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Do you create Collections for yourself, or to share and feature artwork with others?

Vote! (17,001 votes) 148 comments
64,980 Deviants Online
Hello everyone ! :wave:

It is with great honor that I present to you our newest contest, The Light Source Contest. It is a contest hosted by :iconskyandnatureclub: and co-hosted by :iconfeature-club: and :iconunknown-artists-club:

SkyAndNatureClub's Blog entry

Feature-Club's Blog entry

Unknown-Artists-Club's Blog entry

:bulletblue: About the groups

:iconskyandnatureclub: is a group for all sky and nature lovers ! It's for APN photographers ! It's for anyone who enjoys Nature :heart:  The reason for starting this group is to support all nature photographers, and to show other members the beauty of nature from all around the world! :D

:iconfeature-club: is a community of new and old, seen and unseen artists who just want to share what they have. The group aims at featuring only 5 deviants a day to allow them to be seen by the entire group.

:iconunknown-artists-club: is a group that tries to help unknown artists get more attention here on deviantART.

:bulletblue: About the theme:

This contest is about "Light", and how you best show it in your entry. The "Source" of light could be anything. It could be natural (eg: sunlight), or artificial (eg: lamp). Light could be directed on the object from any angle. Back Lighting is an example.

For the visual media (photography, traditional art, digital art), the objective will be to use a source of light in your work. The objective is not to show us the lamp for example, but to show us how it lightened the work.

As for Literature, the objective is to write about Light.

Your deviation does not have to be nature related. There are a few examples below to show you what we need.

Good Luck ! :w00t:

:bulletblue: Examples:

:bulletblue: Contest Guidelines/Rules: (Very Important!)

:bulletgreen: This Contest is open to everyone worldwide!

:bulletgreen: You MUST be a member of at least ONE of the three groups to be able to submit your entry.

:bulletgreen: The media allowed are Photography, Digital and Traditional arts, and Literature.

:bulletgreen: Mature content deviations are NOT allowed.

:bulletgreen: Every person is allowed to submit ONE entry, to ONE of the three groups only.
(You may not submit both literature and photography for example. Choose one.)

:bulletgreen: Submitting more than one entry will DISQUALIFY all your entries!

:bulletgreen: Your entry MUST be submitted to your gallery either in 2009 or 2010.
(We will not accept any deviation submitted to your gallery before 2009)

:bulletgreen: Online entries only. Hard copies are not accepted at any time.
(Details of entering is written below)

:bulletgreen: If you use stock, please credit the owner. Your entry won't be accepted otherwise.

:bulletgreen: Entrants MUST be at least 13 years old as of the date of their submission.

:bulletgreen: Entries must abide by deviantART Rules.

:bulletgreen: The Contest's Deadline is September 19th at Midnight GMT.

:bulletgreen: Please think carefully before sending an entry! You wont be able to change the entry you submit!

:bulletgreen: Judges have the final word. Deviations will be judged on quality, and use of the theme. Judges will not take notice of aspects such as the number of favorites, comments, popularity, etc. or to pieces that have received a Daily Deviation.

:bulletblue: How to Enter:

:bulletred: You could only submit to ONE of the groups (SkyAndNatureClub Feature-Club Unknown-Artists-Club)

:bulletred: There are 4 folders to submit to. If you are submitting a photograph, then submit it under the "Photography" folder. and so on.

:bulletred: You may only submit to ONE folder, otherwise all your entries will be DISQUALIFIED.
(i.e. Choose one medium only)

:bulletred: Submit your ONE entry to SkyAndNatureClub's folder.


to Feature-Club's folder.


to Unknown-artists-club's folder.

:bulletred: You will not get a message in your correspondence items that you submitted an entry, but don't worry, we will receive your entry. Once you submit, you should get a message that says: "Your submission is being reviewed".

:bulletblue: The Judges

:iconpurpelblur: :icontimberclipse:

:iconuae4u: :iconanoya: :iconmoonbeam13: :iconayame-kenoshi: :icondantastic202: :iconlazdude:

Traditional Art
:iconegil21: :iconhellobaby: :iconsraffa: :iconfourteenthstar:

Digital Art
:iconnorke: :iconyasny-chan: :iconcsnyder: :iconconzpiracy: :iconlokiev:

:iconkaz-d: :icon3wyl: :iconladylincoln:

This list is not final.

:bulletblue: Prizes:

:bulletorange: First Winner: :bulletorange:

:bulletgreen: 1500 points :points:
:bulletgreen: 6 month Premium Membership from dantastic202
:bulletgreen: 3 month Premium Membership from LadyLincoln
:bulletgreen: Stamp or Avatar (winner's choice) from 12knight12
:bulletgreen: A photograph commission from xSakuraSyaoranx
:bulletgreen: A Drawing commission from Lesronheart
:bulletgreen: A Digital Drawing commission from xanadu125
:bulletgreen: A chibi sketch commission from blaze-faerie
:bulletgreen: A Full sketch from Hardrockangel

:bulletorange: Second Winner: :bulletorange:

:bulletgreen: 1100 points :points:
:bulletgreen: Stamp or Avatar (winner's choice) from 12knight12
:bulletgreen: Stamp from TimberClipse
:bulletgreen: A Drawing commission from Lesronheart
:bulletgreen: A Drawing commission from Das-Pfanntom
:bulletgreen: A Digital Drawing commission from xanadu125
:bulletgreen: A pixel avatar character from Hardrockangel
:bulletgreen: A story request from DazzledByNorrington

:bulletorange: Third Winner: :bulletorange:

:bulletgreen: 500 points :points:
:bulletgreen: 3 month Premium Membership from Twins72
:bulletgreen: Stamp or Avatar (winner's choice) from 12knight12
:bulletgreen: A Drawing commission from Lesronheart
:bulletgreen: A Digital Drawing commission from xanadu125
:bulletgreen: A pixel avatar character from Hardrockangel

:bulletorange: All Winners will recieve: :bulletorange:

* Journal Feature by SkyAndNatureClub
* Journal Feature by Wonderful-World
* Journal Feature by Cityscapes-Club
* Journal Feature by Close-Ups
* Journal Feature by NaturPics-club
* Journal Feature by sunsets
* Journal Feature by Photo--Assignment
* Journal Feature by ProjectEarth
* Journal Feature by Scapes-club
* Journal Feature by Shutter-Vision
* Journal Feature by Shutter-Scene
* Journal Feature by The-Big-Cats-Club
* Journal Feature by Abstract--Reality
* Journal Feature by theskyclub
* Journal Feature by Belle-Art
* Journal Feature by PhotographersClub
* Journal Feature by Craftcycle
* Journal Feature by PurpleClub
* Journal Feature by alwaysmotivated
* Journal Feature by Elements--Club
* Journal Feature by ILoveAnimals
* Journal Feature by MountainShots
* Journal Feature by Insect-Lovers-Club
* Journal Feature by ProjectComment
* Journal Feature by Feature-Heaven
* Journal Feature by blue-club
* Journal Feature by DigitallyCreated
* Journal Feature by Feature-Club
* Journal Feature by TimberClipse
* Journal Feature by uae4u
* Journal Feature by Hellobaby
* Journal Feature by Unknown-Artists-Club
* Journal Feature by Lokiev
* Journal Feature by 3wyl
* Journal Feature by eschlehahn
* Journal Feature by alone-maggie
* Journal Feature by xSakuraSyaoranx
* Journal Feature by Kostandina
* Journal Feature by Psi-Psiana
* SitBack Feature by quarterbacker
* Journal Feature by BelleMeansBeautiful
* Journal Feature by butterfly-mayutzu
* Journal Feature by NikolasBrummer
* Journal Feature by Wolfpackwithme
* Journal Feature by Gex78
* Journal Feature by Egil21
* Journal Feature by TheFavouriteShowcase
* Journal Feature by Aspiring-writer16
* Journal Feature by Twins72
* Journal Feature by OmiAna117280
* Journal Feature by Penguinsontoast
* Journal Feature by Elephants995
* Journal Feature by Zwoing
* Journal Feature by Shadow-and-Flame-86
* Journal Feature by VirtuallySane
* Journal Feature by Ciarameow
* Journal Feature by WALKING-GIRL (or news article)
* Journal Feature by That-Feeling
* Journal Feature by GramMoo
* Journal Feature by Jolly-Imp
* Journal Feature by LAPoetry-n-Photo
* Journal Feature by gold-rose
* Journal Feature by FlyingMantaRay
* Journal Feature by Krissi001
* Journal Feature by sillysally3456
* Journal Feature by kerrybushphoto
* Journal Feature by AelizeA
* Journal Feature by HungryxHungryxHippos
* Journal Feature by BillyTheKid-90
* Journal Feature by daisukekuroneko
* Journal Feature by sillysally3456
:bulletgreen: Virtual hug from eschlehahn
:bulletgreen: Virtual hug from Zwoing
:bulletgreen: LLama Badge from dusmo
:bulletgreen: LLama Badge from xSakuraSyaoranx
:bulletgreen: LLama Badge from Lesronheart
:bulletgreen: LLama Badge from Kostandina
:bulletgreen: LLama Badge from Wolfpackwithme
:bulletgreen: LLama Badge from Aspiring-writer16
:bulletgreen: LLama Badge from Elephants995
:bulletgreen: LLama Badge from Zwoing
:bulletgreen: LLama Badge from jasmine111196
:bulletgreen: LLama Badge from Tulla-Morwen
:bulletgreen: LLama Badge from monchito001

:bulletblue: At the end ..

:groups: Please read all rules carefully, and then look for a good entry and submit it ! :w00t: If you find a nice deviation that you think would fit for the contest, please recommend that person to enter the contest :)

:groups: Please let us know if you can give any prize, ANYTHING, even llama badges. It really will mean a lot. Thanks in advance! :heart:

:groups: If you have any question, feel free to contact:

uae4u of SkyAndNatureClub
TimberClipse of Feature-Club
Lokiev of Unknown-Artists-Club

:star: We wish you the best of luck !! :iconcarameldansenplz:

uae4u on behalf of SkyAndNatureClub
:rose: Narmo
A native of Southern California, professional photographer Chris Weeks loves to travel but has never found reason to permanently leave what he describes as the "ambient shooting conditions" of his place of origin.  That seems fitting for someone whose work is as connected to the original intent of light as his seems to be.  In fact, after I having had the pleasure and privilege of reading his responses to my questions, it seems to me that the same kind of decisiveness he describes regarding his place of residence has always been present in the choices that led him to a career in photography.  Although he has had a camera to his eye since age eleven, his life has not been limited to career.  In addition to being a photographer, he lists being a father, discovering new restaurants, attending art and photography exhibits, and spending time with his significant other at home as the things that make a difference in his life.

reflection ID by cweeks
"I have had a camera to my eye since I was 11."

Like many professional photographers, Weeks began his education in photography but left school to pursue work that was already available to him.  Beginning in his twenties, he began photo-assistanting commercial and editorial motorsports photographers.  He says that if someone considering a career in photography doesn't opt for photo schooling, assisting is the way to get trained but cautions that "you could go to Brooks and become a photo assistant for life."  While he likes some of the work he's seen from students coming from the Art Center in Pasadena, Calif, he is wary of the schools that offer cookie-cutter educations and says simply, "Good luck working at Olan Mills".  This kind of healthy sceptisim and sense of humor combined with an innate confidence in his ability to make choices has put him in a position to be represented by the biggest wire services and agencies on the planet.  He is really and artist who has used his craft well and practically to make a living doing what he loves.

even more ... mischa ... by cweeks engrossing conversation... by cweeks  a dog's afternoon... by cweeks

What initially inspired you towards the direction of photography?
I liked the way geometric elements existed in a frame. I liked the way light reflected off of subjects.

Never really wanted to be a starving artist so... I was a principal of a consulting organization to Fortune 500 multi-national companies.  When I saw how uninspired the guys I first assisted were, I decided to leave "my other world" and make photos for clients, agencies and wire services.  Whilst assisting I shot editorial features for lifestyle magazines.  Since I had a book of published tearsheets, it was much easier to segue to a much larger national and international audience.

I think it's funny when I hear from younger photographers thinking they can eclipse putting in their dues and immediately shoot for agencies and wire services.  Perhaps they actually can "make a photo" but they know nothing about WORK-FLOW in the REAL WORLD nor what the market wants from a photographer (e.g., art buyers, photo editors, etc., etc.).  Thinking you're going to shoot 2,000 photos and take more than one hour to "get the photos out" ... makes me laugh.  You have to start small.  Local outlets.  You're probably going to have to work for free.  I mean everyone is a f---ing photographer now so ... you're really gonna have to work for free tear sheets now.

Get your tear sheets and then approach.  Otherwise, they will not return your telephone calls because no matter how much you think you know about shooting your Rebel XTi ... they don't want to train you in photographic methods you should already know. ;)

So ... having assisted primarily available light commercial shooters ... I knew I'd never shoot "that kind of commercial."  It's interesting learning how to light very large objects such as cars and motorcycles.  I may not shoot them today but learned plenty of lighting tricks which translate to many other subjects.  I was always attracted to "making it work" and "making it look beautiful" with just light.  The shit we did out in the desert in the middle of nowhere with nothing more than positioning, time of the day, bounce, anti-reflection and other things ... really intrigued me.

Even though I have to shoot a lot of on- and off-camera flash for the weeklies -- they love a well-lit, if not a touch on the overly-lit -- I always loved shooting available.  Back when I was "doing something else" but perhaps always being very observant of what was going on...  I would make photos with my F3's, F4's and F5's...

Even though I was "on the street" for wholly different reasons, yet fitting in because of the fact I "could have been a tourist", I rarely got caught making the sneaky street photographs.

Since then I use only the most inconspicuous equipment to make street... lit by light which is preexisting... with only me to "make it work."

I'm very happy the people I assisted largely used available light... it's stuck with me.

lynch smoking by cweeks pigeon attack by cweeks christina's new ring... by cweeks

For how many years have you been doing photography, and how would you describe your evolution as a professional photographer?
I've made more than 80 percent of my income as a photographer for more than ten years, however, I've received commissioned assignments since my early twenties, augmented, of course, by the assistant dayrates.

I shot for the local paper as a teenager.

When I don't have to work as much as I do at the present time, I will only shoot what I want.  I won't, however, ask 15 year old girls to pose halfway naked. ;)

My evolution went from shooting editorial assignments for lifestyle publications whilst assisting to shooting more editorial assignments to being asked to be represented by an international agency.  From that point I've shot for a few different agencies, which have now all been absorbed by the "dark star" of the photo-world, and the most prestigious wire services on the planet.

Interestingly, because of the work I do personally I've gotten more editorial assignments in that they were "looking for something different," which is read "shot with film."  There is a look and feel to film which cannot be duplicated with digital.

In a way ... my personal work (e.g., with a film camera and black and white film) has driven me to take my professional work in different directions.  I wish more of my shooter-friends would do more personal work.

how to blow a bubble by cweeks asian tourists in las vegas... by cweeks Brad by cweeks

Could you qualify your personal experience as a photographer? (For example, as an artist.)
Qualify?  Hmm.  My work has been published tens of thousands of times in over a thousand publications worldwide. The same could be said by many of my contemporaries yet I would hardly f---ing call them "artists."  Most "just show up" and don't use the access we're given to "push the envelope."  The set it at f/7.1 and forget about it.  They do the same boringly lit portrait setups they've been using for years.  Those who "only do their job" and fail to develop their passion through personal... I don't have much respect for their work.  Yes, I've told some of them that to their faces.

I have met some amazing people through photography.  In fact, what's cool is that I've been able to introduce my personal work because of the professional work to very interesting people I'm not going to name.

My archival photographic catalogue includes numbers in the millions redundantly backed-up over three terabytes of drive space in addition to boxes upon archival boxes of carefully preserved negatives.  

I've spoken, written and been interviewed on behalf of internationally-known photographic brands.

I used to even DD stuff here on dA! :)  That was a pretty cool experience...

Describe some of the important influences and inspirations that have helped shape your vision, whether they be cinema, photography, general art, literature, people, etc.
I now this sounds pretentious but I shaped my own vision.  As much as I love Helmut Newton's work ... I don't think that it's influenced anything in my style, he used tight apertures and lotsa light in his work, and I love as much light as is needed and wide apertures. with blown dreamland-like backgrounds.  

I'm influenced, if there's anything that really influences me, by knowing that if I have "goose bumps" I know I'm on the right track.

I'm influenced by being allowed to be breathing when I wake to an entirely new day.

I'm influenced by seeing that one angle on a face which would make any person fall in love with that person.

I'm influenced by redirecting energy in a positive way, as much as most would fail to see how that's possible. ;)

Having a child influenced me the most.

the beautiful molly... by cweeks Server against artist's wall by cweeks okay dad ... one more photo .. by cweeks

What subject matter do you prefer to photograph?
I love photographing people.  People are totally different from one another whereas landscape is ... like the same ... unless ... of course ... you're working that 20th layer of saturation into the HDR mix. ;)  Working with people includes a dynamic much different from still life and landscape shooters.  In fact, I find that most still life and landscape and Photoshop-jockeys don't even know how to interact with human subjects.  

Photography is all about details.  And, most importantly, nailing the details you see IN-CAMERA!  

The light reflected by a face is one of the most amazing things one can play with as a medium for creation.  I think, at least.

I prefer natural-looking fashion.

I love playing with off-camera flash without being one of those Strobist-geeks. ;)

his name is hermanito... by cweeks sundance session with crispin by cweeks alone in conversation by cweeks

Tell me about your interest in street photography.
When I'm shooting for weeklies and monthlies I'm there to make certain photos for specific purposes.  Moreover, even when I'm doing commissioned editorial portraits it's very specific.  There is room for artistic vision but given the timeframe I'm there to "make the photo" it seems very confined to me.  Not quite stifling but ... when a publicist is hovering and there's hair and make-up, styling, grooming, art direction ... an assistant and some other fucker's assistant ... there's only so much you can do.

With street ... To me ... Its like fly fishing.  Not that I fly fish or even golf any longer ... but ... it's one of those pursuits which is always fleeting and hard to grasp and that you only know by doing over and over and over.   And, perhaps over and over again.  One practices street yet I'm not sure If one ever completely masters.  I don't know any studio-only guys who could do street.  If it "isn't there" and "setup" and that's what you're used to shooting, then street will elude you.  So much out there yet ... it will elude them.

Street is like riding a wave of anarchy and random events and coming away with a nicely composed photo of a detail ... such as a moment between humans and their environment.  Photos of streets are urban-friggin-landscape.  Just so you know.  

It's one thing to make overt observations of the human condition -- whether that's in some 2 stop light town or in a metropolis -- but it's quite another thing to do the same thing but covertly.  When you read this I'm sure there are those that will say this "covert talent" was probably because I was a paparazzo.  Not even close.  Trust me on that. Street photography -- because of it's nature -- could almost be called "Street Pap" (as in paparazzi) but it's INTENT is different.  Papping by pappers is there to covertly -- and now very overtly -- exploit some fucking celebrity buying groceries with their child.   Yet, when I make a photo wherever the f--k I'm making the photo ... of someone selecting the perfect apple ... to me ... it's not exploitation ... it's a statement about how I see the human condition.  Intents is big.  Ask someone up for 1st degree murder; it's all about the intent.

As much as I love a lot of the work by HCB or Erwitt or Doisneau I think we are so lucky today to have meters in our cameras, fast lenses and fine-grained fast film at our disposal.  I think there is better street photography being produced from many different photographers today ... than there was when the genre was pretty much defined.  And not only in black and white ... I love Helen Leavitt's colour work in NYC.  I totally agree with her in so many ways.

Unlike so many other genres where you really do need expensive gear ... with street ... you need a camera ... some film ... expert knowledge of changing light conditions ... and the thirst and passion for "chasing the moment."

It really is almost the most simple form of photography -- which so many art-f---ing-donkeys call puerile or simplistic -- yet is so damn difficult to be even halfway good at doing.  There is not a perfect street photograph.  That's another reason I love the genre.  No matter how much you may chase a moment you'll almost never get the perfect photograph of the unobserved statement of human condition.  Why?  The nature of the subject matter is not perfect:  How can a photograph of the same be perfect?

Moments of singular personal introspection.

Moments between a human and their environment.

Moments between parent and child.

There are so many.

And getting it "right" and getting it RIGHT in-fucking-camera ... ah ... the pursuit.

What are your favorite tools of your trade as a photographer?
My Leica MP with the Summilux 35/1.4 ASPH is my favourite artistic tool yet as a professional-professional. I utilize Canon EOS 1Ds Mark III digital SLR's with L-series glass and San Disk CF cards.  In my professional world an old photo is a dead photo.  In my artistic personal world getting contact sheets is like Christmas morning.  Every-single-f---ing-time.

I think it's so f---ing funny to hear the discourses of "supposedly good photographers" and their continued lust for more and more megapixels and more Photoshop techniques.  Many of them shoot cropped-sensor d-SLR's and bitch about wanting fullframe sensor dSLR's.  Amazing film-based gear is like a fraction of what it used to be.  If I had only one camera and lens to make photos, it would be the MP and the 35-'lux.

My new favourite camera is still being built for me and I cannot wait to get it.  It's a rangefinder.  It shoots 4x5 polaroids.  Cannot wait!  

I'm not much of a gear-masturbating-whore. Don't get me wrong, I know gear. Just because you "know gear" doesn't mean you know shit about photography.  I know a very very well-known photographer who doesn't know crap about anything technical but he makes better photographs than 99% of the people reading this.  In fact, he makes better photographs than 100% of the gear-bators out there. ;)

I also use Apple equipment and Aperture as my RAW-converter.  Yes, I know Lightroom is cool.  I like Aperture better.  

I love the look of Ilford Delta 400 (scans nice on a neg scanner), Ilford Delta 100, Porta, APX 25 and Velvia.  All of those are tools of the trade as well.  Best full-frame sensors out there ... those rectangles of film. ;)

What does photography mean to you? What is its most important aspect, which makes you want to go out and shoot? What is center to your creative experience?
Photography in its purest sense of the word is capuring something written with light.  Beyond what one normally associates with "slight darkroom adjustments" I believe a photograph is made in-f---ing-camera.  I've heard from people who knew certain famous landscape photographers that, in fact, their negatives were ugly and most of the artistry came out in the printing.  So ... even they ... didn't "get it right in-camera."  Whatever.  F--- viewcameras.  They suck.  I can say that as I had to shoot and prep those lumbering bitches whilst assisting and vowed to never use one personally.  That was back in the day when the client had to Scitex the 4x5 chrome for additional post-production.  There's almost no need for that in today's world.

Adding 19 layers, excessive toning and saturation or adding or removing photographic elements IS NOT PHOTOGRAPHY.  That is graphic design.  

For those you who don't have that many pageviews, don't let that intimidate you.  Comment on work you admire.  See if they comment back.  Luckily, you have many great examples of amazing work on dA.  I mean that.  Amazing.

The other day i saw Rebecca's work ( fondaffections ) ... it's different and very interesting to look at.

What I like about that is I could probably see something she's done and say to myself, "That's that Rebecca from dA."  She has style.

Trust me ... oversaturation is not a style.  Shooting on a diagonal is not a style.  Shooting genre-specific themes is not style.  People will tire of your work; you will tire of whatever you're doing because you're not getting the attention you think your "style" deserves.

You'll move on to other things.

Photography isn't about some fad-bullshit ... it's something that you MUST do every single f---ing day.  I don't feel complete unless I've made a photograph.

Photography should be your passion that gives you a lump in the throat and chills on your arms or legs or back or scalp.

If it isn't, those with a "real eye" know.

Who are some of your favorite photographers?
Newton.  Allison Jackson.  Doisneau.  Boubat.  Jaimie Trueblood.  Erwitt.  Jim Marshall.  Platon.  D'Orazio.  That dude who did the crazy things with the elephants whom we spoke about the other night over dinner.

Who are some of your favorite general artists?
Jeff Koons.  Monet.  My Kid.

Who are some of the deviants who have inspired you, either socially as friends or artistically?
Honestly, no one on dA has really inspired me individually.  I'd say it's more of a collective (speaking about my photo-friends) inspiration.  dA to me, back in the day, was somewhere I could share some personal photos.  It seemed to be like a giant photoclub and at the time I thought it was about the best thing out there.  I'm "real world friends" with several people I met on here.  Matt Craig.  Charlotte, Gonzale.  Severin, coxi & kinderschokolade.  Arthur AKA banxter.  The lovely Elinor, of course.  Laith Majali, lmajali.  There are so many.  Some will be pissed I didn't say anything about them, but I type fast.  

In fact, I have an original Polaroid by Elinor on my wall.  Um ... I have one from Seamus.  I have one from Severin.  I have one from Riccardo as well.  There are others which will be framed soon. I'm working on a six foot print for myself. :)  Yep, six feet.  It almost ended up being a bald head.

The one thing I'll say for dA is that it, perhaps, inspired me to do more and more personal work.  I enjoyed sharing my work here.  Flickr seems like a place where people just "dump their cards" and call it photography.  Dunno if that happens here on dA.  In fact, I rarely went outside the photography community of people I was acquainted with on dA.  Flickr is the new Photobucket.  I hope that never happens to dA.  

Photography being defined as someone writing with light inside a camera's shutter box ... means not only those who nail it with film ... with confidence ... but those who nail it and make a beautiful file on a sensor as well.

That I respect.

If it weren't for the time we're at and place we're at in this world ... I would have never met some of the people I consider friends.

That I think is cool.

Personal experience can be an amazing thing.  Walking around Paris with Sev and f---ing with people ... chilling with Michael,micdt, and making photographs in Amsterdam ... shooting a protest with Charlotte, Gonzale... I believe that those experiences have enriched my life both as a person and an artist ...

And even though I have had my differences with the direction dA has gone -- in my opinion, of course -- I will be forever grateful.

I forgot to mention that I really enjoy Errol's work ( erainey ) and that of MyPrivateParty, too!  Sorry. ;)

Anything else you haven't said?
Probably not, except that I wrote this question as kind of my way of getting the last word in. ;)

I basically go upon the assumption that most people who photograph and do it from the heart would probably like to do this for a living and see their work published.  Given that, that's who I'm really speaking to... You may have an amazing gallery.  There are lots of good photographers out there.  Always have been.  But just having an online gallery of good work will not always get you work.

You have to edit-edit-edit the best of the best of the best ... and make prints ...

And make your book.

And then find out what it's like in the real world ...

After you get assignments and commissions...

Once you have the book and assignments start coming in...

And you know how to make it...

Then ... your opinion counts ...

I know I sound harsh.  I don't offer my advice to many people.  In fact, there are those few who know who they are... to whom I actually gave personal advice.  Knowing I've helped at least one achieve their success...  There are those who know that I've opened a door for them that they probably would have opened ...

That makes me feel good... Because all I care about is making photographs with the best of your ability ... from your heart.

Your eye may see it.

Your brain may process it.

But you know it in your heart when it's right.

I hope you feel that in your heart.

And then know it's right when you feel the chills go down your arm or your neck or your back or wherever...

A note from the author:  I am personally grateful for opportunities made possible to me on dA.  Meeting top-notch photographers such as Chris is one of the many opportunities that dA has afforded me.  As always, I have learned but have confirmed a lot of what I already knew about this artist by participating in the interview process.

I've put together some of the most astounding images that I found on dA which focuses on light and the way it brings dynamism into an image, these images touched me in many ways, they all have their unique entity which makes them stand out and shine :) I can not get over the way that light takes form in so many ways and creates such different atmospheres, see for yourself.

First article - Painting with Light

:thumb81849409: :thumb93134814: :thumb90242716: some colors 06 by SOOO phototropism by P0RG Cotton Candy Colours by P0RG Scanner Photography IV by Konjekto Dawn of Miracles by hellfirediva Time Story by soulofautumn87 The South Downs by Pete-B catch the sun by detail24 Unborn Life by ivya-cz Img03320 by tigerelune The GRITS Guide To Life by Kalalika :thumb87548011: :thumb86208707: golden scrub by lemperayam A New Day by hellfirediva Play with clouds by julie-rc sparks by fragilesimplicity you ain't savin' no souls by ClaraC
Sunset at Bozcaada by anilinnn R.O.L 02 by juzzdey blessed_morning by riana22 :thumb88551283: The Perfect Storm by gazdapavo Aurora Borealis by RoieG Fire Garden by werol Lumiere by zardin-secret Crystal Web by sergey1984 :thumb85009711: Red Riding Hood by Prettyscary Glow. by DafoeofLenin Beams... Booms by Terrise way to spray by RobinKater African Cliche by hougaard
Forest Essence by failingjune baby by yanilgisal :thumb75733186: I will by werol Fresh by anna-earwen Sunrise Doors by werol Colors of light by tomaskaspar :thumb93980080: r e b e l by mehmeturgut Extravaganza by Gin-n-Juice WinK oF HeaVeN by genr shine by tjasa Feeling Small by theFouro Dancing Lights by BoholmPhotography thorns by zkeleton Startrails04 by MatthiasHaltenhof encyclopedia photography III by Photograph-er Colorsfly by Deeevilish I by BlasphemedSoldier Mountain Light by pheelfresh Sunset by pmsmgomes

Thirsty Surface Tension by DenisOlivier 146 by acukur Break by ISO25 feel spring by BOsKiKroKodyL S by BlasphemedSoldier the chicken dance by grevys  A Leaf by HolgaVision four by Mords One by Menoevil Near future by etchepare Breathing by ictenbey
:thumb85761067: :thumb83595467: Cosmonaut II by LutherBash Le Monde Blanc by Karine-Despeaux Grazing Three by Solau
Desert Ripples.. II by Eloren :thumb88039780: :thumb91660802:  Hands - 7 by kelebarapictures :thumb83914252:    

next time you're out shooting a photograph, or creating an image, (thats if you haven't thought about it ;P) think about how a simple element such as light could give you the atmosphere and mood that you want to set, light is all around you, experiment away, theres no limit to creativity!
And I'm holding contest again!! :D


:bulletpurple: Theme: Light. Just simply light. Let your imagination play!
:bulletpurple: Art type: Any visual art.
:bulletpurple: Duration: From 21st February till 21st March 2010th.
:bulletpurple: Number of artworks: Two. Both must be created in 2010th.
:bulletpurple: Mature content: Allowed.
:bulletpurple: How to submit: Send me a note with thumbs.
:bulletpurple: Extra must info: All stocks used MUST be credited otherwise your submission won't be accepted. You must put a link to the contest in artist comment of your submission. Donors can enter.
:bulletpurple: Judges: Myself for first two places and all of you for third. Voting will be done via poll.
:bulletpurple: Questions? Ask via note or comment here!


First place:

- 6 months subscription by Cheekydesignz
- Commission by Doliath
- Exclusive stock pack by Teodora-Chinde
- Commission for me
- 3 months feature by DragonsCreations
- One month feature by Downybear, SorrowScavenger and me
- One week feature by gppr
- Features by Mugetsu22, nick-art, Teodora-Chinde, tic226, klipie245

Second place:

- 3 months subscription by Cheekydesignz
- Commission by me
- Stock pack by SynfulEve
- One month feature by DragonsCreations, Downybear, SorrowScavenger and me
- One week feature by gppr
- Features by Mugetsu22, nick-art, Teodora-Chinde, tic226, klipie245

Third place:

- 3 months subscription by Cheekydesignz
- Commission by me
- One month feature by Downybear, SorrowScavenger and me
- Two weeks feature by DragonsCreations
- One week feature by gppr
- Features by Mugetsu22, nick-art, Teodora-Chinde, tic226, klipie245

All participants:

- Feature by me and gppr

Everyone who donates something will get 3 deviations feature once contest is over!

Updates can be seen here…


Thanks for participating!!!!

Features for all donors so far as promised:

Alcatraz by Cheekydesignz Water Stock by Cheekydesignz U of U Cityscape by Cheekydesignz
:thumb149449527: :thumb138438888: :thumb109018352:
The crow by Teodora-ChindeThe perfect storm wallpaper by Teodora-Chinde Asian scandal by Teodora-Chinde
Dragon51-Color by DragonsCreations Dragon55 by DragonsCreationsDragon56 by DragonsCreations
Night Elf Christmas by DownybearSecret Santa by DownybearAmber by Downybear
_empty_ by SorrowScavenger _decorating_ by SorrowScavenger _peace_ by SorrowScavenger
... lonely by gppr Longing for warmth by gppr
Daffodill by Mugetsu22 Clear Skies and Calm Waters by Mugetsu22Dragonfly Blue by Mugetsu22
:thumb151856902: :thumb151719062: :thumb149331999:
Infrared fake sunset by tic226 Impulse by tic226 Fruit by tic226
:thumb146116059: The colours of a sunset... by klipie245 :thumb143699163:
Dame d'hiver by SynfulEve Caress by SynfulEve Purgatory by SynfulEve
Here are some amazing photos I found today! :+fav:
Please support the artists (and the hours I spent making this feature with cluttered HTML) with a favourite or comment on the news article! :)

Welcome to the second installment of Let's Learn Portraiture!  The previous installment was about Model Communication. For this installment, we will be tackling a topic for those photographers who enjoy taking portraits outdoors.

Portraiture with Natural Lighting

1.) Avoid Direct Sunlight

While it can really bring out the color of the eyes and make them pop, having your model stare into the sun should never be on the agenda. Not only is it exceedingly uncomfortable for your model, but it casts very harsh shadows. In most cases, you want to position your model with the sun behind them, or to the side.This will illuminate the hair and offer a nice glow. The issue then is that the subject's face may be too dark (underexposed). To solve this, you can bounce some light back into their face with a reflector or flash, or you could make the photograph brighter (overexpose), by using a larger aperture (smaller number), a slower shutter speed (speed at which the shutter opens and closes), or a higher ISO (camera's sensitivity to light).

Many photographers when they're starting out make the mistake of placing their subject directly in the sun, because of how well lit the subject is - but the pain and discomfort they'll endure is not worth it.

2.) Watch Your Horizons

For those of us who do not have their camera mounted on a tripod, you may find yourself tilting your camera every which way as you explore various angles. Angles like those seen above are commonly referred to as 'dutch angles,' is a way to show motion, and is typically used to demonstrate uneasiness or tension in cinema. This is a stylistic choice, but the main thing to consider here is that more often than not, you want your horizons (the ocean in these examples) to be straight. Leaving them at a harsh angle as shown here can be very distracting in your portraits.

3.) Watch for Highlights & Shadows

When shooting outdoors, especially in harsher lighting, you run the risk of casting shadows or highlights on your subject's face. In this example, the model's hair is casting these shadows. To solve this, you'll want to position your model away from the source of light, so simply having them turn or moving them to a different location can fix this. Bouncing some light into their face with a reflector or flash can also help neutralize shadows and highlights.

4.) Seek Shade

On many occasions, portraits shot in harsh lighting will not be as flattering as those shot in the shade. As demonstrated here, the portrait on the left has much truer colors, more detail, and softer lighting that is overall very flattering. On the right side, the colors are more exaggerated and warm, and many of the details are washed out such as the model's make-up and facial features. Not only will being in a shaded area improve the photograph, but it will also make it much easier to compose and review your photographs without the harsh sunlight limiting visibility through the viewfinder.

When you're shooting in a location that may not offer any shade, you can help to diffuse the light by using what's called a scrim. A scrim is a translucent gauze or screen that you can fasten to a frame, to be held between the model and the intense light source to help soften the light.

5.) Use a Reflector

The photograph on the left is properly illuminated with the use of a reflector, while the one on the right has noticeable shadows without the use of one. Bouncing light into your photograph to help eliminate shadows is called a 'fill light,' and can be done with a reflector or a flash (strobe). Reflectors are by far the most economical choice, for you can use a piece of white foamcore board for several dollars that will do the job. Even a nice multiple reflector kit from a brand like Lastolite will only run you $50. Flashes and strobes are a much bigger investment, though they definitely offer many benefits as well.

The downsides to using a reflector are that it will often require having someone hold it, and you can only reflect what light is available to you. Stands are available that can hold your reflector for you, but they're very unrealistic outdoors due to wind, as well as the need to adjust their position. Flashes and strobes generate their own light, and while it's easier to have a helping hand to arrange your lighting, it can be done by the photographer single-handedly.  For cost effectiveness and simplicity, reflectors are typically the way to go.

6.) Experiment with Depth of Field

There is no right or wrong way to use depth of field (the area of your photograph that appears in focus) in portraiture. A small (shallow) depth of field will mean that your subject will be mostly in focus, while the foreground and background will be blurred and out of focus. A large depth of field will show much more detail, and leave your subject, foreground, and background in sharp focus. In the above image, the photograph on the left has a larger depth of field, showing a sharper, more detailed background. The photograph on the right has a much shallower depth of field, therefore blurring the background. There are times where you will want to have equal emphasis on your subject and the background, and there may be others where you want the emphasis to only be on your model. In portraiture, using a shallow depth of field is more common, as you never want your background to compete with your subject.

To adjust your depth of field, you have to change your aperture (lens opening) setting. A larger (wide) aperture is represented with a smaller number (f/1.8, f/2, f/2.8), while a smaller aperture is represented in larger numbers (f/9, f/11, f/16). The larger the aperture, the shallower the depth of field. The smaller the aperture, the larger the depth of field. You can change your aperture by using the Aperture Priority Mode, or Manual Mode on your camera. A shallow depth of field is desirable for those that love blurry backgrounds with a lot of bokeh (aesthetic quality of the blur). Experiment with apertures in your portraiture to see what style you like for your portraits, and keep in mind that different lenses will have different possible apertures.

7.) Experiment with Lens Flare

Lens flare is quite common in outdoor portraiture, and is entirely a stylistic choice. Different lenses will have different lens flare effects. To achieve lens flare, you simple aim your camera at the sun's light, which is more achievable shortly after sunrise or before sunset. You'll want to avoid using a lens hood if you're aiming for lens flare, as they are typically designed to limit lens flare. 

Alternatively, lens flare is not usually a desirable effect in photographs, so if you're purposefully avoiding it, you can use a lens hood, a reflector held above you, use your hand to block out the flare (not very convenient), or make a DIY lens hood to extend past the lens. One note to bear in mind, is that lens flare can be easily added in post-production with software like Photoshop. It is not as simple to edit out an accidental lens flare in your photograph, so be mindful of whether or not it will really add a desired effect to your portraits.  Personally, I try not to use lens flare as it can be notoriously difficult to work with, but it's all a matter of taste in the end.

Thank You For Reading!

I hope that you have enjoyed the second installment of Let's Learn Portraiture!  Please do leave any feedback or questions in the comments, and feel free to suggest any topics for future tutorials! Kendra-Paige


Weekly Light Hunters Feature #6

Journal Entry: Thu Mar 29, 2012, 10:47 AM

Join us today and enjoy these wonderful works.


● Staff of VenatoresLucis:

This Journal Skin was designed by Night-Beast
Edited by MarinaCoric
Photographers, do you know what your medium is? For other forms of art, the answer to this question is easy: painters use paint, sketchers use pencil, and musicians use sound. But as a photographer, your medium is light.

Many beginner photographers have trouble grasping this concept. Perhaps it's because light is such a difficult thing to understand. In fact, scientists have only recently made major discoveries about light that shape our beliefs and use of it.

Here are some things you should know about light:

:1: First of all, light is "stuff." It will really help you to understand how to work with it if you know that light is actually made up of tiny particles that spew from light sources, like light bulbs, flashes, and the sun. I like to think of light being like water. Spotlights spray light in a very concentrated way, like a garden hose. Umbrellas and softboxes spray light in a diffused way, like a soft misting spray bottle. The sun sprays massive quantities of light particles in every direction. Every light source emits light differently.

:2: Your camera lens captures the light particles and focuses them onto a film or digital sensor. This will either make a chemical transformation on the film, or an electrical transformation on the digital sensor. This is what creates your image.

:3: Light particles move fast. Really fast. In fact, light moves so fast that it took scientists thousands of years to even know that it moved at all. Light particles travel at approximately 186,000 miles per second, or 300,000 kilometres per second.

:4: Light bounces. By using white or silver reflectors made of cardboard or styrofoam, you can bounce light from its source onto the shadow areas of your subject. Some light is always absorbed when it is reflected like this, so you don’t have to worry about the reflected light overpowering your main light source. Experiment with reflectors. They can result in more even, better-lit photos.

:5: Light doesn’t bounce off everything equally well. Just as the hardness of an object affects how a tennis ball bounces off something, the color of an object affects how light bounces off it. Darker colors actually absorb more light, so less of it will reach your camera. Bright colors reflect more light, allowing more of it to reach your camera.

:6: Your camera knows less about light than you do. In automatic modes, cameras assume that the light they are measuring is bouncing off of a surface that is a medium grey color (18% grey). You need to compensate for this. If you are photographing a subject brighter than 18% grey, like a snow-covered field, or a beach, you should switch to manual mode and decrease your shutter speed (make a longer exposure) or use a larger aperture. Conversely, if you are photographing a dark-colored subject, increase your shutter speed (make a shorter exposure) or use a smaller aperture. These techniques will ensure that the right amount of light gets into your camera, and creates a proper exposure that more accurately reflects the scene.

:7: Allowing too much light to hit your film or sensor creates an overexposed image. Too little light creates an underexposed image. Your camera’s controls give you the ability to manipulate the quantity of light particles entering your camera. Shutter speed determines the amount of time for which light is allowed to enter the camera. Aperture determines the rate at which light enters the camera. By adjusting the shutter speed and aperture of your camera, you can precisely control the duration and flow of light into your camera. Think of light particles as people waiting outside a building (your camera). The door (shutter) is closed. Opening the door wide (wide aperture) lets a lot of people in. Opening it only a little bit (small aperture) lets people in more slowly. Leaving it open wide for one minute (shutter speed) will let the same amount of people in as leaving it half open for two minutes. You want to control the number of people entering the building. Too many people, and the building will be overcrowded (overexposed). Too few people, and the building will be empty and lifeless (underexposed). How long do you have to open the door, and how wide, to get exactly the right number of people in?

:8: Light doesn’t always have to come from in front of your subject. Try placing the light source behind your subject, or off to the side. Observe how the light bounces off your subject and creates interesting shadows. Play with the light and catch it in your camera. You’ll be happy with the results.

Another sunny day by Barbroute m i r a c l e by lifelikerainbow vagabonde by applepea
:thumb71791847: Closer by RobbyP Lumiere by zardin-secret
Light by homigl14 Fragile by homigl14 blow your soul slow by yayaaja
Perspective by homigl14 :thumb73595093: goodbye by UltraViolett
nightlife. by xBloodRedCheRrYx Christmas Star by Ptiteouch playing with light by prismes
Sweet dreams by Nhung Sticky Sweet by homigl14
L u m i n o u s by do0dz my rainbow by SweetShading Bells by Atreja
djoe and the stars by prismes Taft. by bubblegumpie :thumb77088883:
:thumb70721793: Never Say No by MultiCurious letters by Ptiteouch

Mine :

Somewhere by Blo0wm0on I n . t h e . a i r by Blo0wm0on m y . d r u g by Blo0wm0on
Joy of Christmas by Blo0wm0on B o k e h by Blo0wm0on  
F a b ul o u s by Blo0wm0on L i g h t s II by Blo0wm0on  

Stock :

lights by jul-stock blur lights 2 by mytouch
Retro lights by EK-StockPhotos Pretty Lights by schon
I :heart: them!! If you like some of these, please, :+fav:  them!

Enjoy it! :dance:

:bulletpink: Self promotion :)

Only me. by Shykha  Piccola stella senza cielo. by Shykha  Follow the light by Shykha  July rain by Shykha

:bulletyellow: From my :+fav:s

PiNK. by deadstarx  dmm 22 by metindemiralay  holiday lights by penny-layne  Dreamcatcher by DianaCretu

:thumb143168229:  Forgotten. by ConigliettoRosa  a night in Paris by light-from-Emirates  :thumb117675455:

:thumb141621861:  -241- by walruskungfu  :thumb112428847:  no ceiling by zora-iuga

Car window by S-Banh  Candescent by Lady-Tori    :thumb83228059:  

on the phone. by sOn3t  Blowing magic II by do0dz  :thumb107359814:  002. by EngelScarlett

city of light. by florideiulie  :thumb126362363:    "la frontiere de l'aube" by florideiulie  

My little star by stardixa  S T R A N G E - S U N S E T by 1Durden1  Night lights by MerixX  per quel che mi riguarda sei un continente obliato by inter-lude

-heart collector- by tynaS  :thumb127577640:    god forbid. by sana100pk

trimm trabb by hollyjools  bogarak by hollyjools  :thumb125189712:  sunset by prismes

Raise Our Glass To The Ceiling by venicequeenf  .:D r o p l e t:. by shhilja  Loin du froid de decembre by xPixelx  running out of ink by paintspills

Light collection by paintspills  :thumb111419908:  :thumb112972189:  Kept burning by DMOO3-111

:thumb118674954:  Orchestra by couleur  Into the nightstreet by fogke  of magic and flowers by thresca

Under my Umbrella by uploathe  never-ending search by bluecello  Curtain by phoenixgraphixstudio  the Rain 2 by yv

Secret Smiles by posterxxboys  5746 by AndyGassner  :thumb144628744:  Starbucks Holiday Mug IV by ovidiupop

Starbucks Holiday Mug II by ovidiupop  :thumb98192072:  I'm like a bird by thailinh  Magic by stardixa

After the Rain by mnoo  :thumb107889063:  L u m i n o u s by do0dz  Christmas's candle by do0dz

Raining lights II by shhilja  S i l h o u e t t e by Amersill  :thumb143060168:  .:a silent song:. by Shum23

:thumb92100062:  Never Be the Same by Sortvind  flashing lights I by lucie-in-the-sKy  bokeh by Anestezia

Missing You. by Suhyy  Since You Are Left by MartinStranka  less ways to wish by philhormonic  Let me fly , sir by Adelina2

Cupful of love by Korpinkynsi  Snowfall by syntheticreativity  Lips by columbiapower  :thumb91650096:

Illuminated Dream by lucidreamer20  :thumb109922566:  First Star by 6Artificial6  :thumb108853668:

Stars in her eyes by Cubel  stars by Frall  Christmas Is In The Rear View by v3rmili0n  Love is Magic by azrinkami

Lady by ScribblePaper  Harmony by vemano88  in my dreams . .. by light-from-Emirates  :thumb102751619: