The 411

Names: Artur Heller & Anetta Heller
Occupation: Publisher, graphic designer, parent
Location: Europe / Home for us is where we are
Key Links:

• Camerapixo.com
• Artur on Google Plus
• Camerapixo on Google Plus
• Artur/camerapixo on Twitter

Favorite Color:

• Artur: Orange
• Anetta: Green

Describe yourself in three words:

• Artur: Restless and Creative
• Anetta: Friendly and Passionate Explorer

Hidden Talents:

• Artur: Drawing
• Anetta: Painting

Irrational Fears:

• Artur: Hate, envy, intolerance
• Anetta: Limits and ignorance

Interview

Andrew: So, where did the idea to start a magazine come from?

Artur & Anetta: The idea to start a magazine came from our needs. We have always been passionate about photography. There was always something to photograph and we have been fortunate to live in different beautiful places. Sharing these photos with people was a great idea. The idea came naturally as a part of our life to do something we really love. Simple as that. Finally, being abroad for many years has given us the chance to meet people of different nationalities and with many talents.

The concept of running our own magazine was there for a long time. Artur had previous experience with leading newspapers in Chicago and Boston and being a graphic designer. As a part-time photographer, he was always hungry for new ideas and projects. When the time was right we simply grabbed the chance and “glued” our passion for photography and graphic talents together. An online magazine is available for everyone and it is such a perfect way to interact with readers through social media.

Andrew: Ideas are one thing, but making them reality is another. Talk to us a bit about the process of bringing Camerapixo to life as a real business.

Artur & Anetta: It all started as a photographer’s directory and with group photowalks. The magazine was just “learning how to walk” and it was very inspiring to learn what photographers expect from their audience. We wanted to present photography in a way that caught people’s attention and made them appreciate the image. We are a team of two. However, photographers who get published and our dedicated readers are also a part of our team. We are people’s people and love to spread our passion and good energy.

Since this is a free magazine, we aim for sponsors and paid adds that will help us to keep the magazine up and running. We want to keep Camerapixo available for everyone, since there is not much reading but simply great photography to admire. We’d like to develop the magazine in several directions, from the presentation, to workshops and information. We are currently in discussions with several partners, photography schools and portals associated with photographers.

Andrew: When getting Camerapixo off the ground, what are some things you think you did right and some things you would do differently?

Artur & Anetta: Publishing an English version of Camerapixo from the first issue would be something we would do different. For the rest we are very happy with the results. When things are done with passion and happiness, you get a truly meaningful and amazing result.

Andrew: For talented photographers visiting your site, how does the process of getting published in Camerapixo work? Can anyone get published?

Artur & Anetta: Everyone is invited and may submit photos for a review. We have presented the work of non-professional photographers whose work was simply stunning, and many very talented professionals have trusted us with their images. We are also adding more options for those with occasional great images to publish one hot shot in a special section of the magazine.

Andrew: What role does social media play in your business?

Artur & Anetta: Social media is something we couldn’t do without. It allows our dedicated and new readers to keep in touch with us and to share the news and comments about the magazine. Social media has helped us tremendously in spreading the word about Camerapixo. It’s all word of mouth from very satisfied published photographers whose work was noticed by a much wider audience. In today’s world we often interact with people via social media as this is the fastest way until new technology, such as teleportation, is in use hahahhah:)

Andrew: Now, with a solid following, how do you see Camerapixo growing in the future? Anything exciting on the horizon for fans to anticipate?

Artur & Anetta: All ideas come very spontaneously and we try to realize them as quickly as possible. Photography eBooks are the main topic that we would like to grab people’s attention with. There is a big chance that we will open a gallery for photographers, and special profiles for photographers to promote them even stronger and to display their work. At the moment, we are thinking of opening our own gallery, the location is yet unknown. Photography workshops in different parts of the world are in the mix too. We will inform all registered readers of more details. And just to remind you, the registration is free and takes only a few seconds.

Andrew: Finally, what advice would you give to someone looking to start their own online publication?

Artur & Anetta: Create for passion first and then see what happens. It’s not that easy to create your own publication. You need a mass of time, great ideas and, above all, boundless creativity. The urge to create is something you’re born with. By the way, we would like to thank all those who contributed to the development of the magazine and all those who help to propagate info about the magazine. We welcome cooperation of all kinds.

Andrew: Thank you both for a look behind the scenes at your work!

Artur & Anetta: Thank you Andrew. Satisfaction and appreciation for the Magazine is our best reward and motivation to continue.

The post Building a Photo Magazine Reaching Over A Million: Interview with Camerapixo Founders appeared first on The Unframed World.

Getting permission to photograph the (almost) world famous Merrill Auditorium in Portland, Maine, was less complicated than I originally thought. I’ve had an interest in the Merrill Auditorium ever since I dubbed it “the coolest place ever” when my class took a field trip there in third grade. Attending several shows here as an adult, I coveted its stunning architecture for my portfolio. Recently, I’ve also been getting into HDR photography and some of my favorite photographers have taken amazing HDR photos of elegant interior architecture. If you’re unfamiliar with HDR photography, it’s quite interesting stuff and I recommend you read this (creatively titled) article “What is HDR Photography?“After going through hours of HDR tutorials online, my photographic bones ached to bracket a few stunning frames for myself. Like regular photographs, HDR photos need an excellent subject to look amazing. The Merrill was top of my list for interior architecture in my area to shoot. Unfortunately, unlike an abandoned building, you can’t just waltz into the Merrill Auditorium. However, I figured it couldn’t hurt to take the direct approach and it worked out perfectly.

Here’s how events unfolded

1. I emailed the box office staff (full text of that inquiry below).
2. The box office forwarded it to the house manager.
3. The house manager emailed me with a “yes.”
4. I ate several bon-bons while chucking.

Simple right? In case you’re interested in making a similar local connection for a photo shoot, here’s a look at the very basic email I sent to get the ball rolling:

Greg, the house manager, replied that I could come the following week for a three hour block when the organ was being tuned. And that was that.

Why this pitch was successful

• I established credibility as a photographer by making my portfolio readily available.
• I was clear about what I wanted (time to shoot). Back-and-forths were spear-headed by relaying my schedule in this initial communication also. Note that I didn’t ask for permission directly, “Would it be possible to arrange a time when I would be allowed to photograph the gorgeous architecture and decoration of the interior of the auditorium?” If the manager was ok with me coming, he would give me a time, if not, he would say no. It wasn’t necessary to ask for both permission and time.
• I didn’t ask for any compensation! I wasn’t being hired, I just wanted to take pretty pictures. In fact, most likely I would’ve paid them to let me in. People can tell greed from sincerity a mile away. If anything, I offered them a trade in their favor. A copy of my images in exchange for time to shoot. I didn’t have to give away the exclusive rights to your images, but made sure to emphasize what they would be receiving out of the deal. (Here’s a great site to learn ALL about image licensing for pros in the photography business)
• Finally, I was professional, polite, and flexible. It’s sort of a no-brainer, but it is important to remember that you’re the one asking for a favor.

Whether you’re a professional photographer or a hobbyist this strategy can go a long way in helping building your portfolio. Happy shooting!

This panomaric is 5 vertical HDR photos stitched together. Each indivual HDR image was composited from 5 bracketed exposures each. That's 25 shots and about 3 hours!

HDR photos can look cool in black and white (or split toned as seen here).

Fun facts about Merrill Auditorium

1. The Auditorium was built in 1912 when a fire destroyed two former halls in Portland. It was originally named “City Hall Auditorium” but was renamed to Merrill Auditorium in 1997 when it was completely renovated.

2. Merrill Auditorium in now one of New England’s finest centers for performing arts and has hosted a variety of talent in its long history including John Philip Sousa, Ray Charles, BB King, Willie Nelson, Jerry Seinfeld, Isaac Stern, operas and Broadway shows.

3. Merrill’s impressive 5,000 pipe Kotzschmar Memorial Organ was donated by a publishing tycoon named Cyrus Curtis. The organ is actually incorporated into the stage.

Other than the close-up of the organ knobs, all the pictures in this post are HDR photo composites of multiple exposures.

The post How I Arranged this HDR Photo Shoot of Merrill Auditorium appeared first on The Unframed World.

Truth be known, I do have to remind myself daily that I have an “exciting” job and thank the Lord for it. More often than not, the intense stress and chaos tends to far outweigh the excitement. However, there have been quite a few perks thrown in the mix like this morning, starting off my day hanging out with Bob Ballard (found the Titanic) in my office listening to him tell crazy stories about being off at sea like when he got hit by a rogue wave when he was 17. Pretty crazy!

My title is post production coordinator for the Oceanus project. But titles are over rated. Basically, I am media managing over 500 hours worth of footage (on 40 drives there’s 70+ TB) for a 3 years in the making, multi-million dollar special on the ocean that will air in 2012. We are approaching the long stretch and things are getting tense as we’re wrapping up this massive project. My duties range from getting all footage ingested when APs return from shoots (no I do not get to travel, bummer), coordinating graphic animations between scientists and graphic animators all over the world, editing all the footage from each shoot down to the best one hour (up to 40 hours per shoot) and organizing all the footage and sequences in a master Final Cut project to make it more digestible for our future editor this fall, pulling together dozens of post deliverable for each shoot, and helping the rest of the production team prep shoots all over the world here and there when help is needed.

It’s crazy hectic days like yesterday that I realize that this kind of job may not be ideal for every season of life. There’s a reason why the Nat Geo Television department is comprised of mainly young, single adventure seekers. Yesterday my office mate found out with around 24 hours notice that he’d be headed out last minute to Panama to film a night time dive of a scientific experiment in the Pacific Ocean with a dangerous threat of deadly sea snake bites. Though it may sound exciting, the crazy string of hectic prepping to get him out the door and through customs took a significant toll on our sanity.

That being said, at the end of the day, it helps that I still can’t deny my deep passion for quality documentary film-making despite the long hours and surprisingly low job security. Though I do not see myself working at National Geographic extensively in the distant future when I eventually have a spouse and children, I am grateful for the fortunate opportunities I’m currently experiencing as a single person while I’m able to invest 150% into my job. My ultimate goal later down the road is to eventually work with missions organizations or non profits to make my own films on justice based causes. But until then, I imagine I will hop around quite a bit to different documentary opportunities and am excited to see what the future holds.

The post Working at National Geographic appeared first on The Unframed World.

How I got in…

As you can imagine, it was not easy getting into National Geographic.I started my quest as an outsider, with no direct contacts, completely in awe of the world renowned golden rectangle branding responsible for some of the most breathtaking imagery and adventure film making from across the globe.  Upon taking the advice of an admired documentary filmmaker while at the Sundance Film Festival for a Taylor University class, I set out to get an internship at National Geographic Television right before my senior year of college with the end goal of eventually getting hired. I simply wanted to go work for some of the world’s best in documentary film making and soak in as much as I could. The first time I applied, I basically threw out my resume to the bottom of the barrel with no real direct connection to the inside. As a back up plan, I decided the least I could do was just get myself out to DC for my last college summer, before graduating in December.

I must have applied for at least 20 different internships and when I found out I didn’t get into Geo my first try, I ended up accepting a paid, free housing internship working in the TV studio of a nonprofit political organization.  Did I ever consider myself political before that summer?  Not the least bit.  Am I interested in politics now? Barely.  But it got me out to DC with free housing and an income!  Once out here, I basically networked my way through a long series of blessed connections all the way inside the awe inspiring National Geographic Television glass doors via informational interviews with individual professionals which eventually helped get my foot in the door for a spring internship after I finished my coursework in December 2009.  In order to intern for National Geographic Television you have to prove that you are still a registered student, so even though I had finished my coursework, I postponed my graduation and registered for an additional internship credit, tagging this spring internship onto the end of my schooling and headed out to Washington DC with a life savings of… just about enough money to last me two months!  I was so determined, I took the crazy leap of faith regardless of the risks and picked up a waitressing job on the weekends to make ends meet.  A year later, I’m glad I can say it was all definitely worth it.

The internship…

My internship experience was pretty phenomenal.  It was actually very uncharacteristic of most intern experiences at National Geographic because I was placed directly within a fun, well organized production team with rare opportunities to do more than just menial intern paperwork and filing like so many other intern positions in the building.  Again, I feel very blessed and still to this day accredit every step leading to the opened doors and phenomenal production team who took me under their wing to the grace of God who was truly looking out for me and opening doors the whole way. (Someday, I want to make documentary films for His kingdom and His purposes…)

The show I began interning for was such a dream job for me, coming from an engineering family, but I’d reckon no one reading this article has ever heard of it.  “World’s Toughest Fixes” is, in my opinion, one of the greatest engineering shows for adventure seeking adrenaline junkies there is out there.  It’s a shame it is no longer in production, but I’m jumping ahead of myself.  When I showed up on the team in January 2010, there was a huge demand to find more stories, asap.  So two weeks into my internship, I wrote up a story pitch for an episode in Louisiana on the building of the Huey P. Long bridge that, to my surprise, got complimented by the higher ups at National Geographic Channel (our client).  Our series producer later proposed to the rest of the production team that my format and pitch structure become the standard structure for all World’s Toughest Fixes story pitches.  (Thank you Taylor University for preparing me well!)

By the end of the internship, by proving my strong work ethic and dedication to the job, I was incrementally handed more opportunities and responsibilities, including, working side by side with a producer (or director in the Hollywood terminology) prepping a shoot on St. Paul Island, Alaska in the Bering Sea with the fisherman from Deadliest Catch. By the end of March (a month and a half before my internship was suppose to end), our incredible series producer, (known for giving young people a chance and hiring them on against most NG trends), hired me onto the team to help coordinate the post production work flow of what ended up being the last 5 episodes of World’s Toughest Fixes ever.

What I do now…

Once World’s Toughest Fixes wrapped up at the end of the summer, I was lucky to move on to a more exciting opportunity thanks to some connections on the inside and a lot of persistence on my part with an executive producer.  Currently I am coordinating the post production work flow for a three years in the making special about the ocean (including the first ever 3D episode with National Geographic Television).  So mainly I am wrangling what will eventually be about 800 hours of footage, coordinating graphic animations between scientists and animators, and doing some basic cut down and string out editing in preparation for the final edit. It’s a fast paced, hectic production environment and needles to say, trying to get out of the office at a decent time every evening is quite a difficult task. I often find myself questioning what I got myself into with this career like so many other people out there, fantasizing about what it could be like to have a normal 9 to 5. But at the end of the day, I’m usually able to snap myself out of it and remember that despite the blood, sweat and bureaucracy, I’m still pretty darn inspired by everything that National Geographic stands for and I sure do feel lucky to be here.

Photo credit: Osseous, Chris[topher] Lin

The post National Geographic Internships: Getting In appeared first on The Unframed World.

My name is Ian Kee and my interest in photography began in high school, when I lived in China. After high school I studied photography at Taylor University. After graduation I really wanted to continue my lifestyle of traveling. Getting paid to travel around the world on a cruise ship seemed like the perfect way to go.

I did some research and found out that you need to apply to a concessionaire company, as the cruise lines themselves do not hire photographers. After applying to five different companies, only one asked me to come in for an interview. So, off I went to Ft. Lauderdale to have an interview aboard the ms Noordam with Holland America. I soon found myself working on the ms Ryndam in Alaska. After spending three months in Alaska, the ship did a repositioning cruise to the Caribbean by way of the Panama Canal.

Working on a cruise ship isn’t for the feint of heart. You will be expected to work 7 days a week for eight months straight without a day off. You’ll probably average nine hours a day of work. Giving up your time is a small price to pay however for all the excellent benefits that come with working on a ship. I consider my first contract at sea to be a great success. I was able to visit many countries while significantly developing my photo, sales, and people skills. I also made a very good income along the way. Probably best of all, I made friends from all over the world.

I plan to carry on working on cruise ships for awhile. I am still young and free and I appreciate the ability to travel the globe. As a photographer I also deeply value the freedom I have to express myself through my photos. My passion in photography is photojournalism and street photography, which I am able to do in my free time.

To follow along with Ian, please visit www.iankee.com. Also check out his recent study in humanity entitled Discover Life here.

The post Paid to Take Cruises: Ian Kee’s Experience appeared first on The Unframed World.