The Illustrative Work of Borja Bonaque

Discoverthe creative world ofSpanish illustratorBorja Bonaque.

Based in Valencia, Spain, Borja Bonaque is working as freelance illustrator and graphic designer for well-known internationalclients such as Elwood, Financial Times, Wallpaper, Zoo York, New Scientist, Rioja Wines, Bancaja, House & Garden, Wired Magazine, Pltano de Canarias, Shop Magazine, Starbucks, Vipinvest, Make architects, Nobel Spain or Converse, among others. He has graduated from the Polytechnic University of Valencia with a degree in Fine Arts. Along with other young artists from different creative fields, he was named ‘Graduate of the Year’ by Wallpaper magazine in 2009. A small selection of editorial illustrations can be found below. For those who want to explore more of Borja Bonaque’s creative work, please have a look at his Instagram account: @borjabonaque

Artwork for Lufthansa. (Stylish issue) About the future workspaces. 2017
Artwork for Lufthansa (Stylish issue). It was made in 2017 for an article about the future workspaces.
Cover illustration for Make Architects. Future Spaces Foundation report. 2017
Cover illustration for Make Architects. Future Spaces Foundation report made in 2017
Illustration for Advocates United. Richards Agency. 2017
Illustration for Advocates United. Richards Agency, 2017
Illustration for Chicago Booth Magazine about philanthropy. 2016
Illustration for Chicago Booth Magazine about philanthropy. This is an artwork from 2016.
Cover illustration for Financial times created 6 years ago
Cover illustration for Financial Times created 6 years ago.
New piece for Lufthansa Magazine. The advantages of being a manager.
New piece for Lufthansa Magazine. The advantages of being a manager.
San Jos (Cabo de Gata)
San Jos (Cabo de Gata)

All images by Spanish illustrator Borja Bonaque. Do not hesitate to find more exceptional work on WE AND THE COLOR. Our Illustration category includes a vivid mix of both handmade drawings and modern computer graphics created by some of the best illustrators from all over the world.

The post The Illustrative Work of Borja Bonaque appeared first on WE AND THE COLOR.

Is There an Art to Growing Up?

“You can’t helping getting older, but you don’t have to get old!”

George Burns

Picture

It’s Sunday morning, and I rolled out of bed knowing exactly what I wanted to write about:

What does it mean to “grow up?”

We spent a good part of yesterday at the beach, and I’m paying for it in aches and pains this morning. I played in the waves for over an hour. The waves were big enough for the lifeguard to put out the yellow caution flag, and like a little kid, I body-surfed one after another, each time trying to ride them all the way in until I scraped the sand and rocks at the shoreline.

Sheila took a shot at joining me, but the waves knocked her over. My height gave me a big advantage, so I stayed in the water. She did the next best thing and put her beach chair at the water’s edge. With her feet in the water, she laughed through my entire performance as an old fart relived his childhood one wave at a time.

Well, this morning I woke up and immediately grabbed the Tramadol, fully knowing why I was in so much pain, but it wasn’t enough to change the smile on my face. You’d think Alfred E Neuman and Peter Pan were both in my gene pool.

Here’s my point this morning: Who said we have to act our age?

A few years ago Sheila and I were out with good friends, and another couple joined us for dinner. The new couple, who were our age, did nothing but complain about their aches and pains, talk about the medication they were on and pretty much whined about getting older through the entire evening. Listening to them they could have easily been twenty years our senior.

Growing up is a mindset, and for me, part of the process might even be genetic. My Dad lived to 93, and while he obviously slowed down, it wasn’t until his body started to fail him at 92! He loved life, and whatever he could still do, he did, including double onion rings at Burger 1 on Wednesdays.

So, this morning’s post is a tribute to all of you who still embarrass your kids with your behavior; who push the edge of the envelope in your passion for life, friendships and experiences and most of all who laugh loud and smile at the most inappropriate times.

My good buddy Terry Clark put his love for life into a quote that’s his philosophy about life and business…


Smile big, laugh hard, and make people happy!

Wishing everybody a wonderful Sunday, and a day filled with love, laughter and the pure joy of being alive, no matter how old you are! Take the time to laugh, go for those eleven-second hugs and cherish the people around you who help to make your life special!

Happy Sunday everybody!

“You don’t stop laughing when you grow old. You grow old when you stop laughing!

George Bernard Shaw

Maximize Flash Use

Maximize Flash Use

If I could control any one aspect of every picture-making session, it would be the light. To bring your photography to the next level, you must take charge of the light. Controlling the light for large subjects, sprawling landscapes or cityscapes isn’t feasible, but for smaller subjects, there’s a way to impact the outcome. I strongly recommend the use of flash to add fill, backlight, a halo or rim effect. What once used to be intimidating is now easy to use, so there’s no need to shy away from flash any longer. It’s time to dive into the world of flash photography.

Maximize Flash Use

Flash-Basic Auto: The first step to bring your flash photography to the next level is to load it with batteries and slide it into the hot-shoe of your camera. Turn it on, and you’re ready to go. Most beginners start off using it to add light where it doesn’t exist-mostly indoors or at night. The flash illuminates the closest subjects. Those that are farther away receive less light. Those that are too far away receive none. With on camera flash, the background goes dark and the foreground-lit subjects take on bright intensity. While it’s great to use the basic setting and be able to make photos where light doesn’t exist, the light from on camera flash isn’t the most flattering.

Maximize Flash Use

Compensation: On the back of the flash, there’s a button that controls the output of light. Activate the button to add or subtract the amount of emitted light from the flash in comparison to what the computer chooses. On a sunny day at noon, go outside with a friend and have him or her wear a baseball cap. There will be a strong shadow across the face created by the brim of the hat. Use the light from the flash to illuminate that dark area. The same way a flash can add light to a subject in a dark room, it can add light to a dark area in an outdoor setting. Ideally, the flash on your camera will add light to the shadow area of the face. If too much light appears in the shaded area, use the Compensation setting on the back of the flash. Dial down the power toward the MINUS side. If not enough light is added, dial in PLUS compensation to tell the flash to ADD more light. Experiment with each setting and subject until you achieve the look you want. You now understand flash exposure compensation!

Maximize Flash Use

Slow Synch: Cameras come from the factory set to a given flash synch speed. Depending on the brand, it’s somewhere between 1/60th and 1/250th. Depending on the synch speed, the camera defaults to that shutter speed when flash is used. Let’s take a look at a given flash scenario: You’re in a room that has warm ambient light. You attach a flash because even though the light is warm, it’s not enough to illuminate your subject. The camera fires at 1/250th because it’s the default. The result is a bright subject, but the warm ambient light is lost-it’s now dark. The fast shutter speed prevents ambient light from building up on the sensor. Use Slow Synch to restore the ambient light. Set the camera body or flash (it depends on the brand as to whether slow synch is found in camera or on board the flash) to slow speed synch and place the camera on a tripod or other stable surface. Take a meter reading in aperture priority. Let’s pretend it’s 1/8 second. Because you set your system to slow synch, the camera sets the shutter to 1/8 instead of the default, which underexposed the background. The end result is that the main subject lit by the flash is properly exposed and the background is illuminated by the ambient light. The reason it works is that slow synch tells the camera to fire at a shutter speed that’s slower than the default. The shutter stays open long enough to record both the ambient light and the light from the flash-amazing. It’s essential to use a tripod with slow shutter speeds so the final image is sharp.

Maximize Flash Use

Visit www.russburdenphotography.com for information about his nature photography tours and safari to Tanzania.

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Godox teases the A1: An off-camera flash and 2.4GHz trigger for smartphones

Chinese flash brand Godox teased an interesting new product on its Facebook page this weekend. It’s called the A1, and it’s a ‘phone flash system’ that works both as off-camera flash and as a 2.4GHz flash trigger.

Unfortunately, Godox didn’t reveal too many details about the new trigger, teasing it alongside just a few lines of marginally-readable text. “I can only tell you that the product A1 has three built-in LED lamps and one hernia flash, support flash, away from the machine automatically,” reads the Facebook post. “You can control Godox flash which has 2.4G system through it!”

Below the text are a few photos: the product shot you see at the top of this post, and the three sample photos below that show the A1 in action as trigger, flash, and continuous light source:

No word yet on how much the Godox A1 will cost, or when it will officially arrive, but we’ll let you know as soon as we hear anything. Our question for you is: will you actually use this when it does ship? If you’re going to go to the trouble of breaking out a speedlight, wouldn’t you also grab your ILC?

Let us know in the comments.

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