My work has been featured in the March issue of CMYK Magazine!
I’m so excited to share with you guys my feature in CMYK Magazine’s Top 100 New Creatives, Issue #52. This small feature is a big and exciting deal for me! I love being able to share my work on a bigger scale (I’m already having a higher increase of website traffic)!
Right before each section: Design, Illustration, Advertising, and Photography, they have a feature about the judge who selected the pieces to be in the magazine. I’m so excited that my piece was selected by California based photographer Marc Piron. Here is his critique regarding the entire photography showcase (quoted directly from CMYK Magazine):
” 1. I am not a big fan of HDR; it was fashionable for a while. One can argue, I guess, that it’s artistic, but I find it gets brutal, harsh, and boring quite quickly. The trick with HDR is to use it to an extent where it’s not obvious at all, where things look a bit sharper with more contrast. However, if one has any doubt that HDR has been used, that means it was used too much. I suggest toning it down. Along the lines of that same argument is exaggerated use of Photoshop in photography. My advice is to use it only to the extent that one can’t tell. And the same goes for flash photography.
2. Find a balance between technically proficient photography and some distortion; find a balance between clean and dirty, but have both; introduce a number of components in one image, but balance it. I found there to be a high degree of creativity in most of the images, a lot of risk-taking, and I was very pleased to see that.”
-Marc Piron, Photography Showcase Judge, CMYK Magazine Issue #52.
The part of Marc Piron’s showcase critique that stuck out the most to me was the part where he discusses our use of Photoshop: “My advice is to use it only to the extent that one can’t tell.” I felt my heart flutter a little bit, because THE WHOLE POINT of my assignment was to use Photoshop to create a “constructed reality.” Meaning, although the image is stitched together in Photoshop, the piece should be so seamless that the viewer starts to question reality.
Kevin O. Mooney was my instructor that set the constructed reality assignment. This assignment was really a big taking off point for me because it was then that I realized that I loved to stitch images together to create this sort of impossible scenario. I was making the impossible seem possible by Photoshopping 10… 20… sometimes even 30 photos together to get the perfect image. I used the constructed reality technique for many of my projects: Anomalies, Unthinkable, and Constructed Realities.
Thanks everyone for being so supportive and just as excited as I am about this! It’s exciting things like this that make me want to continue to make good work.