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what I’ve been working on

06 Jun

It’s been a crazy couple of weeks. Tons of shooting, Punta Cana for vacation, more shooting, lighting workshop, working on a painting commission… whew…

Had a fantastic time at Don Giannatti’s workshop in Baltimore, we had some great brainstorming on a portfolio revamp. So that’s my next project! (more on the workshop in a separate post)

Now it’s just a matter of wrapping everything up, finishing up some processing and getting ready to start all over again! Oh, and round 2 of my 1×120 project will be starting up as well!

Without further ado, here are a few images from the past couple of weeks (in no particular order)

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7 Things I’ve Learnt About Photography From Pablo Picasso

29 Nov

1-7 Things I've Learnt About Photography From Pablo Picasso

One of my favorite photographers, Ernst Haas, said we should seek inspiration from anywhere and everywhere. Listening to music, looking at paintings and sculptures, and reading books feeds your imagination more profoundly than just looking at the work of other photographers.

I think this is true. Exploring the work of a painter I love is as enriching to me as exploring a new city at sunrise. Similarly, wandering through a forest and photographing the sunlight filtering through the trees.

Our minds are hungry beasts. We think around 60-70,000 thoughts every day, with the majority of them being the same thoughts we had yesterday (and the day before). That’s scary. You can see how easy it would be to live life on autopilot.

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We can choose to think the same thoughts as yesterday, or we can feed our minds with new ideas – be they visual, sensory, words or music.

One artist who has inspired me with his work and ideas is Pablo Picasso. When he spoke about the artistic process, he articulated many of my core beliefs about taking photos.

He reminded me of the most exciting and essential elements of living a creative life. In the busy-ness of life, I so often forget.

Today I’d like to share some of Picasso’s ideas that are incredibly inspiring and impactful on any photographic journey.

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1. “Art washes away from the soul the dust of everyday life.” – Pablo Picasso

This quote of Picasso’s sums up why I dedicated my life to photography. Why I let it be almost everything that I am.

There is something about photography that deeply stirs my soul. I feel more alive while taking photos than I do with most other things.

Playing with my kids or talking to my teenage son deep into the night about challenges he faces, brings a similar feeling of purpose. However, very little else matches the feeling I get in the act of creation.

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Photography is a life-affirming pursuit. It makes me feel I am not just skating on the surface of life – rushing to and fro, writing emails and filling in forms.

Of course, there is nothing wrong with either of those activities, but do they really make you feel alive?

We all have to live and do necessary mundane tasks. But, we can also commit to making a vast amount of space in our lives for things that create deeper satisfaction in ourselves.

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2. “Inspiration does exist, but it must find you working.” – Pablo Picasso

This quote of Picasso’s is a testament to say: take photos even when you’re not in the mood, even when you’re only getting rubbish images. The only way to get that fantastic image is to keep going.

You never know when the light may dramatically change, making the scene before you look eerily beautiful. Alternatively, an intriguing stranger might walk past doing something peculiar!

Even though I am a professional photographer, I sometimes suffer from procrastination as much as the next person. I intend to go out shooting but get distracted by my kids or get too tired after a heavy meal.

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I realize if I’m not out there, I’ll never know what experiences, and then what photos, I’m missing. That seems like an insane waste of life.

Keep going. Continue searching for that great scene, interesting person, or a beautiful landscape. Whatever it is that floats your boat, go and find it.

3. “Art is the elimination of the unnecessary.” Pablo Picasso

I look at thousands of photos on my workshops. One thing I see regularly is people making images too complicated. When your images are too complex, you are not defining your subject correctly.

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There’s a myriad of compositional ideas you can use to help define your subject. For example, Rule of Thirds, creating clean backgrounds for your portraits and breaking the world down into elements.

The overarching concept in all of these ideas about composition is to eliminate all that is unnecessary.

Photography is a process of choosing what to put in the frame, and what to take away. It is wise to make your composition, then look and think. What isn’t working here? What do I need to remove?

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For example – one common mistake many photographers make is not checking their corners. It’s amazing how often people spend so much time composing their subject, but not checking all around the frame, especially the corners, to see that everything within it should be there.

Therefore, creating images is not just – ‘what do I put in the frame?’ But also – ‘what do I take away?’

4. Creating Feeling Within Your Images

“There are painters who transform the sun to a yellow spot, but there are others who, with the help of their art and their intelligence, transform a yellow spot into the sun.” – Pablo Picasso

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The same is true for photographers. You can photograph any number of things, and it looks entirely real. However, what does it feel like when you look at your photograph?

It is all too easy to just document, without creating any sense of what it feels like to be in that hot and humid city, to look at that face, to feel the textures of the buildings you are capturing.

Photographing a cold winter’s morning is simple. Nevertheless, to translate the feeling of what it would feel like to stand in a misty field, with cold biting your face and a deep feeling of eeriness as fog rolls in across the land – that is another skill entirely.

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Ultimately, the success of any photo is whether it creates an impact for your viewer. The only question you need to ask is, ‘does this image invoke a feeling?’

It’s not just what we see that creates an impact, but the feeling that is created within our bodies when we see something that we love, dislike, or invokes joy, or sadness.

Feelings are what we remember. Images have no sense of feeling are instantly forgettable.

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5. “I am always doing that which I can not do, in order that I may learn how to do it.” – Pablo Picasso

One of the things that surprised me about being a parent is how quickly young children latch on to the idea, ‘I can’t do this now, so I’ll never be able to do it.’

Once you have allowed that thought into your mind, it can quickly mushroom until you are utterly convinced that you can’t do something. Never, ever.

I see it in my children, and I see it in 70-year-old clients who come to my workshops. I have to say that, ‘I can’t do this, so I’ll never be able to it,’ is one of the most destructive ideas for your photography.

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Of course, the technophobe might never become the most skilled camera person alive. In contrast, they can overcome their self-perception and become competent and confident with their cameras. I see proof of this regularly.

One of the most exciting ideas I have noticed coming out of the science community in recent years is the idea of Neuroplasticity.

Instead of the old belief that our brains become ‘fixed’ and unchangeable as we enter into adulthood, we now understand that brains are completely changeable.

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In fact, at any point in life, one is able to totally rewire thoughts and beliefs we hold about ourselves.

“The man who thinks he can and the man who thinks he can’t are both right.” – Confucius

Think of all the things you believe you can’t do with your photography, and go out and challenge those beliefs.

If you believe you can’t do street photography, but would secretly love to try it, do it!

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If you think you’ll never master manual mode, read up on it. Go out as often as you can. Make a ton of mistakes. You’ll get it eventually.

If like me, you think, ‘I’m not a nature photographer, but I’d love to try it,’ go and spend time in nature. Experiment, play and try new things.

As long as you approach the world with the attitude of ‘I can,’ you probably will.

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6. The World is Rich With Ideas

“A piece of space-dust falls on your head once every day… With every breath, we inhale a bit of the story of our universe, our planet’s past and future, the smells and stories of the world around us, even the seeds of life.” – Pablo Picasso

Of course, photography starts as a technical exercise. You need to use a machine, often with a little computer in it. Fully get to know the machine you are using. At least to the place where you are comfortable.

Photography is a union of the technical and the creative. The creative part of photography comes from an ethereal place within you that is unique.

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Your creative vision flows from everything that has made you who you are – your experiences, your life, what you love and what you detest.

It also comes from the world around us; from the feeling of history we experience when we walk through old city streets; from the awe of looking at a majestic five hundred-year-old tree.

The world isn’t a flat surface. Everywhere we look we see the ‘moment;’ the weather; the time of day. We also know that in a few hours everything we are currently seeing can change.

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Most people are so locked in their minds and focused on themselves that they don’t open themselves up to the mysteries of the world.

There are stories and ideas all around us that can inspire us in our photography, can provoke new ideas and adventures for us.

All we have to do is pay attention and commit to the awesome power of photography.

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7. “Only put off until tomorrow what you are willing to die having left undone.” – Pablo Picasso

The older I get, the more I feel like I need to demand of myself. That by the end of each day I want to be profoundly and truly satisfied. Not just to be content, or to have my to-do list full of check marks.

I want to have created something. Something that is entirely my own. A creation that no one else could have, because they are not me.

Photography gives us that, and I love that it does. It can give us opportunities to see, feel and experience more of the world.

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Without photography, life would not be anywhere near as rich and meaningful as it is.

When faced with either sleep or the chance to catch an amazing sunrise – I get up to photograph the sunrise.

Our lives are speeding along and, although we are aware of this, we become complacent. In a subconscious part of ourselves, we truly believe we live forever. The possibility of not existing doesn’t seem right.

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Our time on this planet is finite. If we acknowledge that we are organic beings, it can motivate us to demand more of what we truly want from our lives.

For me, it’s exploring and taking photos. It’s creating art and sharing it with others or showing people what beautiful things I see all around me.

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Of course, your photography journey is different from mine.

You may record the breathtaking journey of your children from babies into adulthood or documenting the joyous color of flowers.

Alternatively, you may be climbing snowy mountains and showing the world the awe-inspiring landscapes you witness. You may be documenting the strange and humorous things we humans do when out in the world, inhabiting our little bubbles as we move around the streets, unaware of the world watching us.

There are so many ways to be a photographer. So many things to document, explore and see. Follow your own path.

Just be open, and inquisitive. Look around you and open your mind to everything you don’t usually notice.

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By showing yourself and others what you see in this world, you open up other people’s perspective of the world around them. You take them out of their hectic bubble – full of the 24/7 news, the list of things to do, the emails and daily demands of daily life.

You give them a gift of seeing — a gift of taking a moment to stop and stare in awe at what the world has laid out before us.

It’s a pretty exciting, amazing and incredibly life-enhancing pursuit taking photos.

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Have these ideas fed your creative soul? If they have helped you demand more from your photography, and to take more time out of your life to commit to this fantastic pursuit, let me know below. It’s always great to hear from you.

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Why I’ve Become a Light Meter Convert

05 Sep

Light meters

sekonic light meter - Why I've Become a Light Meter Convert

Light meters can be an invaluable tool for photographers; especially those who use off-camera flash.

Mention a light meter in photography circles and you’re certain to get some fierce responses. Sure, some photographers will be indifferent and fewer will be in favor, but most will be adamant that you don’t need one. I used to be somewhere in the middle.

I could definitely see their utility, but I just never thought I needed one. Before a few months ago, I had picked up a light meter once in 14 years. It turns out that I was just making excuses to not spend the money on something that may be one of the most powerful tools you can buy if you use off-camera flash lighting.

Excuses

There are a lot of motives and reasons that you might avoid using a light meter in the digital era. For example:

  • You can just chimp the LCD screen.
  • It’s easy to fix it in raw processing.
  • They’re too expensive for what they do.
  • The histogram is enough for testing exposure.

I get it. All of these sentiments came out of my mouth over and over again.

Chimping and the Histogram

photographer checking settings - Why I've Become a Light Meter Convert

While you can chimp your exposures to get them right, this can take both time and guesswork. A light meter takes away both of those things.

Sure, you can look at the back of your camera after each test shot (chimping) while you’re setting up your lights. This works fine for one or two lights, but what happens when you need to create a precise lighting ratio?

How do you ensure that your fill light is exactly three stops below your key light? How do you ensure the rim lights are an even exposure with your fill? It’s possible, but all of that takes time and guesswork.

I remember doing a basic four light setup a few years back and it took the better part of an hour to get the ratios exactly how I had planned them.

Since starting to use a light meter, I set up an even more complicated five light setups, mixing really hard light with very soft light. It took me only 10 minutes to get right. I don’t know about you, but I could do with a lot more instances of saving nearly an hour of shooting time.

b/w portraits of a man in a suit - Why I've Become a Light Meter Convert

These images use five lights at a very precise contrast ratio. Using a light meter meant that the setup time was only 10 minutes.

Fix it in Raw Processing

raw processing in Lightroom - Why I've Become a Light Meter Convert

Fixing your exposures at the raw stage is a viable option, but it can take some time that might be better spent elsewhere.

Yes, you can fix the image later in raw processing. As long as your highlights and shadows aren’t clipped, raw processing is a viable tool here. However, wouldn’t it be much nicer to get it right in camera?

Think about it this way: with a light meter, you press the test button on your strobe, check the reading and dial it into your camera. The whole process takes about 20 seconds. Unless you move the light or your subject moves, every subsequent photo is now properly exposed.

Presume it takes about two minutes of fiddling to adjust the exposure of an image in Lightroom or ACR. If you’re working on 20 photos from a set, you’ve just lost 40 minutes of time to a task that could have been negated in twenty seconds.

Too Expensive

I get it, I really do. This was the main reason I avoided getting a light meter for so long. A couple hundred dollars for a decent light meter is a hard pill to swallow when there are so many things that you can buy for your photography at a much lower price. Why spend that kind of money on something you use so briefly when you can spend that money on lights, modifiers, trips, studio time, props, etc, etc.

It’s all a matter of how much you value your time and convenience. A light meter will save you time and it will make a good chunk of the set-up process easier. In the end, I’ve found that the price tag has been worth it.

Changing My Mind

model using a light meter - Why I've Become a Light Meter Convert

I had a shoot where I only had 10 minutes to set up. I borrowed a light meter from another photographer just to make my life easier. That one time completely changed how I felt about using light meters. In minutes, all of the potential benefits and values of having a light meter in my bag became apparent.

Time

As you may have guessed from my previous points, it comes down mostly to time. Faster set-ups mean you get more time actually shooting, which makes it more likely that you’ll get the shot that you’re after. Less time processing means you have more time to work on other things, like planning and arranging your next shoot.

Also, in terms of portraits, a light meter will help you minimize the time that your subjects are waiting on you between sets. Nobody, absolutely nobody (especially paying clients), wants to wait around for huge chunks of time while their photographer is messing with the lights.

Complexity

model with long hair - Why I've Become a Light Meter Convert

In this image, I wanted to experiment with a gridded stripbox as the key light and a giant octabox as fill. Using a light meter made getting the exact ratio between the key and fill lights that I wanted a breeze.

On top of time, the multiple light techniques that a light meter opens up makes it more than worth the value. With a light meter, you can dream up any number of lighting configurations, plan them down to the exact contrast ratio and set it up with no fuss.

You want a hard light source as a key at f/8, with two giant modifiers providing exactly two stops of fill at f/4 and two background lights at f/22? That’s a set-up that popped into my head one night shortly after buying my light meter. I went into the studio the next day and set it up.

I wouldn’t have bothered before, as trying to get the ratios right between those light sources would have been a major headache.

metering the light - Why I've Become a Light Meter Convert

Metering for each light individually and adjusting their exposure took about a minute or two. This only has to be done once.

behind the scenes lighting setup - Why I've Become a Light Meter Convert

If the exposure from the octabox was off, it would have destroyed the effect of the lighting from the much smaller striplight.

 

lighting diagram - Why I've Become a Light Meter Convert

Imagine that you’ve just had a week where you’ve saved several hours at both setting up and post-processing. If you used just a bit of that time to start drawing out and planning new light set-ups, how many do you think you could come up with?

Getting it right in-camera

Why I've Become a Light Meter Convert

When dealing with difficult subjects, like white shirts on dark backgrounds, a light meter can be an absolute blessing in terms of getting it right in the camera.

As I already mentioned, the ability to get your exposure perfect every single time is a huge benefit. In fact, when working with flash, I would posit that using a light meter might be the single most valuable step you can take to ensure perfect exposures and making your workload that much easier.

I’m a Total Convert

sekonic light meter - Why I've Become a Light Meter Convert

Over the time I’ve had it, my light meter has become indispensable. As it fits in my pocket, it now comes everywhere with me.

In the end, I regret that I put off and continually excused myself from buying a light meter for as long as I did. In the few months since I bought it, I have saved a ton of time in the studio not messing about with lights while people were waiting on me. My post-processing workload has lightened quite a bit as fixing contrast ratios in post-production is all too time to consume.

Both of these factors together mean that I now have more time for planning shoots and lighting set-ups than I had before. Those set-ups are also getting more and more complex as time goes on and most of them would have been next to impossible for me to put into use without a light meter to ensure the precise exposure ratios.

If you’re like me, and you’ve convinced yourself that a light meter is a superfluous bit of kit, I can only encourage you to challenge your own assertions. Could a light meter save you time as it has for me? Could it open new possibilities?

It’s possible that the answer is no. I can’t presume to know or understand your situation. All I can suggest is to at least ask yourself the question. It may very well be that light meter could be as valuable a tool to your photography as it is becoming to mine.

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10 Photography Lessons I’ve Learned Over 10 Years

09 Apr

When learning any new skill, it’s universally agreed that you need to put time into it to grow. There’s a popular theory by Malcolm Gladwell that it takes 10,000 hours to master any skill. That theory is pretty controversial these days, but the number of hours isn’t important. What’s important is that you must put time into learning a skill if you want to become better at it.

Photography is no exception. Ask any of the photographers you admire how long they have been developing their photography skills, they will all tell you that it’s taken them years.

So, how do you speed this learning process up? There are a few ways, but one of them is to learn from other’s mistakes and successes. Every photographer starts out as a beginner, so it would make sense that others have learned a few lessons along the way from which you can benefit.

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I’m no photography master by any stretch, but I’ve learned a few valuable lessons in the 10 years since I picked up a camera. Here are a few of them.

1. Great light beats a great subject every time

If you’re anything like me, you’ve probably had the experience of visiting a gorgeous location with grand visions of the stunning photos you’re going to come home with, only to be bitterly disappointed and wonder what you did wrong. On the flip-side, you’ve likely been pleasantly surprised by the beautiful photos you’ve taken of a very ordinary scene or subject.

So, what is the one thing that makes a great photo above anything else? Great light. This is the reason why I will often return to the same location to photograph the same scene repeatedly. The scene hasn’t changed, but the light will never be the same twice. Learn to predict, look for, and create great light.

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2. Shoot for love, not likes

Social media has changed the world we live in, which is a great thing for photographers. Of course, there are negatives to this as well. The biggest drawback, in my opinion, is the eternal quest for likes. Not a single one of us is immune to it.

It’s flattering and gives a nice ego-boost when someone “likes” your photo on Instagram or Facebook. But it can become a dangerous obsession when you begin to shoot or edit your photos with the motivation of getting more likes.

Sure, we all change and develop our style over time, and this is partly influenced by current trends. Just try to stay focused on shooting what you love, and don’t let the desire for validation on social media make you shoot for likes.

3. Post-processing is part of your artistic expression – learn it well

It’s no secret we live in a digital age. Despite Photoshop having some pretty negative connotations at times, post-processing your photos in the digital darkroom is a necessity, and the sooner you learn it, the sooner your photography will really take off.

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Capturing your photos well in-camera is only half of the process. As a visual artist, what happens to those RAW images is entirely up to you. If you don’t know how to edit them well, then you’re short-changing yourself.

You don’t need to become a professional retoucher, just start with the basics and learn them well. Post-production software is cheap these days, and you can learn how to use it for free. There’s no excuse. Your inner artist will thank you for it.

4. Keep your gear simple

My gear has fluctuated from a single point-and-shoot to a bag heavy enough to crush a camel, and everything in-between. When I switched from a large Nikon full frame kit to Sony mirrorless a couple years ago, I intentionally simplified my gear, and I’ve kept it that way.

There are three reasons for this. Firstly, as a landscape and travel photographer, I don’t want or need large or heavy gear. Secondly, I’m more likely to consider a new purchase more seriously. And thirdly, simplifying your gear (especially lenses) forces you to develop your creativity.

10 photography lessons 03

One of the best exercises you can do for your photography is to go out with your camera and only one prime lens and shoot with just that setup. You don’t need anywhere near as much gear as you think.

5. Make friends with other creatives

For most of us, photography is a solitary pursuit. That’s part of the attraction. Even for an extrovert like me, getting out by myself to explore with my camera is one of my favorite things to do. However, networking with other creative people has a number of benefits that you should try to make the most of as well.

You can do so online, but doing it in person is even better. These creatives could be photographers, but they don’t have to be. They could be filmmakers, painters, illustrators, cake decorators, or musicians. It doesn’t matter what their outlet is or how you spend your time together. Just find other people who will inspire and motivate you, and who you can do the same for. The benefits will surprise you.

6. Hold off trying to make money as long as possible

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Do a quick Google for “how to make money with photography” and you will be drowning in the sea of photo-selling tactics. There’s no question, you can make money selling photography, but that doesn’t mean you should.

I’m not going to go into the pros and cons of trying to turn your photography into a business. I will say, however, that you should try not to rush into monetizing your passion. Turning a hobby into a business (even just a side-hustle) changes things. It can be very satisfying, but mixing art and money isn’t for everyone. Just keep enjoying your hobby as long as you can.

7. Comparison will cripple you and steal your passion

This is in some ways an extension of #2 above. If you spend any time at all on Instagram, you will see there is a massive amount of very talented photographers out there. It’s easy to get discouraged by comparing your photography to that of others.

Again, nobody is immune to this. I often catch myself being overly critical of my own photography because I’m not just viewing the work of others, but comparing mine to it. Nothing good comes from this.

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It’s great to be inspired by the work of others, but if it’s stealing your love for your own photos, it’s turned into something else. Comparison can be a very useful tool, but only if you’re comparing yourself to yesterday.

8. Invest in your craft

Unless your gear was gifted, borrowed, or stolen, then you understand that photography will cost you some of your hard-earned pesos. You can spend a little, or you can spend a LOT.

There are some things that will give you a far better return on your investment than others, though. For example, good lenses are a far better investment than a new camera body. The thing that will give you the best return on investment, in my opinion, is photography education.

There are a lot of great free resources out there, but as the saying goes, you get what you pay for. You can learn a hell of a lot from very affordable ebooks and online courses. And if you really want your photography to flourish, take a workshop with a master. You’ll never wish you hadn’t made the investment.

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9. Start a blog

You might be thinking, “The world doesn’t really need another blog”, and you’d be right. But you’re not doing this for the world are you?

When I started my travel photography blog back in 2010, I never had any visions of millions of readers, I just wanted somewhere I could share photos of my travels and stories of my adventures. I wanted a medium other than Facebook, where I could choose how it looked. It was one of the best things I have ever done.

It’s since grown into somewhere that I now teach travel photography, but it’s still my photo blog, and it’s been a hugely creative outlet for me. I recommend Pro Blogger’s free Start A Blog course (by dPS’s very own Darren Rowse).

10. Your best image is yet to be made

10 photography lessons 01

As I mentioned in #7 above, it’s easy to get discouraged from time-to-time in photography. This happens for a number of reasons, but there’s one thing that I have learned which helps me get back on the horse when I feel like I’m wasting my time. I remember that I still haven’t made my best photo yet.

Of course, there is no such thing as a “best photo”, because photography is an art, not a science. What I’m getting at is that if you keep going, keep learning, keep practicing, you will keep making images that you think might be your best image yet. There will be dry periods, but push through them, try something different, get out of the rut, and you’ll come out the other side and continue to make images that remind you why you do it.

Conclusion

I hope you can take away something to help you in these photography lessons which I’ve picked up over the years. Do you have any pearls of wisdom that you’d like to share with other dPS readers? What have you learned that has made you a better photographer?

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What I’ve learned after sharing my photos for free on Unsplash for 4 years

20 Jan
Stairs in Coimbra, Portugal?—?one of the 460 image I uploaded on Unsplash

This editorial was originally published on Medium, and is being republished in full on DPReview with express permission from Samuel Zeller. The views and opinions in this article are solely those of its author.


What is Unsplash?

Unsplash is a website where photographers can share high resolution images, making them publicly available for everyone for free even for commercial use. It was created in May 2013 by Stephanie Liverani, Mikael Cho and Luke Chesser in Montreal, Canada.

Four months after creation they hit one million total downloads, and a year after they had more than a million downloads per month. Now there are 400,000+ high resolution images hosted on Unsplash, which are shared by 65,000+ photographers from all around the world.

Last month 2,400 photographers joined Unsplash and shared 25,000 new images (not just snapshots, some really good photography).

Here are a few examples:

Visitors in the last month viewed 4 billion photos and pressed the download button 17 million times. The average Unsplash photo is viewed over 600,000 times and downloaded over 4000 times. No other social network can give you those numbers.

Unsplash is massive, and it’s (currently) one of the best place to get visibility for your work as a photographer. Some of my most appreciated images were viewed over twelve million times and downloaded a little bit more than 125’000 times.

Here are the top nine below:

I receive 21 million views per month (677’000 per day) and 93’000 downloads (3000 per day). As a result, every day there’s one or two person that credit me on Twitter for an image they’ve used. I also get emails regularly and new backlinks to my website every week.

And it’s not just for old users who’ve been sharing for a long time, here’s the stats from someone who joined Unsplash just three days ago:

In total I’ve uploaded 460 images, they’ve been viewed over 255 million times and downloaded over 1.7 million times. Of course these are just numbers, but they are much more meaningful (and larger) than the likes you can get on Instagram or Facebook.

Designers all around the world have been making album covers, posters, article headers, blog posts, adverts and billboards with my images on Unsplash. Like many photographers I chose to turn what was idle on my hard-drive into a useful resource for other creatives.

Here’s a few examples:

That’s not all, one of my first client (when I started as a freelancer in 2016) found me on Unsplash. They’re the biggest bank in Switzerland and I did four projects for them.

One included spending a night at 3,571 m (11,716 ft) at the highest observatory in Europe, the Jungfraujoch Sphinx observatory to document it (full project visible here); the second one was much lower at the Zürich airport photographing below aircraft like the Airbus A340.

The reason why they reached out to me? They were already using a few of my Unsplash images in their global database and wanted more in the same style.

Fast forward to a few months ago, I landed a new client (a design firm) and at one of the meeting they introduce me to one of their designer. The guy said after hearing my name “I know you already, I’ve been using some of your images on Unsplash, they’re great.”

The problem with social networks

People, especially the new generation, are becoming incredibly lazy. Our attention span is lower than ever, and we get stuck in nasty dopamine loops—we literally need to check our phones multiple times a day.

Social networks make us think we need to post new work often to get good engagement and get noticed, but the truth is great photographers take a year or more to publish new projects (for example Nick White “Black Dots” or Gregor Sailer “Closed cities”). Good work will always take time, and it will always get noticed.

We all fight for attention, for likes, for numbers that will not bring us anything good. We are in that aspect devaluing our own craft by over-sharing—being tricked into becoming marketing tools for brands.

The rise and fall of Instagram

What will you do once Instagram becomes old school? I don’t know if you noticed, but Facebook are ruining the whole Instagram experience by bloating the UI and releasing features for brands.

Here’s the user interface in March 2016 vs today on an iPhone 5/SE screen:

Seriously, what the heck? I can’t even see the user images anymore when I land on their profile.

Before Facebook bought it, the app was a simple, chronological photo-sharing service. Now they’re rolling out “recommended posts” from users you don’t even follow right into your feed. The suggested content will be based on what people you follow have liked (and probably on how much brands are paying to shove their ads right into your smartphone screens).

By sharing on Instagram daily as a photographer you are basically expending a ton of effort to grow a following on a network that’s taking a wrong turn. It’s like trying to build a sand castle on a moving elevator—sure, it works. but it’s not the most effective use of your time.

Not only is real engagement dropping, soon your reach will crumble unless you pay to promote your posts. I’m running an account with a little bit over 50,000 followers, and for a post that reach 25,000 people, only 170 of them will visit the account—the rest will just merely glance at the image for a second (maybe drop a like) and keep scrolling.

People create accounts on Instagram, then stop using it after some time. Truth is, many of your followers are inactive by now, and most of the ones that are active don’t care enough about your work to even comment on it.

What’s even worse is that Instagram makes photographers literally copy each other’s styles because only a few type of images can get better engagement and please the masses—think outdoorsy explorers taking pictures of forests from a drone or hanging their feet off a cliff. They’re diluting their work and style by focusing on what will grow their account.

Followers are still valuable now, but in two to three years they’ll be worthless. There’s a ton more 50k+ accounts than two years ago. Brands are now looking into accounts with 100–150k to do collaborations. Instagram is a big bubble that will blow one day, and I don’t want to have all my eggs in the same basket when it happens.

Would you take someone seriously if he told you, “I’m working on my Myspace/Flickr account every day! I got soooo many followers, I’m famous!”

I have 16,500 followers on my personal Instagram account and I could close it any day. The reason why? I also have a newsletter with over 25,000 subscribers. Guess which is more valuable and long-lasting?

Too many photographers today are forgetting that a portfolio, experience, publications and exhibitions are far more important than building up their following on a social network.

There’s still a lot of good sides to Instagram, the community aspect to start with and also the fact that there’s not yet a proper contender to replace it. It’s still (to me) the best place to discover emerging photographers and get your dose of inspiration. There’s also a great deal of photography magazines that are actively curating work on it.

The culture of the new

That’s the big problem with photography online as curator and photographer Andy Adams explains, “It’s always about the new, which inevitably means the not new drops off our radars way sooner that it should.”

Social networks like Instagram and Facebook are flawed for photographers for this particular reason. They are great for brands who can afford to hire social media managers and post regularly or sponsor content.

There are other social networks that don’t rely on a feed but rather on search, for example Behance or EyeEm. Those are way better for photographers in the long term. They have a higher rate of discoverability.

The images I share on Unsplash don’t lose value, in fact there’s no difference at all between a year old shot and a week old shot. Their value are not based on time. I could stop uploading new images and still have a lot of visibility every day. Try not posting on Instagram for a month…

Here’s a real example, those two images below were shared on Unsplash in October 2014. Notice how they still gather a ton of views/download per month even after four years?

Leaving a mark

Last year in February I lost my dad to cancer—he was diagnosed just a month before in January. I wrote before on the concept of memory and digital data (See: the data we leave behind) but his sudden death made me realize how short life can be.

We always say “we need to enjoy every moment, life is fragile,” but it’s impossible to understand it fully until you have lost someone close. My father had bookmarked my website, my Instagram account and my Unsplash account on his laptop, he was checking them often, he was probably my biggest fan.

What’s left of him are memories but also his files on his computer—photos of him and his art (he was doing digital art and uploaded a lot of pieces on DeviantArt). I’m grateful to have all of this to remember him.

As a photographer and artist I feel like it’s a necessity for me to also leave something behind, because we never know what will happen tomorrow.

Having some of my images on Unsplash is one way to ensure that even if I’m gone my work will keep on living. Another way is through prints and books. Speaking of which, I’m finishing my first book that will be published in April by Hoxton Mini Press.

Photography isn’t about making money as a freelance photographer, it’s also a part of us, stories of where we traveled, visual tales of our singular experiences with life. I choose to share it as much as possible because I can.

There’s one last reason why I share photographs for free and Josh summed it up very nicely in one of his Medium article, here’s what he wrote:

“Beauty has always been free. It came in the box with sunlight and eyeballs. It was granted to us upon birth as we first laid eyes upon our beautiful mothers and then mother Earth. For those of us with extreme empathy and a wide-eyed approach to seeing the world, finding the beautiful all around us and capturing it is a deep and glorious honor. Yes, you can have that image at the top for free?—?perhaps not because it has no value, but because I simply want you to see what I can see. I want to share in the joy of this world’s beauty. The image, in that scenario, is only a document of our mutual appreciation for it. And maybe taking money off the table in that discussion is actually what helps it remain beautiful.”

Josh S. Rose

What’s next

I feel like Unsplash is just the beginning of a new era of photography. It’s thrilling to be able to grow with it.

I was born in 1990 just before the world wide web, and I’ve seen how technology evolved for the past twenty years. I’m afraid of how addicted we have become to it. How fast paced things have become. We need more generosity, community based efforts, human curation and less algorithms driven by the need of profit. We need to slow down.

Some projects are trying to focus more rewarding artists instead of advertisers, and Ello is one of them. I’ve made the decision to stop using my personal Instagram account and switch to their social network.

But that’s a topic for a different article.


Samuel Zeller is a freelance photographer based in Switzerland, an ambassador for Fujifilm and the editor of Fujifeed magazine. You can contact him here and follow his recent work on his website and Ello.

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7 Travel Photography Tips I’ve Learned from People in the Industry

20 Jul

Like any profession, over the years and countless hours of working and talking to people in the industry, you will pick up tips, advice and even things to avoid. This will ultimately help you improve and possibly make your photography business more profitable. Here are some of the main tips that I have picked up over the years from people in the travel photography industry.

7 Travel Photography Tips I've Learned from People in the Industry - new zealand

#1 – Blue Sells

If you were to line up a whole load of travel magazines next to each other, you will notice that the vast majority of their front covers have something in common, the color blue. Whether it is the sky or water, magazine covers tend to feature photos of gorgeous sunny days rather than moody, dark and atmospheric conditions.

I had always noticed that my “gorgeous sunny weather” shots outsold the photos with other types of conditions. But it wasn’t until the editor of a travel magazine told me the reason that I understood why. They found that historically, issues with beautiful sunny shots on the front cover sold much better than issues with dark and moody conditions. The reason is that most people going about their day aspire for tranquil and beautiful holiday conditions. So, while a stormy landscape photo might look more dramatic and striking, the average holidaymaker doesn’t want to go somewhere and experience a storm.

7 Travel Photography Tips I've Learned from People in the Industry - Scotland

#2 – Avoid “Tourist” Shots

I remember asking a picture editor once for the single biggest piece of advice they could give me and they responded with, “Don’t send me tourist shots.” But what does that mean? After all, if you are in a city and have to photograph the most famous landmark then how do you avoid tourist shots. Once I delved in a little deeper, I realized what he meant was that he didn’t want just another shot of the famous landmark taken at eye level because he could get thousands of them through any stock agency.

Instead, he wanted to see a photo that demonstrated an experience, feeling or mood. This was a few years back and more and more I have been asked by picture editors and stock agencies I work with to try to show these “experiences” in the photos. So rather than taking a photo of the landmark, it might be worth photographing a couple enjoying an ice cream in its shadow. The key is to look beyond the obvious shot and look for a moment or composition that can convey an emotion.

7 Travel Photography Tips I've Learned from People in the Industry Turkey

#3 – Give Them People

Often the easiest way to capture unique photos that don’t look like tourist shots is to include people. But including people in your photos can also convey a sense of scale, portray an emotion or a feeling and often tell a much more intriguing story. One of the best bits of advice I was given was that including people can also help you capture different types of shots from the same location. That, in turn, means you can maximize your stock shots from a single location.

For example, take any scene in front of you. If you capture that scene with a couple admiring the view holding hands it tells a completely different story than capturing the scene with someone running or cycling. So you suddenly go from one photograph per location to three. Move slightly around the scene and capture a few different scenarios and you can suddenly end up with a whole load of different stories from practically the same spot. As any stock photographer will tell you, it’s a numbers game and the more photos you have the better your chances of selling some.

 7 Travel Photography Tips I've Learned from People in the Industry Turkey

Taken from the same location as the photo above but a completely different message.

#4 – Check Every Photo, Every Time

Photography is a competitive industry. You are often competing with pretty much everyone with a camera to try and get work or make sales. The last thing you want to happen is to have a photo that has been chosen by a client come back to you because it isn’t focused properly or you haven’t removed the dust particles. Not only is it embarrassing, but it can also hurt your chances of working with that client further down the line.

So don’t try and cut corners. You worked hard to capture the photo so do it justice and make sure it looks its best when it’s going in front of someone else. Check every inch of the photos you intend to send out to clients. View them at 100% in post-production and make any corrections or edit as necessary. Be professional in your approach from start to the finish.

7 Travel Photography Tips I've Learned from People in the Industry

#5 – Face the Opposite Way

It doesn’t matter where you are in the world, there will usually be a spot marked “sunset viewpoint” or similar where everyone will go to capture their photos. Often this is because that particular spot offers the best view. But sometimes it is because it is the easiest and most convenient place for lots of people to get to or stand.

One bit of advice that has been floating around for many years and has been said by numerous photographers, is that when you get to one such location, face the other way. Go against the crowd and photograph what is behind everyone. Clearly this advice shouldn’t be taken literally as sometimes photographing the other way wouldn’t give a good photo. The point is to look beyond the first and most obvious location and viewpoint.

If you are prepared to do your research beforehand and are willing to put more of an effort in than the average tourist, you will undoubtedly end up with better photos.

7 Travel Photography Tips I've Learned from People in the Industry

#6 – Step Closer

The world famous war photographer, Robert Capa said, “If your pictures aren’t good enough, you aren’t close enough.”. This is something that most amateur photographers struggle with for travel photography and photographing people. It often means having to get close to your subject and they then might notice you.

The truth is that usually, the worst that can happen is that the person you want to photograph will just say no. But getting closer means having to be right in the middle of the action and that you also have to engage with that person and build a connection, if even briefly. This, in turn, will transfer into your photographs and give you a much better and more intimate photo than if you were standing 300 yards away with a telephoto lens.

7 Travel Photography Tips I've Learned from People in the Industry - Italy

#7 0 Don’t Be Shy

One of the biggest things that you may realize as a photographer is how accommodating and intrigued most people are about your profession. I have not kept a tally of the number of conversations I’ve had with total strangers all based around photography, but it’s been a lot. One thing I learned is that sometimes when you have a camera on your shoulder it can work to your advantage (and sometimes it can work against you) as people may help you capture the photo that you want to take.

But you have to be willing to ask. If you don’t ask you will not get. For example, one of the best places to take photographs of a city is from your hotel room. I’ve lost count of the number of times that I have been upgraded to a room with a better view by simply asking and explaining the reason for it. This extends to if you want to photograph people, places, and so on. Don’t be shy, just ask. The worst that could happen is being told no.

7 Travel Photography Tips I've Learned from People in the Industry Thailand

I took this photo of the Bangkok skyline from my hotel room.

Conclusion

Over the years you will pick up your own tips and advice that you have been given or have derived from your own experiences. In the meantime, hopefully, the ones above can be as helpful to you as they have been for me.

Do you have any other bits of advice that you have been given? Please share below.

The post 7 Travel Photography Tips I’ve Learned from People in the Industry by Kav Dadfar appeared first on Digital Photography School.


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Priime, The Best iPhone Photo Editor I’ve Ever Used

20 Mar

Priime is Liive -- Get It While It's Hot

Disclosure, I am an advisor to Priime and have styles included in their style marketplace.

Boom. Just a few hours ago Priime went live in the Apple iTunes App Store and already on launch day Apple is featuring it in their best new apps section.

What is Priime?

Priime is the best mobile phone editor I’ve ever used. I’ve been using it behind the scenes for the past few months and am blown away by how much better it is than anything else out for mobile editing today. The free app features a powerful suite of editing tools allowing you to enhance a lot of the basics around your photos: brightness, structure, contrast, warmth, tint, saturation, sharpness, highlights/shadows, vignette and fade. The app can also save photos up to 50 megapixel in size! I don’t know of any other app that can let you output such high res photos.

In addition to these tools, Priime has currated some of the best mobile photo styles available. These are styles developed by photographers for photographers. I have two styles for sale in the Priime marketplace — Americana and Neon. Neon can be a particularly tricky thing to shoot sometimes. I’ve taken over 10,000 photos of neon signs and this is my best attempt at an overlay that works especially well for signs.

The app gives you some great free starter styles. It will also make suggestions for what styles may work best with your photo after analyzing it.

In addition to my styles, Priime features styles developed by 30 other insanely talented photographers, each with their own unique way of processing the world through their iPhone.

Daniel Krieger, who shoots for the NY Times, is probably the best working food photographer in the world right now. If you are going to take photos of food, you are definitely going to want to get his filter. Vivienne Gucwa just put out a fantastic book of New York City photographs and has some amazing styles as well.

There is no Android version yet (it is on the roadmap), but the app is compatible with iPhone, iPad, and iPod touch.

One of the things that I think makes Priime different from other photo editing apps is that it was actually developed by photographers. I have known Art Chang for several years. We went and shot Death Valley with a bunch of Google+ photographers 4 years ago. He’s an amazing photographer and has especially done cool things with mobile. His Instagram stream is here. Art has a love for photography that I think gives the app a unique photographer driven perspective and street cred. Art’s co-founders are also all photographers — Loren Baxter, Andrew Ng and Joe Pestro.

Priime is sharing the revenue for their styles with the photographers who have developed them. I think that is a really cool thing. I can’t wait to see what other photographers are added as time goes on.

Anyways, check out Priime in the iPhone App Store. Here is a direct link to the app here. I’d love to hear what you think of it. Remember it’s Priime with two ii’s. :)

My Styles in the New Release iPhone App Priime

Priime Featured in the Best New Apps Section of the iPhone App Store


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7 Things I’ve Learned from Photographing Storms

12 Feb
henrietta-supercell-1-Panorama

A massive supercell near Henrietta Texas in May, 2014. © James Brandon

I’ve been a professional photographer for around five years now. I’ve photographed a lot of different subjects throughout the years, but nothing in the world could have prepared me for photographing storms. When I stood in front of my first supercell on May 8th of 2013, I was hooked. A low hanging wall of cloud hovered over the field in front of me as its rotation increased by the second. The 40mph winds at my back were feeding moisture and warm air into the storm. The grass in the field was all bent down towards the monster looming in front of me. Yeah, that’s all I needed to become totally obsessed.

That was back in the spring of 2013. Since then I’ve become good friends with a few very seasoned storm chasers and have gotten a chance to ride along with them on several storms, both last season, and now this season. Mike Mezeul, for example, has become a great friend over the past couple of years and we even lead workshops together now. He’s an absolute wealth of knowledge when it comes to weather and I highly suggest you check out his work.

Shelf Cloud Over Ardmore, Oklahoma

 

In these brief two seasons of chasing, I have already racked up countless hours chasing, God knows how many miles, and my bank account certainly knows how many tanks of gas. In spite of all that, I’m still very new to this world of storm chasing and storm photography, and to be honest, at this point, I’m more of a storm photographer than a storm chaser. I’ve already started getting a lot of questions about storm chasing so I thought I’d put together an article here on dPS going over some of the things I’ve learned thus far, with the preface that I am not an expert at this point. Whether you’re interested in dipping your toes into this genre of photography or just want to know more about it; read on.

1) Storm chasing and storm photography are two very different things

This is something that has become more apparent the more I go out. It’s tough to separate the two because when I go out in search of storms, even I say that I’m going storm chasing (but I’m really not at this point). The people up front in the car are the chasers. The driver is actually doing the chasing and the person riding shotgun is navigating and forecasting. Me? Well most of the time, at this point, I’m in the back; along for the ride. So you might say that I’m chasing with them and you might not. Who cares. I have been in the passenger seat a few times now (in charge of forecasting and navigating) and it is not easy. You can’t be focused on getting pictures in that seat. You’re responsible for navigating the road networks out on the chase — staying one step ahead at all times — while also keeping an eye on the storms using radar.

I haven't photographed a tornado yet, but this is about as close as I've come. This wall cloud (the section of a storm where tornadoes DO come from) began lowering behind the tree line while rotating quite rapidly. © James Brandon

I haven’t photographed a tornado yet, but this is about as close as I’ve come. This wall cloud (the section of a storm where tornadoes DO come from) began lowering behind the tree line while rotating quite rapidly. © James Brandon

2) Becoming a good chaser takes time, dedication, mentoring and experience

Learning about weather has become a huge passion of mine ever since starting the process of getting my private pilot’s certificate (which I finally got back in late 2012). Weather has to be a passion to get into chasing. It just has to. You’ve got to have an intimate knowledge of weather patterns, frontal systems, pressure systems, lifting mechanisms, dry lines, triple points, dew points, troughs and so much more. You have to know when a scary looking cloud is just that; a scary looking cloud. Many rookie chasers (yes, I’ve done this) will see a scary, ominous looking cloud that is low to the ground and think it’s a tornado forming. They are looking in one direction — at the wrong part of the storm — while the actual danger is somewhere else. Lucky for me, I’ve always had experts with me to point out what I should be concerned with, and what I shouldn’t be.

This image shows an area of outflow from the storm that was moving off to the right. At one point the cloud began to resemble a funnel that was almost touching the ground. However, it wasn't rotating and it was on the wrong part of the storm. A few minutes later, tornado sirens began going off in the small town nearby, even though the storm wasn't tornado warned yet. Someone had called in and said a tornado was on the ground.

This image shows an area of outflow from the storm that was moving off to the right. At one point the cloud began to resemble a funnel that was almost touching the ground. However, it wasn’t rotating and it was on the wrong part of the storm. A few minutes later, tornado sirens began going off in the small town nearby, even though the storm wasn’t tornado warned yet. Someone had called in and said a tornado was on the ground.

3) Until you become a seasoned chaser, NEVER go alone

The best chasers out there have dedicated their lives to this stuff. It’s not a weekend hobby. Seriously: Don’t go out alone if you’re a rookie. Just don’t do it. You’ll be putting both your life and the lives of others at risk. Going out on your own means becoming driver, navigator, forecaster, and photographer all at the same time. Just earning a permanent spot up front in a chase vehicle is a coveted thing that takes years (and should) of experience to accomplish. It’s referred to as the “hot seat” for good reason. When you’re on your own, it’s impossible to be totally safe. You have to concentrate on driving, but you also have to pay attention to the storm. That means that you’ll likely be using some sort of radar app on your phone or laptop and will be checking that instead of paying attention to driving. This is a recipe for disaster that will catch up to you eventually.

4) Like any hobby/interest, there are a lot of egos and hot heads

I’m sure this one is going to piss some people off but it’s just the truth. It’s true with anything though. Go buy a Remote Control car and get into RC car racing. Go join your local camera club. Buy an RV and start spending time with fellow RV owners. Every group has them. In storm chasing you will see them driving on the wrong side of the road, passing people with their amber lights flashing while driving 90 in a 55 to get to a storm that’s still 20 miles away (risking lives just to get on a storm), parking their cars just off the side of the road and then leaving their doors open so that traffic has to swerve around them…the list goes on.

Stormy Skies After A Storm | Keller, TX

 

Most of them also cover their entire car in storm chasing decals, weather instruments, antennas, and amber lights. The point is: Pay attention to the stuff that these people do and don’t do it. Having amber lights on your car doesn’t make you any more important than the guy in front of, or behind you. Storm chasers are not law enforcement or emergency services. Being a chaser doesn’t give you any special powers or authority.

5) There are also a lot of amazing people

While there are a lot of egos out there, there are just as many incredible people who have more knowledge about weather than I could ever even dream of. These are the people who make storm chasing a noble pursuit. Some of them are self taught, some have masters and doctorates in meteorology or climatology. I’ve had the fortune of meeting some amazing people already just in two seasons. If you can befriend these people, and honor their knowledge and authority, you will have a good chance at advancing your own knowledge at an accelerated pace.

A beast of a supercell in Throckmorton, TX back in May of 2013. Around 10 minutes after I took this photo the storm fell apart and disappeared.

A beast of a supercell in Throckmorton, TX back in May of 2013. Around 10 minutes after I took this photo the storm fell apart and disappeared.

6) It’s not about tornadoes

Sure, easy to say for the guy who hasn’t photographed a tornado yet. In all seriousness though, tornadoes occur in somewhere around 1-2% of supercells. I don’t do this for a living and it’s still a very new passion, so I’m not going to drive 10,000-15,000 miles across the country ever year in search of tornadoes. Even if I did, I’d still see tornadoes so seldom that if that were my goal, I’d feel like a failure. On top of that, tornadoes are incredibly dangerous and destructive, and take lives every year. If I can one day photograph a beautiful tornado in the middle of nowhere, miles away from a town or residence, I’ll be happy. But if there’s a town nearby, or a neighbourhood, or even just a house, I’ll be praying against a tornado each and every time. I’m not after tornadoes. I’m after structure.

Standing in front of a supercell with 30-50mph winds at your back, watching as it rotates and grows, is one of the most awe-inspiring things you’ll ever witness. Seeing the raw power and fury of mother nature is just incredible. I’ve stood in a field with warm, moist 40mph winds at my back feeding the storm in front of me. Then, in an instant, the air turned dry and super cold. The storm had began ingesting the cold air from the evaporating rain it was dropping, and in essence it killed itself by doing so. Within 10 minutes, the entire storm was gone.

An image of a rotating wall cloud from the storm I described in the paragraph above. This was actually my first storm to ever photograph.

An image of a rotating wall cloud from the storm I described in the paragraph above. This was actually my first storm to ever photograph.

7) Chasing has become a circus in recent years – tread lightly

It’s something you can’t fully understand unless you see it. With shows like Storm Chasers, the constant media attention that chasers get during storm season, social media, etc., an innumerable number of people have come out of the woodworks to chase storms in the U.S. When the Storm Prediction Center posts a moderate or severe risk day, you can rest assured that the roads will be packed with chasers (especially if it’s during a weekend).  This can, and does, present an added element of danger to chasing storms. I’ve heard stores of road networks being completely clogged up from just chasers while a tornado is on the ground nearby. Because of this, the people I chase with usually don’t go out chasing on days like this. Some of the best storms I’ve seen to this day were on slight risk days when most chasers stayed home.

A CG (cloud to ground) lightning bolt strikes in a field somewhere in east Texas as a storm moves off in the distance.

A CG (cloud to ground) lightning bolt strikes in a field somewhere in east Texas as a storm moves off into the distance.

In closing

Storm photography, storm chasing, whatever you want to call it, has become something I look forward to all year long now. The main months for chasing in Texas, and the surrounding area, is March through May – which means I have to dream about it from June through February. Sure, supercells can pop up in the surrounding months but not nearly as often. If you want to see what chasing is all about, please follow the advice that I set out above. These storms kill people every single year and should not be taken lightly. Don’t go unless you can secure a seat in the car of an experienced and knowledgeable chaser. For the record, someone who chases storms doesn’t necessarily qualify as an “experienced and knowledgeable chaser.” There are many people who chase solo year after year who shouldn’t be out there. Use caution and choose wisely.

If you have any questions, let me know in the comments below! To follow along with me during the upcoming storm season, be sure to follow me on Instagram. Thanks!

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Photokina 2014: Fujifilm interview – ‘Over the past few months I’ve been getting more confident’

25 Sep

DPReview attended the Photokina trade show last week in Cologne Germany, and as well as stand reports and hands-on looks at the major new products we also sat down with executives from several of the major camera manufacturers. In this interview, we speak to Toshihisa Iida, Senior Manager of Sales & Marketing in Fujifilm’s Optical Device & Electronic Imaging products division. Click through to read more

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103 Things I’ve Learned About Street Photography

31 Aug

By Street Photographer Eric Kim

Calcutta 2013 2

  1. A good photo asks more questions than provides answers
  2. 35mm as a focal length is generally ideal for most street photographers. 28mm is too wide (most people don’t get close enough) and 50mm is too tight.
  3. My keeper ratio : one decent shot a month, one shot I am proud of in a year.
  4. “When in doubt, click.” – Charlie Kirk
  5. When in doubt, take a step closer.
  6. You will become a better photographer by asking people what they don’t like about your shots (rather than what they like).
  7. A harsh and constructive critique is better than a pat on the back.
  8. A good photo critique needs (at least) 4 sentences online. Preferably 8 sentences or more.
  9. It isn’t the quantity of social media followers you have that matters, rather then quality of followed you have that matters.

Calcutta 2013 1

  1. Be consistent : stick with one camera, lens, film, or post processing approach to develop your style.
  2. Great photography projects generally take at least 5-10 years.
  3. Buy books, not gear.
  4. The only way money will make you happier in photography if you invest it into experiences (travel, workshops, teachers) rather than material things (cameras, lenses, gear).
  5. The best camera bag in street photography is no camera bag.
  6. “The decisive moment” is a myth. Even Henri Cartier-Bresson took at least 5 photos of scenes he found interesting and worked the scene to get the one memorable shot.
  7. Most famous photographers are only known for their 1-3 most popular images after they die. If you accomplish the same, you have done your job as a photographer.
  8. When shooting film, it is better to over expose than underexpose (film has more details in the highlights).
  9. When shooting digital, it is better to unexpose than overexpose (digital has more details in the shadows).
  10. Street photos of people just walking by billboards is boring.
  11. To become a great street photographer you must first understand what a great street photograph is. Study the masters.

Eric Kim Color 1

  1. When shooting street photography with a DSLR, micro 4/3rds, or a compact and you don’t want to worry about technical considerations, just use “P” mode at ISO 1600.
  2. Projects are more meaningful than single images.
  3. Creating a photo book is the ultimate expression of a photographer.
  4. Shoot as if each day were your last.
  5. One camera, one lens is bliss.
  6. Grain is beautiful, noise is ugly.
  7. My favorite films are Kodak Tri-X (for black and white) and Kodak Portra 400 (for color).
  8. Bokeh in street photography is overrated. Shoot at f8-16
  9. With film, your first 10,000 photos are your worst. With digital, it is more like your first 1,000,000 are your worst.
  10. The secret of a memorable street photograph : capturing emotion.
  11. A street photograph without emotion is dead.
  12. No amount of post processing will make a crappy photograph into a good photograph.
  13. Wait at least 6 months to a year before uploading your images to the Internet, to truly understand if is a good photograph or not.
  14. When it comes to editing, remember to “kill your babies.”
  15. Cheesy titles in street photographs don’t make them any better.

Calcutta 2013 11

  1. Watermarks in street photographs ruin the viewing experience for your audience.
  2. Buying a more expensive camera won’t make you a better street photographer.
  3. Shooting film will teach you more discipline in street photography (and may lead you to become a better photographer).
  4. Street photography is the most challenging genre of photography out there.
  5. A great street photograph needs strong content (what’s inside the frame) and form (composition).
  6. Shoot for yourself, not others.
  7. Spend less time on gear review sites and more time on Magnumphotos.com
  8. You can never spend too much money on photo books.
  9. You are your worst critic. Always get critique from others, they will help spot the holes in your photography.
  10. Sticking with one focal length for a long time will help you better pre visualize your shot and master framing.
  11. You are only as good as your worst (public) street photograph.
  12. Secret to good multi subject shots : don’t overlap your subjects and look for emotional gestures.
  13. How to improve your framing : don’t crop for a year.
  14. How to become a better editor : don’t upload photos to social media for a year.
  15. Try to shoot at eye level (or extremely above or below) your subjects. So crouch when taking photos of people sitting down, shorter than you, or kids. Or shoot from a very high vantage point.

Eric Kim Color 6

  1. 99% of street photographs are ruined by messy backgrounds.
  2. To get cleaner street photographs, first find a clean background and then wait for your subjects to enter the scene.
  3. If your mom likes your street photographs, your photos are probably generic and boring.
  4. Always carry a camera with you.
  5. Street photographs don’t have to have people in them (but generally are more interesting with them in it).
  6. You don’t need a Leica to shoot street photography. Be grateful for what you have and use what you got.
  7. Spend 99% of your time editing your photos (choosing your best images) and only 1% of your time post processing them.
  8. Style in street photography is a combination of having consistent equipment (camera and focal length) as well as “look” (film or post processing style) and content (the subjects you generally photograph).
  9. It is better to over shoot a scene then under shoot a scene.
  10. “Shoot from the gut, edit with the brain” – Anders Petersen
  11. It is always nice to have a shooting partner when out on the streets.
  12. “Shoot who you are.” – Bruce Gilden
  13. Taking a photo of an interesting character isn’t enough. Try to capture them in an interesting context or with a good gesture.
  14. Don’t take photos of homeless people and street performers. They rarely make good photos.
  15. Don’t worry if your photos qualify as “street photography” or not. Just aim to make meaningful and memorable images.

Eric Kim Color 2

  1. Telling the truth isn’t the job of a street photographer (it is for the photo journalist).
  2. Don’t be afraid to interact with your subjects when shooting on the streets. Not all of your photos have to be candid.
  3. You can make interesting posed street photographs. But don’t pretend to your audience that they are candid.
  4. There is no one “right” definition of street photography. Define it personally for yourself and just shoot.
  5. You often can’t control the scene when you are shooting in the streets, but you can control whether you share the image or not. Case in point : don’t make excuses for the small failures in your photos, just edit out those shots.
  6. Don’t respect the critique of other photographers unless you have seen their portfolio.
  7. Zoom lenses will prevent you from becoming a great street photographer (you will never master one focal length). Stick to primes (preferably a 35mm full frame equivalent). 28mm and 50mm are okay too (if you can use it well).
  8. A single photo can’t tell a story (it doesn’t have a beginning, middle, or an end). Only photo series or projects can do that.
  9. The photos you take are more of a reflection of yourself (than of the people you photograph).
  10. The importance of looking at great photos : you are what you eat. Fine french cuisine = great photos in books, galleries, or exhibitions. Junk food = most photos on Instagram, Flickr, Facebook (not always, but mostly).
  11. 99% of people on the Internet don’t know what a great street photograph is. Don’t always trust the comments, likes, and favorites you get from the Internet on social media sites. Rather, stick around in street photography critique groups (or private ones).
  12. You will find the best street photography opportunities in the least expected places.

Eric Kim Color 4

  1. When you see an interesting person or a scene, don’t just take one photo and move on. Aim to take at least 5 photos (or more if possible).
  2. Beware using telephoto lenses in street photography. Remember, “Creepiness is proportional to focal length.”
  3. Incorporate your own reflections and shadows in street photography. They often make interesting images (look up Lee Friedlander).
  4. Photos shot head on have more energy and drama than photos shot from the side.
  5. A brief list of great street photographers : Garry Winogrand, Lee Friedlander, Henri Cartier-Bresson, William Klein, Daido Moriyama, Diane Arbus, Weegee, Bruce Gilden, Alex Webb, Joel Meyerowitz, Martin Parr, Josef Koudelka,
  6. After taking a photo of a stranger, make it a rule to look at them, smile, and say thank you.
  7. I never regret taking photos. I always regret not taking photos.
  8. It is better to beg for forgiveness than ask for permission.
  9. Be confident while you are shooting and rarely will you have any issues. Be nervous while shooting and you will ruin into many problems.
  10. The only person you should try to impress with your photos is yourself.
  11. The benefit of getting eye contact in your photos : eyes are the windows to the soul.

Eric Kim Color 5

  1. Don’t make photos. Make connections.
  2. The best place to shoot street photography isn’t New York, Tokyo, or Paris. The best place to shoot is your backyard.
  3. See your scenes with your eyes and shoot with your heart.
  4. If you are working on a project and photographers discourage you by saying “it has been done before” ignore them. Nobody has done it like you before.
  5. Street photography is applied sociology with a camera.
  6. If you aim to get recognition for your photography you will never get it.
  7. If someone gets upset when you take their photograph, offer to email them a copy. Carrying around business cards always come in handy.
  8. Don’t just look at photos, read into them.
  9. To double your success rate in street photography, double your failure rate.
  10. The photos you decide not to show are more important than the photos you decide to show.
  11. Rather than creating photos to please your audience, find an audience that will be pleased by your photos.

Eric Kim Color 12

  1. Street photography isn’t a contest about how many followers, viewers, followers, exhibitions, books, cameras, lenses, and fame you have. There are no winners and losers. Collaborate with one another instead of competing with one another.
  2. Giving away my prints and cameras has brought me more joy than selling it for money.
  3. The friendships I have made through street photography is mode valuable than any of the photos I have ever taken.
  4. Luck is when preparation meets opportunity – Seneca. Make your own luck.

Check out more from Eric Kim at his Blog, Facebook, and Twitter.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

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