Baby Kensi had our hearts from the moment she was born. Beyond the gorgeous hair, the amazing eyes and those chubby cheeks, Kensi’s curiousity to life started from the very beginning – she wanted to visit where her Mommy works in the NICU (Neonatal Intensive Care Unit). An early arrival and a beautiful Christmas baby for her adoring parents. You are just lovely people and a baby should be so lucky. We can’t wait to see you grow as a family!
We were introduced recently to a fine tasting wine called Kung Fu Girl, a light fresh reisling that pairs well with hearty food.
It was so delicious that we had to have it at our Gramps 91st birthday party bash.
We had the good fortune to meet the winemaker through CSN Wine & Spirits.
Janette, J.P., and Darcy hosted a wine tasting event celebrating enigmatic Charles Smith and KISSPHOTO was on hand to capture the event.
Smith spoke affectionately about his love for wine and weaved wild tales of his days as a Scandinavian rock band manager to how he became a winemaker in Washington.
He did not disappoint as he lived up to his persona of rock star – in all his big hair and kick ass glory.
Half of the process of picture-making is not just at the point of capture but the step that follows – the edit.
We are often asked what makes a good photo and how to pick what is good or not.
There is no right or wrong answer – as like anything else in life, what people like is mostly a matter of preference based on taste and aesthetic appreciation.
Culture, schooling, real-world experience, and personal history play a role in how people come to like things.
It’s rather fascinating that there are those of us that make a living doing this very thing of choosing images and choosing those who make them.
Here’s a great article from Time Magazine that touches on this subject:
Inside the Mind of a Master Photo Editor Assigning a shoot is in many ways, the most important aspect of what photo editors do. Pairing the right photographer with the story is what yields the surprise and delight when the pictures come in.Kathy Ryan, the Director of Photography at The New York Times Magazine, is famous for cross-assigning—hiring a war photographer to shoot celebrities, or commissioning a large-format landscape photographer to capture news close up. In 2008, Ryan asked photojournalist Paolo Pellegrin to create the Times Magazine’s annual Great Performances portfolio, which offered an intimate look at celebrities who are often highly controlled by publicists. When the U.S. invaded Iraq in 2003, Kathy’s news instincts led her to look into a larger, more global view of refugee camps. She sent Simon Norfolk, a large format, landscape photographer, to record displaced people in three different countries with his 8×10 camera. Any number of photojournalists could have executed that assignment, but Simon’s unique eye found incredible detail in each of those scenes, and distinguished the work from other news pictures.Read more: http://lightbox.time.com/2011/10/04/inside-the-mind-of-a-master-photo-editor/#ixzz1agtAOqmM
The world will soon be red and flecked with gold as people decorate their homes and businesses with colourful couplets and blessings of happiness, longevity and wealth.
Celebrations are under way for the Chinese New Year which begins February 3.
Margie, Annette, and Pak usher in the Year of the Rabbit with wishes of good energy, glowing fortune, and positive hope.
Assigning a shoot is in many ways, the most important aspect of what photo editors do. Pairing the right photographer with the story is what yields the surprise and delight when the pictures come in.
Kathy Ryan, the Director of Photography at The New York Times Magazine, is famous for cross-assigning—hiring a war photographer to shoot celebrities, or commissioning a large-format landscape photographer to capture news close up. In 2008, Ryan asked photojournalist Paolo Pellegrin to create the Times Magazine’s annual Great Performances portfolio, which offered an intimate look at celebrities who are often highly controlled by publicists. When the U.S. invaded Iraq in 2003, Kathy’s news instincts led her to look into a larger, more global view of refugee camps. She sent Simon Norfolk, a large format, landscape photographer, to record displaced people in three different countries with his 8×10 camera. Any number of photojournalists could have executed that assignment, but Simon’s unique eye found incredible detail in each of those scenes, and distinguished the work from other news pictures.
