Grm Box V00152788 Canvas Floater Frame 3/4″ Matte Black 22×27 Photo On Canvas

Grm Box V00152788 Canvas Floater Frame 3/4″ Matte Black 22×27 Photo On Canvas


grm Box V00152788″ is an art print by Gjon Mili from The Life Picture Collection. Get photo prints of “grm Box V00152788” in a variety of frames, styles, and materials. Photographer Bio Emigrating to the United States from Albania in 1923, Gjon Mili is regarded as the first photographer to use electronic flash and stroboscopic light to create photographs outside of a scientific context. A true pioneer of the artform, Mili’s photographs of dancers, athletes, and pictures or performances have shaped our understanding of how movement too rapid or too complex for the eye to discern is captured in the still image. Mili’s career as a photographer for Life Magazine spanned four decades and saw the publication of thousands of his photographs, taking him around the world; from collaborations with Pablo Picasso, to the incarceration of Adolph Eichmann, to original photos from Broadway plays. The Life Picture Collection From one of the most iconic magazines ever to hit the shelves comes The Life Collection – an archive of some of the most recognizable imagery of the 20th Century. Documenting events in politics, culture, celebrity, the arts and the American experience, these compelling and provocative photographs include the works of some of the greatest photographers capturing some of the greatest moments in history.

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Experience the Seasons of Norway in This Epic Time-Lapse

If you were to ask Morten Rustad something about his home country, chances are he’ll provide you with a lengthy love poem. Because the photographer knows that “Norway is a country where nature takes the lead with its imposing mountains, endless plateaus and echoing valleys.” as he writes on his website.

It’s only been two years since his first five-minute 4K tribute to Norway, and Rustad is back already, more epic than ever. In this seven-minute time-lapse tribute in 8K resolution, Rustad focuses on the beauty that each of Norway’s seasons has to offer.

We’ve seen quite a few time-lapse films in our days at Resource Travel, but this one actually still made us stop in our tracks. Since screen grabs (click to enlarge!) don’t quite capture the time-lapse mood, we strongly encourage to watch the entire film. You will not be disappointed.

This film attempts to capture the ebb and flow of the seasons and is a result of one year of planning, a second year of shooting and four months of editing. 20,000 kilometers have been traveled, 200,000 photos taken and 20 terabytes worth of hard drives filled. Months have been spent hiking through the mountains, sleeping in tents and travelling through the entire country hunting for the best locations.

Rustad is says he’s particularly thankful for the motion control gear Syrp provided him with, and without which he would not have been able to make this film. In a special segment on his website, Rustad elaborates on all the gear he used, which shows us he mainly used his Sony a7R II, although occasionally also putting his Sony A7S, Panasonic GH4 and Canon 5D Mark III to work.

In this “Behind the Scenes” video, Rustat shares some thoughts on how it’s not necessarily crazy to work for a year on a seven-minute video. Furthermore, the soundtrack for this time-lapse was made specifically for this film by composer Jogeir Daae Mæland, with vocals by Katrine Stenbekk, mixing by Sivert Hagtvet and sound design by Viljar Losnegård. Check out this “Behind the Music” video for some more insight on the audio.

If you want to find out every little detail about this film, you’ll probably find it on Morten Rustad’s website. To follow all of his future adventures, we strongly recommend subscribing to his YouTube-channel, liking his photography page on Facebook, or following him on Instagram.

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Adobe Launches Six Popular Mobile Apps for Chromebook

In advance of Bett, Europe’s largest exhibition for technology in education, Adobe today announced the forthcoming release of updated Android applications optimized for select Chromebooks to help students harness their creativity. Starting this month, Adobe Creative Cloud apps will be available for free download as part of the beta that Google announced today, giving students using Chromebooks the tools they need to be more creative. Using the classroom environment to learn how to problem solve and develop creative skills by using technology is more important than ever for the future workforce, per results of a global study by Adobe on student and teacher learning perspectives.

Over the past year, the use of Chromebooks has steadily grown in education – sales are flourishing in Europe, and they are now a market leader in North America. Chromebook users can download the creativity apps from the Google Play Store on Chromebooks that support Play Store apps and can expect the next wave of apps to be launched later this year.

To support the importance of creativity and technology in the classroom, Adobe is releasing the updated Creative Cloud apps that capitalize on Chromebook’s strengths – speed, simplicity and security – making these devices ideal for students to use in and out of the classroom. The family of applications launching this month are:

Adobe has been trying to make its apps available to many different types of users across platforms, and this launch to Chromebooks is another example of that.  According to the Adobe study “Gen Z in the Classroom: Creating the Future.” The research found that 78 percent of students between the ages of 11 and 17 from the United States, United Kingdom, Australia and Germany and 88 percent of their teachers see creativity as essential to students’ future careers. A staggering 90 percent of students and 76 percent of teachers view technology as key to their career preparedness. In addition, 90 percent of Gen Z students say they are better prepared for the future given how well they understand technology. Given all that data, it was only natural for Adobe to continue down this route.

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Photographing Birds Using Slower Shutter Speeds

Making a change to one’s camera kit is always a good reason to go out to get some practice using it outside and indoors. I went out to Bird Kingdom in Niagara Falls Ontario a few days ago with my Nikon 1 V3 and CX 70-300mm f/4.5-5.6 lens to practice my hand-holding technique photographing birds using slower shutter speeds.

slow shutter 1

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 300mm, ISO 1000, 1/30, f/5.6

The term ‘slower’ is a relative term of course and to me it means anything less than 1/60 of a second when photographing birds or other animals hand-held.

slow shutter 2

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 162.4mm, ISO 220, 1/13, f/5.3

Most of the birds at Bird Kingdom are free flying so it isn’t like a typical zoo environment. While some birds are more skittish than others, many of the individual birds are used to being around people and they will tolerate you getting close to them, within reason.

slow shutter 3

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 300mm, ISO 3200, 1/20, f/5.6

I knew from doing a review of the Nikon 1 V3 some time ago that the auto focus performance isn’t quite as snappy as that of my V2s in lower light conditions. I arrived at Bird Kingdom after 3PM on an overcast, Canadian winter day which ensured that the shooting conditions would be a bit challenging. I shot the image above at 4:25 PM in the afternoon. By this time of day the light was getting quite difficult but my V3 was still able to acquire focus, albeit with a fair amount of focus lag involved.

slow shutter 4

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 172.7mm, ISO 3200, 1/30, f/5.3

Photographing birds using slower shutter speeds is a great way to not only get to know your gear, but also test your hand-holding technique. Practicing your breathing and using a smooth shutter release are especially important. It is also a very good way to hone your observation skills, patience, and shot discipline.

slow shutter 5

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 261mm, ISO 450, 1/50, f/5.6

Birds tend to have somewhat choppy movements and will often ‘freeze’ for a split second when adjusting their position on a perch or walking around. Watching individual birds closely is important when timing your shutter release.

slow shutter 6

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 300mm, ISO 1000, 1/20, f/5.6

Obviously if the bird is moving slightly when capturing their image at a slower shutter speed it will cause some motion blur in your photograph. I quite enjoy the challenge of trying to get reasonably sharp bird images at slower shutter speeds.

slow shutter 7

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 266.9mm, ISO 6400, 1/50, f/5.6

Some of the parrots at Bird Kingdom seem to be in perpetual motion so they don’t make ideal subjects for this type of photography practice. As you can see from the number of different species represented in this article many of the birds do have split-second pauses in their movements and thus can be photographed using slower shutter speeds. Other than the image above, I was able to keep my ISO to a maximum of ISO-3200 during my recent visit.

slow shutter 8

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 300mm, ISO 2000, 1/40, f/5.6

Staying simultaneously aware of pauses in a bird’s motion as well as your own hand-holding technique can increase the number of keepers you can get from this type of practice exercise.

slow shutter 9

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 300mm, ISO 800, 1/50, f/5.6

I used the ‘normal’ VR setting and found that the CX 70-300mm f/4.5-5.6 worked quite well with my Nikon 1 V3. As expected, I did notice some focus lag in particularly dark conditions but I never had a situation where I simply could not take an image with my kit.

slow shutter 10

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 300mm, ISO 1100, 1/20, f/5.6

I wouldn’t necessarily try to photograph wild birds at shutter speeds under 1/60, but knowing that I can often get reasonable quality images at these speeds means that I don’t hesitate using somewhat slower shutter speeds (i.e. in the 1/80 to 1/160 range) than many folks would probably use when photographing wild subjects. This helps to extend the shooting potential of my Nikon 1 gear. Given the lighting at Bird Kingdom during my visit, if I would have used a more typical shutter speed of 1/250 to 1/400 for these bird images I simply would not have been able to get a decent exposure for some of them as they would have been underexposed to a fair degree, even at ISO-3200.

slow shutter 11

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 211.6mm, ISO 2500, 1/25, f/5.6

This type of photography practice does help to increase powers of observation, which can be helpful when learning to anticipate when a wild bird may take flight, drop from the sky to fish, or come in for a landing.

slow shutter 13

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 106mm, ISO 220, 1/30, f/5.0

Bird Kingdom does have a few other species on display which provide additional image opportunities. I’ve photographed the Green Iguana above a number of times in the past but usually at a faster shutter speed. Using 1/30 for the image above allowed me to shoot at ISO-220 and use more of the dynamic range and colour depth available with the V3’s small CX sensor. This is another potential benefit that can come from practicing slower shutter speed hand-held photography.

slow shutter 14

NIKON 1 V3 + 1 Nikon CX 70-300mm f/4.5-5.6 @ 300mm, ISO 3200, 1/10, f/5.6

I often attempt to take photographs of the Egyptian Fruit Bats during a visit to Bird Kingdom. While I didn’t purposely try to shoot at very slow shutter speeds (i.e. less than 1/15) I did capture the image above hand-held at 1/10 of a second. My slowest shutter speed for birds was 1/13 and I did get some useable images at that speed.

If you’ve never done this kind of practice photography before I’d encourage you to give it a try. As I mentioned earlier, it is a great way to learn more about the capability of your camera gear, assess your hand-holding technique, extend the shooting potential of your gear, as well as increase your powers of observation, patience and shot discipline. Most importantly is can simply be a ton of fun to challenge yourself!

All images in this article were captured hand-held in available light using a Nikon 1 V3 and 1 Nikon CX 70-300mm f/4.5-5.6 zoom lens (equivalent field of view 189-810mm). In all cases the photographs were produced from RAW files using my standard process of OpticsPro 11, CS6 and Nik Suite.

Article and all images are Copyright 2017 Thomas Stirr, all rights reserved. No use, adaptation or reproduction including electronic or digital is allowed without written permission. Photography Life is the only approved user of this article and corresponding images. If you see this article reproduced anywhere else it is an unauthorized and illegal use. Posting comments on offending websites and calling out people who steal intellectual property is always appreciated!

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Broken Old Rowboat Cushioned In Tall Wild Grass, W Canvas Traditional 1 5/8″ Matte Black 29×24 Photo On Canvas

Broken Old Rowboat Cushioned In Tall Wild Grass, W Canvas Traditional 1 5/8″ Matte Black 29×24 Photo On Canvas


Broken old rowboat cushioned in tall wild grass, w” is an art print by Alfred Eisenstaedt from The Life Picture Collection. Get photo prints of “Broken old rowboat cushioned in tall wild grass, w” in a variety of frames, styles, and materials. Photographer Bio Alfred Eisenstaedt (1898-1995), or Eisie to those who knew him, received his first camera as a gift from his uncle at 14, a few years after moving to Berlin from Poland with his family. At 17, he was drafted to the German army. His interest in photography blossomed while recovering from a shrapnel wound. He became a regular at museums, studying light and composition. By 31, he was a full-time photographer. In 1933 he was sent to Italy where he shot the first meeting between Hitler and Mussolini. Two years later, when Hitler came to power, Eisie immigrated to America. Soon after arriving in New York, he was hired along with three other photographers-Margaret Bourke-White, Thomas McAvoy and Peter Stackpole-by Time Inc. founder Henry Luce for a secret start-up venture known as “Project X.” Six months later, Life magazine premiered on November 23, 1936. The first issue sold for 10 cents and featured five pages of Eisie’s pictures. His most famous photo was the kiss in Times Square on V-J day, about which he said, “I was running along the street grabbing any and every girl in sight. Whether she was a grandmother, stout, thin, old, didn’t make any difference. None of the pictures that were possible pleased me. Then, suddenly in a flash I saw something white being grabbed. I turned and clicked the moment the sailor kissed the nurse.” Over his career, Eisie shot a total of nearly 100 covers for Life magazine and some 10,000 prints. The Life Picture Collection From one of the most iconic magazines ever to hit the shelves comes The Life Collection – an archive of some of the most recognizable imagery of the 20th Century. Documenting events in politics, culture, celebrity, the arts and the American experience, these compelling and provocative photographs include the works of some of the greatest photographers capturing some of the greatest moments in history.

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