I’m happy to announce the beta release of Design X version 15. We’ve taken nearly 2 years of suggestions from our clients for small and large changes to our award-winning software and incorporated them into this awesome release. If you are already using our software, the changes will not affect how you design your site, there are simply more options to make it your own. This is truly the most customizable website building software in the world.
Here’s an overview of all the additions: https://support.aphotofolio.com/hc/en-us/articles/115001899253-Guide-To-New-Features-Release-In-Version-15
For anyone updating to Version 15 we have a new manual with spiffy new videos located here: https://support.aphotofolio.com/hc/en-us/categories/115000183054-Design-X-Manual-Design-X-v15
7 photographers using PhotoFolio software won best website awards from PDN Magazine which brings our streak to 8 years in a row and 42 awards. A true testament to the customization available with our software! You won’t find another company in the world with this many design awards using the same software for every single site.
Congratulations to the 2017 winners:
We’ve added a new feature that will allow Vimeo videos to playback instantly after clicking the thumbnail on the mobile site.
To activate turn ON the Video 1-Click Play in the Mobile Layout panel.
NOTE: If you have more than 6 or 8 videos in the gallery you will not want to use this feature because it will crash the mobile browser page due to iframes loading.
In the thumbnail overrides for each menu item (double click the menu item in the media library to open) you can turn on a thumbnail description that will either appear when you hover the thumbnail or show up below or above it. The description is pulled from the image title which can be changed by double clicking each image. You can adjust the font, font size and color in the LAYOUT panel under the OVERLAY tab.
NOTE: If you are familiar with the index gallery this is the same only for plain ole thumbs.
Rob Haggart, Founder/PhotoFolio
For our customers who have been with us for a long time we have an exciting announcement to make: you can now migrate your existing design x site to our dx-cloud platform.
Tim Tadder is an internationally acclaimed photographic artist. Most recognized for his highly inventive conceptual advertising photography Tadder has been ranked in the top 200 photographers worldwide by the prestigious Luezer Archive Magazine 8 years running. In 2015 Epson, the world leader in photographic printing technology recognized Tadder as one of the top influential photographers, producing a TV commercial and worldwide ad campaign featuring Tadder and his work.
When did you first know that you wanted to be a photographer? I grew up on the set of a commercial photographer in Baltimore, Maryland. I knew that I was fascinated with photography from an early age when I saw my father developing images for the first time in the darkroom. He had a black-and-white and a color darkroom in a small studio in Baltimore, and I used to watch him print pictures using an enlarger and chemicals. That was magical to me. I always thought it was amazing that you could re-create life from a camera and paper.
What was your path to becoming a professional photographer? I have a unique path to becoming a professional photographer. I was a high school teacher for five years, and during the summers I did mountaineering adventures. During those climbs, I would make images and host slideshows. People were really interested, and through the slideshows, I found that people liked the images that I created. I found I wasn’t a great teacher but that I really loved photography and so I decided to give it a try. I moved from South America where I was teaching and climbing to Baltimore where I grew up and had connections in the photography world. I decided I would see if I could make it for a year, mostly because that’s all the money I had saved. I worked out of my father’s studio in Baltimore but mostly for the local newspaper doing journalism while I was trying to learn the craft.
What formal schooling or training did you have in photography? After two years in Baltimore, I was really in love with photojournalism, so I decided to pursue a Masters Degree in photojournalism from the Ohio University School of Visual Communication. That program is amazing, and I highly recommend it. I learned so much in the short time that I was there not only about photojournalism but also about creating images that were capable of telling stories. I learned so much about visual communications while there. Truly so much of what we do in photography is at its very essence visual communication. Before I was aware of that, I was just making images that I thought looked interesting, but after the program, I started to make images that spoke and told stories. The resulting images were much more intelligent images, so to speak, and that process really helped me become a better photographer in a short period
Were your parents supportive of your desire to be an artist? Ironically my parents were not very supportive me at all. I think that my father was concerned I did not have the talent to make it as a photographer. I also think that he never really made a lot of money and I think he felt that money equated to success, and in some ways, he felt that I did not have tremendous talent, and thus would not “be successful”. There was a lot of clashing as to what I felt was a good photographer and what he saw as good or great. I can remember my mother delivering me the Help Wanted section with jobs that she thought I would like even though I was making great strides in photography. She continued to show me job openings that she thought would be great careers. I can remember her distinctly telling me that that there wasn’t any money in photography and that you couldn’t make a living as a photographer anymore but I didn’t care. I just wanted to make images, and I wasn’t concerned about money. I was working for peanuts as a photojournalist, and I was really in love with photography. I will say, though, that my father is super proud of me at this point and I think that he honestly just wanted the best for me and realized how competitive and how difficult it is to succeed in this industry. The reality is, that if you love something and that you are passionate about it I think in America you can succeed
Do you remember your first published image and how it felt when it first appeared? Not really, I don’t think that I was all that enamored with having a published image define me as a photographer. Ink on paper does not a photographer make. But rather the communicative value of the image. I can remember the first image I made that truly moved people and how that made me feel. I think that was always more important to me, making an image that people reacted to. I can remember getting many emails from viewers responding to how much the image moved them. From all over the world it was a powerful image, and I knew at that point in time I had important skills.
You shoot both stills and video. Are you more passionate about one medium over the other? I prefer stills for sure. I like the less is more approach, and with motion, it just takes more people more equipment more blah blah blah…I hate the fat in motion productions. Give me a camera and a lens, and I’ll make it happen, motion you need all kinds of stuff to do commercial work.
After all this time, what still makes you passionate about the visual arts?I think how freaking hard it is to make images that move people. Truly to make a great image, it’s very hard and takes a lot of things to go right. Sure if you are a photojournalist you can get lucky, but normally it takes a huge investment of time, energy, people, etc. Greatness comes from the communicative collaboration of energy revealing itself in the well-crafted moment. That elusive search for perfection makes me passionate. If it was easy, I think I would be over it by now. Knowing that I have not done my bet work yet keeps me grinding. I will not stop until my impact is undeniable and that’s the passion.
You seem to have so much creative energy in all your work. How do come up with the concepts for your projects? I consume imagery, from TV to movies to art and Instagram, I consume and consume, and I get inspired by what I see but more importantly what I do not see. I try to find voids. I try to find things that have not been visualized. Bringing new visuals to life no matter how absurd or different is a great challenge in our world today. It’s hard to have a visual impact with so much noise. So I try to fill the empty spots with something new.
When you go into a shoot do you have a detailed vision for the finished project or does it tend to be a collaboration with the subject to determine the result? Always. I am a great pre-visualizer. I know exactly what I want when I go into every shoot, but often I fall short. It’s one thing to see it in your mind’s eye, but it’s quite another to capture it. That’s the illusive search for perfection. We know what we want, but it is sure hard to get it. That’s search is what keeps me passionate. I can feel though that the more I do this, the more my mind and my visions are aligning…so maybe I am getting closer. I do feel I am much much better than I’ve ever been.
Many photographers take full credit for the finished product from a shoot, but you are quick to point out that without your “team” your success wouldn’t be possible. How large is your team, how did you build the team and how much collaboration is done with this group? I think when you start it’s a very big ego thing. However, as you gain knowledge and wisdom you begin to look around and realize that individually you can only accomplish small things, but collectively you can accomplish great things. True impact comes from people that can harness the collective spirit of passionate individuals and align that energy towards a defined goal. I saw this in the people around me and when I grew up and left my ego behind, I realized that I was only as good as the weakest link on my team. I realized that the people around me love what they were doing and that I needed to embrace not only their passions but honor their contributions. That’s when it all clicked. I can’t do what I do without the support of others. No way. I love them, and I hope they love me because they make everything possible. My core crew is excellent. They are the best, and I will put them up against anyone. My normal team is made up of a first assistant that has been with me for ten years, my producer, our production coordinator, stylist, hair and makeup (sometimes two people) and a gaggle of other freelancers that contribute. The productions swell when needed, by my core is four.
On average, how much of the finished product that we see in images on your website is done in camera versus in CGI or post production? That goes from zero to a lot. There is much of my work that is captured in camera and sometimes quite a lot of post. I would say what you see is 75 percent in camera, truly only what you see in the CGI section of my website is CGI. Yes there are composites here and there, but I find the less time in the post the better the image. Less is more.
How many man hours went into your Tecate Calendar project including the building of props, the shoot, and CGI/post? Now that project was very very CGI and post heavy. But my favorite image in that collection was all captured on camera (The Gemini Twins shot below), so the key is to mix everything so the audience can’t quite put their finger on it..there is a great Behind the Scenes video (www.timtadder.com) on my site that really shows how this was done. That shoot was huge, and I spent weeks in Pre-production on it. The wardrobe was custom stitched, the CGI sets crafted before the shoot, the animals cast, and the cast was pulled from all over the globe. That shoot was a mission…I would say three weeks solid of pre-production and four weeks in post…but it’s unique and quite amazing. Of course, you only see what was selected by the client and how hey wanted it to sell beer, but the images I love are far more subtle, but that does not sell beer.
Of all the athletes you have shot over the years, which one(s) would you say brought the most personality to the shoot? That’s too difficult to answer. There are so many levels of shoot energy, and sometimes the creative requires more personality than others. I will tell you Cam Newton was spectacular as a comedian and told the most jokes. Simone Biles was spectacular and amazing. But there have been so many. I love when I shoot athletes year after year sometimes for the same client sometimes for other clients, but they remember me. Sometimes they greet me with big hugs, and I feel like an old friend. That’s always surprising. I guess they liked the images.
Your personal projects are amazing. What inspired your Bella Umbrella project? Was that project as messy to shoot as it looks? This project was inspired by things I saw on Instagram. I had been following this LA street artist, and he did all this rad stuff with military smoke bombs. I wanted to do something with him, but he is really dark and quite theatrical. Then I saw this image with smoke and a vintage umbrella in a forest and thought that if I could simplify and elevate the elegance that I would have a beautiful collection of images. The project was a mess and destroyed some expensive vintage clothing. I think it looks easier than it actually was. We took the smoke bombs and taped them to the umbrellas, but when the umbrellas caught fire and the clothes burned, I had to take another approach. So some of these were in camera, and some were composites of smoke plates and the talent. The stylist freaked out and I freaked because I did not want to hurt anyone but we decided we could make happen without any risk.
What piece of camera equipment can you not live without? Hmmm, I don’t really have a piece of camera equipment I can’t live without. I don’t believe the tools make the image I believe that the concept, thought, idea the passion make the image. The camera and lens are no more part of the process than a burner on a stove is to a chef. A chef can make a meal with any type of stove, just as a photographer make can make an image with any type of camera.
From the behind the scenes video’s on your website, it looks like you have fun on the set when shooting. Do you find that keeping things fun puts people at ease and allows them to open up? Always. It’s a blessing and an honor to do what we do. It’s fun, but it’s really important to do a good job because people’s careers are at stake. We really must remember that we are doing something that is amazing, creative and fun. back in the day I used to get all worked up, but that never helped. It never makes a better image, so let’s make it easy and let’s make it fun so that people leave with a good taste in their mouth.
What does the perfect Tim Tadder day look like? Making pancakes for my kids, creating some amazing images that make people go “holy shit”, having dinner with my family and watching the Ravens beat the crap out of the Steelers on Monday Night Football.
What advice do you have for aspiring photographers looking to enter this ultra-competitive industry? You better absolutely love, love, love creating images. You must be willing to work 20 hours a day for years and years. You must be willing to lay it all on the line and never give up. You must have to have a thick skin, a really thick skin, and not be deterred by failure. You have to be willing to make thousands of mistakes and keep making them until you get it right. You have to be willing to produce new work always and you need to be planning your personal work all the time. It’s never ending even for me. You can never take the foot off the gas. If your not willing to do that, then it might not be for you.
If you weren’t a professional photographer what would you be doing? I’d run for President, seems like not a lot of people want that job these days.
Why did you choose Photo Folio for your website? I think the system is simple and presents my work in a clean and clear way. Clients can get right to the point. All I want is for my images to speak to the audience with nothing else getting in the way. The content management system is great and makes creating edits super easy.
Many of the world’s top photographers, like Tim Tadder, showcase their work with a website from PHOTO FOLIO . Isn’t it time you put the power of PHOTO FOLIO to work for you?
On September 8th Google announced that starting in January they will begin the process of showing all sites not using HTTPS connections to the Chrome browser as not secure.
This means sites not using the “S”, which encrypts the traffic between your browser and the server will show:
PhotoFolio is the first and only website software company to already have HTTPS protocol built into our websites. We love to innovate and this is just one example of how we keep our clients ahead of the curve.
Vincent J. Musi has been a regular contributor to National Geographic since 1993, covering subjects from the Texas Hill Country to hurricanes, volcanoes and mummies. A specialist in animal portraits, his recent work includes projects on domestication, intelligence and cognition. Musi’s work has taken him from historic Route 66 to the oldest temple on Earth in Turkey. He is also a contributor to TIME, Newsweek, Life, Fortune andThe New York Times Magazine.
When did you first know that you wanted to be a photographer? Probably when I realized I didn’t have what it took to be a musician, my first love. I own drums and have played them my entire life but that didn’t make me a musician. I was far better at getting a camera to say what I wanted to say than a drum.
Do you remember your first published work? How did it feel to see something you created show up in print? I was a kid working for the high school yearbook and then newspapers. A very exciting time for me, I often smelled of Dektol.
How did you get your first National Geographic assignment? I sort of bluffed my way into my first full assignment for National Geographic when I claimed to have a great love for landscape photography when they needed someone in a pinch. You might say I lied.
How nervous were you going on assignment for what many consider the “Holy Grail” of photography? I was very nervous because only a fool would lie just to get an assignment. It was just going to be a matter of time before they found out I was a fraud. I hope they don’t read this.
What was the emotion of seeing your work show up on your first National Geographic cover? My wife Callie Shell was working for Time magazine and we both had our first covers during the same month. It was a very special time for us.
In your TedX talk tedxtalks.ted.com, you go into some detail about some of the challenges of shooting animals. Have you come up with a pretty good formula for shooting live subjects over the years or does each shoot present its own unique set of challenges? Every animal and every day is unique. My formula is never to forget that.
Have you ever been on an animal shoot where the subject was impossible to shoot? There’s always a picture, just not always one you want to put in front of 40 million readers. That’s what keeps me up at night.
In your animal portraits, you seem to capture so much of their personalities. How much time do you spend with the animals before shooting to make them feel comfortable? Sometimes you’ll get “there” very quickly, other times not so quickly. I just spent a week trying to get near a Raven and I don’t think he was very comfortable until he saw me packing up to leave. That said, we try never to stress out an animal for a picture, so the process to befriend them can be very exhausting. I’m never in control; they just let me think so.
How rewarding is it when you can accurately capture and portray what makes each animal special? I’ve done a lot of celebrity animals, really famous ones that do extraordinary things. It’s an incredible honor to be able to make a photograph of them that represents that quality and character.
You have an amazing gallery on your website called “Big Cats.” How much time went into setting up each of these shots? You are very kind. We spent two weeks building sets to photograph each of these cats in small enclosures they occasionally spend time in. Often that meant we couldn’t put a light where we wanted to or have the angle you might think best. None of these animals were trained or under any control of humans, they ran the show.
Does shooting subject matter like lions and tigers create an extra element of anxiety? I always work from the position that this will be my last assignment because I’ll get found out and sent home for being a fraud.
What type of animals have you found to be the most enjoyable to photograph? Sheep. There, I said it, sheep. The have phenomenal eyes.
How do the animals react to studio lighting and flashes? It’s a bit disruptive for one minute and then they don’t pay attention. The light stands and booms and grip are more of a problem.
How much work do you do in post-production to get your images perfected? For National Geographic, I submit raw files, so I don’t do any post for them other than providing a guide to color. Natgeo does very little other than toning or dust removal, that sort of thing. For commercial work, I usually rely on professional retouchers to meet a client’s needs. I do print all of my own work for exhibition.
When you aren’t shooting animals, what subject matter are you most passionate about photographing? I like stuff, things, particularly when they represent some aspect of culture. My next work might be headed into still life.
Your “Sicily Crypts” gallery is quite the departure from shooting live animals. How was the experience shooting underground and what challenges did that project present? An extraordinary time for me. I really wanted to photograph the mummies as people not objects and Natgeo supported that proposal. Of course, I was sick for 6 months after that. Came down with a respiratory infection that doctors jokingly called the “King Tut virus.”
What advice would you share with aspiring photographers coming into the industry? Don’t let guys like me ruin it for you with talk about how things used to be. Enjoy it, tear it up and repeat.
What has changed the most in the photo industry since you began? It’s gotten a lot easier to make pictures and much harder to make a living.
How do you stay passionate about photography? I’m challenged every day to create something whether it be homemade pasta or a photograph.
Why did you choose Photo Folio for your website? I’ve always gravitated to the best tool for the job. Working with APF was an easy decision and I’ve never looked back.
Many of the world’s top photographers, like Vincent J Musi , use a PHOTO FOLIOwebsite to showcase their work. Isn’t it time you put the power of PHOTO FOLIO to work for you?
Taylor is an award winning photographer based in Chicago. His work focuses on conceptual and portrait photography – often times with a bizarre and comical twist. He’s worked with top advertising and editorial clients ranging from Nike, Hilton, Pepsi, Canon, Mars, and Ally Bank to E.S.P.N. The Magazine, New York Times, Fortune, Fast Company, and Men’s Journal.
Taylor’s style is a blend of dark humor and everyday hilarity. Even when he’s trying to be serious, he can’t help but find an excuse to laugh. Laid back and detail oriented, Taylor creates a fun environment on set and encourages everyone around him to play a part in the creative process. He believes his best work comes when the spirit of collaboration is omnipresent.
When did you first know that you wanted to be a photographer? I was a sophomore in high school, taking my first photography and film making classes. My friends and I were getting way into Terry Gilliam movies which was really having a huge impact on my creativity, imagination and extra curricular activities. At the same time, my photo teacher showed us a Jerry Uelsmann documentary, which just blew my mind. I started to gravitate more towards still photography, especially black and white, and by my senior year of high school I knew it was what I wanted to pursue.
What formal schooling or training (if any) did you have in photography? I started at Columbia College in Chicago my freshman year of college. I basically just took pictures of my friends smoking weed in our dorm bathroom and a lot of crappy alleys. To be honest, I lost a lot of my motivation for photography at this time and wasn’t sure what I wanted to do anymore.
I decided to move out West for a girl and settled in Eugene, Oregon. I took an intro to studio lighting class at Lane Community College which revived my interest and reignited my passion. Totally green, I started working for my processor as an assistant, which led to an introduction to a pretty successful architectural photographer in Oregon. I assisted him for six months or so on a variety of gigs, and gained a solid technical foundation and critical insight to the commercial photo realm. In that time he got me interested in his alma mater, Brooks Institute of Photography, which seemed like the ideal place for me to hone my skills. I moved to Santa Barbara to attend Brooks, which lasted off and on for about three years before I decided to quit school entirely and move back to Chicago to open my own studio.
Were your parents supportive of your desire to be an artist? Absolutely. I was raised by a single mother who was a very happy and successful interior designer. She loved her job and cherished the creative outlet it provided her, so she has been nothing but supportive of my endeavors throughout my entire career.
Your Dark Humor Gallery has so many images that tell an entire story with just a single frame. Where do your ideas for these shots come from?It’s a bit of a mixed bag, I guess. I really love to satirize current events, fads, and political/religious/social issues. These ideas just sort of come naturally and can be the byproduct of something I read, hear or see. I try to write things down in my little idea Diary (iPhone) the second I think of it. These can be loose thoughts, or something much more developed and concrete. I also get a great deal of inspiration from design and illustration. I love the simplicity and open-ended concepts you often find within it. I really strive to make my conceptual photography function in the same way. I love basic messaging, simple humor, and giving the viewer a path for them lead the narrative.
You have the gift of being a comedian without ever speaking a word. How do you find the comedy in everyday situations? I’m a pretty sarcastic dude by nature, so I often find great joy and humor in how I react to and engage with everyday occurrences. I’m actually rather shy in public, so I love me some people watching and eavesdropping. A lot of the characters I create in my work are manifestations of these observations in fact.
Based on the images found on your website it looks like you have a lot of fun when shooting. Do you find it hard to be really serious when behind the lens? You know I sometimes try to force myself to be the serious guy on set, and it never goes well. When I’m on an assignment I’m very focused on what I have to do and how I have to do it. I really believe that my work is an extension of my personality, so If I’m not being myself, I’m not doing my job to the best of my ability. I know that my energy is infectious to everyone I’m surrounded by and that in turn helps create the atmosphere where I do my best directing. There certainly are times where I need to crack the whip a little bit, but for the most part, I’m pretty fun and goofy guy.
Some portrait photographers believe that they need to provide all the direction for the shoot while others prefer collaboration with their subjects. Which style works best for you and why? Both, and I sort of feel it out as I go. It’s important for me that we’re all on the same page before even starting. I always ask for the talent’s input and try to riff off it to see what can come about organically. If I’m working with skilled actors or comedians it’s definitely more collaborative, and I really thrive in that design. Professional models can be great too, but often times they’re so used to doing it one way. I usually have to work a little bit harder to break them of that mold, and to get them to understand the uniqueness of what I’m attempting to create compared to some of the routine work they’re more accustomed to doing.
You have portraits that were taken in studio and others taken on location. Do you have a preference as to which environment you are shooting? Not really. I’m much more calm shooting in the studio, but I also find that I get stifled easier as well. Shooting on location brings so many variables and the chaos of it all can be vexing, but my mind is working much faster and ideas can sometimes just flood in. I’m a pretty calculated shooter, and love to have complete control of my variables, so the studio is my sanctuary. But I also love the unexpected quirks that come with shooting in uncontrollable environments.
Do you find that shooting outside the studio gives you more options for creativity? Yes, It certainly can, but It really depends on the environment, who I’m shooting, and how much time I have to shoot outtakes. I don’t enjoy a rushed production, so I’m much more prone to simplify my options rather than expand on them if I’m not in my comfort zone. A tech scout is always preferred so that I can come in with a solid strategy, pre-visualize my shoot, and start to generate other ideas before I even show up on set.
What advice would you share with aspiring photographers coming into the industry? Be confident, be fearless, and be hungry. Find what you love, and keep shooting it. Figure out your weaknesses and make them strengths. Study the history of your art, and stay current with where it is lives today. And for the love of god hashtag everything.
What motivates you to get up each morning and shoot? Dark roasted coffee and a breakfast burritos.
As a Chicagoan, do you think this is finally the year that the Chicago Cubs will win their first World Series since 1908? Yes. Absolutely. It’s happening. There’s no way we are not going to win this year. Nothing can stop us. It’s definitely our year.
What does the perfect Taylor Castle day look like? A toddler who is super excited to get up and go to day care, and agrees with every outfit decision I make for him. A bid request in my inbox when I get to the studio. Maybe a corned beef Reuben for lunch. A surprise royalty check in the mail in the afternoon. A 72º walk along Lake Michigan. Tacos for dinner, and 2 episodes of Game of Thrones for dessert.
How important is your website to the success of your business? It’s paramount. It’s what drives almost every opportunity I get. I don’t get hired because I have a cool name. I stay busy because I work hard to create good work. My website is the conduit to my vision, my passion, and my brand.
Why did you choose Photo Folio for your website? Wonderful functionality, smart design, great customization options, powerful SEO capabilities, ease of use on the backend, and most importantly how beautiful my photography is displayed on the site. The support staff has been stellar as well and handle all of my stupid questions and requests so graciously.
Many of the world’s top photographers, like Taylor Castle, use a PHOTO FOLIOwebsite to showcase their work. Isn’t it time you put the power of PHOTO FOLIO to work for you?