The Phoblographer

All images by Anastasia Egonyan. Used with permission. All words by Anastasia Egonyan for the Phoblographer.

I have always valued analog photography over digital as there is simply no way of getting the same result out of latest technologies as much as I get it from the good old film. Well, at least to satisfy my needs and maintain my photography style that you might have noticed has evolved to a clear and romantic side which is proudly called the “Fine Art Photography”. Yet I try to maintain my own point of view here as well and not merge with the numerous artists that hold the classical label.

So this is one of the latest art shootings that I have done and the idea for it was to show an alternative beauty in a really delicate and soft manner. I aimed to play with contrasts and preconceptions as you know you usually get to see grunge girls in grunge images, but what I personally see here is a modern way of a renaissance beauty. Now we have girls with mermaid hair and colourful tattoos all over the body, but there is still a big part of being feminine and gentle appearance in that look and I was able to emphasise it quite successfully.

My gear for the shooting was the Contax 645 + Zeiss 80mm f/2, a medium format gem and I love this camera to death. I think it’s the best gear combination ever and I have gone really addicted to it due to its ease in use, the particular beauty of the lens and how it makes the pictures look so soft and sharp at the same time. My film of choice here was Fuji Pro 400h and I have picked it due to its beautiful magenta tones as the skin of the model is cool with pink undertones and it would not be smart to pick a Kodak in this case which gives a more yellowish finish. And adding to that we have blue/teal hair, blue/teal tattoos and a teal dress in composition, everything on white canvas which makes it on the cool side of the palette and in this case magenta base works better than a yellow base. As a result you see how we have a variety of colours on the skin – from pleasant yellow to a pretty blush on lips and cheeks.

As I have returned to nude photography as well, I think I have to mention some tips about working with girls in this direction. We are talking about normal people that don’t make their living out of modelling and that is where it gets a bit hard in this topic as you initially have to gain at least a bit of trust from the person as being naked makes the other part feel a bit uncomfortable and awkward, especially in front of a stranger. I just try to be nice and polite in first place while I text with a model before the shooting, but yet still really firm about the conditions of the event.

I get everybody to sign a TFP contract that allows me to publish the resulting photography at all medias and I also let the model know that there is no going back once we “hit the stage” as we all put time and effort in the shooting so if somebody is not comfortable with being naked in front of the camera then they should make it clear in their mind while they are still at home. And I know that while shooting nude many photographers let the model pick the pictures that they would allow to put online or elsewhere afterwards. I do not practice this at all, I think that making the picture is my personal and artistic process and nobody should interfere with it. I simply ask it straight while shooting “are you comfortable with this pose, are you okay if we show as much, is it not too much for you, etc.”

Better to be open and clear before you release the shutter. This also makes the model more confident and shows that you have nothing to hide and you won’t make any “discreditable” shots.

As we meet for the shooting we begin to get to know each other a bit better by dropping a few introduction phrases and starting a short conversation. In this particular session I have done the makeup myself as well and the reason was to mainly have the makeup match the look as I wanted, not having to explain this to another...

All images by Lachlan Walker. Used with permission. This is a syndicated blog post from La Noir Image. This and other stories are a preview of what you’ll get when you sign up and help fund our Kickstarter.

Instagram: @lachlanjames_

Website; lachlanwalkercreative.tumblr.com

My name is Lachlan Walker, I’m a 23 year old photographer from Melbourne, Australia. Photography is something relatively new for me.

Up until 2 and a half years ago I’d never touched a camera in my life. It was only when I met my girlfriend, who had always had a passion for photography, that I first picked up a camera. It was an old Nikon D3000, not much good on a technical level, but it was enough to spark my interest. A few months later I purchased my first camera of my own, a Canon AE-1 Program.

This was the camera that made me fall in love with photography in a big way.

This was also the camera that gave me such an appreciation of black and white photography.

I almost exclusively shot Ilford HP5+ and through this I think I developed a real sense of seeing light and shadow in my photography. I’d always known it played a role in capturing a good image, but it wasn’t until I started shooting black and white film that I really understood (without the distraction of colour) just how important it was.

Today I shoot with a Fuji X-Pro 1 and my work is almost exclusively colour, but I still use what I learnt from shooting black and white film in the early days of my photography every single time I pick up my camera. I honestly think if I had just one tip for someone starting out with photography, it would be to get an old film camera and shoot black and white until you really get an understanding of the role light and shadow play in your images.

Anyway, that’s my back story and how I got into photography, and why I have such an appreciation for black and white images, let me tell you a little about my project ‘Beauty in Simplicity’ and how it came to be. Early on with my photography I almost exclusively shot landscapes however after a while I started to find them relatively boring, so I started moving towards lifestyle/fashion work.

I absolutely loved the challenge of working with a subject, getting to know them and capturing a real sense of who they were as a person. While I still thoroughly enjoy lifestlye/fashion work, and professionally it’s what I intend to continue doing, I’d always toyed with the idea of somehow combining my landscape and lifestyle/fashion photography, which is how my ‘Beauty in Simplicity’ project was born. The purpose of the project is exactly as it sounds, to find beauty in simplicity. I wanted to shoot my subjects in minimalistic landscapes in black and white. I didn’t want the distraction of colour to take anything away from the model and how they were a part of the landscape. I also wanted to shoot my models topless/nude for this project to further add to the idea of ‘beauty in simplicity’.

To me the female body is the most beautiful thing on this planet, much more so than any lake, mountain, river etc. I wanted to make a point with these images that nudity doesn’t equal sex. Society continues to sexualise and objectify the female body in such a horrible way, and I really wanted to show that skin doesn’t necessarily have to be seen as something sexual or ‘offensive’.

This whole project is about stripping everything right back to the bare minimum and just showing things for what they truly are with no distractions. I think the fact that I was able to show friends and family, especially my mother and grandmother these images and have them understand the point I was making proves that I’ve somewhat succeeded in what I was trying to achieve.

I think black and white imagery will always play a part not only in my photography, but in photography in general. As a learning tool it is invaluable.

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In the early days of professional wrestling, few people knew the truth about it. Back then, the people in the arenas believed what the promotions were telling them. There was a good guy and a bad guy: both would fight it out in the ring. But photographer Greg Bowl got to see behind the curtain. The intimate access the wrestling promotions gave him let him understand the realities of an industry that was always hidden behind kayfabe. Allowing us to go back to the 70s, Bowl shares his professional wrestling images, as well as the rich history and stories behind them.

Phoblographer: You started with a Kodak Brownie camera. For the younger readers, please tell us about the camera and what it was like to use.

Greg Bowl: I was about five years old when I traded a toy truck to a neighborhood friend for an old Kodak “Brownie” camera. This was a typical, inexpensive roll film camera, looked like a small black box, had a crude viewfinder, and I think it had two settings for either black and white or color film (although it may have only been black and white). I’m guessing that camera was made in the 1940s, maybe earlier. But I got it in the late 1950s. Film then was 12 exposures, it got mailed to a processor, mailed back with prints and negatives, which maybe took a couple of weeks or more, and you got to see your photos.

It was always a little bit magical to get the prints back, see the successes and failures. When I was six years old, at Christmas, my present was a “real” camera. It was a “Lark Imperial”, which was a basic plastic camera with a built-in flash. It did have both color and black and white settings, and I have to say, occasionally firing off a flashbulb was fun. I still have that camera.

Phoblographer: How did you get involved with the wonderful world of pro wrestling?

Greg Bowl: Watching the local Boston show, “Big Time Wrestling” on TV, which was on our family’s old “Muntz” black and white television. Saturday mornings, my brother and I would watch the show. Back then, there were about five channels on broadcast TV. Wrestling was big entertainment for young kids. It was all about heroes and villains (like cowboys and Indians).

Years later, when I was shooting at the Boston Garden, several wrestlers that I watched back as a young kid were still wrestling. (Clips of those shows from that era are amazingly crude today.)

Phoblographer: What was your relationship like with the wrestlers and how did that impact the way you made your photos?

Greg Bowl: I can’t say there was a relationship when I started doing live photography at Boston Garden. I made calls to the Boston venue promoter. There were events scheduled every month, and I was given permission to just walk into the Garden whenever I wanted. The wrestlers, for the most part, ignored me, which made my job easier. I never got pushed away, nor did any of them really even speak to me.

It wasn’t until later that I got to know Walter “Killer” Kowalski, who was then semi-retired as “Killer” but still wrestled as the “Masked Wrestler,” the mysterious unknown villain – a type of character that was common in wrestling venues. (It was typical for older wrestlers to work as a masked villain.)

Walter was also a photographer – more of a hobbyist. I got to know him initially through a friend that worked at the main Boston Pro photographer supply store. Knowing Walter gave me some credibility among the wrestlers then, but not much more.

My vision of wrestling at the time was not as a “fan” but more of a social observer. The subject, for me, was an extension of the black and white street photography I had been doing in Boston in areas like the infamous “Combat Zone,” Chinatown, South Boston. I was drawn to the gritty, dark atmosphere of the Boston Garden, the kind of intense and hungry look of the fans, the swinging moods of the crowd when a hero or villain was victorious – that’s what got to me.

Phoblographer: Unlike most ...

Performance. Focal Length. 40 – 150mm. Comparable 35mm Focal Length: 80 – 300 mm. Aperture. Maximum: f/2.8. Minimum: f/22. Camera Mount Type. Micro Four Thirds. Format Compatibility. Micro Four Thirds. Angle of View. 30° – 8.2° Minimum Focus Distance. 27.6″ (70 cm) Magnification. 0.42x. Elements/Groups. 16/10. Diaphragm Blades. 9, Rounded. Features. Image Stabilization. No. Autofocus. Yes. Tripod Collar. Yes. Physical. Filter Thread. Front:72 mm. Dimensions (DxL) Approx. 3.13 x 6.30″ (79.4 x 160.0 mm) Weight. 31.04 oz (880 g)

The Olympus 40-150mm f2.8 PRO lens is the company’s latest offering for professionals and semi-professionals looking to get better results in a wide zoom range. With the equivalent field of view of 80-300mm due to the 2x crop factor, this is a lens that portrait photographers, wedding photographers, event photographers, photojournalists and sports shooters alike will want to reach for.

One of the biggest selling points is its weather sealing and all metal construction. To add an extra cherry to the icing, there is internal zooming and a cleverly designed retractable lens hood. But will weather sealing and a constant f2.8 aperture be enough to draw consumers to the lens at such a high price point of $1,499?

Pros and Cons

Pros

Excellent build quality

You get an 80-300mm f2.8 lens in the size of a standard 24-70mm f2.8 from other manufacturers

Very sharp wide open

Retractable lens hood is very convenient, but if you want to use the lens without the hood, you essentially need to remove it.

Cons

Focusing ring can be accidentally switched back for manual focusing

Gear Used

We reviewed the Olympus 40-150mm f2.8 PRO lens with the OMD EM5, PocketWizard Plus III transceivers, Adorama Flashpoint Streaklight 180 WS, and Westcott six foot parabolic umbrellas.

Tech Specs

Tech specs taken from the B&H Photo listing.

Ergonomics

The Olympus 40-150mm f2.8 PRO is a lens with a lot going on. To start, the exterior is entirely metal and the lens feels every bit as so. What Olympus did differently with this lens though has to do with the lens hood. This is the company’s first retractable lens hood that only requires a twist of the ring around it.

When this hood is brought back in on itself, the lens becomes a much more compact package. However, you’ll only really be able to reach a bit of the zooming ring and not much else.

As far as controls go, the lens has two major ones: focusing ring and a zooming ring. The lens zooms internally which means that it won’t get any larger than it is and the focusing ring slide back to go into manual focusing mode.

Otherwise, the lens has a function button on it that interacts with the way that you set up the camera’s function buttons.

Build Quality

If the product shoot for this lens isn’t enough to assure you that the lens is very durable and extremely weather sealed, then we’re not sure what is. Beyond leaving it in the rain and shooting with the lens in inclement weather, the lens was also put in camera bags with thin padding that were bumped by all sorts of nonsense in the NYC subway during busy commutes. The 40-150mm f2.8 PRO took all the bumps and hits like, well, a pro!

Two of our small issues with the lens is that the lens cap can pop off fairly easily and that the lens hood when retracted doesn’t allow you to do much with the lens. When retracted, the hood covers the focusing ring and most of the zooming ring. Not enough of the ring is uncovered to let you easily zoom in or out–and I don’t have very large fingers. For someone with even chubbier appendages, it may prove difficult.

Ease of Use

The 40-150mm f2.8 PRO is a fairly complicated lens. Besides the zooming function, there is a focusing ring that when pulled back will manually focus. While that’s cool, it may be too difficult for those simply lusting after this lens and not knowing its true potential in various situations.

Additionally, the lens has a function button on the side that is fun to use if you indeed need it. With ...

For the past couple of days, Gevon and I have been at New York City Comic Con 2011 working on content geared towards photographers heading out to conventions. I’ve been testing the new Phottix Wireless TTL Radio Triggers for Canon EOS DSLR cameras. Additionally, I was playing around with the Sigma 85mm f1.4 EX, ExpoImaging Ray Flash, 35mm f1.4 L, and my Beauty Dish hack.

For the record: we’ve got a hands on review and a full review of the Phottix triggers in the works. Plus, we’re going to be comparing the Sigma 85mm f1.4 against the Canon 85mm f1.2 in a portrait test. Additionally, we’re going to compare the Orbis against the Ray Flash for Convention center use. Besides all this, we’ve got loads of reviews in the works and my list of articles that I need to write is enormous.

Either way, more content will be coming and I think you’re all going to love it. In the meantime, here are some of my favorite photos that I shot at NYCC 2011.

Pro Tip: Have fun with your subjects. Pro Tip: People at the shows aren’t models–unless they’re booth babes (or dudes.) So when you approach a subject, talk to them about their character and have them mimic a famous pose that the character does. Pro Tip: When you shoot, ensure that you carefully place the focusing points over the eye to get a portrait that pops. When you do this, don’t focus and recompose. Instead compose the scene based on where the focusing points are first. You can always crop in post later on.

All Images by Clara Giaminardi. Used with Permission.

Clara Giaminardi, always a creative soul, grew up wanting to be a writer but around age 16 discovered photography and it was all over after that. While studying at University in Milan, and later upon moving to London, Giaminardi was fascinated by the idea of fashion photography and its power to shape the narrative of the world in which we live. “In this constant, complex dialogue, I have become obsessed with the body, and how it can be represented and represent itself within contemporary discourses of gender equality and diversity.” Giaminardi says as she begins to explain the ideas behind her Manifesto for a New Objectification project.

“’Manifesto‘ is about embracing the body as equal to the mind, and exploring how that can interact with society’s ideas of gender and diversity.” Giaminardi says of the project, which she hopes to use as a medium to help shift the fashion world from one objectification to one of empowerment. “Fashion is a mirror of our society, and photography can express that, [or] subvert it. It can be an instrument of change.” she notes.

The general public have been more interested than ever before in what is going on with the images and themes they see from the fashion world, leading to regular outcries over extreme use of Photoshop, unrealistic body image, and over sexualization. “The community discussion of body politics, gender, sexuality, diversity, identity is leaking out to make wider society a better place. Manifesto is an exploration of how notions of body and gender can be redefined in fashion media.” Giaminardi states.

Generally a Zenza Bronica medium format film shooter, Giaminardi created her Manifesto project with her Nikon digital gear. “While the choice of digital or film does in fact alter the workflow and relation between the photographer and the subject in many cases, I do not believe in over stressing the importance of what brand or lens or specific digital gear was used for a project.” she noted when asked about how she created the series.

The images in Manifesto for a New Objectification are bold, interesting. You can check out a selection of the images below, and make sure to check out more of Giaminardi’s work on her Behance profile.

Kickstarter is for more than just new tech gadgets and interesting doodads as creatives from all over also use the service to try and help fund their projects of passion. Today we have just one of those such projects: Instaxxx.

Instaxxx is a new campaign on Kickstarter for a photobook featuring a collection of nude Instax images from photographer Nate “Igor” Smith. Smith is a veteran of the nude and adult entertainment scenes, having shot for Hustler and RollingStone, as well as covered the AVN awards. He has published several books and zines over the years as well.

According to the Kickstarter page, Smith has been photographing nudes on instant film since he was just 19, in fact, it was this that inspired him to get into shooting nudes in the first place. Now, years later, and having moved on from Polaroids to Instax, Smith wants to release this book as a collection of some of his favorite Instax nude photography.

For $30 you can get yourself a copy of the book, and there are tons of other incentives as well, including signed prints from the adult models featured in the book, and the Instax Wide camera that Smith shot most of the book with.

The campaign has already blown past its initial goal of $2,500 as well, and as I write this is sitting around the $7,500 mark. If you would like to learn more and support the project you can get all of the information over on the Kickstarter page, here.

There are some fantastic photographers getting the most out of Fujifilm cameras.

There’s no denying that we’re big fans of Fujifilm systems here at The Phoblographer. We don’t think they’re perfect, and we’re happy to call out their flaws, but when used properly, they’re some of the best cameras on the market. And in this article, we bring five photographers that are creating wonderful images with their Fujifilm cameras.

1. Dominique Seefeldt Uses Fujifilm Cameras

2. Jens Krauer Loves His Fujifilm Cameras

Jens Krauer is a well-known street photographer. His talent for capturing the candid frame led him to become an official Fujifilm X Photographer. Because of his love for Fuji, he has created his body of work with a range of cameras. They include the GFX 50s, the X-T3, and the X-H1. We featured a powerful series made by Krauer in which he spent time in Brooklyn, specifically the neighborhood of Bedford-Stuyvesant. You can see the feature here.

3. Gennaro Bassolino Adores His X100 Series

We love the work of Gennaro Bassolino for two reasons: Firstly, he isn’t using Photoshop. And secondly, he’s using the Fujifilm X100S – a camera that’s almost 10 years old! Born in Flordia, it’s Asia where Bassolino creates most of his work. He has a dark, rustic style, similar to that of one of his inspirations, Steve McCurry. But Bassolino is no imitator. Instead, he has his own voice and a great talent for photography.

4. Matt Stanman Gets the Most From the 50R

Most landscape photographers opt for vibrant scenes that make people lust after the location. Be we don’t always want what most photographers like to give. That’s why when we see deep, dark, moody black and white landscapes, we tend to fall in love with them. That’s exactly what Matt Stanman offers. His landscapes are not pretty, but they’re beautiful and full of emotion. And he’s making his powerful photos with the Fujifilm GFX 50R, a camera our Editor in Chief described as “one of the best cameras I’ve ever tested.”

5. Melissa Stemmer Creates with the XH1

Although Melissa Stemmer uses the Fujifilm X-H1, her final images certainly have a film aesthetic. Her portrait photographs are very natural, and they don’t feel commercial or forced. When asked how she gets her subjects to relax in front of her lens, she told us, “the conversation is everything.” She added, “so I talk a lot with my models. Saying what is good and what can be improved.” An amazing portrait photographer with a spectacular body of work.

Fujifilm Cameras And Photographers

Which are your favorite Fujifilm cameras, and which of your favorite photographers are using them? Maybe you’re getting the most out of your Fuji and feel you have a body of work we need to see. Let us know in the comments below or make a submission via editors [ @ ] thephoblographer dot com.

Lead photo by Dominique Seefeldt.

All images by Dafni Kemeridou. Used with permission.

Dafni Kemeridou is a young photographer, born in Thessaloniki, Greece, in 1994. She studied photography at I.E.K. AKMI School (2012-2014) and attended photographic workshops given by photographer Dimitris Triantafyllou (2016-2017). In 2015-2016, she gave presentations and held photographic editing sessions for FOAPTH (the photography club of the Aristotelean University of Thessaloniki). She uses photography as a visual tool to explore and question herself and the world. Her photography deals with themes such as time, dreams, and existentialism. She usually prefers the low light of the twilight hours that creates an atmosphere of mystery and emotional depictions within the image. The longer exposures and light manipulations that also exist in most of her images are there to enhance the sense of time and space.

She is currently working as a freelance photographer mainly for wedding, baptism, concert, and event photography. At the same time, she is working on her personal projects that are in progress.

Why did you get into photography?

I’ve always liked photography, because of the atmosphere that the light can create. Since high school I made the decision to follow this career and I remain loyal to this choice.

Who are your biggest photographic influences?

It’s difficult for me to choose favorite photographers, I like so many of different styles. Just to name a few, I admire the works of Elina Brotherus, Todd Hido, and Hiroshi Sugimoto. My biggest influence though is my tutor, mentor and friend Dimitris Triantafyllou.

How long have you been shooting?

I started at 2012 at the age of 18 from the moment I got into the photo school, but after 2015 I began shooting full time.

Why is photography and shooting so important to you?

Photography is only a way for me to express the feelings some others write in poetry, compose in music, or search in philosophy.

It’s my way of doing my own research about the world and myself and question them.

Do you feel you’re more of a creator or a documenter? Why?

I create realities which are certainly not realistic, but they do reflect the truth in me, so I also feel like I am documenting myself sometimes.

What’s typically going through your mind when you create images? Tell us about your processes both mentally and mechanically?

Nothing really goes through my mind, I take photos when I feel like something is there, something that makes my mind wander. Often, I carry the equipment that I might need when I go on a field trip even if I won’t take any photos. When I want to take a photo I feel it and my mind then is empty from anything else, which makes me glad later for carrying everything I needed.

Want to walk us through your processing techniques?

For my current work in progress, “Sandman”, I photograph mainly after the sunset during the blue hour, civil twilight and nautical twilight. I have long exposures and I use a hand torch for a brief light painting. There are photos taken with flash as well or with ND filter, depending on the situation. I also experiment with instant film and toy cameras.

Tell us about the project that you’re pitching, or your portfolio.

Sandman is a metaphorical title I chose inspired by the European myth of the dream lord. It’s a series of self-portraits I started doing in 2016, when I went for 6-week vocation in Gavdos, a small isolated island south of Crete. It was my first journey so far from home and for so long, and the island gave me the chance to clear my mind and start questioning. I was a young adult, leaving the adolescent years and starting a life of independence. It’s a very crucial point, everything changes and the feelings are mixed. Dreams and fears, longings and burdens.

What made you want to get into your genre?

The feeling of mystery in the world.

Tell us a bit about the gear you use and how you feel it helps you achieve your creative vision.

I use a Fujifilm XE2s camera for my personal work, which I lov...

In an age where sensor resolution is getting higher and higher, those MB, GB, and TB on your computers at home are simply not getting you where they used to. The saying ‘Storage is Cheap’ is true, but only to a point, and a frugal photographer should always be looking for ways to cut back on the amount of storage space they need to store their images – both at home and on the web. The solution for this, at least when it comes to JPEG files, is JPEGMini – or at least that is what they claim it to be.

JPEGMini has been around for some time now, but as you would expect, many photographers are skeptical of any compression system that could possibly have a negative impact on quality or appearance of their images in print or digital. I was skeptical, so when they offered to let me test drive their Pro version while we met with them at Photo Plus, I took them up on it. Today it is time to share my thoughts on this software for you.

What Is JPEGMini?

JPEGMini, for those unaware, is a compression program for Mac and PC that allows you to compress your JPEG files by many times, saving you valuable storage space, all without – they claim – any visible loss in quality. It can be used as a standalone app on your desktop, or they also have Photoshop and Lightroom plugins that allow you to export compressed JPEGs from those programs without having to open JPEGMini to compress after exporting, a huge time saver.

Ease of Use

As far as ease of use, it is hard to make a simpler piece of software. When you are using the desktop software, you simply drag your JPEG files onto the program and then the JPEGMini Algorithm does its magic, compressing your image(s) and saving you tons of space.

You do have a few options as far as settings in the software, and that is to export your newly compressed JPEG files into a new folder (as well as resize them if you like), or to simply overwrite the original JPEGs with the new smaller versions. There are no image quality settings with JPEGMini because they only have one goal, to compress an image as far as possible until visible quality is affected, and then it stops just shy of it. In other words, when you use JPEGMini the JPEG that you get out on the other side is the smallest and most compressed your image file can be without affecting quality.

If you choose to make use of the Lightroom plugin that is available with the PRO version, then things are even easier. You simply install the plugin, activate it in Lightroom, and add it to your export workflow, and voila – every JPEG you export from Lightroom will be automatically compressed upon export, without you ever having to open up another program. This is incredibly convenient.

In the Photoshop version of the plugin it tells you how much space you are saving right there in Photoshop, which is really nice.

The Results

Ok, so we have established now what JPEGMini is and how it works (on a base level), and now it is time to discuss its performance. How did it perform, was there any noticeable quality loss, and what sort of space savings did we see?

Well, to sum things up quickly – it worked exactly as advertised. To my eye, given all of the images that I have run through the software in these weeks since Photo Plus, I have seen no quality loss. And believe me, I have looked.

As far as the space savings, these have been pretty massive as well. According to the counter, I have saved over 25GB of storage space in the 2-3 weeks since I got my hands on the software. That is pretty massive, wouldn’t you say? Imagine what this would look like in a couple of months during my boudoir busy season?!

This image, for example, was 14MB when exported full-res from Lightroom. The same image, after being compressed by JPEGMini was only 9.01MB, which if you can do the math is roughly 1.7x compression with 5.9 MB of space saved. When I told JPEGMini to compress the same file, but to also resize it to a good web-sized file of 1500px wide the file was cut down all the way to 221kb...