1. Initial photo (architectural feature)
2. Cropped and mirrored
3. Cropped and mirrored and layered in Image Blender
1. Initial Photo of some shadows in a corner (taken with Stilla)
2. Cropped and mirrored
3. Final Image layered in Image Blender
1. Initial photo of some stairs
2. Mirrored (you may notice a habit here)
3. Final image layered in Image Blender
The first photos I started using in my designs were simple textures. (we’ve all seen the explosion of texture sites out there) but lately I’ve been using photos to get shapes that typically I would have drawn before. This has been largely driven by having a decent camera in my pocket at all times, allowing me to capture random staircases or light hitting the corner of an architectural feature just right. I find the natural light and texture in photographs have so much more depth in the final product then what I can come up with in photoshop …and its much easier to get to the end result.
Posted by: Seth Hardie
I’m really loving the beautiful tranquility of Hungarian photographer Akos Major’s photos. I really admire photographers who can achieve such a crisp, light tone in their images. When I look at Akos’ photographs, I can feel the solitude and cold air in these photos and in some, I can almost taste the air. They remind me of the quiet winter nights growing up in Wisconsin. Still to this day one of my favorite things to do is lay out in the woods while it’s snowing and listen to the snow flakes pelt the fabric on my jacket and surrounding trees.
To view more of Akos Major’s work, check out the photographer’s website:
My friend Cameron Ballensky has been in town visiting for a few days, so we’ve been out and about shooting loads of film. Me, mostly 35mm, him Polaroid. After seeing some of the unpredictable results yielded by certain films he uses, I was really turned on by the idea of exploring this format myself (also two of my favorite photographers, Reuben Wu and Neil Krug, have inspired this in me as well). Cameron mostly get’s all of his film through The Impossible Project, a company that now produces Polaroid film, and as I was exploring their site, I came across the beautiful work of Chloe Aftel, a Los Angeles based photographer and film director.
Browse through her beautiful body of work on Flickr.
Chloe is also part of The Impossible Project’s launch of a new instant film material for 8×10 cameras (image below). More info can be found here.
My name is Michael Chase, creator of Area of Interest. Today, as a guest on ISO50, I’ll be going into the process of how I create an image.
The first part of creating an image is finding a good location to shoot. It was difficult to tell if Coyote’s Pool was still open for business because it was so run down. Paint was flaking badly from underneath the awnings. All the old banners were sun bleached and fraying. Barbed wire covered one side of the roof which I assumed was to keep bar patrons from climbing onto the establishment. As I walked closer to the building I began to wonder if “Coyote’s Pool” was slang for public outdoor toilet based on the smell of it. I was sure it would yield some great textures and there were plenty.
Some of the most fascinating textures were on the tables in the patio area. This is the original image taken from one of the tables. I’m always on the lookout for cracks, splits, flakes, discoloration, residue, splatters, splotches, and other signs of decay. I use these sorts of textures to highlight the subject of impermanence which is the central theme of my work.
Inverted and flipped
Occasionaly I’ll dramatically alter colors and levels while editing to give myself ideas of which direction I’d like to go next. Sometimes a simple thing like flipping an image or inverting colors can spur me into a completely new direction.
Gradient layer 1
Lately I’ve been working a lot with layering filters and gradient fills. I’m fond of the unusual color combinations that I’ve stumbled on which can really make an image pop.
Gradient layer 2
I tend to make a mess and work backwards. Once I’ve gone too far I’ll strip back until I find a good balance. I know I’m close to being done when I keep returning to the same image over and over. Then it’s subtle level, hue, and lighting tweaks here and there to give the image the atmosphere and mood I want to present.
Here’s a time lapse of the entire process.
Thanks to Jakub and ISO50 for letting me stop by and do this guest post.
If you aren’t following Tim Navis (@navisphotography) on Instagram you’re blowing it. Above are some highlights, all fit nicely in line with his overall aesthetic. Must have a print of that top one.
More over at his Instagram Feed and blog
Friend of the blog and Tim Navis collaborator Cameron Ballensky shares some beautifully shot images of his camera collection. I first met Cameron when he assisted Tim on the Tycho shoot, this guy is a technical wizard. He was the one in the car doing donuts around us to kick up the dust in this picture; came out amazing.
Lots of other goodness at his blog
djkidsl – If you’re looking for epic imagery with a good amount of manipulation then this feed is exactly what you’ve been looking for.
lukeatencio – Floating cube structures accompany most of this feeds images and I only seem to love them more and more.
trevorpowers – Not only does he make excellent music under the name Youth Lagoon but its also nice to follow this feed when Trevor hits the road.
ISO50 on Instagram.
@iso50 – Scott Hansen
@heatheredpearls – Jakub Alexander
@acornell – Alex Cornell
@beamercola – Beamer Wilkins
@cbergquist – Charles Bergquist
@B3PO – Jonathan Marsh
@navisphotography – Tim Navis
@hallwood – Seth Hallwood
@nitemoves – Rory O’Connor
@rfissmer – Rob Fissmer
@tavcalico – Tavish Calico
@antiautomation – David Auerbach
If you think you’re having a rough start to the week, flip through the portfolio of photojournalist Lynsey Addario. The images Addario captures may not inspire you directly per se but, at least you’re not one of the victims in some of her photos. What she is doing is completely mind blowing to me. As a photographer, I live to capture moments as intense and raw as these but at what cost? It looks that Addario really puts her life on the line to capture images and stories that she can share with the rest of the world. Here’s a snippet of who Lynsey Addario is taken from her website’s bio:
Lynsey Addario is an American photojournalist based in New Delhi, India, where she photographs for The New York Times, National Geographic, and Time Magazine.
Lynsey began photographing professionally in 1996-with no professional photographic training or studies-and started photographing conflict and humanitarian issues. In 2000, she traveled to Afghanistan under Taliban rule to document life and oppression under the Taliban. She has since covered conflicts in Afghanistan, Iraq, Lebanon, Darfur, and Congo, and shoots features across the Middle East, South Asia, and Africa.
Addario’s work is NSFW. I selected images that would compliment this blog’s style. But be warned, there is a lot of gruesome photos. I honestly can’t put her work into words. It’s an experience that made my heart drop, eyes widen with jaw on the floor.
View the rest of Lynsey Addario’s work at her website.