log.johnnywon.com

soupsoup:

A Glimpse Inside the Camera Bag of a War Photographer

 

(Source: hyperform)

qiring:

toshiharu:

sea (via kansunkea)

(via woool)

(via thatkindofwoman, wildernesswish)

The beauty of the top photo is that it has been shot at hip level instead of shoulder level. Hip level is underrated. 

nickelcobalt:

youmightfindyourself:

Sayo in Harajuku. Stems.

scottem splash

thephilter:

“Mind-Blowing Photo Editing Technique of the Day: Kevin Karsch and his team at the University of Illinois Urbana-Champaign have developed an amazing technique for inserting synthetic objects into old photographswith lighting and positioning so close to the real thing that most people can’t tell the difference.

The method requires very little information to work well. Users just have to adjust the system’s guesses about vanishing points and scene corners, and then mark light sources in the image. With a few minutes’ work, even a novice user can insert (and even animate) realistic-looking objects.

The UIUC team will present their research at the SIGGRAPH Asia computer graphics conference in December.

[slashdot]”

snowce:

Ruth Orkin, Boy Jumping Into Hudson River, 1948

(via thatkindofwoman)

photojojo:

Shooting long exposures on Japan’s Yurikamome rail kind of simulates looking through a veil.

Long Exposures on Japan’s Rail by Appuru Pai

via Ignant

e-pic:

by Simon J Byrne

(via black-and-white)

I want pretty much everything here. Especially since it’s full of Nikon. 

donorofboners:

Photo Bag on Flickr.

In Nikon please.

photojojo:

Have you ever wanted to hug your lens because you love it so much? Well, now you can thanks to Plushtography! This lovely company makes these pillows by hand out of felt, fleece, and a little bit of love.

Follow their Tumblr blog for behind-the-scenes pictures, information, and updates.

drsonnet:

#Bosnia, 1992 يقتلونهم ثم يركلونهم في البوسنة!

Ron Haviv: ‘I was shaking when I took the shot. None of them was looking at me, so I lifted my camera, just trying to get them in frame. When I put it down, they looked over. They didn’t realise I’d taken photos.’ Photograph: Ron Haviv/VII 

These are the Serbian warlord Arkan’s men. They’ve just executed these Muslim civilians – a butcher, his wife and sister-in-law; the start of what became known as ethnic cleansing.

I had taken a photograph of Arkan with a baby tiger, which he’d liked, and he’d agreed for me to travel with his troops to photograph his “mission”. The soliders were yelling at me not to shoot, but I’d promised myself I’d come out of this with an image to prove what was happening.

I was shaking when I took this shot. None of them was looking at me so I lifted my camera, just trying to get them in frame. When I put it down, they looked over. They didn’t realise I’d taken photos.

Later, Arkan caught me photographing another execution and said he’d process my film and keep the ones he didn’t like. I’d hidden the film from earlier in the day in my pocket and figured that if I fought hard enough for the film in my camera, he wouldn’t search me.

When the pictures were published not long after, Arkan said in an interview, “I look forward to the day I can drink his blood.” He put me on a death list, and I spent the next eight years trying to avoid him. Eventually, these images were used to indict him at The Hague.

(Source: Guardian, via soupsoup)