Support team for Josh Tostado at #24hrsmoab around 6 am. (See my previous photo)

Josh Tostado about 6 hrs into #24hrsmoab a few years ago. #legs #mountainbiking #mtb #legs

Perfect veggie burger meal at Superiority Burger pop up. So delish. 231 Eldridge St. Tonight only. (at Superiority Burger Pop-Up)

Andreas Håtveit. Shot for Nike (outtake).

Tommy Czeschin. Breckenridge, CO. Published in Snowboard Mag 2004.

A game called DUFF. Timberline, OR. Johnny Decesare of Poor Boyz Productions shooting at Pep Fujas.

can’t afford the Hamptons.

Ballet the Met. (at American Ballet Theater at the Metropolitan Opera House)

Sweet summer night and I’m stripped to my sheets
Forehead is leaking, my AC squeaks
And a voice from the clock says, “You’re not gonna get tired”
My bed is a pool and the walls are on fire
Soak my head in the sink for a while
Chills on my neck and it makes me smile but
My bones have to move and my skin’s gotta breathe
You pick up the phone and I’m so relieved

Q

Anonymous asked:

What is happening to our ski industry?

A

I’ve got a condo for sale right by the new gondola. There’s even a Starbucks below it. The ski industry is great.

Q

Anonymous asked:

Is it hard to take ski/snowboard pics when you are sipping coffee on Bedford Street and contemplating how deep your V-Neck should be?

A

I live in Manhattan and it’s a scoop neck.

Q

kapitolphoto asked:

Will you tell me which preset you use so I can get that "Nate Abbott" look?

A

Easy answer: Kodak Portra 160 printed by a master printer and scanned well.

Expanded answer: The problem, in my brain, with digital imaging is that a b&w brightness value is evaluated by an Adobe (or Phase One, if yer posh) software engineer and the color filters over a sensor pixel. They respond in a linear manner, whereas film responds in various curves. Skin tones are the most problematic and, though my method isn’t easy or perfect, I use a combination of split toning, custom color profiles and HSL adjustments in Lightroom, plus selective color adjustments in Photoshop to make the highlights balanced, the dark tones rich and, most importantly avoid any orange cast to the skin (unless it’s a Scandinavian girl who loves fake tanning … well actually I still fix that orange skin thing for them, but it take longer.)

Based on a random photo I have open, HSL hue adjustments are: +5 red channel, -5 orange and yellow channels, -5 blue channel, +35 magenta channel (just gotta watch that aggressively shifting one channel does not create banding). Saturation: plus red, minus orange, plus yellow, strong minus green and magenta. Messing with luminance seems problematic to me. Split toning should be mellow but if I want the scene to be warm, I counteract with a gentle cool (210 or 215) tone for highlights.

My methods change every time I fix something and have, hopefully, mellowed over the years into a natural look. I use Photokit sharpening because it looks more like grain than excessive, hard edge contrast when printed in a magazine. 

Whatever, though, my shit is whack. I’m just making lemonade out of rotten, poorly exposed lemons.