SHUTTER MAGAZINE

SHUTTER MAGAZINE

UGLY WITHOUT A FILTER

Is Snapchat changing your perception of beauty?

PHOTO MANIPULATION

Discussing the Ethics and Aesthetics of photo manipulation.

A PHOTOGRAPHER’S PARADISE SHORN HECTOR | SPELLCHEK MEDIA | ANTHONY FOSTER

Table of

Contents Volume 1 April 2019 IG: Shutter_876

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Let’s Zoom In

04 - 05

Editing or Manipulation

06 - 07

A Tangled Web

10 - 11

The Error of Olay

14 - 15

Selling the Fake

16 - 19

Ugly without a Filter

22 - 23

Seven Questions with Shorn Hector

24 - 27

Code of Practice

28 - 29

The Ethics of Digital Manipulation

30 - 31

ChatTingz

32 - 33

The Mind of The Manipulator

34 - 37

The Process

38 - 39

The Creations

40 - 49

Doctored Practices

50 - 53

End Credits

54 - 56

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Message from the

Editor

Our passions are usually bred out of our past. Our past is made up of impactful people who shape our lives in small but meaningful ways. My name is Javaughn Lewis, a final year student at the University of Technology, Jamaica pursuing my Bachelor’s Degree in Communications Art and Technology. I have been a photographer for more than five years and I am wholly committed to my art. For that is what photography is for me - an art.

I dedicate the very first issue of SHUTTER to my father, Everton Lewis, who introduced me to the world of photography. I never imagined that my life would be so wrapped up in the very profession I watched my father learned and conquered, but here I am today.

You are about to partake in my vision. The purpose of this magazine is to create a space where photographers can convene to discuss issues relating to the profession. This edition will focus on a practice that has been rearing its head today and that is photo manipulation.

Whether you are a photographer or not, there is something in this magazine for you. Prepare to be engaged, questioned, informed and mind-blown.

Welcome to SHUTTER! Javaughn Lewis Chief Editor, Shutter Magazine Co.

“Everything is possible Digital Manipulation ~J.L”

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Let’s ZOOM in!

Think about it.

The photography business is booming. There are so many things happening in the world of photography right now. Photographers are in a continuous fight to stay relevant in this camera phone era.

Every month a new high-tech, high-quality camera is released and each time our equipment gets more expensive. So, a lot is happening. A lot.

Here is one thing that has been brewing in the photography industry; the issues surrounding digital manipulation. Is it good or is it bad? Is it unethical altogether and if no, when does it become unethical? Is it merely just another scheme to deceive the public and cause havoc?

Want answers to these questions too? Let’s explore together and settle this once and for all. But first, let us understand the issue at at hand.

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Editing or Manipulation?

Spotting the Difference

Photo Editing is the basic. Every raw picture must be edited.

After doing initial scrap, every remaining file should get some adjustments, usually done in Lightroom. This is to ensure the white balance and the exposure is right, and that there should be a basic white and basic black in the highlights and also in the shadows. Some other photos may even need some sharpening and cropping.

Photo retouching goes a step beyond editing/adjustment. In a portrait photo, you need to make the skin smooth, reduce or eliminate lines and wrinkles, remove glasses glare, even remove some stray hairs. These processes can be done in a Lightroom but some experts prefer to use Photoshop or Elements.

Photo Manipulation is where you start actually making changes to the original file. This is where you remove offending light standards or fire plugs, maybe add a bird into an empty sky, or even go in and change an entire background. Some editors do a few “face swaps” to open eyes or just get a better expression. To do photo manipulation requires the power of Photoshop or something similar that offers layers and pixellevel editing.

“A picture is worth a thousand words but an augmented one is worth two thousand ~J.L” 6

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Model’s Name: Shaeon Mckoy Shot by: Javaughn Lewis Location: Chinese Garden Info: Left side of the face was manipulated, while the right side of the face was edited/retouched.

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Enchanted Beauty Series

VIEW THIS SERIES ON OUR INSTAGRAM PAGE @SHUTTER_876

Title: Enchanted Beauty Series Model’s Name: Deborah Dench Image status: Manipulated Location: UTech’s Golf Course Shot & edited by : Javaughn Lewis

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A Tangled Web Intention and the photo manipulator

Oh! What a tangled web we weave, when we first practice to deceive! Many view photo manipulation as a deceptive practice. It’s altered, it’s changed, things were added so it is just a trick! A photographer’s intention, when engaged in manipulation, must be brought to the fore.

The call of ethics is only viable if scoped through a photographer’s intention. Photographers are free to explore with their images, afterall, there is much more to the art today than simply pressing a button. When it comes to taking a more hardline approach to manipulation with photographs after the shutter has been pressed, it is a common belief that the only genre that benefit in any way that actually matters is journalistic/documentary photography. In this industry any photo manipulation done would be a clear intent to deceive.

However, if your intent is to create fiction, then do whatever you want, just be sure that your motives are clear to your audience. Only when a photographer presents his or her work with the intent to deceive should we call into question their professional/artistic integrity — their ethics.

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Model’s Name: Aveisha Baksh Image status: Retouched Location: UWI Chapel Shot & edited by : Javaughn Lewis

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“Never write an advertisement which

you

wouldn’t

want

your own family to read. You wouldn’t tell lies to your own wife. Don’t tell them to mine. Do as you would be done by. If you tell lies about a product, you will be found out…”

– David Ogilvy

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The Error of Olay Imagine seeing an advertisement on a billboard for a product that promises to get rid of acne. Imagine you have really bad acne.

Imagine you buy that product expecting the same results you saw in that ad.

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Imagine finding out a week later that the woman in the ad was retouched and all her flaws digitally removed.

Would you trust that brand?

Here in lies the error of Olay. In 2009, the brand came under fire for an ad campaign that featured Lesley Hornby (Twiggy), the world’s first supermodel. Twiggy’s advertising campaign for an Olay eye cream was “misleading” because the wrinkles around her eyes had been airbrushed out. In industries such as advertising, digital manipulation in any capacity is unethical. When it came to light what was done to the model’s photo, more than 700 people complained that the advert had been digitally retouched and therefore gave the false impression that the Olay “Definity Eye Illuminator” alone was responsible for keeping the former supermodel, at 60, virtually line free.

Many argue that it was the intention of the company to earn through deception. We meet again the word “intent”. Presently, technology has given a booster to photography. With software such as Photoshop and Lightroom on the market, the photographer now has the power to make the physically impossible, digitally possible.

If you are a budding Jamaican photographer, going into industries such as advertising and journalism, best practices must be observed.

People are expecting the truth and not a twisted reality, therefore, photo manipulation has no place in these industries.

Twiggy’s photo was airbrushed in postproduction. This act was seen as deceptive.

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Selling the Fake A heart to heart with Photographer Anthony Foster

“Photo manipulation is a lie beautifully presented to the public.”

How often have you seen a photo so beautiful that you are forced to wonder, is this real or is this fake? In some photos, the green is just a bit too green and the sky is just a bit too blue. How did the photographer achieve this? Through editing and manipulation.

Photographers today have become experts at “selling the fake”. This term was coined by Anthony Foster, a special events photographer hailing from the parish of Westmorland, who believes the practice of photo manipulation is selling and telling a lie.

Foster has been in the photography industry for over 20 years. His experience in photography spans both the film and digital eras.

“I have been here from the film era and now we are in the digital era so that is really quite some time. It has been a journey to understand both systems but for the better part of 25 years I have been doing photography,” he stated.

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Tossed into a strange direction There is a mystery in life that is yet to be solved. Very often, without searching for our passion and destiny, they collide with us in the most unexpected places. Anthony Foster was one such person. Led to photography by chance circumstances, Foster was tossed into this unfamiliar field with no training or preparation. “I was tossed into a situation where I got a job at a photo studio. It was supposed to be for a short while. I had no idea of what photography was. I then started to understand the ins and outs of it and that’s where the passion started,� Foster recalled.

Over time his new love became his obsession and eventually became his profession. A temporary job in a small photo studio in Westmoreland gave birth to his business, Fostex Wedding Photography.

Fostex Wedding Photography

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The manipulation controversy As a Jamaican photographer with over 20 years of experience in the field, Anthony Foster has stayed abreast with the trends in the industry.

Without hesitation, he declared his profession an art, even more so now with tools made possible by technology.

“Photography is not even an artform. It is an art. The difference between the photographer and the painter is that the painter starts with an empty canvas and the photographer starts with a full canvas,” he explained.

The painter, he expressed, starts with an empty canvas then proceeds to add different elements and items that will communicate a story or message. The photographer, on the other hand, starts with a full canvas and then eliminate elements that will either make or break the photograph. With modern software like Photoshop and Lightroom, the photographer can now add elements just like the painter.

Whatever he/she chooses to eliminate or add will either strengthen or weaken the visual story. So essentially, photography is an art.

Nevertheless, in spite of this view, Foster was adamant that photo manipulation is a lie.

“I mean, for me, photo manipulation is really telling a lie. Its actually selling the fake. I do retouch images and enhance some things that I did not catch on camera so there are some small things that I probably manipulate but I wouldn’t say I practise it,” stated Foster.

Though he is not a big fan of intense manipulation, he expressed that, as an artist, the photographer has the right to manipulate their image if needs be.

“If you have a vision in your head as an artist and at the time when you captured whatever you captured, the conditions might not have been the best. In post-production you can manipulate and enhance whatever you want to enhance or tweak whatever you want to tweak. Even somethings that were not there, you can make it appear as though it were there,” he explained.

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Fostex Studio Photography

Foster made a very important note, one that all budding photographers should consider.

He made it clear that manipulation has its place in artistic photography, however, it should not be practiced in all photography industries.

“I would not bring photo manipulation into journalism because if you bring it into journalism we will definitely have a problem as it relates to the purpose and intent of journalism,” he pointed out.

Truly, It is a different story when you involve people and reporting facts to the public.

Journalism is about truth, accuracy and is a direct reflection of what was. As Foster explained, what you see is what you get in journalism. As it relates to photo manipulation, you often get what you didn’t see. So the fact remains, photo manipulation is an extension of the art of photography but it is not suited for every industry.

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“The only face in the world that you can never see is your own�

- Dr. Patrick Byrne, director of the Facial Plastic and Reconstructive Department at the Johns Hopkins University School of Medicine.

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Model’s Name: Aveisha Baksh Image status: Retouched Location: UWI Chapel Shot & edited by : Javaughn Lewis Shutter Magazine | Shutter_876

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Ugly without a Filter:

Is Snapchat changing your perception of beauty?

“OMG this filter makes me look so cute!”

But weren’t you cute already?

“I mean sure but I definitely look MUCH cuter now.”

Is that so?

Beauty is in the choice of filter A straighter nose, a smaller head, whiter teeth and brighter eyes. These are just some of the “perks” of using a Snapchat or Instagram filter. Filters are a high end, more accessible photo manipulation tool and now most social apps come with the feature. Now there is nothing wrong with a filter, infact they can be quite fun. Who doesn’t want to look like a cute puppy sometimes?

The problem is when you alter a photo and the result is a you-but-better-version staring back, you may start to think that that is what you should look like. You may even start thinking that you are not beautiful without them.

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“The face we see in the filtere ourselves, just not our physical aspirations and insecurities — and

Beware of Snapchat Dysmorphia The facts? Cosmetic doctors are noticing an uptick in people who are bringing facetuned, filtered and otherwise altered photos into their offices, or pulling up unaltered selfies to point out what they want “fixed.” They’re calling it “Snapchat dysmorphia.” According to an article published by JAMA Facial Surgery, social media apps such as Snapchat and Facetune are providing a new reality of beauty for today’s society. These applications are able to alter a person’s appearance in an instant, therefore conforming individuals to an unrealistic and often unattainable standard of beauty. The article claims that the phenomenon can mess with our heads, fostering some unhealthy ideas about what we really see in the mirror — and on our phones.

Time to fall in love with your raw beauty The moral? Never forget that beauty is more than skin deep. Cliche as it may be, we are all beautiful. So have fun with your filters but do not let it dictate your idea of what is true beauty. We were all already blessed with our own unique versions

ed selfie is an accurate representation of selves. It’s a reflection of our ideals and d that can be as distorting as any photo filter. ” - AJ Willingham

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SEVEN QUESTIONS WITH SHORN A SHUTTER Magazine exclusive sit down with Jamaican photographer Shorn Hector.

Q: Do you believe photography is an art form?

A: I do not believe photography is an artform.

As opposed to, say painting or drawing, where the painter or the artist has some amount of free will to add life where there is none or to subtract from a scene while he recreates it, he can be artistic about what he is doing. For photography, I think you are simply capturing a moment as is. Yes, you can choose angles, Yes you can play around with lighting, however you are capturing that scene as it is in the moment.

So I think that art influences photography but I wouldn’t say photography is an art form.

Q: What does the term Digital Manipulation mean to you?

A:What that means to me is after you have captured a photo, digitally of course, you then take that photo to some editing suite where you make changes to what the reality actually was.

Q: Do you believe a photographer has the right to manipulate their photos?

A: I wouldn’t call it a right, because in essence, if you go back to what I said about art influencing photography, in this case, the photographer would be the artist and I think this artist has the freewill to show his piece in whatever way he feels fit. It’s just that the purpose of the photo should determine whether it be manipulated or not. That’s where you have to draw a line, if this photo is meant to represent reality as is, tell a story to the people, bring something to light, I don’t think it should be manipulated. However if this is just an art piece, you’re subjectively representing something, then by all means.

Name: Shorn Hector Nationality: Jamaican Title: Photojournalist

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Q: When does digital manipulation in photography become unethical?

A: Photo manipulation becomes unethical when the photographer tries to pass it off as the reality. If the purpose is to intentionally trick the audience, then definitely there is a problem. So for a news photographer or a press photographer or a blogger of news, people are expecting facts, the truth and the scene as is, hence why manipulation is a complete no no for these types of photographers. However, for the everyday user, the more artistic person, the insta bloggers, to some extent they can manipulate their photos.

However, if they try to pass it off as the reality it is unethical.

Image status: JPEG/ Unedited Category: Lifestyle Shot by : Shorn Hector Shutter Magazine | Shutter_876

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Q: What part does manipulation play in expression?

A: I think manipulation to some extent gives the photographer some room to make the scene how he interprets it. It is just like painting. So you can take your empty canvas to the top of a cliff and you are going to paint the valley, however it is the dry season and there is no water. A painter would then take his blue, take his white and he’d add water to the valley so now there is nice flowing water in the painting however on the day it was being painted there was no water. It’s almost the same for photography. Its okay to add your taste if needs be, but it should never be passed off as the reality.

Q: Do you think the practice of manipulation is a threat to journalism?

A: No, I do not think that manipulation is a threat to journalism. I think both, have their places and it doesn’t take long for a photographer or editor to understand the difference with the journalistic photos as opposed to the photos that are for sheer beauty or for a calendar or anything of that sort.

Image status: JPEG/ Unedited Category: Human Interest Shot by : Shorn Hector

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Q: Would you encourage budding photographers and graphic artists to practice manipulation?

Why? A: I see no harm, in a new photographer or an editor practicing photo manipulation. You really have to keep up with popular trends so that you can stay afloat in the market, It is definitely hip, it is trending, it makes a difference, it adds a certain sheen to the photos and people are looking forward to it. What I would tell this budding photographer, on the other hand, is to know that everything has its place. Know when to practice the technique and when it doesn’t apply.

Image status: JPEG/ Unedited Category: Entertainment Shot by : Shorn Hector

Image status: JPEG/ Unedited Category: Sports Shot by : Shorn Hector

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CODE OF PRACTICE FOR JAMAICAN JOURNALISTS AND MEDIA ORGANISATIONS

1. ACCURACY, TRUTH AND FAIRNESS a. Newspapers, periodicals, radio and television stations shall take due care not to publish or broadcast untrue, inaccurate, misleading or distorted material or information. Special care should be made to avoid distortions made possible by the new information and communication technologies. b. With the explosion of the Internet journalists have more access to more information than ever. These sources should not be used without attribution and should be checked for accuracy before the information is used in broadcast or print. c. Every effort should be made to publish the main points of view or interpretations of an event or issue, regardless of whether the journalist or media organisation agrees with such views. d. Journalistic reporting should be free from bias and distinguish clearly among comment, conjecture and fact. e. Whenever it is recognised that an inaccuracy, misleading statement or distorted report has been disseminated, it should be corrected promptly and with due prominence.

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f. An apology should be published promptly whenever appropriate. g. A media organisation should report fully and promptly the outcome of an investigation or court case on which it has reported especially where the accused has been exonerated. h. A media organisation should always report promptly, fairly and accurately the outcome of any action for defamation to which it has been a party, except where there is a confidentiality agreement as part of the settlement.

“Ethics is the workman’s bread. ~ J.L” Shutter Magazine | Shutter_876

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An excerpt from

CATCHING THE LIGHT

by American Photographer Jerry Lodriguss

The Ethics of Digital Manipulation How can we believe anything we see anymore? With today’s technology, we can literally do anything we want with images.

When photography was first invented, its overwhelming power came from the fact that it recorded nature more realistically than any other art form had ever done before. Because of this, people trusted it and believed it portrayed “reality” and “truth”.

But, just as storytelling could portray the “truth” with an accurate accounting of the facts, it could just as easily become fiction. Fake and manipulated photographs - visual fiction - began circulating not long after the invention of photography.

With the invention of motion pictures, and certainly television, the public came to know that not every picture they saw was necessarily factual in its depiction of reality.

Historical Image Manipulation Many people think that the manipulation of images started with the invention of Photoshop, but there have been fake photographs since the invention of photography.

A “Fairy” pho Cottingley, E and Frances G

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In 1917, Elise Wright, age 16, and her cousin Frances Griffiths, age 10, used a simple camera to produce what they claimed were photographs of fairies in their garden in Cottingley, England (above).

Arthur Conon Doyle, creator of Sherlock Holmes, believed these photos to be real, and wrote pamphlets attesting to their truthfulness. Even today some people believe these photographs are real.

Ethics and Aesthetics When we correct, manipulate and enhance images in Photoshop, we must deal with questions of both ethics and aesthetics. This discussion is not only limited to digital manipulation, but also includes conventional darkroom methods.

Ethics are a set of rules that we invent that define what we think is good and bad. The dictionary says ethics are “a set of moral principles or values” and that ethical means “conforming to accepted professional standards of conduct”.

Aesthetics, on the other hand, deal with the nature of beauty, art and taste, and things that are pleasing in appearance.

American Photographer: Jerry Lodriguss

With digital processing, there is almost no limit to what can be done to an image, and many things are done to images with the best intentions. The question is, when does the pursuit of aesthetics violate our ethics?

Changes can be made to images that are undetectable, so much so that there is now discussion that photographs will no longer be allowed as evidence in courts of law.

Today’s viewers however, are very sophisticated visually. They know full well that anything, literally, can be done to an image. They have seen dinosaurs and aliens portrayed with lifelike realism in the movies.

Problems arise though because viewers expect to be fooled in the movies, and tend to get upset and feel betrayed when they are fooled in an allegedly factual medium such as the news business.

CONTACT US TODAY

otograph from 1917 from EnglanVd by Elise Wright Griffiths.

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ChatTingz Q: What does digital manipulation mean to you?

Kaniel W., 21: “Digital manipulation is the art of bringing your imagination to life. Augmenting reality.”

Terrence, 24: ”Digital manipulation basically means you do whatever you want to do with the picture. If want to take off dis yah head yah put it on another one, basically change up the picture, mek it look somewhat different, somewhat not real but in a way that is creative.”

Nella, 23: “I’m not really familiar with term but I guess it would mean using technology to change a video or photo.”

Shane B., 25: “Digital manipulation is when you take the image and you change the properties of it. Whether it be to portray a certain message or enhance or emphasize certain characteristics of it or to do the opposite of that, like hide blemishes or distractions.”

Q: Is photography an artform?

Ricky, 26: “Yeah, photography is an artform. It’s a way by which individuals can express themselves through still images.”

Nella, 23: “No not really. Everyone can point and shoot these days. It’s not that deep.”

Herbert, 24: “Yes I believe photography is an artform because I consider art to be anything through which someone can express themself.”

Q: When does digital manipulation become unethical?

Thorne, 24: “When a person uses it for illegal means.”

Chat

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Terrence, 24: “It becomes unethical when yuh ova do di ting and you basically mocking people,yuh deh insult people. For example you tek the picha and you put a donkey pon the person head and all ah dem something deh.”

Danz, 27: “Its unethical when the aim is to deceive in any capacity.”

Q: Do photographers have the right to manipulate their photos?

Kaniel W., 21: “With the consent of the model, or the owner of the space, they are at liberty to manipulate if they want. Because to some, a photo might be great but there are many ways it can be greater.”

Shane B., 25: “It depends on what type of a photographer you are because if you are a photojournalist you do not have the right to manipulate the image You are going to be bringing the image to the public and they will think that is exactly how it is. If you manipulate in the aspect then that’s very bad and not ethical. However, let’s say you are an album art photographer and you want bring out certain creative expressions then by all means go ahead and manipulate the image.”

Derron, 24: “A photographer has all rights to manipulate an image once it does not offend anyone in a serious way and also if they are granted permission if a person is involved.”

Tingz

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Entering the Mind PETER THOMAS Peter Thomas, a young Jamaican photographer and content development specialist, has used instagram over the years to thrill his audience of over three thousand people with amazing photo manipulations. Being engrossed in the profession for approximately six years, Thomas started photo manipulation as a part of a quest to always be engaged in learning more about his craft.

Known on instagram as BwoyPedro, Peter Thomas boasts over 60 stunning and realistic manipulations. His work has been fawned over many.

For Thomas, the practice is a tool of self expression and an entertaining hobby. Let’s take a trip into the mind of this manipulator:

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of a Manipulator

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“

I use photoshop as a tool to express myself but in a fun-filled way. Most of my manipulations, those you see on instagram, are just for the fun of it. It’s nothing serious but I do get job offers as it relates to manipulating photos for clients overseas and locally.

It’s how I see things, how to make something there that wasn’t there, if you get what I mean, how to make it more interesting. I’m not there, I’m not in that location but when I manipulate the photo it seems so real that you don’t even know if I was there for real.

I would encourage anybody to learn photo manipulation. Anybody. You can make money from it once you know what you are doing. Graphic artists, photographers, cinematographers, yeah, you can enhance your work, skills, build your work ethic and open your mind to various options for style.

I believe that photographers have the right to manipulate their own photos because you can take a photo and enhance it to your pleasing or to your client’s pleasing.

I manipulate my photos because I need to. I’m always learning, always learning how to do new stuff so I always try to practice manipulations.

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”

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THE PROCESS TAKE We Capture.

We Edit.

We Create.

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BREAK

MANIPULATE

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40 Shutter Magazine | Shutter_876 Title: Out of Many, One. Model’s Name: Shaeon Mckoy Location: Chinese Gardens Image status: Raw/ Unedited

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Out of many, One is a commentary on the rich Chinese culture that exists in Jamaica today.

Title: Out of Many, One. Model’s Name: Shaeon Mckoy Location: Chinese Gardens Image status: Manipulated

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Title: Mada Nature Model’s Name: Jenae Beckford Location: UTech’s Golf Course Image status: Raw/ Unedited

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Title: Mada Nature Model’s Name: Jenae Beckford Location: UTech’s Golf Course Image status: Manipulated

Mada Nature is a celebration of Jamaica’s flora, fauna and people. The manipulation ties together a unique blend of human interaction with nature.

44 Shutter Magazine | Shutter_876 Title: Alligator HEAD Quarters Model’s Name: N/A Location: Alligator Head Image status: Raw/ Unedited

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Alligator HEAD Quarters stands as a representation of the power of manipulation and it’s ability to bring one’s imagination to life.

Title: Alligator HEAD Quarters Model’s Name: N/A Location: Alligator Head Image status: Manipulated

46 Shutter Magazine | Shutter_876 Title: Sun, Sand and Sea Model’s Name: Kemoya Clarke Location: Long Bay Beach Image status: Raw/ Unedited

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Sun, Sand and Sea is yet another example of the power of manipulation.

The manipulation merges the model’s face with the sand as a symbol of the oneness with which man dwells with the environment.

Title: Sun, Sand and Sea Model’s Name: Kemoya Clarke Location: Long Bay Beach Image status: Manipulated

Title: Doctored Model’s Name: Yasmeen Cartwright Location: Eveready’s Photo Studio Image status: Raw/ unedited

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Areas Edited: • • • • • • • • • • • • • • • • • • • • • • • • • • •

Forehead Eyes Nose Lips Jaw bone Chin Cheeks Skin Breast Back Stomach Hip Butt Thigh

Title: Doctored Model’s Name: Yasmeen Cartwright Location: Eveready’s Photo Studio Image status: Manipulated

Doctored is a featured example of the deception that can come about due to manipulation. The manipulation alters a number of features on the model’s body to align her with societal view/ beauty.

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D o c to re d Practices

Photo & diagram by Lindsay Adler From: Skin 101: Lighting, Retouching and Understanding Skin

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D o c to re d Practices

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Model’s Name: Shaeon Mckoy Image status: Retouched Location: Chinese Gardens Shot & edited by : Javaughn Lewis/ Supreme Digital Production

Shutter Sends Special Thanks To: Zaneek Wright Project Coordinator Sherika Hall Social Media Coordinator Marilyn Facey Media Project Lecturer Andrew Smith Advisor Shorn Hector Interviewee Anthony Foster Interviewee Peter Thomas Interviewee Ever-Ready Photo Studio Supreme Digital Production Fostex Weddings & Studio Sponsors All Shutter Premiere Models: Kemoya Clarke Jenae Beckford Yasmeen Cartwright Shaeon Mckoy

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