In this article, Catherine Hall tells us about what inspired her into photography, and gives us tips and tricks of the industry offering some advice to fellow photographers. What influenced you to photograph people? Over the years, I’ve tried many different types of photography, and at the beginning of my career all I knew was that I loved shooting but Continue Reading
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A gimbal is a device that enables you to keep your camera stable while shooting video. It can also be useful when it comes to capturing high-quality still images. A combination of three gimbals will enable you to obtain a smooth movement of your handheld camera in three different directions, thanks to the three rotation axes. In this article I Continue Reading
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I would love for you to look back at the article that I did a couple of months back. It is very simple to say that Photographer’s Metadata (PM) includes all the things that you know about your photograph which no one else is aware of. It is simple to say, but it is not so easy to grasp all the consequences.
So many consequences.
The aim of the previous article was to advance the idea of Photographer’s Metadata (PM). I think even the least concerned photographer has some vague thoughts in the back their minds about Photographer’s Metadata. However, if you are more aware of it, then it might become an important part of your photographic journey.
What steps can be taken to close the gap between your perception of your photograph, and the perception of others?
Narrow that gap.
This might be thought of as a rather esoteric topic. I may be repeating myself, but I really do think that it is important to the understanding and development of your photography. Let’s start with an example, a photograph, and some of the Photographer’s Metadata.
Charles Masters is my friend, quite an adventurer, and a fine photographer. In his own words:
“This photograph is of Sherpa Tshiring climbing the serac wall, that is a glacial ice wall on Choy Oyu. It is one of the Himalayan peaks, and the ‘Turquoise Goddess’ is the sixth highest mountain in the world, one of 14 peaks in the world over 8,000 metres. This was taken approaching 7,000 metres and although it is considered one of the easier climbs, it is not a weekend hike.
The black & white version seemed to portray the atmosphere far better than the color version as the ice from the climber above Tshiring rained down on him.
To get to this stage on the serac wall, we had been climbing for more than three weeks. It was nearly a month since I had left home in the UK. The climb was made more difficult by the lack of snow that season, making the standard, easier route impossible.
In order to acclimatize, we had spent the previous week rotating between the Advanced Base Camp and Camp One. Multiple trips included a 600m steep scree slope. We called this slope the less polite version of illegitimate, as the loose surface meant it was two steps up, one step down!
The further ascent from Camp One to the glacial, serac wall was relatively easy but still included a number of crevasses which needed to be negotiated.
The serac wall is about 45 metres of solid blue glacial ice, ranging from 45 to 80 degrees angle of climb. When the photograph was taken, I was hanging from a fixed rope, on a section where the ice wall was at its steepest, and the temperature was below freezing and had, at times, been in the minus twenties.
The team triumph!
It was one great moment from many, and it will live with me forever.
Note: The two images above have been used with permission from the photographer, Charles Masters.
This story is a part of Charles’ Photographer’s Metadata. No one else knows the full events surrounding the ice wall photograph. However, can there be any doubt whatsoever that these circumstances have an effect on Charles’ perception of his own photograph? Can there be any doubt that there is a gap between the way he sees this photograph and the way you, or any viewer, see it? Let us look at what you might do to close that gap.
A photographic subject which most of us have mixed feelings about is ourselves. A couple of years ago I decided that I wanted a more interesting portrait to use in the various places we use such things. It seems justified to spray and pray when you are, in effect, on both sides of the lens. So, I ended up with hundreds of shots.
Too many.
It was not a matter which taxed me on a daily, or even weekly basis. But I will admit that it was at least six months later, when I thought, “That one is okay”.
Okay.
A self-portrait may have one of the highest levels of emotional engagement that exists, along with a large chunk of Photographer’s Metadata. If you read the first article on this topic, you may recall that Ian Weldon said that he would like to wait six months before editing wedding photographs. In terms of reducing the effects of Photographer’s Metadata, I do not think there is any real substitute for the passing of time.
Certainly, I have been in too much of a rush to share a photograph sometimes. Why did I choose this one?
Surfboarder 1
I think I must have liked some detail in the shot above. Maybe it was the separation between legs, arms, and face, or the look of a soul singer doing dance moves, some relative detail like that. But, the real story here is surely about action, and the second shot (below) depicts that better, with higher flung arms and a bigger splash.
There is not very much emotional involvement here, the weight of Photographer’s Metadata, beyond being pleased with what my camera could do. However, even then, it was a few days later before it was clear to me which was the better photograph.
Surfboarder 2
The gift of time is not always available to us. Be cautious about reaching irrevocable decisions.
Have you ever wondered where musicians get their titles? Me too! I have used song titles as inspiration for naming my photographs, and even my dogs! I think that when I venture much beyond naming a photograph “Tree One” or “Market”, my first refuge is to give the viewer even less help with titles inspired by songs, which can be quite cryptic.
A pop tune which was in my mind when I shared this photo.
“Isn’t she …”
In a nod to Stevie Wonder, I titled it “Isn’t she …”. In fairness, that is not such a bad title, because it invites the viewer to engage. Of course, Stevie finished the phrase with “… lovely”. However, the idea is that if you are trying to narrow the gap between the viewer’s perception and your own, there are a whole range of possibilities that would be more helpful than that. Perhaps, “Black and white study of the beauty and shapes of an Asian girl”?
35 up
When I shared the photograph above, I called it “35 Up”. If viewers gave it some thought, they may realize that it means that the photograph was taken from the 35th floor. I think it is possible to be more helpful, to reduce the gap between photographer and viewer. I might have simply extended it to read, “35 floors up in Manila”.
Viewers would have made various degrees of movement towards my knowledge of the photograph. I could have become even more descriptive and titled it, “Tropical storm clouds gather with the sunset over the Philippine capital city”. I could have said all sorts of things which would have narrowed the gap between the viewer’s perception of the image and my own.
Have you been to photographic exhibitions or looked at fine art books? Have you ever read an artist’s statement?
An artist’s statement
And so on, and on and on. This was taken from a site which is a random artist’s statement generator. Incredibly, there appear to be a lot of these sites. And, the above statement is not the whole thing, it’s just a selection from what was generated.
Personally, I would be inclined to the more prosaic. Remember when you first looked at the photograph of the climber near the top of the article? Now that you have read the story and his artist’s statement, doesn’t the story change the way you view the photograph? I think it is a great shot to start, but I believe that anyone reading the story will have an even more positive view of the photograph afterward.
Story = popular
As some affirmation of what I am saying, on a recent visit to Instagram, I noticed many of the photographs that had a huge number of likes, also had a story attached to them, some quite substantial. It seemed that often, the successful shots had a paragraph of explanation which, frankly, in this age of emoticons, grunts, and butchered vocabulary, seemed remarkable.
We all bend reality to fit our own perceptions, and I am going to take this informal survey of Instagram to mean that people like photographs more if they know more about the story behind them. The viewers have moved closer to the photographer’s perception.
Our man in Jakarta.
This photograph has been used as an example in public talks on several occasions. That means that I have gained a lot of evidence about how others react to it. In response to the direct question, about 80% prefer the shot above. I prefer the version below.
My Photographer’s Metadata is that this photograph was taken at three in the morning, near the docks in Jakarta, Indonesia. How can I put it to you? That location, at that time, is not going to appear in any Lonely Planet suggestion of an itinerary. It is probably because of my Photographer’s Metadata that I prefer the shot with the light bulb.
Our man in interrogation.
Even though literally hundreds of people have indicated that they prefer the version without the lightbulb, I am happy to do nothing about that, as I prefer the photograph as it is. I think that the light bulb tells more of the story of the risk which was present, and it makes me think of an interrogation.
I am aware of my Photographer’s Metadata, and how it affects the way I see this photograph. What do I need to do about it? The answer is simple. NOTHING! It is completely okay to decide that you are happy with the photograph as it is, you do not need to explain anything, nor do you need to attempt to close the gap in perceptions.
The above suggestions are about helping the viewer move closer to the photographer’s version of the reality of the photograph. What about moving yourself, the photographer, in the direction of the viewer?
It’s not for me to judge.
Consistent with what I have suggested, if you are able to accept that you know things about a photograph, and those things have degrees of effect on your judgment, it is a good start. I know that I have a huge prejudice when looking at a photograph of one of my daughters. Knowing that helps me to accept that others will not see the photograph in the same way. With this situation, it is my prejudice which is getting in the way. My Photographer’s Metadata is on overload. Objectivity is a very distant country.
Time for a song:
By taking some time, adding a descriptive image title, some kind of statement will help to narrow the gap, will bring the viewer closer to your perception of the photograph. But you can also move your own position, so try to be aware of some of your prejudices. I think it is possible that being aware of yourPhotographer’s Metadata might help you to accelerate through the period of time before you become sufficiently dispassionate, and more objective, about the photograph.
We each have our prejudices, others have theirs.
Cheeky.
I knitted my brow when another photographer commented on this photograph, “good texture to the hair … nice even light on the contours of the face”. It seemed like a very strange thing to say about the photograph of a 1-year-old child. Then I realized that the person making the comments was almost exclusively a landscape photographer and that they were still applying landscape criteria. So I was able to move myself a little in their direction.
Advice about writing, or public speaking, tends to include an early emphasis on the consideration of your audience. I am not sure that it’s something which we give much thought to photographers.
The thinker.
I am conscious that so many of the points I am making here, could be expanded to chapter length. To keep it to a manageable length, let me give you just one example.
When I shared this photograph below, I knew that the audience tended to be conservative in their tastes. By being aware of my audience I had taken a step towards reducing my Photographer’s Metadata and understanding their reaction, before I even showed it to them. I knew that this was pushing the limits of what they would find to be acceptable framing.
Who are you?
I was right that the framing was not loved, and that was confirmed by showing a different, more conventional photograph.
Ah! That girl!
By understanding the audience and making a little movement myself, I had reduced the gap between our perceptions. My Photographer’s Metadata included ideas about how the framing emphasized the haughty, aloof look. Others were not so inclined to see it that way.
Obviously, if you took the photograph, you’ll have at least some idea of the technical aspects. To take specific items, how much do you think the camera and lens combination should influence your judgment of the photograph? You are, of course, very entitled to your opinion. Me? I think it should matter approximately zero percent. Bambi Cantrell’s statement that “Expression beats perfection” should not be so difficult to fully embrace. It is though, isn’t it? We cannot help it, and there is something to be admired about a technically good photograph.
Bambi Cantrell’s statement that “Expression beats perfection” should not be so difficult to fully embrace. It is though, isn’t it? We cannot help it, and there is something to be admired about a technically good photograph.
I’ve used this photograph on dPS before, but I do not apologize because it is technically a little short. However, most viewers seem to be captivated by the expression of joy.
Slightly blurred laughing girl.
When publishing your own photographs, or looking at those of others, try not to introduce another layer of prejudice. Try not to be overly concerned with the technical aspects, it is likely to get in the way, in effect, add to the Photographer’s Metadata. Removing the EXIF is a step you can make towards moving you nearer to the viewer’s position.
It is probably another one of those questions to which the answer is arriving at a balance. Some sort of balance between your Photographer’s Metadata, and what you feel the viewer needs to know to appreciate the image in the way that you wish. You can move towards that balance in various ways.
The post Practical Advice for How to Use Your Photographer’s Metadata by Richard Messsenger appeared first on Digital Photography School.
Things seems to all be falling into place. You have your gear all set, a fancy new logo, a great new set of business cards and your portfolio is starting to shape up nicely.
But you still have a lot of questions – ranging from technical to business. So you decide to seek out the advice from a seasoned professional photographer and hope they will help you with all of your unanswered questions about starting just starting out.
But who is there to help you decipher whether the advice you are receiving from said pro is good or not-so-good?
Here are some great tips to help you filter out the good advice versus the bad when it comes to improving your photography skills and business.
You have done a lot of research when it comes to photography and even running a business, so take the time to learn a little more about who it is you are talking to for advice. There is nothing wrong with looking at people’s credentials when seeking advice about something so important to you. Look at their resume and portfolio. Ask them how long they have been working in the field of photography, why they got started, why the love it and so on. Seek those out you admire for specific reasons – their technical abilities, website, blog presence, and so on.
The worst thing someone might say to you is NO. It never hurts to ask the questions you have in mind. Connecting with others is a great way to become a better photographer and business person. Check to see which photographers you admire offer one-on-one mentoring sessions, workshops or e-learning courses.
You have the undivided attention of an experienced photographer – make sure you prepare some questions before you speak with them. Be specific, not vague. If you are having technical issues show them some of your most recent work and ask how to improve. If you have some business questions, have paperwork and numbers handy (if you are comfortable sharing). The more specific you can be with your questions, the better they can help you with your problems.
There is no one said all, do-all, be-all, fix for any problem or issue. Just like life, different things work for different people. Certain photographers have different ideas about how to do different things – especially when it comes to business. Listen to the advice and do what is best for YOU. Some photographers sell the rights to their digital images, others don’t. Some photographers do in person sales, others do business online. While some practices might be successful for them, they may not be for you. Consider all the factors before making big decisions and do what is best for you and your business.
What is the saying, “If you put yourself out there, be prepared”? While it would be wonderful to think that everything is rainbows and apple pies, you can’t grow from sugar coating things, especially if you want to grow. If you are willing to put yourself out there and ask for advice – you will be able to grow and learn from it. Participate in photography challenges, join a local photography group – put yourself out there. Yes, it might be uncomfortable. You might not like what you hear, but it is much better knowing the honest truth from trusted sources.
Advice is a pretty powerful thing and can be help solve many unanswered questions – but don’t cast aside who you are as a photographer and artist. Remain true to your core principles, what you believe in creatively and always follow your gut.
Best of luck in all of your photography endeavours.
The post 5 Tips for Filtering Advice from Other Photographers by Allison Gipson appeared first on Digital Photography School.
Andrew S. Gibson is the author of Mastering Lightroom: Book 2 – The Develop Module. There’s a special deal on now at Snapndeals, get 40% off for a limited time only.
A Digital Photography School poll held earlier this year revealed that the majority of readers carry out their post-processing in Lightroom. Lightroom is attracting users all the time as it is not just a photo processor – it helps you organize, search and view your photos as well. If you are new to Lightroom then these tips will help you get started.
The Lightroom Catalog is a database containing all the information that Lightroom holds about your photos. It includes metadata, records of any edits you have made, star ratings, keywords, Collections and the locations where your photos are saved.
***An important note: the Catalog doesn’t contain any photos, just information about them.***
The Catalog is important, and for maximum peace of mind you should set Lightroom to make a backup copy every time you close the program. Do this by going to the General tab in Lightroom > Catalog settings and setting Back up Catalog to Every Time Lightroom Exits:
The next time you exit Lightroom it will give you the choice where to save the backup – it’s a good idea to save it on a separate hard drive to the one containing your Lightroom Catalog (located on the computer’s main hard drive). If the backup and the original Catalog are on the same hard drive, and it fails, you will lose both.
The main benefit of using Lightroom is that it becomes the heart of your post-processing workflow. You can do most of what you need in Lightroom: including viewing, organizing, searching and key-wording photos, through to post-processing and exporting. If you need to finish a photo in Photoshop or another program you can export it from Lightroom first, then bring it back into Lightroom when it’s done, where the two versions will exist side by side.
This diagram shows the workflow:
Another advantage is that Lightroom saves you hard drive space. Think about what happens if you process a Raw file in Photoshop. You start by converting it in Adobe Camera Raw, then open the file as a 16 bit TIFF in Photoshop itself, before finally saving it. Depending on what format you save it in, you end up with either a Raw file and a JPEG, or a Raw file and an 8 bit or 16 bit TIFF.
In Lightroom, on the other hand, all the edits you carry out on your photos are saved as text commands in your Lightroom Catalog. This takes up a lot less space and you only need to export your files into another format (JPEG, TIFF etc.) when you actually need them for something.
You can save even more hard drive space by converting your Raw files to the DNG format when you import them into Lightroom. This also makes Lightroom run faster. This is covered in more detail in my article Make Lightroom Faster by Using DNG.
Lightroom is primarily for processing Raw files, although it can also be used for editing JPEGs and TIFFs. All this is done in the Develop module. Even if you are processing a Raw file with the intention of exporting it to another program (like Photoshop or a plug-in) it is a good idea to do as much editing as you can in Lightroom first.
Why? The main reason is that using Lightroom saves you hard drive space, as mentioned earlier. When you export a photo to use in a plug-in, Lightroom converts it to a 16 bit TIFF (or other format of your choice) first. This negates the benefit of using Lightroom to save hard drive space, so you should avoid it where possible.
Things you can’t do in the Develop module are anything involving layers, creating HDR images by tone mapping, exposure blending, adding textures, creating composite images or adding fancy borders. For these you will need Photoshop or another program.
There are lots of Lightroom plug-ins available designed to help you retouch portraits. Indeed, there are so many that it’s difficult to know which are any good, especially as some cost more than Lightroom itself.
While you may need a plug-in (or Photoshop) for high-end retouching work, Lightroom has a built in Adjustment Brush preset that will do the job for you. It’s called Soften Skin and is a quick and easy way to retouch a portrait.
This before (left) and after (right) comparison shows what you can achieve in Lightroom:
This is a good example of learning what you can achieve within Lightroom, saving yourself time, hard drive space and the expense of purchasing another plug-in in the process.
For more on retouching portraits in Lightroom see: How to professionally retouch portraits in Lightroom
If you are new to Lightroom you will be accustomed to organizing your photos into folders on your hard drive. In Lightroom though, things are different. There’s only one module (Library module) that gives you direct access to the folders on your hard drive. The others all use Collections instead.
Lightroom is set up that way because Adobe wants you to organize your photos in Collections. The advantage of working this way is that a Collection can contain images that reside across a multitude of folders and bring them together in a way that makes sense for you. You can organize your images by date, subject matter, people’s names or any other way that is useful. My article Use Lightroom Collections to Improve Your Workflow goes into this in more detail.
This is the hardest piece of advice to follow because when you are starting out you’re still figuring how to use these features. As your understanding of Lightroom grows, you will work out how to use these things in a way that suits you. Just be aware that consistency is your friend. If you start out using (for example) colour labels one way, then change your mind after a few months, it has the potential to cause confusion.
For help with keywords, read my article Creative Ways to Use Keywords in Lightroom 5.
This makes it easy to back them up. If you need help with deciding on a file structure then my article Organising Photos for Lightroom will help. The main benefit of keeping all Raw files in a single folder is that it is easy to back up. I recommend that you back your Raw files up to at least two different hard drives. Given that hard drive failure is inevitable (it is always a question of when, not if, even if the when is years into the future) it is wise to have multiple copies. That way if the worse happens it is an inconvenience, not a disaster.
Now it’s your turn. What advice would you give to new Lightroom users? What do you wish you had known from the start?
Mastering Lightroom: Book Two
My new ebook Mastering Lightroom: Book Two – The Develop Module teaches you how to process your Raw files in Lightroom for spectacular results. Written for Lightroom 4 & 5 it takes you through every panel in the Develop module and shows you how to creatively edit your photos. It’s now 40% off at Snapndeals for a limited time only.
The post Seven Pieces of Advice for New Lightroom Users by Andrew S. Gibson appeared first on Digital Photography School.
We’ve added four new clips to our series of informative videos hosted by professional photographer Ryan Phillips. In this installment, he explores how sensor size can help you decide on your next camera, the benefits of shooting video on mirrorless cameras, Fujifilm’s unique technologies, and if image stabilization really makes a difference in your photos. See videos
News: Digital Photography Review (dpreview.com)
A Guest post by Rachel Devine – author of Click! How to Take Beautiful Photos of Your Kids.
If you search for advice on how to take better pictures of children there are certain gems that are sure to appear on any list of tips. “Get on their level” and “Get Closer”, are the two that come to mind right away and they are both solid ways to improve your kid shots. Let’s look first at why these work and then how to expand those ideas to create infinitely more interesting images.
The top tip on any list you find is often going to be “Get on their level”. There is a reason that it should be as it is great advice and will make a big difference immediately. If you get down on the same level as a child to take their portrait, you give them power by allowing them to look into the camera straight on. Kneel down so that you become the same height as the child. Chat with your subject and engage them before just going right into taking their photograph. When the time is right, lift your camera and ask the kids if they can see themselves (or a fairy or a pony or any other magical subject) in your lens to get direct eye contact.
Photography is a visual language and the angle with which you shoot the photograph is an integral part of the structure of your story you are telling. Think of composition as part of the “grammar” of this language and that the choices that you make should serve a purpose. Photography is a common language that even kids can understand and when you make the effort to physically go down to their level you are showing them a certain respect.
Tech tip: Use a long lens so that you can put some distance between the camera and the child’s face. That is just another layer of respect.
Once you have begun to incorporate the “Get on their level” angle into your regular routine, here are four other ideas to break the cycle of the adult eye level shots:
Over Their Shoulder: You are down on their level, you have taken a straight on portrait, now move around the child and have a look at what they are doing. Immerse yourself in their world and let your camera see what they see.
Tech tip: If you have a fast 50mm lens, use it now and include some of the child in the frame. If they are busy, you will need to use a faster shutter speed to freeze the motion. Using a fast 50mm lens means you will be able to open up the aperture to allow you to use that faster shutter speed indoors and avoid triggering your flash.
Go Low: Kids are short and you may have gotten on your knees to get their eye level, but now, go further. Come on, you can do it, lie down. You may be amazed at what the world looks like from the ground. Babies tend to hate tummy time, but if you get down with them, they may even enjoy it more and you can end up with some wonderfully funny faces. Or, how about that mountain of toys on the playroom floor? You think it looks bad from where you are standing? It is massive from down here!
Tech tip: Keep your aperture as wide as your lens will let you go so you can blur some of the floor in the foreground of these shots. That will help you isolate your subject even more.
Bird’s Eye: Breaking the adult’s eye level angle is not always just about sitting “criss-cross applesauce” or laying on the floor. It is about carefully observing the world that your child inhabits. It may be the same one as you, but it sure can appear different when you make an effort to look from unexpected points of view. Climb (carefully!) up above the kids and shoot directly down on mealtime, playtime, naptime, story time or bath time…anytime really. I have balanced (carefully! yet precariously) on the edges of various bathtubs, crib railings and dinner tables to get some of my favorite shots. It may be easier to grab a step stool though.
Tech tip: Use the widest focal length that you have and really get a sweeping scope of the children in their environment. Just watch out for your own feet getting into the frame.
Reflections: Use reflections to not only capture yourself with kids, but to catch their expression when they don’t realize the camera is trained on them. You don’t need a house full of mirrors to do this either. When you start looking, you will find shiny surfaces all around you.
Tech Tip: Show yourself in the shot. Set the camera to closest subject auto focus mode and take the camera away from your face before you press the shutter button.
Almost as often, when searching for ways to improve your photos of children, you will be told to “Get closer.” Children’s faces are so perfect and beautiful that it is great advice for you to fill the frame with them. Isolate the tiniest of details by photographing in close on things like newborn lashes, pursed toddler lips going in for a kiss or the drips of a juicy orange picked right from the tree. These shots make for beautiful additions to your collection of images.
Tech tip: Use a macro lens, close-up adapter (or the little flower icon for point and shooters) to get the closest focus possible.
Far Away: Now that you have that powerful and fantastic full frame eye contact shot of your child, step back and let the kids in your photos breathe. You will need to really step back and feature the children in their big world. This angle will emphasize their smallness, but their confidence at being alone in the frame will be their strength.
Tech tip: Use color and negative space well. A messy shot will not be as powerful.
Image by Peta Mazey
Enjoy this post? Check out Rachel’s new eBook – CLICK! How to Take Beautiful Photos of Your Kids
Rachel Devine is an international commercial kid photographer and daily life photo blogger from the states. She currently lives in Melbourne, Australia. Rachel and Peta Mazey are the photography duo behind “Beyond Snapshots”. They teach and mentor (in person and online) photographers of all levels on how to take better photographs of life. Their book will be published next year on Amphoto/Random House.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
How to go Beyond the Regular Composition Advice for Getting the Best Shots of your Kids
Cars.com’s Ian Merritt gives some tips on how to photograph your car.
Video samples and impressions of the Carl Zeiss Distagon 2/35 lens paired with a Canon 60d SLR body.
Here are some suggestions of things you as a photographer should consider BEFORE, DURING & AFTER a shoot with a model, to make it a success. Also of use for models, I hope 🙂 In Australia I recommend Digital Camera Warehouse: goo.gl Outside Australia I recommend Adorama: goo.gl & Amazon: goo.gl ====== Sign up to our mailing list at www.thatnikonguy.com See all the latest photography news & reviews on my second channel here www.youtube.com Join in: www.facebook.com Twitter: twitter.com
A double exposure is where two photographs are put onto the same frame of film by not advancing the film after one picture is taken. Create double exposures with tips from an experienced photographer in this free video on creative photography. Expert: Franc Anderson Contact: www.anderson.hu Bio: Franc Anderson is a Northern Irish photographer who has been living and working in Budapest for the last 11 years. Filmmaker: Paul (Leopold) Volniansky
Video Rating: 4 / 5
www.silberstudios.tv Documentary photographer Daniel Milnor joins us today on the Marc Silber show to talk about his approach to photography and the work he loves to do. He loves focusing on documentary work, especially long-term black and white documentary projects, both domestically and internationally. In the field, Dan uses a very stripped down system of equipment. He often works with a single camera and a lens and occasionally mixes cameras and formats only when he teaches. Typically, he advises against mixing formats, such as color and black & white photographs. You only have a split second to catch an image when analyzing a scene, and having too complex a set-up may cause you to miss the moment. Developing the idea of a project’s story is crucial, so he always does his research beforehand. Nowadays, it is easy to do documentary work by going out into the field and winging it, but when you have a theme in mind, it’s better to perform research for a more complete picture. BTW, a big thanks you to the folks at Calumet San Francisco for helping us out with the shoot. Thanks to WPO for their assistance with the interviews.
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