Focus On: Ivan Maslarov

Ivan was the first photographer I chose from the Flickr group to be featured for the Photo of the Week. His work is super clean and he has definitely claimed the shallow depth-of-field as his signature. He sees the photograph before he shoots it and lights it to his liking. He often crops his images, which is a sensitive subject sometimes, but he makes it work. I asked him to write a bit about his background and experience in photography, and he sent me the following, laid out with the photos and everything. Thanks Ivan!

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“My name is Ivan Maslarov and I started riding around 2000 I’ve been shooting since 2009. Shooting for me is stress usually. Flashes are flying down from light stands, batteries are dead, riders are demanding. I like that sketchiness I build on it and I like to think it helps me to stay focused and creative.

Shooting BMX gives a different kind of adrenalin from the one you get from riding. It also has its consideration, preparation and realization phase. And as with most tricks it all lasts just a moment. With digital photography the parallel continues­ – you understand if you have fallen or landed the shot immediately. I still ride and try to push myself and the camera adds a whole new layer to the experience. The majority of the time I will have all my camera gear when I am out for a ride and I will keep my eyes open for new tricks, new people and interesting spots.

When I was photographing the first very dangerous move to happen in front of my lens I was euphoric when I clicked. Not far away from the way my buddy was happy when he landed safely. You feel very responsible when someone is risking it and when they trust you to document it all. It was only the two of us and we were jumping and shouting out of excitement.

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In the beginning the question was whether I buy a video camera or a flash to add to my wife’s canon 350d. I wanted to take part in the experience not only from riding perspective. Once I decided it will be photography I got a single pocket flash and this is where it all started. I was hooked, setting the camera on the ground at long exposure at night and running to snap the rider with light from up close. One power setting one zoom setting, just an on and off button and a trigger one. I slowly geared/geeked up building my kit with a lot of trial and error. I made my steps mostly on my own by reading and by looking at images and trying to analyze them and backwards engineer them.

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My first published shot was a great feeling. Looking at your image on paper wedged in the middle of a mass reproduced mag is special.

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Shooting with an analog camera is magic. It really feels like a ritual, especially when you take digital for granted. Just the thought that you have some special goo spread over translucent plastic and all that shoved in a dark box is mystical. It’s so superficial to me that I take much more consideration and respect when I practice it.
It is all manual in my case so I somehow connect to it more. The best part is that you don’t see the results instantly. You are forced to question and to try foreseeing. This kick starts your imagination and it makes you more focused on the technical aspect at the same time.

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Shooting at night is great. You have so many choices and possible interpretations. It’s easy on the batteries and you can light more space with less energy. They are less people on the way and everything is far calmer, almost like a studio.

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I love shooting with natural light – its all there its fires every time and obviously gives a very natural result. In my case I feel like I needed to go a long way with lighting my shots in order to start recognizing great natural light.

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My biggest guilty pleasure is overusing shallow depth of field. It really feels like defeating the purpose of a two dimensional representation of reality. It tries to be three-dimensional and it actually is mostly recording blur, which is not really a representation.

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I always try to remember that there is not a bad place or weather or light situation. They are only easy and not so easy situations. It just creates a challenge, which usually gets you out of your routine and helps you to develop.

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Fish eye is seen as a gimmick, as an over used tool and as taking the easy way. It’s hard to use one! Because it usually introduces a lot more in the frame and because it distorts. You can’t apply it to all of your images but it definitely has its place.”

Gear Sale!

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To commemorate the acquisition of my first Flipcam four years ago this week, all Push It A Stop gear is on sale in the store. Free shipping in the continental US!

Virb.com Portfolio Site Review

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A couple months ago when I was in the market for a new online portfolio, a friend at Fraction Magazine referred me to Virb.com. I couldn’t be happier with the platform. It’s $10 a month for hosting your site, they have a ton of customizable themes to choose from, and it is very user friendly.

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Above are some examples of the themes you can choose from, click the image to see more. Virb allows you to personalize each theme to meet your needs exactly. Also, everything can be coded using html to customize it even further. All of the themes automatically include a mobile format.

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This is the customization page for the theme I use. It is really simple and it gives you a live preview as you make changes.

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This is the backend of my website. To create new galleries you just add new pages and then start uploading images. To organize the galleries you simply drag and drop into the order you want.

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To add photos you upload them straight from the computer (always make sure web images are in srgb format) and use the drag and drop feature to sequence your photos. Really think about the sequence of your images to maximize the viewers experience.

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It is just as easy to add video galleries to your site. You can upload straight from your computer or with a url directly from your Vimeo or Youtube account.

Some other features I was really into with Virb was the ease of connecting your social media. You can link your Instagram, Tumblr, and Facebook with just the click of a button. Virb also connects to bigcartel.com, so if you want to sell prints you already have a store front to start slinging from.

Overall I would recommend Virb to any artist out there looking for a quick, easily managed, professional portfolio site. It is so simple that you could have your site up and going within an hour of registering with Virb.

Disclaimer: This is just a personal product review on the service that I use. Virb.com did not compensate me in any way for my opinion. However, if anyone from Virb is reading this I would not say no to a free website.

Behind the Photo with Fat Tony

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“To set up the shot I put my main flash on a tall light stand just over my left shoulder as I was crouching down with my 15mm fish eye lens. This was right at 180 degrees from where the sun was coming in from the trees and served as the only flash lighting up Scotty and his bike. The ambient light behind him gave a pretty good key light on his helmet, shoulder, and arm. I would have liked to have another key light hitting the back side of his rear tire, but I only had three flashes with me, and the other two were used to light up the under side of the take off. With that said, I set up my two fill flashes low to the ground just out of the right side of the frame pointing up at the under side of the wooden launch. Without them lighting up the take off it was very dark and shadowy with little to no detail in the wood. Since the take off was so unique in this setup it was important to me to show where he was coming from in the best way possible.

These trails are located behind John Jennings’ parents house, and on the day we were scheduled to shoot Scotty couldn’t get in touch with any of the locals to unchain the roll in, so he had to find a very creative (for lack of better words) way to get the speed for the gap. Being the boss that he is, Scotty not only got the speed, but fully clicked a turndown on his first and only go at it. One and done, in and out…off to the next spot!

PHOTO INFORMATION
Date: May 10, 2013
Location: Area 51 Trails, New Jersey
Camera: Canon 5D Mark II
Lens: Canon 15mm
Camera Settings:
ISO 100
f/5.6
1/320
Main Flash: Quantum Q Flash with Turbo 400 w/s battery pack (set to roughly 1/4 power)
Fill Flashes: Vivitar 285 (set to full power)
Transmitter: Pocket Wizard MiniTT1
Receivers: Pocket Wizard Receivers”

More post-processing techniques here.

Behind the Chocolate Truck DVD with Matt Miller

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To coincide with the video review I just posted, here’s a couple Q’s & A’s with the man behind the lens and monitor but also with one of the standout parts of the video, Matt Miller.

Alright, so what’s up with the name “Chocolate Truck”?
“It has really no significant meaning. Probably 5 or 6 years ago we wanted to come up with a name for our video, and we were all trying to think of serious names or something and Carl was just saying the dumbest names, and Chocolate Truck was one of them. I think it stuck for the sole reason that theres no stupid meaning or anything behind it, it was just completely random. Then i just got some basic stickers made and it went from there. People are pretty disappointed whenever we explain the name haha.”

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How long did you guys film for this video?
“We filmed for this for about 5 or 6 years, pretty much the entire time I was in college. Most of the footage we used in the video is from the last two years but Kevin has stuff in there from when he was 15. Carl’s footage is from a long timespan as well.”

What cameras were used and who did the filming?
“The video was filmed with a VX2100 and a VX2000, with some random DVX footage in the mix. I did a majority of the filming but NickyB and Steve Tassone helped me film my part.”

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How long did you spend on editing? What software did you use?
“I use Final Cut Pro 7 and it took me around 7 or 8 months to edit everything. Im really unorganized so I spent alot of time relabeling shit and finding lost footage. Its hard for me to sit down and just bang everything out at once so I would just edit for a couple weeks and then wouldn’t touch it again for a month or two sometimes.”

Did you guys travel much?
“Not much at all. Its hard to organize trips cause the crew is so big and we all had jobs or school shit to handle. We went to Boston and Baltimore for some weekend trips, but the video was filmed mostly in Philly which is what we wanted anyway. Hopefully we can travel a lot more for the next one.”

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Who chose the soundtrack?
“The soundtrack was a collaboration between everyone. Some dudes picked their own songs or I would throw them ideas until something stuck. Certain people like Joby would always put their song on when we were in the car or just hanging out, so when it came time to pick music, those songs just made the most sense to use. Navaz found Brendon’s song for me too. Both of Kev’s original choices got used in web edits, so we had to change them last minute. I think a lot of people who make videos really want to use music that is relatively unheard of, but I didn’t really care too much about that. I just wanted everyone’s part to fit their personality and I wanted to make sure the video wasn’t too serious or anything.”

What is your favorite clip, or is there any clip that has a great story behind it?
“One of my favorites is Carl’s uprail to fence stall. We all told him to try it and he ate shit the first two times and then just did it perfect his next try. His reaction is pretty funny he looks so surprised that he landed it and everyone is laughing in the background. Brendon’s last two clips were filmed 30 minutes apart. We were driving to the kink rail and we saw this other rail and stopped there first so Brendon could fire it out real quick. Nicks infamous Polejam fall is one of my favorites and the Dog Shit bitch in the extras always makes me laugh. We tried to submit it to Worldstar but i guess they weren’t feeling it haha.
I think everyone has some really stand out clips in their part so its hard to name them all. Pretty much every clip I used in the Intro and Credits are my favorite as well because there just funny to watch and it gets me siked to ride with everyone.”

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Which part was easiest to edit? Which part was hardest to edit?
“The easiest part to edit was probably my own. Its easier to edit something when your the only one who really cares how it comes out. When you edit someonelse’s stuff, you have to make sure they are happy with it too. A couple times I would be really siked on a part, and would show it to them all hyped and they would hate it haha. The hardest part to edit was probably Brendon’s. It was originally edited to a pretty weird song that was kind of out there but we all really liked it. But the more and more you watch something that can change pretty quickly haha. When we changed the song it was hard for me to start over from scratch and come up with a new idea of how the part should look since i had the original one stuck in my head. But Im really happy with how it came out and I think it’s his best video part yet.”

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Any problems/injuries/setbacks?
“Me and Brendon both broke our ankles, NickyB broke his nose and John Yoh is always getting hurt. The most serious one was Kev. He compound fractured his leg in Baltimore a year and a half ago which ended filming for him. He still had enough footage for a full section though. Aside from that a lot of people who we planned on having full parts ended up quitting. Things moved pretty slow for the first couple of years. Once a bunch of us got a house together it made filming and organizing everything a lot easier so the last two years is pretty much when we got motivated and filmed the entire video. At one point though, our house got robbed and my computer and primary hard drive were stolen. I had to spend a lot of time re logging all the tapes from 4 years prior which sucked. I even had to make John Yoh nose manual the spring garden fountain twice cause that clip was lost completely haha.”

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Who shot the photos in the menu/on the DVD?
“I shot all the photos and Jay Dyer at Animal did the template layout for me. I have an old Canon AE-1 that I bring out sometimes and I like messing around with disposable cameras.”

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Did you ever find it difficult to balance riding time and filming time?
“Yeah for me it is really hard. I enjoy filming a lot and making videos but I would always rather be riding. Riding in Philly there are so many little spots to hit when your cruising, and having a big ass camera on your back takes the fun out of it for me. It sucks cause some days I just wont bring the camera out because I want to ride, but those always end up being the days when everyone kills it haha. I give credit to anybody who rides and films it takes a lot of patience.”

Will there be another Chocolate Truck full-length DVD?
“Yeah, eventually. Most of us want to work on some short term projects for a quick change and do a little bit of web stuff since we never really have. But we haven’t stopped filming since we finished the video. Everyone is pretty eager to keep filming, so hopefully this next one doesn’t take as long as the first did haha.

I want to thank everyone for filming for this video and for all the good times. Thanks to Navaz, Bob and Darryl for answering all of my questions. Jay Dyer for doing the artwork and Schimpf and Marshall for shooting photos. Kink, Animal and ODI for keeping my bike nice. Word, ALYK, Hood Antics, LFS, SAF, AM:PM, 90East, SharkAttack and all the other crews out there making their own videos. Thanks to all our friends and family and thanks to everyone who supports us. Follow us on instagram @chocolatetruck.”

Pick up the DVD here. Seven bucks shipped- you can’t go wrong.

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Video Review: The Chocolate Truck DVD

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The Chocolate Truck DVD is everything that I like in a BMX DVD. First and foremost- it’s got great riding. Amazing riding. Every rider shines in their own way and every person that watches this video will surely relate to someone’s style. Secondly- it’s fun. The soundtrack is pretty lighthearted, where it needs to be. Some tracks are serious and it works for the section. You can tell that the editor (Matt Miller) knows everyone pretty well and found a song to match the person. Lastly- it’s clean. There’s no excess of anything- not too much B-roll, not too many second angles, not too much fun (yes, that’s possible). The filming is on point. There are only a few clips that stand out as second-rate, but they are not bothersome- these things are sometimes unavoidable. The editing is excellent. The DVD menus are exemplary and easy to navigate. The copy that I got was a premiere-edition self-burned DVD from Matt himself, but I trust that the production copies are designed well and come in a beautiful sleeve.

The intro sets the tone for the whole video, as it should. “I’m rollin’ with Chocolate Truck bitch!”. I’ve got a soft spot for quick-cut montages. There are somewhat introductory clips for each rider who has a part and they give a good idea of each individual’s personality. The song keeps it real.

Carl Brown has first part and sets it off with a number of wrecks that will make you laugh and cringe at the same time. You can tell he really went in for this video and it definitely paid off. I love his reactions after landing/not landing tricks. He’s a strong dude and uses that to his advantage, hitting tall rails and ledges. I could picture a number of different musical styles that could fit his riding but the least likely ended up working the best- very ironically inspirational. God damn, he gets bodied so hard on that huge kinker overgrind. Dude is not afraid. The uprail to fence stall is just unbelievable. Astounding. Ender is perfect. I applaud whoever found that setup, and of course Carl for firing it out.

Joby Suender has a very trails-inspired style in the Philly streets. He can table out of almost anything but my favorite is the smith hard 180 table. He’s riding a number of different bikes in this section but can produce clips on every one. He rides fast and holds tight. The smith hard to backwards manual is one of my favorite clips in the video. He’s got style and originality. Two thumbs up.

Steve Tassone has the Philly flow and hits a bunch of dialed railhop lines. Big gaps and drops look effortless to him. I love the pep he has in the nosebonk-smith-nose-180 clip- it fits the music perfectly. He’s super relaxed (or it just seems that way) when he rides and it definitely becomes his style. He’s got a little bit of every terrain in his part and rides them all like a regular.

Nick Barrett– my first thought when seeing that Nick had a full part was “Oh… really?” He’s a big guy and historically there have only been a handful to pull it off- but I’ll be damned if I wasn’t completely blown away. Dude has an eye for the slider grinds and uses them perfectly on a few setups. When he spins out of grinds he keeps all of his speed and rolls out clean. My two favorite clips of his are back to back- the feeble gap feeble gap smith then the smith drop opposite smith. Van Homan himself would approve of his last clip. The song- fucking great as it is- could have been replaced with the hardest Uncle Murda track ever recorded and this section would have a completely different feel. But if you know Nicky B (you kinda get the idea from some of the B-roll clips in here) you know that this track is perfect for him.

Matt Miller himself is up next. I had some idea of what he’s up to before seeing this part, but I had no idea of the scope of things. No idea. He’s got the most stylish halfcabs, probably ever. You’ll see what I mean on a few of them. He can also fullcab high as fuck. You’ll know exactly what I’m talking about when you watch this. His pedal grind game is tack sharp. I swear he could 540 out of a manual too. There is one clip where he wallrides backwards into a storm door- he rolls fakie on the wall. Incredible clip. I watched it a few times just now. Pedal grind to G-turn- and he has to, like, hop out of it too. So good. Halfcab whip looking so sick. His last clip is completely unexpected- that is, I had no idea where he was going with it, but damn it’s wild.

John Yoh definitely has the breakthrough part of the DVD. His name, awesome as it is (his last name is Yo!) isn’t well known. This section will probably change that fact. He obviously went in while filming this (the intro clip) and it worked out in the end. He keeps a good, positive attitude even throughout the blood and bruises. He can hop high, grind far, balance amazingly on his nose (into and out of grinds), grind opposite to opposite spin, throw bars anywhere, hanger anything- reg and oppo. He noses through that square bowl fountain thing, so smoothly. His ender is… wow. You don’t see that every day.

(Riding break- I couldn’t help it. This video gets me so psyched to ride)

The friends section is, friendly… A great cross-section of Philly area riders, a Dak clip, some Belcher clips and Kyle McClinton going so slow at a huge gap. He crashes once, gets up and fires it out, going just as slow… I have no idea how he cleared that but it looks like he’s running 25-16 gearing. A great track to accompany, with the chorus repeating “When you see me in your town say wassup”. Friendly.

Mike Swift is up next, riding smooth as ever. I guess it took him a while to warm up to the song Matt used, but honestly, it’s my favorite in the whole video. I know a lot of people will think the opposite, but it gets me every time. The railhop to manual 180 clip paired with the music gives me chills- a beautiful example of skilled video editing. The wall-smith fullcab out gets my vote for one of the best clips in the video- but that does not even come close to comparing to his ender. The perfect setup and it could not have been done better. My favorite clip in the video.

The Niranonta brothers- Ryan and Joe– share the next part. It’s somewhat difficult to tell them apart (Ryan rides the Scerbo bars) because they can both hop crazy high and barspin up there as well. I like that the first couple clips are each one riding the same spots. Hang five to smith (with a stylish backpedal) bars out is my favorite clip in the section. That or the quick fullcab barspin. Ryan scores the last clip and it’s pretty wild. Their song is one of the best ever recorded, ever. Honestly.

Dan Bob comes out of left field almost dying from tetanus in his first clip. I’ve never met the guy but that clip alone tells me a lot about him. One of the first clips is an icepick- technically on a triple kink rail, but more realistically an ice-drop-ice-drop-ice. A high-speed hop nose manual hop out into a bank is a great clip. A spectacular nose manual off a large ledge follows soon thereafter. Last clip was made for that spot and I’m sure it’s been talked about for a while. Dan Bob made it happen.

Brendon Reith rides to a vaguely cowboy-western track with his usual M.O. of crazy ledge rides and 180 railhops. There’s a clip of an icepick on a kinked rail where he pretty much gaps onto the flat- don’t know if it’s intentional or not but it looks absolutely insane. Let’s get real though, he’s got some of the best icepicks in the game and his pegs hopover style is next to none. Speaking of which, his last clip… Got damn! I think everyone was thinking the same thing at that exact moment.

Kevin Vannauker comes pedaling full speed in his opening clip and does something that will stay with you for a minute. I’m not going to ruin any surprises but, fuckkkkk… He’s an incredibly well-rounded rider and has style to go with it. I’m sure it’s not the first time you’ve seen his riding though. This might be a spoiler of sorts so *spoiler warning*

His part would have been super solid had it only been the one song but shiiiitttttt, as soon as the second song starts playing, with the quick drum beat and Kevin pedaling, again, full speed, I can’t help but get the chills, once again- super psyched on this second song. Holy fuck- that’s what he was pedaling at! Every clip from here on out is so great, but one that stands out to me is the toothpick on the fence- stalled out and everything. So. Fucking. Good. This track is too good. I’m usually not a fan of the tooth-360 over maneuver but this one Kevin does made me a believer. I also love the truck to manual right after that. Second to last clip appears to have been filmed on VHS but it’s fucking beast. Last clip is manly as fuck and could have been disastrous. Kevin makes it happen.

And that’s the video. An instant classic, quintessential East Coast crew video, filmed great, edited wonderfully, amazing riding, funny clips from pedestrians, an extremely enjoyable soundtrack and professionally crafted. The DVD extras include falls and random happenings between Philly and Levittown- entertainment throughout (“I’ma slow-mo dat!”). Kids love Chocolate Truck.

Pick up the DVD for a mere seven dollars shipped. Trust me on this- you want to see/own this video.

If you want to learn a little more about the work that went into the video, check out the interview with filmer/editor/rider Matt Miller.

Photo of the Week: Casey Smith

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“I shot this photo of Aaron Robinson at Northside Skatepark in Norfolk, VA on April 19th of this year. Although it was a few months ago, I specifically remember shooting this because it was during a bowl jam that I put on.

There were two things that really made this photo difficult to achieve; the first being the framing. Previous to shooting, I noticed the gap in the tree line could cradle a rider jumping that hip perfectly, but it took me multiple tries to get the timing and angle just right; luckily Aaron’s tables are so on point, he was able to do them over and over.

The second issue I ran into while shooting this was the weather. Although unnoticeable in the photo, the winds were horribly gusty (35mph to be exact) and this specific skatepark is landscaped with mulch and wood chips, so debris was flying everywhere. This combination creates an extremely difficult situation for the rider, especially when jumping a seven foot tall hip, but Aaron handled it very well.

I was very pleased with the final product, not only because I captured one of Aaron’s perfect tabletops (I have repeatedly claimed that he has the best tables in Virginia), but the fact that I captured a memory from that day which will now stick with me forever.

Technical data:

Canon 60D
Canon 18-135mm
1/1250
f/4.5
ISO 500
Zoomed to 39mm”

Check out more of Casey’s work here.

Join the Flickr group and add your images to the pool to be next week’s photo!

Pure Fix in the City

Get yourself some stylin’ wheels from Pure Fix!

Photo of the Week: Mario Gorman

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For the most part, I don’t like to post vertically-oriented photos, simply because they don’t display well on computer monitors, but this was too good to pass up. The composition of this image is impeccable- every vertical line is perfectly vertical. Although I’m not a fan of rules, the rule of thirds is strictly abided by. The timing is perfect. The light is nice- an optimal time of day for natural light photographs. It’s a pretty crazy tailwhip to boot and I could easily see this covering a magazine.

“For this photo I shot of Flo was somewhere in LA. Right away he climbed to the top and hammered it out. From where I was standing, which was completely at the bottom, I couldn’t get the angle I wanted, so I had someone give me a boost onto a platform about 10 feet high. It was around 5 or 6 o’clock with the sun out, blue skys and no clouds blocking it. I set my white balance to daylight and set the ISO to 200. For the shutter speed I shot at a 1000th of a second and the f/stop to 4.5. The camera I’m using is a Canon Rebel T3i and I’m using the stock lens it came with which is a 18-55 mm. I bought my camera four months ago and just been shooting as much as I can when I’m not working.”

Check out more of Mario’s work here.

Join the Flickr group and add your images to the pool to be next week’s photo!

“Everybody Street” Trailer

This documentary about street photography looks like it has the potential of being amazing. A Cheryl Dunn production.