From Amateur to Professional Photographer: Carol Freeman’s Tips to Go Pro


“I was also fortunate. I offered to design a new calendar for them using my photos in exchange for several hundred calendars that I could use as a promotion. At the least, barter or get something in return
Find a niche and do what you love
Align with like-minded business vendors/partners

Through her unwavering dedication and efforts, Freeman keeps on top of the referral list when it comes to both nature and endangered species photography. It’s now my most popular product.”
Examples of Carol Freeman’s photo bookmarks. “With nature photography there’s a lot of competition for a very small market. I began to think about how I could utilize that wasted space,” she says. Early morning dew captures the reflection of Ox-eye Daisies on Somme Prairie Grove. She listened to clients, all the while improving upon her own talent and artistry. You have to watch the weather and get up really early to capture these kinds of shots. “The paper is already running though the press. I was spending fewer hours being creative and more hours managing. I wanted to be sure I was ready and financially prepared,” she asserts. My photo products are sold on my site, plus are featured in local retail shops but I could use more accounts.”
She occasionally donates products to fundraisers. We have been creating the calendar together for the past 17 years. For 13 years Carol Freeman ran a successful graphic design business just outside of Chicago. Know How to Go Pro
Freeman’s decision to go pro was not only calculated, it was logical. Click here to see how he now earns a living traveling the world and playing with pups. “In our heyday the business had eight employees and brought in sales of more than $600,000 a year. “Organizations require strong visuals to attract donors, customers and volunteers – my experience as a graphic designer helps me to capture striking images that work for these customers.” she references. 1) Size up potential streams of revenue: teach, pitch and land magazine work, sell stock photographs, make and sell photo products. I do daily posts on my social media page, I have a gallery event coming up next year and am working on a book and a music video. “I have built a loyal following but obviously that did not happen overnight. When the time came, she directly transferred business skills, expertise and contacts to her new full time photography career. I started the company and loved what I was doing, but after a while more of my time was going to tasks that did not inspire me. Adding a product into that space requires very little additional ink – bookmarks became the obvious.” So here again, Freeman taps design plus printing experience and makes it pay off. A first chance came serendipitously. About 10 percent of my time is spent in the field; 90 percent is in the office where I am reviewing images, editing and keeping up with marketing and submissions.”
Covers for “In Beauty, I Walk” calendar, her most popular item. Barter, trade, land additional work, get publicity, find some way to be compensated for your talent and efforts.”
“There are perks to being a full time nature photographer. At some point everyone needs graphic design; one in one-thousand needs a nature photographer. I volunteer on restoration days, meet the conservationists in the area, plus learn about the issues and needs for photography. “I had a printer who made his own marketing calendar. Doing so not only added to the bottom line, but inspired her to strengthen her environmental photography pursuits. Want to read about another photographer who made the leap to becoming a full time professional? The Dogist channeled his love of pet photography and paired it with rising power/interest in social media. Amazing wildlife can be found in urban settings if you take the time to look. “In most print jobs there’s often waste (unused or margin space) on each sheet of paper. “It is constant work keeping my name and work in front of prospective clients; for every 10 inquiries I am lucky to get one assignment.”
Be Logical: Draw from Experience
Even before selling her business it was only natural that she, a designer, seek commercial outlets for her imagery. The inside months are printed on one side only so the calendar images can be framed at the end of the year giving the calendar an extended life. “Those assignments further developed my knowledge and appreciation of the outdoors, plus honed my photography skills.” The work also gave her confidence to leap from part time to full time pro. The next year, instead of giving them away, I sold a few. Steps to Take Before You Leap

Pay off debt
Create a savings cushion
Draw a minimal salary and live a simple life
Understand cash flow and how to project income stream
Start locally
Do not work for free. This let people know I was now doing photography. I set my own hours and, since I’m usually up at sunrise, I’m often done with photography before most reach their office. She has been profiled in The Costco Connection and American Lifestyle. I had very little time off.”
To return creativity into her day, plus benefit the environment, Freeman doubled her efforts in seeking out nature-aligned clients. While running her business she took note of what imagery worked and what did not. She also provides images to Audubon, Chicago Wilderness, The Plants of Concern and The Nature Conservancy. 2) Create a solid exit strategy from her graphic design business. “I spend a lot of time in the field. One is that I have the best office in the world. Succeeding as a Full Time Nature Photographer
After 20 years as a nature photographer Freeman is well known. Knowledge about the environment and species not only motivates me but it also gives my photos extra value (besides the aesthetic appeal) because it allows me to create photos that appeal to a larger audience and lets me reach more clients.”
Her images have appeared in publications such as National Geographic, Better Homes & Gardens, Nikon World and Birds & Blooms. I take the time to get to know each species, and I inquire why my images will help tell the story. “We as photographers should not give away our images. Success hit when she landed the Chicago Botanic Garden, The Nature Conservancy of Illinois and Chicago Wilderness magazine. Her tip for photographers looking to create products: “Be flexible with your products’ dimensions and work with your printer to maximize a printing investment.”
Examples of Carol Freeman’s photo Nature Trading Cards. “Locally, that is,” she smiles. Making a Smooth Transition to Life as a Professional Photographer
It took nearly four years of planning to transition from Graphic Designer to Professional Photographer. “A few words about donating though,” she says firmly. I got my big break early on by landing two large assignments.”
A rare sighting of nature photographer Carol Freeman in action photographing a young Red-tailed Hawk at Lake Glenview. Freeman cites two tasks that she undertook before taking a full time leap. Aside from being a retail product, Freeman’s photo bookmarks also double as a marketing tool; she uses them as business cards and gives packs away to nature organizations.


The Nikon D500 and a Dancer: Street Scenes, Studio and the Stage with Joe McNally


I am recreating a live performance look, so I’ve added a hard light (SB-910 Speedlight) to camera right. Gear Used

D500
AF-S DX NIKKOR 16-80mm f/2.8-4E ED
AF-S NIKKOR 35mm f/1.8G ED
AF-S NIKKOR 85mm f/1.8G
AF-S NIKKOR 200mm f/2G ED VR II
SB-5000 Speedlight
SD-9 High Performance Battery Pack
WR-A10 Wireless Remote Adapter
WR-R10 Wireless Remote Controller Insight noted—McNally and team shuttled off to the Ridgefield Playhouse in Connecticut. “The fear is gone. Capture specs include ISO 400, f/8 aperture at 1/250. Studio and Stage Excellence
“A dynamic subject requires a dynamic photography system,” closes McNally. Nikon D500 with AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II, ISO 200, f/8 and 1/15, Auto WB. He discovered that, despite her classical ballet training, his dancer favored the moves of Bob Fosse. A straight-on portrait was also desired, so the photographer styled this by placing the camera on a tripod, then dialing to ISO 200, f/5.6 at 1/250 shutter speed. “For the subway images I dialed ISO to 1000,” he shares. His team placed three blue-gelled SB-5000 Speedlights in the balcony, then four additional SB-5000s set at ground level. That camera paired with the 16-80mm was ideal; so versatile, so sharp. “I used a ‘traditional’ clam shell style of lighting, over and under, and skipped a light off the floor. It used to be that when photographing in dark venues the resulting photo would lack vibrancy and showed noise.”
While it was McNally’s technical objective to demonstrate that a basic camera set-up can handily work through a variety of environments, it was his primary goal to produce a collection of images that captured the essence of this young dancer. McNally’s vision was to create a dynamic set of location photos of a beautiful and accessible subject. Nikon D500 with AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR, ISO 400, f/8 aperture and 1/250 of a second. Photo © Joe McNally. Its light cast was softly bounced up by a silver Lastolite TriFlip reflector placed on the floor. I was moving constantly, so I had to travel light and be ready to frame in an instant.” While he predominantly used the kit lens AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR, the AF-S NIKKOR 200mm f/2G ED VR II, AF-S NIKKOR 35mm f/1.8G ED and AF-S NIKKOR 85mm f/1.8G were also on hand for specific situations. The D500 is regarded for its simplicity. New York City is one of the great performance capitals of the world, so when Natalie Wilmshurst came to Gotham this summer, Nikon Ambassador Joe McNally started filling out his own dance card. Technology enhancements permit us to work in upper ISO ranges and obtain clean files. “Natalie represents any young dancer who is trying to make it in the big city,” says McNally. “New York City subway shots were captured relying on purely available light and the 16-80mm,” he says. The AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR was employed. The Nikon D500 was set to ISO 100 at f/8 and the shutter speed was 1/30 of a second. The gear allowed me to move fast.”
Interested in reading more Joe McNally articles? To present her more contemplative and still side, McNally positioned the dancer within a corner window of a west-facing building in Manhattan and set the camera to AF-S (Single Point), positioning the cursor over her face. “The camera constantly tracks a moving subject (you have to be aware of your Lock-On custom settings as well), but the Group-area AF mode further assists me in defining an area to follow; it allows me to assign priority to an active cluster of focus points. “The Nikon D500 is a great camera that’s perfectly suited for a project such as this. A softbox was angled camera-right for the ‘over’ light.”
Nikon D500 with AF-S NIKKOR 85mm f/1.8G, ISO 200, f/5.6 at 1/250. Photo © Joe McNally. I wanted to mimic the look of natural light, while keeping overall softness.” He positioned a 6 x 6 Skylite Rapid Diffuser Panel to camera left, placing three Nikon SB-5000 Speedlights through it. For authenticity McNally started with house lights turned on. While the image appears to be natural and spontaneous, it in fact took a bit of lighting and staging. Minimal gear, maximum results.”
Into Darkness with High ISO
Photographers say that newer DSLR cameras permit them to shoot in more and more locations—particularly dark locales. Shot on the Nikon D500 at ISO 100, f/8 and a shutter duration 1/30 of a second was paired with an AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR and SB-5000 Speedlight. This lens is a compact, really sharp lens. That other ‘performer’ he’s talking about is the flagship Nikon D500, a DX-format camera that is en pointe when it comes to versatility. “One of which is that the DX sensor, since it’s smaller, allows for broader focus point coverage area. “I drifted a little light onto her, using flash to subtly open up the look. Photo © Joe McNally. I love that I have access to f/2.8 at the wide angle settings.”
Additional environmental portraiture was created. “The camera is light and responsive—perfect to use when fashioning this about-town profile series. Nikon D500 with AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR and SB-5000 Speedlight, ISO 400, f/5.6 aperture and 1/80 of a second. “It permitted me to shoot in a wide range of situations—from hard sunlight, to high ISO inside the subway; from flash on the street at night to flash in a studio setting. Need a Light? Precision Partners in Perfect Focus
“I met Natalie while working in Edinburgh, Scotland, and thought it would be a hit to pair together top performers,” adds McNally. Photo © Joe McNally. Photo © Joe McNally. “Building a photo shoot around her offered a perfect way to showcase how two of Nikon’s latest products—the D500 and SB-5000 AF Speedlights—are both accessible and easy to use.”
Nikon D500 with AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR and SB-5000 Speedlight, ISO 200, f/7.1 aperture and 1/250 of a second. “I used the 16-80mm. To keep her face from falling into shadow, another SB-5000 was placed on the floor. I could keep her face, neck and shoulder area in sharp focus, even if her feet or torso were in constant motion.” McNally relied on Group-area AF mode for a variety of the shots with Natalie in motion in the studio, and also dancing on stage in the theatre. “There are benefits to working with a smaller sensor,” he asserts. Had he merely stepped into position to shoot, his subject would have been lost in the shadows, rendering only a silhouette, with brightness from the outside sun overpowering her. Click here to find more articles by Joe. “She (Natalie) is center stage. When I was looking through the viewfinder to check what I was framing (with Dynamic AF set to ON), I could observe red focus point cursors tracking through a majority of the frame—easily following my subject’s movement. Photo © Joe McNally. Time for the big moment on stage, so a Viennese coffee chair was brought in—plus a selection of lighting gear. This is great for candid shots, and ideal when photographing erratic subjects such as athletes or pets.”
“The Nikon autofocus system continues to evolve, and I also found it helpful to employ one of the breakthrough autofocus modes, Group-area AF,” McNally explains. This radiates at her, imitating a look you get when lights are on in the wings.” McNally tapped Nikon’s wireless flash system that now operates via radio.


Dusk to Dawn: Adam Woodworth Takes the Nikon D5 into Darkness


That single exposure method requires less time in the field, and in many cases, minimal time in post to add some noise reduction.” Woodworth states that with the high ISO performance of the D5, and its greater light collection, it did not take an incredible amount of effort to clean up the image. One shot for the sky at f/2.8, ISO 12,800, 10 seconds. “Sometimes it’s more about the journey than the photo,” theorizes landscape astrophotographer Adam Woodworth. In-camera long exposure noise reduction was always enabled except for test shots. “While I normally do star stacking, I didn’t do it for this assignment because I wanted to see how the D5 performed with a single sky shot,” he explains. Gear Used

D5
AF-S NIKKOR 14-24mm f/2.8G ED
AF-S NIKKOR 24-70mm f/2.8E ED VR Adam Woodworth using his Nikon D5 for Astrophotography work. If, however, you have a more varied shooting style and are curious about how the Nikon D5 will perform for night shooting, rest assured it delivers a well-rounded performance. As it happens, the clouds moved far enough east by sunset to put a gap between them and the western horizon where the sun was setting, bringing an amazing light show that placed pinks on the clouds and a very warm intense light on the foreground.”
Nikon D5, AF-S NIKKOR 24-70mm f/2.8E ED VR lens at 24mm. He found this angle (above) not far from where he was planning to shoot the next morning. Two shots for the foreground at different focus distances and then stacked for depth of field, each shot at ISO 1600, f/2.8, 4 minutes. This image was created with the D5 at ISO 100, exposing for 0.8 seconds and f/11 using the new AF-S NIKKOR 24-70mm f/2.8E ED VR lens. “I had at least an hour before the moon would hit the horizon. In other cases it might need exposure stacking, exposing for the bright sky, and then another shot for the dark foreground. “I wanted to capture pinpoint star images from short exposure times, then observe how much noise was produced by this newer camera with its larger pixels.” For “Twilight Milky Way at Rose Blanche Lighthouse” (above) he fashioned one shot for the sky at ISO 12,800 for 10 seconds at f/2.8, and one shot for the foreground at ISO 1600 for 180 seconds, f/4 using the AF-S NIKKOR 14-24mm f/2.8G ED. Originally built from granite in 1871, the current building was extensively renovated in 1999. One shot for the foreground at ISO 1600, 180 seconds, f/4. As usual, I prepared the RAW files in Lightroom, stacked & blended them all in Photoshop, and continued with creative edits in Photoshop. Sunset at Green Gardens
The afternoon of the shoot, Woodworth double-checked the time of moonset using the PhotoPills app, noting the hour when the moon would be setting next to the cliffs at Green Gardens. His journey would take him along a hiking trail that was mostly in the woods. Undertake your own adventurous trek and begin creating astrophotography art. Once more photographing the night skies, Woodworth packed the Nikon D5, a camera boasting native ISO 100 to 102,400 (expandable to Hi-5 / ISO 3,280,000 equivalent), plus three lenses, a tripod, sleeping bag, food and clothing. The D5 has 20.8 megapixels resolution. Star shots are often taken in the 20 to 30 second range to get enough light to reduce noise, but at the cost of having small star trails. This image has a lot of retouching for creative effect to bring out the detail in the cliffs and make the scene have a dreamy feel to it, as I felt when I was standing there.”
Nikon D5 and AF-S NIKKOR 24-70mm f/2.8E ED VR at 32mm. To get pinpoint stars with low noise, Woodworth normally captures 10 shots of the sky at 10 seconds (or whatever shutter speed produces pinpoint stars for the focal length), and one or more shots of the foreground at a lower ISO (often ISO 1600) at much longer shutter speeds and at different focus distances to obtain shots that will be in focus from the foreground to the stars. When compared to the Nikon D810A, which has 36.3 megapixels resolution, the Nikon D810A generates a file that has more flexibility, and should be a first choice if you are interested in only doing astrophotography. “Depending on the time of year, you have anywhere from maybe one to three hours of Milky Way darkness, but the angle of the Milky Way for your particular shot might be good for only a few minutes.” Working with a camera that’s capable of producing a cleaner file in a shorter exposure duration during night conditions can ease overall workflow. From that favored shoot location he was interested in learning what the D5 could capture in the dark. To read more about astrophotography, click here to see Woodworth’s other article. Single exposure, ISO 400, f/5.6, for 2 seconds. “You will still get much better results with star stacking, and I will personally continue to use star stacking, but others may be happy with a single exposure for the sky. With a camera such as the Nikon D5, photographers can create dreamy images—whether star stacking multiple files or capturing that single evenly-exposed view of the world. He then stacks the sky shots using Starry Landscape Stacker for the Mac, and stacks that result with the foreground exposures in Photoshop. After hiking for a couple of hours, Woodworth arrived at the seaside cliffs of Green Gardens in time to verify the angle that he wanted for shooting a moonset, plus have time to scout for other potential shots. The Nikon D5: a Heavenly Time Saver
“When working with image components—either the single shot for sky or the stacked star shot—all can be easily blended in post with the separate foreground shot for maximum impact,” he says. Taking advantage of the moment, Woodworth ran around the edges of the cliffs looking for compositions that best captured the light and grassy terrain. “I learned that Rose Blanche was originally a French settlement called Roche Blanc, or ‘white rocks.’ The name is a corruption of the phrase and likely influenced by the presence of quartz veins in some of the rocks visible from the ocean,” he shares. A few notes about capturing a low-light image in a single exposure: “Using one exposure is more based on the technical situation of the shot.” He elaborates, “In this situation the foreground and background were far enough apart such that a single file had everything in focus. Single exposure, ISO 100, f/11 for 0.8 seconds. And for scenarios where the night subject matter is fleeting, such as the Milky Way, a camera that makes the most of time is a boon. I knew that its warm glow as it hit the water wouldn’t last the entire time, and that the moon’s elevation next to the cliffs would look pleasing for even less time, so I worked quickly to get a couple different compositions at different focal lengths.” Woodworth shot at varying shutter speeds between 0.5 seconds and four seconds to see what the water motion looked like. “Star stacking isn’t a replacement for a single exposure for the scene—just for the sky exposure.”

He discovered another time saver that may be useful for some: a balanced night photograph generally requires several image files (foreground, background, sky, etc.). “You reach a spot then don’t get the image you want, but the experience is amazing. Nikon D5, AF-S NIKKOR 14-24mm f/2.8G ED at 14mm. One shot for the sky at ISO 12,800, 10 seconds, f/2.8. Other times it happens that both journey and photo leave you excited.” On a return visit to Newfoundland, this time carrying the Nikon D5, Woodworth walked away with both. Art and Adventure at Night
While the Nikon D5 wasn’t designed especially for astrophotography (the Nikon D810A camera is specifically designed for astrophotography), this camera’s high ISO performance allows it to perform very well in extremely low-light scenarios. The hike goes through similar barren terrain below those mountains, but very soon goes into the woods after passing a small lake,” he shares. “I started across the street from the Tablelands, a desert like place that is actually the earth’s mantle brought up to the surface and formed into flat top mountains. Woodworth feels there may be instances where the Nikon D5 camera’s ability to produce a clean exposure in a 10-second pass may reduce the overall shooting time, especially when using single exposures for the sky (add time for Long Exposure Noise Reduction processing). “Image files from the D5, when shooting at higher ISOs, yielded almost non-existent magenta color noise in corners and shadowy areas of dark exposures.” As a note though, because Woodworth wasn’t using star stacking, more aggressive noise reduction was needed in post to clean up the sky exposure. Fortunately they: “Moved in and out pretty fast. Woodworth’s moonset image (below) was created by a single exposure at ISO 400 and f/5.6 for two seconds with the AF-S NIKKOR 24-70mm f/2.8E ED VR attached and adjusted to 32mm. Edited in Adobe Lightroom and Photoshop. On this trek the photographer made an edict to vary exposure and ISO. “While I often use star stacking, occasionally those 100 seconds for 10 exposures times 10 seconds each feels like forever as you’re chasing the tide height from being too high or too low before you have to move, so the ability to have very usable 10 second exposures in the dark is handy.”
Nikon D5, AF-S NIKKOR 14-24mm f/2.8G ED lens at 19mm. The Blue Hour
After sunset, Woodworth took a few more shots during blue hour while exploring the beach below the cliffs, eventually settling in for the night within his sleeping bag. Here, the moonlight offered enough ambient light to get detail in the foreground without blowing out the sky in one shot.”
Two Exposures Give Pinpoint Stars
Working from another venue, Woodworth captured Rose Blanche Lighthouse on the coast of Newfoundland. As the sun lowered to the horizon he grew a little concerned that incoming clouds may linger overnight and possibly block the moonset. Knowing that the moon would drop aside the bluffs between 4 and 5am, he set an alarm for 3am to give himself plenty of time—just in case the moon looked like it would be setting into the clouds, or closer to the cliffs than anticipated. “I ultimately settled on two seconds to have a dreamy sort of water look, but not so smooth that the wave action was lost.


The Lens is the Brush. The Sensor is the Canvas. Portrait Photography With Vincent Versace & the New AF-S NIKKOR 105mm f/1.4E ED Lens


“I have space for only 10 lenses in my bag. “At f/1.4, this lens is blindingly sharp at its point of focus. No strobes. In another image, observe Frank the mechanic as he converses with an associate who is out of frame. “I got schooled by a child,” Versace quips. Admittedly there’s a learning curve to understanding how to work within its shallowness for depth of field and critical point of focus range, but when you nail the shot it is truly breathtaking! A portrait shot where both eyes are in focus on the same plane, this image displays the lens’ measure of edge-to-edge integrity. A self-proclaimed zoom lens guy, Versace totes a stash of NIKKOR lenses that span various telephoto ranges. Fourth, he says it’s all about the bokeh. I keep all of these things in mind when creating a portrait.”
More often than not, Versace places point of focus on an eye or the eyes. ISO 100, 1/800th, f/1.4. Shot on Nikon D5 with AF-S NIKKOR 105mm f/1.4E ED. “The best image doesn’t happen merely through interaction with camera or subject or photographer. I do not lose detail at the edge of a frame—unless I intentionally design it out through my choice of aperture setting.”
A Cinematic Lens for Photography
“I have shown that the 105mm can completely disguise a background. I made the switch after working with it for just a week.”

A Prime Cause
Fond of the phrase, “I don’t take a photograph, the photograph takes me,” Versace himself is smitten with this new NIKKOR, engineered for precise handling of bokeh; bokeh being how the lens renders fall-off between what is in focus and what drifts into non-focus. ISO 100, 1/25th, f/1.4. Neutral bokeh is something that’s frequently achieved, but to go the step beyond to a beautiful bokeh—that is rare and precious. It then goes from light to dark, high contrast to low contrast, then sharpest region in an image to blur. No diffusers. For the image of Luis, wisdom and contemplation simmer within the frame. No added artificial light. There is utter sharpness with beautiful   bokeh.” “As a cinematic full frame (no cropping), photographer I appreciate that this lens has no vignetting, no edge distortion. Since the lens permits me to work from a distance, I can produce intimate images without invading a subject’s personal space, making it ideal for street photography, plus both studio and environmental portraiture.” Third, Versace is bowled over by its sharpness. It is the most beautiful lens ever. Keeping an Eye on Baby Jonas
Among his first photography test subjects, Versace opted for baby Jonas. “I was taught that between 85mm to 105mm is approximately what the naked eye sees when looking straight ahead. “By manipulating depth of field I control what the viewer takes in. Photo © Vincent Versace. Versace stands 3.3 feet away and is shooting handheld, nearest eye selected as focus point. Generally speaking, the eye gravitates first to what it recognizes. I observe—waiting for that instant when a subject is his or her most natural.”
Shot on Nikon D5 with AF-S NIKKOR 105mm f/1.4E ED. Each brush has a specific quality and works to a specific purpose.”
Landscape of the Face
Talking theory, Versace comments about two camps of photography: those who feel all should be in focus (for example landscape photographers who often set aperture to infinity), and those who stridently select a region of focus (cinematographers and photographers who manipulate aperture settings to throw attention on an exact region). “I trained to produce photographic images in the cinematic look required of Hollywood, whereby the creator selects the best tools to direct the viewer’s eye to the most important element. But sometimes it makes sense to merely soften and alter a background.” This was the case here. Darker tones and strong shadows are hallmark. A good portrait becomes a tell-all reveal. “A photographer has the power to choose what is in focus and what is not in focus—just as a painter determines how pigment is placed by his choice of brush. Jonas is finely isolated from his backdrop.” The art of the portrait comes while waiting for the right moment. For the latter, power to direct the viewer’s eye starts with basic decisions. “The 105mm is remarkable. “If I have the right brush, I can better tell the story.”

Versace has been producing portraits from day one of his career. In my opinion, prior to the 105mm there was no real way to measure it or to design for it; it was present or it was not.”
Shot on the Nikon D5 with AF-S NIKKOR 105mm f/1.4E ED. “The lens has such precision and shallowness in depth of field at f/1.4 and its minimum focusing distance, that the infant’s slightest movement shifted what was in focus and was not in focus. “My objective is to capture the entire life of Luis in a single moment. The sole contribution of light drifts in from a window 30 feet overhead and 50 feet away, punctuating each pupil. “I was captured by my subject,” smiles Versace. I consider each lens to be an essential brush that does a very particular job, so it takes a lot to get me to replace one for another—particularly if it’s a prime.” Turns out the AF-S NIKKOR 105mm is pretty prime. With this lens I can utterly control the things in focus and the things not in focus. Just a camera and a lens shot “wide open” in cinematic style for Nikon Ambassador Vincent Versace, who tested the new AF-S NIKKOR 105mm f/1.4E ED in several portrait settings. ISO 100, 1/400th, f/1.4. For portrait photographers it dazzles the sweet spot—generally the f/1.4 to f/5.6 range. ISO 100 lens, 1/250th, f/2.8. The 105mm brings utter brilliance at point of focus, combined with the most amazing and gentle shift into bokeh.”
Shot on the Nikon D5 with AF-S NIKKOR 105mm f/1.4E ED lens. Earliest clients included successful members of Hollywood, whose calling cards were the headshots that he created. This piece of glass renders the prettiest bokeh you will see.”
There are a few reasons why the 105mm is his new favorite. “What results is a tack sharp region to the eyes, with the softest of focus fall-off. ISO 100, 1/40th, f/1.4. “For me, the prettiest aspect of an image is not so much in the areas of focus, but in where the lens ramps from in-focus to blur,” remarks Versace. A more carefree look, Versace shares lighter colors for a younger subject. In another portrait, that of Aisha, an entirely different mood is present. That kept a desired region in focus while I concentrated on learning more about minimum focusing distance (1.0 m. Photo © Vincent Versace. Photo © Vincent Versace. Yet while a landscape photographer may set aperture to infinity to hide nothing, I select the 105mm to only show what most matters. Prior to digital, he easily consumed 6,000 rolls of film per year. You view a landscape photograph and all is present to observe. I liken my lens to a brush, and a sensor to the canvas. It happens in the space created between the photographer and the subject.”
Shot on the Nikon D5 with AF-S NIKKOR 105mm f/1.4E ED lens. I control area of attack, the point of focus and I control retreat, or blur. Peering through a 105mm lens shows little to no distortion or alteration, and is akin to what our eyes perceive. “The NIKKOR 105mm is the most perfect tool to direct the viewer’s eye. Babies move at the speed of life, which is faster than this photographer can shoot, so I switched from single servo to Group Area-area AF mode. With the Nikon D5 set to Auto ISO and lens remaining at f/1.4, he freezes the dialogue. Photo © Vincent Versace. Photo © Vincent Versace. “The ineffable quality of a lens is bokeh. He then determines how and what else to present. / 3.3 ft. from focal plane).”
For this assignment, working wide open and strictly at the minimum focus distance, Versace’s images present mere inches of sharpness with subtle fall-off. “Focus, as governed by aperture, is a powerful tool. In fact, so prime that it has ousted a brush that’s been inside his case since 1989. Why so many? First is distance. No reflectors. The only illumination comes from a garage shop door open one-third up from the ground, light reflecting into the subject’s face. You’ll be surprised to learn that the image of the retired Navy chief was taken on land; the ship is in dry dock and its bridge surrounded by scaffolding. Continuing, he adds, “A portrait tells the landscape of that person’s life.” Photographed from within a 30,000 square foot San Francisco warehouse, Luis sits just paces from a cluttered background of crates, containers, shelves and forklifts, yet all objects are rendered imperceptible. A key tool being a lens,” he asserts.


Into the Wild with David Wright and the Nikon D500


At just over 81 ounces and 10.5 inches extended, it makes trekking on foot, and working from within confined spaces, that much easier. “The reach on this lens is impressive, yet it is relatively compact and light. It is also home to a diverse selection of other species, thereby making it a photographer’s paradise. No bottlenecks.”
The D500 is ideal for wildlife, sports and other high-speed subject matter. “This streamlines the process—notably so when backing up far larger 4K UHD files. Versatile gear is a must, that’s why the Nikon D500 and the 200-500mm are in my bag.”
Female lion from Lion Sands resident pride, produced handheld using Nikon D500 at ISO 640, 1/1250 of a second and f/5.6. Lens used was AF-S NIKKOR 200-500mm f/5.6E ED VR at 270mm. It is lightweight, portable and very durable,” effuses Wright. The technique of showing focal length variety is as important to a videographer as it is to a photographer.”
Wright, who now acquires most of his footage in 4K even if delivery to clients is at regular high definition (1920×1080 Full HD), knows interest is high for the latest format. The quality of video is superb, and I appreciate Nikon’s decision to incorporate a larger viewfinder. Lens used was AF-S NIKKOR 200-500mm f/5.6E ED VR at 420mm. For more information about Lion Sands: www.lionsands.com
For more information about David’s work: www.expeditioncamera.com
Follow David on Instagram: @david_wright_photo
Gear Used

D500
AF-S NIKKOR 200-500mm f/5.6E ED VR Missing a shot to my satisfaction is a good excuse to go back to the reserve.” Nikon D500 at ISO 25,600, f/5.6, 1/400 of a second. As for improving capture of stills, he says, “Wow. Wright had seconds to catch a zebra. Lens used was AF-S NIKKOR 200-500mm f/5.6E ED VR at 200mm. Photo © David Wright
Focused and Fast
Another great feature of the Nikon D500 is its joystick, which gives users a quick way to move the focus point. “I prefer to photograph night scenes with the aid of backlight, so it was enormously helpful that one of the vehicles was using on a spotlight to illuminate the road. Photo © David Wright
Wright next came upon a series of elephants during late afternoon and into twilight. Even better is a camera that can capture wildlife in the dark. While the beasts gorged on their meal, I captured long after it was hard to even see details with the naked eye.”
A lioness guards her meal, as produced using the Nikon D500 handheld at ISO 25600, f/5.6, 1/60 of a second. Lens used was AF-S NIKKOR 200-500mm f/5.6E ED VR at 500mm. “It’s challenging to gracefully and quickly acquire footage when swapping out cameras and lenses,” he announces. Produced handheld, the lens used was AF-S NIKKOR 200-500mm f/5.6E ED VR at 270mm. The reserve, located on the edge of Kruger National Park, is famous for its “Big Five” (lions, elephants, rhinos, buffalo and leopards). “A faster file capture/write speed and an even quicker autofocus system, combined with the longer reach of an APS sensor. Photo © David Wright
Future-proofing with 4K Video
Versatility in the field prevailed again with the camera’s ability to immediately go from stills to 4K UHD video. Martial Eagle Nikon D500, AF-S NIKKOR 200-500mm f/5.6E ED VR shot at 500mm handheld, ISO 560, f/5.6, 1/1250sec. He cranked the ISO to 25,600 and soon came across just what was desired—the pride with a kill. He recently completed a 20-part series called “Big Picture Earth” for Curiosity Stream. “After the sun had set (when animals are most active), the D500 allowed me to continue firing frame after frame while my associate reluctantly set down his DSLR,” smiles Wright, pointing out that his peer said it was just too dark to even focus. “As someone who splits his time between shooting stills and video, I am always looking for a camera that can do it all. “I chanced upon this eagle and extended zoom to 420mm.” He relied on the camera’s continuous focus tracking mode, and basically endless buffer, to take over while waiting for take-off. For a recent assignment at Lions Sands Game Reserve in South Africa, Wright carried the Nikon D500, an AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR for video work, plus the new AF-S NIKKOR 200-500mm f/5.6E ED VR. Photo © David Wright
And for shots high overhead, motion was suspended in flight. I chase after very mobile subjects and often capture in conditions where there’s low light. “I was able to quickly and completely build a story using the D500, plus the amazing range on the 200-500mm. You can see how well the autofocus performs, helping me freeze action at a moment’s notice.” In another instance, Wright located a Martial eagle devouring its dinner. Shooting from the vehicle, he quickly moved focus point via joystick to catch the moment. Going the Distance
Wright describes his job, “A wildlife photographer is busiest at sunrise and sunset since these are the times when animals are most active. This lens definitely eases things when shooting without a tripod too.”
Captured using Nikon D500 at ISO 800, f/9.0, 1/320 of a second. “The combination of D500 and 200-500mm gives a superb automated focus and metering system that’s ideal for fast moving subjects, especially birds.”
Produced with Nikon D500 set to ISO 800, f/6.3 and 1/2500 of a second. Copying to hard drives takes a fraction of the time,” he shares. “These animals are often nervous when coming down for a drink, as predators often wait for an ambush. Hyena is illuminated by a spotlight. In the past year, Wright’s clients have included the BBC, National Geographic, PBS and the online service Curiosity Stream. Photo © David Wright
Designed with wildlife and sports shooters in mind, the 200-500mm proved it’s worth right off the bat when Wright captured a lioness at sunset. Produced handheld, the lens used was AF-S NIKKOR 200-500mm f/5.6E ED VR at 450mm. I usually shoot handheld from within a vehicle which is constantly on the move. Wright’s vehicle would come across a pride on the move or sleeping after a big meal, but catching animals while they feasted on a buffalo was only possible in the cover of darkness. The vibration reduction (VR) function, plus resolving abilities of the optics, exceeded my expectations.”
Into the Darkness of Night
Sharp images of wildlife come from a camera that delivers super-fast autofocus, quick write speed and a large buffer. Photo © David Wright
“Other predators arrived, like this hyena eager to clean up after the lions. Photo © David Wright
Framed from the road using Nikon D500 at ISO 640, f/5.6, 1/4000 of a second. “Lens sharpness is superb—even in images captured while bouncing along the road. A most challenging nocturnal subject was the lion. With that write speed I found myself shooting non-stop at high-speed. “Broadcasters recognize the advantage of future-proofing to 4K.”

4K Workflow
More good news for 4K producers is that the D500 writes to the XQD card. It’s a tall order; you either have a great still camera that is OK at video, or a capable video camera that takes average stills,” remarks global cinematographer David Wright. Although the image captures the quality of a nocturnal hunter, I want more.


Autumn in New York


It’s a medium that can dramatically change over the course of the day, most notably this time of year since the sun is lower in the sky. Photo © Lindsay Silverman. Close-up and macro shots tend to put a lot of emphasis on a very small point in the frame, so focus and sharpness are important. I also revisit locations several times to observe how things alter. For the FX photographer, I suggest going with wide to telephoto. Keep clutter out of the frame and consider any leading lines or curves that can outline. Highlight the immense variety of tones and bluer skies; frame to convey a story. Fall mornings can get chilly here, and as the air moves over a water source it often produces a low-hanging mist. To intensify richness in the sky and help draw out textural variety and depth, consider an aid such as a Nikon circular polarizer filter. DX NIKKOR lenses are portable and versatile. Photo © Lindsay Silverman. Autumn in New York is a wonderful place to observe the changing colors,” says Lindsay Silverman, senior product manager for the Nikon professional DSLR line. Conditions such as this offer opportunity to create landscape views that contrast sharp to soft (branches and foliage against fog) and warm aside cool (harvest tones against steely liquid tones). Where do you capture autumn’s finest? Nothing says, “It’s fall” better than harvest. If you are a DX shooter, I suggest lenses with focal length ranges from 18mm to 300mm. Water draws my attention. I favor early morning light. For the DX-format, I suggest the AF-S DX NIKKOR 10-24mm f/3.5-4.5G ED. Here, I love how the sharp patch of trees frames the edge and that you observe the rock jutting out from the water. Also, a tripod and/or lens with VR image stabilization can reduce blur in your images. Chances are you will be shooting handheld and close-in, so watch where shadows fall. Photo © Lindsay Silverman. I’ll hop out of the car to photograph the display, and of course buy a pie. Tips and Tricks from Nikon Senior Product Manager Lindsay Silverman
“I am very lucky to live in a place that has distinct changes of seasons. When framing, consider building distinct levels within your depth of field. Silverman, who has had his hands around a camera since 1974 in order to meet college course requirements, reasons he’s produced several tens of thousand images over the course of his career—from the U.S to Latin America, around Europe and throughout Asia. To really isolate the subject, shoot with a wide aperture that is anywhere from f/1.4 to f/4, depending on the lens. It has a beautiful, yet soft quality that I really like. Loads of locales indeed, yet one of his favorite photo venues will always be New York. I actually use my polarizer to help saturate colors when dew is present, or after the rain. I start by exploring what is within a few blocks of my house here on Long Island. Fall brings dew to foliage, especially in the morning. My favorites include the AF-S NIKKOR 24-120mm f/4G ED VR and the AF-S NIKKOR 80-400mm f/4.5-5.6G ED VR. How do you frame an autumn image? All of these lenses allow ample compositional freedom. Some of the newer cameras really make it easy when using Live View, courtesy of the touch screen functionality. I also seek to create photo abstracts that display lots of texture. I love how the sharp patch of trees frames the edge and that you observe the rock jutting out from the water. To intensify richness in the sky and help draw out textural variety and depth, consider an aid such as a Nikon circular polarizer filter. When framing, pick a key element and be judicious about aperture setting. There is a pleasing contrast between the softness of the mist areas and the strong colors of foliage and nature. Reflections in water can create painterly abstracts that show texture, form and shape. Nothing says “It’s fall” better than harvest. What are some must-get seasonal shots? Think pumpkins, gourds and wonderful apple pies observed at roadside stands. First to attract me is color; second is contrast and texture variety. There is a pleasing contrast between the softness of the mist areas and the strong colors of foliage and nature. I like to frame images that clearly show reflections. For traveling light, I recommend the AF-S NIKKOR 28-300mm f/3.5-5.6 ED VR. If you want the viewer to see more details, shoot at f/8 to f/16. Photo © Lindsay Silverman. There’s always something to catch my eye over the course of the day. Silverman sat down to offer inspirational thoughts, while dishing up some autumnal pointers. First to attract me is color; second is contrast and texture variety. For ultra-wide views with a full frame camera, the AF-S NIKKOR 14-24mm f/2.8G ED and the AF-S NIKKOR 16-35mm f/4G ED VR work well. Wide views that showcase nature are a must. Nikon cameras offer many options for point of focus determination. Once September hits, we start seeing a gradual shift from greens and blues to the rich and warm tones of fall: tawny brown, red, orange, mustard yellow.


Adele Set To Perform At 59th Grammy Awards On CBS


A five-time Grammy nominee this year, Adele is up for Album Of The Year (25), Record Of The Year (“Hello”), Song Of The Year (“Hello”), Best Pop Solo Performance (“Hello”) and Best Pop Vocal Album (25).” />
This marks her fourth time performing on the Grammys, in one of her rare live stage performances. James Corden, whom she joined previously for some hilarious Carpool Karaoke on his Late Late Show, is host of the 59th Grammy Awards, which will be broadcast live from LA's Staples Center on Sunday, February 12 (8:00-11:30 PM, live ET/5:00-8:30 PM, live PT; 6:00-9:30 PM, live MT) on CBS.
Adele is returning to the Grammy stage this year to perform a song from her Grammy-nominated album, 25.


Kellyanne Conway: Donald Trump’s Inaugural Address To Be “Beautifully Written, Powerfully Delivered Speech”


"Donald Trump didn't divide the country, but he has a wonderful opportunity to start to heal and unify the country," she said.” />
The morning Donald Trump takes office as the 45th president of the United States, senior adviser Kellyanne Conway told ABC News' George Stephanopoulos that Trump's inaugural address "is a beautifully written, powerfully delivered speech." She described it as "elegant" and "brief."
"I believe today Donald Trump is our new president and will set a tone…to unify the country," Conway said, instructing viewers, "it’s really up to all of us to meet that challenge along with him."


Hillary Clinton Dodges Reporters’ Questions As She Arrives For Donald Trump Inauguration



Hillary Clinton showed up for the inauguration, wearing a white pantsuit, as she had worn on the final night of the DNC when she officially became the Democrats' Presidential nominee. Clinton, and her husband, former POTUS Bill Clinton, declined to answer questions shouted at her by the press as to how it feels to be there, having handily won the popular vote but not the electoral college.
After the Clintons, the Cheneys were seen arriving; former Veep Dick Cheney, well-known for casual dress at important events during inclement weather, wore a natty overcoat, and cowboy hat.


Clinton had however, tweeted remarks earlier this morning:
That appearance was among her first since losing the presidential election to Trump, and was greeted with a standing ovation. Audience members tweeted that Perry was surprised by Clinton’s arrival onstage, and was moved to tears.” /> Hillary Clinton hasn't been seen much since delivering her concession speech the morning after the election though, in late November, she made a surprise appearance at UNICEF Snowflake Ball in New York to introduce Katy Perry, the singer and UNICEF Goodwill Ambassador honored   with the organization’s   Audrey Hepburn Humanitarian Award.


Rooney Mara-Ben Mendelsohn Pic ‘Una’ Lands At Swen As Company Launches U.S. Arm


As part of the deal, Swen has partnered with Eammon Films to handle the theatrical release and Vision Films to distribute ancillary platforms, marking the first in a slate of planned theatrical releases for the new partnership. A summer or early fall theatrical   release date is being eyed for the pic, which bowed at Telluride last fall.
market and have a great team in place to bring this acclaimed film to audiences across the country,” Swen Group founder Murray Lipnick   said. “We are very excited to be entering the U.S.
WestEnd Films negotiated the Una deal. Kevin Loader, Sharon Harel and Eve Schoukroun of WestEnd are executive producers with Film4's   David Kosse and Sam Lavender. Jean Doumanian and Patrick Daly are producers with WestEnd's Maya Amsellem.
The adaptation penned by   Harrower and directed by Benedict Andrews in his feature debut, follows Una (Mara), who 15 years earlier ran away with an older man named Ray (Mendelsohn), a crime for which he was arrested and imprisoned. Tara Fitzgerald, Tobias Menzies, Natasha Little and Ruby Stokes   co-star. Her abrupt arrival threatens to destroy Ray’s new life and derail her stability. When she comes across a photo of him in a trade magazine, Una tracks him down and turns up at his workplace. Unspoken secrets and buried memories surface as they   sift through the wreckage of their past.
"Una   is an incredible film with absolute bravura direction by Benedict Andrews and flat-out extraordinary and riveting performances by Rooney Mara and Ben Mendelsohn." “I am thrilled and honored to be working with Swen," said Eammon Films'   Rob Lynch.
arm in a big way, snagging rights to Una, the drama that stars Rooney Mara, Ben Mendelsohn and Riz Ahmed based on David Harrower's provocative Olivier-winning play Blackbird. EXCLUSIVE: Swen, already an established distributor in Latin America, is launching its U.S.
Michelle Williams and Jeff Daniels starred in the Broadway revival of the play last year.
Added Vision Films managing director   and CEO Lise Romanoff:   “Rooney Mara’s performance is unnerving, and the story filled with conflict, intensity and emotions will stay with you long after you’ve seen it.”” />


Veteran Disney Exec Robert Langer Named EVP CFO Disney/ABC Television Group


In this role, Langer will have financial leadership, strategy and business development oversight for the Disney|ABC portfolio, including the ABC Television Network, ABC Studios, ABC Owned Station Group, Disney Channel, Disney XD, Disney Junior, Disney|ABC Home Entertainment and Television Distribution, Radio Disney and Freeform. He will also help oversee Disney|ABC’s equity interests in A+E and Hulu.
Before coming to Disney, Langer worked at The Boston Consulting Group and ART Concerts Company, located in Munich, Germany.
In 2007 he was appointed chief financial officer for the global Disney Consumer Products (DCP) division, responsible for finance, accounting and business development functions and overseeing the division’s information technology function. He was appointed general manager for DCP EMEA in 2009, responsible for DCP’s merchandise, publishing and The Disney Store’s business in Europe. Previous positions within Disney include roles at Walt Disney Parks and Resorts, where he served as chief financial officer, Disneyland Resort and chief financial officer, Global Segment Operations.
"Robert is a strong addition to the Disney|ABC leadership team, and we are all delighted to welcome him back to Southern California.” “A superb financial manager and strategist with deep roots in The Walt Disney Company, Robert is a proven leader and problem solver who brings broad domestic business experience and deep knowledge of the international marketplace," said Sherwood in making the announcement.
In this role, he's credited with making GSA one of the fastest-growing markets worldwide within the company. Langer rose through the executive ranks after joining Disney in 1999 as director, Business Development, Global Licensing. He also launched a new, nationally distributed TV channel. Langer most recently served as The Walt Disney Company’s country manager for Germany, Switzerland & Austria, leading all Disney operations and businesses within this region.
“I look forward to not only working with the talented financial, strategy and business development teams, but also collaborating with colleagues across the group’s channels and brands to grow and evolve our businesses.”” /> “I’ve long been impressed with the Disney|ABC business, and I’m thrilled to be given this new opportunity and excited about the prospects,” added Langer.
Veteran Disney executive Robert Langer has been named executive vice president and chief financial officer, Disney|ABC Television. He replaces Peter Seymour, who announced his plans to depart the group last November. Langer will report to Ben Sherwood, co-chair, Disney Media Networks & president, Disney|ABC Television.


The Inauguration Of Donald Trump – Livestream


Here is   ABC News' live stream of the activities, which hopefully won't be hijacked by state-run Russia-Today.” />
Mike Pence goes first, taking the Veep oath of office, administered by Supreme Court Justice Clarence Thomas, after which The Mormon Tabernacle Choir will weigh in. from the Capitol to the White House. Trump delivers his Inaugural Address after both men are sworn in, and the traditional parade is slated to start at 3 PM ET, traveling Pennsylvania Ave. Then, Trump takes the POTUS oath of office, administered by Supreme Court Chief Justice John Roberts.
Donald Trump’s inauguration as 45th president of the United States is scheduled to start today at 11:30 AM ET/8:30 AM PT in Washington, D.C.


‘Split’ Scares In Solid $2M; ‘Xander Cage’ Takes $1.2M In Previews – Friday AM Box Office


Paramount Pictures/Revolution Studios' xXx: Return of Xander Cage just logged in with $1.2M in 2,536 locales. Night Shyamalan's Split is off to an incredibly strong start, grabbing $2M in Thursday night previews in 2,295 theaters. M. One of xXx's comps is the 2012 film Looper which grossed $6.8M on Friday from 2,992 locations and ended its three-day with $20.8M and we are expecting the same type of three-day gross for Xander Cage. This brings the actor back to the franchise after 14 years. It's been a long time coming for fans of the xXx franchise — the last film in bowed in 2005 and did not star Diesel.
While this genre is usually front-loaded, this one is getting better word of mouth, than The Bye Bye Man which had a C CinemaScore last weekend. It should also grab away much of the STX horror film's audience as 61% of Bye Bye Man's audience was female with 75% under 25. Like the box office hit Nerve, Split is skewing heavily female and some think Split — with a great performance from James McAvoy who plays a man with 24 different personalities — will have just as strong legs.
Diesel's films outside of the Fast and Furious franchise tend to drop more in their second weekends. The third in the xXx franchise will be taking over Imax screens this weekend but its main demo will be sitting in front of the TV on Sunday watching NFL’s Championship Sunday games, waiting to see which teams make it into the Super Bowl (go Packers!).
xXx: Return of Xander Cage, with its decided international cast, bows in 53 territories around the world this weekend. "Paramount has hit the mark and exceed it in all major metrics," says Marc Karzen of RelishMix who notes that the film is garnering 25K new Facebook fans … The movie marks the return of Vin Diesel who is a social media monster. This action-adventure’s SMU is more on par with the average Superhero film, which hovers around 587M SMU rather than the typical action-adventure of last year, which had a typical SMU of 68M. a day. Of course, leading its very social international cast is Diesel who has 131M fans/followers on FB & Instagram. According to RelishMix, xXx has a smu of 688.7M — a huge presence with 271.1M Facebook fans, 71M Twitter followers, 184M YouTube views – and more every day – and 163M Instagram followers.
The Universal/Blumhouse Split (with a budget of around $10M) is expected to have a mid-$20M three-day as the buzz surrounded the film has been growing among its core audience of young females and unaided awareness is very strong. That one grossed a smidgen over $1M in late nights last year (it also started at 7 PM and in 2,206 locales) and ended up grossing $25.4M for its three-day. The best comp for Split is the director's last outing: The Visit, also rated PG-13.
This latest Shyamalan thriller is made up of 29.4M Facebook fans, 4M Twitter followers, over 30.5M YouTube views and 903K Instagram followers. The film has 7,700 daily Facebook likes, which is indeed strong compared to last year’s average for thrillers of 2,200. In terms of social media, McAvoy is non-social, but the film itself has a good social media universe of 64.8M, according to RelishMix.
In comparison, at its opening during the middle of the summer last year, Nerve's SMU was 52.4M comprised of 5.4M FB fans, 5.8M Twitter followers and 41.1M YouTube views.
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Open Road Promotes Alexa Platt To CFO As Steven Andriuzzo Exits


Platt is being promoted from Senior VP of Strategic Planning and Business Development, and will report directly to CEO Tom Ortenberg. Open Road Films has promoted Alexa Platt to Chief Financial Officer as   Steven Andriuzzo leaves the company to pursue other opportunities. It's a true pleasure to recognize her hard work and financial acumen with this promotion." Said Ortenberg: "Alexa is a top-notch strategist with the relationships, savvy and discipline to navigate complicated fast-paced business deals and long-range plans. The company will replace Platt in Strategic Planning shortly.
Platt previously was Head of Finance at AwesomenessTV after its acquisition by Dreamworks Animation, where she was responsible for the financial operations and strategic planning for the YouTube Multichannel Network and its joint ventures with DreamworksTV, All Def Digital, and Seventeen MCN. Before that she worked for Open Road, Paramount Vantage, Paramount Worldwide Acquisitions Group, and started at The Weinstein Company.” />


‘House Of Cards’ Reveals Season 5 Premiere Date With Inauguration-Themed Video


Netflix has revealed the Season 5 premiere date for Washington political drama House of Cards, appropriately, with an Inauguration Day-themed video.


The series, starring Kevin Spacey and Robin Wright, returns with new showrunners, HOC   senior writers Melissa James Gibson and Frank Pugliese, following the exit of the show's creator Beau Willimon at the end of Season 4.” />
The Emmy- and Golden Globe-winning series returns on May 30.


Stephen Moyer To Helm ‘The Parting Glass;’ Anna Paquin Stars


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EXCLUSIVE: True Blood's Stephen Moyer will make his feature directorial debut with The Parting Glass. They embark on a journey to collect the remnants of her life. O'Hare wrote the drama, which   follows a family reeling with their sister’s death. The family members delve into past memories to piece together a portrait of the woman they lost. Anna Paquin will star with Denis O’Hare, Ed Asner, Cynthia Nixon, Melissa Leo, Rhys Ifans and Paul Gross. Production begins momentarily in Toronto.
Paquin and Moyer, who did seven seasons of HBO's True Blood, are repped by WME. Dan Beckerman of Scythia Films will executive produce and Lauren Grant of Clique Pictures will co-produce. Paquin will produce with Moyer through their CASM Films banner, with Cerise Hallam and Mark Larkin, and O'Hare. Paquin stars in two upcoming series, Alias Grace for Netflix, and Bellevue Canadian broadcaster CBC. Moyer next stars in the Fox miniseries Shots Fired, which premieres March 22, the ITV series Safe House in the UK.


Global Media Gloms On To Donald Trump’s Inauguration; China? Not So Much


UK pubcaster BBC will be covering it from all angles with its flagship channel BBCOne and its News channel offering up a few more hours of coverage on either side. After the inauguration, BBC News will continue to report with a feature program 100 Days, which will air on the channel on Monday through April and will cover Trump’s first 100 days in office.
Sources told the FT that Chinese officials have ordered press to only use coverage of the ceremony based on reports written by state media. “It is forbidden for websites to carry out live streaming or picture reports of the inauguration,” a copy of censorship instructions seen by the Financial Times said.
And, RT, a government-backed international Russian TV network (which in 2012 agreed to air a talk show hosted by WikiLeaks' Julian Assange), is live on its website with what it calls "The Trumpening."” />
English-language Chinese online media currently have no major Trump stories leading save for Xinhua which is reporting on statements made by George Soros in Davos on Thursday with a headline: “U.S. President-elect Trump ‘going to fail’: Soros.”
A banner dropped across the capital city’s Tower Bridge read in big, pink letters: “Act now! Build bridges not walls.”
Extreme right-wing Trump supporter — and the first international politician to have offered him congrats on November 9 – Marine Le Pen tweeted this morning that Trump’s election “opens a new era of cooperation between nations.”
Another draped over Westminster Bridge read: “Migration is older than language” while one outside of the Houses of Parliament said: “Migrants welcome here.” The protests come after London’s mayor Sadiq Khan had urged Trump to recognize the value immigrants have made to American society.
Elyse Ribbons, an American who hosts a program on Chinese state-run radio, tweeted she wasn’t allowed to discuss Trump:
Meanwhile, ITV will focus on a special live program during the events and will feature more on its ITV News at Ten.
In the UK, helicopters buzzed around London all morning as anti-Trump protestors dropped banners from bridges across the city early Friday, criticizing the President-Elect’s immigration policies.
Both Corriere Della Sera and La Repubblica featured Trump’s inauguration but it took less prominence to the avalanche story. Italy's press was focused more on its major national news of the day: survivors who had been discovered buried under snow in an Abruzzo hotel two days after a deep avalanche buried it.
Germany daily Die Welt had blanket coverage of the U.S. inauguration while news magazine Der Spiegel didn’t lead with the inauguration but did feature a piece titled “Mr. Me: No One Loves the 45th President Like Donald Trump.”
The Financial Times says that Beijing censors have ordered media outlets to tone down reporting today. But in China, not so much. International 24-hour news channels are blanketing coverage of the impending swearing-in.
France’s national news-radio station, France Info, has been covering from on site and in the studio. Earlier today it cited a poll that said 80% of French respondents find Trump “aggressive, racist and dangerous.” All the local news nets are currently covering the inauguration live and Maison Blanche (White House) is trending on Twitter.
Instead of attending the inauguration, I will be planning and organizing for resistance.” In the UK, left-leaning newspaper The Guardian leads with a live blog saying “Donald Trump inauguration: ‘It all begins today’.” The paper featured an opinion piece from Barbara Lee, a representative for California’s East Bay in Congress, who told readers why her seat would be empty at the inauguration: “I will not be celebrating the swearing in of a president who rode racism, sexism, xenophobia and bigotry to the White House.
— Marine Le Pen (@MLP_officiel) January 20, 2017
"L'élection de Donald #Trump ouvre une nouvelle ère de coopération entre les Nations." #InvitéPol
English-language Russia outlet, The Moscow Times, is not leading with Trump, but scroll down a bit and there is a litany of stories from a few hours ago to a few months ago under the headline: "Russia Goes Crazy For Trump." Included therein is a report from yesterday that says a group of gunsmiths in Zlatoust has fashioned a two-pound coin dedicated to the next U.S. president.
Calling the concept “protectionism,” Wang said, “The main growth market of English-language films is China. government controls on Chinese investment. Also in Davos, Dalian Wanda Group Chairman Wang Jianlin voiced concern and a warning over potentially increased U.S. Trump has questioned the One-China policy and also talked of levying Chinese goods with a 45% tariff. This week at the World Economic Forum in Davos, China's President Xi Jinping warned that “no one emerges a winner” from a trade war. This comes amid the uncertain future of the Middle Kingdom’s relationship with the new administration. It is a major source of income… So, if China were to retaliate, it’s bad for both parties.”
Right-leaning The Telegraph was also live-blogging with pictures of Trump and his wife Melania begin greeted by President Barack and Michelle Obama while The Independent featured a picture of inauguration attendees standing with umbrellas under grey skies with the headline “’It all begins today!’: Trump supporters gather under grey clouds,” referring to Trump’s Tweet earlier today.
Global news today has been largely dominated by the countdown to Donald Trump’s inauguration as the 45th President of the United States. From the UK to France, Germany, Italy and Russia (where one outlet has labeled it "The Trumpening"), the world's media is focused on DC.
In France, where the Socialist Party will hold its first presidential primary vote on Sunday, left-leaning daily Libération is leading with headlines such as “Donald Trump, A Bit Lost In Transition” and “Trump, It’s On!” Le Monde is running a live blog.
Meanwhile, the English version of Russian-state owned news agency Tass is leading with the inauguration, featuring a live stream of the event on its site.


Petition: Boycott ‘A Dog’s Purpose’ Unless ‘Significant Portion’ Of Proceeds Goes To Animal Welfare


The petition states:
Cut it!" It is not known how many takes the dog was put through prior to him slipping under the raging water. Later the dog is shows struggling to stay afloat as a handler tries to coax him to her and the dog goes under water as those around him panic to get to him and someone from the second unit is heard screaming, "Cut it! Cut it! After forced into the water, he is pulled up by his neck. The actions in the video, which have been condemned by the film's producer Gavin Polone, voiceover actor Josh Gad the film's director Lasse Hallstrom and even the voiceover artist for the Spanish-language trailer — Jane the Virgin's Anthony Mendez — shows an animal handler forcing a German Shepherd into rushing water after the dog tries to resist over and over again.
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The second unit shoot, where this particular scene with the dog took place, was done in Winnipeg last fall. American Humane safety rep has been put on leave pending an investigation and the Canadian Chief Veterinary Office is also looking into it. 27th. The video from the shoot only came out this week — only about two weeks before the launch of the film on Jan.
The director of the film tweeted that he is “disturbed by the video released today from the set of my film…"
The company that provided and handled the dog for the film was Birds & Animals Unlimited in Action, CA, an outfit that has been targeted for some time for the mistreatment of animals by PETA (People For the Ethical Treatment of Animals).
Please sign this petition to pledge to boycott "A Dog's Purpose" unless the creators make a significant donation   to animal welfare organizations!
In response to a video of "a dog being mishandled" on the set of A Dog’s Purpose, a Care2 petition is calling for a boycott of the film unless the movie’s creators donate a significant portion of the film’s proceeds to an animal welfare organization. The petition added 1,200 signatures over the past 20 minutes and is now over 13,000 signees. It doesn't name a particular organization as it seems any would do.
Donating to an animal welfare cause is the least he can do to make up for this act. If the director is so disturbed, he ought to do something about it.