Kategorie-Archiv: Allgemein

Fotolia presents Adobe Stock

Adobe acquired Fotolia in January 2015 and launched Adobe Stock in June the same year.

At Fotolia, we work hard to give our customers the best stock licensing experience possible. Adobe Stock provides an exceptional experience as well, so we wanted to tell you a little bit about the service in case you haven’t had a chance to check it out:

The Core asset collection in Adobe Stock comes from Fotolia, so you’ll find all the assets you love there. You’ll also find a unique and diverse portfolio of content uploaded from our world-class community of creative professionals.

In addition, Adobe Stock includes the Premium Collection, a hand-selected portfolio of assets from incredible artists and agencies around the world including Stocksy, 500px, and Pond5. You’ll find 4K video, templates, and 3D objects in Adobe Stock as well. And just last week we added even more amazing content — editorial assets — through partnerships with Reuters and USA TODAY.

Adobe Stock is natively integrated within Adobe Creative Cloud, meaning you can search, manage, and license assets from within all your favorite Creative Cloud desktop applications, including Adobe Photoshop CC, Illustrator CC, and InDesign CC.

Adobe recognizes the challenges you face in your day-to-day creative work, so we’ve introduced some great search features to help you find the perfect asset quickly and efficiently. In November 2016, we added Visual Search to Adobe Stock. This feature lets you simply drag any still image into your browser to find similar images. And last week we introduced Aesthetic Filters. This feature gives you an entirely new way to search for images using aesthetic characteristics, the first of which are Depth of Field and Vivid Color.

We think you’re going to love Adobe Stock. But don’t worry — Fotolia isn’t going anywhere. If you have a subscription or you’re a credit buyer, you can continue to purchase assets the way you always have.

Discover Adobe Stock at stock.adobe.com, and get inspired by Adobe Stock tutorials, trends, and contributor stories on the Adobe Stock Facebook and Twitter pages.

Source:: blog.fotolia.com

Mikel Muruzabal

‘Accidentally on purpose‘, although through a lot of sweat and tears, young Mikel Muruzabal, from Navarra, has become one of the most recognizable fashion photographers in Spain. Dedicated to architecture and advertising as well, Muruzabal puts out images that are very clean, precise and impactful, although in a subtle way.

Like a lot of artists, Mikel was never a good student; mind you, he devoted himself to all things creative. In fact, he was always passionate about drawing, although a slacker. And that was the same way Muruzabal found he was with photography, discovering little by little that it was a much more pragmatic and efficient medium than drawing with paper and pencil.

Muruzabal began teaching himself to do things in a different way, and as it goes when someone is self-taught, inspiration can come from anywhere with no limit or end. This was the way, with effort and work, that he developed images that were very original, personal and increasingly more mysterious.

Always playing with the settings, lighting, color and presence or not of certain elements, Mikel seeks to create authenticity in his images despite the tricks of the studio and use of his favorite tool –that for him represents painting in this play of mechanized drawing–, Photoshop.

Initially, Muruzabal entered into the professional world wanting to be an architect, something that left a defining mark on some of his most personal urban series, like Los Angeles and the Generic City. Beneath this portrait, Mikel tries to comprehend the very essence of the city, playing amid the thin lines between fiction and reality that is respired in every corner. To do that, he makes a subtle wink that only the most observant spectator sees, first eliminating all the signs and texts in the image, and once empty of context, turning it into a neutral canvas. In fact, every location is an intersection that was once a Hollywood set, like a metaphor for a moment of calm and analysis that at any moment will succumb to the classic frenetic flow of a city like Los Angeles.

In similar series, Muruzabal also tries to understand Berlin, La Havana, Benidorm, Bilbao and Lisbon, among other cities, once again neutralizing their layouts –this time in black and white– to eliminate the hierarchy among the elements so as to allow the architecture and its dimensions to speak for themselves. After all of this, Mikel looks at photography as not just a medium of expression for the subject of the image, but one to be studied and understood.

When it comes to fashion, however, Mikel draws on references more surreal and creative, with the freedom awarded him with every collection he shoots. It is here he lets go of the reins a bit so his imagination can take hold.

From the visual power of photography, its proximity to drawing and to design and its ability to communicate so that many can share the vision of one, Mikel Muruzabal has been shaping the photographic language into a tool that can be used to understand the world around us.

Source:: blog.fotolia.com

Camille Walala: the expression of color

Born in the French Provence and settled in London, Camille Walala spreads energy and vitality wherever she goes. Almost in a literal sense, this artist converts all she touches into amusement. Just as a drawing can be a visual poem, Camille’s pieces are a true jubilee for the eyes.

Intrigued by the happy and brilliant decorations her mother had in her childhood home, from a young age Camille began to feed on a love of colors, patterns, textiles and illustrations. As a graduate of textile design from the University of Brighton, there were two happenstances that would transform into unexpected opportunities that brought Walala to the belief in creating one’s own universe.

The first came in the form of a dedication a widow wanted to do for her late husband on the façade of her home. The project was initially meant for Jumboist, an acclaimed urban artist and the then boyfriend of Camille, to whom the request was made for a portrait of the man to commemorate him in his home. At the moment unavailable, Camille then not only offered to do it instead, but she didn’t take at all lightly the creative liberty given to her by her patron.

Starting with this first wall, Walala became more visible and her career as a multidisciplinary artist began to take off to the point that on one occasion, the owner of a London club gave her carte blanche and £20,000 to design the interiors of the location, something Camille had no experience with. But people already had trust in her style still in development. From there she became more motivated to extend herself further and continue experimenting.

This style, defined as Tribal Pop, is the result of three principle influences in the imagination of Camille. The first and most obvious, a collaboration of postmodernist designers from the Italy of the ’80s Memphis Group, to whom she was exposed during her adolescence and from whom she could take the most clean, colorful and playful geometry.

Second, and the more tribal aspect came from the African Ndebele, indigenous to South Africa and Zimbabwe, from whom she found pattern design and the repetitious rhythms of geometrics. And to this, we also must add the optical illusions of the Hungarian painter Victor Vasarely, to then get to Walala.

While it’s true that Camille’s Pop Tribal is instantly recognizable, currently the artist is exploring a new direction, that being abstract cubism by French Auguste Herbin, through a more simplistic route.

The purpose of her work is to no more than fill the world with color, energy and happiness, transforming cities into spaces more vibrant than gray. In fact, she created a tremendously vanguard crosswalk in London in partnership with the TATE Gallery, adding this slice of asphalt to her growing collection of façades in the capital that was transformed by her arching rainbow.

Some of these walls seem to even house a secret encrypted message in the geometric code that simply communicates limitless optimism in opposition to the gray of the British skies. The emotional success of its inhabitants is such that her brushes have already run over the walls of New York, Paris, Barcelona and Berlin, for example.

Source:: blog.fotolia.com

Lifestyle Photography Tips from Tiny Atlas Quarterly

We traveled to Tahiti with Tiny Atlas Quarterly, a travel and lifestyle magazine. Emily Nathan, the founder of TAQ, brought years of experience working in advertising with diverse clients to the trip. Here, she shares her advice for lifestyle and travel photographers shooting on location.

Be mindful of your destination

Setting cannot be stressed enough for lifestyle photography. First and foremost, Tiny Atlas has always chosen incredible locations for our shoots. The setting will create the world your talent is living in. We gravitate towards gorgeous and wild natural landscapes that our community has been dreaming of. They’re fun to travel to but don’t forgo a very necessary real world reality check. When planning, we think about any global conflicts, disease, etc. to avoid unnecessary drama, as we find that life brings enough surprises.

Choose your accommodation wisely

Any lifestyle shooter knows that sunrise and sunset are the most favorable times for great light (and great images). It is really important to choose where you stay carefully so you don’t waste precious time getting to and from your location. Ideally start and end your days exactly where you want to shoot. Don’t sacrifice price to stay in a hotel that is less expensive but will take you an additional hour and a half to reach your location and miss the best light. This is especially true if you are traveling with a big group. The more people in your party, the more time it takes to get them anywhere.

Plan around the best light

Plan your days around natural light. Lifestyle shoots don’t happen when you get to the location, they happen along the way, so keep a lookout for authentic moments en route. Plan downtime and meals when the light is the worst. For instance, don’t have a gorgeous dinner at sunset unless the plan is for dinner images. Eat meals and work on your image files when it’s too bright or dark out.

Source local talent

Casting models can be a challenge in remote locations. Fashion productions usually deal with this by bringing in models. But for Tiny Atlas, we try to work with local agencies and through referrals to find models who are ideally from the area. They will look like locals, speak the language, drive their own cars, and it’s awesome to meet more people to help you really connect with the place.

Bad makeup and hair can ruin any great lifestyle production. If you can bring a great hair and makeup artist (ideally one person who can do both) who you trust, it is a great value. If you can’t, just try to shoot models with gorgeous skin and you are all set.

Bring a variety of wardrobe options

Some models have wardrobe that is our style and some don’t. To make sure we have what we need we to insure great imagery we collaborate with brands we like (and reach out to new ones we are interested in working with) to pull some key pieces from their collections. Don’t bring too much, though. You are responsible to get pieces back to showrooms and the more you pull, the more you have to deal with returning. Also, you will likely shoot fewer looks than you may plan on for a lifestyle day (usually just 1-3 changes, or 1 look with layers) so save yourself the baggage fees and hassle with a tight edit, leaving pieces that aren’t key to the shoot at home.

Find support during and after the set

If you can have a digital tech on set with you your life will be much easier on the post side. At Tiny Atlas we often don’t have that luxury so we will just shoot all day though and download and organize files in the evening. I have often fallen asleep after a long day while backing up my work. Note: Backup your work and your phone! People often lose / have phones stolen while on the road and sometimes your favorite memories are there.

If you don’t have support on the post production side, have a process around file management and a naming convention. For guidance, ask a great digital tech how they organize. I just started to work more with Lightroom CC and Lightroom Mobile and it is really cool to be able to see the changes applied across devices.

See more images from Tiny Atlas and Tahiti on Fotolia.

Source:: blog.fotolia.com

Contributor Spotlight: Salty Wings

Michael Goetze and Jampal Williamson (AKA Jumps) are the duo behind Australian aerial photography collective Salty Wings. Although they’ve only been on the drone circuit for just over a year, they have quickly become the experts on aerial seascapes that are unique and unlike any other images already on the market. Their success is due to their meticulous planning and commitment to producing exceptional, vivid imagery, and the balanced partnership between Michael and Jumps.

Michael and Jumps traveled to Tahiti with Adobe Stock, and took some time to speak with them about their beginnings and rise to success.

Fotolia: Can you tell us a little bit about yourselves, and how you guys met?

Jampal Williamson: My name is Jampal – people call me jumps – and together with Michael Goetze, we run Salty Wings. We find and photograph coast lines that we find particularly beautiful, and we’ve been doing it for about twelve months.

I went to the same high school as Michael – he’s five years older than me. I hadn’t seen him for five years but met him again at a party. At the time, Michael was living on a bus at the back of a winery and surfing. We both shared a passion for photography, so we just started photographing together, and had the idea to monetize photography.

Fotolia: How do you guys work together? And when you’re shooting on two different drones, how do you make sure that the final images are cohesive?

Michael Goetze: I think we have a very similar style and taste for the end product, which is why we work so well together. Most of the time we are in agreement about how something should look at the end. At the start, we have different interests, so when we split up and we shoot, the content we come back with is quite different. But we’re good at coming together and deciding what to put out.

I’m more business-minded, and that’s an itch I need to scratch. Running an e-commerce site and learning the business of photography is really interesting to me. Jump is more creative-minded. We’ve got strengths in two different fields, so between us, we’ve got the business and creative side covered.

Fotolia: How did you guys come up with the name Salty Wings?

JW: Back in 2015, when we had the idea for Salty Wings, we were actively looking fro a name that rolled off the tongue and was relevant to flying drone around coastlines. Michael’s friends had recently returned from a boys fishing trip, and all the old fisherman on the trip would call everyone salty dogs, like “Ey! Salty dog, what’s up dude!” So when they came back, they were saying salty this, salty that, and Salty Wings came from that.

Fotolia: Why is travel important to you, creatively and professionally?

MG: I love the lifestyle – there’s nothing better to do than to go to new places, meet new people, and photography is the best way to do that as a lifestyle. I hate being stuck in one place!

JW: Travel keeps you guessing. Every place is a new feeling, you go to a beautiful place, you experience it, and then you can go to another place and have a totally different experience. For me, that’s addictive.

Fotolia: What’s the benefit of having your images on Fotolia?

JW: Because I travel a lot, I’m actively photographing and working. While I’m away, when I have my photographs on stock, they can work for me, so that I can focus on what I’m good at doing, which is creating.

Fotolia: Salty Wings is known for aerial image of oceans – what is it that draws you to water?

MG: Growing up in West Australia, I grew up next to the beach, so I’ve always gone to the beach, always been in the water. It’s the most important thing to me is to be by the ocean. So naturally, for photography, I was drawn to the ocean. I just want to be by the sea, where there’s surf and nice water.

Fotolia: And what about drone photography?

JW: When I’m photographing, I’m looking for something I’ve never seen before. With aerial photography, you can capture a landscape in a way that is otherworldly –You can capture so many things in one frame. When you travel with drones and photograph from the air, you can capture the sense of a place.

Fotolia: Do you have any advice for people getting started with drones?

MG: Understand the environment before you shoot it. Being a surfer meant that I understood what good conditioned looked like. When the conditions are good for surfing, that’s usually when the ocean is most attractive. When the winds are off shore, the water is glassy and reflective of the good light.

JW: When I’m photographing, I’m looking for something I’ve never see before. Try to photograph something that’s unique and odd, and work it. Move your drone around, angle the camera up and down, shoot at 45 degrees, shoot straight down, shoot a landscape, shoot a horizon. Move and try to capture all different angles.

Fotolia: Can you say a few words to reflect on your time in Tahiti?

JW: I don’t know what’s more beautiful, the landscape or the people. The people are the friendliest people I’ve ever met – they are so welcoming. They are genuinely there when you talk to them, and they’re interested in you. There’s a feeling here that is hard to describe, but easy to pick up.

MG: I’ve never been to a country where I’ve felt so relaxed. Everybody here looks you in the eye, smiles, and says hello. There’s not awkwardness. The water is the most amazing thing I’ve ever seen.

See more stunning images from Salty Wings on their Instagram and on Fotolia.

Source:: blog.fotolia.com