If you are in search of a unique style to your wedding and engagement photos in Southeast Texas, you might want to check out BellaFotografica, an up and coming photographer who is still very reasonable for the quality given in return.
Easy to work with, relaxed and fun style, it's a nice change from traditional wedding photography which can be a little stuffy. Albums, portrait sessions and an online gallery are available.
Monday, November 24, 2008
Thursday, July 03, 2008
BluOrchid Photography: Great Photographers around the World
BluOrchid Photography: Great Photographers around the World - great photography site, she does some amazing work. I love the layout and design of her albums.
Saturday, June 28, 2008
Fun in Mexico
A few weeks ago we went to Nuevo Progresso, Mexico (just across the border from Harlingen). David had alot of fun fitting in with the locals, so did his Daddy and Uncle Jerry.
Fun in Mexico
We went to Nuevo Progresso, Mexico (just across the border from Harlingen) a few weeks ago and David had fun 
trying to fit in with the locals. So did his daddy and Uncle Jerry.....
trying to fit in with the locals. So did his daddy and Uncle Jerry.....
Tuesday, February 26, 2008
Thursday, October 28, 2004
October Suprise
GET A PAPER ROUTE: Jim Rutenberg wrote an article for the New York Times about journalists spooked by “Internet writers.”
Journalists covering the campaign believe the intent is often to bully them into caving to a particular point of view. They insist the efforts have not swayed them in any significant way, though others worry the criticism could eventually have a chilling effect.A chilling effect? Journalists, chill. Do you have any idea what it’s like to be an “Internet writer?” Do you really think we don’t get criticized, too? Come on. My blog has a comments section that on any given day dozens and even hundreds of people use to yell at me and at each other. Instapundit doesn’t have comments, but it does have email. I can’t even read it all, let alone answer it.
The blogosphere is not an entity. It’s a network. The political blogosphere has two halves. And those who inhabit different halves blast each other’s writing as often as they train their sights on the media.
When I was a kid I worked at a pizza joint. The manager liked to say “if you can’t work with people, get a paper route.” That’s great advice. It goes for adults, too. If you can’t take criticism you can always deliver the paper. You don’t have to write for it.
Journalists covering the campaign believe the intent is often to bully them into caving to a particular point of view. They insist the efforts have not swayed them in any significant way, though others worry the criticism could eventually have a chilling effect.A chilling effect? Journalists, chill. Do you have any idea what it’s like to be an “Internet writer?” Do you really think we don’t get criticized, too? Come on. My blog has a comments section that on any given day dozens and even hundreds of people use to yell at me and at each other. Instapundit doesn’t have comments, but it does have email. I can’t even read it all, let alone answer it.
The blogosphere is not an entity. It’s a network. The political blogosphere has two halves. And those who inhabit different halves blast each other’s writing as often as they train their sights on the media.
When I was a kid I worked at a pizza joint. The manager liked to say “if you can’t work with people, get a paper route.” That’s great advice. It goes for adults, too. If you can’t take criticism you can always deliver the paper. You don’t have to write for it.
Creative Commons Launches
A couple months ago, Matt Haughey dropped by the Adaptive Path offices and asked us for help with Creative Commons site. They had just started work on a great new promotion with Wired Magazine, including a CC-licensed compact disc in every issue going out to subscribers. Big names, too, including David Byrne and the Beastie Boys.
We jumped at the chance, of course, since we're big supporters of their effort to provide flexibility within the often overly-restrictive copyright law. The project was interesting from an audience point-of-view, as well. The Creative Commons site as historically been a site for copyright lawyers and policy wonks, but with a unique blend of artists looking to license their work. And with the Wired publicity, the audience would broaden even more.
So we did one of my favorite design techniques: we stripped absolutely everything away, and started putting them back on the page one-by-one. With each element, we spent time justifying it's existence through discussions with the executives at CC and our own experience. It was a painful process -- a site of any age builds up cruft based on organization culture -- but in the end, well worth it.
A round of usability testing yielded even further tweaks, as well as a some startling observations. Case in point: nearly every user asked "This sounds great, how much does it cost?" Changing the tag-line to include the word "nonprofit" instantly realigned new users' expectations with the organizations goals.
Finally, Matt commissioned Doug Bowman of stopdesign for new icons. The two graphics on the home page are his handiwork.
Have a look, and let us know what you think in the comments.
We jumped at the chance, of course, since we're big supporters of their effort to provide flexibility within the often overly-restrictive copyright law. The project was interesting from an audience point-of-view, as well. The Creative Commons site as historically been a site for copyright lawyers and policy wonks, but with a unique blend of artists looking to license their work. And with the Wired publicity, the audience would broaden even more.
So we did one of my favorite design techniques: we stripped absolutely everything away, and started putting them back on the page one-by-one. With each element, we spent time justifying it's existence through discussions with the executives at CC and our own experience. It was a painful process -- a site of any age builds up cruft based on organization culture -- but in the end, well worth it.
A round of usability testing yielded even further tweaks, as well as a some startling observations. Case in point: nearly every user asked "This sounds great, how much does it cost?" Changing the tag-line to include the word "nonprofit" instantly realigned new users' expectations with the organizations goals.
Finally, Matt commissioned Doug Bowman of stopdesign for new icons. The two graphics on the home page are his handiwork.
Have a look, and let us know what you think in the comments.
Testing the Test
This is a test post. Some things will be bold, some things will probably suck :p
My first electronic publishing project came in the late 1980s. I was working in the video production lab, and was asked to create a manual for all the gear. I collected the crappy instruction booklets from all the cameras, VTRs, and even the scary new Video Toaster software we got for the Amiga. It had to be at least 15 years ago, because all the text I wrote, plus image scans, and a bootleg copy of Quark XPress 1.0 all fit on an 800k floppy.
I bring this up merely to trace the evolution of the tools I use to do my work. That evolutionary process is typically viewed in hindsight; I think back about how I struggled with fonts and halftones all those years ago, and how much easier it was at my newspaper job, and yet again when I got to Wired.
Lately, I've been trying to turn the camera around and look forward. What kinship is there between how desktop publishing changed and Web work? Is there an equivalent to 1-bit scans stuffed on a floppy?
My recent shot across the bow of open source content management systems was in this spirit. Our work may be frustrating because of immature tools, but it doesn't (and won't) have to be this way. Because without reliable, intuitive, robust tools, there's no hope of developing our craft.
Case in point: Arlen Walker has been banging up against a couple open source tools, to little avail. His rant is technical -- he's complaining about divs being added to his designs, as if in secret. And his point is that the designer, not the tool, should always be the one in charge. It's a good read.
My first electronic publishing project came in the late 1980s. I was working in the video production lab, and was asked to create a manual for all the gear. I collected the crappy instruction booklets from all the cameras, VTRs, and even the scary new Video Toaster software we got for the Amiga. It had to be at least 15 years ago, because all the text I wrote, plus image scans, and a bootleg copy of Quark XPress 1.0 all fit on an 800k floppy.
I bring this up merely to trace the evolution of the tools I use to do my work. That evolutionary process is typically viewed in hindsight; I think back about how I struggled with fonts and halftones all those years ago, and how much easier it was at my newspaper job, and yet again when I got to Wired.
Lately, I've been trying to turn the camera around and look forward. What kinship is there between how desktop publishing changed and Web work? Is there an equivalent to 1-bit scans stuffed on a floppy?
My recent shot across the bow of open source content management systems was in this spirit. Our work may be frustrating because of immature tools, but it doesn't (and won't) have to be this way. Because without reliable, intuitive, robust tools, there's no hope of developing our craft.
Case in point: Arlen Walker has been banging up against a couple open source tools, to little avail. His rant is technical -- he's complaining about divs being added to his designs, as if in secret. And his point is that the designer, not the tool, should always be the one in charge. It's a good read.
Subscribe to:
Posts (Atom)
