Archive for November, 2017

Lightroom Mobile – The Secret to Shooting and Editing on Your Smartphone

30 Nov

Why use Lightroom Mobile

Many people don’t realize the benefits of using Lightroom Mobile with your Adobe Lightroom Subscription. When you subscribe to Adobe’s Photographer’s plan, not only will you receive Adobe Lightroom Classic, but you also get access to Lightroom Mobile.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Lightroom Mobile is a cloud-based program which originates from your Lightroom Classic desktop. It’s easy to set up, and Adobe’s help desk is there to quickly assist if you have any questions. You not only have the ability to share your images across multiple devices, but you can also shoot and edit quality RAW images right from your phone or tablet.

 Setting up Lightroom Mobile

The first thing you need to do is enable Lightroom Mobile from within your desktop version of Lightroom. This will signal Lightroom to sync the files that you select. Below is a screenshot of Lightroom’s Activity Screen that shows the status of Lightroom mobile. The activity screen is located in the upper left-hand corner of your Lightroom desktop page.
Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Creating Collections

The secret to working with Lightroom Mobile is to create collections within your Lightroom desktop version that you want to sync with Mobile. It will not automatically sync everything in your Lightroom catalog, you have to tell it which images you want to show on your devices and this is done through collections. I wouldn’t recommend syncing all your images to Lightroom Mobile. Leave this for special collections and your portfolio.

Select a group of images you would like to include in a collection and navigate to the collection module on the left panel of the Lightroom desktop app. Click the + sign in the collections pane to create a new collection.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Create a new collection.

Once you have created the collections and added images to them, you need to be sure that these collections will sync. When you first create them, there is a box to tick to enable Lightroom Mobile and syncing between devices – make sure that is checked off.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Enable Lightroom Mobile

If you don’t enable Lightroom Mobile upon import or when you create a new collection, you can always enable it after the fact by making sure the firebolt is enabled located to the left of the collection name. Just tick the box next to the collection you want to sync and the firebolt will show.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Firebolt Icon is Located to the Left of the Collection Title

To stop a Collection from syncing with your device, do one of the following in the Collections panel:

  • Click the firebolt sync icon next to the name of the Collection to turn it off.
  • Right-click a Collection and deselect Sync With Lightroom Mobile from the sync menu.

Viewing Images on Your Device

If your Lightroom Mobile is enabled correctly, you will need to sign into the Adobe Creative Cloud with your password. The mobile version should start filling up with the collections you enabled on your Lightroom desktop. You can also enable Lightroom Mobile to automatically pull images that you take from your Mobile device. Make sure you create a special collection of those images only.

Creating Images with Lightroom Mobile

With the current version of Lightroom mobile, you can create images on your Smartphone with the app. It gives you the option of either shooting in JPG or DNG. You can also shoot in automatic or professional mode and use a variety of presets. I prefer to shoot an image without any preset adjustments made to it and apply any edits afterward. That way you will always have the un-retouched original image.

The automatic shooting mode on Lightroom mobile works really well. It gives you separate focus and exposure points as well as overexposure indicators that show up as a series of parallel lines indicating highlight clipping. These three tools are the keys to getting a good shot on your mobile device. If you scrub left or right on the screen, the highlight clipping indicators will go away when the exposure becomes balanced. If portions of the image are overexposed, it will show up as you see in the image of my white dog below.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Automatic Shooting Mode with Over Exposure Highlights

The beauty of using Lightroom Mobile is you can edit images on your Mobile device or from your main computer. They can be located in a collection taken with your DSLR, or they can be images taken with your cell phone and located in your Lightroom Mobil collection.

Note: if you have your monitor calibrated, the colors may come out differently on your pad or phone if you decide to edit from there. No editing is permanent within Lightroom, so it’s an easy fix if it doesn’t look right on your main desktop computer.

One of the keys to success in mobile photography is to get it right in the camera just like a DSLR. Using these tools with this intuitive mobile app will help you accomplish that goal.

Please keep in mind, your phone or tablet is not a DSLR, so know that the images will not be of the same quality as a high megapixel DSLR. However, the Lightroom Mobile camera app gives you some great tools to create some really nice Smartphone images.

Editing in Lightroom Mobile

Once you have created your images and imported them to Lightroom Mobile (either from your desktop or from your smartphone), you have almost as many options for editing on your device as you do on your desktop.

If you tap on the edit screen in the top left corner, it will open up a menu of several different editing options.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Select the Edit Tool

On the edit screen, you can choose to edit the image globally or choose selections and edit specific areas individually. This is how to start a post-processing workflow, whether you’re using Lightroom Classic CC desktop version or Lightroom Mobile.

Then you can go through the different options for post-processing, starting with light, color, effects and finishing off with detail. You can also make a selection in your image and go through all of those same adjustments, just affecting the selected areas.

Local Adjustments

By tapping on the selective icon on the bottom left, it will bring up a menu with a paintbrush. Tap on the brush, and then select the middle brush size and paint with your finger over the area you would like to edit. If you overdo it, you can use the eraser tool to clean up your selection. After you make the selection, then you can make any number of adjustments on just that area. Once you have made all the necessary adjustments, save your edits.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Using this technique will give you the most interesting effects by truly painting with light and not just adding random light adjustments for the whole image.

Give Lightroom Mobile a try and make it a part of your everyday photo organizing and editing. Give some of these selective tools a try and let me know how it goes in the comments area below.

The post Lightroom Mobile – The Secret to Shooting and Editing on Your Smartphone by Holly Higbee-Jansen appeared first on Digital Photography School.

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2017 Buying Guide: Best cameras for people and events

30 Nov

Those shooting portraits and weddings need a camera with a decent autofocus system that won’t give up in low light, good image quality at medium/high ISO and great colors straight out of the camera. Read on to see which cameras are best suited to those tasks.

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Nikon’s redesigned SnapBridge app adds full manual camera control and ‘intuitive’ UI

30 Nov

Nikon just released a new version of its camera connectivity app SnapBridge. The new SnapBridge Version 2.0—which is available for both iOS and Android devices starting today—has been redesigned with an easier-to-use interface and a bunch of new features like the ability to register up to five devices, and full-manual control of select cameras.

On the UI side, both the screen design and the menu structure have been updated to be ‘more intuitive’ and offer direct access to Help functions. The app has also now been equipped with a ‘power saving mode’ that keeps SnapBridge from draining your smartphone or tablet’s battery when you’re not connected to a camera (i.e. when it’s not in use).

On the feature side, the major addition is full manual control. If you have a compatible camera—according to Nikon, these include the Nikon D850, D500, D7500, and D5600—you’ll now be able to control exposure modes (P/S/A/M), shutter speed, aperture, exposure comp, ISO, and white balance.

You can learn more about the new SnapBridge app by reading the full press release below, or downloading it yourself off of the iTunes App Store or Google Play.

Press Release

Nikon Announces Updated Version of SnapBridge Camera Connectivity App for Seamless Image Transfer and Sharing

Easier to Use, More Intuitive and Simpler Connection with SnapBridge Version 2.0*

MELVILLE, NY (November 29, 2017 at 11:00 P.M. EST) – Today, Nikon is pleased to announce the release of version 2.0 of Nikon SnapBridge, which offers enhanced functionality, stability and ease of use. SnapBridge is the Nikon app that enables users to easily and seamlessly share images and control select Nikon digital camera via Bluetooth** and Wi-Fi® connection with a compatible smart device such as a phone or tablet.

Enhanced Interface and Connectivity

SnapBridge version 2.0 reflects feedback from users of earlier versions of the app and represents a significant update of the user interface (GUI). Screen design and menu structure have been significantly revised in several ways, including the adoption of progress displays to provide visual confirmation of the status of an operation (e.g. when a smart device is paired with a camera or connection is changed to a Wi-Fi connection). Direct access to help functions from the app menu are also now available. The app also offers different instructions for each category of camera to ensure easier setup, navigation and usage.

Additionally, up to five cameras can now be registered with the device running the app. This makes switching between cameras much easier for those who own multiple Nikon cameras.

The app is also equipped with a new power-saving mode that controls the amount of smart device power consumed by the app when it is not connected to a camera for an extended period of time. SnapBridge Version 2.0 also features a location data accuracy setting that allows users to choose between lower power consumption and greater location data accuracy by selecting how often the smart device updates location data.

Greater Remote Photography Functions

For even more creative control with select Nikon cameras, important digital SLR camera settings can now be controlled from the SnapBridge app through remote photography*. The live view display on the smart device can be used to confirm and adjust camera settings, allowing users to enjoy more full-scale shooting. Users also now have access to exposure modes (P/S/A/M), shutter speed, aperture value, exposure compensation, ISO sensitivity, and white balance. Controls will vary among various camera models.

Nikon Image Space Integration

Nikon SnapBridge Version 2.0 has a dedicated tab that makes it easier than ever to use NIKON IMAGE SPACE. With SnapBridge 2.0 and a NIKON IMAGE SPACE account a user can automatically upload an unlimited number 2MB images ideal for sharing on the go. In addition, photos taken using remote photography can now be uploaded to NIKON IMAGE SPACE automatically.

Nikon will continue to enhance the app’s usability and strengthen its functions to provide users with ever increasingly rich imaging experiences well into the future.

For more information about Nikon SnapBridge and the latest Nikon cameras and other products, please visit

*Functions available with the SnapBridge and SnapBridge 360/170 apps differ.

  • iPhone®, iPad®, iPod touch®, and Android™ devices to which the SnapBridge app has been installed can be used. The SnapBridge app can be downloaded free of charge from the App Store® and Google Play™. See Nikon’s website for further information.
  • Operation of this app is not guaranteed with all devices.
  • Nikon SnapBridge 2.0 Compatible Cameras:
    • Nikon D850, D500, D7500, D5600, D3400,COOLPIX A900, A300, B700, B500, W100, W300, KeyMission 80

**The Wi-Fi® and Bluetooth® functions built into cameras are effective only when connected to a smart device on which the SnapBridge app has been installed.

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Water in Red Mountain Open Space – Fat Bike Exploration

30 Nov

As a paddler I am always looking for water. Anytime! Anywhere! In November 2017 I made several visits to Red Mountain Open Space north of Fort Collins with my new Salsa Mukluk fat bike. I covered all possible trails. Technically, […]
paddling with a camera

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Fujifilm releases X Raw Studio and updates X-T2, X-T20, GFX 50S firmware

30 Nov

Fujifilm has announced its X Raw Studio Conversion System software, which it first teased back at Photokina. The software is essentially a viewer for the in-camera Raw converters that already exist on X and GFX series cameras. In fact, the software doesn’t actually do any processing – the camera does, over a USB connection. Fujifilm claims that X Raw Studio is more than twenty times faster than the SilkyPix-based converter. The macOS version is available for download today, with a Windows application to follow in February.

The software adjusts exactly the same parameters as on the camera and supports batch processing and saving conversion profiles. As you’d expect, a side-by-side viewer is available. As of today only the GFX 50S and X-T2 are supported, with the X-Pro2 and X100F to follow in December, all via firmware updates.

Speaking of which, the company also posted firmware updates for the X-T2, X-T20 and GFX 50S that were announced at Photokina. Changes include:

FUJIFILM X-T2: V.3.0 Key Features:

  • New AF tracking algorithm enhances AF-C to track moving subjects half the size, or moving twice as fast as previous models.
  • Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  • Supports Instax SHARE SP-3 and higher resolution prints for SP-2.
  • Allows users to choose RGB and brightness histogram with or without highlight warnings.
  • Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
  • Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.

FUJIFILM X-T20: V.1.1 Key Features:

  • Touch panel operation while looking into the electronic viewfinder.
  • Supports Instax SHARE SP-3 and higher resolution prints for SP-2.

FUJIFILM GFX 50S: V.2.0 Key Features:

  • Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  • Supports Instax SHARE SP-3 and higher resolution prints for SP-2.
  • Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
  • Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.
  • Addition of “Eye Sensor + LCD Image Display” in View Mode that allows for shooting through the viewfinder and checking images on the LCD.
  • ON/OFF for 1/3-step shutter speed adjustment.
  • Addition of “Shoot Without Card” mode so camera will not shoot without SD card inserted.
  • Addition of “-6” and “-7” to EVF’s brightness settings.

Press Release


New Firmware Updates for GFX and X Series Cameras available now

Valhalla, N.Y., November 29, 2017Fujifilm North America Corporation today announced the launch of FUJIFILM X RAW STUDIO, a new conversion software that allows photographers to quickly and easily convert RAW files while maintaining outstanding image quality.

Also available today are Firmware updates for the FUJIFILM X-T2 and X-T20 X Series cameras, and the FUJIFILM GFX 50S.


FUJIFILM X RAW STUDIO enables users to convert RAW files with ease, offering exceptionally fast conversions. Due to the size of RAW files, photographers can often find batch conversion extremely time consuming. X RAW STUDIO utilizes the connected camera’s X-Processor Pro high-speed image processing engine, allowing for quick and effective conversion without compromising on image quality. Compatible with both Mac and PC systems, the new X RAW STUDIO enables batch conversion of a selection of images. Users can store conversion settings or copy settings between images, and variable image processing conditions can be adjusted in the same way as in-camera RAW conversion.

Fujifilm X RAW STUDIO Key Features:

  • Supports single or batch conversion for RAW images through a Mac or PC system.
  • Image processing settings can be adjusted like the in-camera RAW conversion.
    • All conversion parameters available through in-camera RAW conversion are adjustable, enabling photographers to monitor results in a preview window when changing settings.
  • Displays before and after images side-by-side for easy comparison while changing adjusting settings.
  • Enables users to save, load, or copy conversion profiles onto another RAW image.

Availability & Pricing

FUJIFILM X RAW STUDIO for Mac is available now, and is set to launch for Windows in February 2018. X RAW STUDIO is available to users at no cost.

New GFX Firmware Updates

Fujifilm has released firmware updates for the GFX 50S that add new support for FUJIFILM X RAW STUDIO, improved third party studio flash controller usability and new functions to improve operability.

FUJIFILM GFX 50S: V.2.0 Key Features:

  • Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  • Supports Instax SHARE SP-3 and higher resolution prints for SP-2.
  • Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
  • Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.
  • Addition of “Eye Sensor + LCD Image Display” in View Mode that allows for shooting through the viewfinder and checking images on the LCD.
  • ON/OFF for 1/3-step shutter speed adjustment.
  • Addition of “Shoot Without Card” mode so camera will not shoot without SD card inserted.
  • Addition of “-6” and “-7” to EVF’s brightness settings.

New X Series Firmware Updates

Additionally, Fujifilm has released firmware updates for the FUJIFILM X-T2 and X-T20 X Series cameras to add new functionality and improve operability. These updates include new support for FUJIFILM X RAW STUDIO, dramatic improvements to the AF-C tracking algorithm in zone and tracking AF mode, addition of 4K video support and computer tethering functions and enhancements to touch panel operations.

FUJIFILM X-T2: V.3.0 Key Features:

  • New AF tracking algorithm enhances AF-C to track moving subjects half the size, or moving twice as fast as previous models.
  • Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  • Supports Instax SHARE SP-3 and higher resolution prints for SP-2.
  • Allows users to choose RGB and brightness histogram with or without highlight warnings.
  • Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
  • Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.

FUJIFILM X-T20: V.1.1 Key Features:

  • Touch panel operation while looking into the electronic viewfinder.
  • Supports Instax SHARE SP-3 and higher resolution prints for SP-2.

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Instagram is testing a ‘Regram’ button and other major feature updates

30 Nov
Photo by Erik Lucatero

Instagram is testing a bunch of new features, including one very intriguing and long-awaited button that will put several 3rd party apps out of business: the Regram. The new features were published by The Next Web, which was able to obtain screenshots of several feature updates that are still only being tested with small groups of users.

First things first though: Regram. Like Tumblr’s Reblog or Facebook’s Share, regramming would allow Instagram users to share another user’s photo or video with their own followers. Third party apps already allow for a cumbersome version of this, but a built-in button has never existed… until now.

Regram Button Screenshot. Credit: The Next Web

In addition to the Regram, TNW found that Instagram may soon:

  • Allow you to search for and add GIFs to your profile or Instagram Story.
  • Allow iOS users to join a Beta program that will give you early access to upcoming versions of the app.
  • Add an Archive feature for Stories (you can already archive regular posts)
  • Create a “Closest Friends List” that lets you share posts or stories with a smaller more intimate group.
  • Share to WhatsApp
  • Search by Top Hashtag and Top Emoji
  • Follow hashtags, not just other profiles

There is also an “Add Coffee” button that mysteriously popped up in the share page (the same page where you write your caption, select the social media accounts you’d like to share to, and click post). Nobody seems to have any idea what that’s about.

To see screenshots of all these features, head over to The Next Web’s report by clicking here. And let us know what you think of these new features in the comments down below.

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Lytro Immerge 2.0 is a HUGE light-field camera rig for high-end VR production

30 Nov

Lytro has unveiled the Immerge 2.0, a massive light-field camera rig that looks improves upon the similarly-massive Immerge camera Lytro first introduced in November of 2015.

As with the original Immerge, Lytro’s new Immerge 2.0 is designed for high-end VR production, but it utilizes “a few smart tweaks” to boost quality and increase production efficiency. But lets you think “a few small tweaks” is nothing major, Lytro is describing the Immerge 2.0 as “a major update” to the original… so there’s that.

Unlike with the original Immerge camera, Immerge 2.0 is designed with alternating rows of cameras that are pointed in the opposite directions (yes, those are all cameras, not lights). The design enables Immerge 2.0 to capture 120-degrees of content rather than the previous 90-degrees, reducing the number of camera rotations from five to three when capturing 360-degree content. And operators of the original Immerge will be thrilled to know that the calibration process is now automated.

In addition to its hardware update, Lytro has also been working on improving its software, enabling it to extract higher quality images from the light-field content.

According to Road to VR, which was given an exclusive look at the Immerge 2.0, Lytro has remastered its previously released video Hallelujah with a higher resolution of 5K per eye (when viewed with a VR headset)—a significant increase over the previous 3.5K. But they didn’t stop there…

In fact, with this new hardware and software update, Lytro is ready to offer a 10K-per-eye resolution once VR headsets that can handle that kind of resolution are developed.

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Zoner Photo Studio X brings support for the HEIF image format to Windows

30 Nov

Apple introduced the HEIF (High Efficiency Image File Format) image format with its latest iPhone models 8, 8 Plus and X. Essentially, the new format is more efficient than current standards at compressing image data—images with the same size and level of detail occupy up to 50% less space on your device storage or hard drive—while also offering additional features like the ability to store burst photos, focal stacks, and exposure stacks in a single file.

In the long term, HEIF is meant to replace JPG as a the most common image standard, but until now the format could only be viewed or edited on iOS 11 devices or an Apple Mac… not exactly universal. That all changes today with the latest release of Zoner Photo Studio.

Zoner Studio X is officially the first software package to bring HEIF support to the Windows platform. Its makers still call the feature “experimental” and recommend keeping a backup of your HEIF photos in a separate format (just in case), but this is a big deal if you’re an iPhone user who uses a PC instead of a Mac. No need to sacrifice image quality to save space or visa versa.

Zoner Studio X offers more than HEIF support, of course, and is a potent image editor in its own right. The feature set includes: image organization, layers, non-destructive RAW editing, retouching, and automatic adjustments.

To learn more or download a 30 day trial, visit the Zoner website. The full version will cost you $ 49.

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The dPS Ultimate Guide to Fine Art Photography

30 Nov

Daring to be Different

One of the contentious topics in the world of photography these days seems to be what exactly is fine art photography. Ultimately it is what the photographer deems it to be, but in the world of art, there is a lot more to it. If you want to get recognition as an artist that uses the medium of photography, then there are certain expectations of what your body of work should be like and how you go about executing it.

Galleries and collectors are not going to collect work or invest in art when there isn’t a lot of consistency within that body of work. One fine art image is not enough to make you a fine art photographer. The work needs to be done with intention, with a direction, and have a consistency over all the images. A style is developed that is recognizable in all the images.

It is important to look at other famous artists, not just photographers, but painters and sculptures, to see how their work has evolved. See how you can do something similar with your photography. Photography is no different to those other mediums and the same definitions that apply to them are also applicable to fine art photography.

Who can be a fine art photographer?

01 leannecole fine art photography

A long exposure that was taken during the day, but the light in the image has been manipulated to make it look like it was taken at a different time.

Anyone can be a fine art photographer; there are no hard and fast rules about it. Though it does demand a fair amount of dedication. There are no rules or special qualifications that a person needs to follow or have before they call themselves a fine art photographer.

Some of the things that help define a fine art photographer

Perhaps the best way to describe how you can be a fine art photographer is to look at how they work. There is a lot more to it than simply creating beautiful images. We can all do that, but an artist works towards something. Their work is done with intention, and they have a direction they are following. Finally, there is a consistency to their work. Let’s take a look at each of these points individually.


Often when you go out to take photos, you pick a place because you think you might get nice images at that location. That is most likely never going to be a problem for you. But if you want to be considered more of a fine art photographer then you need to go to places that you know will help you create images that will further your work, and build your portfolio. There has to be some intention behind why you photograph things.

2420 leannecole fine art photography

The cityscape that has some differences, but it is quite effective and if I was short of images for an exhibition this one would be included.

For example, a fine art portrait photographer who does images of people in certain scenes, like dark moody beach scenes, is not going to go and take photos of a baby in a park. Well, they might for a friend, but they wouldn’t include that work in their portfolio.

Artists are always trying to take photos that work with what they already have. They go out with the intention of photographing subjects that follow the direction of their work.


This is a lot like intention, but it means the photographer has direction. If they are taking photos somewhere, they are being directed by their previous work. This helps them to get images that will continue to follow that style.

06 leannecole fine art photography

Before processing.

07 leannecole fine art photography

After processing to give it my signature style.


For the same reasons as intention, that same portrait photographer is not going to photograph a baby because it won’t give their workflow any consistency. For a fine art photographer, you need to have work that is fairly consistent and looks like it all belongs together.

That doesn’t mean it has to be the same subject all the time, it can also be a similar processing style. All the images are processed in a similar way so they look consistent when a gallery or investor is looking at the portfolio.

The more consistent you are the more galleries and investors will be interested in your work.

Consistency is important and making sure the images all have the same feel and look is important in creating a body of work.

This is definitely the case. I asked the curator for Stills Gallery in Sydney, Josephine Skinner, about how important it is that there be consistency in a body of work. This is what she had to say:

It’s very important. If an artist were contacting us, I would hope to view a resolved body of work, both conceptually and materially. Of course, we’re used to working with artists as they develop new work for an exhibition, but a cold submission won’t pique my interest unless you establish your capacity to deliver.

What is a body of work and how do you create it?

A body of work is where you have several pieces that show the consistency and intention that was spoken about earlier. When you have a body of work it should have a similar style and look as though one person created it all.

The subject matter should be all the same or very similar. There needs to be a number of images in the body of work so you can have an exhibition. The actual amount will depend on where you are exhibiting and how many are needed.

This is a selection of my work, notice the similar processing style, subject matter, and mood across all the images.

Contact sheet 02

Contact sheet 01

Artist Statement

Whether you want to believe it or not, an artist statement is very important. It doesn’t have to be an essay, but putting what you are trying to achieve with your photography down on paper is a great way to help with those areas that we just discussed; intention, direction, and consistency.

When writing one you want to be clear about why you are doing what you are doing. What is important about it and why you have chosen the medium of photography?

Here is what Josephine had to say about artist statements:

An artist statement is helpful: be brief, clear and use accessible language.

Some statements can waffle on and not make much sense. It is good to sound professional, but it should be concise and leave the audience of your work with a very clear understanding of what you are trying to achieve.

This image was taken with the intention of being able to change the mood and make it look different.

03 leannecole fine art photography

The final image. Many aspects were changed so this image would look like it was taken at night with just one light shining.

Look at some fine art photographers that are practicing now

Have you ever been told that if you want to be a good writer that you should study and read the writing of those in the same field? The same can be said for fine art.

If you want to be an artist then you should study and look at the work of other great artists, in this case, fine art photographers. Though, you should include a wide range of artists as photographers can also learn a lot from painters, drawers, printmakers, and sculptors.

08 leannecole fine art photography

This image of the 12 Apostles doesn’t really belong with most of the work, but it still has the same. The light has been manipulated, so it almost belongs. But, the different subject matter would make mean it would probably not be included in an exhibition.

You really need to look at what your work is and find similar photographers. There is such a large number of photographers working at the moment, that it’s hard for me to tell you who to study. But here is a list of a few fine art photographers to give you a starting point.

  • Julia Anna Gospordarou
  • Bill Henson
  • Tracey Moffat
  • Cindy Sherman
  • Brook Shaden – artist statement and gallery of work.
  • Andreas Gursky
  • Joel Grimes
  • Art Wolfe
  • Annie Leibovitz

What is an Artist CV?

15 leannecole fine art photography

A cityscape image before processing.

16 leannecole fine art photography

The final image showing how the light has been changed to create this look.

This is very similar to a work CV (curriculum vitae) or resume. But instead of listing all the jobs you have had, you list everything that galleries and other people in the art world might want to know about you.

They usually start with your education, where you have studied and when. Then you list what solo exhibitions you have had if you have had any. The goal is to end up with a massive list of those. Then you follow those with the group exhibitions in which you have been involved. Then you might add what prizes you have won.

Finally, comes a list of places where your work has been published. For example, if you have had work published in a magazine. You can also include collections and in this section, you will mention if you have sold work to important places like a major public gallery, for instance.

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Another image that has the same look and processing, but doesn’t belong. It does belong more than the image of the 12 Apostles though.

Every time you approach a gallery you will be asked for your Artist’s CV. If you don’t have one, it is time to start working on it. They are usually one page.

Here is a link to my CV as an example.

Do you need to study Fine Art at a Tertiary Level?

The simple answer to this is no, you don’t have to study at a tertiary level to be a fine art photographer. But the long answer is that if you do, you will gain a greater understanding of the many aspects of being an artist. The really good places also give you studio space and impose the need to work in that space like a professional artist would.

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Another one of the power stations, that could work, but wouldn’t be included in an exhibition.

There are so many other things you learn as well, for example, how to develop your style or your body of work. Or, how to create the consistency we talked about earlier. You begin to understand how the gallery system operates and how to approach them. Often you are given opportunities to exhibit your work so you can get an idea of what it is like. These can help you to get a start on your artist’s CV.

The lecturers are usually artists themselves, so they can guide and mentor you. They understand what you are going through and their advice can be invaluable.

Getting a Bachelor of Fine Art is never a bad thing. Many other artists and galleries will take you more seriously because you have shown a commitment to your practice.

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This one is a little different, but it still fits the artist statement.

Where to study it if you so choose

There are places all around the world and where you study will depend on where you live, the cost, and if you are accepted. Look at other artists and see where they studied. Do your research to find out what is available near you. Find out how many graduates of that institution have had successful careers when they finished.

Not all art schools are equal. Some have very good reputations, while others will get you the degree, but not necessarily the prestige. For example, in Melbourne, you can get a Fine Arts Degree from many places, but two are more sought after, University of Melbourne, Faculty VCA, and RMIT University. People take more notice if you have attended and graduated from those schools.

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This image appears as though it would work, but since the rest of the images are more cityscapes and not close-ups of anything, it would not be included. If more similar images were made, I may have to reconsider that decision.

Keep in mind that this type of degree will not lead to a paying job, and you are being trained to be an artist. It is expected that you will work at it full-time when you finish. Of course, most artists end up doing other jobs to supplement their income until they are making enough from their art. Though this appears to only happen for a few. Nearly all teach or have other jobs to pay the bills.

I had a lecturer once that told us if we were still doing art and exhibiting our work 10 years after graduation we would make money from it. Unknown if this is true, but it is a nice sentiment.

Visit galleries and see what others exhibit

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This was taken near a marina, but it is too different and I couldn’t make it look like the other images, so it would never be included in an exhibition.

To get a great understanding of what fine art photography is one of the best things you can do is visit art galleries, both public and commercial. You can see how the artist works, look at the consistency and also how the work all looks when it’s put together in an exhibition.

Look for commercial galleries that are exhibiting photography works, or better still find ones that specialize in fine art photography. If you can’t visit them in person, then look on the internet. They all have websites and usually show the works of the artists they represent.

Study the work and the artist. If you find some whose work you really like, pay a lot more attention to them. Find out what motivates the artist, look at their artist CV, and see if you can find an artist statement. That will really help you to understand their intention, direction, and the consistency.

Public galleries often have some of their collection online, but you are usually required to go and look. Don’t be disappointed if the photography section if very small, other artworks often get more wall space. You can look for galleries that specialize in photography, for example in Victoria, Australia there is a place called Centre for Contemporary Photography and that is all they show. It’s a great way to see what other photographers are doing.

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Like the ocean image, this has the same look and feel, but the subject matter doesn’t match.

Here are a few others:

  • International Center of Photography in New York City
  • A Gallery for Fine Photography in New Orleans – they carry prints by many famous and iconic photographers including Ansel Adams, Julia Margaret Cameron, Henri Cartier-Bresson, W. Eugene Smith, Edward Steichen, Elliott Erwitt, and many others.
  • Center for Creative Photography in Tucson, Arizona. They house a large collection of photography archives including many of Ansel Adams original negatives.
  • Maison Européenne de la Photographie in Paris dedicated entirely to photography.
  • Torch Gallery in Amsterdam
  • Galleria Carla Sozzani in Milan
  • Magnum Photos and Gallery – they represent several iconic photographers’ work and have a gallery in Paris, as well as events in many cities worldwide and a great online gallery for viewing.
  • The Photographers’ Gallery in London, England.
  • Camera Work in Berlin.

Study about all art, its history and what is happening now

Part of being an artist is keeping yourself informed. As previously stated, you should be going to galleries and seeing other exhibitions. It is so important to read and study other artists. It can help you understand what their lives were like and what drove them to create their art.

It is also good to keep up to date with what is happening in the world of art. Who is winning awards, what work is really popular right now, and how you could fit in. Look at who is being exhibited and which galleries are showing their work.

Look at painters, sculptures, and other mediums

Don’t limit your photography study to just photographers. You should also look at painters, sculptures, printmakers, and drawers. You can learn a lot from them as well.

Rembrandt lighting is a type of lighting pattern that portrait photographers strive to create. It involves a triangular spot of light on the cheek of the portrait subject. Photographers have been trying to replicate that style for years, but it came from a painter – Rembrandt.

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The image is similar, but it probably wouldn’t be included in an exhibition. It doesn’t quite fit.

In some ways, painters were our earliest photographers as they tried to paint what they saw. Looking at their work is very important. You can learn a lot about subject-matter and more importantly, about composition. For those artists, the composition was key and they would have spent a great deal of time working on that element of their craft. Study how they put their paintings together and learn.

Sculptors create compositions and often work conceptually. If you are interested in conceptual photography then looking at how these artists work can help you find direction. See what lengths they go to in creating their sculptures.

Living an artist’s life and what that means

There is a myth that many creatives were “suffering artists”. That to be an artist you had to be in some kind of struggle. The other myth is about being the “starving artist”, so if you are going to be an artist you have to also be very poor.

An image that would be part of the body of work. It follows the theme of the rest of the images.

The first is a myth, you don’t have to be on some internal struggle to be an artist. It has been said that you have to go through disasters in your own life in order to help you create masterpieces. It isn’t true, of course. Very normal people create the most amazing artworks. There is a lot more to it than some emotional suffering.

In the past, many artists were starving. Even in today’s world, making money as an artist is incredibly hard. There are more people wanting to be artists than there are people wanting to buy the work. The reference to starving was more to do with making no money and not having enough to buy food.

The reality is that most artists live very normal lives. They often work part-time jobs to survive and live in ordinary houses. They are often very normal people. There are some eccentric artists, but they are more the exception to the rule. Many have studios and workspaces, and every free moment they get, they work in their art practice.

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A cityscape that would work in an exhibition, it has the same feeling as the others.

Exhibiting your work

There are various different kinds of galleries and if you want to exhibit your work then you need to start studying them. Find out which ones are the best for you to approach first of the several different types (large public and private).
First, you need to find out what the galleries are looking for. Once again, Josephine has some advice for those wanting to approach galleries:

The first piece of advice I would have is to do proper research into which galleries you approach and be selective with those you do. We get submissions from painters, for instance, who haven’t even looked on our website to find out we exhibit photomedia and video. In the process of narrowing it down, bear in mind that if a gallery has an emphasis on photomedia that doesn’t mean that all forms of photography will fit with their broader aesthetic and focus. Also, be conscious that each artist brings something unique to a gallery so diversity is desired – they probably won’t want someone whose practice mirrors an existing represented artist. Lastly, each gallery has a different policy for receiving submissions, so a good idea is to call and ask what they prefer. Don’t just show up and expect to sit down with the Director!

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A cityscape taken from an observation deck. While it is a cityscape it also would not be included. It really does not have the same look at the others.

That is great advice and a good idea for all artists. Do your research and study the galleries you are interested in to see if they are a good fit for you. You can also ask questions to see what they have to say. They will often be more than happy to talk to you about what type of work they are looking for, and how to submit your work.

Josephine has provided some information on how they find new artists:

Our focus is contemporary photomedia and video, so we tend to look at art prizes that are often interdisciplinary, such as the Hatched Graduate exhibition at PICA, and keep an eye on what’s happening in ARI (Artist Run Initiatives) spaces. These platforms provide an initial filter because the work has already undergone a process of competitive selection. Galleries with a more traditional or commercial aesthetic would probably look elsewhere.

Most galleries will have information and guidelines about how to send in proposals for exhibitions; you need to follow those closely. They get a lot of submissions and if you don’t do what they ask then you could be eliminated straight away. Do everything you can to get them to look at your artwork.

Preparing your work to exhibit

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The subject matter fits with much of what the fine art work is about, but it’s the wrong colors and sends a different message than the others.

Having an exhibition of their work is the ultimate goal for most artists. It is where they develop a name and reputation. If you want that too, then you have to make sure your work is good enough to show.

There are so many decisions to be made before you do a show. You have to decide who will print your work and how it will be printed. Part of the reason for exhibiting is to sell your work and if it doesn’t look good then people won’t buy it.

Before the work is sent to be printed you need to make sure that there aren’t any defects in the images. When they are blown up, sensor spots or other unwanted items in your scenes will be enlarged as well. They could end up standing out so much that they take over the image. Magnify the image on your computer (view at 100% or 1:1 size) and look very closely for any mistakes or faults.

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Work in an exhibition.

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Work that is packaged and ready to be sent to an exhibition.

Find a professional printer who will work with you. Look for one that you can rely on, and who knows their business. They should be able to help you figure out the best way to present your work. There are so many options for photographs these days. You can do canvas prints, put images on fine art paper, and even have them on metal, which is very popular right now.
Then you are faced with the option of framing or not. Most galleries will answer that question for you.

Read my article: How to Prepare a Photography Exhibit of Your Work for more on this topic.

Editioning your work

This is not compulsory, but one thing that many photographers do is edition their work. This means they will only sell a certain number of that image or a limited edition. The artist sets the edition to what they think they might sell.

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A cityscape that is very similar to many I do, but I wouldn’t include this image as it doesn’t have the impact that many of the others do.

For many artists starting out, the number of editions is usually small, around 10 or 20. The more successful an artist becomes, the more expensive the images get, and often the edition number increases as. Some will do editions of up to 200 photos.

For most of us though, especially starting out, it isn’t necessary to do editions. You may only sell one or two copies of an image. As sales pick up and you begin to make a name for yourself it is good to consider putting out editions of your work.

If you die your work will double in price

This is probably the biggest myth out there about fine art photography and art in general. While it is true that when some artists die their work becomes a lot more valuable, it isn’t the same for everyone. If the artist had a successful career and was being collected by a lot of people then there is some truth in this.

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Image with similar colors and a long exposure, but it is not an image I would include in an exhibition.

When they die their work gains in value because it becomes rare. As no new work will be produced, all of their previous work becomes more valuable. That’s all there is, a finite amount, so it will increase in value.

For most artists, our death will only matter to those around us and our artwork will only increase in sentimental value. It’s sad, but you dying likely isn’t going to cause an increase in the value of your work.

Being a fine art photographer

There are many steps you can take that will make you a fine art photographer. There are many different paths and it is up to you to decide which ones you will take. In the end, being an artist is about doing work with intention, having a direction and working consistently.

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This would very definitely be included. The light has been changed and it works with the artist statement.

Artists usually exhibit their work with the idea of gaining a reputation so collectors will purchase it. This, in turn, leads to their work increasing in value and they can sell more. Being an artist is a noble profession and one that dates back hundreds of years, who doesn’t want to belong to that group?

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Cameraman injures OSU football player during pregame warm-up

29 Nov
Photo by Paula R. Lively. CC-BY-2.0

Ohio State quarterback J.T. Barrett allegedly suffered an injury after being hit in the knee by a cameraman during pregame warm-ups. Barrett went on to play during the first-half of the game, but left during the second-half due to the knee injury.

The claim that an unidentified cameraman was responsible was initially made by OSU coach Urban Meyer during the post-game press conference. “A guy with a camera hit [Barrett] in the knee…” explained a visibly angry Meyer, going on to call for an “all-out” investigation into who was responsible, though ESPN later reported that OSU Athletic Director Gene Smith said such a probe wouldn’t happen.

“We’re not doing a full-blown investigation to find the photographer,” Smith said. “We’re looking at what things led up to that.”

Details about how the incident happened are unclear, and despite there being a stadium full of cameras, no footage of the actual ‘collision’ has been released. TMZ has obtained some footage of the immediate aftermath from a fan who pulled out his smartphone to record what was happening, which shows Barrett limping off and gives you an idea of just how crowded the sidelines were during warm-up:

Despite Meyer’s anger at the specific cameraman, the incident will probably have a broader impact rather than individual punishment. Smith stresses that the focus will be on making changes so that something like this doesn’t ever happen again.

According to ESPN, Smith said:

The conference office is gathering data. That’s the extent of it. The outcome of it will ultimately be improved operations. There’s no attempt to try and find a person. The attempt is to find out what happened, what corrective measures we need to put in place.

So it sounds like the individual cameraman is off the hook… unless of course this ‘collision’ translates into strict new rules and limited access for sports photographers. Then he’ll have have some very upset colleagues to answer to.

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