During the recent holiday downtime from my full-time photography business, I decided to offer short and sweet photography sessions in the studio for dogs. We booked up straight away, and our subjects ranged in age from 12 weeks to 14 years!
I scheduled 15-minute sessions and named them “15 Minutes of Fame,” with thanks to Andy Warhol.
I hope these images bring some joy to your day.
More info: Facebook | Instagram | 7to1photography.com.au
Make-up has always been about enhancing one’s appearance. But now, with so much of our lives spent online, that enhancement is geared towards improving how we look in an image. A photographer then, makes the ideal make-up expert, as they understand what is needed for the camera to effectively capture real-life beauty.
Celebrity and fashion photographer Davis Factor never set out to create makeup. But as the great-grandson of Max Factor—known as the ‘father of make-up’ for his role in creating make-up for movie stars in the early days of cinema—you could argue it’s in his DNA. Growing up on photoshoots, naturally he became a fashion photographer himself and quickly found himself shooting in the company of influential fashion photographers like Annie Lebovitz. When he noticed makeup was a common sticking point at photoshoots, he started creating products, eventually becoming the first to invent primer. Six years after creating Smashbox Studios in 1990, Smashbox Cosmetics was born.
When he noticed makeup was a common sticking point at photoshoots, Davis Factor created makeup … [+]
Smashbox
A lot has changed in the near-three decades since, but Factor believes the idea of make-up and Smashbox Cosmetics have always remained the same. In the following interview, the creative visionary traces the evolution of make-up over the past century up to the present day, and beyond.
Anna Haines: When did you first become interested in makeup?
Davis Factor: My interest in makeup started when my mom would take me to the photoshoots for Factor Cosmetics when I was as young as six-years-old.
Also my family’s business was in the Max Factor building with this bright blue neon sign. That was cool to me because I could see Factor everywhere, it made me feel that my family was important. I would go up into the offices and see my dad, my uncles, it was a family business, so from an early age I was exposed to it.
Going into the photoshoots when I was young exposed me to photography and makeup in a different way than I ever imagined. That planted the seed for me to become a photographer.
Davis Factor’s grandfather Max Factor applies lipstick on American silent film actress Madge Bellamy … [+]
Getty Images
Haines: Was all that time spent in photoshoots why you chose to become specifically a fashion photographer?
Factor: When I would go to the photo studios, I would see models walk in with no makeup and be transformed into these incredible creatures. That idea of transformation really stuck in my head. I thought the talent was so pretty and beautiful, I just loved it. I picked up a camera at a very early age. [Laughs] I remember my punishment when I was young was that I couldn’t go to the salon and see the photoshoots.
As I got older, I started to understand makeup more. When I got into high school I got a bunch of makeup from the family and I would bring subjects to the house and use the makeup on them myself. I was so fired up about it. It was just an organic hobby I had because I was around it.
Davis Factor started applying makeup to his models when he was in high school.
Smashbox
Haines: What was shooting fashion photography like in the 1990s?
Factor: I graduated from the Art Center College of Design in the early 80s but I started working as a photographer before I graduated school. A lot of my shoots were in New York, shooting celebrities. But back in Los Angeles, that energy wasn’t there. You’d have to borrow a studio and figure out everything yourself.
The idea struck me when I was talking to my mom about it. She turned me onto a space in Santa Monica, an old boat warehouse, it was all windows and bright inside. I got the idea of starting a rental photo studio like they had in New York. My brother Dean was studying business at USC. He liked the idea of starting a business together. We created this one space that we were able to rent out that had everything—equipment, food, music—it blew up from day one. Our first shoots were Annie Lebovitz, Helmut Newton, Fabrizio Ferry. A year into it, we opened another studio and created Smashbox Studios.
In New York, you’d walk into the studios and you’d feel like you were at a party you weren’t invited to. I wanted a “hello, welcome, here’s some cupcakes,” I wanted a warm-and-fuzzy feeling and I hired people who made it that way. It’s a family business, so it became very friendly and customer-oriented. It was fun that way. I will always remember the 20 years of this exciting era of photography.
“I will always remember the 20 years of this exciting era of photography,” says Smashbox founder … [+]
Smashbox
Haines: So when did Smashbox Cosmetics come into the picture?
Factor: The makeup brand started because I was frustrated with makeup on shoots. One thing that really bothered me all the powder flying around. They were always bringing models to the back of the room to fix something—the makeup would crease and the skin would dry. It would ruin the flow of the work.
I realized I was spending more time in the makeup room than shooting. I thought, ‘there has to be a way to fix this.’ I was using the best artists in the world so it wasn’t about the artistry, it was about the makeup. So I started spending more time in the makeup room observing. I noticed a lot was going on with the skin before foundation went on. I started to think, ‘I need to make makeup that’s going to fix these issues.’ So I did, just using common sense.
Smashbox Cosmetics was inspired by the common frustrations Davis Factor would experience at fashion … [+]
Smashbox
Haines: What inspired you to create primer?
Factor: When you paint something, you put primer on before anything—you put primer on cars, houses, boats—to make the paint do its thing. I thought, ‘let’s fix the skin before putting makeup on so we can create a barrier between makeup and the skin.’ So we created a photo-finish primer. I noticed when I used it and put makeup on afterwards I was able to create even skin tone, fill in fine lines, it was creating a soft, beautiful layer between the foundation and the skin. The primer just worked from day one. It created this velvety glide that set really nicely.
“There’s a difference between creating an AI image and going outside and living your life,” says … [+]
Smashbox
I noticed a difference in the photographs because this was before digital photography. So I would have to take the picture, make a print, then retouch the actual print. When I would see the photograph before retouching you could see every problem on the skin. I started analyzing, circling things, bringing it to the lab saying, ‘we need to fix this.’ I noticed with the primer, I wasn’t seeing through the foundation anymore. I was retouching was much less. It really worked.
I started coming out with different primers that did different things: color correcting, oil-free, I think we had 13 primers at one time. I also noticed eye shadows were creasing so I created an eyeshadow that wouldn’t crease. I noticed a lot of moisture when it was warm out. I wanted to create something that would keep you dry and smooth so I came out with the anti-shine foundation and it worked with a range of skin tones. We kept inventing.
David Factor created Smashbox Photo Finish Primer to create a barrier between the skin and makeup.
Smashbox
Haines: Artificial Intelligence has created major advancements in post-production technologies and now everyone can apply a full face of makeup using a filter on their phone. Do you think these technological advancements have changed our relationship to makeup?
Factor: No. There’s a difference between creating an AI image and going outside and living your life. You still need makeup to leave your house. Everyone’s their own creator, artist and photographer at the same time now but I don’t think that’s going to change how people look when they leave the house because you can’t have an AI image of your face following you around everywhere you go. But I do think is it’s opened up people up to the possibilities of makeup. Technology is an amazing thing, you can’t stop it. AI is one of those things if it’s used in the proper way can be used to make amazing images. I think it opens people’s minds and hearts to what’s possible.
“I think it opens people’s minds and hearts to what’s possible,” says Smashbox founder Davis Factor … [+]
Smashbox
Haines: How has Smashbox adapted to shifts in technology and the corresponding shifts in people’s makeup needs?
Factor: We’ve always stayed the same. We continue to innovate and make products the way we do. The idea is that we create makeup that’s going to make you look amazing in a photo, at work, that’s going to last, look good and the quality is a ten.
I don’t think AI is going to change make-up but I will say, when high-definition came out, we were able to respond with products that give the skin a photo-ready finish. It worked because I was in the studio every day trying to create a blend-able foundation that was thinner so that when you see the images, you wouldn’t see the foundation when the high-def made everything visible.
We were really far ahead of the curve. Which is like what my grandfather did when he invented eyeshadow, mascara, lipstick, water-proof. It was all created for the movie pictures when there was no makeup. It was all to make you look great in the movies. When color television came in, he was on the board to create the looks so you didn’t look green like the T.V. did. He was color-correcting to make you look great.
With the advancements in technology, we’re always on the pulse. When a new technology comes out, we’re ten steps ahead.
“When a new technology comes out, we’re ten steps ahead,” says Smashbox founder Davis Factor.
Smashbox
Haines: What does the future of makeup look like to you?
Factor: I have this dream, you put your face into this mould and you pull your face out and you have a whole face of makeup on. My brains always thinking; our brains are always thinking internally about what we can we make that’s going to be life-changing.
I’m always thinking about what’s going to help your body, regenerate your skin without being harsh.
“I’m always thinking about what’s going to help your body, regenerate your skin without being … [+]
Smashbox
Makeup has never changed since makeup started. My grandfather commercialized makeup and sold it to the world in the 30s and 40s. The idea of makeup hasn’t changed at all; not one bit. The technology and brands have changed but I don’t see anything changing except for the demand for better quality ingredients.
The conversation has been edited and condensed for clarity.
January 11, 2024
Ben Whishaw is to star in Ira Sachs’ upcoming biopic of the late photographer Peter Hujar. The project marks the second major collaboration between the London-based actor and the American director following last year’s celebrated film Passages, in which Sachs directed Whishaw as his character navigated the movie’s fraught, erotically-charged love triangle.
Peter Hujar’s Day – which had apparently been scheduled to begin shooting in November 2023 but was delayed due to last year’s strikes – will, according to Deadline, be an “intimate” film about the renowned photographer. Hujar’s story promises to make a compelling film. He lived as he worked – unflinching, unsqueamish and uncompromising, equally drawn to the stark beauty of the human condition as he was to the danger of the abandoned West Side Hudson River piers (a notorious cruising location). As part of the febrile downtown New York art scene of the 70s and 80s, Hujar moved in circles among the likes of Robert Mapplethorpe, David Wojnarowicz and Diane Arbus. His arresting black and white portraits depict luminaries of the queer, bohemian art world of downtown Manhattan, from Divine to Fran Lebowitz, John Waters and Susan Sontag and many, many more.
Despite being a leading light in the city’s cultural landscape, the prolific image-maker only posthumously achieved the kind of acclaim he deserved in life. Three decades since he died of AIDS on November 26, 1987, Hujar is now talked of among the 20th century’s most revered photographers and, among those who knew him, as a captivating and charismatic character. “Peter was a very arresting person,” recalled his friend Stephen Koch. “When you met him, you knew right away, this is not ordinary normal-normal, that he was very special, very focused, and clearly someone that people wanted to know.”
Street photography is a beloved but challenging genre for many photographers. Selecting the right lens is crucial, as it can significantly impact the style and quality of the images captured as well as how you go about taking them.
Coming to you from Pat Kay, this helpful video discusses choosing lenses for street photography and the factors that influence this choice. Kay breaks down the selection process into four key areas: focal length, aperture, choosing between zoom and prime lenses, and personal lens recommendations. Understanding focal length is essential in street photography, as it determines the composition and perspective of the image, and it also determines how close you need to be to your subjects. Wide angle lenses, for example, are great for capturing expansive street scenes, while telephoto lenses are better for detailed, close-up shots. This choice often depends on the photographer’s style, whether they prefer candid shots, street portraits, or other approaches. The aperture is another critical factor, influencing depth of field and the amount of light entering the lens. A wide aperture (like f/1.4) can create a shallow depth of field, which is excellent for isolating subjects from busy backgrounds.
The video also discusses the merits of zoom versus prime lenses. Zoom lenses offer versatility, allowing photographers to experiment with different focal lengths without changing lenses or react to quickly changing scenes. However, prime lenses are typically lighter and less conspicuous, making them ideal for the extensive walking and unobtrusive nature of street photography. There is a lot of helpful info, so be sure to check out the video above for the full rundown from Kay.
news
Over the years as part of our Quick Look video series, we’ve got our hands on all manner of different bags from a variety of different companies. We’re continuing this effort by now turning our attention to Peak, a company that specialises in creating gear that is ideal for photographers who tend to travel a lot.
In the latest video, we’ve got our hands on a couple of Everyday backpacks to see how they can serve a multitude of situations. Then, to add to that, we have also looked at a Camera Cube, which is designed to safely and securely protect your precious and sensitive photography technology.
Check out the Quick Look below for more information about these bags and protective cases, and some thoughts from our very own Magnus too.
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A photographer was forced to wait for six years to capture a stunning triple-alignment photo of the Moon, a mountain, and a Basilica.
Valerio Minato took the one-of-a-kind photo in Turin, Italy on December 15 after his five previous attempts to get the shot were thwarted by bad weather. He tells PetaPixel it is a “fulfillment of a dream.”
Describing it as a “magical moment”, Minato explains that for a few brief seconds — Monte Viso, the Basilica of Superga, and a crescent Moon gave a unique spectacle.
The amazing photo was selected by NASA for its picture of the day; the space agency explains that although the setting Moon is captured in a crescent phase, the exposure still captures the entire Moon thanks to the aptly-named da Vinci glow; which is doubly-reflected Earthlight. Earthlight — also known as the Moon’s ashen glow — is indirect sunlight dimly illuminating the otherwise unilluminated portion of the Moon.
“During the first and last phase of the lunar cycle the light of the Sun is reflected from the Earth towards the Moon, illuminating the portion of the surface in the shadow,” adds Minato.
Minato was perched in the small village of Castagneto Po; from there, the Basilica of Superga is roughly 35 miles and Monte Viso is a further 60 miles.
To bring these elements together, Minato used a 500mm f/4 lens attached to a Canon R5. He posted a behind-the-scenes video to his Instagram page, showing what it looked like to the naked eye and highlighting that “we are surrounded by wonder even without photo shoots of artificial intelligence.”
To see more of Minato’s work, head to his Instagram page, Facebook page, and website.
Image credits: Photographs by Valerio Minato
HOPKINTON — A local woman’s 50-year love of photography has culminated in her winning the grand prize in the Mass Audubon Statewide Photo Contest.
“I found out I won right before Christmas,” Cheryl Rose, 68, told Wicked Local. “I was really surprised. I’ve been entering the contest for years.”
She once placed first (2019), and on another occasion came in second (2017), but had never previously captured the grand prize. She was awarded a $250 gift card for use at Mass Audubon properties and shops.
“I’m really surprised,” Rose repeated. “There were so many beautiful photos that people entered.”
Rose has been a Mass Audubon member since 1988. She serves as a volunteer steward at Waseeka Wildlife Sanctuary in Hopkinton, helping to keep trails free of litter and debris.
According to Mass Audubon, more than 5,000 photos were submitted for the annual contest.
Rose’s winning photo features a “striking image of a colorful (and carnivorous) Sundew plant,” Mass Audubon said in its description. “Sundews can be found in wetlands such as those found at (Waseeka), located in Rose’s town of Hopkinton and thus her ‘home’ destination for taking photos and enjoying nature.”
Rose said she began taking photos in 1973, right after completing high school. She immersed herself in shooting black-and-white photos at first, then began experimenting with other kinds as time went on.
Once she retired in 2007, she began spending more time taking photos at the Waseeka Wildlife Sanctuary.
“When I’m on that property, I always seem to see something different,” Rose said. She added that during the winter, she enjoys taking pictures of snowbanks and ice patterns.
“I also love fog for photos,” she added. “Fog helps isolate a certain subject.”
When warmer weather arrives, Rose said she enjoys taking photos of insects, especially dragonflies.
“As time went on, I learned to look down, rather than up,” Rose quipped, noting plants have also become a fascinating subject.
According to Mass Audubon, competitors were allowed to submit up to 10 photos for the contest, but all must have been taken either in Massachusetts or at Mass Audubon’s Wildwood Camp in Rindge, New Hampshire. The 2023 contest period ran from July 1 to Sept. 30.
“I’m going to keep doing it as long as I can,” Rose said, adding that she enjoys taking pictures and spending time with her husband, Jim. “It’s just something I love to do, and I always have.”
Watch the video: What is focal length?
Take two 50mm lenses: an f/1.8 and an f/1.2. Even though they both have the same 50mm focal length, they’re not the same physical length – and neither of them is 50mm in length, either. So what exactly is focal length, then?
Well, the focal length of a given lens is an optical measurement, not a physical one. It describes the distance between the sensor (or film) inside your camera and the point at which the rays of light converge once they’ve entered the lens.
This focal length determines two things: the angle of view (which is how much of a scene will be recorded) as well as the magnification. This obviously makes a big difference depending on what you’re shooting, such as trying top capture a sweeping vista or trying to isolate a single player on a football field.
So, focal length dramatically affects the perspective of your photographs. Try shooting a portrait with a 17mm lens, which distorts the model but captures all of the surrounding environment, and then with a 200mm lens, which magnifies the scene and makes even distant objects appear to be next to the subject, while narrowing the field of view.
Knowing and choosing your focal length is the first decision you need to make when you take a photograph. Focal lengths can broadly be broken down into five separate categories of lens:
Ultra-wide angle and fisheye lenses can have focal lengths as short as 8mm. As the name suggests, they possess an ultra-wide field of view, creating an almost panoramic effect, making them useful for extreme landscapes, events and creative photography. Their distortion makes them less than ideal for portraiture.
• Take a look at the best fisheye lenses
Wide-angle lenses range from 14 to 35mm, and are the go-to optics for shooting landscape photography, as well as taking group shots, photojournalism and documentary work.
• Check out the best landscape lenses and the best lenses for street photography
Standard lenses provide a very natural field of view, similar to the perspective of the human eye. This makes the “nifty fifty” a great all-purpose tool for everyday photography, and even portraiture, as it restricts distortion and starts to produce subject separation.
• These are the best 50mm lenses
Telephoto and portrait lenses are what we call “long” lenses. They have more reach and greater magnification, meaning that you can stand further away from a subject and still fill the frame. This makes them ideal for nature and wildlife.
Portrait lenses can be anywhere from 85 to 135mm, and as we’ve seen they have the effect of compressing perspective – in crude terms, it makes noses shorter, making it flattering for people pictures. However, that compression makes them less than ideal for landscapes.
• Check out the best 85mm lenses
Once we get to 300mm and beyond, we’re firmly in super telephoto lens territory. This is the domain of wildlife and sports photography, as the telescopic reach can capture the action from ridiculous distances.
Focal lengths can make or break your images. So it’s worth going to great lengths to choose the right one!
Read our A-Z Dictionary of photography jargon, and find answers to other photographic questions such as what is a prime lens and what is exposure in photography.
