By Kimberly Pistone
For the Sidney Daily News

SIDNEY — A local photographer who has been in business for almost 10 years is opening a studio in downtown Sidney.

Kristin Allen, who owns Allen Photography, is opening the studio at 217 N. Main Ave., above Home Experts Reality. She said she’s excited to branch out into having her own space where she can offer corporate headshots and branding in addition to her current offerings. She specializes in family, wedding, child and senior photography.

“The new space is not what I thought I was looking for, but I think it is going to be perfect,” Allen said. “I am really excited. I love it.”

The landlord is renovating the attic space for her, and she expects to be moved in by July at the latest.

Like many photographers, Allen began by taking photos of her children. This led to her always having her camera for field days and school ceremonies, and the business grew from there. She said her forte is lifestyle and candid photography, and she highlights her subjects in a variety of creative locations. Allen said she has the ability to help her clients feel comfortable and relaxed in front of the camera, resulting in memorable keepsake photographs.

Allen is looking forward to having a designated space to meet with her clients, as well as a space to do some of her photography sessions without having to set up repeatedly in her home. She does not do prop photography; instead, she will use the backdrops mainly for headshots and branding.

Allen does photography year-round, which can present some challenges in the winter. She has been able to find indoor locations such as the library in the past, and will continue to creatively use those spaces, but having a studio will provide another option for clients.

Allen can be reached at 937-638-714 or on Instagram @kristinallen_photography.

Wedding season is in full swing again in Australia. I love wedding photography: There’s so much joy in capturing all the meaning and intentional details that a couple has put into their big day. But weddings are long days, with lots of heavy gear to tote about. That’s why I’m using taz + tez Archy backpack for wedding photography. Not a wedding backpack, you say? Let me explain.

The Archy Modular Camera Backpack V2 (my full review here) by taz + tez is not billed as a wedding photographer backpack. The larger, carry-everything Tildy backpack is what taz + tez recommends if you’ve got a lot to carry. I struggle with back, wrist and elbow issues during wedding season because of the gear load. So I’ve been investigating other options to get my kit moved around on wedding days that alleviate the strain.

Using taz + tez Archy backpack for wedding photography is a lightweight option

I’ve been working on cutting my kit weigh down this year. I invested in a mirrorless camera (Canon EOS R8 Mirrorless Camera) with some RF primes (50mm and 28mm) to do this. Weddings are heavy work! There’s speedlites, long lenses, multiple camera bodies, battery packs and light modifiers to carry around. To protect my body, it’s been my priority this year to cut down my carry, and get as much weight into a rolling bag as I can.

That’s my setup that I’m using for weddings with the Archy backpack as my “need it now” gear pack. I have a rolling bag (an office style one with top openings) where the bulk of my kit lives for the day. I take gear in and out as I need it, swapping it into my Archy for what I need during each phase.

This keeps my carry weight down while also having access to everything that I need. It’s a good compromise: I don’t have to drag the rolling bag everywhere if I don’t need it. I can swap in and out what I need as I go.

The Archy backpack is not the only wedding bag I use, but it’s my flexible “what I need for this bit” bag

The Archy backpack is not a huge bag. If you’ve read my full review you can see the different variety of gear that it can fit. While I can’t fit everything I need into it for the wedding day – I don’t want to. I am using it for the “what I need now” bag.

I pack in my mirrorless and primes for the bridal prep photos. Then switch in my 24-70mm lens and a flash for the ceremony and load up my second camera onto my belt. I drop off the heavyweights for the romantic portraits, and pack in my off-camera setup for night photos. It’s the back I keep on my back throughout the day, while the rest of my (heavy) kit sits in waiting in my rolling bag.

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Using taz + tes Archy backpack for weddings makes sense too because there’s enough room for essentials in the pack. Phone, keys, a few snacks: I have what I need close at hand across the day.

The Archy backpack blends in at a wedding

Sometimes you have to leave your backpack sitting unattended while you capture the ceremony, or duck out quickly for the last pink clouds of the day. Camera bags often scream, “I’m a camera bag!” The Archy Modular Camera Backpack V2 doesn’t.

It’s a classic, stylish bag that just looks like another guest handbag. No flashing red lights advertising where your expensive gear it. For a high-end wedding where you want to look as sleek as the crowd you’re working for, even better.

For photographers who struggle with carrying too much, this system helps on full-day weddings

If you’re like me and can’t physically lug a whole backpack of wedding gear around all day, then splitting your kit into a flexible carry-and-pull system like this makes sense. It lets me get the job done without extra strain on my body, and I always have what I need with me. That’s why I’m using taz + tex Archy backpack for wedding season.

Science Museum Oklahoma is set to unveil its latest exhibition called “Out of the Toybox,” a year-long showcase featuring art from toy photographer Mitchel Wu.

Monday, May 13th 2024, 9:58 am

By:

News 9

OKLAHOMA CITY –

Science Museum Oklahoma will be allowing guests to catch a glimpse into the art of toy photography this weekend.

Joining the News 9 team Monday morning is photographer Mitchel Wu to talk about his upcoming year-long exhibition called “Out of the Toybox.”

Monitor photographer Riley Robinson wasn’t sure what to expect when she arrived at police headquarters in Dallas with reporting partner Henry Gass.

The police perspective was important to their story on violence prevention efforts featured on the cover of the May 13 issue of The Christian Science Monitor Weekly magazine. But law enforcement is notoriously guarded about press access, particularly when it comes to photography. So Riley was concerned that she might not get what she needed to accompany the story.

It wasn’t until an officer handed Riley and Henry waivers to sign that it became clear they were going out in the field on what’s known as a ride-along.

Soon, she and Henry were in an unmarked police car watching a stakeout unfold into an arrest. Henry, the Monitor’s justice reporter and Texas bureau chief, describes the scene in detail.

“I couldn’t tell you nearly as much detail as Henry does,” Riley says. “When I’m out there … mostly everything becomes line and color.”

This is true for any photo shoot. To get the rich imagery that illuminates our pages, a photographer must hyperfocus on the viewfinder. But this story presented a new level of technical challenge.

“I knew there were a lot of security and privacy concerns,” says Riley. “I didn’t want to emphasize the faces of whoever was being arrested, for example.”

Then, about halfway through the ride-along, a message arrived from the Police Department’s communications office.

“Oh, by the way,” Riley says, paraphrasing the message, “all the officers who are not in full uniform – they’re in street clothes, with a bulletproof vest over them – they have similar privacy concerns to cops working undercover. Don’t show the faces of those officers, either.”

Reluctant to artificially blur anything during the processing of images, she had to get creative.

“I’m trying to use depth of field, use other parts of the scenery, use parts of the car to try and follow as much of this in the moment as I can,” she explains.

In the end, she managed to pull off a layered cover shot that illustrates the scene without showing any faces except for the watchful eyes of Maj. Jason Scoggins framed in the rearview mirror.

This image, and the story behind it, captivated the editors working on this issue. It’s just one perspective that Riley’s photography brings to our cover story. Find the full story.

I attended a pre-con class with Judy Reinford at Texas School of Photography before I taught my week-long class there. It was amazing! Judy is an Equine and Pet Photographer, educator, and national speaker. Her class combined on site equine image capture and classroom instruction. Learn more about Judy’s classes here. This article shows is one of my images from the class at Bridlewood Training Center in Texas after an Adobe Photoshop transformation.

Original capture

Jackie Rollins, our host and owner of Bridlewood Training Center, worked Fife, a Gypsy Vanner breed horse, for the photo class. I can’t imagine the work that goes into maintaining the mane and tail to keep them free-flowing. Beauteous! See the image straight out of camera below.

Transformation

First stop is Adobe Camera RAW (ACR). These are essentially the same tools which you will find in Lightroom. An overall adjustment using the Auto button gives a nice start to the process. Additional tweaking of the highlights and shadows was needed along with some contrast adjustments. Before leaving ACR, I moved to the “Masks” tab and chose “Select Sky.” It was a flat overcast day. Adding a little blue using the color slider and lowering the exposure a bit kept the sky from being too flat. Then, it was off to Adobe Photoshop.

Then comes the removal of the lead and our owner through judicious use of the Stamp Tool along with the Patch Tool.

Blending options

That sky looks a bit anemic. I added a sky photographed by me from my archive files, using a tool that many are not aware. I selected Blending Options from the F menu at the bottom of the layers palette, a.k.a Layer Style menu. “Blend If” is the key along with a layer mask. I placed the sky above the main image, then “Blend If” using the Underlying Layer. Using the slider from the shadow side, I slide it to the right. To feather click on the triangle, hold down the Alt/Option key. The travel will split in two allowing for a smoother transition. Think of the split as a feather. For more info on Blending Options, check out this link.

“Blend If” is a very powerful tool. In searching for some extra links for you, I realized this has not been tackled and the power of it shared enough. I’ll be working on and article showing uses for Blend If in the not too distant future!

Final touches

A Soft Light dodge and burn layer added some depth and dimension. With a blank layer set to Soft Light, I used the Brush Tool with black and white with a low opacity to darken and lighten.

Last, I made a copy of the final file. Changing the Blend Mode of that layer to Soft Light adds overall contrast. At 100% the contrast is way too much. Lower the opacity to taste and it adds a soft contrast to finish off the photo.

Yours in Creative Photography,

Bob

Introducing Shotmakers, a new series that explores the modern world of golf photography and how the people who comprise it are redefining the game’s visual language.

For Mark Cuevas the pinnacle of golf photography isn’t too different from the pinnacle of playing the sport. It’s the feeling of being in the zone, or a flow state, where everything comes naturally.

Cuevas, or Padron Smoker as he’s known on Instagram, recalls a trip to the 2023 Masters. It was his first time at the tournament, an experience commonly described as spiritual or even life changing. In the absence of most forms of modern technology (phones are famously not allowed on the grounds of Augusta National) getting in touch with one’s artistry tends to come easier. Cuevas wasn’t completely empty-handed though, he had his camera, which is allowed during practice rounds. “With golf I just let things happen…” he says, “and that’s when I play really well. The same thing goes with photography.”

This mindset doesn’t just inform his approach to shooting at the Masters, it applies to his craft as a whole. Unlike other golf photographers more recognized within the mainstream, Cuevas has a full-time job that has nothing to do with golf, managing a team of photographers for a celebrity news agency. That may be partly why his work is so well respected within the closely knit community of micro brands and creatives that are opening the sport up to a new audience. When Cuevas brings his camera to the golf course, it comes from a place of passion.

The LA resident makes a point of saying that he’s been around the game for a while, and he no longer feels the need to capture everything during his precious time spent on the course to fuel the endless cycle of content. But nonetheless, he has become one of the most in-demand photographers within the alternative and chronically online golf crowd, often working at events for Golf Gaming Club and Malbon while solidifying himself as one of the main creatives behind Students Golf’s always-stylish lookbooks.

In the second installment of Shotmakers, we teed up a conversation with Mark Cuevas to find out how he got into the sport and understand his perspective on how social media has changed the game of golf photography.

How did you become interested in golf as an artistic pursuit?

To me it was just about showcasing a vibe and the people that I play with. Early on it definitely attracted more people that were interested in the type of golf that I like to play, which is muni golf. I like walking, I like carrying my bag, I’m somewhat nostalgic in terms of fashion but also modern and somewhat urban.

I enjoy meeting new people and understanding what got them into golf or why they chose a set of clubs. Why did they choose that bag? What about those shoes? And truthfully, it all comes back to my roots of playing golf. When I first started playing, I would get paired up with random people and spend four to five and a half hours on a golf course with someone. You’re gonna start to understand who that person is, and I think that’s why golf is one of the best games in the world.

What’s your favorite place to shoot?

You know, honestly, there really is no particular thing. I definitely enjoy golf architecture and some of the roots behind some of the courses, but I’m more concerned about what time of day I’m shooting. Usually that’s twilight or in the evening before the sun goes down, because when you’re playing in the middle of the day the sun is right above you and it’s just harsh as hell.

On what basis do you typically judge your work?

I think at the end of the day it’s about emotion, the hardest thing for me is trying to capture a story within one photo.

I’ll give you a perfect example. This last week I was shooting Golf Gaming Club in Las Vegas for their Players Cup, and I must have shot 2,500 photos, but there was one from the after party that stood out because it had so much chaos going on. It featured one person who people know in that space, and it spoke to who he is as an individual and what people love about him. As cheesy as it may sound like, that to me is my favorite photo.

Are there any other photos you have pinned up on your wall?

I have one specifically at a really cool par-3 course here in LA, it’s called Terranea Golf Resort, and I would normally go there after work and play nine with a homie of mine. I got a sunset photo of him teeing off on number 8, he’s hitting towards the ocean, there’s a big oil rig behind it in the distance and the sunset is just perfect. It’s just a perfect type of photo.

Tell us what it was like to go to the Masters for the first time.

I tried to take it in as much as I could, especially just being a regular patron and not being there on credentials. But looking back, I probably preferred it that way because my perspective is always as a viewer, so I wanted to make it feel like a patron being there and seeing it the way I saw it.

I’m also not one to showcase all of my work, especially on my Instagram feed. But I literally made a post before I left and I jumped on the plane, and then when I landed my phone was just blowing up and I was just totally taken aback by the love and support. So looking back there are definitely some things from the Masters that I’m very proud of.

What’s your approach when you’re at a live event?

I try to explain it just like golf, the less that I think the better stuff that I produce. At the Masters I was on cloud nine just being on property and I wasn’t even really thinking ‘I need to shoot this person, or I need to shoot this or I need to capture this.’ I was just trusting my intuition and again, trying to think of the patron perspective and capturing what it’s like to see it in your own eyes the first time.

What other events would you like to shoot in the future?

I would love to shoot more LPGA events to be honest with you. I say that because I’ve been around golf for a long time and I’ve seen the pro game for so long, and truthfully, I’m bored of it.

I just think the LPGA is growing. It’s the fastest growing sector in the golf space and it has so much more room to grow, but it needs to be showcased a little bit more, especially to the younger generation. I also want to showcase some of these girls because they’re just so good, and unfortunately I don’t think people realize how good they are.

Tell us about some of the other work you’ve done in golf fashion, and particularly Students.

Last year I started shooting the lookbooks and campaigns for Students, and that’s basically turned into me being their photographer now.

Students has been my mainstay and I love it that (Students founder) Michael [Huynh] gives me a little bit of freedom with what we shoot, he’s very collaborative in that way. I owe him a lot quite honestly, because I never really did a lot of branding and it’s really opened my eyes to get better at that stuff. I think for the most part people would recognize me as more of a golf lifestyle photographer now and a lot of that is thanks to Students.

How different is that from the work you’ve done in the past?

Doing studio and branding kind of stuff takes a little bit more time even though it doesn’t seem like it, especially with the use of light, artificial light, location scouting and things like that. Students has definitely given me an opportunity to expand my photography portfolio.

Finally, how do you think the industry has changed post-COVID?

You know, being around the game for so long and seeing this whole new wave since social media came into play, I don’t necessarily look at it as an opportunity to jump on as opposed to a lot of people do. I think a lot of that has to do with me being a golfer first, but also being passionate about all things photography, not just golf lifestyle.

It’s definitely interesting to see the new wave of what people call content creators, I don’t necessarily look at myself like that. But it is definitely still a passion, and it’s nice that I can actually generate some income from it now as well.