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Recent statistics show worldwide shipments of Consumer UAVs hit 4 million units in 2015. The sector is hot and growing fast, with predictions that annual sales could top $10 billion by 2020.
Photo Folio client Dan Winters is known for the broad range of subject matter he is able to interpret. He is widely recognized for his unusual celebrity portraiture, his scientific photography, photo illustrations, drawings and photojournalistic stories. Dan has won over one hundred national and international awards and won the World Press photo award in the portrait category, among others. He was also awarded the prestigious Alfred Eisenstaedt Award for Magazine Photography. In 2003, he was honored by Kodak as a photo âIconâ in their biographical âLegendsâ series. Dan has photos in the permanent collection at the National Portrait Gallery at the Smithsonian. Dan is the chief staff photographer for WIRED. His clients include Esquire, GQ, Vanity Fair, The New York Times Magazine, The New Yorker, New York Magazine, TIME, Texas Monthly, Fortune, Discover, Details, Premiere, W, Entertainment Weekly, Rolling Stone, Newsweek and Golf Digest You attended film school in Munich. How was that experience? I had a romantic idea about attending university in Europe and immersing myself in a new culture while going to school. It was a fantastic experience, but after the initial shine wore off I was ready to head back to the states and get started on my career. How did you get started in your career in photography? I got a job working for a newspaper in Ventura County, north of Los Angeles. I initially worked as a lab tech and after a year was hired as a staff photographer. You have a very unique style of shooting portraits that really seems to show people differently than we see them in traditional portraits. How would you describe your portrait style? I would say that my style is to shoot the subject in a manner that is quiet, pensive and shows their vulnerability. I really like simple, elegant lighting and shooting in a way that allows the subject to occupy the environment. I try my best to be reverent to my subjects. What made you focus on shooting portraits early in your career? I began spending time at newsstands studying magazines. Portraits occupy the pages of magazines, and new photographs of people are in constant demand. I also sensed a renaissance in magazine portrait photography in the late 80's and early 90's. It was an exciting time. I never wanted to focus my efforts on one specific subject as it seems counter to the diverse nature of the photographic medium. However, I knew that having the ability to create compelling portraits was of value. I started by shooting portraits of everyday people and friends. I wasn't shooting high-profile subjects, but I was working with very interesting people. How did you get your first assignment shooting a celebrity? My portrait work was being recognized by a small group of Photo Editors and I started getting assignments to shoot people that were noteworthy and a part of the public consciousness. Karen Frank at GQ hired me to photograph John Thompson (Famous Georgetown Basketball coach during the Patrick Ewing era) and musician Branford Marsalis. From there additional assignments started to come and I began photographing high profile subjects with more regularity. You have shot some of the world's most prolific celebrities. How challenging is it to shoot these high-profile subjects? Working with celebrated folks is enjoyable as they are typically very professional and understand that we both have a job to do. I have shot some celebrities numerous times and I have developed a rapport with some of them due to our shared interests. I rarely have any unusual circumstances shooting high-profile people. My ultimate goal is to create a likeness that is a fair and accurate representation of my subjects. I understand that their image is often their commodity so I am very respectful of that when shooting and do everything possible to capture portraits that are mutually agreeable. Which celebrities have been the most enjoyable to shoot over the years?I have always enjoyed shooting artists, musicians, painters, actors and writers. I like shooting subjects that really understand and appreciate the creative process. I have really enjoyed shooting people like Sandra Bullock, Ryan Gosling and Hellen Mirren. Al Pacino and Tom Waits I have built great professional relationships with people like Tom Hanks as we share a love of WW2 history and spaceflight. Have you had any subjects that have been extremely challenging to work with when photographing? How do you handle challenging subjects? I have only had a couple shoots in all my years that were really challenging and those were due to baggage the subject brought to the shoot. Once the subject appreciated that I was a professional and had a job to do they were fine. It is a matter of gaining their trust and getting to work. I have even been forewarned before shooting certain celebrities that they can be difficult to work with, but I haven't had any problems working with any of them. In your portrait work you have a great blend of shots taken in a natural environment and shots taken indoors with unique lighting. If time wasn't an issue, what is your ideal place to shoot portraits? I was originally intrigued by shooting in the studio as it provided mystery for me. It was a bit daunting as I wasn't sure how best to populate a wide-open, empty space. I started creating my own sets for shooting and painting my own backdrops. These became a way for me to control the environment and create a vessel that could be occupied by the subject. Over time I have become a huge fan of shooting outdoors as well as the environment is alive and ever-changing. Tell me about the Honeybee gallery on your website? I started raising bees in 4H when I was 9 years old. After high schooI, I sold off my hives but set up a small apiary about 6 years ago. A few years back a phenomenon known as CCD (Colony Collapse Disorder) began destroying commercial Apiaries. After doing some research it became clear that Texas apiaries were being affected by CCD. I pitched a story to Texas Monthly about the disorder and they let me work with scientist at the University of Texas to shoot images through microscopes of the bees that were being studied. What made you decide to shoot the âHELLS UNIONâ project? I have a love of history. My friend Jeff Decker, who is an artist and historian has amassed a large number of outlaw motorcycle vests or âcutsâ as they are called, as they started as denim jackets and the bikers would cut the sleeves off. Jeff's collection is one of a kind and I felt compelled to create a photographic record of this unique collection of american folk art. The look of the cuts evolved over time and the photographs help document the transition from denim in the 40's and 50's and 60's to leather in the 70's. This project was much more about my desire to showcase a bit of American History than is was to highlight motorcycle culture. What is it about photographs that moves you? Since a photograph is a moment in time it becomes the only way to truly ponder stillness. The ability to absorb the content of an image at our own pace creates a powerful platform. I am surrounded by photographs and they are something tangible that I can enjoy all the time. I still have binders of my archived work, next to my desk that I can open anytime and instantly be transported to the place and time that particular image was captured. You have some amazing illustrations in the âWorks on Paperâ gallery. Did you do these all by hand? These are drawings done by hand. I have always had an interest in illustration as it is another creative outlet. These drawings are just an extension of what I love to do, and it is a great was to mix things up. Do you have trouble leaving the camera behind when you are on vacation or not working? I photograph every day. It is my passion and I always find something to photograph. My family has a strong connection to photography and it is an inherent part of what we do so it is part of our vacations and has been a great way to document our lives. I am a gentle photographer and don't go overboard so it doesn't become a distraction from what we are doing. I see my ability to photograph as a blessing so it never feels like work when I am making pictures for myself. How do you unwind and relax? I really enjoy building models, especially Sci-Fi models from scratch. Right now I am rebuilding and improving upon a model I made many years ago. Describe the ultimate Dan Winters day. Eating breakfast on my porch while watching the deer, taking a long bike ride with my wife, having lunch, working on some models, working out with my son, having dinner and a walk and then finishing the night with some more model building. Check out the complete Dan Winters website Many of the world's top photographers, like Dan Winters, use a PHOTO FOLIOwebsite to showcase their work. Isn't it time you put the power of PHOTO FOLIO to work for you? Artists' Gallery
31 North Balph Avenue Bellevue, PA 15202 Friday, May 27 6 PM - 8 PM Saturday, May 286 PM - 8 PM DroneCompares.com Looks Under the Hood of the Industry's Latest Drone - Yuneec's Typhoon H: A Good Buy at $1299?
Stop Wasting Hours Finding a Photographer - KYMA Now Covers 50 Countries Around the World.5/19/2016 KYMA, the Airbnb / Booking.com for photographers now covers 50 countries around the world.
Vyu360â¢, a company funded earlier this year, aims to develop technologies that shorten the gap between virtual reality and consumer application; also making it more accessible not only for tech enthusiasts but also for average consumers.
Standard Byrd quadcopter ships with double the transmission distance from launch announcement after successful rebranding from ProDrone
Lightroom provides photographers with all kinds of options and potential for editing photos. Color is an important part of landscape and nature photography, and in Lightroom there are a lot of different ways that you can work with color. One of the best ways to get the most out of the colors in your photo [â¦] The post 3 Easy Ways to Improve Landscape Photos with Lightroom's HSL Settings appeared first on The Photo Argus. Jason Hawkes has specialized in aerial photography since 1991, he is based just outside London, and shoots worldwide. His clients include brands such as Virgin Atlantic, Amazon, Rolex, Microsoft, HP, Citi, Siemens, Red Bull, Nike, Coca-Cola, American Airlines, Toyota, Samsung, National Geographic, and BP. He has produced over 50 aerial photographic books for publishers such as the BBC, Random House, and Harper Collins. What was your path to becoming a professional photographer? I studied photography at college and then went on to assist in a London studio where we shot fashion and still life work. At the time, I was looking to move into studio still life work as that was my main focus whilst studying You specialize in Aerial photography. How did you find that niche? Whilst assisting I was looking for something interesting to do at the weekends. A couple of friends and I started jet-skiing but then came across an advertisement for microlight (ultralight) lessons. I remember standing in a field in the middle of the countryside and seeing this tiny black microlight glide out of the sky and land next to us. I was just 21 years old and thought it was the coolest thing I had ever seen. The instructor took me up flying, and whilst the flying was pretty fun, what I remember more than anything was the amazing patterns of the landscape from 1000ft. About six weeks later I had a bank loan and one of my own. Are your images taken primarily from helicopters or do you use other devices to gain the vantage point needed to shoot aerials? I shoot all my work from helicopters. They are such a great platform from which to shoot. You take the door off or just slide it open, and have yourself and all your kit harnessed in. I shoot from anywhere between around 400 ft to 10,000 ft day and night, it is a great buzz. Flying in helicopters is extremely expensive. How do you maximize your time once you are airborne? They are quite expensive but when you are flying over a city you can cover so much in two or three hours they are actually very cost-effective. It's just a question of knowing exactly where you need to be at what time, making sure all the permits are in place, the pilot is incredibly well briefed, and of course that you are flying in very nice light. How long is a normal flight when you are shooting? Over cities a normal flight will be around 2.5 hours. When we are shooting a whole range of locations, you might fly six hours in a day, but you'll probably only be shooting for two of those. How will drones change the landscape of aerial photography? Any aircraft and any camera come to that are just a tool. Personally, I'd rather be flying than looking at an iPad screen, but there's no getting away from the fact that given a decent drone, and nice location you can get fantastic shots. I'm amazed how many people are buying into the drone idea. In the past year, I must have been emailed by at least 100 people asking for advice as they want to start a drone company. Most amazing of all are those who say they are learning to fly them on a course but mention nothing whatsoever about the photography side. They seem to have not thought about what they actually doing is becoming a photographer. You have a lot of images that show patterns in the landscape. How do you shoot these images to give some sense of scale? I really like including people in my graphic landscapes If at all possible, even if it's just a single person you can pick out in the corner of the image to give scale. You have exceptional aerials from many places, but London dominates your portfolio. What is it about shooting the city from the air makes it so special for you? I live very close to London, and it only takes me ten minutes to fly into town from here, so it's my most obvious subject to shoot. I first flew over it many years ago shooting a book for Random House. Like all cities it changes dramatically with all the new buildings going up. It's a beautiful place to fly with the huge green expanses of the Royal Parks dominating the West End and, of course, the Thames meandering through the middle that on an amazing day can sometimes even look blue! Aside from London, what is the most spectacular location you have shot from the air? Hong Kong and New York are great cities to shoot, but I also remember shooting right up in the very North of Norway. It was incredibly cold and covered in snow and ice. Really quite bleak in many respects but just an amazing location to be sent to shoot. What place is on your photographic bucket list? Dubai and Iceland. Very different locations but both so dramatic. What are the inherent challenges to shooting from a helicopter? Well first and foremost you have to think about the safety aspect. I've shot in a few locations over the years, (http://www.jasonhawkes.com/Behind-the-lens/Stills/1) and been in a few crazy helicopters, where I was glad to get back on the ground, but on the whole, things go as expected. I suppose like any photographer you just have to know your kit back to front and plan things down to the last detail. Obviously shooting at night, or doing 360 panoramas or filming like this (http://www.jasonhawkes.com/London-/London-Portfolio/7) present challenges of how you mount the camera, but apart from that its really just up to the photographers eye to get great shots, just like it is on the ground. What does the perfect Jason Hawkes day look like? Firstly great visibility, secondly great light. Without both elements in place there's not much point getting off the ground. Why did you choose Photo Folio for your website? Well, I asked quite a few photographers and art buyers around, and it was always on the list of companies to look at, was really a no brainer. Check out the complete Jason Hawkes website |