raw photojournal

Pump up your portraits P. 26

Laptopvstabletp.5

ins & Outs of street photographyp.9

Sportsphotographyp.6

top 10iphone appsfor photographersp.11

yourfirstlensp.10

Dustinhumphrey

p. 8

toddmclellanp.7

A guide totravel photography p.18

Interview with joaquin pena p.12

Interview with Alejandro pedrosa p.23

Creativecar

photographyp.30

Executive Editor

Managing Editor

Features Editor

Creative Director

Design Director

Art Director

Articles Editor

Senior Editors

Editorial Administrator

Director of Photography

Senior Photo Editor

Senior Writer

Copy Chief

Copy Editor

Writters

Production Director:

Contributing Photographers

PR Manager

Editorial Operations Manager

Assistant Managing Editor

Interns

Correspondents

Gerald Kierce

Gustavo Torres

Luis Valdés

Humberto Torres

Alejandro Pedrosa

Danny Valerdi

Alberto Pedrosa

Victor Rivera, Joaquin Peña,

Juan Salgado, Vincent Chase

Esteban Torres

Roberto Martinez

Paola Carminelli

Roberto Reyes

Luis Molinary

Manuel Ramirez

Peter Sawyer, Cameron Knight, Alejandro Pedrosa,

Simon Bray, Reiner Hietch, Humberto Torres,

John Alvarado

Rafael Morales, Alejandro Pedrosa

Joaquin Peña

Barney Stinson

Ramon Torres

Ted Mosby

Anders Holm, Blake Anderson,

Adam DeVine, Jillian Bell

Dario Fuentes, Julio Morgado,

Juan Escudero, Marshall Erickson

Editor-in-Chief Humberto Torres

Editorial Director Humberto Torres

The First Problem: Data Transfer Apple has not included anyway of inserting a USB device or SD card on the actual device. So in order to upload any pictures you have to purchase the camera connection kit at the price of £25, which I felt was slightly steep for an adaptor. If like myself your camera uses a compact flash card then you will need to use the USB to iPad connec-tion. This also means you have to carry around the AV output to USB cable, which is slightly annoying when you are forced to purchase the SD reader in the same pack. I don’t understand why they cannot sell them separately. Other tablets such as the Samsung Galaxy or Asus Eee Slate don’t have this problem as they include a USB slot or micro SD card reader. However compact flash users are still going to have to carry around that annoying cable.

The Second Problem: Storage My canon 7D loves eating hard drive space, using around 6MB per jpeg and 50MB per RAW file. Video files are even worst using around 1GB for 3 minutes worth of footage. The top range iPad only goes up to 64Gb, this is only 59.1GB once you include the default operating system and realistically half of that space is going to be used up with applications, music and videos, so it effectively left me with just 26.0GB of space. I didn’t think this would last me, so I decided to try and plug in my external hard drive. However the iPad refused to read it. After a Google search I found that only a jail broken iPad is able to accept hard drives and even this requires a small hack. The last option is that you can use cloud storage that companies such as Dropbox and Amazon. However, sending a large amount of data to the cloud is going to require a good Internet connec-tion and a fair amount of bandwidth. If traveling abroad like myself wireless connections are dif-ficult to get hold of and the 3G prices are not even worth thinking about. My only solution for my trip was to shoot JPEG only and then RAW on the last couple of days. It was slighting annoying and I did use all 20GB of storage.

Importing your Photos When you connect your camera up to the iPad, it allows you to pick the images you wish to import. The touch interface makes this selection easy and more enjoyable than on a computer. I personally found it to be much be a lot more minimal and tidy that than Canon’s own import software. Naturally the iPad also includes the option to import all the photos in one go, which is the setting I most commonly used. When finished importing, the iPad automatically asks if you wish to delete the photos off the card. A handy feature however I personally prefer to format my memory card on the actual camera. Also sometimes you only want to import a single photo and don’t wish to wipe the memory card. Much like on your computer the iPad stores the photos in folders named after the date the images were shot. These can be found in the standard photos application.

Speed The speed of transfer between the iPad and my camera was surprisingly very quick. It didn’t appear to be any slower than upload to my laptop or desktop. Overall I was very impressed with it and had no complaints. However getting ap-proximately 5000 photos (20Gb) from my iPad to my computer took a little over 4 hours using iPhoto. I felt this was very poor and I am going to attempt to search for a better alternative in the weeks ahead.

Editing with PS Express When away I always like to look over my pictures and edit a few before I come back. My personal choice on a laptop is Adobe Photoshop. Adobe have been keen to join in on the tablet craze and have made an iPhone/iPad application named PS express.The software is free to download (which is unusual for Adobe) however does have extra add-ons with more advanced features for a small fee. Adobe Photoshop for iPad allows you to crop, straighten, rotate and flip your photos. In terms of adjustment, you can change the exposure, con-trast, saturation, tint, and convert to B&W. There are a couple of fancy filters effects, which effec-tively stick horrid looking filters on top and try to pretend they are a masterpiece. Adobe appears to have added them to give non-photographers the chance to feel they are more creative. Profession-ally you probably wouldn’t go near them. One feature I personally liked that the desktop version doesn’t include at the current time was the ability to share straight away on social media sites such as Facebook. It’s a great feature for sharing photos quickly without having to go through Facebook’s, quite frankly, awful image uploader. The only real weakness of the application was the time it took to save a photo after you finished editing. I just did some basic edits and although the effects were real time, the save time was over a minute. How-ever lower resolution images were considerably faster. Overall PS express is a decent photography application, but compared to the desktop ap-plication, you simply miss huge number amount of tools. I personally miss not being able to use masks to control the effects over set objects.

by Peter Sawyer

Sports photography is fun and accessible. You don’t have to be a pro to want great shots from your child’s game or your favorite local team.Sports photography can also be a lucrative ad-dition to your freelance business. Almost every week of the year, school teams meet to compete, and parents love photos of their kids in action. Due to the specialized nature of sports photogra-phy, it will take a lot of practice to master, regard-less of your background.

Know the GameThe most important thing about sports photog-raphy is understanding the many nuances of the sport you’re covering. Moments in sports happen very, very quickly. In order to make really strong sports images, you need to be able to predict what the players are going to do and how they’re going to react to specific circumstances. If you don’t understand the rules, your reaction time will not be fast enough to capture the action you want.

Use An Appropriate LensTake a look at the sidelines the next time you’re watching a sports match on television. Those pho-tographers are packing heat. While you might not have the budget to purchase one of the howitzer cannons they have strapped to their cameras, you do need to plan to have an appropriate lens for the sport you wish to shoot. The first thing you need to consider is whether the sport is played indoors/at night or if it’s played during the day outside. If the game is played inside or at night, it’s best to have a lens that opens up to f/2.8 or at least f/4. If you’re shooting outside during the day, then any f/stop will work. For most sports, you’ll want a lens length of at least 200mm on the telephoto end. Then you’ll either need something around 35mm to 50mm. This could be another lens or the wider end of your zoom. If you’re stuck with a “normal” or wide angle lens shooting most sports, you’ll get pretty bored waiting for the action to come to you.

Control Your Shutter SpeedMost sports involve some element of speed. The players are running fast, throwing fast or hitting fast. You’ll want to use a fast shutter speed to “stop” the action. Photographers use this phrase to describe the freeze-frame effect fast shutter speeds create. Ideally, you’ll want a shutter speed around 1/400 of a second or faster, but in dark

situations 1/250 can work.In other situations, experimenting with slow shutter speeds can fun. Try dropping your shutter speeds to 1/30 or 1/15 and pan with the action. Whichever approach you use, you need to be conscious of your shutter speed. In these fast action scenes, choosing the wrong shutter speed can easily ruin a shot.

Pre-Focus When PossibleIn some sports, you know where the action is going to happen, you just don’t know when. In games like baseball, cricket, volleyball and track, you know that the action is going to take place at certain base or wicket, or at the net or finish line. Set your focus to that point and wait. Forgive me if action doesn’t take place at the wicket, I’m an American and know about as much about cricket as I know about abstract physics equations. What you call futbol or football, I call soccer. Forgive my Yankee ignorance. Back to pre-focusing. When you know where the action will happen, ambush it. Instead of trying to track your subject, wait for it to enter your pre-determined plane of focus. Sometimes switching your camera to manual focus or using focus lock helps with this.

AnticipationAs I mentioned earlier, you need to be able to predict what the players of your sport are going to do. Anticipating what will happen is another extremely important aspect to sports photog-raphy. Keep your eye to the camera and follow the action. When you think something is about to happen, mash that shutter button. Having a fast “continuous” setting on your camera is nice advantage in these situations. Once the action has stopped, don’t immediately check your camera to see if you got the shot. Keep following the action. You’ll miss something if you’re always checking the back of your camera.

Peak ActionTraditional sports shooters working for maga-zines and newspapers are always looking to cap-ture peak action. This is the moment that shows the most conflict and/or athleticism.It’s the moment of the game-changing slide tack-le. It’s the slide into home barely beating a throw from the outfield. It’s the moment the sprinter glances to his left to see the face of person he’s about to beat. Those are the moment all sports shooters want to capture. Sometimes they involve the context of the game or the season or event the career of the player, but they just as often capture a fleeting second of fierce competition.

Capture the ConflictIt has been said that games of sport and physical ability were created to replace war between tribes: a chance to prove prowess and strength without the risk of death. You can still witness intense loyalty and even national pride when it comes

to sports. Sport and war are very different, but one similarity remains. Conflict. In a photo, this usually means physical contact between athletes. A single player running down the field can be compelling, but not nearly as dramatic as two players colliding and battling for the ball.

Feature the FaceIf sports weren’t intense, we wouldn’t watch them. Team sports especially allow the players to express anger and joy without penalty. This is why it’s especially important to show the faces of these players. If we can’t see their face, we can’t tell what the players are feeling. Making that emotional connection between viewer and subject is your job in every kind of photography. When shooting sports, the task of showing a clear face can be harder than it sounds. Athletes are often looking at a ball or wearing helmets. Fields, stadiums and courts are not lit like a theater stage, so often that is also working against you.

Find the BallSo there are three things I look for in most sports photos. First, I look for conflict or contact. Sec-ond, I look for a face. Third, I need to know what sport I’m looking at. I need to know what these people are fighting over. That means, you need to show the ball. Now, there are a lot of sports like track, gym-nastics and other individual sports where this principle may not apply. In these sports, you’re goal is to capture the grace of the sport or the physical skill or strength required to compete in it. But if the sport has a ball, try to include the ball in your shot.

Tight Is RightThe phrase “tight is right” is commonplace in sports photography. Tight refers to framing or

cropping. When shooting a game, zoom right in on the action. This also takes quite a bit of prac-tice. You have to move quickly with the action, and be aware of the entire game. Don’t get tunnel visioned with your telephoto lens. Literally, keep both eyes open, so you can tell where the action is going. Look up and over your camera quickly when you lose track of where the action is happening. When you take your photos into post-production on the computer, use your cropping tools to further apply this concept.

Shooting ReactionI mentioned earlier that sports are emotional, so sometimes it’s important to capture that by itself. When the final buzzer or bell sounds, don’t put your camera down. Shoot the happy or sad reac-tions of the athletes. The end of the game is also usually the only time photographers can be on the field. Get out there and join the team. Get in close with a wide angle lens if you can. This becomes even more dramatic when the game or match is an important one.

Utilizing FlashIn many high school and amateur indoor venues, you’ll find that the lighting is horrible. In some cases, the best way to overcome this is to use a flash. The most important thing to remember is that the flash cannot be on your camera for most sports because it is dangerous. When using flash in these venues, you’ll either need a wireless system like those offered by Pocket Wizard or Cactus, or you’ll need to link your camera to your flash with a long cord.Before I invested in wireless, I used a modified extension cord that you’d find in any hardware store. Once your flash is far enough away from the court, the athletes and referees won’t even notice it. But it can dramatically improve your photos.

by Cameron Knight

Todd McLellan:

“it all started from a

kindergarden finger

painting class”

“It all started from a kindergarten finger painting class.” is the phrase that introduces the work of Todd McLellan in his web page. The Canadian photographer is showcasing his latest project, “Disassembles”. The proj-ect includes a series of antiqueties torn down and placed in a logical order to form simetrical shapes. Enjoy!

by Alejandro Pedrosa

Underwater with dustin humphrey

by Alejandro Pedroza

Known as one of the best photographers around the surf scene, in 2008 Dustin Humphrey broke all the rules and clichés for a surfing poster. He dared to use the artists perspective for Insight Clothing’s

“Dopamine” campaign.

The campaign consist of a side by side shot, the surfer’s tricks and Humphrey’s underwater installa-tions. These pictures where then taken into post production and manipulated to fit perfectly and become

incredible images reaching a great level of creativity. “Think Differently”

The Ins and Outs of Street Photography:

10 Simple Stepsby Simon Bray

What Is Street Photography?Street photography meets the desire to document social activity, aiming to capture the essence of life in a specific time and place, highlighting single acts of human behaviour, often providing snapshots of real and literal moments of life. Photographers such as Henri-Cartier Bresson and Garry Winograd are past masters of this documentary style, but anyone is capable of captur-ing their locality—you just need to have an eye for detail and an aware-ness of what’s going on around you.

Which Camera to Use?There’s no right or wrong camera to use for street photography, it’s all about personal preference. You need to bear in mind that manoeuvrability and general mobility will be far easier if you don’t have lots of equipment; so maybe limit yourself to just one camera and a lens or two if you feel it necessary. This will also make you more inconspicuous and less like to stand out as a photographer. Traditionally, it’s best to use a fixed lens, something fairly wide like a 28mm or 35m, although that means getting fairly close to your subject. You might want to start off with a 75mm or 50mm so you can keep a bit of distance to build up confidence.

Capturing the Place You Are InBefore heading out, consider the place you’re going to shoot. Does it have a particular mood or style that you want to try and capture in your shots? Maybe it has a particularly high tempo and vibrancy that you could aim to exemplify or maybe it has a more sleepy demeanour?Think about any particular features or landmarks and consider whether you want to represent them as points of reference for the location, or whether you’d rather leave them out so you shots are more ambiguous.

Go Out and Find ItThere aren’t any definitive places to recommended for going out to shoot street photography, you’ve got to go out and find it! Don’t wait for it to come to you, you’ll find far more interesting subject matter if you get involved with your surroundings. Maybe set a route to walk around the town, keep a look out for anything interesting, and have an eager eye for what’s happening all around you. Have the camera settings decided and ready so you don’t waste time fiddling about and know how your camera works so you can change any settings in reaction to what you’re seeing.

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Photographing in PublicWhen entering into street photog-raphy it is important to understand the moral implications of what you are doing. In most countries, taking photos of people in a public place is totally legal and you’ll only need permission if you’re going to use the photos for commercial use – but please check the relevant laws and regulations for where you’re plan-ning on shooting. It’s important to keep in mind that asking someone if you can shoot them will affect how they behave in the shot and, if you’re looking for a natural style, shooting in covert might be a better option. Be incon-spicuous, not suspicious.

When Not to ShootWhen considering who and when you shoot, make sure you have thought about where you’d draw the line personally. Consider illegal activity, confrontation and other people’s children these are all best avoided.Once you’ve set your boundaries you can start getting involved with the scenes and moments that you dowant to capture. Be aware that some people react positively to a camera, which can make for a great shot, but others really don’t want to have their photo taken. Respect their decision. If you do get confronted, be polite, smile and co-operate fully with the other party.

Black and White, or Color?You’ll see from the examples that I’ve chosen for this article that the majority are black and white. This wasn’t necessarily a conscious deci-sion, but traditionally, documentary and street photography have been in black & white. Shooting in black and white will highlight the action in your scene, it will draw the eye into the points of interest and maximise impact. That’s not to say though that there isn’t room for colour in street photogra-phy, I always shoot in colour and then convert later, but consider whether colour will add anything to the shot, if not, stick with black and white!

Get Up and Go!So there you go, hopefully you’re up to speed with the ins and outs of street photography and you’re ready to get out and capture your own neighbourhood with your camera.

Instinctive DecisionsYou’ll find that the more time you spend in areas like this, the easier it becomes to catch the goings on around you. Your eye will be trained to spot points of interest. Street photography involves a lot of instinctive decisions, particularly with regard to composition. For me, the best way to approach this is to forget any compositional rules and just go with whatever feels right to you, different photographers will see things differently and have a different take on a subject, so shoot what you see.

What’s Your Motive?The motive for your photography is important to consider before you go out, otherwise you’ll be spending time making decisions on the street and missing out on potential shots.Consider whether you want to take the stance of honest documentary shots that capture a place for what it is, highlighting the style and mood of a place and it’s inhabitants. On the flip side, you can look to be more creative and capture and highlight the things that people might not notice, to create something artistic from something that might not usually catch the eye.

fly9.com

This article is about the single most important piece of equipment you’re going to buy: the lens. There are

myriads of different lenses out there, and it’s easy to

get lost. But do not despair – this guide will help you

make the right choice. First I’m going to talk about the

different characteristics of a lens – among other things we’ll learn about zoom vs.

prime lenses, and why the f-number is so important. Then I’ll move on to recommend a

few lenses for each

different budget!

CharacteristicsEach lens is different. At first it can be a little bit intimating to navigate your way through the maze of choices, but once you learn the basics you can easily decide what you need and which lens satis-fies your requirements.

Zoom vs. PrimeThe biggest difference between lenses is their ability or inability to zoom. With a zoom lens you can – what a surprise – zoom. But it comes at a price: the image quality suffers and usually (and

this is the crucial one) they have a lager f-number. I’ll talk about f-numbers in a second. You can easily spot a zoom-lens as it has a range of focal-lengths. Just take a look at the label: The first number is always the focal-length. In this case it’s 18-270mm. So the range for this lens is 18mm to 270mm. A prime lens would only have one number, like 50mm. While the majority of photographers usually opt for a zoom lens, prime-lenses have their advantages: they are excellent for portraits, and are fantastic in low-light situations.

F-NumberDon’t underestimate the f-number, like I did at first. It has an influence on lots of things. But what does the number mean? Well, to put it simply, it tells you how much light makes it through the lens and hits the sensor. The smaller the number the wider your camera’s aperture is able to open. Usually it ranges between f/0.9 and f/6.3. It’s worth noting that zoom lenses don’t always have a fixed f-number. As you can see in the image above, my 18-270mm lens ranges between f/3.5 and f/6.3 – which can be a pain. You can only set your aperture as wide as the f-number, and – in most cases – the lower this number, the better. The are a whole range of benefits that are too extensive to go into in this post alone!Image Stabilization (IS/VR/DI) Modern lenses often have some kind of image-stabilization on board. Canon calls it “Image Stabilization”, Nikon “Vibration Reduction” and Tamron “Digitally Integrated”. This is great! They basically let you use a longer shutter speed while maintaining a steady image – to a degree! Usually it’s built into the lens, but a few manufac-turers are starting to integrate it into the camera body itself. If you are looking for a new lens, look out for one with this handy feature.

Wide-Angle LensesThese are mostly used for stunning landscape images. As it isn’t hard to get a sharp shot with a low focal-length and the landscape doesn’t move, a larger F-Number will suffice. If you’re not on a budget, grab yourself a Nikkor AF-S 14-24mm f/2.8. To date it is the sharpest lens, but with a price tag: the street price is about $2,000. Although it’s quite expensive, with such unbeliev-able sharpness it’s still a bargain – a brilliant piece of engineering. If you’re looking for a fisheye, the Tokina AF 10-17mm f/3.5-4.5 could be a good choice. You don’t get the best optics, but since a fisheye is an effect-lens this isn’t necessarily all that important. It’s still sharp enough for any purpose and you get good value for your around $600.

Medium-Range LensesThis is your standard lens, which will work fine most of the time. To some people, a mid-ranged lens seems boring, because it doesn’t deliver an extreme point-of-view. But think again – this can be an advantage if you need to take a picture “as the eye sees it”. Think about shooting a portrait. This can’t be done with a wide-angle lens. If you have some money to spend, grab yourself either the Nikkor AF-S 24-70mm f/2.8G ED ($1,700) or theCanon EF 24-70 mm f/2.8 L USM ($1,400) depending on your system. Looking for a bargain? Then take a look at the Tamron AF 28-75mm f/2.8. It may not be perfect, but can be picked up for a bargain second hand so you don’t have to dig deep in your wallet to afford it. And it delivers a lot for the money you spent: image qual-ity, sharpness, build quality, compact size etc. A real classic, and favourite of portrait photog-raphers, is a fixed focal length 50mm lens. They are extremely fast, the images are crisp, they work

Your first lens:A SimpLe Guide

by Reiner Hietch

well in low-light situations and best of all, they train your body, as you have to use your legs to “zoom”. A whole range of different lenses are available depending on your camera type.

Telephoto LensesFancy yourself as a wildlife or sport photogra-pher? Then you are in need of a telephoto lens. It brings far away objects nearer, and flattens the distances between objects: just look at the sports page in any newspaper. These images are likely shot with a telephoto lens. Notice how the specta-tors appears to be the same size as the players, despite being 100 yards further away? Both have a fast autofocus, which is another important thing to look for on a telephoto – just think about trying to shoot fast moving animals. A good third-party alternative is the Sigma AF 70-200mm f/2.8 ($800). It’s almost comparable in terms of quality, but doesn’t come with image stabilization. You decide!

Super-Zoom LensesIf you’re on holiday, wandering around a town, you don’t necessarily want to carry all your lenses around all day. This is where super-zoom lenses come in. They provide a vast focal-length range. The best deal around is the Tamron AF 18-270mm f/3.5-6.3 DI II ($625). Since it the newest of all super-zoom lenses, it dominates the market. The only downside is a slow auto-focus, which makes it a pain to shoot wildlife, insects or any fast moving subject. And the autofocus won’t work properly on 270mm, as it needs at an aperture of least f/5.6. On the other hand, it has a superior image quality.

Pano is one of the most useful and likely on of the best photography applications for iPhone. As the name suggests, Pano is used for taking panoramic photographs. You can either use a tripod or hand-held it. Pano does a decent job in aligning the images for the panorama as well.Price: $2.99

Tilt-shift is one of the most loved techniques of photography. No wonder you can take til-shift photographs with your

iPhone too. TiltShift app lets you do just that. With TiltShift, you can transform a scene into a miniature world. In TiltShift

photography, photograph of a life-size location or object is manipulated so that it looks like a photograph of a

miniature scale model.Price: $1.99

DSLR Camera remote does exactly what the name suggests. It wirelessly triggers the shutter button of your camera. Not only that, it also lets you see the preview of the images you are taking. This application is great for taking self-portraits or macro photos. With DSLR camera remote, you don’t have to worry about the shake because you will be triggering the shutter remotely and that too without connecting any wires to your DSLR or the iPhone.Price: $1.99 for Lite and $19.99 for Pro Version

Creating HDR photos has never been easier than this app makes it. Pro HDR for iPhone let’s you take full-resolution

HDR photographs. Pro HDR automatically takes under-exposed and over-exposed photographs of the scene. Then it aligns and merges the photographs to make one stunning

HDR photo out of themPrice: $1.99

The best photo-editing application in the world is available on the iPhone too. Adobe Photoshop Express app is Adobe’s online photo-editing and sharing service. Photoshop express does a very descent job in handling the basic photo-editing requirements as well as some cool advanced filters. You can crop, straighten, flip photos as well as add some effects like sepia and monochrome.Price: Free

Camera Bag is one of the most popular iPhone Applications for Photographers. It has a number of filters and you can

either take your own photo to apply those filters or you can choose from your library. You can set the camera behavior

as well as choose camera style. Other features include crop-ping, border effect, image size and emailing the photos right

from the application.Price: $1.99

Professional photographers are going to love this applica-tion. Ever since the introduction of iPhone, creative people all over the world have used it as a ever-ready portfolio and Photographers are no exception. iFolio for iPhone enables you to create and view Dynamic portfolios and share them on twitter or via email.Price: Free

Best Camera allows you to edit and share your photos in a simple way. With over two dozen filters to choose from, find

the one that fits your situation, or stack several together to capture the best image possible. Choose from the standard filters you might expect, such as contrast or vignette, or try

something new with the jewel or candy filters.$2.99

PhotoBuddy is your personal assistant in photographic mat-ters. It provides convenient ways to help professionals and amateurs calculate some of the most needed camera settings. If you run PhotoBuddy on your iPhone you can use the built in camera to determine distances for objects of known size. The provided grayscale gradient can help you set the white point of your photographs, and the exposure presets get you started very quickly in the most common lighting situations.Price: $.1.99

Easy Release: Do you work with models, or out on location? You’re going to love Easy Release. No more

bringing along files and loose forms of paper to the shoot. Simply use Easy Release, and you can quickly have model

and property releases at your fingertips, ready for your clients to sign before the shoot.

Price: $9.99

by dpshots.com

Portrait Photographer:Photographer in the Miami area for family portraits, both personal and group shots.

Experience required.$25/h

[email protected]

Seeking photographer for a feature shooting down in the Keys from Aug13th -31st. We are looking for

someone to come down and shoot stills and galleries for us for 8 days. Pay is $100 per day. Lodging will provided. If you are interested, please send your resume and

a few examples of your work to [email protected].

Photography School:Rapid Eye Photography

Portrait Photography:Next Classes start:

Sat. Sept 10 @ 1 p.m.

Street PhotograpyOn-Going

Basic PhotographyNext Classes start:

Sat. Sept 17 @ 1 p.m.

Photo EditingNext Classes start:

Thur. Sept 1 @ 8 p.m.

Black & White PhotographyOn-Going

More info:www.rapideye.com

305-232-3947

2002 Brickell Ave. Miami, FL 33133

On-location Event Photos:Personal or event photography.

Birthdays, Out door events, Any special occassion, Family portraits, Baby photos,

MaternityPet photos also available (dogs, cats, ex-otic)Commercial services also available, stock photos for stores, merchandising.

Contact for [email protected]

Graphic Designer: We are currently looking for 1-2 print/

graphic designers. Our company is called Brand Beats Productions and we will

be open for business on 7/24/2011. Our business focuses primarily on the music

industry. We offer a wide scope of Music Production services, Photography, Music Video’s, Web Design, and much more.

The perfect candidate for this position is someone who is currently in college or just graduated, who is looking to expand their skills, their portfolio and gain experience. If your are interested in becoming part of the team, please contact us at 954-483-4303 or forward your resume to brand@

brandbeats305.com with some examples of your work.

www.brandbeats305.com

Awesome Pet Photography: All pets are amazing, why not have some

photos taken of your loved critters!Dogs, Cats, Birds, Reptiles, Other

I have experience photographing all of these amazing animals! I go to your loca-

tion and bring my photography equip-ment and photograph your pets.

[email protected] Needed:

We are located in Miami Beach. We are currently looking to hire a few intern pho-tographers to work 2 days a week mostly on weekends, Must have own camera

and slight editing skills.

Email us at: [email protected]

Lighting Equipment:We rent and sell lighting

equipment for photographers. Backdrops, Umbrellas, Bulbs, SoftBoxes, etc.

Visit us in our brand new location: 2336 Collins Ave. Miami Beach, FL

More info: [email protected]

305-479-0707

Hair & Make-Up Stylist:I’m a Toronto-based fashion photogra-

pher who’ll be in Miami from Thursday to Tuesday of next week. I’m in need of a

talented makeup artist and hair stylist, as well as a wardrobe stylist who’s able to

actually provide the clothes. I’m globally published and agency approved. [email protected]

PhotographerFull time photographer offering services for anyone looking for exceptional im-ages. I have been published in several

magazines and have pieces in art galler-ies. I own professional equipment

Specialize in Fashion, Editorial, Commer-cial Photography, On-location shoots,

[email protected]

Female Model:Looking for a female model to do fashion

photoshoot. Pay is $35/hr.Send email that includes pictures with

your name and number.305-876-0909

www.summerwear.com/[email protected]

Photographer Needed!We are looking for new photographers

and helpers for the upcoming youth sports season. This is all posed photography, no action shots. All you need is the following:

Photographers:DSLR camera

“Hot shoe” flash (with your own fresh bat-teries)

Reliable transportationBe able to get up early in the morning

Must be great with children!

[email protected]

Print Shop: Hi end printing of Photos and Paintings on Photographic Paper and Canvas at very

good prices. We only use Archival inks and Archival papers in our work.

Also specialize in the restoration of old photographs. If you want to preview and buy some of our photographic work for

your Homewww.jayprophotos.com

Sports Photographer: Photographer in the Miami, FL area.

Experience necessary. Will be shooting a soccer tournament in downtown.

$25/hCall 24/7: 305-234-7483

www.downtownsoccer.com

Wedding Photographer Experienced photographer for 3 day

event. Fee+hotel included. For more info 305-233-2001.

Photography Studio:

Rent space for photography

studio. 1,000 sq feet of empty, indoor

space. Call for rates and more info.786-564-0807

Equipment not included.

1750 N Bayshore Dr.

Miami FL, 33132

Bikini Model: Girls wanted for bikini /swimsuit

shoots and to work events.No experi-

ence needed.Must be 18 with I.D. Please go here to fill out our application:

www.jelly-swim-wear.com/models-

wanted.html

Male Model:Model for

fashion campaign in South Beach.

New line of clothes for a local

designer. Bathing Suits & Formal wear.

$40 per hour.Call for more details.

919-722-9424

UsedCamera:

Selling my 2009 Canon Rebel XSi in perfect condition. Includes original

lens(18-55).Current price is

$500, it is negotiable. Call during

the day.787-647-9530

DesignHouselooking for photog-rapher. Outdoors

with 6-7 kids. Required to have your own profes-

sional camera and some photography

[email protected]

305-098-3456

Camera Equipment:Sale of used

camera equipment, bring your stuff in to our store and we will

sell it for you!Dolphin Mall786-007-2388

*Will take a small commision*

Post Production: Specialist in MIami, FL. Requires

experience with Adobe Photoshop & Adobe Lightroom. Pays

$15/hCall 305-897-0934

www.photojob.com

Camera Accessories:This Studio portrait umbrella Kit is easy to

use and setup. It is a complete lighting kit with stand, one 6’ x 9’ black backdrop,

one 6’ x 9’ backdrop.786-098-6565

Body Builder Model:Im looking for bodybuilders interested in

modelingthis will pay by the hour but will not be a

full time gigif interested then send pics and contact

info, tatts are cool [email protected]

RAW: Tell us a little about yourself?Joaquin: My name is Joaquin Peña and I am a freelance photographer.

RAW: Where are you from?J: I was born in San Juan, Puerto Rico and I lived most of my life there.

RAW: How did you get started in photography?J: It was back in high school, I got a job in the school paper as a graphic designer and started taking pictures for my designs, and the rest as they say is history.

RAW: Do you have any formal training in photography?J: Just a class at the beginning of college, nothing to formal. I learned most of what I know on my own, getting out there and shooting.

RAW: What camera do you use?J: I currently own a Cannon Rebel XSi, but I’ve had my eye on a Mark II for a while now.

RAW: Any favorite photographer that inspires you? J: Walter Ioos Jr. is one of my favorites, also Jill Greenberg, Tom Ryaboi and Alejandro Pedrosa inspire me.

RAW: When did you realize you could have a career in photography?J: To be very honest, it’s when I realized that photography is all I wanted to do, and then there was no other option.

RAW: What is the best part of your job?J: Definitely the traveling

RAW: What is the best place you have been?J: I was just in Paris and Barcelona, I would have to say that those have been the best so far.

RAW: You seem to have a wide range of subjects, what is your favorite one?J: I think taking portraits is my favorite, but landscape comes in a close second.

RAW: What types of assignments are you attracted most?J: Definitely freelance.

RAW: What is your dream project?J: To go and shoot my favorite artist in a concert series, probably around Europe.

RAW: What artist would that be?I would have to say, Jay-Z or Kanye West, or maybe both.

RAW: Tell us a little bit about your current project:J: Right now I am working with Sports Illustrated and National Geographic, some of my pictures will be featured in their next editions.

RAW: We heard that you where getting together with a few other photographers to start your own company, is this true?J: I wont say who, but yes. We are starting our photography collective and you will be hearing more about it very soon. Legendary Pictures, wait for it.

RAW: What type of equipment do you take on a normal day of work?J: Well it all depends on what type of job I’m working on, portraits, landscapes, sports or any other.

RAW: Well, what would you take on a landscape job?J: I like to carry the least amount of things with me, but the essentials are the same for everyone. My wide angle lens, tripod, cameras and a couple of other lenses just in case I want to experiment.

RAW: We understand that you have another passion, aside from photography that is. Tell us about it:J: I love music, everything about it. It fuels what I do.

RAW: Do you play any instruments?J: I play the guitar, piano and I am starting to learn the drums.

RAW: What type of music do you listen to?J: I like a little bit of everything, but especially Salsa, Jazz, Reggae and Hip Hop.

RAW: Where do you see yourself in 10 years?J: Probably in a huge studio with view to the ocean, my pictures in the most famous magazines and driving my favorite car

is 20 years old, but in those 20 years he has traveled the world doing what he does best, taking pictures. He currently runs a photography blog that offers many tutori-als and inspiration for other photographers. He is also working as a freelance photographer and starting his own company. After all this, he was able to spare some times for the readers here at RAW. So we sat down with Joaquin in his beach house to ask him a few questions, lets see what he had to say.Enjoy!JO

AQU

IN

RAW: Which car is that?J: A grey Aston Martin DB9, like in the James Bond films.

RAW: Nice car, good luck with that. Any final words of inspiration for our readers?J: Grab a camera, get out there and explore. That’s the best way to learn.

Travel photography seems so simple. What could be easier than traveling to an exotic location in a beautiful country with a camera and a handful of memory cards and taking some amazing photos? But, when you arrive at your location, you find that it’s a lot harder to take a decent travel pho-to than it looks. In this article I’ll be sharing seven key tips for taking professional-looking travel photos you will appreciate for years.

Take Better Travel PhotosIf you follow these few simple principles your trav-el photography will improve dramatically. A good approach is to set aside some time specifically for photography, especially if you are with friends or a partner who doesn’t share your interest. Wander off by yourself for a while and immerse yourself in the sights, sounds and smells of your holiday destination. Research will help you make the most of your photographic opportunities, and the internet is a great place to start. Look for well-known pho-tographers who have been to your location. Their work will be an inspiration to you and a guide to the best places to take photos. Take advantage

of their hard work to plan your photography. It’s also important to research local laws and culture. For instance, it’s illegal to photograph airfields in some countries. Some UK plane spotters were arrested in Greece for just this a few years ago and spent some time in jail before being released. Make sure this doesn’t happen to you. On a cultural level, there are countries where people don’t like to be photographed (like Bolivia) and others where they love it (like India). Knowing what to expect will help you deal with the local people. Please also be aware of your personal safety, es-pecially when carrying around camera equipment, as some places are not as secure as others. Again, research will let you know what to expect.

Use Bright ColorsUse color to create bold, dramatic compositions. The key is to simplify. Close in and concentrate on just one or two colors. A photo dominated by a strong primary color like red or blue can be very powerful. Don’t just stick to the primary colors as compositions of subtler hues like pinks and greens can also be very strong. Colour can evoke powerful emotions. Red is a warm, dominating colour. It’s the colour of heat and strong sunlight. It can also signal danger or anger as red is the colour of blood. Red is a pow-erful colour, and also the colour that the human eye is most sensitive to. Blue, on the other hand, is a cool, calming colour. Imagine the blue shades of a tropical sky above tropical waters. Or the blue of icebergs and glaciers, or the night sky. Green can be fresh and invigorating; think of spring or lush rainforests. It’s the color of nature, growth and fertility.

Use Late Afternoon LightThe word photography comes from the Greek for ‘painting with light’ and this should tell you that quality of light is one of the most important aspects of photography. The pros wait for the best light and so should you if you want to get some good photos. The light in the middle of a sunny day is harsh and ugly. Avoid it at all costs. For most subjects, the light is best when the sun is low in the sky. This means for the first hour or so after it rises and the last hour or so before it sets. The further from the equator you are, the longer this ‘golden period’ of light will last. If you’re in the tropics, get ready to act fast, because the sun sets quickly and the good light won’t last for long. This is where planning will help. Be observant as you’re exploring your destination, and think about how these places will look when the sun is close to the horizon. Then you can make sure that you’re on location in the most photogenic spots when the light is at it’s best. This is a great strategy for taking good photos if you’re short on time. Spend the middle of the day with your family or friends, and head off for an hour or two before sunset for some quality photography time.Rain and storms, especially at

sunset, can create interesting, unrepeatable light-ing conditions. If you see that something exciting is going to happen with the light, get out there with your camera and take advantage. Sometimes the light and weather won’t do what you would like it to, especially if your time is limited. Learn to take photos in cloudy, overcast conditions. These can be great for nature photog-raphy (especially flowers), portraiture and black and white photography.

Look For A Different Take On Local LandmarksWe’ve all seen hordes of tourists standing in the same place taking photos of a well known land-mark, normally in the middle of the day (which we already know is the worst time possible!) You can do this too – if you want a boring photo that’s no different from anyone else’s. If you want some-thing better, you’re going to have to be a little smarter, and start developing your creative eye.How many ways is it possible to take a photo of the Eiffel Tower? At first glance, it seems that not many. Try searching Flickr for photos of the Eiffel Tower to see how many variations photographers have come up with of this famous landmark. Taking a photo that is somehow new and different of a famous and much photographed

location is one of the most difficult photographic challenges that there is. Start by making sure that you’re there when the light is good. If you have wide angle or telephoto lenses, try using their unique perspectives to create something a little different. Try including some human interest. Not tourists, but local people doing whatever the local people do. Try something completely unexpected – like taking photos in the rain – and see what happens. Experiment. Have fun.

Search For DetailBe observant. Look for the little details that cap-ture the spirit of the place that you’re in. Maybe it’s the way the light plays across cobbled streets. Or handicrafts that the locals sell in the markets. Maybe it’s food presentation in a restaurant, or an architectural feature. It doesn’t have to be very exciting. It can be personal or obscure. It’s your own little memory of a detail that evokes the spirit of a place.

Get Off The Beaten TrackThe popular places are easy. Anyone can go there, and just about everybody will. Do something different. Explore nearby places. Don’t just stick to the well-trodden tourist path. See what’s out there. Search out unusual and little known places. Try and find somewhere where the locals aren’t used to seeing tourists. Not only will your pho-tography improve, but you’ll learn something new about the world and become a better person for it.

Use A Polarizing FilterHave you ever wondered how the pros capture deep blue skies? Or how they manage to get water so clear that you can see all the way to the bottom? Or why the colors in their photos are so strong? The answer lies in a magical piece of glass called a polarizing filter. This is the one filter that will improve your photography more than any other.Polarizing filters work by eliminating reflec-tions. Light reflects from dust and other particles suspended in the air, and these reflections desaturate the color of the sky on a sunny day. Put a polarizing filter on the front of your lens and the reflections will be cut out, leaving a deep blue sky.It’s the same with water. Light bounces off the surface and obscures what’s underneath. Use a polarizer to eliminate the reflections and you can see straight underneath. If you’ve ever seen a photo of a boat floating on water that’s so clear it appears the boat is floating in thin air, that’s how it was done. Polarizing fil-ters also increase color saturation by eliminating reflections from painted and other non-metallic surfaces, including flowers and leaves. There are a couple of rules to observe when us-ing a polarizing filter. The polarising filter works best at an angle of 90 degrees from the sun. You also need to turn it while it’s on the front of the lens (it has a rotating mount) to see where the effect is strongest. The only downside to polarizing filters is that you lose approximately two stops of light. If light levels are low this may lead to camera shake. Use a tripod or other support to avoid this.

Take Photos At NightLearn how to take photos at night. Night photos can be really evocative. The best photos are taken while there’s still some light in the sky. There’s something magical about the early evening. City lights sparkle. The movement of water becomes a misty blur. Passing cars leave trails of light.You’ll need a tripod to support the camera and a cable release to fire the shutter without touch-ing the camera. If you haven’t done this before it’s worth practicing this at home so that you can perfect the technique before you’re on location.

“What bag should I bring on my next trip?”

The answer depends largely on where you’re going, what you’re bringing, how you’re traveling and so on. And yet, there is always a bag to be had that is just right for the trip. In this article, I’ll be suggesting what to look for when choosing a photo bag for travel.

What To Look ForWhile it is very hard to find a perfect bag for every type of trip, there are some common factors to look for when selecting a bag for your next adventure. I’ve listed 7 categories of features to compare when selecting a bag. They include (in no particular order, except maybe comfort) Com-fort, Security, Organization, Compartmentaliza-tion, Ease Of Use, Size and Build Quality.

ComfortBag comfort is one of the most important aspects of bag selection. If the bag is not comfortable, none of the other factors matter as you will be reluctant to even bring the bag on a trip. A comfortable bag can mean the difference between a horrible trip and one that has you wanting to hit the road again the moment you get home. There are a couple of components to comfort. The first factor is weight. This is a combina-tion of both the bag weight and camera (with all required lenses, strobes and accessories). Bag weight can play a big part in the equation – larger than you may suspect. Well constructed packs can weigh up to 7lbs, enough take a toll after a full day out in the wilds of a city or the mountains. Try to find a good balance between too much weight and too little quality. Look for a pack that meets your minimum of requirements for storage (covered in a minute) and not a lot else. All those extra compartments, zippers and straps do add up and will entice you to carry more stuff. Camera weight is also something to consider when packing. Do you need every last bit of gear with you for this particular trip? Will you be able to purchase extra batteries for your strobes when you arrive or do they need to come with you? And again, what’s the least you can get away with? Sometimes it takes a couple of trips to find your rhythm so don’t worry if things aren’t perfect the first time out. You’ll need those learning experi-ences to show you what items never left the bag and which were used daily. The next factor for comfort is carriability. How

is the bag handled? Is it a backpack, a shoulder bag, a messenger bag, a roller bag or some other type? No matter the type, is this the type you’re used to carrying? Personally, I prefer backpacks as that’s what’s most comfortable to me. When I’ve used a shoulder slung bag I always felt lopsid-ed and I can’t stand roller bags. But for some who have back problems, a roller bag is perfect. Also consider the terrain you will be covering while on your travels as not all bags will be appropriate.

SecurityThe security of your photography equipment while on a trip is quite important. First, you don’t want a bag that is too flashy that calls attention to itself. Some people have been known to use a bag that is not specifically used for camera gear at all. Something like an old handbag or well used day backpack. Anything that isn’t new Cordura nylon, emblazoned with logos! This can be a sane tact especially if the bag is also comfortable. If your bag is newer, consider using a permanent marker to darken logos and make them less conspicuous. Next, depending on where you will be carrying your bag, consider one with access only from the side closest to your body. There are special backpacks with this type of access, giving up con-venience for security. And that is always a trade off. If it’s easy for a friend to access your camera gear while traveling around, it’s also easy for a thief to access it. Lastly, consider your bag’s security when it’s not in your possession. Let’s say you leave it behind at the hotel while heading for a night on the town. You may want to look into one of the many bag security nets available on the market. These bags are a metal mesh that fits over your bag and at-taches it to a sturdy object, such as a drainpipe of a sink for instance. While nothing is impermeable to a thief with enough time, attempting to thwart the opportunistic thieves is a safe tactic.OrganizationWhen I speak of organization, I’m speaking of the bag over all. Unless you wish to carry two bags while out shooting, your bag should be able

to handle not only your required camera gear, but also all the odds and ends that help you get through the day. Will you be heading out for a full day of shoot-ing, or do you plan on just taking short trips here and there? If you plan for a full day away from creature comforts, your bag is also going to need to carry water, clothes, guidebooks, snacks and possibly sun tan lotion. If you want to have your hands free for shooting, carrying a second bag may not be your best solution. There are a num-ber of bags on the market that offer a specific sec-tion for all these little items. In fact, the best bags are organized something like an office on-the-go, with room for all of the above and more. I’d advise against a single, large duffle for all your photo gear. Beside damage to the camera gear, having items stacked on top of each other almost always increases the amount of time you spend fumbling around looking for that one item at the bottom. Clear, well thought out organiza-tion for the entire bag is key to making it more useable. Take time before a trip to test sorting guidebooks, notepads and snacks in different pockets until you find a system that works best for you. And don’t be afraid to return a bag if it won’t fit all the items you deem vital for a day out shooting. There is a bag out there that will work for you!

CompartmentalizationWhen looking at the compartmentalization area of the camera bag – the area set aside for just photo gear – you want to make sure your equipment will not move. Anything moving in the camera area can cause damage to itself or other camera equip-ment. Find compartments with moveable padded dividers, usually with some type of Velcro system for rearranging them. Then, play around with the best layout for your gear, ignoring the diagrams you might find in the bag’s literature. I currently have a smallish backpack intended for one camera with lens attached and two other lenses beside it. And yet, I have found a way to fit two full sized DSLRs with large lenses attached by removing most of the Velcro dividers and placing

the cameras sideways to the bag. Do what works best for you! Selecting a bag without physically being able to try it out beforehand will require you to measure your gear. Know how tall your camera sits with a power grip on the bottom, or how long your strobes will be lying down. I’ve encountered bags which I thought would be perfect, only to find my largest lens stuck up too high to close the zipper. Also consider what will be placed on top of the gear. Will the closing flap also contain a laptop or books that will not be malleable? Does the area for battery storage protrude into the camera storage area? Some bags now come with a removable insert that houses all of the camera equipment. This makes it easy to use the bag itself for other purposes. It can be a useful feature if you will only be shooting part of the time. It also comes in handy when boarding a plane as the bag itself can be used as your one carry-on item and the camera pouch, removed, is your personal item, easily placed under the seat in front of you.

Ease Of UseHow easy is the bag to use? This is a combina-tion of most of the categories in this post, really. The overall organization has to make it easy to find what you’re looking for without pulling everything out. Plus you don’t want camera gear bouncing into each other in the camera compart-ment. And if the bag isn’t easy to bring with you, chances are it will sit in the back of a closet until one day being donated or sold on eBay. I have noticed that having a bottle on both sides will often make a bag harder to stow when on an airplane or overhead on a train.

SizeJust a quick note here on size. This point is highly dependant on the amount of gear you plan to bring as well as how you will travel with the bag. Will this bag be your “personal item” on a flight or train? Then make sure it will fit under the seat in front of you or you may have to check your carry-on item. Will the bag be your one and only

for a weekend getaway? Best to get a slightly larger bag with room for shoes, toiletries and a couple changes of clothes. Another note on size – check the fit of the bag, be it a backpack or any other bag. I’ve often been tempted to get the smallest bag I need, for maybe a camera and a couple lenses and strobes, only to find the bag was very small on my back and not comfortable. A larger bag was less desirable but far more comfortable on my back when traveling.

Build QualityLastly, take a look at both the build quality and warranty if you are buying new. Check the seams and see if they are single or double stitched. Extra stitching can add a minor amount of weight but will help the bag last longer. Are the straps stitched with ample thread, preferably doubled stitched as well? What about the buckles? Does the plastic seem too flimsy? Will they break easily if the bag is handled roughly?If you are indeed purchasing a new bag, what type of warranty does it come with and where would warranty work be performed? Having to send a bag back to the factory often becomes the case with many bags if not purchased at a top rate retail outlet, which allows returns on any gear. So where you shop can be as important as what you’re looking for. If the bag does not come with a lifetime warranty make sure to purchase the bag in a store that offers a full guarantee on all items purchased in their store. Likewise, do just a bit of Internet sleuthing to see what kind of experience other customers have had with warranty work and cus-tomer service. A little extra time spent in selecting the right bag with regards to warranty can save you a a headache a year or two down the road.




PhotoPass PhotographerDate: 2011-09-10

Walt Disney World Resort Disneys PhotoPass Photographer

A family portrait in front of the Tree of Life attraction, a young princess meet-

ing Cinderella for the first time these are but two of the countless memories that

Disneys PhotoPass Photographers capture for Guests in our Parks, Resorts and Dining

locations across the Walt Disney World Resort. Disneys PhotoPass Photographers provide Guests with the opportunity to

capture their experiences at the Walt Dis-ney World Resort with high-quality photos taken with the latest in digital photogra-phy technology. Disneys PhotoPass Pho-tographers may have the opportunity to

work both indoors and outdoors and must have the ability to carry photography equipment during the course of a shift.

Location: Orlando

Compensation: start from 11.50/hour

786-234-0909





Graphic Designer: We are currently looking for 1-2 print/

graphic designers. Our company is called Brand Beats Productions and we will

be open for business on 7/24/2011. Our business focuses primarily on the music

industry. We offer a wide scope of Music Production services, Photography, Music Video’s, Web Design, and much more.

The perfect candidate for this position is someone who is currently in college or just graduated, who is looking to expand their skills, their portfolio and gain experience. If your are interested in becoming part of the team, please contact us at 954-483-4303 or forward your resume to brand@

brandbeats305.com with some examples of your work.

www.brandbeats305.com





[email protected]

Photographer Needed:We are located in Miami Beach. We are currently looking to hire a few intern pho-tographers to work 2 days a week mostly on weekends, Must have own camera






[email protected]











[email protected]







$25/hCall 24/7: 305-234-7483


Wedding Photographer Experienced photographer for 3 day

event. Fee+hotel included. For more info 305-233-2001.

Photography Studio:





1750 N Bayshore Dr.

Miami FL, 33132





wanted.html






919-722-9424

UsedCamera:




the day.787-647-9530




[email protected]

305-098-3456







one 6’ x 9’ backdrop.786-098-6565

PHOTO RETAIL SALES ASSOCIATEHarmon Photo, serving Central Florida’s photographic needs for over 35 years, is

seeking Photo Retail Sales Associates with a passion for photography.

Jobs entail the retail selling of photo-graphic goods and services in a profes-sional environment. Photographic sales experience is a plus. Applicants may be

for full or part time, and have a good working knowledge of digital cameras,

lenses, flashes, and studio lighting.

305-756-0978www.photoretail.com

[email protected]

Sales/PhotographerDate: 2011-09-07

Ricks Photography is looking for someone either Part-time or Full-Time with Sales and basic Photography skills to assist in Booking

and Shooting Events. This person should posses a High Energy attitude with the

ability to think on their feet. My company is just starting so you would be getting in on the ground floor with plenty of room for advancement. This is a COMMISSION

ONLY position to start but, for the right person it will eventually include an hourly wage. This person will be paid 25.00 per

booking (paid once job is executed) and 10% of event total after taxes to start.

If interested email me your resume and/or call Rick @ 407-466-3136 to set up an

interview.

Recently, I had the chance to chat with one of my main

sources of inspiration, and one of the main reasons I be-

came a designer. Alejandro Pe-drosa is a photographer with a rich cultural background,

born in US, raised between Mexico and Puerto Rico. This is what gives his work a differ-ent style and flavor. Alejan-dro is a relatively young but talented photographer who has managed to accomplish

quite a bit. He has worked with popular bands like Cultura

Profetica and is now working with the Puerto Rican Nation-

al Basketball Team. He runs a very popular “alternative

art, design, photography and music” website called World-junkies. In this interview we

will talk more about that and other projects. 120% real, 120%

Alejandro, Enjoy!

RAW: Tell us a little bit about yourself?Alejandro(WJ): 120% Real, no BS accepted, not given either.

RAW: Where are you from?WJ: Cupey, Puerto Rico

RAW: What did you go to College for?WJ: I studied Advertising and Public Relations. The only thing nobody can’t take from you is what you know, knowl-edge is always good, it makes you see things more complex while they maybe simple as a blank paper.

RAW: How long have you been interested in photography?WJ: All my life. It is trough pictures and it’s nature in which we recall moments exactly as they where, at least in that frag-ment of a second.

RAW: What do you do for a living? WJ: Lifestyle documentaries, life as it is trough photography and films.

RAW: Where do you work at right now?Worldjunkies

RAW: Can you tell us a little about a current project you are working on?WJ: Worldjunkies is expanding as a collective project. We’re spotting individuals who appreciate the simplest things from a particular point of view where mainstream does not define what’s good or bad nor it is excluded.

RAW: How do you describe your style?WJ: Real. Our work looks for the less effort on how things should o shouldn’t be, we try to give a straight message trough out a natural situation which is even reflected in the way we shoot. Being hidden, camera wobbles and rare un-comfortable angles are part of the natural process of improvi-sation that works parallel with the essence of the message.

RAW: What type of camera do you shoot with?WJ: Digital SLR, Canon 7D or even a Rebel T2i.

RAW: What lighting equipment do you take on an average day of work?WJ: We try to do almost everything on natural light with lenses of wider aperture, but on critical light scenarios we use a Chinese led light on top of camera (it sucks!)RAW: What has been your most awesome assignment? WJ: Awesome is relative, I love working with bands, maybe was traveling with Cultura Profética but it turned out as an incomplete project of a third party brand. Every project we do is as interesting as we want it to be. Every time you’re working on what you love to do, even if it is a square bank client, you need to give it your look and feel no matter what, you need to look at the final work and say: “Fuck, I love it, we had fun”.

RAW: What do you feel is the most challenging aspect of your job?WJ: The line between what’s great and your client. That’s why we love to do independent work, things we developed ourselves. We do whatever we want, the only challenge is

with yourself, how great you want that project to end. Well, actually that’s very challenging.

RAW: What photographers inspire you?WJ: I love what lastsnightparty does, there’s an Autralian collective called the Hobbo Gestapo which does crazy great stuff. Also love the work of Stefan Ruiz, Donald Weber and Rob Hornstra. With online photography i can say that I like the work of a lot of photographers, but what are there names, who knows? Nobody knows mine either.

RAW: Tell us about the concept behind Worldjunkies?WJ: Worldjunkies is a space to share alternative ways of art, music, lifestyle and design. Mostly we try to write about what happens in Puerto Rico but we also like to share awesome stuff from around world in our junkie space.

RAW: How did you get the idea to start it?I traveled a lot, and the more you travel the wider your culture tolerance gets. It started as a fun thing to do, share cool stuff I saw in daily routines of life and on the internet but then we got deeper.

RAW: Do you have any other plans for the future of this website?WJ: Lots of them, you’ll see them coming.

RAW: You have recently started shooting video as well as photography. What was the transition like? WJ: It was spontaneously, it was lovely. It still is.

RAW: What is the best part of your job?WJ: Enjoying it. Oh, and traveling.

RAW: Any final words of inspiration for our readers?WJ: Don’t talk, Do.

Here, we look at 15 tips for improving your

portraits. These can be put into practice no

matter what camera you have. They can help if

you want a professional portrait to place on

your wall or if you just want a striking new

facebook profile picture.

Engage Your SubjectShyness has to be overcome for portraits. By being friendly to your subject and explaining what you are doing, people are more likely to go along with your shot. From experience, I have found that

having a conversation with someone during the shoot is the best way to make someone feel more relaxed and this comes across in the photograph frame. When shooting strangers make sure you ask permission beforehand. Don’t rush into the shot, explain why you want to photograph them. If there’s a change your image will be used for commercial purposes, make sure you get a model release signed.

BackgroundsThink about your backgrounds carefully. Placing a subject on a different backdrop

can make a big difference. Often, it gives the subject a sense of purpose. Shooting on a minimal backgrounds, like solid colored walls, draws attention to the face quickly. Shooting against a city backdrop make the viewer wonder why the person is there. This can make your image compelling or possibly distract from the intent of your photo. Don’t just snap without thinking about the reason behind the location. Remember to use natural lines in the back-ground to aid your photos, for example using a road a background may produce lines that lead to your subject.

LightingLighting a scene can make a huge impact on a photo. Here are the main lighting

types explained:Side lighting – Produces a large deal of contrast, leaves large shadows. Used when you want to light only one half of a face.Rim lighting - When a light coming from behind your subject creates a rim or halo around them.Artificial Lighting - Using a flash or studio strobe to add to light which otherwise wouldn’t have been in the scene.Spotlight – When small pool of light highlights a portion of your image. Often used for dramatic effect in portraits. Snoots and grid can very well be used to create this effect.Back lighting - When you position the subject between you and the light the source. Often used for silhouettes to hide features of a person. You also might want to look into investing in a flash if you plan on working with portraits on a frequent basis. If you want to start on this path, I would suggest looking in a starters flash kit containing a soft box or umbrella and a couple of lights with reflectors.

Perspective distortion and different lensesAdding perspective distortion into the equation is a good idea. Using a wide angle lens will make objects seem further away than they actually are. Whereas a telephoto will do the opposite mak-

ing objects appear closer.When shooting portraits, you might want the background to appear closer than it actually is. For example, when shooting famous landmarks you want it to look as if you’re right next to them. Perspective distortion on wide angle lens can also make things appear bigger, but usually not it a good way. We’ve all seen images of people who appear to have giant noses. My suggestion would be to use a lens between 50mm and around 150mm. Obviously, you can also purchase creative lenses such as the fisheye or a Lens Baby for specific artistic shots which will distort the image greatly.

Camera anglesTo make your images stand out from the rest, try to shoot from a different (or even bizarre) angle. By moving your camera away from the standard eye level shots, you can make your portraits

unique. Stand on chair or lay down on the ground, just keep your eye on the background as well.

DiptychsNot sure if there is an official name for the style of diptych I’m referring to. But often, one image is distorted or cropped in a way that poses a question, and the other photos answers that question.

Another example might show one image of the person turned around or covering their eyes from view. The second photo would then focus on the section of the face that they were hiding.Play around with the idea, you don’t need expensive software to place the two images together. I would recommend the GIMP if you are looking for a free alternative to Photoshop. In many case, the images look nice with a thin border around and between them.

Rule of thirdsThe rule of thirds is a great tool when starting out with photography as it help you learn about framing your shot. However, unlike many other forms of photography such as landscapes in

which the subject cannot move, you can get your model to move around to create fun and exciting poses. So my advice for portraits is to occasionally break the rule. Think about framing your por-traits in new exciting ways, use your surround-ings to help you do this. As long as you frame your image in a creative way which attracts attention to your subject, who needs to play by the rules?

Long exposureDon’t be afraid to try a long exposure shot when dealing with portraits. Often

you will shoot at 1/100 second or faster and freeze everything in the background. With a small amount of inexpensive flash gear you can shoot long exposure scenes and keep the portraits sharp. You can also set a flash to fire every few sec-onds, and therefore creating multiple “clones” of your subject as they move throughout the picture frame.

Depth of fieldTo keep our portraits nice and sharp, using an aperture such as a F1.4mm

might not be such a good idea. I prefer to use apertures between F2 and F2.8 for portraits. It keeps the whole of face in focus at the right dis-tances, but still blurs out the background. But keep in mind, this all depends on your distance to the subject and the distance between your subject and the background.

Multiple shotsCapturing reactions using a series of shots has always been one of my

favorite ways to shoot portraits. This technique works great when shooting children due to their great emotional expressions.Shoot-ing multiple shots can allow you to capture someone’s true personality, and the final effect usually has a very natural feel. High end cam-

eras can shoot up to 7-10 frames per second which is perfect, but 3-4 shot rate of most compact cameras can work, too.

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have to make sure that they are not too prominent in the portrait. Remember the focus of the viewer still needs to be on the face so you got to make sure that the hands don’t catch too much of the key light because the eyes automatically snap to the brightest part of the image.If you are not sure what to do with the hands in the shot then get rid of them. Just as the shoulders, the side of the hands look better instead of the whole front or back of the hand for the side is slimmer and not as prominent. If the hands are above the waist make sure that they are bent up because it makes the hand look more elegant.If they are below the waist then you can let them relax and fall naturally. Also, you can put them in your pockets but make sure that you keep your thumbs out of the pockets so your whole hand is not hidden. You never want to put them in a tight fist position because that is another sign of aggression.

Step 5: The TorsoEveryone knows about the dreaded police mug shot. Dead on with the camera, shoulders straight and slouched. When your model is straight on with the camera, the shoulders are the widest part of the body, it makes your model look out of proportion, too wide and just like the square feet, it makes your model take on an unconfortable stance. The way to fix this is to slightly angle the models body to the camera, in turn making the visible width of the shoulders smaller, therefore making your model look slimmer. Have your model put their weight on their back foot which naturally causes the back shoulder to dip lower in the composition making your model more relaxed. Also, at all costs avoid the slouching shoulders or bad posture for that can ruin your picture.

Knowing how to pose models is a key skill to have in making good portraits. In this article we will be talking about a few tips on how to pose your model to create stunning photos. We’ve got you covered from the hands and feet, right through to the head and eyes.Step 1: The Basics of Posing Your ModelThe key ingredient for any great portrait lies in the pose and expression that your model produces for the shot. It is your job to convey the message you want to see on camera to your model. Many times I have seen pictures where the pose and lighting were good but the model was conveying the wrong message with her face and it totally destroyed the photo. The pose is also essential to a portrait for it creates dynamic lines and elements in the frame. Knowing how to get this out of your model is vital. Your subject won’t know how to pose, handle their hands or what expres-sion to make – that is your job as the photographer. In this article I will be showing you how to do just that by sharing a few helpful tips on perfecting pose.Step 2: The FeetAs a rule of any type of portrait photography, feet come first. The way your model stands is going to determine whether or not they’re comfortable during the shoot, and if they are going to look natural in their pose. Hav-ing your model look stiff on camera is not going to make a pleasing shot. In most cases, the back foot should be pointed away from the camera about 90 degrees, and the front foot should be pointed at the camera. This makes the model turn slightly to the camera for a slimmer, more pleasing stance. When the feet are squared off to the camera the pose takes on a sense of aggressiveness, and in most cases it is not desired.Step 3: The Legs and HipsOne quote I have heard about the legs is “if it can bend, bend it.” So relax one leg and watch how the knee and ankle naturally bend to create a pose. When you put weight on one of your legs, it is going to push the hip of that leg out and make it more prominent. Some people like that style of portraiture, but most go with putting the weight on the back legs so that the back hip will be hidden and away from the camera.Step 4: The HandsThese are probably the most difficult to deal with. The hands can reveal something about your model and give a sense of animation to a pose. This being said, you

Step 6: The HeadAs we work our way up the body we arrive at the head and face. If you ask a model to take on an expression and then go about posing the feet, legs, hips and torso, do you think that she is still going to have that same expres-sion that you liked so much? A rule for me is to save the head and face for last. Some photographers like to shoot right at eye level and that works in most cases but if you are looking for something different and unique then iI would experi-ment with shooting a little above or a little below the models eye level. You can have them look up, down or to the camera. Another option is to have them look off into the distance. When relaxed, the head naturally leans slightly to one side. So when you are thinking about doing a natural look, consider tilting the models head. If you tilt the

head up slightly, it makes the nose shorter and stretches out the neck area just in case of the “double chin problem”. Tilting the head down gives you an intimate expression but only works with models that have normal or small noses, so this can’t be used on every model!Just like the shoulders, turning the head slightly to a three quarter position allows you to slim down a wide face or jaw line. If your model already has a thin face, then this technique would make their face thinner and longer which could produce some ill effects.Step 7: The EyesThe eyes are the most powerful part of any portrait. The eyes make or break the mood that is being set up. You can create a more attractive expression if you have your model lower the chin because it will increase the size of the eyes. Of course this will only work if your models

mouth and eyebrows are telling the same story. The whole face needs to be on the same page so the mood or expression is not confused. You can have your subject look away from the camera, but keep in mind that it will be harder to catch the expression in the eyes. People say that the eyes are the door to someone’s soul – if you can master how the eyes look, your photo will be even more powerful.Step 8: More Quick TipsHere are some other tips that can help you help your model look their best:1. If your model is balding, shoot from a lower angle to show less of their hair and don’t use a hair light at all.2. If your model has a larger nose then have them look straight at the camera and shoot from a lower angle so their nose will not be so prominent.3. If your model has big ears, then turn their head so only one is showing and then feather the light so that the other ear will fall into shadows and not be noticeable.4. If your model has lots of wrinkles, light them straight on so that the light will not produce shadows from the wrinkles in the face or body. 5. As mentioned a little earlier, if your model has a double chin then have them lift their head slightly so that it stretches out the neck area. Also you can try to light them more from above which creates a shadow under the jaw line and makes under the chin less noticeable.6. If your model has a round or fat face, have them turn their face to the left or right, giving you a three quarter view. Also using a split lighting set up helps by keeping one side of the face in shadow.7. Another tip for making your model look slimmer is to make sure that you leave some space between their arms and torso. You will be surprised how much bigger they look with their arms at their side.ConclusionNow that you have learned some of the basic tips about how to pose your model, go out and try these. Just keep in mind that being square to the camera is a sign of aggression and most of the time looks really boring. Also, a natural pose is better so try to make your model feel comfortable and not nervous. Last but not least, never count down to a shot because right when you say one your model automatically snaps into the fake smile or expression.





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PhotoPass PhotographerDate: 2011-09-10

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1750 N Bayshore Dr.

Miami FL, 33132





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Sales/PhotographerDate: 2011-09-07

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Event Photographer: We are corporate photographers cover-

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If you’ve ever tried photographing a car, you’ll know that it’s often not as easy as first presumed. Although it can be simple enough to capture a clear and simple shot of the vehicle, it’s far more challenging to capture the design, detail and essence of the car in a photograph. To help, here are ten simple steps which will hopefully lead you through the basics.

Starting OutThere are a vast range of elements involved in car photography, to the extent that there are whole websites and books dedicated to it. We

won’t be able to cover everything in fine detail here, but hopefully it will give you an insight into the world of car photography and get you started with the basics, enabling you to start to explore further.To begin, you’ll need a car. Any car will do really to learn the basics, but your work will look more professional and exciting if you’re working with more interesting subject matter. If all you’ve got is the Ford that you drive to work in, that will be fine. But if your mate has a Ferrari, you’d better buy them a few drinks and ask nicely if you can borrow it for the day!

LocationSo you’ve got your car, now you need a location. You don’t see many photographic car advertisements in which the car isn’t set within an

amazing scenic location and bathed with the warm glowing sunlight in the distance. But presumably you’ll be shooting on a budget, so it will be hard to match the large scale shoots you see in glossy magazines. Still, there are plenty of location options to choose from. You need to ensure that the car is the centre of attention, you don’t want your location to steal away attention from your subject. You want it to enhance the attractiveness of the car. Decide whether you want to shoot the car in a natural setting, somewhere less usual or whether you’d rather go for a studio feel.

A Natural SettingIn a natural setting, you could have the car either on the road, in a car park, or on the drivewa. Though many of these settings wont add

much to your shot and will look fairly plain. Consider what sort of feel you’d like for your shots. If you want a gritty and moody feel, it may be best to head to the top level of a car park with views across the city, or to the industrial part of town amongst the derelict warehouses. If you want a clean and classy bright image, consider heading to the business district of the city amongst the reflective glass of the office blocks and modern architecture. Alternatively, you could go for the classic shot, at the crest of a hill with an open expanse overlooking a landscape scene, preferably west facing in order to have the sun setting in the background. Finding a great location will make your photograph stand out and increase your artistic opportunities. Take care to find somewhere that will really enhance the atmosphere of the shot and the features of the car.

An Unnatural SettingIf you’d rather try an unnatural setting for the car, think carefully about whether you’ll make the car look alien in it’s surroundings. For

example, a car doesn’t look very at home even when shot parked on grass. There’s no need to be overly adventurous with your location selection. It’s understandable that you’d want to avoid clichéd car shots, but be careful not to be overly ambitious and end up having a series of shots that take the car too far out of context. The complete alternative to having an on location shoot is to go for a studio-type shoot. Hiring out a studio large enough to house a car is an expensive business, so if there are alternatives you may want to explore those first. If you know someone with a large garage that has white walls it may be the perfect alternative to shelling out for prime studio space. The great advantage of using a studio space is the opportunity to light the subject creatively, which we’ll come to in a bit. Having those options can give you the chance to get some great interior and detail shots, but full car shots can end up looking fairly cold and bland without any context.Finally, when considering your location, think carefully about how the surroundings relate to the colour of your car and that the tones in the shot compliment each other.

LightingNext step is lighting, the essential element of every photo shoot! Depending on your location and timing, it’s best to use natural light

if possible. I’d recommend utilising the golden hours, just before and during sunrise in the morning and through sunset in the evening. This way, you’ll get a lovely warm side wash of sunlight on your subject and you’ll avoid the overtly harsh brightness of the midday sun, which will cause problems. You also have the option of using artificial lighting, which some of us have more access to than others. To get the best results, it’s all about utilising what you’ve got carefully. There aren’t necessarily any right and wrong ways to light a car, my advice would be to set up lights or flashguns one by one, highlighting aspects or angles of the vehicle as you see fit. Then, take a test shot or two, ensure it’s just where you want it, and then set up another. This way, you wont over light the car and you’ll avoid letting the light sources double up on areas of the car. Use your eyes and take your time, the lighting is a very individual preference and can define the personal style and mood of the shot depending on the photographer.

AnglesSo having set your car up in a great location and figured out the lighting. It’s now time to actually start taking photographs! Hope-

fully you’ll know the car quite well now, but it’s important to consider how you want to portray the car, whether there are any features that you want to highlight and therefore what angle to shoot from. By all means, get started by shooting from eye level, but to make your shots stand out, you’ll need to exploit different angles and vantage points in the shoot. A particular favourite is to shoot from just above the ground. This gives the car an overbearing menacing look, but experiment and see what works for you and your car. Once you’ve worked out which angles work best and show the car in the way that you want, try moving the car to varied positions to get it to work well in the setting. Make sure you avoid distractions behind the car such as trees and phone cables. Depending on the angles you’ve chosen, for full car shots, I’d recommend using a tripod, just for that extra sharpness. However, don’t just leave your camera on the tripod. For those wonderful angles, you’ll need to go handheld!

Exterior DetailsOnce you’ve captured the full car shots, you can start thinking about any exterior detail shots that might work well to really enhance the

shoot portfolio. Having worked with the car, you should know it’s main design features. Have a good look around, working handheld, to try and ex-ploit any details such as bodywork shapes and lines, manufacturers badges, wheel structures and grills. Again, it’s important to consider the lighting and angles for these shots, don’t just presume that your previous set up will work the same for the detail shots.

InteriorIt’s also important to remember that there are many interesting interior details worth shooting. The manufacturers logo will appear

many times within the car’s interior, and there will hopefully be a few nice design features that may be worth considering. Make sure there is enough light available for the shoot, especially if you’ve been shooting on location in the evening light. You may want to wait until you can effectively light the interior, as it would be a shame to miss out on the details especially if you have a chance to enhance them with studio lights.

PanningThis is technique that is utilised in the world of motorsport photog-raphy, but has also been exploited in the realm of promotional car

photography. The idea is to capture the car in motion, as it flies at speed either around a racetrack, or usually on some stunning mountainous road to make a manufacturer’s car look it’s best. This effect involves keeping the car in focus, whilst blurring the background. The simplest form of this technique is used from a handheld standing point and requires you, the photographer, to turn and move in line with the moving object whilst taking your shot. It’s important to know the expected movement of your subject before you start shooting and as you move around in line with the subject. This is easier than it sounds, and takes just a little practice to get right! The alternative panning technique that can be used is to shoot a car from another moving vehicle. If both are moving at a similar speed, it won’t actu-ally require any camera movement on your part, but will achieve a similar effect as stationary panning. However, I’m not recommending you start sticking your camera out the window of speeding car just yet, start with the basics and when you’re ready you can consider the dual car shoot!

Give it a go!So there you have it, your step-by-step guide to car photography. Hopefully this will get you started and give you grounding for tak-

ing some breathtaking shots of your car. As I mentioned earlier, don’t expect to be matching the high production of the car manufacturer’s advertisements just yet, but they’re great for inspiration and shoot ideas. There are so many beautiful cars, both modern and old, just waiting to be captured in stunning locations, so get out there and give it a go!

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by Simon Bray Photography by Julian Matias

raw photojournal

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