div. III.

As the second lowest seed in the tournament, Mission Bay would need to embrace the role of underdog if they wanted to make a deep push this postseason. Still, even as the No.11 seed, the Bucs had plenty of reason to believe they could knock off the top teams in Div. III. In their final game of the regular season, they beat Div. II playoff team Coronado.

For their opening round bout, Mission Bay would make the 25-mile drive south to take on the No. 6 seed San Ysidro, the regular season champions of the Metro South League.

Mission Bay would play the six-seeded Cougars tight, but ultimately they would fall in the opening round 3-2, eliminating them from the playoffs.

Bucs head coach Kenny Hood would give the elimination game start to junior Van Playman. Playman, a pitcher who thrives on pitching and inducing soft contact, would give his team an excellent start. The right-hander worked five innings, allowing two earned runs on six hits and one walk while striking out three.

Playman would also receive some quality defense behind him, as shortstop Mason Gallego would keep busy, recording four assists in the afternoon. While in the outfield, Owen Oswald would remain active as he would track down fly ball after fall ball, recording five total put-outs on the day.

While Playman dealt on the mound, Mission Bays bats would not provide much run support. The Bucs collected six hits on the afternoon. The only multi-hit performance came from Ruben Gallego, who would go 2-for-4 with two stolen bases. Mission Bay had one extra-base hit, a ringing double from Gavin Marzion.

The lone RBI on the afternoon would be provided by Oswald, while the other Mission Bay run would come via an error that scored Marzion. Even with the lack of hits, the opportunity for more runs was there. Mission Bay left seven men on base.

Mission Bay kept it at 2-2 heading to the seventh. Following Playman’s five quality innings on the mound, Mission Bay would turn to Kaden Jones, who worked a quality 6th inning. With two outs in the bottom of the 7th, the Cougars connected on a walk-off base hit to win the game.

Skylum has news that will be of high interest to portrait photographers. It’s an announcement of a dedicated app code-named “Project Barcelona.” It’s an app designed for professionals to enhance portrait retouching.

The company says it recognizes the increasing demand for time-saving tools in portrait photography that would enable professional and semi-professional photographers to focus on creative growth and client engagement.

Just as Luminar Neo provides convenient editing solutions for a broad set of photography challenges, this new app uses cutting-edge AI technology to help portrait photographers achieve top-quality retouching and inspire them with new creative possibilities.

Skylum is collaborating with renowned portrait photographer Julia Trotti to develop this specialized software solution. Set for release in September 2024, Project “Barcelona” will empower photographers by automating routine face retouching processes through an efficient, AI-optimized workflow that runs locally on the user’s device, making it as easy as applying presets. With the added advantage of precise and adjustable masking tools, it provides enhanced control and accuracy for perfect results every time. This, in turn, will allow portrait photographers to balance the time-intensive task of photo retouching with shooting and growing their photography business.

Features include:

• Skin Toning: Make subtle changes to the skin tone of specific areas thanks to an accurate facial skin segmentation model; remove the red hue or unify the overall color. On top of that, the new app’s state-of-the-art face mesh model provides unique makeup correction capabilities, allowing the application of extra textures like blush, highlight, and contour, and changing the color of lips, brows, and other elements.

• Eye Enhancement: Add iris flare, remove redness, and adjust eye shape with a comprehensive suite of tools to perfect a subject’s eyes in portraits.

• Teeth Whitening: Ensure radiant smiles with advanced teeth whitening and brightening capabilities.
• Makeup Application: Enjoy customizable options for creative makeup styles and colors to complement any complexion, clothing, or backdrop.
• Bokeh Effects: Create stunning depth-of-field effects with the bokeh feature, adding dimension and allure to portraits.
• Body Enhancement: Adjust bodily proportions to correct posture and account for unflattering angles, making sure portraits capture subjects in their best light.

Getting the App

An early bird offer starts June 25, 2024. Find out more on Skylum’s website and sign up for the waiting list for early access.

There’s no information on pricing yet, and Skylum wants to emphasize that this is a new app and new initiative. It doesn’t mean it’s replacing Luminar Neo, which is still in active development. Think of it as Luminar Neo for portrait photographers.

We should have a beta at some point in the near future and will report on how it works. Skylum says the app will be a native Mac and Windows app. No iOS or Android version, at least for now.

Many portrait photographers will see this as competition for Portrait Pro from Anthropics, a very popular portrait editor.