Create an image — a gum wrapper mosaic.

This should suit you very well. This guy took partially-used Mentos gum blister packs to create an awesome mosaic:

http://www.youtube.com/watch?v=lOgE5dJehgE

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Interview with Photographer Trevor Lush

John: Trevor, you’ve shot bloody-faced polar bears, pristine operating rooms, women in Vegas, winter camping and Olympic athletes in your studio.  If we were going to hang a label on you as a photographer, what would it be?

Trevor: Years ago I was showing my work to some photographer reps in NYC and one of them said, “I’m not sure what to do with you – you’re a Generalist!  You shoot everything.  Just pick one thing, and then I’ll know what I could do with you.”  Being called a Generalist was like some sort of foul language.  Maybe that’s why I gravitated towards stock photography.  I really enjoy being able to shoot lots of different styles of photography, it keeps things interesting, and I love being able to draw on all those different experiences.  I think shooting one particular style or subject matter would bore the hell out of me.

John: How did you get into photography?

Trevor: I freelanced for newspapers while still in high school.  Then worked with a studio in my home town, before heading off to photography school.  After graduation, I assisted for several years with a variety of studios, and freelanced for a number of photographers as well.  I really tried to expose myself to as many different types of photography as possible.  I truly feel that assisting was the best education I could have given myself, and I eventually started taking on more of a shooting responsibility with those studios.

My first experience with stock photography was working with a studio on a contract they had to produce custom stock for Microsoft. I spent a summer shooting table top stuff in their studio.  Interesting to start learning about the pressures cost-per-image and return-per-image can put on you.

Next, I was hired by Hemera to be the Lead Photographer for their in-house photographic production team.  I worked with that company for about two years, producing about 15,000 images for their Ablestock brand. After that I realized how much I loved shooting stock.  I set out again on my own.  The first agencies I signed with were Iconica , Uppercut, and Jupiterimages.

John: You shoot a really wide range of subject matter, both in the studio and on location.  What do you enjoy shooting the most?

Trevor: Every shoot brings its own set of challenges and unique energy.  I think that’s what I love about a career in photography – the variety!  I love being in the middle of a huge production with lots of locations, models, and crew!  At the same time, it can be equally rewarding to be shooting food with my wife on our kitchen table.  Plus there’s always something around the corner that will test me in new ways, like photographing a surgery for a healthcare client or winter camping for a book publisher.

John: For you, what is the most challenging aspect of being a professional photographer?

Trevor: The biggest challenge for me has always been trying to find the time to work on all of the different projects I want to work on – and of course, balancing it with a busy family life at home.  

John: I know you shoot stock for Blend Images.  What percentage of your business is stock and what agencies do you work with?

Trevor: The majority of my business is stock.  I think Blend Images is doing some great things right now, and they have a fantastic relationship with their contributing photographers.  I’ve really enjoyed working with Veer as well. 

Also, I’ve kept myself very busy with Jupiterimages in the past.  Great relationship with them over the last 4 years – producing about 6000 selected images a year.  Plus, I have images with a handful of other agencies as well.  

John: How do you determine which agency to send work to?

Trevor: I don’t spend a lot of time shooting unsolicited images and trying to find a home for them after the fact. I work closely with my editors at each agency, so that I focus my efforts on producing images that the agencies have a need for. 

John: Do you do any direct sales?

Trevor: I’ve never done any direct sales.  I think that will change in the near future.

John: Does Micro stock have any allure for you?

Trevor: I’ve been approached by a few different agencies, but I’ve never shot Micro.  Maybe that will change if the right scenario presents itself.  At this point I’m focusing my efforts on Rights Managed and direct sales.

John: Do you have any plans to move into video?

Trevor: Yes.  At the moment, I’m looking for the right project to collaborate on, with a friend of mine who’s an incredible cameraman.

John: What are some of the challenges facing stock photographers these days?

Trevor: I think the biggest challenge is deciding where to put your images.  Will there be a resurgence in Rights Managed?  Has Royality Free become too bloated?  Is there still time to make money in Micro?  Will I recover my investment before the industry shifts again?  

John: Do you see your involvement in stock photography changing?

Trevor: I see me moving away from the high-volume work I’ve been doing in the past, towards a much more targeted approach.  Less images with more added value.

John: What currently is your favorite image?

Trevor: I’m so bad for this… I think I may have ADD or something because I’m always flip flopping on new favorites, then I see older images and I get excited by them all over again.  I was in Mexico a few years ago with Willie McElligott, a friend who was teaching a photo workshop. 

While driving to a location for the morning shoot we came across a farmer herding sheep along the side of the road.  I made an image of a lamb being carried by one of the horses.  It became one of my favorite images from the trip.  No production, just a simple photograph.  

John: Getting back to the assignment world, how do you market yourself?

Trevor: Most of my assignment work is spin off from subjects and locations I’ve sourced for stock photography productions.  Other than that, it’s a mix of good ol’ cold calls and introductions from editorial shoots.  I wish I had a better answer.  I think I just like getting in the same room with people and selling myself.  I enjoy building relationships.

John: What role does the internet play in your marketing?  Do you have any plans to expand that role?

Trevor: I’m still very new to the Social Media scene, but I love it and I see amazing potential!  I have a presence with the usual suspects like a website, blog, Twitter, Facebook, Flickr, LinkedIn, etc. 

At the moment, most of my existing clients are not very involved so I’m looking for the best Social Media to reach them.  An editorial client of mine has been discussing building something more interactive that I would have a large presence on.  I’m pretty excited by the initial conversations, but we are still in the early stages.

John: Any photographers that have influenced your career?

Trevor: The earliest inspiration I can recall is in 1988 when I was still in High School.  Sports Illustrated ran a story of Muhammad Ali and his entourage shot by Gregory Heisler.   Beautiful black and white portraits.  I had never seen anything like that. 

Years later I heard a talk he gave to RIT called The Appropriate Response.  He spoke of the virtues of being a well-rounded photographer, and being able to draw from a diverse pool of photographic styles and techniques.  It stuck with me for a long time.

More recently, I’ve been so damn lucky to be able to call so many incredible photographers not only influences, but friends as well.  The photographers who make up Blend Images are probably the most open, encouraging, and inspiring people I’ve been fortunate enough to sit in the same room with.

John: Can you tell us about a memorable shoot that you have had?

Trevor: Hard to narrow it down… but I will say that I’ve been fortunate to have been a part of some Arctic Expeditions with a group called Students On Ice. An amazing organization that brings students from all over the world to the Polar regions to provide them with an intimate educational experience at the ends of the earth. 

Documenting the expeditions has been a unique challenge for me, as I’ve never really considered myself a documentary photographer.  I’m so used to being in control of the situation when I’m on set, and making great images as they unfold all around you is an excellent way to reexamine your skills as a photographer. 

Besides the experience of working in such close proximity to Polar Bears, Walrus, Bird Colonies, Whales, Glaciers, and Icebergs – it’s the people you get to share this experience with.  The team of scientists, historians, artists, authors, educators, polar experts, and the Inuit community, are incredibly open and passionate about sharing their knowledge and experiences with everyone around them. 

These are excellent virtues that I think we should all adopt into our daily lives.

John: Do you do personal work?

Trevor: No personal projects at the moment – maybe this is the year!

John: Do you do your own digital work?

Trevor: When the stock production has been really high-volume I would send the retouching to a great freelancer in Montreal I’ve worked with for years.

John: Do you have a staff?

Trevor: No staff – just me.  Some great freelancers help out from time to time when the workload gets too heavy.  But for the most part, I just don’t sleep a heck of a lot anymore!  Especially with a 3 year old and a 1 year old at home as well!!

John: Optimistic or pessimistic about the future?

Trevor: Even though it may seem absurd at times, I can’t help being really excited by all of the changes that are happening in the industry.  New technology in imaging equipment… new developments in web 2.0…the shift in the industry of being more open and community focused… We’re on the verge of some truly important times in image making and storytelling.

About the Author

Visit John’s website for unique stock photos: People Animals Backgrounds

Visit John Lund’s BlogStock Photo Guy Concept and Funny stock photos of people, business, animals and more.

B&H Photo Video store in New York

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For exterior architectural photography a Perspective Correction lens is desirable. If you use a standard wide angle lens you’ll get that “tilting/falling back” effect where the building appears to get narrower at the top.

For interior architectural photography you’ll need a wide angle that is rectilinear – lines at the edges should look like this I I, not this ( ).

A tripod is recommended indoor and out.

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The SP-350 is just a pocket camera (Not serious/pro level)

The Rebel G is a film camera. The digitals are the XT, XTi, XS, XSi, and the new T1i.

If you want to start @ a better level with digital, look at the Nikon D40 ($450 with a lens).

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Opteka Premium Reference Color & White Balance Grey Card Set With Quick-Release Neck Strap for Digital Photography $12.95 The color values of Opteka Digital Grey Card set have been tested under varying light conditions and show a high degree of spectral neutrality. Using the industry-standard X-Rite spectrophotometer, LAB values of L* 63.8, a* -1.6, b* -0.4 are measured from the surface of the grey card under D50 standard illuminant. For optimum color correction, the black card achieves truly deep blacks (RGB 16,16,1…

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Other than visiting your local zoo, wolves are going to be rare in the Florida peninsula.

Here is one resource that may get you closer to your goal

http://www.floridalupine.org/rabies/FLA_Response_to_USDA-APHIS.htm

A Summer in Yellowstone

Black Yearling Female Gray Wolf in the Fountain Flats Area of Yellowstone Photography Framed Art Poster Print by Joel Sartore, 22×18 $114.99 AllPosters.com is the world’s #1 seller of posters, prints, photographs, specialty products and framed art. We’re dedicated to bringing our customers the best selection of high quality wall décor that is perfect for their home or office. Browse our catalog of over 300,000 items that include entertainment and specialty posters, decorative prints, and art reproductions. Whether you’re looking for y…

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New comers or old giant?

I am a new comer of HDR imaging field and I am looking for some professional HDR program that really assists picture takers. There are a great deal of popularity, such as HDR Darkroom, photomatix, dynamic photo and so on. It has been revealed that lots of users own a certain bias to some newly-developed program, having a doubt whether it is a true fundamental progression in the subject or just a nonsensical duplication. I will give a contrast of two professional software—Photomatix, which has led HDR imaging many years and HDR Darkroom, which will surely bring a revolution of HDRI for imaging, aiming to detect their merits respectively.

Introducing the two software
Photomatix and HDR Darkroom want to develop high dynamic range photos. Photomatix has been a leader in this market for a few years, while HDR Darkroom, which focuses on research and production of innovative and easy-to-use high dynamic range image processing technologies for photographic, is coming out to compete for a market share.

Interface differences
pictures can be imported into Photomatix by the use of the Generate HDR menu which then generates a HDR image. Its interface permits diversified parameters to be set to produce your final photo.
By comparison, the interface of HDR Darkroom seems much more comfortable and user-friendly.

Tone mapping engines—where the magic is
Photomatix provides two tone mapping engines: detail enhancer and tone compressor.
Details enhancer: takes into account whether it is in a bright or dark area and maps it accordingly. It acts like a local contrast adjustment.
Tone Compressor: Disregard the local brightness background of the image and compresses the entire scene  into the 0-256 range of an 8 bit monitor. It acts like a global contrast adjustment.

There are three tone mapping engines of HDR Darkroom: Local tone balancer (LTB), Local tone enhancer (LTE) and Fast tone compressor (FTC).

LTB engine is aimed at balancing tones in the photo and reveal detail in both shadow and highlights. It can be used to extract minor details for visual appeal scientifically, and photographically it can be used to produce an shot to be masked into a not so heavily tone mapped version to disclose detail in wood, rock and other textured surfaces.

LTE is controlling over strength of local contrast as well as brightness and saturation, one can also have command over the shadows exposure with a clever control called fill-light. The Fill-light function though commanding the global soft contrast tends to brighten the darker areas just enough to pull out a little more particular without developing useless noise.

FTC provides fantastic outcomes promptly. It’s great for people who have a lot of images to get through. Most FTC developed pictures might demand a little color balancing which you can either handle the provided color balance panel or post with Photoshop and so on.

Besides, HDR Darkroom gives you another choice—provides both surreal and photo-realistic effects which attracts more care and attention than other HDR program. That is the point I like.

By comparing some photos which are exported into Photoshop, It can be seen clearly that HDR Darkroom has better enhancement while Photomatix blows out in the highlight areas; HDR Darkroom gives out enough particulars while Photomatix is clearer in dark areas; HDR Darkroom has great balance of detail and contrast while Photomatix renders low contrast.

Each kind of software has its advantages as well as disadvantages, it is wise to select software depending on your likes and dislikes and demands rather than listening to other people talk blind aimlessly.

About the Author

i adored HDRI.

Photoshop HDR Effect Tutorial

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Selected Artwork by Wilhelm Sasnal

Sasnal in a painter of the present day, his works often differ so much from each other that one could suppose they had been painted by numerous artists. However all of them share a common deep sensibility of the author which reflects both political, moral and aesthetic aspects of reality. In his works, Sasnal extends different feelings, emotions and events which he has experienced. He lets these moments linger, to gives us an opportunity to focus on details, have a closer look at a car accident or a movie fragment he has seen on the TV.

Wilhelm Sasnal is an artist who consistently manifests an unusual sensitivity to the reality that surrounds us. His works are exquisite comments to the imagery we face in the artistic and political realms. His paintings seem to ask a key question about the emotions that are elicited by images (in the realms of photography, film and painting) in our private and public lives. The artist’s subjects have included spools of magnetic tape, wall sockets, supermarket and travel office leaflets, the covers of well-known record albums, photographs from geographical albums, a vacation postcard, and a painting by Jerzy Nowosielski. Sasnal’s painting of a computer diskette is Poland’s “black square on a white field” of the 1990s.

Wilhelm Sasnal’s green lady is marbled perfection: a towering sculptural goddess executed as an anonymous product of design. Cropped, chin jutting out: her once symbolic mysticism now holds only graphic optimism, a pleasant hallmark of simplified form and bright colours. Wilhelm Sasnal repackages ideology for an indiscriminate consumer culture. Painting becomes a ritual of purification through aesthetics, which can sell even the most frightening of concepts.Sasnal uses the paint itself to expose the paradoxical qualities of image interpretation. In Arms Raised, he subverts the documentary ‘truth’ of photography. Rendered in negative, his image of a champion becomes a hostage and heroicism is shrouded in a demonic aura. Sasnal exposes cultural triumph as conspiracy, inherently underscored with apocalyptic sensations of revulsion and fear.

About the Author

View Wilhelm Sasnal paintings, biography, solo exhibitions, group exhibitions and resource of Wilhelm Sasnal artist. View art online at The Saatchi Gallery – London contemporary art gallery.Wilhelm Sasnal

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Best Online Home For All Your Photos

View bug is the best online one stop solution of all your photos related issues. It is a great site that offers you to share your photos, store your photos, and participate in photo contests. They also offer members to be part of their photo sharing communities.

View bug is best website online for photo lovers .It caters to all your online digital photography needs. Photo sharing and storing is simple and easy at viewbug.com.Photo lovers can find best of photo sharing, photo storage, communities and contests at their site. You can explore tricks and tips for photography at their site.

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Their contests section is best place for photo lovers to display their photography skills and achievements. They offer members to participate in contests by submitting photos and to exhibit their digital photography skills and win a chance to get their photos published in American Photo Magazine. They also provide information of winners and other contests in their contests section.  They welcome members to suggest contest ideas.

Their site is great place to share photos with online friends, family members and relatives. Photo sharing at their site is private and secure and can be controlled by you completely by options provided by them like public, private and community sharing.

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Viewbug.com is the right place for all photo lovers to visit store and share photos and also win online photo contests.

About the Author

Halloween Pet Photo Contest 2008