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Coronavirus: Whatever happens next, COVID-19 is already having an effect on the photo industry

03 Mar

Coronaviruses are a large family of viruses that cause illnesses ranging from the common cold to severe acute respiratory illnesses such as Middle East Respiratory Syndrome (MERS-CoV) and Severe Acute Respiratory Syndrome (SARS-CoV).

In December 2019, doctors in Wuhan, China, started to identify cases of what looked like a new form of coronavirus, called SARS-CoV-2. The disease caused by SARS-CoV-2 has since been given the official name COVID-19. Local quarantines were put into place, but you know what happened next: COVID-19 has spread across the globe, with more than 87,000 confirmed cases as of Monday March 2nd, 2020.

So why is a new illness – which has killed far fewer people than normal strains of flu in an average year – being taken so seriously?

‘An economic pandemic’

The medical risks of COVID-19 are still being assessed, and are beyond the scope of this article, but inevitably, much of COVID-19’s impact so far has been economic.

The economic impact is here, and it’s very real. Recent record falls in stock markets all over the world are a clear indicator of what one analyst called an ‘economic pandemic’,1 which reflects a growing worry that markets could be badly hit by the consequences of what is now a global problem.

Last month, as a result of COVID-19, Chinese manufacturing fell to a record low

But first, to China – because China is important. In 2018, China accounted for about 16% of the global economy, and about 28% of global manufacturing output. And last month, as a result of a loss of output caused by COVID-19, Chinese manufacturing fell to a record low.2

A disruption to iPhone production in China was enough for Apple to issue warnings about revenue this quarter.

‘Chinese manufacturing’ encompasses everything from cars to smartphones, not to mention the myriad of tiny components that end up inside virtually all consumer electronic devices. So when factories in China shut down, that creates a problem. Around five million jobs in China rely on Apple device manufacturing alone, and the company has already warned that it will miss revenue goals as a result of the outbreak.3 It is estimated that up to 760 million people in China are currently subject to some kind of travel restriction. For context, that’s more than double the entire population of the USA.

Effect of disruption in China on consumer digital imaging industry

It makes sense that a major drop in production of iPhones would affect Apple’s bottom line. The company’s Zhengdou facility is estimated to churn out up to 500,000 of them a day,4 and the company sells about one hundred times that number in a good quarter. That’s a rate of production – not to mention sales – far in excess of any digital camera, but in the photo industry, too, the effect of the COVID-19 outbreak is being felt.

To take just one example, after closing completely for a time, Fujifilm’s facility in China re-opened in mid-February but has been operating at reduced capacity since then. This has caused disruption to the production of its popular X-T30 and X-T3 models, and the company cannot confirm when it will be able to ship the new X-T4.

It’s not just Fujifilm. Most consumer digital imaging (DI) companies manufacture some of their products in China, and are now feeling the effects of industrial disruption inside the country.

With the ever-changing situation on the ground […] it has proven difficult for head offices in Japan to get a clear picture of what’s actually going on in China

In private conversations with representatives from several imaging companies (who asked not to be quoted directly) the words I’m hearing most often are all the ‘un’s – ‘unknown’, ‘uncertain’, and perhaps most frequently, ‘unclear’.

Right now, it seems that some, if not all of those camera and lens companies that rely on Chinese factories do not even know for certain how much manufacturing capacity they currently have at their disposal. With the ever-changing situation on the ground, rolling quarantines and restrictions on local travel within the country, it has proven difficult for head offices in Japan to get a clear picture of what’s actually going on in China.

Everyone that I spoke to expressed the same hope: that the long-term impact will be limited, and things will become clearer in the coming weeks. But more than two months after the virus was first reported, it’s obvious that even to those on the inside, a lot is still unknown, much is uncertain, and many things remain unclear.

The X-T4 is Fujifilm’s newest high-end mirrorless ILC. Manufactured in factories in China and Japan, it is due to ship next month, but this may change.

Japanese outsourcing to China

Japanese companies started moving manufacturing to China en masse starting in the late 1980s. The first trigger for this change was the so-called ‘Plaza Accord’ of 1985. The Plaza Accord was an agreement between France, West Germany, Japan, the United States and the United Kingdom to deprecate the US Dollar against the Japanese Yen and the German Deutsche Mark. This had the desired effect of making US exports cheaper, and created a period of growth in Japan known as the ‘Bubble Economy’.

Unfortunately, following government attempts to cool the economy down, the bubble burst and in the 90s Japan entered a protracted period of deflation and economic stagnation, known as the ‘Lost Decade’. A series of subsequent domestic economic crises, culminating in the global financial crash of 2008, led many Japanese companies to move factories to China during this time period, where production costs were lower.

Some camera brands actually don’t have a presence in China at all

By the early 2010s however, China’s economy was starting to grow rapidly and the cost of producing goods in China went up, making outsourced manufacturing less attractive.

This led to Japanese companies adopting what was called a ‘China plus one’ strategy, opening additional factories in Southeast Asia, where production was cheaper. To take Fujifilm again as an example, it has facilities in China and Japan, but in recent years has also opened sites in the Philippines. Similarly, Canon and Nikon also operate factories in Southeast Asia, in addition to China and Japan.

Some camera brands actually don’t have a significant presence in China at all. For example, Olympus’s main manufacturing base these days is in Vietnam.

The problem with global supply chains

You might assume that as a result, these manufacturers should be insulated. However, even companies with facilities all over the world may still be affected by the closure of Chinese factories and the disruption of regular trade between China to Japan. That’s because China is the world’s biggest exporter, and the source of so many ‘intermediate goods’ – component parts or sub-assemblies which go into finished products.5

With an estimated 3 million+ shipping containers currently stuck in China, not going anywhere, a lot of companies who rely on the products and components inside them are bound to be affected.

As I was preparing this article, Canon announced that it is suspending operation at five of its factories in Japan, making SLR cameras, lenses and surveillance equipment, due to a shortage of parts from China. Ricoh has delayed the planned re-opening of some of its Japanese manufacturing lines for the same reason.6

Chances are, most products labeled ‘made in Japan’ still contain plenty of parts and sub-assemblies that weren’t. As Roger Cicala of Lensrentals told me in conversation this weekend, with only a couple of exceptions ‘there really is no “made in…” anywhere, anymore’.

Sigma makes all of its cameras and lenses in Japan, but some of its Japanese suppliers still source components from China. See our recent Sigma factory tour

One of those exceptions is Sigma. As readers of our regular in-depth interviews will know, Sigma is unusual among Japanese DI companies in that it makes all of its products inside Japan. As such, according to CEO Kazuto Yamaki, issues in China are expected to have ‘relatively little impact’ on its business ‘for the time being’. However, some of Sigma’s Japanese suppliers do have factories in China, from which some component parts originate. Mr. Yamaki told me that his team is currently investigating alternative sources for these parts if it becomes necessary, and hopes that the situation will become clearer ‘in one to two weeks’.

The hope is that things improve, capacity recovers soon, and existing stockpiles of components will be adequate to avoid disruption

It’s impossible to tell what the long-term effect of continued interruption to Chinese industrial output to the camera industry will be. It’s estimated that if Chinese manufacturing capacity remains significantly reduced for another month, through the first quarter of 2020, Japanese firms (along with those in South Korea) will be hit hard.7

The hope of course is that things improve, capacity recovers soon, and existing stockpiles of components will be adequate to avoid too much disruption in the meantime. Of course there remains the risk that if COVID-19 continues to spread to other countries – particularly in Southeast Asia – we may yet see factory closures elsewhere in the world.

Wherever it happens, an interruption in the supply chain for consumer goods is not the only potential consequence of COVID-19 in the short to medium-term. Another worry (in fact the main worry for some of the representatives I spoke to) is the long-term effect of the outbreak on the global economy, and in the short term on the Chinese economy – and Chinese consumer spending in particular.

What happens when Chinese consumers stop buying cameras?

Manufacturing represents around 30% of China’s total economic output, and as we’ve seen, manufacturing is down. This presents a major risk to the country’s economy, which happens to be very bad news for Japan. In recent years, following a series of reforms, China has become a major consumer of goods and services. The growth of China’s middle class has increased the country’s appetite for high-end consumer and industrial goods from Japan – helped by a relatively weak Yen.8

By 2012 Japan was China’s largest trading partner in terms of exports, and in 2018, 9.2% of imports (by value in US dollars) into China came from Japan. As such, Japan’s economy is particularly vulnerable to events in China.9

Even before the emergence of COVID-19, Japanese firms were already under stress from the effects of US tariffs on China. A representative of Mitsubishi UFJ Financial Group described the US-China trade war last year as “the biggest risk to Japan’s economy” 10, and nine months on, the virus certainly isn’t helping. In January 2020, the total value of Japan’s exports to China dropped sharply, by 36%.

The loss of revenue from sales within China, and from Chinese tourists shopping in camera stores around the world, will be felt hard

China is a major market these days for high-end cameras and lenses. In an industry where growth is scarce, China is one of the few places around the world where manufacturers have seen a significant increase in sales. We know that it’s a particularly important market for Fujifilm’s high-end GFX line for example, and also for Leica (second to the US), but the Chinese market is important to every manufacturer, across the whole industry. The loss of revenue from sales within China, and from Chinese tourists shopping in camera stores around the world, will be felt hard.

According to one senior industry figure I spoke to, the hope among manufacturers is that matters improve by June, which is ‘peak season’ in the Chinese market. Meanwhile, partially as a result of restrictions on travel for Chinese attendees, several major international trade shows have been canceled, including CP+, which was scheduled to take place last week in Yokohama. That’s where I was meant to be right now, but instead I’m at my desk at home in Seattle, writing this article.

The CP+ trade show takes place every spring in Yokohama, Japan. This year, days before it was meant to open, organizers canceled the show citing concerns over public health in the midst of the COVID-19 outbreak.

What next?

So what happens next? Unfortunately, we don’t know. At the very least, it’s reasonable to expect that some planned releases may be delayed, backorders might pile up for some products, and we may see shipping dates slip for others. Hopefully that’ll be the worst of it.

Update: It’s already happening. Several lighting and bag manufacturers with factories in China have alerted customers to expected delays in order fulfillment, and this weekend Peak Design emailed backers of its new travel tripod to warn that shipping is likely to slip to ‘early to mid-April’.

Whatever happens from here on out, everyone I spoke to for this article stressed that right now the situation is being monitored very closely and taken very seriously. Plans are being put in place, and everyone’s first priority is the health and safety of their employees across the world. Roger Cicala told me that Lensrentals, based in Tennessee, is taking steps to get key employees set up to work from home, just in case of a local outbreak. I’m sure that similar plans are being made across the industry, and across the world.

Crises like these serve as a reminder of how small the world is

It’s worth remembering that the camera industry has proven remarkably resilient. None of us will soon forget the horror of the 2011 earthquake and tsunami, for example, which disrupted production in Japan for many months (despite an incredible collective act of self-sacrifice on the part of workers, which saw many damaged factories returned to limited operation within days). If nothing else, crises like these serve as a reminder of how small the world is, how lucky we are when things go right, and how much we rely on our friends and partners all over the globe when they go wrong. We are all in this together.

A note on sources, and thanks

While researching this article I spoke to representatives of several major manufacturers in the consumer digital imaging space, both in Japan and the US. Most preferred not to be quoted directly, in order that they could speak freely. I would like to thank all of them, but especially Kazuto Yamaki of Sigma and Roger Cicala of Lensrentals.


  1. PBS: ‘Why the economic impact of COVID-19 might outlast the outbreak’
  2. BBC News: ‘Chinese manufacturing hits record low amid coronavirus outbreak’
  3. AXIOS: ‘Apple will miss quarterly earnings estimates due to coronavirus’
  4. The New York Times: ‘An iPhone’s Journey, From the Factory Floor to the Retail Store’
  5. Carnegieendowment.com: ‘The Economic Fallout of the Coronavirus in Southeast Asia’
  6. Nikkei.com: ‘Canon suspends production at five Kyushu plants with new Corona’ (in Japanese)
  7. See 5, above
  8. 9., 10., The New York Times: ‘Japan Stumbles as China’s Growth Engine Slows’

Articles: Digital Photography Review (dpreview.com)

 
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How To Feel Confident About Having Your Photos Critiqued

10 Oct

We all like other people seeing our photographs, but not many photographers like to hear what other people really think of their photos. Getting a ‘thumbs up’ on Facebook or a ‘heart’ on Instagram is okay. Even a few emoticons can be very encouraging.

But while they might make you feel good for a little while, they won’t help you grow as a photographer. Deep down you know most people have just scrolled past your photo. And your mother always sends a smiley face.

Thai Model and Elephant in a natural forest setting ©Kevin Landwer-Johan

©Kevin Landwer-Johan

Taking the bold step of asking for a genuine critique on your photos is a lot different.

It can be incredibly encouraging. You may get unexpected positive feedback on an aspect of your photography you weren’t fully aware of.

But you may also be devastated. Someone who shows little empathy and no care while sharing their thoughts about your photos can do more harm than good. You may also start feeling negative from the words of someone who isn’t experienced enough in photography.

Here are some steps to help you make a good choice in asking someone for an appraisal of your work.

Before you offer any of your photos for review, do some research.

  1. Is the person offering critique an experienced photographer?
  2. Do you like their photographic style?
  3. Do you appreciate their approach to critiquing photos?
  4. Do they ask questions about your experience before critiquing?
  5. Do they express a balanced perspective?
Waterfall photo made using a slow shutter speed©Kevin Landwer-Johan

©Kevin Landwer-Johan

How Can Having Your Photos Critiqued Help Improve Your Photography?

A constructive critique of your photographs can help you see them from another perspective. A good critique will include a healthy balance of positive encouragement and constructive feedback on how an image could be improved.

Something good can almost always be said about a photo. But beware of falseness. No-one wants a fake review of their work. A helpful positive analysis is more than just a few nice adjectives. The critic should tell you why they like your photo and describe the outstanding aspects.

The best constructive feedback is carefully worded and gentle. Honesty isn’t kind if it’s delivered with brutal assertion. And negative feedback spoken harshly doesn’t help anybody. It may make the critic feel superior, but being on the receiving end isn’t encouraging. A critique of anyone’s photos should’t be about the person offering the analysis. It should be about the photo, and directed primarily to the photographer.

A good critique should include a clear explanation of the weaknesses in a photo, along with suggestions of how it could have been improved. Sometimes when talking about a photo I’ll share ways it can be improved simply by a different crop or alternative post-processing.

©Kevin Landwer-Johan Beautiful young Thai woman poses against a dark background with pink fabric.

©Kevin Landwer-Johan

Choosing the Right Critic for You

Being confident and comfortable with the person offering their opinion is important. We all see the world differently, and express what we see in diverse ways. Finding the right person to learn from as they talk about your photos is essential to it being a positive experience.

To help find an appropriate person, ask yourself these questions.

1. Is the person offering critique an experienced photographer?

Having someone less experienced than you are, or minimally more experienced, will rarely be helpful. Having a group of friends to hang out with and discuss each other’s images is different because the relationship is casual.

Find a mature person with a good deal of experience. They’ll be able to offer their opinion in positive and helpful ways based on their experience.

©Kevin Landwer-Johan frog sitting the a pond close up

©Kevin Landwer-Johan

2. Do you like their photographic style?

There’s not much point asking someone who only photographs landscapes to comment on your street or sports photos. Hopefully you can find someone whose work is close to your own style (or what you are aspiring to) and have them critique your photos.

You should be able to see enough of their work to help you make this choice. Having an appreciation for the type of photography they create will help you relate more easily.

Leaves folded into flowers ©Kevin Landwer-Johan

©Kevin Landwer-Johan

3. Do you appreciate their approach to critiquing photos?

Accepting and appreciating the way a critic expresses themselves is very important. They may be extremely knowledgeable and experienced, but if they come across as arrogant their critique won’t be easy to receive.

If you can attend a session where they’re reviewing someone else’s photos, go along and observe. Maybe they have some video or written critiques online. Check them out and see if you’re confident they’ll be honest and respectful about your photos.

Durian fruit ©Kevin Landwer-Johan

©Kevin Landwer-Johan

4. Do they ask questions about your experience before critiquing?

If they know nothing about your experience or you want to express, the critique may not be helpful. I find it helpful to know a photographer’s experience level before offering my thoughts on their photos.

This information gives insight into the technical experience, and sometimes the creative expression. Most of all, it will give the critic the depth of information to offer. Giving a beginner too much detail about how to improve their composition may be detrimental. You need to clearly understand what the critic is telling you. For the same reason, I avoid using too much photography jargon when making critiques.

Market Porter at Muang Mai Market in Chiang Mai, Thailand ©Kevin Landwer-Johan

©Kevin Landwer-Johan

5. Do they express a balanced perspective?

Receiving a balanced appraisal of most (if not all) aspects of your photograph is helpful. But this may not be possible (or even necessary), depending on the photo.

I always look to include commentary on:

  • Exposure
  • Composition
  • Color
  • Tone
  • Timing
  • Feeling

The best photo critiques include a balanced mix of technical and creative – left and right brain perspective.

©Kevin Landwer-Johan Tropical Flowers close up

©Kevin Landwer-Johan

Where to Find the Right Critic

The easiest way  to find someone to critique your photos these days is online. Do a search on Google or YouTube, or check out the link in my bio.

You could also try your local camera club. It will be worth doing your research carefully first. Sometimes these groups offer a group critique of members’ photos. You need a pretty thick skin to endure this. You’ll have people with a range of skill levels and temperaments all wanting to give their opinions.

gold Buddhist chedi against a blue sky taken during a Chiang Mai Photo Workshop ©Kevin Landwer-Johan

©Kevin Landwer-Johan

Be Encouraged

Give it a try. Having your photos critiqued can be extremely helpful to your development as a photographer. I regret not having much of an opportunity for my photos to be looked over and spoken about. Now I enjoy being able to offer this as a service to encourage photographers.

The post How To Feel Confident About Having Your Photos Critiqued appeared first on Digital Photography School.


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How Having a Play Camera Can Boost Your Creativity

23 Aug

In 2001, after many years as a film photographer, I bought my first digital camera. It was a Nikon Coolpix 995, and I still remember how excited I was when I opened the box and took my first pictures with it. I was really amazed with what those three megapixels were able to do. Since then, I followed the digital road, and never looked back.

I took really good care of that camera, bought all the accessories and lens adapters for it, and took it everywhere with me. For a while it was my pet or play camera.

Chung Chu

Nikon Coolpix 995 – By Chung Chu

I remember the feeling of falling in love with photography all over again, and I believe that some of the best pictures in my portfolio were made with that camera.

Advances in technology

After that, the first decent resolution DSLRs came on the market, and I decided to invest in one to keep up with the professional photography market demand. My Coolpix started being used less and less, in no time those three megapixels were just ridiculous compared to what DSLRs could do, and my play camera just got stored on the back of my equipment closet, never to be used again.

I had a lot of compact cameras after that, but none of them replaced my play camera, the fact is that each time I downloaded the pictures and looked at them in a computer screen, they all just seemed to have a really poor quality compared to the files I was getting with my DSLRs. Sadly I had become a pixel peeper.

One more try at having a play camera

Recently my wife bought me a Canon EOS-M as a gift, which was the first attempt by Canon on the mirrorless market. Well, if you are into photo equipment at all, then you likely know that this camera was the biggest flop on the market of recent digital camera history. Besides having really bad focusing issues, it was no competition for what other brands had already launched, which is my wife was able to buy the kit for about $ 300, as everyone was dumping their inventory of it.

I would never have bought this camera myself, but it was a present, so I decided to give it a try.

01

I opened the box and it reminded me of my beloved Coolpix 995. The EOS-M is a really good looking camera, with a great design, and the fact that it was just not a simple compact camera got me a lot more interested on it. The test shots I made after a firmware update fixed some focussing issues, got me back to that loving feeling all over again.

Those were great images, and the pixel peeper inside me was happy with the image quality when I looked at them on the computer screen. The fact that everybody was considering this camera Canon’s ugly duckling, made me love it even more, because it had some kind of “misfit” attitude amongst all the other mirrorless camera out there.

Why have a play camera?

Pretty soon I was buying accessories, and taking it everywhere with me. At last I had a new play camera – the point of which is to have it and use it all the time! A grip and a thumb rest were the obvious first things to buy, as the camera seemed so small in my hands and it made me feel like I was going to drop it every time I photographed.

02

03

An added LCD loupe helps block the ambient light on the LCD, and gave me a better sense of the exposure and focus.

The fact that it didn’t cost a lot of money, made me comfortable using this camera in situations I would never use my expensive DSLRs, like underwater with a cheap protective bag.

04

There were no limits for what I could do with this camera, and even when I had a lot of commercial work, I made an effort to find some time to get back to my personal photography projects.

I must say that my favorite feature on this camera, is the fact that it is able to use not only the dedicated EF-M series lenses Canon launched with it, but with a special adapter it is also able to use EF or EF-S lenses also, keeping all the automatic features.

Over all these years as a Canon DSLRs user, I have collected some serious L-glass along the way, so the fact that I could use all those lenses on this tiny mirrorless body was a huge plus in my book. I must admit though, that it looks a bit ridiculous to see this camera together with an L-series lens, but the fact is that it works.

Try new and whacky things

It even got me carried away experimenting with some crazy extender combination with my EF 70-200 2.8L coupled with the Canon 2x extender and the Kenko 2x Teleplus Pro 300, giving me some serious telephoto ability for wildlife pictures.

05

200mm X (APS-C 1.6 crop factor) X (Canon extender 2x) X (Kenko 2x converter) = 1280mm equivalent.

This telephoto ability also got me into moon photography, as it is the perfect focal length to capture great pictures from my bedroom window.

06

Another great thing is that you can even take it beyond EF lenses. With third party adapters you can make the camera body work with almost any lens you want, even though you lose autofocus ability. To me it’s great to again use old lenses I totally forgot I had, like this M42 50mm f/2.8 Carl Zeiss Jena Tessar that has a really fantastic image quality, and makes me go back to when I was a young kid using my old Pentax with a split prism focusing screen.

07

Bottom line

So, the bottom line is that even though this camera was released in 2012 and the EOS-M2 and the EOS-M3 were released after that, I still have great fun with it and don’t feel any need to upgrade to a newer model.

I guess I just feel really free experimenting with this camera without being worried about damaging it, or being bothered to carry it around. For me this is what a pet camera means despite of brand, model or type of camera.

Photography is about taking pictures, and the best camera is the one you feel more comfortable with, for what you want to shoot.

Do you have a play camera? One you take with you everywhere, one that you don’t worry about losing or damaging? Do you feel you are more creative with it than your regular camera? Share your experience in the comments below.

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Improve Your Photography by Having Go-To Places to Shoot

22 Dec

There is a spot about 25 minutes west of the city. It is a spot right along the highway with a big sign that says, “Scenic Viewpoint”. Naturally it draws a lot of photographers. A quick look on Google will show a lot of sunsets shots, most with the guard rail along the bottom.

tree-on-cliff-2

Having 45 minutes before sunset, with a 20 minute drive, plus 10 minute walk, leaves no time to find and compose a shot. Being able to walk into the spot, set up and shoot makes some shots possible.

I know, I am one of them, making the scramble to get set up. Of course, it’s natural not to know the cool little spots when you are just passing through the area. However, after living in a place for some time, you start to learn of some go-to spots. You know, those places you can confidently walk into as the light is building, set up, and be there when the shot happens? If you don’t have a list of go-to spots you may want to consider making one, it can help you improve your photography.

Over the past couple of years that I’ve been shooting, I have developed a lengthy list of very specific spots (down to where the tripod stands) that all have their ideal season, weather, and time of day combination.

Peterson

After an hour of walking this area, I found the spot that aligns the features of this shot. This way if it looks like a certain shot might have good light, I can save myself a ton of hassle and just get to where I need to be quickly.

This is particularly important when shooting at night, the Milky Way, northern lights, etc. Night photography requires a lot of planning. To make an interesting shot, having good foreground and mid-ground objects is key, and just cannot be done blindly in the dark. Thus a lot of mediocre shots are required while scouting a new area. Learning the angles to line up items in your shot with features in the sky.

River aurora

This photo was taken on the third trip in to this spot. I knew everything would work, so when the auroras started up I was ready.

The whole process takes some time, but as you revisit locations you will become so confident about it being right, that you can walk up to that certain rock and set up. There’s no second guessing, and wasting time repositioning for a better composition.

Building your list of go-to spots

Most places I shoot, I return to many times. The first trip in is often just to gather info, and shoot some images to use for planning purposes. Here are a few tools that I use:

1. Facebook:

Yes Facebook can be useful, I am part of several Facebook photography groups and specifically one for my local area. Going out to photograph with other people, is a great way to learn an area. Just be careful not to poach another photographers exact go-to spot. I also find groups for other places that I plan to visit.

Ryanfisher2

Being invited along to an area with another photographers is a privilege. Be sure not to steal their go-to spot.

2. Google Maps and Images:

I use Google all the time to find new areas, specifically Maps, for looking into an area to see the lay of the land. The terrain is critical as to how the natural light will play into the shot. If a waterfall only shoots facing north, but you want the sunset behind it, then that will quickly rule out this spot for that shoot. However, it might make a fantastic spot to photograph the auroras.

3. The Photographer’s Ephemeris:

I use the Photographer’s Ephemeris to place celestial events. I won’t go into the ins and outs of the Ephemeris, but it will allow planning of moonrise, sunset, sunrise, etc., type of shots. It shows the azimuth, and time when certain events occur for any day of the year. Very handy if you plan to photograph the moonrise in a notch along a ridge, or something.

Ephemeris

If you are interested in getting a shot of the sun rising at the end of the lake you will have to wait.

4. Boots on the ground:

Research can only take you so far before you have to get your feet dirty. Making day hikes into a new area is by far the best way to explore a specific spot. Just make sure to get off the beaten path, if possible, to see what others might miss. This is also the time to get some shots which I call taking notes. The images can even be iPhone shots, because their purpose is to gather info. I always look at my images and quickly see better positions to shoot from, or a feature that went unnoticed.

Timing is everything when lining up celestial objects. Knowing your go to spot can help you get the most out of your shots. I wasn't by chance that the Milky Way lines up with that point of rock.

Timing is everything when lining up celestial objects. Knowing your go to spot can help you get the most out of your shots. I wasn’t by chance that the Milky Way lines up with that point of rock.

You get the idea. I guess there is a fifth note, and that is to just keep going into places and taking shots. I always see better positions to shoot from while going through my images. Having a lot of go-to spots is the result of simply going to a lot of places. Remembering how each spot shoots, and knowing when the conditions will work best.

Although I am a landscape and nature photographer, who focuses on night sky photography, I also know the value of go-to spots for portrait and wedding photographers as well. Knowing when and where to shoot can make or break your shots. Being able to reduce harsh shadows and wrong angles to make more of your shots usable.

Do you have any go-to spots near where you live? Share your images and comments with us below.

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The Fine Line Between Travel Photography and Having a family Vacation

15 Oct

A simple Google search for travel inspiration yields thousands of beautiful images and motivational quotes. Words like, “The Best University is to travel”, “We must take adventures in order to know where we truly belong” and “To travel is to live a full life” flash across your computer screen amidst jaw-dropping travel photography imagery. It brings forth such great feelings of wanderlust and longing to hit the road.

However, for those of us who travel with families and/or young kids there is a nagging voice somewhere in the back of our heads that speaks up and says, “Be practical, can you really make this journey with the kids?”. Then if you add to this mix, a parent who is very emotionally attached to his or her camera, you have just stirred up a pot full of trouble for yourself.

Landscape Image Near Bombay Memorable Jaunts for DPS

Being my family’s designated photographer, and having spent the past two months traveling across my home country of India, I experienced much of these same emotions on a day to day basis. India is a country like no other, where every part of the country has such a strong impact to the senses. It is big, busy, loud, and colorful – and is a photographer’s delight. The parent in me wanted to experience this magical journey with my family, and see my beautiful country through their eyes. Whereas the photographer in me was on a creative high and I wanted to document each and every thing I was seeing through my mind’s eye, and my camera’s viewfinder. I constantly struggled to find the right balance between being a mom, and being a professional photographer. 4000+ pictures later, I feel like I finally figured out what worked for me!

Memorable Jaunts Finding Balance as a photographer Article for DPS-1-2

A quick detour on our road trip led to an ancient temple where I was able to take some amazing and interesting pictures inside the inner sanctum.

Research locations for photo opportunities ahead of time

Just like kids, we adults too crave structure and routine, especially when it comes to photography assignments. Just like you would carry a shot list for a wedding photography gig or a commercial assignment, knowing what to expect with every place you visit gives you a certain peace of mind. This is particularly true if you are visiting famous locations and monuments. I found that often in such places photography was not allowed, or you needed special permission, or had to pay a fee.

Research your travel destination as much as you can. Look for information online, or even ask in photography forums specific to your needs. I learned early on in my trip, that most religious monuments and places of worship don’t allow any type of photography. Even cell phones are not permitted. So I would often leave my gear at home, or in the car, and just enjoy the location with my family.

Minimum gear for maximum effect

Packing for months on the road is never easy, especially when you have a ton of equipment, and suffer from an acute case of separation anxiety with your gear. Once you have researched your travel destination and know what types of imagery to expect, only pack the appropriate gear. Maybe even challenge yourself to only use certain types of lenses and cameras. The more practical you are about your gear, the less frustrated you will be for taking stuff you don’t end up using. My goto setup was my Canon EOS 5D MK III and Canon 24-70mmL lens. I used that combination 75% of the time when I was traveling. I found that I could switch easily from photographing wide angle landscape shots, to narrowing in on my kids playing effortlessly with my zoom lens. I also carried my Canon 70-200mmL lens, but found it was very impractical in terms of its weight. Additionally, professional DSLRs and multitude of lenses tend to get heavy and uncomfortable to lug around for a 20 day road trip, and several flight journeys. If you are going off the grid, or visiting remote places, err on the side of caution, and perhaps travel with minimal gear like a small point and shoot camera.

Set aside some “me” time with just with your camera

Memorable Jaunts Finding Balance as a photographer Article for DPS-1

During a ‘me’ time photowalk close to my home in Chennai, I spent 30 minutes photographing these birds without any interruptions or disruptions!

The deal I stuck with my family is that at every new place we visited, I would get one hour just to be with my camera. Any photography assignment specific pictures would be taken at that time. The rest of the day was time spent with my family, and capturing those moments on camera sparingly. There were times when the camera was completely banned because I really wanted to treasure the moments, and not just focus on documenting the experience. And guess what, I found I was a much happier, and nicer person, at the end of the day!

Engage your family in your photo trips

Do you have old outdated gear sitting in your gear cabinet? You know those old first generation DSLRs that you will probably have to pay someone to take off your hands? Use them to get your family engaged in photography. My kids share my old DSLR with a kit lens, and they love it. They love playing photographer, and some of the images they capture are so adorable. I always make it a big deal to praise their budding photography skills, and in turn, they are generally more tolerant when mom wants to spend an extra 10 minutes photographing the waves crashing against the rocks at sunset (because it is the most magical sunset ever!)

Memorable Jaunts Finding Balance as a photographer Article for DPS-1-3

A rare image of me as taken by my daughter! – this was during a four day hike in the mountains, and it’s the only picture I have to prove that I was there too!

Memorable Jaunts Finding Balance as a photographer Article for DPS-2

But 10 days later, this was the best I could get of them! – No amount of negotiation could get them to turn around and face me.

Make memories and not pictures

Give yourself permission to not take any pictures occasionally. Put the camera away and just enjoy the experience of being on vacation. After all, you have probably spent a lot of money, and precious time, to get to your destination. Soak in the essence of the space and place, and make memories that will last a lifetime.

After my long summer break, I still felt that I never really had any time off. To me, every minute was a working one, whether was I being a full-time mom, or a travel photographer. While I did walk away with some amazing imagery, a part of me regretted not spending more time with my family. What are some of your strategies for finding a good balance?

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The Importance of Having a Photographic Style

07 Jul

Every art form that we as humans enjoy all have a common thread: They all have differing styles that set each apart and make them unique. Photography is no different. Our art form has countless styles, forms and genres for us to explore. But why is it necessary for us to understand style? The simple answer is having a well–defined style allows Continue Reading

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5 May, 2014 – Having Fun With Panoramas

06 May

 

Panorama photography is very popular today.  Many smartphone and point and shoot cameras make shooting panoramas as easy as pushing a button and panning the camera.  In today’s article Having Fun With Panoramas, Kevin Raber shares how to shoot panos handheld shooting individual images.  He shares how to shoot and process these images.  His article includes multi row panos with over 50 images.  If you never tried doing panos or want to brush up on the technique then this article is for you.  

This July Luminous-Landscape hosts a workshop to the Northern Polar regions – Svalbard – Land Of The Polar Bear.  We have only 2 berths left on the first cruise.  The second cruise is Sold Out.  If you’d like a very special small boat experience to this region then register today.  You can find out more information HERE.


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A Quick and Easy Way to Make Money with your Photography While Having Some Fun

17 Feb

Many photographers have the dream of selling their fine art photography and seeing their prints hanging in collector’s homes. I’m sorry to burst your bubble but that is probably the most difficult way to make money. Even the biggest names in photography don’t make a living solely by selling prints. Yet, it is conceivable to make a little bit of extra cash with your pictures and here is a realistic easy way to make money with your photography.

Everyone loves a card with an old rusty bicycle! ©Valerie Jardin

Everyone loves a card with an old rusty bicycle!
©Valerie Jardin

Think Locally!

Instead of trying to reach the world at large and compete with hundreds of thousands of other talented photographers trying to sell their work, think locally!

You could spend several weekends every year sitting in a booth at an art fair only to sell enough to break even and pay for your entry fee. Yes, art fairs are good exposure, but photography is not the biggest seller and there are usually several photographers trying to sell prints at the same event. Also, those art fair weekends are valuable days for any photographer, wouldn’t you rather be out shooting than selling?

Another option is to show your work at a restaurant or a coffee shop. If you do, make sure there is an opening party to create a buzz around your work and invite everyone you can think of. Do not leave your images on display for more than a month, no one will notice them after a few weeks.

I’m going to tell you a little secret…

Years ago, when I still had a little bit of spare time, I often teamed up with two or three other artists in different media forms and organized private art parties. We combined our contact lists and invited our friends and family to attend an ‘art open house’ for a few hours. We did this several times a year. We took turns hosting the event and split the cost of the snacks and beverages. We also urged people to bring a friend along. By combining our contact lists we would reach a large number of people and always end up with a minimum of 30 to 50 attendees.

Why is it better to have 50 people coming to your open house rather than hundreds walking by your booth during an art show? The people who come to your private art open house are there for the sole purpose of checking out your work, socializing and spending money! I used to sell hundreds of dollars worth of small prints and greeting cards in just one evening, while having the best time socializing with friends and other artists.

A card for Mother's Day... ©Valerie Jardin

A card for Mother’s Day…
©Valerie Jardin

What sells?

Small ticket items! You can always have a few large, framed prints, on display for the wow factor and a possible sale or two – but small items, such as greeting cards, will sell! People are still very keen on greeting cards, especially in North America. I realize that different countries have different customs. You may think that, in this age of electronic mail, physical cards would disappear. On the contrary, e-cards and social media greetings are so common and impersonal, that receiving an actual card in the mail has become a novelty.

The advantage of selling cards is that everyone can afford them and has a use for them. Make sure you have a large variety of cards with your best images. If people can’t decide which ones to choose, they are more likely to buy all of them! Another tip: Display some as a pack wrapped with a bow, they make fun gift ideas for friends, co-workers, teachers, etc. Another tip: Offer a ‘bargain basket’ with a limited selection of discounted cards. Some people will only buy if they feel like they’re getting a good deal. Also, use this phrase as incentive “one free card if you buy ten”. It works!

Everyone knows a musician who would enjoy receiving this card! ©Valerie Jardin

Everyone knows a musician who would enjoy receiving this card!
©Valerie Jardin

How do you make greeting cards?

It takes a little bit of time and effort to make those cards and there are several ways of doing it. You can certainly order your cards already made through a wholesaler. It’s the easiest way to proceed but also the most costly and your profit margin will suffer.

You can make your own! If you have a good quality photo printer, you can download a greeting card template and print them at home on some nice stock paper. Watch out for the high cost of the ink and figure out how much each card is going to cost in ink, paper and envelope. The goal is to make nice cards for as little as possible.

An inexpensive way to do it, but a bit more time consuming, is to affix photographs on stock paper. Pre-scored card paper with matching envelopes can be purchased in bulk quantities at a craft store for a very reasonable price.Your next step is to print your logo and contact info on the back of the cards. The tedious part is to place the photo on the front of the card with double sided permanent tape.

You can wrap each card in a clear sleeve to give them a more professional look. Or ‘go green’ and not wrap them at all. Ordering 4×6 prints online to use on your card stock is cheap, just pennies per print (usually cheaper than printing your own).

Remember, cards you buy at the store are expensive! Yours will be unique and you can easily sell them for $ 5 per card, which adds up when people buy them by the dozen or as a pack to give them as gifts… If you do it right, you can easily make a 300-400% profit on each card.  Remember, the goal is not to make a living by doing this. But you can easily make a few hundred dollars during each party, and feel pretty good about yourself!

Valerie Jardin Photography-17

There is a card for every season!
©Valerie Jardin

The fun part and the bonus for you, the photographer!

Shooting for greeting cards becomes a great photography project. Think of all the different themes you can shoot for: Christmas, Hanukkah, Father’s Day, Mother’s Day, Birthdays, Valentine’s Day, etc. All of a sudden you become a stock photographer for your own little business needs. I used to spend a few hours each week shooting just for my greeting card collection. For example, if I was out shooting for a Father’s Day theme, I would think: golf, fishing, antique cars, etc. Every self-assignment becomes a treasure hunt. It was like shooting for a stock agency. The difference was that I made a lot more money and I had a lot more fun selling those cards than I did with iStock!

This little experiment was serving a dual purpose. I was having fun and learning a lot while working on a photography project that also brought extra cash for trips or photo gear!

Another advantage is that it spreads your name around. Many times people emailed or called me to place an order after receiving one of my cards for a special occasion. Hence the importance of having your contact information on the back of each card! Today I don’t make cards anymore but, ironically, I often get requests from greeting card companies to licence my images for that purpose.

If you love photography and, if you have a little bit of spare time, there is no reason why you can’t make some extra cash selling your pictures. Good luck!

When you start shooting for your greeting card collection, opportunities will present themselves everywhere and your photo walks become fun treasure hunts with a purpose! ©Valerie Jardin

A card for the book worm? When you start shooting for your greeting card collection, opportunities will present themselves everywhere and your photo walks become fun treasure hunts with a purpose!
©Valerie Jardin

Do you have any other little tips that have worked for you to make money with your photography? If so please share in the comments below.

More articles on using your photography to make some extra cash:

  • “Photography Business Secrets” – A Review
  • 5 Things to Consider Before Starting Your Photography Business
  • Top 10 Ways to Sabotage your Professional Photography Aspirations

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7 Tips for Helping Women Love having their Photo Taken by You

14 Oct

When I look at a picture of myself, I can point out a million things I hate: my hair is always flat, I hate the ptosis in my left eye, I hate the shape of my brow bone, I have a bad complexion. And I’m a photographer! How can I expect women in front of my camera to feel any different than I do when I have to endure having my photo taken? I know that some men hate having their photo taken, too, and many of them probably aren’t as easy to admit that they hate their complexion or the shape of their brow bone, but I’m sure they think these things.

As in any situation, we photographers just need to start by asking ourselves…what would we want? How would we want a photographer to treat us? It’s a pretty simple, solution, really…to behave in line with the golden rule.

Women usually aren’t afraid to offer criticism about themselves. In fact, we’re downright professionals at criticizing ourselves. So if a woman truly hates having her photo taken, she usually says so upon making the booking with you. At that point, I would first congratulate her on coming to the point of actually making the booking in the first place. That’s a big step!

I wouldn’t have a questionnaire for her to fill out about the things she hates about herself. And I wouldn’t make promises and I definitely wouldn’t mention the word ‘Photoshop’. The instant you say ‘Photoshop’, I guarantee that 90% of women instantly begin thinking of Madonna, Kim Kardashian…any and every celebrity who looks NOTHING in real person like they do in magazines. And they may expect/require you to edit every last hair on their head, freckle on their body, roll of fat on their hips. And before you know it, you’ve aged 10 years infront of your computer editing one session.

Instead, this is how I would proceed:

  • Upon the first conversation and placing the booking, just assure her that having photographs taken by a professional is different and if she’s never done it before, she will probably love it in the end.
  • Simply ask: “what do you hate about it?” This will probably lead on to things she hates about herself. But don’t let her dwell on it too long. Ask what she loves about herself. Make notes about all this and keep them to yourself.
  • When you start shooting,  she might behave or seem awkward and uncomfortable. If so, talk to her as you’re shooting. Ask if she feels a certain side is her ‘good side’. Get her laughing. Tell her she looks great. But don’t patronize her. I mean…I know my left eye is droopy from Ptosis. If someone said it wasn’t, that would make me more uncomfortable.
  • When I edit, I will subtly smooth and ‘suck in’ bumps and bulges. I won’t eradicate them all together because that wouldn’t be natural. But I just do a little work that she won’t even notice and I’ve never had a woman as to get her muffin top put back the way it was! Of course, I understand that this is a controversial topic and doesn’t work for everyone.

Some tips on photographing women:

  • For goodness sake. Please PLEASE be responsible with low shots. I very rarely see a photo of a woman taken from down low (looking up) that doesn’t make her look totally unattractive. This isn’t a good angle no matter the size or shape of who you’re photographing. Friends don’t let friends get photographed this way so beware that a loving friend may tackle you at any point should you choose to proceed with a low shot.
  • On the opposite side of the spectrum. shooting from above (or even a slightly down-angeled POV) can be very flattering for a lady, particularly a fuller figured one. But also beware that this is the calling card of a large lady – this trick has become so well known. Don’t overdo it or you’ll be kind of highlighting the fact that she’s larger rather than minimizing it.
  • Learn from the red carpet – those poses aren’t accidental. Celebrities have training for how to handle the red carpet photographers. Learn their tricks so you can guide your subjects through poses that will highlight their lovely long legs or help minimize their post-partum baby bulge. And you don’t have to tell them what you’re doing because naturally, that will make them feel self conscious.

One hour with a sensitive professional can change a woman’s view of herself forever.

Post originally from: Digital Photography Tips.

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

7 Tips for Helping Women Love having their Photo Taken by You

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Nikon 300mm f/4 effects of not having 39mm drop in filter.

12 Jan

This is the information off of Ken Rockwell’s website. ” The internal filter should remain in place because the presence or absence of the filter changes the effective (optical) distance to the film plane by a tiny amount. Don’t worry about this, but please leave the filter holder in place. The change in effective path length is the thickness of the filter x ([the filter glass’ index of refraction] -1 ). A typical index of refraction is about 1.5, so you change the effective distance to the film by about half the thickness of the filter. Of course the same effect happens with filters in front of your lens, but no one notices when you change the distance to a subject by a millimeter. In lens design, moving the film plane a mm can make a difference, but not much with telephotos. You can confirm this effect if you focus on a distant object and note the indication on the focus scale. Now remove the internal filter, refocus, and you will note that the focus scale indicates a different distance when focused on the same object. ” All information is copyrighted by Ken Rockwell at www.kenrockwell.com

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