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Discuss: Better Equipment Versus Knowledge – Which Will Help You Improve Your Photography More?

22 Apr

As a photographer, you always have the urge to buy new equipment thinking it will bring you better results. This might be true, but only up to a certain point, because if you don’t have the knowledge you can’t make the most out of your equipment. I started with a Nikon D3200 and I use it to this day because, in my opinion, it’s not the equipment that is going to help me take better photos.

If you’re asking yourself, “What can I do with my entry-level camera?” then this is the article that’s going to prove that you can achieve great things and be a great photographer with your own camera. There are many photographers that took some amazing pictures with film cameras, photographers like; Andreas Feininger, Henri Cartier-Bresson, Eve Arnold, etc.

What keeps you from taking better photos, your EQUIPMENT or your KNOWLEDGE? - portait in a field

We cannot deny that their cameras were the best of their time. But my point is that even today they could compete with any owner of a fancy camera because having the latest camera is not going to guarantee a better vision.

I’m going to give you some tips and tricks on how to take better photos and overcome the obstacle of not having the latest equipment.

1. Read

The most important thing you can do is to read. Many people skip this step and think that only by practicing will they improve. It is true that you have to practice, but unless you study the theory first there is no way of practicing in an efficient way.

For example, if you read an article about shutter speed and aperture it’s easier the understand the mechanism and then apply it, than trying to figure it out all by yourself.

Start here to get to many great dPS articles and find the topics that interest you the most.

girl reading in the grass - What keeps you from taking better photos, your EQUIPMENT or your KNOWLEDGE?

2. Know your equipment

You just bought your first camera and you are stuck with your kit lens. But before buying a new lens you have to learn the basics. You can use your kit lens for numerous types of photos, from landscapes to portrait photography.

I took more than 5,000 images with my kit lens before buying my second one, and I learned a lot of helpful things. If you’re shooting portraits, 35mm focal length can get a nice bokeh having an aperture of f/4.5. This focal length is perfect because it’s not wide so you’re not going to distort the face and you can have more light than shooting the same lens at 55mm, f/5.6.

3. Know what to buy

Buying equipment can be difficult when you can’t afford expensive things and you have to spend your money right. I am speaking from the perspective of a portrait photographer. My first portrait lens was (and still is my main lens) a 35mm f/1.8. If you want nice bokeh for a cheap price this is the right choice. I’m still exploring with this lens and I always find new perspectives.

Knowledge Over Equipment

Next, I’m going to present some arguments on why better equipment doesn’t necessarily make you a better photographer and on why knowledge can help you overcome your equipment struggles.

Buying new equipment is always tempting, but you have to learn how to make the best of what you already have. The best thing you can do as an amateur is buying an entry-level camera and a prime lens. Stick with it and see if you can come up with a new vision every time you go out to take photos.

At first, I didn’t know how to use manual mode. But do you think buying a better camera is going to help with that? No is the answer, you have to read and understand how the relationship between ISO, shutter speed and aperture affect everything in a photo.

After learning that no picture is the same and the settings are going to change every time, you have to do a lot of trial and error. If you practice enough you can achieve great things. After learning how to use your equipment you have to learn how to process your pictures because it makes a big difference as well.

What keeps you from taking better photos, your EQUIPMENT or your KNOWLEDGE? - before and after processing

What keeps you from taking better photos, your EQUIPMENT or your KNOWLEDGE?

The next thing you have to know is that light makes the difference in every picture, you have to learn how to manipulate and control the light. Once you know how light works you are going to love your equipment.

lady and umbrella snowing - What keeps you from taking better photos, your EQUIPMENT or your KNOWLEDGE?

lady in leaves - What keeps you from taking better photos, your EQUIPMENT or your KNOWLEDGE?

When do you need better gear?

There are a few situations where better equipment can be helpful. I’ll give you a few examples and some tips to overcome the difficulties.

1. Shooting in low light conditions

Having expensive equipment can help you here, you can have a higher ISO without a lot of digital noise. With my entry-level camera, I can raise the ISO to 400 and it already looks really noisy. With a full frame camera or even an expensive DX sensor you can raise the ISO to 1600, or 3200 and your image is still going to look fine.

girl walking in the woods in winter - What keeps you from taking better photos, your EQUIPMENT or your KNOWLEDGE?

2. Sports photography

This is another hard thing to do with an amateur camera, you can still achieve great things. Your autofocus is going to play some tricks on you, so you have to work on your timing. Knowing where and when to press the trigger will help your autofocus a lot. Another thing you can do is to learn the panning technique.

Conclusion

So in summary, equipment is just a tool. It doesn’t help you to shape your vision and buying the latest gear as a beginner is not the best choice you can make. When you find that you have difficulty expressing your vision with your current equipment, then you can start thinking about upgrading.

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Are Photographers Artists? Let’s Discuss

21 Nov

Are Photographers Artists? Let's Discuss

I took this image while on a trip out west to the Grand Teton Mountains and Yellowstone National Park with my family and about 50 other people. We were driving towards our next lodge, past the mountains and the Snake River where we would be rafting the next morning when I became rather fascinated with the scene that lay before me.

Having never seen mountains before in my life – besides seeing the photographs online and in movies – I was awestruck. Immediately I grabbed my camera and began snapping away, fighting the glare of the window while also paying careful attention to the meter in my viewfinder. After I had arrived home about a week later, I was culling the images I had taken on the trip. Almost immediately, this became my favorite.

Are Photographers Artists? Let's Discuss

This image was also taken in the mountains, another favorite of mine, was a much more thought out composition. Our tour guide had told us that we would be stopping to see a church with plenty of photographic opportunities. Almost immediately I knew the shot that I wanted.

I set up my tripod ever so perfectly, did a few test shots to make sure my exposure was right-on, and then explored the area, leaving my camera in position until everyone else was back on the bus. Although I knew I would be the last back in my seat, I knew it would be worth the wait. And it most definitely was, for as everyone else was loading on the bus, the scene was almost completely empty. I took three exposures of the scene, bracketing it just in case the light had changed, and got back on the bus.

Are we artists or photographers?

The reason I’m telling you about these two images is not to make you jealous of my amazing adventure with my family. Rather, I tell you about these to get you thinking. You see, since the days of Ansel Adams, there has been a major debate regarding whether or not photographers should be considered artists.

Ansel Adams himself had struggled with this, having been amongst many other photographers in the beginning of the craft who used soft-focus lenses to create images which looked less like reality and more like paintings. Why? Because photography as a form of art was not taken seriously at the time and to make it among other artists, you had to make your images look like they were painted, not photographed.

Do we document or make art?

So, this begs the question: as photographers, are we crafting works of beautiful art? Or are we simply documenting the world around us with some special – yet easily done by others – ability?

Are Photographers Artists? Let's Discuss

One argument that is commonly brought to light against photography being an art form, is that anyone can do it. There is no need for special gear, no apprenticeship is mandated; you do not even need to take a class to learn photography. Most professional photographers haven’t taken a formal education.

But if this is the case, why do we bother honing our skills? What is the point of constantly learning new compositional techniques, new ways of post-processing? Why do we bother to buy “better” camera bodies, new lenses, sturdier tripods, if our craft is not considered a form of art? If anyone can do it, what is the point of buying a $ 4000 Nikon D850 that everybody is drooling over?

Because not everyone can do what we do

Are Photographers Artists? Let's Discuss

Yes, everyone can be a photographer; every random guy on the street can pick up a camera – or use his smartphone – and take a pretty picture of the sunset. Just look on Instagram and you will see what I mean. But that can be said of painters, sketch artists, etc., as well. Everyone can be an “actual artist” as well. I can pick up a paintbrush, slap some paint on a canvas, and call it modern art. I can draw a single line in the center of a 20×30 foot canvas, hang it in a prestigious art gallery, and sell it for millions. It’s been done before, and it will continue to be done. So, the question is, is this still art?

So if you tell me that painting a single stroke on a canvas is art, then you must also allow me to tell you that photography is art. Otherwise, you are saying that everyone can do photography yet not everyone can paint a line, correct?

Are Photographers Artists? Let's Discuss

Photographers as documentarians

There is also the argument that, as photographers, we are simply documenting the world. We are merely at a location at the right time; we are lucky.

But if we are lucky, how can you explain the countless hours we spend sitting in one spot, waiting for the light to hit, only for the photograph to not turn out as we had hoped. And then we go back to that same location and wait even longer, hoping that the light will turn out this time. Then when it doesn’t, we continue to go back until finally, that light works out. Is that truly luck?

Are Photographers Artists? Let's Discuss

Yeah, just like painters we could probably find a way to Photoshop in some light, replace the sky in the scene to something more visually appealing, and then call it a day.

It’s more than just luck

To say, however, that we are lucky with almost all the shots that we obtain only undermines the countless hours, months, years that we have spent attempting to get better at our craft. Studying compositions of the great photographers before us, buying tutorials of the photographers we admire in hopes that they know something we do not – that does not constitute luck.

Yes, as photographers, we rely on chance. We rely on the weather turning out how we had hoped and the scene we are looking for to be found. At the same time, however, we must learn to adapt to our surroundings, and to our situation. If we are to make it as photographers, we must learn that not everything will turn out as perfectly as we had hoped.

Are Photographers Artists? Let's Discuss

And at that point, we can either come back to the location later or find a way to make it work. We must use our creativity to craft a scene that will be just as good, if not better, than the one we had originally planned in our head.

Looking back at the photographs I had taken while out west, I must ask myself, am I an artist?

What does the master say?

I think Ansel Adams had it right when he said:

“A photograph is made, not taken. A photograph is not an automatic recording, neither is it an accident. It is a concept, a vision of the world translated into shades of gray, communicated in terms of simple devotion to the medium – a statement of the utmost clarity and perfection possible…”

Are Photographers Artists? Let's Discuss

 

Art has always been subjective. It doesn’t matter if you are taking a picture of your cat or a grand vista in Iceland. In my opinion, if you have an opinion, a mood or emotion, that you are trying to convey to the world through your imagery, then you are an artist.

So, the question is, do you consider yourself to be an artist? Let’s discuss in the comments below.

The post Are Photographers Artists? Let’s Discuss by Cody Schultz appeared first on Digital Photography School.


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To Process or Not To Process? Let’s Discuss

05 Jun
Processing a RAW file.

Processing a RAW file can allow a photographer to bring out the full range of tones in an image.

Often when I’m looking at photos in forums online, or interacting with photographers in person, inevitably someone will proudly claim that the image in questions is “Straight out of the camera”. Almost without fail, this leads to a huge discussion as to the merits of post-processing images, with those on the side of straight-out-of-the-camera images acting as if those photographers who process their images are somehow in the wrong, or are being deceptive.

There are merits to both sides, to be sure, but what’s amazing is how staunchly both sides defend their positions. At times the discussion becomes more heated than “Mac versus PC” or “Canon versus Nikon”. Having been on both sides of the debate, due to the nature of the work I’ve done in the past, I can understand both sides. However, I can also say that both sides can be somewhat misguided in their arguments at times.

Processing? NO!

Unprocessed sports image

Photojournalists covering sports or other news are often advised not to process images, and some news agencies outright forbid it.

Those who oppose any post-processing sometimes argue that it is a crutch, that they don’t need post-production to fix their images, because they get it right in camera. That said, there are plenty of reasons why you might not want to process your images, purity of the image aside.

In the photojournalism world, image manipulation beyond dodging and burning, contrast, and color correction, is a big no-no. Every few months a story shows up in the photo industry news websites that tell the sad tale of another photojournalist who lost his job or a contest because he or she removed or added an element from an image. In the photojournalism arena, this is understandable. Your job is to tell the story visually, and removing or adding elements in an image changes that story. So in that case, it’s best to keep the manipulation to a minimum. Some news agencies have forbidden their photographers from using the RAW format at this point, to reduce the chances that the images have been drastically altered. The goal here is truth, and while the photographer has already added their spin to it by making important compositional and exposure decisions at the time of capture, that’s where it should end.

Editor’s note: long time National Geographic and Magnum photographer Steve McCurry is under fire for this very issue right now. What are your thoughts on that, is he in the wrong or is it a witch hunt? 

Event Photography

Event photographers who shoot thousands of images in the course of a few hours often choose not to process images due to the amount of time it takes.

Another time where processing images is probably not a great idea is when you are covering large events. For instance, in a past life, I owned a studio that specialized in covering youth sports events, such as soccer and baseball tournaments. On the average Saturday afternoon, it was quite common for me to capture several thousand images on my own, and I often had a team of three or more photographers working for me! Speed is the key at these events, so it’s important that the images be sellable to the participants and their parents as soon as they are shot. This means exposure, white balance, contrast, and saturation must all be good straight from the camera. As soon as a game ended, those images were loaded immediately onto our server to be previewed by customers and participants. There was no time to adjust that many images individually.

Finally, there are those who simply prefer not to do that much work on a computer with their images. The act of capture satisfies their creative urges, and they are happy with their images.  There is nothing wrong with that. Some might say that working in this manner ensures their exposures are correct in every way when the image is made, which is certainly an admirable way of practicing the art of photography. This philosophy of course, also allows you to go out and do more photography, and spend less time on a computer.

Those who choose not to process get their images correct in camera, because to them there is no post-processing option. It helps them be better photographers at the time of capture, because they must pay attention to the details of the exposure, check their histogram, adjust white balance, and apply the correct picture style.

Post-Processing is Part of the Photographic Process

Processed Landscape Image.

Landscape photographers process RAW files in order to pull as many tones as possible out of the image, preserving shadow and highlight detail.

Often, when I hear the words “I get it right in camera,” it often sounds to me like “I don’t know how to use Photoshop.” True or not, for those on the side of post-processing, the photographic process doesn’t end at the press of the shutter button, in the same way it didn’t end for those of us who once shot film, then ventured into the darkroom to develop film and make prints. Those who have never been in the darkroom will likely never understand exactly how much manipulation could be achieved in the darkroom, from color and contrast adjustments, dodging and burning, to masking and photo compositing.

The truth is, there has NEVER been such a  thing as a “straight out of the camera” image.

(With possibly the exception of slides, but they can still be altered in the printing stage.)

Even for those today, who choose to not use Photoshop or other image processing applications, the image is far from being straight out of the camera. You’re simply letting your camera do the processing for you. When you choose a picture style, you’re telling your camera how to handle color, contrast, tone, and sharpness. You can create your own styles as well, manipulating color and contrast in camera to your own liking. Simply because the image wasn’t touched on a computer doesn’t mean it wasn’t processed, or manipulated. Knowing all of this, doesn’t it sound foolish to say that an image straight from the camera hasn’t been processed?

Let’s get this out of the way quickly: Post-processing is not a crutch. If I look at an image on the back of my camera and say “I’ll fix it later”, then it’s already a bad image, and no amount of processing is going to correct it. I am a staunch proponent of shooting RAW, for many reasons. As an avid landscape photographer, I know full well that the camera can have problems handling a scene with a lot of dynamic range, such as a sunset. I use optical filters on my lens to help with that, but there are still times when the image out of the camera fails to capture the image I saw with my eyes.

Close attention to the histogram is essential, ensuring that I have all of the tones I need to work with, careful not to clip highlights and shadows. This is very similar to Ansel Adams’ zone system. I know where objects in my scene should register on the histogram, and I adjust my exposure to ensure that’s what I get when I open Photoshop. As Ansel Adams once said, “Dodging and burning are steps to take care of mistakes God made in establishing tonal relationships.” The same is true for color correction.

This side-by-side comparison shows what is possible when processing a RAW file. On the left is the image straight from the camera, using the Standard picture style. On the right, the same image processed in Adobe Camera RAW.

This side-by-side comparison shows what is possible when processing a RAW file. On the left is the image straight from the camera, using the Standard picture style. On the right, the same image processed in Adobe Camera RAW.

As a landscape photo artist, I do not consider myself a documentarian. While I’m not personally a fan of compositing images together to create the finished piece, I do believe that all darkroom tools are on the table. This starts with RAW processing, and continues into Photoshop, where I will use adjustment layers, filters, and masks to bring the most out of my image. My intent is to bring out what I felt when I was at the scene, capturing the image. Very rarely, for me, does a camera do that without a little help from me.

Adobe Camera RAW

This is the tool palette in Adobe Camera RAW. Each slider is a separate control over the image, and each tab across the top represents another set of controls, enabling you to get the most out of the image.

Finally, and this is my biggest reason for shooting RAW when it is feasible, is the purity of the data. If you are capturing JPEGs straight out of the camera, the camera has already decided to throw away a good portion of the data you’ve captured. JPEGs are 8-bit files, across three color channels. For each of the three color channels (RGB) the camera is converting your image, at the time of capture, to 256 shades of gray per color, leaving your image with 16.7 million total possible colors. In addition, the image is compressed, and redundant data is discarded. This compression is lossy compression, and every time you open and do anything to your image, such as removing a dust spot, and then save it again, you are throwing away more data. Eventually, artifacts will appear in the image, ruining it and making it unusable.

Today’s RAW files are 14-bit files, meaning each color channel contains 16,384 shades of gray. This means 4 trillion total colors are available in the image. Issues such as banding and artifacting, which can arise when using JPEGS, are nearly nonexistent issues when editing a RAW file. I’ve seen JPEG banding in portraits where the skin tones change, and I’ve seen it happen in landscape images where the sky transitions from a vibrant blue to a pale orange at sunset. It can happen to any image. So even if I plan to do nothing to my image but remove a dust spot, it’s worth starting with a RAW file that requires some processing. Even if you oppose post-processing, it’s quite easy to apply a picture style the same way the camera does, and export a JPEG.

Processed Portrait

Portrait photographers often choose to process images to allow them to create a feeling about their subject, in addition to allowing them to retouch the image, and make their subject look their best.

Conclusions

Honestly, there’s no right or wrong way to work with your images. After all, a photographer’s work is very personal to them, and everyone chooses to work in their own way. When I can, I prefer processing my images and getting the most from the file. When the situation calls for it, I will shoot JPEG, knowing full well I won’t be able to make adjustments later, so I make sure it’s right when I push the shutter button.

What do you prefer, and why? Do you process or not?

Editor’s Note: This is one of a series of articles this week that are Open for Discussion. We want to get the conversation going, hear your voice and opinions and talk about some possibly controversial topics in photography. Let’s get it started here – do you agree or disagree with the points above? Do you have any others to add? Give us your thoughts below, and watch for more discussion topics each day this week.

See all the recent discussion topics here:

  • 7 Commonly Accepted Photography Beliefs Debunked
  • Is HDR dead? Some dPS Writer’s Thoughts on this Controversial Topic
  • How to Find your Personal Photographic Style
  • Why You May be Failing to Reach Your Potential as a Photographer

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4 Things Commercial Photographers Need to Discuss with Their Small Business Clients

20 Apr
Lead architects of a high-end design firm.

Lead architects of a high-end design firm.

Providing successful images for a business can be very rewarding, especially when it’s for a budding business that you get to witness growing. While all businesses, big and small, essentially have the same demands, a small business is most likely still learning how to work with various professionals and creating their processes as they go. Diving into a project with a small business can lead to lots of time and money being wasted if terms and project details are not discussed openly, early on. The following are some key factors to discuss with your small business client during an initial consultation so that conflicts can be avoided down the line:

1. Brand

Large family-run urban farm.

Large family-run urban farm

While we are hired in part because of the individual style that we have developed over time, a business’s brand is the first thing that needs to come across to their audience. When working with a small business especially, the branding should be clearly defined in order to be able to provide images that will be a great benefit to them. Do they have certain color palettes they work with? Are their graphics portraying a more formal brand, or a very casual brand? Are they nature-oriented, or do they work in traditional office spaces? What clientele are they catering to? All of these are questions that should be addressed in the initial consultations. A small business may still be developing their brand or creating a branding package, so without a brand to guide the images, there may be a need for updated photos once the brand is clearly defined. Expressing this to a client will not only help them understand that professional photography is an investment intended to last a long time, but it will also show them that you are keeping their best interest in mind for their long-term success.

2. Budget

Small businesses will typically have very low budgets, so the decision to invest in professional photography services will be a big one for them. Regardless of the cost for your services, there is likely to be very little (if any) wiggle room in their budget allowance. Being aware, and respectful, of the client’s budget restrictions will not only help ensure that there is less run-around in the planning stages, but it will also give the client more confidence that you are an ally. If you offer packages geared towards commercial work, consider having several options to select from, or to use as a kick-off for budget discussions. Often a custom quote is required depending on their specific needs, but some packages to give the client a ballpark idea of pricing can let them know what they can expect to spend.

Independent financial advisor.

Independent financial advisor

3. Timeline

Depending on how experienced your small business client is, their timeline for getting final images may not be very realistic. This is where it’s your job to educate clients on your process and, more importantly, on your specific ability to turn around jobs in a time crunch. Knowing their expectations about timing and delivery will be vital in creating a quote, coordinating any vendors (venue, props, assistants), and making sure that the client gets their images in time to use them.

Do they require any extensive editing techniques or talent that requires outsourcing? Did they request a location or backdrop that requires reservations and a long wait for booking? Will they need models, and if so, do they have specifics in mind? Are they planning on using these images for a specific event, or marketing campaign that has a set date? Which leads to the final factor to keep in mind…

Home-based food business products.

Home-based food business products

4. Usage

Many folks will assume that if they hire you to take photos, they then get to keep the photos and do as they wish with them. In reality, commercial work is generally very specific about what usage is permitted. If they are planning to use the photos on a product label, do you get any royalty from that product sale? If they are hiring you because of a large print marketing campaign, can they then use the images in email campaigns several years down the line? Are you granting them use for a certain amount of time, or can they use these images forever? Once you turn over the images, are they allowed to do any alterations to them?

While there is no one answer to these questions, be sure to discuss the planned use of these images and to clearly specify it in a contract. Both parties need to be in agreement with what is decided, and having this discussion up front will once again show your client that you value your work and intend to be completely open with them about terms.

Owner of a co-working space.

Owner of a co-working space

Although there are many factors to discuss with your client at the beginning of a project, these four points will help get the basic information clarified, and get both parties on the same page. These discussion points will also go a long way to helping you create a quote for them that is accurate and all-inclusive; avoiding time-consuming confusion farther into the project.

Do you have any additional points of conversation that are a must for initial client consultations? Please share in the comments below.

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DISCUSS: What Would It Take to Get You To Swap to a New Camera System/Brand?

21 Oct

switch camera system brandThis last week Sony released a couple of cameras that caused a big stir around the online photography community – the Sony A7 and A7R cameras (pictured right). These full frame, interchangeable cameras come in a compact body with lots of features and the initial hands on reviews being published from around the web say that they are going to be really popular.

I’ve seen a lot of DSLR owners say that they’re pre-ordering these cameras already and it has made me wonder – what would it take for me to switch from one camera system to another?

The thing that stops most DSLR owners from switching brands is their investment in lenses and accessories that tie them into a brand. But increasingly we’re seeing adapters released that allow using lenses with one lens mount on other brands. For example these new Sony cameras can be fitted with an adapter that allows for my Canon lenses to be used.

The barriers to switching are slowly being removed.

I’m not yet ready to make a switch but I’m seeing more and more people do so. For some reason I’m particularly seeing disillusioned Canon DSLR users make the switch – maybe its just that there are more of them but quite a few feel frustrated by the lack of development by Canon of late.

So here’s my Question

What would it take for you to switch from one camera system to another?

Are you tempted to do so by some of the new cameras announced in the last year?

Or have you already made the switch and do you have any regrets?

Post originally from: Digital Photography Tips.

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

DISCUSS: What Would It Take to Get You To Swap to a New Camera System/Brand?

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DISCUSS: When you Photograph People in Black and White, you Photograph their Souls

20 May

NewImageCanadian photojournalist – Ted Grant – is quoted as saying:

“When you photograph people in color, you photograph their clothes. But when you photograph people in Black and white, you photograph their souls!”

This quote often comes to mind when talking about portraiture and I thought it might make an interesting discussion starter.

Do Ted’s words resonate with you?

Post originally from: Digital Photography Tips.

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

DISCUSS: When you Photograph People in Black and White, you Photograph their Souls


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DISCUSS: What Type of Camera Bag Do You Use?

29 Apr

photography-bags-5.jpegWhat type of camera bad do you use and recommend?

We have asked this question every couple of years so I’m interested to see how things have changed since last time was there are a lot of newer bags and brands coming onto the market.

What camera bag do you use and recommend – and why?

  • Do you use a brand like Think Tank Crumpler, Tamrac or Lowepro OR do you prefer a more anonymous brand that looks less like a camera bag (and makes it less attractive to thieves)?
  • Do you use a bag that is not really a camera bag at all?
  • Do you prefer a backpack, a sling bag or even a roller bag?
  • What features do you look for in a camera bag?
  • Do you have more than one bag for different situations?

Looking forward to hearing what bag/s you use!

Post originally from: Digital Photography Tips.

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

DISCUSS: What Type of Camera Bag Do You Use?


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If You Had to Simplify Your Camera Kit… [DISCUSS]

16 Oct

If you had to really strip your camera gear back to the very basics what would you do?

Whats in my camera bag 52/365

This question comes after a chat with a friend yesterday who admitted that he now had 3 DSLRs and 14 lenses for them… in addition to several compact cameras and a four thirds camera body with 4 lenses.

I asked him what he’d do if he had to give it all up except for one camera body and one lens and he almost started to hyperventilate but it led to a fascinating conversation about the merits of different gear.

I know not everyone has that level of gear at their disposal but I know many of our readers have acculated quite a bit of gear…. so what would you do if you had to simplify or strip it back to the basics.

Lets say you can only have one camera body and one lens – which ones would you keep?

Post originally from: Digital Photography Tips.

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

If You Had to Simplify Your Camera Kit… [DISCUSS]



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Photojournalists discuss the ethics of non-intervention

31 Jul

Guardian.jpg

The photojournalistic tradition of trying not to play a role in the scene you’re shooting doesn’t answer every ethical dilemma. While the viewing audience of news images would hope that the photographer hasn’t intervened or staged the image, does that mean the journalist should simply observe acts of violence and crime? British newspaper The Guardian has spoken to eight photographers who’ve had to make the decision whether to shoot or act in such situations. Their perspectives (and regrets) are presented alongside a slideshow of the often harrowing images they’ve taken. (from The Guardian)

News: Digital Photography Review (dpreview.com)

 
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Photographers and publishers discuss making money from apps

24 Sep

The British Journal of Photography has published two articles about photographers using the iPad and Apple’s App Store to make money from their work. In one, publisher Michael Mack explains the logic and challenges of producing photography books for tablets. Meanwhile National Geographic photographer Michael Nichols explains why an attempt to update his website ended up with him selling an app through Apple’s store. (BJoP via PetaPixel)
News: Digital Photography Review (dpreview.com)

 
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