Original Source: http://feedproxy.google.com/~r/abduzeedo/~3/-cc7sn0UBTI/interview-hasselblad-master-18-kamilla-hanapova

Interview with Hasselblad Master 18: Kamilla Hanapova

AoiroStudioMar 18, 2019

We are excited to share our latest interview in exclusivity with the folks from Hasselblad. Last year’s theme was INNOVATE, and each year Hasselblad would select their winners to shoot for a collaborative project that would be printed in the biennial Hasselblad Masters book. We had the opportunity to share a few questions with one of the masters, Kamilla Hanapova, a photographer based in Saint Petersburg, Russian Federation. Shall we?

Hasselblad is an amazing company with a rich history and high-quality products. I could only dream of being associated with them! I am very happy to be recognized as a Hasselblad Master and also I feel a huge responsibility for this status. I do not take it for granted, it motivates me to work even harder.

Links

Instagram
Behance
Hasselblad Architecture Category Winner
Tell us about yourself?

My name is Kamilla Hanapova. I am 22 y.o. freelance photographer and collage artist who is really passionate about what I do. I live in Russia, St.Petersburg, but I am going to move soon.

How did your journey as a photographer begin?

I can’t say exactly. I was 13 or 14 years old. At that time photography was a fashionable trend for teenagers and I also succumbed to the trend. My first works were..terrible, fortunately, over time I found out that photography is more for me than a ‘trend’. Actually I was addicted to drawing those times, but it was photography that forced me to study the art and discover a new visual culture.

What inspires your work?

A lot of absolutely different things. But mostly it is contemporary art, fashion and my own life/experience. Usually people think that my main inspiration is other photographers, as I am a photographer, but this is so wrong. I love art in all its manifestations and there is no difference for me if you are a sculpture, musician, performance artist or a photographer, we all create art and we have to be open-minded and get inspiration from different things/people/styles.

Do you get creative satisfaction on commercial projects? How much time have you got for personal work?

95% of works which you can find in my portfolio are my personal works, I created, produced, paid and organized it by myself with help of other people which I am so glad to work with, like models, makeup artists, stylists. I am gonna be honest, If I do not like commercial project I do not accept it. I had a really bad experience 3 or 4 years ago when I worked mostly on commercials and after dozens of projects I was extremely exhausted and devastated. I realized that if I continue working like this, I will give up the photography, like photography for me is freedom, this is my way of communication with the outside world, my way of self-expression and I will never betray it to earn money. Now I only work on commercials where I can get creative satisfaction. And also I constantly improve my portfolio to work on such type of project more often.

What influenced you to begin shooting architecture photography?

At the beginning of my journey as a photographer I worked exceptionally with people in the studio and all my attempts to go outside and shoot architecture or nature were failed. Now I feel like I did not have a vision and enough visual material in my mind to. In my first year in university teacher gave us a task to take make a project which based on a style of any photographer we choose. At that moment, I already understood that I was too comfortable to work as a portrait photographer and it was time to change something. Therefore I chose Cole Thompson, he does black and white photography in different genres, but I decided to focus on still life and architecture. I spent a lot of days, even weeks doing this project and I did it. I watched his work and tried to understand what he sees in this building or in this landscape? Why did he choose such a perspective? Copying his work at the beginning I gradually developed my understanding of how I see architecture, I really felt a connection with it. From that moment on, I’m madly in love with this genre.

Beyond architecture, you also do fashion and portrait photography. Can you tell us a little bit about how your work is different across these genres?

Architecture is my way to investigate world around me. Fashion and portrait photography is my way to investigate other people. However eventually whatever I do, I do it about myself, about my feelings, about my expressions on some situations and phenomenons, about the world seen through the prism of my perception. But fashion and portrait photography gives me different materials, instruments and possibilities to express everything I told about earlier. Maybe because of that, I will never choose only one genre to work with. It is impossible. Every genre has its own specifics and I really like it. Architecture photography gives me the opportunity to be alone with myself, it is a silent process that calms me down. Sort of a meditation. On the other side is fashion photography where I involved in a variety of processes and communications.

How does your process change across projects?

I always try to do something new. I get tired of monotony very-very quickly. So each project is a challenge for me in which the process undergoes changes from one to another. After finishing each project I analyze the work I’ve done. Sometimes I hope to do so much in one project that I don’t have time for almost anything, sometimes I can underestimate myself and take less than I could. And it is not bad. Every mistake is an experience that tells me what to do or not to do in the next project.

How does Social Media affect your work OR promoting your work, like on Behance for example?

I think nowadays we have got a great opportunity to see and be seen owing to social media. It is my main promoting instrument at the moment. Especially Behance, which is a wonderful platform for each creative person, where you can significantly expand your audience. Also, I like Instagram which is more helpful for me in commercials.

What is the one thing you learned at the beginning of your career, that you still go by today?

Go out of your comfort zone and always set goals that in the beginning seem overwhelming; put creativity above money; NEVER steals other people’s ideas; work hard every day…I do try to choose one thing, but I failed.

From your opinion, what is the common mistake that most photographers make these days?

I often see photographers whose in pursuit of someone else’s approval begin to follow trends or copying someone’s else style/approval and eventually lose themselves, their style and become faceless. And don’t get me wrong. I am not against trends, but you have to be careful with this. Photographers can and maybe even should integrate trends in their own style, but not to follow them blindly. Sincerity is highly important in art if a person has the main goal to be liked by other people, such a person will fail. And also a common mistake is to do more commercials than personal works. In my opinion, it has to be a minimum of 50/50. sburg, but I am going to move soon.

How has the Hasselblad technology affected your photography?

It gave a bunch of new opportunities! Now the process of creating photos has become easier, and the technical quality of work is much better. I feel like my Hasselblad camera let me focus on a creative part more.

Your Masters series focuses heavily on light and color. What inspired this choice?

One of my favorite artist James Turrell. My project inspired by genius artist James Turrell. Light, space, and color it is about that. I amazed by the atmosphere of his works. Mysterious, light-filled space, which absorbs and envelop you. There are no people, only empty rooms, silence and frozen moment. James Turrell said “There is a rich tradition in the painting of work about light, but it is not light – it is the record of seeing. My material is light, and it is responsive to your seeing – it is nonvicarious.” Nonvicarious means that you can not experience it without being there, so his works need to be experienced by the audience to really feel it. But as I am a photographer I can only represent something that I personally experienced, in result there is my point of view. Nevertheless, I tried to take pictures which let the audience not only see them but experience as much as possible. Maybe they could imagine that happens behind these walls and doors. They could ask themselves ‘where do these lights come from?’. I want them to investigate my photographs, to ask questions, I want to wake up their imagination.

What does it mean to you to be recognized by Hasselblad as a Master??

It is a great honor for me! Hasselblad is an amazing company with a rich history and high-quality products. I could only dream of being associated with them! I am very happy to be recognized as a Hasselblad Master and also I feel a huge responsibility for this status. I do not take it for granted, it motivates me to work even harder.

Now that you have been recognized as a Master, what’s next for you?

If we talk about competition then I see no reasons to participate in others after Hasselblad. If we talk in general I will continue to work hard, do my projects. try new genres and approaches. I am going to move to another country and I hope such changes will affect my career in a positive way.

Links

Instagram
Behance
Hasselblad Architecture Category Winner
For all photographs, credits by Kamilla Hanapova for Hasselblad

Original Source: http://feedproxy.google.com/~r/CreativeBloq/~3/ABWod3lLyFE/kick-start-your-design-career-with-this-adobe-cc-bundle

In 2019, a design career is more attainable than ever before. If you've ever dreamed of a job in design, listen up! The entire Adobe Creative Cloud can be yours with the Pay What You Want: Adobe CC A-Z Lifetime Bundle. And at a pay what you want price, you just pay what you're willing — if it's less than the average price you'll still be taking something home, but if you beat the average price you'll take home the entire bundle.

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The 18 best Adobe Illustrator pluginsVoice prototyping added to Adobe XDTop-class Photoshop tutorials to try

Original Source: http://feedproxy.google.com/~r/CreativeBloq/~3/up1bGXy_RXw/sculpt-a-human-nose-in-zbrush

Human noses come in all shapes and sizes. However, it's important to know the basics of anatomy to sculpt a more believable nose. In this ZBrush tutorial, we'll walk through how to sculpt a realistic human nose in four simple steps.

First off, it's necessary to understand how a nose works. If we were to explain a nose in its simplest forms, we would most likely divide it into three parts that we see at first glance: bridge, tip and nostrils (also known by some as wings). However, as artists, we need to dig a little deeper. We also need to consider what lies beneath the skin. 

Let’s focus on the part of the nose that sticks out of the skull, and defines how skin wraps around it. Without going into surgical level of detail, we can break it down into a few more smaller parts (see step 3): nasal bone, dorsal hump, cartilages (lateral, septal, lesser and greater alar) and dense soft tissue. They go by many names, so do not be alarmed if your resource shows an alternative.

The best 3D movies in 2019

Grab a mirror and take a look at your own nose. Gently poke and press it with your fingers to feel how the nasal bone and cartilage connects and all the pieces work together. 

For practice, you may want to try learning how to draw one before moving on to sculpting exaggerated and rough forms, clearly highlighting the edges and particular parts of the nose. It will help you remember how it is built and what it is supposed to look like. Try not to dwell on getting the angles absolutely perfect. Humans are not perfect creatures. Get the general shape right and enjoy the process.

01. Create a simple base

Start by breaking the nose down into simple geometry

From Project > Misc, bring up the Brush3DTemplate, mask out a rough shape and pull it out with the Move brush. Ctrl+click and drag on the canvas to unmask. Mask out the edges of the plane to avoid pulling them in the process. If you struggle building the initial shape, start by blocking out four planes. Everything around us can be broken down into simple geometry, so imagine the nose being made of four polygons stuck together. 

02. Activate Sculptris Pro Mode

Use the Clay brush with Sculptris Pro Mode activated to start shaping the nose

Now we have a base, we can block out the position and size of the nose. The best way is to use the Clay brush with Sculptris Pro Mode activated – bear in mind that it will not work on a tool with subdivision levels. In this mode it is easier to practise and build forms without having to worry about subdividing the mesh, as Sculptris Pro Mode helpfully changes tessellation based on the size of the brush. 

03. Add secondary shapes

Use anatomy references to help sketch out detail

Using the DamStandard brush, sketch out the deeper creases and add more structure around the bridge of the nose. Draw on rough borders of the cartilages to identify secondary shapes. Let’s not forget the dorsal hump – the place where the nasal bone and cartilages connect. Use clay and move brushes to reshape the nose. Make sure to check the shape from all angles to see if the silhouette works well.  

04. Finalise the shape

Get the general shape right and enjoy the process

All noses are different, so we have a lot of flexibility as to how we can model it to look. If we are aiming to achieve a more broad or skinny nose, you can try to exaggerate some of the structure ever so slightly. When you are happy with the shape, unmask the plane, go to ZRemesher, click on FreezeBorder and press ZRemesher. Repeat the process to achieve lower polygon density. 

This article originally appeared in 3D World issue 243; subscribe here. 

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Original Source: http://feedproxy.google.com/~r/abduzeedo/~3/u4L2WW0yheA/freitag-introducing-their-newest-line-100-recycled-pet-bags

Freitag introducing their newest line of 100% recycled PET Bags

AoiroStudioMar 14, 2019

You just gotta love when companies go out of their ways to create sustainable products made of 100% recycled material. Some time ago, we have a featured the brand Freitag on ABDZ. Now they are back with their latest line of bags, Tarp on PET (aka ToP) blends their storied truck tarps with recycled plastic bottles. How cool is that? Made to last, they are introducing bags going from your lightweight backpack to a roll-top shoulder bag. All made of soft, light, and flexible thanks to a textile made from PET bottles dyed with a water saving process.

FREITAG fell in love with truck tarps in 1993, and still feels pretty much the same as the very first day. But now, after more than 25 years, the Zurich bag manufacturers are looking beyond their beloved truck tarps; as rugged and unique as they are, there are certain criteria the tarps simply can’t meet. The ToP products are just as unique as every bag from FREITAG

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F610 CINNAMON

The new multipurpose drawstring bag: simple and expandable like a lightweight backpack, and robust and handy like the one-off FREITAG carrier bag.

F600 CARTER

The new top-loading backpack with the big flap for an easier commute.

F640 ROLLIN

The doubly recycled roll-top shoulder bag with additional volume opening up at the top.

F645 PHELPS

The cross-body bag with a concealed truck tarp accent, that can also be worn around the hips.

About Freitag

A Zurich-based company known for its recycled truck tarps, is now expanding its bag line by launching four new and innovative ToP products (Tarp on PET). They will be made from individual, used truck tarps combined with a flexible, robust and lightweight textile of 100% recycled PET plastic bottles.