#this is based on some 80s costume i found on pinterest. i think about this costume a lot

[hollis-art]

7. costume

[cordcorvid]

hi! i hope this doesnt come off as a bother or anything . but do you have any mask making tips or tutorials you could reccomend ?? (like for materials, jaw movement, and how to see out of there) im planning to do a raven named Goose :D

ive been finding some resources here and there, but i thought it wouldnt hurt to ask !!!

Absolutely not! I'd love to answer all your questions. :D I have not looked at that many tutorials, I mostly looked at pinterest pictures of raven costumes to see what I can come up with. One that really inspired me to get things going is actually another Tumblr user I found on there who has posted some helpful tips that I followed along with! They too have a raven costume and they got their resin base from the same manufacturer (Crystumes, they have a website where you can shop for their blanks) Since this post is awfully long, I'll do a read more from here on:

The tutorials I followed the most is this one by Rah-Bop:

Rah-Bop has some tips about adding feathers, making foam-feathers, adding claws to your gloves, making gloves or feet. In terms of material: I used the hinged resin base by Crystumes which by itself cost me +/- 200USD, they sent me a pair of customizeable glass eyes and a tongue.

Crystumes has some additional tutorials specifically regarding their masks on their website! Crystumes also lists some of the materials on their website that I used and where to get them (Like the apoxie clay to do the eyelids, the glass eyes etc.) I did mess the eyes up though the first time I did it so I had to order them from delviesplastics.com (As suggested by Crystumes) Since I ordered the base with hinges I'm not sure how to do them myself but I will have to figure it out for the second fursuit I'm cooking! In terms of other material I bought some long rooster feathers and hair jewelry off of Etsy. I bought a pair of long faux leather gloves from Ricardo (which is a swiss second hand online shop) but you can buy the gloves anywhere else or even sew them yourself by tracing your arm and hand on a piece of paper, then trace the pattern twice on any somewhat stretchy material like faux leather or spandex and sew those two together for one glove each. I bought black fur in another Swiss textile / sewing shop named Alja (not sure if it's actually Swiss) since it's cheaper (around 60$ for 4 yards) than to ship fur from America to Switzerland (Which amounts to 100-200 for the same amount). But if you can afford it: Take a look at Howl's Fabrics or Big Z Fabric. Both websites offer samples! I personally don't buy from them as the shipping costs for me are devastating. I suggest looking at general "furring" tutorials or "how to fur a fursuit head" tutorials on youtube. Most of them will tell you to make a duct tape pattern on your base, draw on the patterns then cut those patterns out on fur, sew the fur together then glue to the base. Crystumes once made a twitter post about it as well I think but I'm not sure I'll find it. When cutting fur in general just make sure you keep the scissors as close to the backing as possible to avoid cutting any fur fibers in the process, it will be visible otherwise. I made a fur top / shirt by tracing one of my long sleeve t-shirts onto the fur I bought and went with that. For the back of the head I used an 80s Mullet/Rockstar wig I bought from another Swiss online store. Other fursuit makers mostly sew fur even to the back of the head but my personal Raven fursuit is literally just a mask with a wig to cover the back. Which in turn makes the whole mask less hot. To keep the mask ON my face and to keep it from slipping down I used the adjusteable part of a biking helmet or climbing helmet. and attached it to the mask by using a lot of hot glue, I eventually had to use some stronger glue as it kept falling off. Since the mask was fairly big when I bought it and rather uncomfortable I used thick felt sheets and glued them inside the head as padding material! Foam works as well, whatever floats your boat. I went with felt since I could easily cut some feather patterns into them as a nice easter egg. Not sure anymore what exactly I used to cover the holes by the beak that I see out of, but it was some kind of very fine dark and flexible grid that I bought from the swiss equivalent of home depot. In terms of being able to see: The crystume base has holes between the beak and the eyes that you can look out of or you can even look through the mouth, both works pretty well and the mask allows for a lot of visibility from within- Out of all my fellow furry friends I'm the only one that doesn't necessarily need a spotter since I can see pretty well. In terms of clothing I pretty much sewed nothing by myself and only assembled a bunch of my own outfits that would fit the raven costume. Sometimes I did buy some costume specific stuff from online clothing stores or went into the thrift shop to buy some costume specific clothing pieces. In general, for your first raven costume just go with the flow and try to keep it budget friendly, as your first will unlikely be perfect. And that's about it! Not sure if I missed something but I tried to cover everything as much in detail as I could. Hope it helps!

[protectgeorgeweasley]

WITH THIS NEXT UPDATE, WE ARE COMMENCING WITH LUMOS'S FOUR PART FINALE.

Each part is a separate update/chapter--this is different than the parts we had to split "Inheritance" into. [And there's also the epilogue, which technically comprises our final, fifth chapter, but it comes after the finale].

!!!!!!!!!!!!!!!!!!!!!

I cannot believe we're here. <3 <3 As a fun, wrapping-up sort of thing:

Want to help me dress the Weasleys?

If you have Lumos-canon style wardrobe suggestions for George, Hermione, the Weasleys, or any of the other characters, please post any photos/moodboards/aesthetics/pinterest links/etc. and tag me here or on Instagram [@ lumosfic]! [Or dm me, if you'd rather not post.] Some general notes: -Is this weird? Sorry if this is weird. I thought it might be fun, and I've been wanting to try this for six months, but I've been too anxious to ask in case it's weird. -Depending on where I'm at in the writing process, I check platforms more or less often. If I don't see something right away, give it a bit of time. I'm likely hunched over my keyboard and will resurface for air eventually. -Within the Lumos universe, when dressing the characters, I typically consider a few factors: age, the character's relationship to the muggle world, their daily routines, the climate, and their financial status. For example, around the house, Arthur wears muggle clothes. But they're often from an earlier time in his life or handmade by Molly. He doesn't necessarily always match them correctly. The question of "when would they have gotten this item" is something I think on a lot when picking new clothing items, and I usually try to re-use pieces between multiple scenes. -Feel free to offer suggestions for either timeline, but bear in mind the characters haven't had much time for shopping in Hermione's timeline, so most of them probably aren't decked out in a set of Miss Sixty's ultra-low rises from the Birmingham location that's about to open in their era. Other things to consider/a moderately detailed rundown of characters and how they dress that ran away from me [a few, mild spoilers for the Lumos universe stories]:

Characters who work at the Ministry (or have worked there) are more likely to own things that suit a Ministry setting, though they may have differing attitudes towards these items, depending on the timeline in question.

The characters in the Lightning generation especially dress in a way that's very based in the costuming found in the films. So, think 80's/90's, since the wizarding world is a bit behind the muggle one, even with the younger people. Fleur is the exception, since she brought most of her clothes from France, and thrifts and alters her new acquisitions.

Other people in Arthur and Molly's generation might dress in a more formal wizarding style, or in items from the 70's, depending on their attitudes and relationships with muggle cultures. Older people who are better off might have newer things, too.

Characters fall into different places on the comfort/style paradigm.

Hermione dresses for function, mostly. These functions vary. Sometimes, it's about what's pragmatic for brewing or casting or training. But sometimes she's dressing to project a message--to George, to herself, to the world at large.

George dresses for purpose, prioritizing comfort when possible. He's grown a fair bit in embracing his own style where it differs from Fred's.

Arthur cannot do rough, uneven, and uncomfortable textures.

Molly fashions her own frills and sometimes wears them even when they might not suit her scheduled chores. Unlike Fleur, you can tell Molly's DIY pieces are DIY.

Fred wears nice clothes like armor,

and Fleur wears nice clothes like a second skin.

Angelina dresses for movement and practicality. Her mum usually braids her hair to help protect it in Quidditch practices and matches, and she'll do Angelo's.

Ginny hovers her hand over her trunk and makes a unique choice every day if she wants to be a sunbeam or a lightning strike. It is a coinflip.

Harry wears what Molly and Ginny buy him, since it always fits well.

Ron finds a sense of confidence in uniform, so he wears his even when he's not on duty.

Bill is constantly oscillating between his inner pulls towards independence and responsibility, so he might be cool-dragon-leather-jacket-Bill or grumpy-sport-coat-Bill, depending on the day.

Charlie has holes in nearly 3/4ths of his items. Not a single, whole sock in his collection. He's rough with his things, and doesn't think much of it. He can sew, from necessity, but it doesn't look pretty.

Percy dresses like Arthur dressed for the office in 1980, only he wears those things in his downtime, too. There are some differences, accounting for Percy's tastes--lots of long sleeves, neutral greys and blacks, and he's better at avoiding mismatched items because he is diametrically opposed to his clothing being affronting or loud [in color, texture, or the impression it might give others]. He wants his mouth or his quill to speak for him, and not anything else. The only statement Percy cares for his clothes to make is that he is intelligent. His only chance of having any sway when things get rough is to be seen as one of the smarter people in the room.

The children wear a mixture of hand-me-downs and newer things. Harry initially balked at hand-me-downs for Teddy, but eventually, he realized that sometimes hand-me-downs are not always markers of neglect, but rather belonging.

Young as they are, much of the children's style is currently a mixture of their parents and family's, though their own opinions do play a role [Victoire gravitates more towards Bill's aesthetic than Fleur's, at present; Angelo prefers red; Teddy avoided buttons until he was about four and a half, and his wardrobe still reflects this in some areas].

Luna is a shopfront magpie. She picks things only when they make her stop, smile, and say, "How strange." She gravitates more towards softer blues, like Fleur, but she is far less coordinated with them. She rotates her things so as not to hurt their feelings from neglect.

Emmeline and Marcus shop together a lot--more as they've gotten closer. It's one of their bonding activities, and Marcus is very much the dad waiting on the bench outside the fitting room [muggle or magical, it doesn't matter], who will hype her up when she emerges to do a twirl. She has a unique style that she cultivates, and it's always evolving. Details are important to her, so things like custom pieces or alterations catch her eye. She's more of a curator than a crafter, though; she's been too busy with school to allow for much else. [Marcus is admittedly less enthusiastic about his own wardrobe, but he lets Emmeline manage it from time to time.] He takes her to the same muggle stylist who did her late mum's hair, which is quite special for her.

Parvati used to be quite invested in style and trends. Now, she tracks them as a perfunctory task in case she needs to blend in somewhere posh. Since the war with Voldemort, her wardrobe has become less varied and a bit more severe-looking. She dresses to look older, stronger, and to conceal any appearance of weakness. Padma and Mrs. Patil sneak colour and whimsy back into her wardrobe anyway.

Every article of clothing that Winky puts on her body is an act of resistance. She never dresses without thinking. If she tries it on, she owns it. [She's donated a lot to the hidden cities.] She used to wear human children's clothing, but by 2003, she's since found a tailor. [It's Fleur. Fleur is the tailor, though Winky will also wear things made by elves and goblins, too.]

Gable loves his knitted caps and gravitates to bright colours because they're still distinguishable underground.

Dennis is equally likely to be spotted in something that looks vaguely like a shirt George or Harry might've outgrown as he is to be seen in some fleeting, muggle trend. Sometimes Dennis goes shopping with Marcus and Emmeline. [Dennis and Emmeline embraced grunge together for a bit; Emmeline grew out of it faster. Much, much faster.]

...I'm going to stop there, because that became far longer than anticipated. [Hopefully it's entertaining and fun and not a wall of annoying text.] Anyways, these are some of the things I tend to think about while dressing the characters, but don't feel like you have to account for all of that. <3 <3 I included it mostly for fun or for anyone who wants it.

TLDR: If you have any inclination to contribute clothing inspiration or ideas, I'd be quite excited to see them!! Inspiration/suggestions would be taken on an as-needed basis, with consideration to what fits within the outline and the remaining chapters.

Please specify in your response whether you'd like a specific shoutout/credit in the A/N if I draw from one of your suggestions. Otherwise, credit will be attributed more generally. <3 <3 <3

Finally, if this isn't your thing or you'd rather not, no worries! <3 <3 I thought it might be fun, is all.

[wikimakemoney]

Cardlytics combines ad tech with fintech to create a unique walled garden for advertisers

30-second summary:

Atlanta-based Cardlytics is an ad platform that operates within banks’ native digital channels.

Cardlytics brings the worlds of ad tech and fintech together within a fraud-free and brand-safe environment, offering a high degree of trust.

Cardlytics boasts an audience within the US of more than 125M monthly active users. Larger than Snap, Twitter, and Pinterest.

The Cardlytics platform enables banks to send offers to their end customers and enrich the banking experience by getting cash back.

Advertisers can show ads to potential customers to motivate online and in-store purchases, and they’re also able to give their customers cash back.

Cardlytics sees 1 in 2 of all credit and debit card swipes in the US, which enables them to understand how a bank user engaged with an offer through the platform and then went on to make a purchase.

Cardlytics has helped customers get back nearly half a billion dollars in rewards.

For 2020, Cardlytics is focused on continuing to develop and test their self-serve platform which will allow marketers more freedom to build and run campaigns themselves.

Founded in 2008, Atlanta-based Cardlytics is an ad platform that operates within banks’ native digital channels. Clients include large financial institutions such as Chase, Wells Fargo, Bank of America, PNC Bank, and Lloyd’s in the UK.

Cardlytics’ platform enables advertisers to engage with consumers through their online and mobile banking channels.

ClickZ recently spoke with Michael Akkerman, Cardlytics Chief Product and Strategy Officer, to learn about how they help marketers reach consumers with engaging advertising based on purchase behavior.

A history in ad tech

Prior to joining Cardlytics, Michael Akkerman served as the Global VP of Kenshoo for five years where he helped grow the company from 20 to 700 employees.

In 2015, Akkerman went on to become the Global Head of Pinterest Partnerships at Pinterest. He was responsible for growing and managing the platform’s ecosystem of strategic technology partners working with some of the largest brands and advertisers around the world and helping them be successful on Pinterest.

The Pinterest Partners program has over 80 technology partners and spans six specialties; Advertising, Content Marketing, Audiences, Measurement, Creative, and Shopping.

From there, he joined Cardlytics in 2019.

Akkerman moved to New York in 2009 during the height of the financial crisis and worked as a consultant helping companies build their digital presence before joining Kenshoo as the third NY-based employee.

“As with most startups, I wore a range of hats,” explains Akkerman. “I ended up scaling out the solutions consulting organization where we sold SaaS-based technology for marketers. This required that I understood what our clients were trying to achieve, understood our technology, and understood where the market was going.”

Akkerman’s move to Pinterest was as fascinating as it was accidental.

“I was looking for a Halloween costume and I went on Google and got six and a half million results,” says Akkerman. “I clicked a link onto Pinterest and realized two things—the platform operated exactly how my mind worked—visually—and it was able to jump from idea to idea. And, second, that the future of search is in visual discovery.”

Akkerman reached out to Pinterest to see if there was an opportunity to integrate with the Kenshoo platform. They recruited him over to their side instead!

Five years later, he went on to work at Cardlytics after meeting the company’s founders, Scott Grimes and Lynne Laube and becoming fascinated with the potential of their technology.

“There is no perfect formula for your career trajectory,” says Akkerman. “You need to be open and receptive so you can identify patterns that you find interesting for you. I have an insatiable curiosity. I like to know how things work. I break things apart and put them back together. And the more I get interested in a topic or a company or an idea, the more I become passionate about it.”

Where ad tech meets fintech

Akkerman doesn’t see his transition from ad tech to fintech as existing in two separate bubbles. Rather, he brings the two disciplines together in his role at Cardlytics.

Says Akkerman, “There aren’t a lot of companies that bring these two sectors together. You have some wonderful fintech companies that are very focused on bringing out a new evolution of financial tools. And then you have ad tech and martech which are focused on the supply chain around marketing. Being able to find that crossover is unique.”

On his role as Chief Product and Strategy Officer at Cardlytics, Akkerman has this to say:

“Ultimately, product is strategy. When you’re thinking about the strategy for a company, it’s based upon what you’re able to go to market with and the value you bring to your customers and partners. I think it’s interesting that generally we separate these two functions. But if you think about large tech companies, the product is their business strategy, so being able to combine the two enables you to hone in on where you want to go as a business.”

Source: Cardlytics

“I think the world is going through a reestablishment of the norms as they pertain to large established markets like how consumers interact with their bank,” explains Akkerman. “You used to only be able to go into a bank branch and work with a human teller. Then we went online and then that became mobile, so it wasn’t about passively looking at your account balance, but about being proactively served with push notifications about an opportunity to save.”

Cardlytics—The largest walled garden you’ve never heard of

Akkerman describes Cardlytics as the largest walled garden you’ve never heard of.

“It’s an amazing walled garden where advertisers can put ads in the form of offers into banks’ native apps,” he explains. “We have an audience of 133M monthly active users, globally, and drive value for all parties via the banks’ native apps.”

In the UK, Cardlytics’ clients include Lloyds and Santandar, while US clients include Wells Fargo, Bank of America, Suntrust, PNC, and Chase. The platform enables banks to send offers to their end customers to enrich the banking experience, and drive value for their customers by giving cash back rewards.

Advertisers can show ads to potential customers to motivate online and in-store purchases, and they’re also able to give bank users cash back.

A big reason that Cardlytics advertisers come to the platform is that it’s brand safe. Advertisers don’t need to worry about their ads showing up next to or aligned with negative or nefarious content. It’s a fraud-safe environment with a high degree of trust within the bank’s native digital environment.

“The advertiser is seeing amazing results,” says Akkerman. “They’re seeing real incremental returns. Cardlytics helps them understand what offers people did and didn’t see and determine what drove a larger degree of sales for the advertiser.”

Cardlytics taps into a highly engaged audience and gives value back to that audience. From the advertiser’s perspective, that value translates to incremental top line results for their business.

The company sees half of all credit and debit card swipes in the US, which enables them to understand how a bank user engaged with an offer through the platform and then went on to make a purchase.

“We’ve seen the data firsthand and the everyday value is real and immense,” says Akkerman. “We’ve been able to help customers get back nearly half a billion dollars in rewards. That is sizable if you think about families that are looking at their budgets in times of tight economic change.”

Looking forward in 2020

For the remainder of 2020, Cardlytics is focused on continuing to develop and test their self-serve platform which will allow marketers more freedom to build and run campaigns themselves.

During the second half of the year, they’ll be testing this capability with some of their agency partners to get feedback before a big rollout.

Says Akkerman, “Beyond that, it comes down to relevancy and richness in the actual advertising and the content. How do we make sure that when you’re looking at offers, you’re seeing what’s most relevant to you as an individual? How do we make the offers more engaging within that bank environment? How do we work with the bank to create an exceptional customer experience when users are engaging with that content? At the end of the day, the customer experience is paramount and the focus for Bank, Advertiser, and Cardlytics.”

In speculating on the future of ad tech and Cardlytics’ role within that environment, Akkerman was optimistic:

“It’s a very interesting time within ad tech. I’m happy not to be in a world that’s reliant on third party cookies. Cardlytics is an opt-in platform. People are in a fraud-free, brand safe environment within their bank’s trusted platform. All the baggage that was brought from the old world of ad tech must be reassessed so we can start driving value for users and advertisers again.

“Some companies that we know and love will have to figure out what that means for them in this new world order, but I’m very glad that Cardlytics isn’t plagued by any of those issues. We stand alone as a platform with a highly engaged and valuable audience, wonderful top line returns for advertisers, and continual value for the consumers themselves.”

Akkerman’s advice to anyone who wants to get started with Cardlytics is to email him. He will make sure to connect you with individuals who can help you scale, effectively understand your marketing goals, and find success.

The post Cardlytics combines ad tech with fintech to create a unique walled garden for advertisers appeared first on ClickZ.

source http://wikimakemoney.com/2020/05/01/cardlytics-combines-ad-tech-with-fintech-to-create-a-unique-walled-garden-for-advertisers/

[photomaniacs]

This Photographer Paints Entire Rooms a Single Color for Surreal Shots http://ift.tt/2rSqjNP

Photographer Karen Jerzyk turned abandoned spaces into dark fairy tales after the death of her father. After getting into trouble with that series, she created Colors, a series of fantasy scenes photographed in rooms dominated by a single color.

“Back in 2014, I had gotten arrested for trespassing — an ‘activity’ I would often partake in as most of my photos are set in a ‘decayed’ scene,” Jerzyk tells PetaPixel. “I was scared and stressed out. I instantly became the victim of bullying and harassment [on the Internet].”

“The comment that deeply resonated with me was one that stated ‘maybe she will finally stop taking photos.’ I had a couple of months to wait and lay low before my court date, but I wanted to show people that I don’t just stop doing something when things go bad.”

So, Jerzyk cleaned out her basement and shot self-portraits, which she could post to show that she was not out of the photography game.

Karen Jerzyk, Self Portrait

Fast forward to April 2016, and Jerzyk’s mother gave her a final warning to get rid of the broken TV that had been in the driveway all winter. She stared in dismay at the 80s vintage beauty when she noticed a can of blue spray paint behind it.

“It would be cool to paint the entire thing blue. But then what?”

Jerzyk remembers scratching her head as she pondered the scene.

“Aesthetically, that’s weird and doesn’t really match anything. Well, what if I painted other props blue? What if I painted the furniture blue? What if I painted the whole damn room blue?! So, off I went to buy one of those high-powered paint guns and the rest is history.”

Blue was the first in the series Colors that she did.

“From April 2016 to August 2016, I spent well over 1,000 hours designing entire rooms, painting them, and tearing them down for the next.”

Blue

Jerzyk soon found herself working through the heat of summer and taking five showers a day to wash the “disgusting sweatiness off me from working in the tiny space.” It was hard physical work from moving the furniture outside to paint, to wiring up skeletons to nailing props on the walls.

“I tried to do Colors as close to a spectrum as possible, so they’re really meant to be in the order of color, if that makes sense. In a gradient from light to dark,” says Jerzyk. There are 11 artworks in the Colors series. She did not want them to be clichéd as in red for anger, green for envy, etc. In fact, she did the opposite of what people would assume from each color.

Green took Jerzyk the longest time to make taking 15 hours just to set it up. It made her sweat the most literally and figuratively, as she could not think of the ideas and had to make them up as she went along, but ultimately it ended up aesthetically being one of her two favorites, the other being pink.

Green

Pink

Jerzyk added the prosthetic arm and leg brace, as they were the only two props available, to Green at the last minute as she felt it made the model look like she was partly made of wood. Adding branches and leaves made the room look bigger but it also gave the feeling of claustrophobia as if things were closing in on the models. It seemed like an “old hospital room with branches coming in on the patient.”

Pink was another artwork that Jerzyk had trouble figuring out. She had two headless mannequins lying around and put an old record horn on one and had the other have flowers and vines exploding out of the neck. The idea was to make it look modern and surreal.

The female model appears twice in Pink. She was shot separately and then composited. The little girl riding the rocking horse was so young that the whole scene would freak her out. So she was shot separately while she watched the movie Frozen on an iPhone that was hidden in the set. “Then I just used the clone tool in Photoshop and it took me 5 minutes [that is fast] to put them all in the same single shot together,” explains Jerzyk.

Orange has about 15 images composited together.

“I had to flip a 6-foot wig all over the room over and over again, then take the photo of the guy in the chair, then him dressed as a woman with the smoke bomb behind the ironing board,” recollects Jerzyk.

Orange

Jerzyk usually finds her models on Facebook, although she does use professional models that in turn recommend her to their friends. For the Colors series a few of the models had earlier commissioned her for photos. A lot of friends let her use their children as models and the kids love it if they get the chance to put on makeup and wear costumes. But the easiest casting call was for Red where she used her mother and two of her kittens.

Brown

White

Red

Black

“Admittedly I know next to nothing when it comes to Photoshop,” Jerzyk readily admits. “ I’m embarrassed to say, I just started using Lightroom again about four months ago. I had tried it years ago on an old computer and it didn’t run smoothly, then I got discouraged and gave up.”

“Most of the effects I do are practical, and I try to do everything in camera as I shoot, so I have the least amount of Photoshop work to do. I really only know how to do minor color adjustments and compositing photos together. Lately, I’ve been doing the coloring in Lightroom, then opening the photo in Photoshop to do any minor tweaks, so yeah, probably about 20-30 minutes each photo.”

Jerzyk uses available light although may bring in tiny portable lights, which may be colored. With Colors she used many clamp lights from Walmart. She went that small, as the room was only 7×7 feet and she had to hide lights everywhere to suppress the shadows.

“I shoot in both [RAW and JPG], just because I’m always paranoid and for some strange reason think it’s safer to shoot in both ha-ha. When I wasn’t using Lightroom, I would almost always shoot just jpg. Now, I shoot both, do color correcting in Lightroom, export it to raw, edit in Photoshop, and save it as jpg.”

Gray

Purple

Yellow

Jersyk wants her images to be read like a book. She splits the image into at least three sectors. There has to be something happening on the left, the center and the right. Sometimes the three sections go together and sometimes they do not. She does not necessarily have a theme or story but jots down ideas and puts together what seems aesthetically right to her.

“I really just want people to be able to look at my images for more than 5 seconds. I don’t want them to look and dismiss them—I want the viewer to be grabbed in some way, for some reason personal to them. I love hearing what people think is going on in my photos. Sometimes I actually learn more about my own work by hearing what other people have to say.”

Jerzyk’s earlier portraits were shot in cool locations but she wasn’t making any connection with a meaning or story to the imagery. “That changed after my father died,” says Jerzyk. “I had so much I wanted to talk about, and no one to talk to, so I poured all of my thoughts and feelings into my photos.” All she wants is for her photos to “evoke thought and emotion” in the viewer and maybe in a colorful way.

You can follow Karen Jerzyk and see more of her work on her website, Twitter, Facebook, Pinterest and Instagram.

About the author: Phil Mistry is a photographer and teacher based in Atlanta, GA. He started one of the first digital camera classes in New York City at International Center of Photography in the 90s. He was the director and teacher for Sony/Popular Photography magazine’s Digital Days Workshops. You can reach him via email here.

Image credits:  All photos © Karen Jerzyk and used with permission

Go to Source Author: <a href="http://ift.tt/2rSvwoU Mistry</a> If you’d like us to remove any content please send us a message here CHECK OUT THE TOP SELLING CAMERAS!

The post This Photographer Paints Entire Rooms a Single Color for Surreal Shots appeared first on CameraFreaks.

June 12, 2017 at 06:06PM