San Francisco Bay Area Sports photographer Brad Mangin explains why he’s redesigned his website to be 100% Flash-free.

I recently made the decision to go in another direction with my website — away from an entirely Flash-based portfolio — to something done completely with HTML. In the past few years, I realized that I would be better served with a more flexible system that can grow with me, my business, and the evolution of technology. My Flash website, which at one time seemed like cutting edge stuff, was showing its age and limitations.

It was time to move on.

I am certainly no stranger to the web. In 1998, I used Adobe Pagemill to maintain my first website (built by life-long friend Joe Gosen.) This site did quite well in it’s time, but since it was entirely in HTML it was difficult to update. I needed an easier way.

In 2005 I moved away from HTML, and fully embraced Flash. I bought a liveBooks website, and was thrilled with how easy it was to update. The pictures were large, and the images moved on the screen. The interface seemed easy to use, and the people at liveBooks were (and still are) great, helpful people.

Within a few years, I started to see limitations. The first one being that I couldn’t integrate my online image archive. My archive, which as of this writing has 51,240 images in it, was awkwardly disconnected from my portfolio. I put so much effort into filling up my archive, and I felt it deserved to have more visibility.

Continue reading on Brad’s blog.

Rafael Agustin Delgado is a Los Angeles-based freelancer and  took part in the annual, week-long festivities know as Burning Man in the Nevada desert on a self-assigned project. 

I went to Burning Man for a break from the normal and I returned a much different individual.  Never before have I experienced a more welcoming community like Burning Man.  It’s by far one of the most unique experiences out there, though it’s not for everyone, that’s for sure. However, if you are willing to let people be, it will be a rewarding experience.

Whether you make several thousand images or not a single one, go to Burning Man.  It’s well worth every frame, roll of film, dollar, mile, and day you spend to become a Burner.

For those unfamiliar with Burning Man, it’s a weeklong yearly event where 50,000+ “Burners” descend to the unforgiving Black Rock Desert in Nevada to create “Black Rock City”.  Attendees come from all around the world to create the community known as Burning Man.  Upon the week’s end the community is gone and there is nothing left of the all that went down, and it returns to the drab desert until next year’s Burning Man.

The logistics of it all is quite amazing.  This event is not a small band of desert hippies signing and dancing in the middle of nowhere.  It’s quite obvious the moment you cross the entrance gates that it takes the whole year of committed individuals to make Burning Man a reality.  Every Burner I met goes out there way to help, from your fellow campmates, to volunteers, and staffers, everyone is there to assist.  If you’re worried that Burning Man is nothing more than a giant cluster f***, don’t be.  To the contrary, it is a well-organized event with plenty of EMT, security, and well-minded individuals.  I wouldn’t think twice about returning to Burning Man.

The volunteers, known as “Rangers”, were of significant help during my first Burning Man.  When I was completely lost in the middle of the night, I simply asked a Ranger.  And to those Burners that like stealing the road signs at the Playa, you’re nothing more than material left in the porta potties.  By the fourth and fifth nights of the event, don’t rely on road signs to guide you.  While on the Playa, be sure to mark known headings and fixed objects for navigation.  At the end of the week I was quite thankful for the giant light sphere that marked my street and camp spot.

Suggestions for first time burners, or “Burngins”. 

- Go with someone you know as Burning Man is meant to overwhelm the senses.  I was pretty stunned and amazed myself, however my buddy Mike was beyond the point of return the first few days.  It’s good to have someone to keep you grounded.

- Pack light in regards to food.  I used only 10% of the food I packed.  One does not need much food in this environment.  I myself was quite content with canned pearls and Gatorade for my time at The Playa.  Water is an item I would still pack heavy.  It is hard to beat the value of safe drinking water.  Two gallons/day per person is a safe ratio for Burning Man.

- Build a shade structure.  Whether it’s a reinforced easy-up tent heavily staked to the desert with rebar or a monkey hut, shelter is key to protect you from the sun.  A monkey hut is my preference.  It’s easily fixed when the wind breaks it and is easy to modify depending on your exact needs.  Most of Burning Man occurs from a few hours before sunset until sunrise.  During the brunt force of the sun is when most Burners are recovering from the previous day, which is fine because the light is also horrible at that time anyway.  After all, always better to shoot during the golden hours before sunrise and before sunset.

- Taking a siesta became my daily practice.  Though sandstorms were light this year, the weather still took its toll.  You’ll be forced to become a night owl as there’s no other way to experience Burning Man.

- Decorate your bike well with lights as it’s important to be seen with thousands of opportunities for a collision and it’s also a lot easier to find your bike.  I usually parked it near a well-lit art installation for easy recovery after a venture.  Without a bicycle, getting around the Playa is a pain unless you bring a Mutant Vehicle.

- In the beginning don’t even carry a camera.  There’s no need to shoot absolutely everything, as it would give a very tainted perspective on what Burning Man has to offer.  I didn’t even take my cameras out of the truck until after two days experiencing The Playa.

- Understand the rules of the event.  If someone prefers not to be photographed, move on as there are thousands of others opportunities.  Pack light and if possible do not change lenses or you will no doubt have a very dirty sensor.  EWA bags help a lot but nothing is going to keep all the sand out.

- Do not work a wedding before Burning Man.  Arrive as early as possible in the beginning.  Once you are in the region of Black Rock City, be patient.  The line may be several to many hours into and out of the city. It’s much worst then the 405 freeway or the post-game cattle herd out of Dodger Stadium.

- Be sure to top off your gas tank in Reno.  I highly recommend an additional 5 gallon tank to avoid refilling until you return to Reno as your car may be idling for hours.  Avoid waiting in the middle of the heat as air conditioning requires the car engine to be running.

- There are few resources and service stations past the city of Reno. If you breakdown, expect a long wait.  Please don’t be that prick drafting like a NASCAR driver with your high beams on or expect a brake check from me at the very least.  If you are in such a rush, fly out of Burning Man at Black Rock City Airport.

- Plan your departure.  I left Monday at 2am after the Temple burning and I didn’t get to Reno until 9am.  Yup, that’s 7 hours on the road to go 117 miles from Black Rock City to Reno, and I was actually one of the lucky ones.  Next time around, I am just going to camp an extra day and wait for the mass to leave.  I rather would’ve enjoyed the desert an extra day verses competing with literally 50,000 people leaving through the straw of a two-lane highway.

- When nature calls, guys have it easy, we can utilize a Gatorade bottle.  For the ladies, pack a pee funnel.  It is worth its weight in gold when the need arrives.  Also, when camping on the playa, try to avoid being down wind of the porta potties.  Such a luxury as clean air goes along way in the realms of comfort.  Baby wipes are the only way to get through the lack of indoor plumbing and showers.

- Avoid using a RV as they’re super expensive and kill a vital component of Burning Man.  They are slow, loud, and a hamper the reward of a proper Burn.

- Don’t wait until the last minute to buy your ticket, secure your opportunity early.  The ticket can always be resold easily; hopefully without a mark up.  Early next year, I will be buying my ticket for the 2012 Burning Man right away.  Hopefully I will score a ticket in the lower price bracket.  There are also scholarships available for those who cannot afford a ticket.  Good luck in that application process.  From my experience, the ticket is the cheapest thing you will spend to Burn.

- Lastly, be sure to plan your recovery from Burning Man.  Decompression is important after you take on an event of this magnitude.  Driving or flying back home in order to make it to work the following Tuesday is just not going to happen.  If you’re lucky it will take at minimum of seven hours to go from Black Rock City to Reno in the mass exodus.  Get a room in Reno and just crash.  Let the holiday traffic and madness creep by while you sleep off your Burning Man outing.

After experiencing this year’s Burning Man, I cannot think of a better opportunity to disconnect from daily grind.  I, for one, will be a Burner for life. There is simply nothing else like it.  I may have left Black Rock City without a trace, but the memories and experiences will be instilled in me until I return next year.

Feel free to ask any questions about you may have in the comments below and I will try to respond!

Phoenix, Oregon-based photographer Kasy Locken has taken an interest in light graffiti and shares some of his own.

About 2 months ago I started a website out of boredom. My dad is a photography enthusiast, and he has always taught me the mechanics of the different elements involved in taking a picture. One day it all clicked and I realized how much of a visual person I am. Since then I have been learning more and more about photography. I’m still a young gun but I feel that I have a good eye.

Lately I have been totally immersed with light painting/graffiti and all I have been doing is staying up late taking pictures on the streets.

See more photos on Headlolly’s website.

Tokyo-based photographer Alfie Goodrich has a photographic obsession with umbrellas.

I have an umbrella fetish. There, I said it. Owning up to one’s addictions is the first step towards a cure but I see no end in sight to my craving for the ultimate umbrella shot.

It’s not a curse, it’s a blessing to have photographic obsessions such as this. One of the keys to keeping one’s eyes sharp is to have a few little ongoing projects; subject-matter to be constantly on the lookout for when walking around with one’s camera. I never just ‘go out to shoot’. I always go out with some sort of purpose and that way I keep creatively ‘on the ball’.

Continue reading and see more photos on Japanorama.

]]> http://thephotobrigade.com/2011/07/in-praise-of-the-umbrella-by-alfie-goodrich/feed/ 0 http://thephotobrigade.com/2011/03/all-thrifty-states-by-jenna-isaacson-pfueller/ http://thephotobrigade.com/2011/03/all-thrifty-states-by-jenna-isaacson-pfueller/#comments Fri, 04 Mar 2011 01:57:00 +0000 admin http://www.thephotobrigade.com/?p=2015

DC-based freelancer Jenna Isaacson is working on a photo project that aims to visit thrift stores all over the United States.

The “All Thrifty States: Documenting what America Throws Out” photo project aims to visit thrift stores in all 50 states, documenting the scenes and objects found along the way. The mission will be to explore the experience through two lenses– a socialogical standpoint and a visual one.

By sociologically, we mean– if you only visited a thrift store in each state and no where else, what would you deduce about that region? Is it old? Is it young? Is it rich? Is it poor? Is it playful? Is it religious? Is it diverse? The things we clear our lives of make their way onto those shelves, and it becomes a picture of the community that surrounds it.

By visually, we mean it will be thoroughly photographed and documented. From unique scenes, people, objects and visions of thrift stores, both abstract and literal, that tell the story of Americans.

The goal is to create a fun, tangible, TRAVELING platform to inform people about the things they throw out, what it says about us.

Learn more about Jenna’s project here.

Ledgewood, NJ-based freelance photographer Alma Muminovic has been working on a series called Eurydice in Hades, a fictional narrative of her day to day thoughts.

Eurydice In Hades is a series I’ve been working on for about a year. It’s a lie, a fictional story of impossible things interwoven with the possible. My attempt at bringing the fantastical world that slithers through my mind with the everyday. I live in both, and to be able to bring it into reality it makes it seem more real, like a mirage that’s fading in the distance and when you walk closer it becomes solid and real. Not the nature of mirages but sometimes I think it should be.

I’ve been fascinated with this idea of deadly things that appear innocent. I try to bring that to my photographs by using bright colors that at first glance make it seem like a lively little world full of wonder. Only when you look closer you see that death and pain and all the things that make us stronger are in almost every scene. It’s also a study of my subconscious. I was born in Bosnia in 1987, and when I was four I’ve had a gun pointed in my face and my family and a lot of other families were forced onto a bus and taken away. We were separated from the men, we being the women and children. We were taking to Croatia and the men to concentration camps. My dad was taken out to be shot but he fainted before they got their chance and was taken back to the prison so they can kill him after he woke up. They never got their chance because that very same night he and a few others escaped. In the end my family was reunited and we all made it to America after several years of living in Croatia, and Denmark. I used to think that these things didn’t really effect me too much that it didn’t really matter that things happen and that it wasn’t happening anymore, but I think we hold on to everything because it makes us who we are today. That’s what my photographs are, a look into who I am today.

To follow the series as she works on it, visit Alma’s Tumblr.

Toronto-based photographer Brett Gundlock spent time documenting a group of Krump dancers in Toronto that he found via social networking.

My interest in this subject started with David Lachapelle’s film Rise. I did some research on it and found out the “Clowing” (dancers dressing up as clowns,) had mostly come to an end. Although this would have been more visually interesting to shoot and I was obviously a little disappointed, I found a group of Krump dancers in Toronto via facebook and linked up with them.

Getting access to this small community was fairly easy; they are performers but they sincerely believe in their art and the movement they are pushing. Soon I was a regular fixture of the weekly sessions and weekend battles. I was able to connect with them on personal levels allowing me unlimited access. Photographing such an erratic dance under a 60W light bulb and attempting to capture emotion when they weren’t performing was the hard part.

See more images from the series on Brett’s portfolio site and make sure to check out the Boreal Collective, a collaboration between Brett and four other Canadian-based photojournalists.

London-based freelancer Alexander James has been constructing images combining flowers and chemical reactions as part of a project entitled Fusion.

FUSION;  the process or result of joining two or more things together to form a single entity : a fusion of an idea

Exciting and unusual floral arrangements are juxtaposed against violent chemical reactions, common flora is transposed into an unusual and ambiguous setting creating highly complex imagery.  The powerful reactions within these globes seem at odds with the subject.  Spheres of light, microcosms of raw power, glow from the interior of these floral spheres, referencing the true power of nature and the source of life of earth – the sun.

Images comparable to visions of space: explosive reactions within a star, the formation of a distant stellar object referencing the Big Bang.  Indeed, much like the Big Bang, these images represent a fleeting moment in time, a snapshot view of the birth of a fire already long extinguished.  The beauty, colour and purity of these most volatile reactions having already faded to darkness, destroying the globes that housed them in the process. A metaphor for our own existence: compared to vast expanse of space and time, we, like these reactions, flash into being and fade quickly back into the darkness.  Fusion then, acts as a reminder not only of the beauty of life, of nature, but also its transience; one moment we are glorious luminescent beings, the next we are dust.

The images in Fusion distil the beauty of creation, and yet they are also images of destruction; these balls of pure light and energy engulfing and obliterating their protective yet fragile floral entity.  These works present a delicate aesthetic filled with a visual representation to the power and veracity of destruction; these unique and unrepeatable events demonstrating not only great power and strength, but great vulnerability and uncertainty. Fusion can be seen as referencing contemporary environmental concerns; a visual representation of the destruction and havoc we as a species are inflicting on our planet, on nature.  This is the true beauty of Fusion: these images depict not only the power, the beauty, and the frailty of the natural world, but act as a reminder that even organisms we observe everyday and dismiss without thinking are the result of the most amazing, monumental and profound series of events.

Photographer – Alexander James

Stylist – Davy Pittoors

Supporting Text- John Routledge

San Diego based freelance photographer Frank Rogozienski has been photographing the border fence between the U.S. and Mexico.

See more images from the series on Frank’s Blog.

Based in Czech Republic, fine art photographer Carlos Lopez Ramos has been working on a personal project on ground pollution that is a compilation of abstract images he took of the ground.

My personal project Ground pollution is based in a personal quest for a self-discovering and understanding. Trough pictures of the ground I look for representing and showing my anxiety, fears and doubts. The ground in this case is more than a subject if not a mirror.

The idea of call it Ground pollution is because I am in some way expropriating its nature and putting my emotions on it, so I am “contaminating” the earth, taking its real form to transform it on my own benefit. In the same way the big industries (oil extraction, mining, etc) do to our planet.

Continue reading and see more photos on Carlos’ blog.