Meet Danny Santos II, a photographer who roams the streets of Singapore. Why the streets? Out there, nothing is prepared. Nothing cooperates with you.. not the weather, not the subjects, not the situation. You have to make due with what’s available. That’s a very big challenge for any photographer, but on few occasions when all the elements just come together, and you’re at the right place at the right time, the feeling of ‘getting that perfect shot’ just doesn’t compare to anything else. He thrives on that. We sit down and talk more about this process in our full interview! Read below for the full write-up…

Walking up to strangers and asking them to have their picture taken requires somewhat of an outgoing personality, no? Has your personality evolved to being more outgoing since taken on photography?

Danny: I’m really not sure. I do remember being just as scared approaching my 1st stranger as I was on my 100th stranger. But I think I feel more comfortable talking with with strangers when I have to – but I don’t know if that makes me more outgoing. I guess once an introvert, always an introvert. And it doesn’t really require an outgoing personality to be able to walk up to strangers for their portrait… you just need to really want to do it, I guess [smiles].

You often don’t or can’t see beauty in the world until someone shows it to you. What is your creative process for recognizing and composing the beauty in a shot?

Danny: The beauty I look for is that one that’s real and sincere. I try to avoid that snapshot smile.. you know, that smile you’ve smiled a million times whenever you’re in front of the camera. So right before raising my camera, I tell them not to smile. I want them to just relax and be themselves, really. I guess oftentimes, a smile becomes a personal mask where you want to show what you think is your best expression. But most times, if you just let your guard down, you’ll show a much more beautiful you.

Are you a believer that the best photographs are the hardest ones to take?

Danny: Not all photographs that are hard to take are good… but most of the best photographs were hard to take. And it’s not because of the manual process, but because of the creative process of coming up with the idea of those photographs. I hope I just made sense

When someone asks to take my picture, the last thing I think about is acknowledging that the photographer is trying to capture the essence of my being in one shot. That is a daunting task, especially since people are used to saying ‘cheese’ beforehand. What do you say or do, to prepare a stranger to shoot for you in order to capture the shot you desire?

Danny: When photographing a stranger, the responsibility of capturing their essence falls solely on the photographer. Indeed, that should be the last thing the subject should think about otherwise they might start projecting something that they’re not. So I don’t really tell them what I’m looking for, I just try to make them feel comfortable and say “Look in the camera and don’t smile.”

I guess the best way to sum up a lot of your photos are reflections of everyday life. How have the experiences of living in the Phillipines and Singapore shaped you as a photographer? What have you taken away from these places?

Danny: I think my photos are just records of what I see in Singapore at that particular moment in time. So it could be a good reflection of how I see Singapore. But any similarities with my everyday life, if any, would be purely coincidental or unintentional.

You’ve taken candid shots as well! Have you ever offended anyone?

Danny: I try to be quick and discreet when taking candid shots. The main goal is to not make the subject feel uncomfortable about the whole thing. There was one time when an old lady approached me asking if I’ve taken her picture. I said, “I’m not sure, let’s check out the shots.” So when we reviewed the shots, there she was on the side of the frame. I didn’t even notice her when I took the photograph. She asked if I could delete the shot – it wasn’t a keeper shot so I said, “Sure, no problem.” And then she just went off her way.

You mentioned Garry Winogrand as one of your influences. When asked how he felt about missing photographs while he reloaded his camera with film, he replied “There are no photographs while I’m reloading.” His logic seems to be contradictive to your street scene gallery where you take quick shots that otherwise gone unnoticed. How do you view these two viewpoints?

Danny: I think Winogrand’s statement was just a practical state of mind that tells you it’s ok to miss the shot while reloading film – because it’s something you have to do. As opposed to missing the shot because you weren’t paying attention, or you were chimping, or checking your email from your iPhone. Capturing moments that otherwise gone unnoticed is still always something that Winogrand, or Cartier-Bresson, or any other street photographers are always aiming for.

Do you have any favorite Asian films or Anime?

Danny: I loooove Asian films. To name a few: Battle Royale, Kairo, Departures, Ring, Tale of Two Sisters, Old Boy and the rest of the Vengeance trilogy, Memories of Murder, The Chaser, Infernal Affairs Trilogy… and a lot more. For anime, there’s Akira, Nausicaa of the Valley of the Wind, Ghost in the Shell, Neon Genesis Evangelion, Perfect Blue… and yeah, a lot more

In addition to photography you are also skilled as a designer in web & graphics. Could you tell us about any exciting new projects to look out for in 2012?

Danny: There isn’t much happening in my work as a designer. It’s my day job that pays the bills. I’d say photography fills up my need to create. But right now, I’m still quite busy working on commissioned jobs. I hope to get some free time so I can start working on personal photo projects – that, I think, is more exciting for me.

Want to keep tabs on all of Danny’s photography adventures? Follow his cookie crumb trail below:

http://www.dannyst.com/
http://www.facebook.com/dannyst.photography/
http://www.behance.net/dannysantos/
http://www.flickr.com/photos/dannysantos/
https://twitter.com/#!/dannysantos/

Love On-Air (Wonderful Radio) is one of those films that were seemingly made for one specific viewing audience in mind, with that viewership being one that likes to indulge in the same tired sentimental tropes expressed in film after film. Director Kwon Chil-In, a veteran on of the romantic genre, continues in Love On-Air his tradition of somehow squeezing in elements of romanticism amidst a plethora of exhausted plot devices that seem oddly out of place and derive purely from the realm of melodrama. One could see that this approach could in fact work if given enough creativity to back it, but Kwon decides to play it safe for the most part. Who can blame him? As a formula that has been tirelessly implemented throughout countless South Korean films in the last decade, its success as a genre stems largely from its contrived melodrama—an approach that Love On-Air audaciously relies upon to advance its story.

One could say that such overly sentimental elements are necessary in order to win a majority of the audience over, but Love On-Air takes it a step further by actually showcasing scenes that have radio guests express their deepest desires, fears, and regrets, with radio disc jockey Shin Jin-A (Lee Min-Jung) beckoning them on. It’s not that these scenes aren’t deemed important towards the narrative of the film—especially in regards to Shin’s past—it’s that they seem completely out of place and are only shown to artificially amp up the melodrama. When the camera holds its focus on an emotionless character having a stream of tears rolling down their face for upwards of fifteen seconds, we know the film is trying a tad too hard elicit an emotion response from the viewer. While we see the film jump from love story, to parental problems, to even the dynamics of the music industry, Love On-Air is simply attempting to tackle too much at once, a move that immensely weakens the overall appeal of the film both from an emotional and structural point.

The performances by Lee Min-Jung and Lee Kwang-Soo don’t fare much better. Lee Min-Jung, while certainly a beautiful actress with a talent for singing, doesn’t quite deliver a believable performance of the past-stricken and vulnerable Shin Jin-A. Her character is simply unlikeable and rude, which really dampens her later transformation to a character we are suppose to cheer for in her endeavors as a comeback pop star. By the middle of the film, most viewers will simply view her as an uncaring and selfish individual who pretty much despises everyone around her, yet we are suppose to care for her by the film’s conclusion? This simply isn’t going to happen. On the other hand, Lee Kwang-Soo, who plays the strict radio producer Lee Jae-Ik, brings about a stoic performance that does nothing to strengthen the alleged romantic chemistry shared between him and Shin Jin-A. The romantic elements of the film are considerably lacking here, no doubt due to the lackluster chemistry between the two and the narrative jumping from one subject to another in a bewildered fashion.

http://www.youtube.com/watch?v=WIZIX3dgWmI

Overall, Love On-Air is a film that one will soon forget after viewing it. It’s simply one of those films that safely nestles the viewer into a comfortable narrative structure that is neither creative nor original, thus easily winning over gullible viewers time and time again within its traditional format. There was so much potential to be found in the film—exploring the music industry, love within the workplace, and even the deconstruction of the pop idol image itself—but sadly is never courageous enough to effectively tackle these issues. Love On-Air falls directly into the path of unoriginality, which unfortunately makes it a largely forgettable and stale viewing experience.

If you were to look up ‘Epic Cosplay’ in an encyclopedia, you would surely find Garnet Runestar’s image in the entry. Takes about five seconds of looking through her works as a cosplayer to conclude that she doesn’t understand (or chooses to completely ignore) the concept of ‘simple cosplay.’ To date, her costumes have consumed nearly a full mile of fabric (literally) and showcase a rare level of craftsmanship and attention to historical accuracy. In addition to translating seemingly impossible 2D costumes into reality, Garnet Runestar likes collecting sushi earrings and other cute trinkets and is an all-around awesome person. Fortunately, JapanCinema was able to unbury her from mountains of fabric for an interview on what cosplay means to her. And – for those of us who are less technically skilled – Garnet Runestar includes a few tips on the materials she uses when creating her masterpieces.

First, tell us a bit about yourself – how old are you, where do you live, what do you do, etc.

Garnet Runestar: I’m a 25 year old fabric addict, living in Utah (a state so full of crafting stores and quilting, you could actually drown in fabric). I spend much more time than is healthy working on costumes that I will probably only ever wear once and I collect both coins and little glass trinkets. Honestly, there isn’t much to say about me…I’m kind of boring [laughs].

How long have you been cosplaying and what initially interested you in the hobby?

Garnet Runestar: I started cosplaying in 2007. I found Cosplay.com sometime in 2005 and was stunned by all the beautiful costumes. I grew up in theater and around costuming, so cosplay seemed like a magical combination of both of these things! I had watched Sailor Moon as a teenager on Cartoon Network and I always thought, “I would love to have that dress someday! Surely someone makes it!”. It didn’t occur to me until many years later that I could make it myself. Of course, when I did get around to making it (It was the first thing I ever tried to make, even before I had heard of cosplay) it was a horrid disaster. I never wore it anywhere, but I just was happy (at the time) to have made it. I still feel happy to have finished things…of course, I always hope they turn out better.

Most of your costumes feature an extraordinary attention to detail and are extremely complex. Did you already know how to sew before you began to cosplay or was it a skill you picked up through cosplay?

Garnet Runestar: My mother is a brilliant seamstress and she tried to teach me for years, but like everything else she tried to teach me, I never learned anything! So when it came to be my senior year in high school and I had an extra slot in my schedule I figured, why not? So I took the beginner sewing class. It taught me how to read a pattern, cut out fabric and how to use the sewing machine. Once I graduated, I made small projects here and there, but it wasn’t until I joined a local cosplay forum in 2007 that I actually started sewing regularly. I started with just straight up following patterns and went from there. I have taught myself most of the things I do now, from studying historical gowns and reading sewing magazines or books.

On average, how much time do you dedicate to a costume? And…if you had to guess, how many miles of fabric do you think you’ve used so far?!

Garnet Runestar: Well, that really depends on the costume. I’ve spent as little as 2 days and as long as 2 years. I would say I usually end up working for about a month or so on each one. I could sew some of them faster, but I find I end up with more accurate pieces and have better construction if I give myself time to think about how best to go about things. As for mileage, I did actually sit down and count out my fabric yardage. As of current for this month, I have used 1466 yards of fabric total in my cosplays! That’s totally nuts!

In addition to being a talented seamstress, you also have very impressive prop and armor work. Do you have any advice for cosplayers who are trying to learn more about making props/armor? Are there any materials that you would recommend?

Garnet Runestar: First off, I say experiment! You never know what sort of material will give you the look you are after. While I usually prefer materials that are perhaps more expensive or specific to the project I’m working on, in a pinch I’ve made things out of materials as basic as craft foam, plastic canvas and hot glue! I’ve even painted things with nail polish.

When I can choose of course, I tend to gravitate towards thermo plastics. I really like working with a combination of Sintra, Wonderflex, and Friendly Plastic. This isn’t necessarily because I think those materials are better…It’s actually because I completely and totally fail at clay things. I’ve seen beautiful pieces made from model magic and the like, I just can’t seem to make anything that doesn’t look like it’s been melted or stepped on! With Thermo plastics I can draw out a pattern and then use that to cut my sintra or wonderflex, layering it to create the shapes and depths I’m looking for. Sometimes I will use ridge insulation foam so as to cut down on my plastic usage and the overall weight of the piece. I use friendly plastic to mold details on top of all that.

Cosplay incorporates a variety of skills – including costume-making, wig styling, makeup, and photography. For you, what aspect is the most important? Is there anything that you struggle with?

Garnet Runestar: Personally I find all of it important to the final package! I may specialize in costume-making, but that doesn’t mean I prize that over everything else. It’s hard work to bring it all together! I’m definitely weak in the wig styling department. I’m always very proud when a wig turns out, but the truth is I just don’t get hair! Whether it’s on a person or a wig, it just baffles me. I have managed to piece together a few crazy things, but when it comes to actually cutting and styling…I’m pretty much stabbing at it in the dark.

Thanks to the internet, cosplay has really exploded in popularity and the hobby is now teaming with newcomers. Do you feel that the environment has changed over the years to become more competitive or critical?

Garnet Runestar: Oh definitely! I’ve only been around for a few years compared to others (finding Cosplay.com in 2005 and actually cosplaying in 2007), but even in that time I have noticed big changes. The extensive amount of resources available nowadays is just the tip of the iceberg. Costuming is reaching new heights all the time. Due to this access though, the level of accuracy achieved is expected to be even higher. It’s expected with all these resources that high standards will become the norm.

Let’s talk a bit about body type and cosplay. Many online forums lament the fact that many talented cosplayers are frequently ignored in favor of ‘the sexy and less talented.’ Do you have any thoughts about this? Has this ever been something you’ve struggle with?

Garnet Runestar: Oh boy , this is a tough one. The internet has made cosplay a more competitive pursuit than it probably would have been without it. I would be lying if I said I don’t at least hope for a positive reaction to my costuming. I put a lot of work into my creations and I wear them proudly. However, when it comes down to it…I do this for myself. I love creating new pieces from impossible 2-D pictures, I love the frustration and then success that comes from trying a new technique, and I love all the friends I have made by running around in dorky costumes. The truth is – there is always going to be someone better than you…in all aspects of life. If you are doing the best you can with what you’ve got, no one can ask any more of you!

Overall, is there anything you would change about the cosplay community?

Garnet Runestar: One of the things that bothers, I think, is this strange attitude that only one person can cosplay *blank character*. I’ve seen huge fights erupt over this crazy idea. Just because you dress up like that character occasionally or even frequently, it doesn’t mean you own them! I know when I see people cosplaying the same thing as me, I get really excited! I think, “Here is another fan of this thing that I love!”

Another thing I would change is that there has to be a “BEST” cosplayer of whatever character. I wouldn’t mind the competitiveness there, but where I have a problem comes when it’s the argument that because “so and so” is best, everyone else that makes that costume, sucks. Period. Doesn’t matter how well the costume is actually made, it doesn’t matter if they look nice in their cosplay. It’s all irrelevant because “so and so” is already the best.

And finally, from a competition stand point, I wish that those who choose to compete had a more thorough understanding of masquerade etiquette. There has been an increase of commission or store-bought costumes entered for craftsmanship consideration, or costumes entered in multiple competitions that have already won awards. There are rules dictating that sort of thing, but there seems to be a general lack of knowledge. I’ve seen people lash out at judging because they don’t understand the rules of competition (Like requiring that the costume be entered for craftsmanship to be eligible for certain awards). It’s fine if cosplayers are not interested in the craftsmanship of their cosplay and just want to perform on stage; there is nothing wrong with just doing all of this for fun! But when it comes down to competition, it’s not fair to those that do care about that sort of thing to take it away.

What is your 2012 convention schedule? If someone at a convention recognizes you, how would they go about approaching and talking to you?

My schedule is a little up in the air this year. However, I do know that I will be at Fanime for sure! It’s one of my favorites and I’m always excited to see the amazing costumes there. There is a slim chance I will be at NDK (in Colorado), I’ve been every year for the past 4 years. And then I think I will be at Anime Banzai (In Utah), one of my local conventions. [laughs] You make it sound like it’s complicated to approach me! I’m not scary, I promise! I love meeting new people. Seriously, if someone ever recognized me at a con and said hello, I would be stoked out of my mind! It’s a thrilling idea that people might perhaps know or recognize my costuming!

Want to keep tabs on this cosplayer? Follow her cookie crumb trail below:

http://www.cosplay.com/member/35665/
http://elrowiel.deviantart.com/
http://www.acparadise.com/loves/garnetrunestar
http://www.facebook.com/GarnetRunestar

Operation Condor is a very funny Jackie Chan movie which is the ‘true’ sequel to the 1987 film Armour of the Gods. The production values are far glossier than his earlier movies – this one is shot on location in the Phillipines, Spain and Morroco. In the film, Chan and three female friends (one Japanese, one Chinese, one German) journey into the desert to find hidden gold – and get into comic scrapes. A scene where Chan flees on motorcycle from the villains through the cramped city streets is one of the most exciting chase scenes on film. Chan gambles with his life in every stunt and action sequence making for an exuberant film that must be seen to fully appreciate Hong Kong action cinema.

Jackie Chan does a great job here, with great camera work, fantastic angles, and keeping the film at a very fast pace! Of course if the scene in the Nazi war room fighting a dozen mercenaries doesnt do it for you, nothing will. Jackie also shows off some cool gadgets along the way and this movie is regarded as the most expensive to make of all his films. I really like Operation Condor, because of some scenes which are so refreshing in this world of rehashed Hollywood. The wind tunnel scene has already been mentioned in other reviews, but it really is amazing to watch. It captures the thrill of travel and adventure much better than a James Bond movie, because somehow the adventuristic ambience is more strongly felt if that makes any sense. I feel it captures it better than even an Indiana Jones movie. The reason being that unlike a Bond story, or Indiana Jones story – you really do get a feeling that Jackie is on a “free and easy”, whereas Bond/Jones is a “package tour” if you know what I mean.

As a government agent, Chan is sent out with a female desert guide to search for the tons of lost gold in a buried WW2 Nazi base in North Africa. Along the way, Chan picks up another female accomplice, the German granddaughter of a former base officer. Several other governments are also aware of the gold, but don’t know its location. They either fight Chan or try to follow him to the gold. Good, believable story. Apart from Rush Hour you wouldn’t usually associate Jackie Chan with doing much comedy only martial arts but he does it like a pro and it doesn’t stop till the very end. I can go on and on for years and years watching this and you never ever get bored as there is so much to take in and not enough time. As soon as it is finished you’ll be dying to go back for more and watch it on repeat viewings.

http://www.youtube.com/watch?v=ANSoIkU4elc

Although there is no one standout fight scene, all the action is good and enjoyable making use of objects in ordinary ways – it’s hard to find fault with Chan, but he has set his own bar high meaning that stuff like this, which is good, often appears to be average for him. One of my favorite pop-corn movies, very entertaining, a must see for newer Chan-fans who missed it. After seeing this film you will agree with me that Chan’s new films can not compete with the ones made in the early 90′s when he was not yet a star in the states. With a healthy dose of Kung Fu action and kickass motorcycle chases, as well as gunfights and ample doses of comedy, Operation Condor is a must own for any Jackie fan.

Aileen Luib is a portrait photographer who has been featured in publications such as the Press-Enterprise and IE Style Magazine, as well as published in Imagine Publishing’s (Digital Photographer Magazine) new book, “The Complete Photography Book” and the G.O.O.D.S Magazine’s 1-year anniversary issue. Aileen’s young eyes have captured subjects in such a light that surpasses her age, and aims to photograph enigmatic beauty that haunts and captivates the viewer’s mind. We sat down and discussed career tips, whats in her camera bag, the industry as it stands today, and more! Read below for the full interview…

Having worked as a professional under the age of 20, what are your methods for having clients taking you seriously? Is having a good book only half of it?

Aileen: My portfolio is what initially brings the clients in, but the way I carry myself and how I conduct my business is extremely crucial. Clients are usually always cautious of hiring me because of my age, so phone calls, e-mails, and meetings must all be professional; first impressions stick forever, and in the end, that’s what gets your foot in the door. My age is a stigma when it comes to getting clients, but I also try to use it to my advantage. With everything we do, younger people almost always break out of the traditional standards and are willing to take risks and try new things; we break the old rules and introduce the new trends. My youthful and edgy approach is beneficial to my portfolio, but maturity is essential for handling business and keeping relationships. It’s a 50/50 split.

With the over-saturation of affordable camera equipment in the market, do you ultimately feel that there will be a gradual shift in quality photography in the future (in terms of commercial usage)?

Aileen: It’s scary that there are so many different kinds of professional cameras coming out, especially with prices becoming more and more affordable. But from what I’ve seen, the fashion and commercial markets really only hire experienced photographers (since they’re forking over thousands of dollars and putting their reputation in the hands of one photographer), and not just that, but only ones who have a distinctive style. There are many people who pick up cameras for the sake of wanting high-quality images, but the only way to pursue a legitimate career as a photographer is to work hard, thoroughly understand your equipment and learn to define and separate your style from others.

You are a pretty big advocate for exposing/revealing ones true self without having to hide behind smoke & mirrors. As a photographer were you always this confident or has your career behind the camera, in turn, guided this transformational change in yourself?

Aileen: When I first started out, I resorted to lots of make-up, extreme angles, heavy photo-editing and many other smoke-and-mirror methods to create a photograph I thought was good. But since then, it’s been different. I enjoy having a deep connection with my model; having them release their insecurities and be their real self in front of you is a feat in itself, since the camera can be so intimidating to look perfect for. Having the model as comfortable as possible for the camera reaps much better results than slopping a bunch of make-up on them to make up for their discomfort. During a shoot with a friend, I played some pretty emotional music and she actually wound up crying. Of course, I didn’t shoot her crying, but the fact that she felt the music and the mood really helped portray the atmosphere I was initially going for. Emotion is a key element, and like they say, the eyes are the mirrors to one’s soul. It’s all about feeling with my work; if I can’t share an emotional connection with a model, the photos will appear lackluster and empty.

You had a chance to shoot a past interviewee of ours, Yaya Han. What is the dynamic like shooting a cosplayer versus a normal photoshoot? Do you have to be more critical of the environment and landscapes?

Aileen: The past projects I’ve shot with cosplayers, I tried to treat the costume the same way I do with outfits for fashion work—the environment must compliment the attire, but never overpower it. If you are shooting portraits, it’s important to never drown your model in your backdrop. Let your subject speak for itself.

As a young photographer, and the uprising popularity of amateur photographers enrolling in college, do you feel formal education is necessary to gain longevity in a career?

Aileen: Not at all! I finished my photography program in community college, but I feel that everything I learned in all those classes were things I could have taught myself. In fact, I made the decision to no longer attend school, and instead, pursue photography with everything that I have. In our society, it’s always been the “right” thing to pay for education because that path provides a career at the end of it, as well as substantial income. But the arts have been craftily mass-marketed and monopolized in schools, and in the end, I really feel that they just take your money without giving you a worthy education equal to the weight of your tuition. Money aside, art is a multi-faceted thing; there is no single right way to do something. Becoming a lawyer or a doctor of course requires procedural work that is essential to those career paths, but creative careers do not. If you research the backgrounds of the industry’s most successful photographers, most to all of them either went to school and dropped out, or never enrolled at all. School can’t teach you your style, and it definitely can’t teach you how to deal with a lot of the letdowns you experience as a growing artist. You have to find your own style and experience those disappointments in order to learn from them. Sure, school can teach you how to market yourself and how use your equipment, but you can also learn that stuff yourself through trial-and-error and researching online; better yet, you’ll learn the same stuff without a biased professor preaching their personal beliefs to you. Money and formal education can never replace passion and drive.

What is your best photography tip?

Aileen: Use the Internet and do your research! There are so many websites like DeviantArt and Flickr to keep you constantly inspired and wanting to try new things. Online communities help me learn new things and discover new tricks, and I find that following many artists’ growth online is inspiring. You have to expose yourself to other photographers’ work to see what the new trends are, which techniques work and which to avoid, and know what makes a good photo good, and a bad one bad.

I know you love Anime! Give us some of your favs.

Aileen: I would have to say my top three is Gurren Lagann, Fullmetal Alchemist Brotherhood, and Evangelion. These three have, believe it or not, influenced my life and my photographic work! GL taught me to never give up, while FMA and Evangelion taught me about humanity. For laughs, Full Metal Panic! is my favorite, with Mitsudomoe close behind. For drama and action, Angel Beats!, Valkyria Chronicles, and Soul Eater.

Having researched what is already out there and worked to find a style that is unique to yourself, how have you set yourself apart from the rest? Is it your equipment? Your ability to capture lighting? What is your secret?

Aileen: To be honest, I feel like I’m still in the midst of defining my own personal style. But just recently while seeing my works on an exhibition wall, I noticed that reoccurring themes in my work are color and light. For every piece I have, there is a working color scheme, or washes of color here and there. Light-wise, I shoot using natural light about 90% of the time, and in order to prevent becoming redundant, I try to play with light and use it in a different way each time. My style isn’t totally set in stone yet, but I do see it developing with each image I put out.

If you had to choose one lens, which one would it be and why?

Aileen: Canon 50mm 1.2. I have a Sigma 85mm 1.4, but it’s a little too long for my taste, where 50mm is just right. Having an F-stop of 1.2 would also be nice, so I would be able to open up further if I need it.

Can you describe how and when you use flash, video light, reflectors and natural light during a wedding/portrait shoot.

Aileen: I always use natural light since I don’t have a studio to call my own at the moment. My studio-esque shots are taken with a cheap $200 continuous light (video) kit; other than that, I’m always outdoors with natural light. Otherwise, if the sun isn’t cooperating with me, I have someone hold a reflector or shoot against the sun. I’ve been forgetting to bring my reflector to shoots lately, so I’ve often had to cut open a chip bag and use the silver insides for a reflector…

I usually end these interviews requesting advice, but lets switch it up a bit. What is the best piece of advice YOU have been given?

Aileen: Learn to take criticisms, hatred, and rejection like a champ. It’s still really hard for me to do this day, but it’s something that is vital for your endurance as a photographer, an artist and a person. You can’t just give up on your passion because of a rejected request from a company or blatant criticism from your peers. There are times when I’m surrounded by people who doubt me, or I’m constantly slammed with rejections for work requests. I am only human—sometimes I feel sad or even cry. It hurts a lot, but you have to learn how to grow a steel heart, follow it, and keep going.

Want to keep tabs on Miss Aileen’s photography? Follow her cookie crumb trail below:

http://www.aileenluibphotography.com/
http://www.facebook.com/aileenluibphotography
https://twitter.com/#!/aileenluib

A friend of mine is absolutely nuts about the Tales series. Having grown up with him playing Tales of Destiny I and II on the PSX, you can imagine his excitement, and my anticipation for this anime film. Finally, it gets the blu-ray treatment and I am here to let you guys know it does a great job presenting the world of Tales. Tales of Vesperia: The First Strike will take place a few years after the end of the Great War before the events in Tales of Vesperia the game. That is correct, Production I.G decided to toss out the plot of the game and make a prequel! The movie starts with Yuri Lowell and Flynn Scifo, new Imperial Knight recruits in the Niren Corps. They are sent to investigate abnormal aer on the outskirts of town that is causing the forest to wilt and the animals to behave savagely. All together, the cast is put together quite nicely and the voice acting is impressive, using the same voice actors from the game.

Utilizing the power of a powerful substance known as aer the people of the planet Terca Lumireis are in an age of discovery and prosperity. The crystallized form of aer which is known as Apatheia, is considered to be a very powerful energy source as it is essential to human life. In order to protect towns from attacks by monsters large amounts of Apatheia are being produced to create barriers around towns. You also get to learn about Flynn’s backround, and why Yuri left the knights, and where he got his special Blastia from. Although, I am a little disapointed that a lot of the characters were not in it. Also, Yuri looked less feminine than I remember him being in the game. But, the effort Production I.G put into this film is very apparant in the animation department. A lot of anime show the same animation or background over and over, but this movie kept showing new material and I can really appreciate the effort from the animators.

I like how they crammed so many things in to this movie, and I’m glad it’s just under two hours, because that way, the movie didn’t feel rushed, unlike most movies that are 90 minuites long, but they’re usually American. But it’s probably less about plot and drama, but moreso the creation of a world of fantasy. The demons, creatures were somewhere between animals and monsters, and they also are one of the most appealing factors of the film. Director Kanta Kamei, who was involved as an artist even in large projects has now completed his first debut and in doing so – puts the focus entirely on this show’s presentation. Naturally, plot will suffer, but even then, he had yet to put in a little more effort. While the world borrows looks from “Vesperia” quite obviously, it lacks that certain something. Again, the animation is clean, and has a solid look, but this gives the work the character of an assembly line product.

http://www.youtube.com/watch?v=vl2p9j6CZkg

The main characters contrast in which Yuri follows his heart and helps the people in need, while Flynn just does what he is ordered to do. Yuri and the captain look up to Flynn’s father who disobeyed orders and protected the Lower area of the city and died in the process. However Flynn thinks his father died pointlessly and left nothing behind apart from dishonour, however later in the show he realizes when the captain does the same that many people were alive because of the captain’s sacrifice. This really does open up layers and layers of the franchise that have never been seen before. The movie is light-hearted and doesn’t take itself too seriously, but I didn’t mind, it’s typical because it’s proven to work. My very personal recommendation would be that if you played the game you should really watch this. After all, with the high demand of video game anime lately, such as Dragon Age; Dawn of the Seeker, it is obvious who the demographic is chasing. This is a quality anime that only misses A marks by a few centimeters. Add it to your collection this June!

We feature a lot of talent on our website, but even though the talent usually speaks for itself; everyone has different tastes and how they perceive what is actually good. Opinions are what form this very website that you read. Opinions will always come back around, the two-headed snake we can never kill. Yes, two heads: opinions and the fear of opinions. We caught up with three people from three different backgrounds as they share their thoughts on today’s top artists, entrepreneurs, musicians, and actors that we have had the pleasure of interviewing within the last year.

Meet the panel: Rekstizzy, a New York rapper (and past interviewee himself who is probably too famous now to come back) and founder of a website I wish I started, Gumship. Dexter Terrestrial; an artist who began as the conceptual birthing of mediocre ideals and most importantly, my old college buddy. Last, but not least, Olivia; former editor of Japan Cinema and all around worldly woman of moral purity.

[Original Interview]

Dexter: Loved him in the Matrix films… He’s a tiny dude but he will fucking destroy you!

Olivia: “I can take you to her, but first I must apologize.”
“For what?”
“FOR THIS…..! [Insert highly stylized, choreographed to the 9th minutiae fight scene of undetermined martial art fighting style]

Rekstizzy: This one of those gentle giants who will beat your ass then buy you a meal. Then you’re like, ugh, fuck it, I’ll stop being an asshole and join your crew. Later on in the movie of life, you sacrifice your life for this dude and it’s worth it ’cause his fists had life-changing charisma.

Olivia: Much noted that he performs his own stunts in The Matrix series as Seraph. However it’s ingratiatingly cloying when art directors feel the need to wrap him up in a Chinese mandarin suit. As if having a serious Chinese accent, being an Asian man and wearing old fashion mandarin glasses wasn’t enough. Where’s the Mexican wrapped in a serape drinking tequila napping under a tree? Why wasn’t he in the Matrix?

Dexter: Also, he kinda looks like an Asian Breckin Meyer when his face is shaved… just sayin’.

[Original Interview]

Rekstizzy: Jeff Staple basically runs shit out here in NYC and he spreads a lot of positive creative energy around. I actually got to chop it up with him once and he was real down to earth. I think I was telling him about how much I wanted to suck a fart out of a girl’s ass and he chuckled. That means we’re best friends, yo.

Olivia: Sometimes when I have money I want to buy things. Usually not shiny fancy things though. And rarely Timberlands and Nike’s and other things rich people can afford. However Jeff Staple is good at designing packaging for things rich people may or may not want to buy.

Rekstizzy: Also, dude recently played chess with the RZA!

Dexter: Not big into fashion, but some pretty cool stuff nonetheless. I think I’ll have another beer and watch Game of Thrones now.

[Original Interview]

Rekstizzy: I saw in the interview with ya’ll, he was basically like, ‘fuck yo art young’n, this shit ain’t a game!’

Dexter: Some of his work is nice, but others… I don’t know… you shouldn’t do that to donkeys.

Olivia: On the western hemisphere there is Marina Abramović. On the eastern hemisphere there is Zhang Huan. And that is all the really needs to be said about devastation and people and genius.

Rekstizzy: I agree. Too many cats out here are just doing it to do it. No purpose. Then you see his shit and you’re like confused as to what he’s about. It’s usually those cats you gotta pay attention to. The ones throwing mad visuals at your face and letting it hump your retina.

[Original Interview]

Olivia: Remember when you were a kid and you read that book about the girl with a ribbon tied around her neck and it was full of other scary stories that bothered you days later when you were looking around coming in from recess and the wind was blowing and you felt a chill and smelled pumpkin spice in the air? Well this is not exactly like that. This is like the other time you read a children’s book and you were like – this art is good but not AMAZING and you were trying to fix it with your eye. Fu is good and her pictures look similar to a children’s book illustration that have been banned and permanently held behind the librarian counter. Her color technique is great. Some of her compositions haven’t quite composed themselves together yet. Also don’t listen to me because I have yet to incorporate “digital painting” into actual art yet. I’m still of the school where it is art if you crafted it and painted onto it directly with your hands and a brush or a spray can or a blade.

Dexter: She really has some amazing work. Nice, subtle shading and very steezy character designs.

Rekstizzy: Aw man, her shit is dope but honestly, I couldn’t buy one of these works and hang them in my house. I know for a fact they’d come alive and I couldn’t really handle that shit at this current time.

[Original Interview]

Olivia: She’s the inside of every 12 year old girl and she had me at ‘hello’.

Rekstizzy: This girl will not hesitate to step on your balls, ked. I’m certain she will drink a healthy shake out of the virginity of four otakus every morning.

Dexter: Hotter than Satan’s toenails!

Olivia: Does every cosplayer have to sexualize herself to the point of the viewers knowing every inch of their bodies more intimately than their gynecologist….is it women empowerment or sexualization for male gratification and attention?

Rekstizzy: Those titties are pretty serious. I want to meet her.

Dexter: I am a fan.

[Original Interview]

Dexter: Love her, one of the funnier humans on this planet…  she’s one of the main reasons Family Guy is so brutally hilarious. Trying to pronounce her name [Chevapravatdumrong] makes me sound like I’m speaking in tongues, though… or stroking the fuck out.

Olivia: She is now the only female writer, and an executive story editor (36 episodes) on Family Guy. She released two young adult novels, She’s So Money and DupliKate. Basically she’s the last female badass on Sausage Fest Island. Stay strong.

Rekstizzy: It’s really nothing more attractive than a chack with a mind to her. But then you got a funny chack who’s also penned three books? Man, that’s wifey material. It’s all kinds of things I’d do for this chack, put on the Brian the dog costume, and then I’m like screaming out her whole last name during passionate acts.

[Original Interview]

Olivia: If Carlos Montoya were a member of the Gypsy Kings and was also Japanese he would be Jake Shimabukura. Jake does things with the Ukelele that aren’t legal in 34 states.

Rekstizzy: Normally, I wouldn’t trust anybody who successfully mastered the ukelele and that’s only been confirmed by this right here. When they did a close up on his finger tips, I actually seen the devil himself, a miniature version, dancing from finger to finger and making lewd satantic homoerotic gestures. I wanna give this dude props, but I’m afraid.

Dexter: Jake + ukulele + Bohemian Rhapsody = Unfuckwithable steez! This dude’s ukulele skills are out of this world. Trust me, I should know.

Olivia: The very opposite of that time last year you were soo soo excited about Eddie Vedder making a solo album consisting of him a ukulele and a beach and yeah you could vibe on that puff puff give type of thing he was going for until you actually listened to it. And your bearded long haired indecipherable crush of nineteen years crumbled into the sand.

[Original Interview]

Rekstizzy: I love to see a Korean artist on some bugged out shit like this. Those cats don’t really rely on substances to achieve these new heights of strange, so it’s even crazier. I predict we will see this guy’s work on billboards in the future, and then one teen will look into the eyeballs a little too hard and want to jump off something high or it will change their life for the better.

Dexter:  Looking at his art brings up feelings of dropping acid with a group of super-models… or taking mushrooms in Manhattan’s fashion district. Really amazing work, and at 20 years old… son of a bitch!

Olivia: Was his mentor Lisa Frank? Are her trapper keepers street legal in South Korea? Is his work successful in terms of scope, balance and form? Can you ask anything after being blinded with unending peals of color schemas and tonal charts? Are we robots?

Rekstizzy: It’s that ‘make-a-decision-about-your-life’ type art. Crazy visions. Somebody tell this cat to holla at me.

[Original Interview]

Rekstizzy: I seen that piece of bling she made and it looked like dookie in the most literal sense of the word. I can’t pull biddies with this shit on. I guess she doing her thing though, cool.

Olivia: Minimalism. Velcro. Uncomfortable. Except.For.That.Cute.Bracelet.

Dexter: Some people may not get her work, which, the same could be said for most artists… but she truly is a fascinating earthling. My father always told me “artists are the raw nerve endings of a more stable society” ..Yong Joo is proof.

[Original Interview]

Dexter: Very cool stuff… Some of it confuses and angers me, though. Like the moving frame… just what in the hell am I looking at, exactly?

Olivia: When I was 21, I went to a dive that served sushi and Mai Thai’s. I had never ordered anything that had the paper parasol umbrella in it before and why not now because certainly my boyfriend at the time was finally paying for it. The décor of the waiting lounge at the dive sushi place had been recreated in 1987 to resemble a pan-pacific grotto of world class rattan cum Wal-Mart Garden centers. It may or may not have been dusted since that time. The Mai Thai’s were delicious and juicy. Koizumi’s light creations of sticky note appliqué remind me of this room. One day they will be dusty and the sticky notes pulled down one by one to be used in books or for dental appointment reminders. Koizumi knows this.

Rekstizzy: Word. This one of those ‘life is fun’ mothafuckers. ‘I’m bored’ will never come out this dude’s mouth, unless it’s followed by ‘let’s do THIS…’. This dude is my friend and I don’t even know him. Like Juicy J say, the post it note shit is ‘trippy mane’.

[Original Interview]

Dexter: What’s up with that one with the chick getting choked out?

Rekstizzy: Yeah, everyone in these paintings look like they’re about to experience anal sex, consensually. Their eyes are closed but they look awake and they’re like, bracing for impact but open to the fact that it might become enjoyable.

Olivia: Like that time in Art School when you only had 30 minutes left to turn something in for photo class and you scampered up to anyone walking down the hallway to let you “portrait them.” Everyone skinny and poor but maybe not so poor because some of them have to put down their latte’s and stop texting on their iPhone’s because they are about to be arted. One of them may or may not have a dimpled chin, which she knows sets her apart from the rest and she is worried that it is only this.

Dexter: And why is everyone in his paintings asleep? Maybe they saw some of his art…

Rekstizzy: Not trying to be an asshole here, heh, but yeah, this is some metaphor for life shit.

The weight of anticipation that inevitably falls on a title such as this is practically palpable. Seediq Bale is the most expensive film in Taiwanese history, backed by the government, the ambassador of Taiwan and Producer John Woo and telling a tale of triumph and anguish set across a canvas of historical battles and bloodshed. The Warriors of the Rainbow: Seediq Bale to give its full title is currently available in two flavours. The original cut spans across several hours and is available in a two part compendium with a duration of over four and a half hours. The theatrical cut currently doing the rounds of cinemas across the world clocks in at a bum numbing two and a half hours and provides a fast paced if somewhat heavily condensed account of the Wushe Uprising.

Telling the tale of noble tribal chief Mona Rudao and his band of brave warriors and people, Seediq Bale provides an exhaustive account of the conflict that took place between the native Taiwanese people of the land and the newly occupying Japanese forces. Showing the story across a twenty year span of events, we witness Mona’s transformation from young optimist to battered and bruised chief as we bare witness to the atrocities committed by the invading foreigners and the oppressive environment these tribesmen must face.

Much of the films first and second act are a laboured affair as much of the runtime is dedicated to establishing the two sides before the inevitable war ensues. When the battle kicks off though, things really pick up pace as the film is quick to present enough bloodshed to even keep the most gruesome of gore hounds at bay. Quite simply i’ve never seen a film with as many frequent beheadings as this. Nobody is safe, with young men, women, children and even infants meeting grisly ends that will churn the stomach and avert the eyes as a magnitude of bloody deaths take place. The battles are breathless, and deftly paced, Te-Sheng Wei has an amazing handle on his action sequences presenting set pieces that are both astounding yet suitably grounded in reality. Sadly, criticisms must be levied against the nationalistic undertones throughout the piece, The films antagonists are presented as little more than two dimensional snarling villains whilst the heroes are presented so infallibly they are practically messianic.

http://www.youtube.com/watch?v=53QsTkZMV1A

Much of the context of Seediq Bale’s fight sequences felt shallow due to much of the cut material making many of the characters motivations impenetrable. One seen in particular involving a ritualistic suicide had me completely confounded to the point of wringing my hands in dismay. Thankfully many of these complaints should be rectified by those brave enough to sit down and watch both acts of the fully uncut version. Suffice it to say Seediq Bale provides an excellent if somewhat muddled account of one of the countries most notable events. With an emphasis on action and some beautifully choreographed sequences courtesy of Te-Sheng Wei, Seediq Bale provides an unexpected slice of big budget action rarely seen since the likes of Brave Heart.

Battleship is loosely based on the board game Battlships and stars Tadanobu Asano, and not once did I hear, ‘You sunk my battleship”! The ONLY intention of this ridiculous movie is presumably to keep you on the edge of your seat through any nonsensical means possible. Even that lone goal fails miserably. Seeing the same effects over and over again numbs the brain as much as listening to the dumbest dialogue exchanges in the history of the cinema. This movie exits in a hyper-reality where the world is like a giant video game and battleships defy the laws of physics. So what do we get here? Astronomers discover yet another exoplanet and send a message. The aliens get it and manage to decipher it of course. It does not take very long and they show up on the radar, obviously capable of flying interstellar flights at the speed of light.

With three ships caught in a force field as they are shot upon to pieces, there should be a sense of danger but there isn’t any. Instead the film plays its biggest hand first with a lengthy mind-numbing action scene, taking away any sense of escalation for the film. The story itself is reasonably straightforward and predicable; however, not having to think through a convoluted plot with numerous twists and turns gives one an excellent chance to simply sit back and enjoy some excellent visuals effects. And if you couldn’t guess, yes, the CGI is the best part of the movie. Rihanna debuts in her first film role but fails to impress as a weapons specialist. Given the amount of clichés in this movie, Michelle Rodriguez would have been the perfect choice instead of Rihanna, even if her roles are becoming repetitive. Playing the leads, Kitsch is no better than his uninspiring role in “John Carter”, while Decker suffices as pure eye-candy.

No doubt owing to its video game genesis, this movie has undeveloped characters and poor narrative, but, does it work ? Yes, very much so- for the target audience in question at least. Outside of that, it will no doubt be blasted and levelled by serious critics to the same degree that my review reflects. As it was directed by Peter Berg I was hoping a little less clichés, but I guess when one is attached to a 200 million dollar budget, he has the obligation to make the movie appealable to as wide a demographic as possible. So I’m puzzled as to why I enjoyed it as much as I did – I didn’t love it, but neither did I feel I’d wasted my time.

http://www.youtube.com/watch?v=qDMXkPfxjOc

If you are looking for a Ridley Scott Sci-fi classic then this isn’t it. However if you just feel like seeing a film that is an enjoyable explosive ride then this may surprise you. The last scene was very well shot and also reminded me of a battle in Pirates of the Caribbean. The graphics (especially the last half hour) were realistic and the sound-effects were appropriate and not too loud. I, personally, enjoyed the AC/DC songs in between. Battleship wasn’t great, and I guess it may even be a pretty bad film as far as scripting goes. But while watching it, I at least was interested in what was going on. Still, in summary, it is now available in 2D and also in 3D for those who don’t mind being ripped off, it would have been better if ‘Battleship’ had sunk without a trace during pre-production.

Yukari Terakado is an artist from Japan. She uses seductive lines to create intricate patterns and stunning forms. Working mostly in acrylics and colored pencils, I was instantly captiviated by her work and had to share her with our readers. Having the opportunity to dive into the mind of an eastern artist I wanted to comapre and contrast the views that the East and West have on each other. Read below for the full interview…

You list a lot of blog articles on bands that appear in Japan. What are some of your favorite bands you would love to work with one day?

Yukari: Warpaint, Mike Shinoda (Linkin Park), Foster the People, Mew, and artists like Giselle and Japanese singer Chara. I can see specific colors and forms when I listen to music, and I get very interested in artists that I see beautiful colors in my mind.

Since the devestating earthquake that hit Japan over a year ago, has your work undergone a deeper sense of importance and urgency?

Yukari: I see no difference in the aesthetic of my works, but I do see points that certainly make me think. After the earthquakes, I think a lot of artists have faced hard questions like “what can I do with my art?” We can’t save lives with art, but I feel we can do things to support people’s hearts.

I’ve noticed that a lot of creatives in Japan don’t really think about Japanese culture pertaining to their work. I think many Japanese people tend to think western culture is cool. What are your views towards music, film, and art in the west?

Yukari: We clearly get attracted to western culture in its music and colors. It’s similar to compensate with food nutrients that a body can’t produce on its own, and I think we observe things completely different from our culture and try to produce particular energies with it.

Please take us through your design process, where do you start?

Yukari: I draw a sketch with my computer. After that I take the rough, put a paper on it and outline it with a ball-point pen to do a final version. In this step I correct the details many times over, so I repeat the process “correction→finalization” until I feel it’s good; after which I scan it to computer and color it to finish.

Has it been challenging to create art for a new culutral generation who has different tastes, interests and life experiences than yours?

Yukari: “Art is in the medulla of each human being”. My father taught me these words, but I believe the root is the same even for art created by civilizations, in their surface. An art only acceptable by people who share same life experiences and interests with you exists only in that small world, then will fade away in an instant.  By sharing with people from “different worlds”, I think we can make interesting things.

When it comes to creating, the Japanese use their intuition, whereas Westerners might use their logic more. Do you agree with that statement?

Yukari: Certainly I don’t disagree there are examples that fit in that statement but if I tell you the truth, I think both have logic parts and can use their intuitions too, so I think it doesn’t have a special need to be distinguished.

What do you feel are your most productive working hours? How do you manage to avoid procrastination and hit deadlines effectively?

Yukari: During the day I work in a design office, so I work as an artist often during the night time. To hit deadlines effectively you have to perfectly organize your schedule. But most of the time it doesn’t flow in the way I planned…

Aside from time management, what are some of the other challenges in your work?

Yukari: To do all by myself (can’t do division of labor) and to find perfect drawing tools that match with me.

What advice do you have for the budding artist out there in creative land?

Yukari: Always practice and be unique in what you do. If you get stuck, you need to get courage to restart from zero too.

What kind of work do you have in store for us in 2012?

Yukari: I want to do more artworks with non-person themes.

Want to keep tabs on all her amazing work? Follow Yukari’s cookie crumb trail below:

http://yukariterakado.com/
https://twitter.com/#!/t_yukari
http://yukariterakado.blogspot.jp/