This may be meaningless to some, but fascinating to others. According to the Chicago Tribune:
Few people know that before he started making movies, Stanley Kubrick was a star photojournalist. In the summer of 1949, Look magazine sent him to Chicago to shoot pictures for a story called “Chicago City of Contrasts.”
It’s definitely worth your time to go have a look at the photos.
It’s hard to bring to mind a more suitable image of wealthy America giving its middle finger to the rest of us than that of a Hummer H2. But I think stretching them into Hummer limousines just about does it.
By way of Stay Free Magazine, I am proud to pass on the FU-H2 home page, encouraging the rest of us to return the sentiment.
Drew O’Neill describes the mentality of the NeoCon.
For this shoot, we chose a swimsuit with a light and dark pattern. As luck had it, the dark color in her swimsuit was almost a perfect match to the indigo ink used commonly in body art. Generally, color isn’t as important as tone in black and white photography, but it helps to have it all match up nicely.
For this shot, I used a Bronica S2 medium format camera, loaded with FujiFilm’s Neopan 100 Acros in 6×6 format. The scene was composed for an 11×14 crop.
The most important element in a photo is the subject’s eyes. If you get the eyes right, the rest doesn’t matter much.
First, and most important, is the focus. Whether you use a modern autofocus camera or an old manual beast, the goal is the same: tack-sharp focus on the eyes.
Second is light. Photography is all about light, and it’s got to be in your subject’s eyes. Good light in the eyes makes them sparkle. No light in the eyes leaves them empty, dark, and hollow.
And third, always compose your subject’s eyes into the top third of the frame. It feels more natural to look into the photo slightly higher than center.
It’s been said (and it bears repeating) that the biggest, brightest, part of a photo that’s in focus will be the photo’s TRUE subject. That can be a great advantage, but if you’re not conscious of it, it can be a major detriment to your photographic vision.
In this photo, I noticed a man in a bright white shirt in this scene filled with people in dark clothing. With my f/2.8 lens wide open, and using a single-spot autofocus, I was able to isolate the man within a shallow depth of field.
Compositionally, I wish I had hit the shutter release a fraction of a second earlier, using the implied lines of the people in front to frame my subject just a little bit better. On the whole, though, I’m actually quite pleased with the shot I was able to get.
