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Posts Tagged ‘“I’m’

Bill Dane Pictures …it’s not pretty. 50 Years of Photographs I’m Still in Love

21 Feb

“It seems to me that the subject of Bill Dane’s pictures is the discovery of lyric beauty in Oakland, or the discovery of surprise and delight in what we had been told was a wasteland of boredom, the discovery of classical measure in the heart of God’s own junkyard, the discovery of a kind of optimism, still available at least to the eye.” John Szarkowski, director of photography, Museum of Modern art 1962-1991

I received Bill Dane’s wonderful book, Bill Dane Pictures …it’s not pretty.  50 Years of Photographs I’m still in love, in the mail today.  

For those unfamiliar with his work, Dane has been actively photographing the world around him for over 50 years.  Since 1969 he has generously mailed over 50,000 of his photographs as postcards to people.  More recently he has been active on Flickr where he continues day in and day out to share his world with the rest of us.

Yesterday he shared a diner scene from Tracy, California in 1970, earlier today he shared a bit more abstract flower from Oakland in 2011.  

As you work through his flickstream you find yourself moving from Las Vegas in 1972 to Mexico City in 1974 to Olympia, Washington in 2018.  The one constant thing is that Bill is there with his camera walking you through his unique view of the world.  His view of the world, as his book title admits, is not always pretty, but it is like no other photographer you’ve probably ever seen.  It’s not easy work to get through but it’s rewarding when you do.

Accompanying his images in the book are his own sttaccato like typed words.  Like a beat poet Bill opines on his own photographic path as well what he sees around him — words to go with the pictures.  It’s part personal history/biography, part documentary, part politics, part life vision — always poetic.

“Hunt treasure   strike-snap-gather   edit   judge

I still photograph like it’s 1969   sort of

Advancing  weaving  focused scanning   dam  Bill  hold still

Leica Rangerfinders  straightforward refinement  guess settings real good

Film has wonder dept   forging Tri-X  darkrooms   mail

Costco for color prints to edit  send

2007 My last film camera  Contax SLR zoom-macro

Digital  Nikon D80 with the 28-105 macro”

In my own artist’s statement, I quote the great Charles Bukowski who once said that endurance is more important than truth.  As far as endurance goes Bill’s got it.  He’s got it in spades and you have to admire that.  Bill’s spent time hanging out at workshops with Friedlander and Arbus.  He’s had shows at MoMA, his photographs hang in the permanent collections of MoMA, SFMOMA, the Art Institute of Chicago — and yet here he is day in and day out still putting work up out there for the public where?  At Flickr? Yes, at our beloved Flickr.

Interestingly enough the title of Bill’s book actually comes from Bukowski’s poem “I Met A Genius.”  The poem is about a 6 year old boy on a train ride with Bukowski who sees the sea for the first time and remarks upon seeing it that “it’s not pretty.” It’s the sort of innocent honest insight that can come from a child who has not been saddled down with society’s version of the sea as a remarkable and beautiful scene, the way most artists might present it.

Bill gives us a messy world, it’s not always pretty, but it’s worthwhile to see it as he shares it. It is a bit of a junkyard as Szarkowski suggests, but there is beauty in the junkyard as well.

Weighing in at over 300 pages of high quality printing and limited to only 500 copies, do yourself a favor and pick this one up before it sells out and before one of these big name museums decides to do a retrospective. You’ll have an original collector’s item. Bill Dane is a treasure — and so are his flickrstream and book.

Some photos from Bill’s Flickrstream below.

1974 Mexico City
1970 Tracy
1974 Berkeley
1970 Point Richmond_
Hamburg 1971


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8 Amazing Hacks To Be A Pro Photographer Blogger: The Definitive Guide I’m Using To Write How I Shoot

15 Sep

  Writing is not for photographers. This is the most ridiculous statement I have ever heard, and as a photographer, I have heard many.  Do you know what is even more absurd about this declaration? For a long time, I am the one who swore by it. This was following the demise of my first personal photoblog. You can say Continue Reading

The post 8 Amazing Hacks To Be A Pro Photographer Blogger: The Definitive Guide I’m Using To Write How I Shoot appeared first on Photodoto.


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‘I’m Back’ digital back for analog SLRs is now in production

25 Sep

After an initial unsuccessful crowdfunding campaign the team behind the ‘I’m Back’ digital back for old film SLRs returned to Kickstarter in March 2018 with a refined product. In the second attempt the funding goal was reached and now the the digital back has entered production in Hong Kong.

The ‘I’m Back’ is available for a range of old film-SLRs, such as Nikon’s F-Series, the Olympus OM10 or the Canon AE-1, and works by capturing the image projected onto a focus screen using a 1/2.33″-type 16MP Panasonic image sensor. The back is connected to the camera by detaching the rear plate from the latter, adjusting the aperture for the digital module, connecting the Flash Sync cable and setting exposure mode to Bulb.

The back can record JPEG and Raw files and comes with a 2″ touchscreen for live view focusing, a maximum of 64GB of storage, a USB Type-C connector and Wi-Fi connectivity. Don’t expect DSLR-level image quality, however. The back has been designed with cost in mind and ‘I’m Back” founder Samuel Mello Medeiros says:

“I’m Back was created with the intention of reusing the old analog in a digital way, but maintaining a ‘retro’ aspect in the photos thanks to the focusing screen. It is not intended to have the quality of a digital camera of last generation, therefore, it is not an accessory to be at par with a digital or even an analog.”

With the first units being sent out to Kickstarter backers, the back should be available to retail customers in the coming months. No retail pricing has been announced yet but initial backers were able to secure a device starting at €175 (approximately $ 205), so expect a slightly higher price in the shops.

Articles: Digital Photography Review (dpreview.com)

 
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Why I’m Downsizing from a Nikon 70-200mm f/2.8 Lens to the f/4 Version

13 Jun

The Nikon 70-200mm f/2.8 lens has been one of my most used since purchasing it several years ago. It’s a perfect lens for photographing either abstract, intimate or obviously, zoomed in landscapes. However, after borrowing the f/4 version from a local camera store during a trip to the Faroe Islands, I’ve decided to sell my current lens and replace it with the smaller and less expensive (almost $ 1000 less) f/4 version.

Before we get into why I’m replacing it, let’s look at why I went for the f/2.8 lens, to begin with:

Why I Purchased the Nikon 70-200mm f/2.8

When I purchased my first full-frame camera several years ago (the Nikon D800), I started out with only one lens: the 16-35mm f/4. At the time, that was all I could afford and it was my main setup for close to a year.

By that time I had saved enough money to add another lens to my backpack (only having the 16-35mm was quite limiting so I wanted to add more range before heading out on a two-week journey to the US).

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Though there are several other brands to choose between, I had already made up my mind that I’d go for Nikon’s 70-200mm. The harder choice, however, was whether I should go for the f/2.8 or f/4.

After much back and forth, and long discussions with other photographers, I ended up with the f/2.8. Despite it being heavier and more expensive, it seemed like the right choice as it has a wider maximum aperture. Even though I’m a landscape photographer (I don’t do much wildlife or portraits, etc), I figured the wider aperture might come in handy and be more important than the weight.

I’d say this is the perfect lens if you’re photographing:

  • Wildlife
  • Portraits
  • Macro
  • Concerts/events
  • Under low light
Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Captured with my 70-200mm f/2.8 lens.

Why I’m Changing to the f/4

When looking through the images I’ve shot with my 70-200mm, only a fraction of them were captured at f/2.8. In fact, the majority of those are images I captured at concerts or other events for a local magazine, which I very rarely do anymore.

The fact that I rarely use an aperture of f/2.8 on this lens, combined with the fact that I’m spending more time hiking and need a lighter backpack, made it an easy decision to replace my current lens with the lighter 70-200mm f/4 lens.

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Captured with the 70-200mm f/4 lens.

As a landscape photographer, it’s rare that you need f/2.8, especially for the type of images I tend to capture.  It’s more important for me to save weight (1540 gm/3.2 lbs versus 850 gm/1.9 lbs) since my backpack gets quite heavy when carrying all my lenses and cameras, a tripod, and other accessories.

Though I only tested the lens for 10 days, I found it’s not a sacrifice of much image quality by choosing the f/4 over the f/2.8. Both the sharpness and autofocus are just as good in the former.

These are the main benefits I’ve found with the 70-200mm f/4 lens:

  • It’s almost half the weight of the f/2.8.
  • It’s smaller in size and takes less space in the camera bag.
  • Autofocus is just as good (in fact it’s better than on my old f/2.8).
  • Sharpness is just as good.
  • It’s nearly half the price of the f/2.8 ($ 2800 versus $ 1400 roughly).

The Consequences of Changing

Of course, sacrificing one stop of light is something worth mentioning, as this does come with a few consequences. While it might not be a big difference between f/4 and f/5.6, there is a significant difference between f/2.8 and f/4, especially in low light situations.

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

If you use a tripod for all of your photography and you avoid photographing wildlife and other scenarios with a shallow depth of field, the sacrifice is minimal and most likely not even notable. However, if you tend to photograph handheld in low light situations and enjoy photographing with a shallow DoF, you might want to reconsider replacing the f/2.8.

Here are some of the sacrifices you’ll make when changing from f/2.8 to f/4:

  • You won’t get as good of a “bokeh” effect nor achieve as much of a shallow depth of field.
  • You’ll need to increase the ISO instead of opening the aperture in low light situations.
  • You will be more dependant on a tripod in low light situations.

That being said,  this was an easy decision and one that I wish I’d made many years ago. Do you have a 70-200mm lens? Which version do you have and why?

The post Why I’m Downsizing from a Nikon 70-200mm f/2.8 Lens to the f/4 Version appeared first on Digital Photography School.


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‘I’m Back’ digital back for analog SLRs successfully returns to Kickstarter

13 Mar

Last year, a Kickstarter project for a product called ‘I’m Back’ offered a digital back for 35mm film cameras, but it wasn’t successful. Now, the product has relaunched on the crowdfunding platform, where it has successfully raised (and exceeded) its €20,000 (~$ 25,000 USD) funding goal. As with other digital back products, “I’m Back” claims to transform an analog film camera into a hybrid that can capture digital images.

‘I’m Back’ is billed as a low-cost alternative to other digital back products, one that offers a 16MP Panasonic sensor with options to capture images starting at a 2MP resolution. The system works by capturing images off the device’s focusing screen, which results in “the nice vintage flavor of your 35mm camera,” according to the product’s creator.

The digital back also features a 2-inch touchscreen display, Wi-Fi for image transfers, and mobile control via smartphone. Other features include HDMI, USB, a 128GB microSD card for storage, a NOVATEK 96660 processor, and rechargeable battery.

According to the Kickstarter page, ‘I’m Back’ is directly compatible with many 35mm analog cameras, including multiple models from Nikon, Canon, Olympus, Pentax, Yashica, Leica, and Contax. However, a universal adapter accessory enables the digital back to be used with nearly any 35mm camera, including the Lomography Diana seen in the photo above.

‘I’m Back’ has raised nearly €29,000 (~$ 35,500 USD) on Kickstarter so far. Interested buyers can back the project with pledges starting at €225 (~$ 277 USD) for the ‘Pro’ kit, with global shipping to backers estimated to start in September of 2018. For more info, or to put down your own pledge, visit the Kickstarter page here.

And if you’re curious what DPReview thinks of these digital conversion products, this opinion piece by resident curmudgeon Richard Butler just about captures it:

Why Your Beloved Film SLR is Never Going Digital

Articles: Digital Photography Review (dpreview.com)

 
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dPS Writer’s Favorite Lenses: I’m Torn Between My Nifty Fifty and 70-200mm F2.8

09 Mar
My Favourite Lenses: I'm Torn Between My Nifty Fifty and 70-200mm F2.8

I use my 50mm lens almost exclusively when I’m shooting abstract images.

I won’t lie to you, I’m genuinely torn here. There are two lenses that I could probably say were my favorites. One of those lenses became my favorite out of necessity. It was the only one I owned when I first started shooting with a DSLR. The other became favorite because of its versatility and something much more personal than professional.

My Favourite Lenses: I'm Torn Between My Nifty Fifty and 70-200mm F2.8

This image was shot with my 50mm lens. It was one of my first attempts at fine art photography. It’s so sharp.

My Favourite Lenses: I'm Torn Between My Nifty Fifty and 70-200mm F2.8

The large aperture of the 50mm allowed me to shoot during low-light situations.

It all started with the 50mm lens

Let’s head back in history to 2006 when I bought my first DSLR. I found a used Canon Rebel for sale online for $ 200. It came with a 50mm prime lens. That was fantastic; it was in my budget. I didn’t have a lot of money at the time as I was raising three kids under the age of six. I struck a deal with the seller, and I was in business.

When I went to my first camera course, the instructor laughed when he saw my gear. I thought, at first he was making fun of my gear. But, I was wrong, he was excited for me. He said having just the one lens would push me to be creative and to learn and find out how to take great photos. I would have no choice but to think about my composition because of the limitations of my gear. He said he wished all of his students were as limited as I was and that relying on gadgets and a zoom lens stunted creativity. They could essentially cheat instead of learning to see the photograph and position themselves correctly. He inspired me to push myself to learn everything I could about 50mm.

My Favourite Lenses: I'm Torn Between My Nifty Fifty and 70-200mm F2.8

The 50mm lens is ideal for portraits. It’s lightweight and easy for me to move around with.

I shot landscapes, portraits, macros, and everything in between. I love my 50mm lens because it’s light-weight and affordable. But, I love my nifty 50 because my photos are tack sharp. The bokeh with it is beautiful too, and I love experimenting with the larger aperture. The lens offers photographers so many creative possibilities. Seriously, what lens could be better?

My Favourite Lenses: I'm Torn Between My Nifty Fifty and 70-200mm F2.8

This is one of the rare times that I was able to use my 50mm with my family.

My second love – the 70-200mm f/2.8

I love the bokeh in this shot. The 70-200mm f/2.8 is awesome for this feature.

Well, it’s time for my second love to make an entrance. I love my 70-200mm f/2.8. This lens was also my first big glass purchase. I scrimped and saved for months to be able to buy it. At the time it seemed like an immense sacrifice, but it was worth it.

The lens is very versatile. I can use it for portraits, indoor sports, macro shooting, and candid images on the street. Really, I can use it for anything. It’s not overly heavy so I can hand hold it for extended periods of time, which is very nice. The large aperture is helpful for low light situations or when I need a fast shutter speed. It’s tack sharp, and the bokeh is beautiful. I take it everywhere. My 70-200mm has been on canoe trips and suffered rainstorms (albeit covered with a large garbage bag). It is my workhorse.

dPS Writer's Favorite Lenses: I'm Torn Between My Nifty Fifty and 70-200mm F2.8

The focal length of the 70-200mm is perfect for so many types of shots including street shooting or silhouettes at the beach.

All the reasons I listed, however, are not why this lens is my favorite. There is one thing about this lens that makes it unique. This one thing is more personal than it is professional. Those of you who have children will totally connect with me on this element. The longer focal length of this lens means that I can capture authentic images of my family.

My kids are very much sick of their mother taking their photos. They’ve been there and done that far too much. I can never get them to cooperate when I use my 50mm. Instead, my 70-200mm allows me to capture them from a distance. I can be discreet and not invade their fun. I can catch them laughing and acting naturally. Some of my most cherished shots have come from moments like this.

I’m sure my family knows I have my camera out and pointed at them, but because I’m not right in their faces they forget about me. Or at the very least they can ignore me. It’s the one thing I can’t do with my 50mm, and for this reason, the 70-200mm wins a special place in my heart.

dPS Writer's Favorite Lenses: I'm Torn Between My Nifty Fifty and 70-200mm F2.8

I like shooting landscapes with the 70mm range on this lens.

There are emotional ties to this lens

dPS Writer's Favorite Lenses: I'm Torn Between My Nifty Fifty and 70-200mm F2.8

He was just having fun. He wasn’t aware of my presence with my camera. Yes, his face is a little soft, but this shot is emotional and personal, not professional.

Forget all the features and the specs. I’m not overly worried about chromatic aberration or vibration reduction controls. The 70-200mm holds a place in my heart because it allows me to capture the love and adoration I have for my children. I can make precious memories. My 70-200mm is an emotional favorite. It’s a very personal preference. It is a beautiful, durable, incredible lens that helps me succeed in my business – but it also helps me to capture personal memories.

dPS Writer's Favorite Lenses: I'm Torn Between My Nifty Fifty and 70-200mm F2.8

Capturing joy; I think it’s a great reason to love this lens.

dPS Writer's Favorite Lenses: I'm Torn Between My Nifty Fifty and 70-200mm F2.8

I could have zoomed in more, but I wanted to capture the environment too.

Your favorite lens

What’s your favorite lens? Share it with us in the comments below. Maybe you love your inexpensive 18-55mm kit lens. Tell us why. We want to hear your stories. Forget the specs, what kinds of joy does the lens bring to your life?

My teenager has become so jaded that my 70-200mm is the only way I can capture images of him.

The post dPS Writer’s Favorite Lenses: I’m Torn Between My Nifty Fifty and 70-200mm F2.8 by Erin Fitzgibbon appeared first on Digital Photography School.


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I’m Back From Vacation. Now What?

14 Aug
Extra photos for bloggers: 1, 2, 3

Vacation time’s almost over! Your phone and camera are filled with photos from all your fun trips…what now?

You don’t want them stored in your laptop forever, but there isn’t enough shelf space in the world to show them off.

Where we’re going we don’t need shelves.

We’ve rounded up some our favorite photo projects from our archives and elsewhere around the ‘net to show you what to do with those awesome photos of yours.

10 Ideas for Showing Off Vacation Photos

(…)
Read the rest of I’m Back From Vacation. Now What? (501 words)


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Why I Quit Getty Images and Why I’m Moving My Stock Photography Sales to Stocksy

26 Mar

Dear Getty, I Quit

Dear Getty Images: I quit.

I just sent Getty Images the email above, which, I think, is how I terminate my relationship with them. Hopefully. I’m not 100% sure, but I can’t seem to figure out any way to do it online, so I’m hoping that email works.

Why am I quitting?

Well, I’m sitting here typing this at 4:56 in the morning on my “vacation,” getting ready to get an early up to the top of a mountain in Idaho to shoot sunrise and I’m not a skier. It’s dark, it’s cold — and maybe, just maybe, with $ 10,000 worth of camera gear on my back, I’ll get something that works from this shoot. After I shoot several thousand images today I’ll go home and spend hours and hours processing them. Finally, I’ll upload them online and maybe sell some. If I do sell some though, bottom line is I feel that I’m getting ripped off with Getty’s lousy 20% payout.

I don’t care how you look at it, for me, 20% is not fair. It’s too low. I’ve been complaining about it for years, but have just grumbled along because Getty felt like the only game in town for stock photo sales. Artists and photographers *deserve* more than 20% payouts. I understand that Getty has the buyers, that Getty is the 800 pound gorilla, but still, photographers deserve a better split than 80/20 against them.

There are other reasons why I’m quitting Getty Images too though.

Since the Carlyle Group (read their wikipedia page actually, it’s fascinating) has taken over Getty Images, things seem to have changed. Maybe Getty’s parent is trying to wring as much profit as their stock business as they can, but it feels like artists are getting the short end of the stick even more these days.

In the private, closed, Getty Photographers group, managed by Getty on Flickr, there were almost 3,500 replies to a thread about Getty’s deal with Google Drive. Whatever you think about this deal, there are ALOT of photographers who are unhappy at Getty about an arrangement where they receive a pittance for their work. The 20% payout is already pretty low, but when you combine it with a $ 12 image buy, some photographers feel that was pushing things too far.

The fact that Getty made this deal doesn’t bother me as much as how they’ve handled the criticism from their members over it. The above mentioned thread is now closed and locked by Getty Images. As a result of the thread, a member was banned and removed from the group — this is the second time that a Getty photographer has been booted from this group that I know of. An earlier member Alex Hibbert was also banned for criticizing Getty.

One of the Getty admins in the group, said that the more recent member was booted not because of his criticism, but because he wasn’t respectful with his criticism. I asked the question if respectful criticism would be allowed to stand and was told yes. I’m going to post this blog post into that forum and I guess we’ll see if this is true. For me, while critical, this post is entirely respectful. I’m still not sure it will get to stay there though.

When you start to see a company fighting with it’s contributors, banning contributors, even FIRING contributors, it makes me feel like maybe it’s time to go. This doesn’t feel like a healthy “relationship” any more. Paying me 20% and keeping 80% already felt a little insulting, but I think we deserve to be treated better.

So where am I going?

This has been the hardest part of all about leaving Getty earlier, there didn’t really seem like there was any place good to go — before today.

Today I’m pleased to announce that I’m going to start selling my stock photos on Stocksy.

Stocksy is a revolutionary new photo agency started by Bruce Livingstone, the founder of iStockphoto. A lot of my friends are there selling photos now too. I’m pleased to be joining some of the most talented photographers I know in a new sort of photographer-owned coop.

While Stocksy isn’t exactly “occupy” stock photography, rather than me getting 20% and Carlyle getting 80%, I’ll be paid a much fairer 50% payout. The exciting part about Stocksy though isn’t just the higher payout, it’s that the members of Stocksy actually OWN the agency. That’s right, after paying out costs, Stocksy will distribute profits to it’s members — so members will get dividends and actually hold real equity in the business.

Now THAT is an idea that I can get behind, and one that’s been long overdue. Fairly compensating photographers while running an agency with some of the most talented photographers in the world today? Sign me up!

Today Stocksy is launching to the rest of the world. You can read more about that here.

If you are a photographer, consider signing up. One bit of warning here though, Stocksy is being *very* selective about the photographers that they are adding. I have felt a little bad because some of my good friends and talented photographers haven’t been asked to join.

Especially early on, Stocksy is trying to build a super premium library of images and sometimes this means making hard choices about who you will launch with. They are also trying to keep Stocksy small where the editors and members can know each other on a personal level. I’ve already made lots of new friends at Stocksy and I’ve appreciated the valuable advice that the editors there share with me about why an image may or may not be right. At Stocksy editors and management do Google+ hangouts with photographers. At Getty all they seem to do is fight.

If you are an image buyer, consider looking at images on Stocksy the next time you need to buy. Not only will you find some of the best, fresh, and most authentic images in the marketplace today, you can feel good about buying them, knowing that they are treating the photographers fairly.

As fellow creative professionals, you are one of us — if given a choice, where would you rather your money go — to actual photographers who create the images, or to Carlyle? Even if you don’t care, still give Stocksy a look, because the imagery there really is miles ahead of what you see in the run of the mill stock photography library out there today.

Let Stocksy make you and your clients look the best they possibly can. You are the ones we need to embrace this idea most of all.

I’ll blog more about Stocksy as time goes on. For stock photography it will be the primary place where I market my own images (like the other photographer members my images for sale on Stocksy will be exclusively offered there) and I’m looking forward to a long and successful relationship.

Here’s Stocksy’s announcement on today’s launch.

Update: well that was fast. I’ve been banned from Getty’s Forum. I’m fine with that as I’m not a member, but I’m told that my post criticizing them has also been deleted. I hope those that are still in the forum can keep up the good fight, demanding more for photographers. I’m disappointed (although not surprised) that after being told that respectful criticism would be allowed that Getty deleted my respectful criticism there.

Update #2: More from Stephen Shankland over at CNET. PetaPixel republished my article as a guest post here. My good friend Trey Ratcliff is also joining Stocksy.

Update #3: Fast Company’s article on Stocksy here.


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I’m a ‘Typical Photographer’ and This Is How Much I Post Process

23 Dec

OK, I’m going to come right out and say it … there are a lot of lies in photography! It’s out there now and I suggest we all take some time to let it sink in before we do anything rash.

Of course we all know this but it’s not a subject that a lot of people openly talk about.  Before I say any more let me be completely straight.  I’m not saying that there are a whole load of photographers out there actively seeking to deceive you, more that most of us (me included) tell ‘little white lies’ about our images. Of all the subjects open for favorable interpretation is the amount photographers post process their pictures.

No Biggie?

I’m not saying for one minute that anyone is looking to be intentionally deceptive, most of the time all we are really talking about is the omission of a few minor finishing touches.  So what’s the big deal? Well there isn’t really any big problem as such, however I remember as a beginner how frustrating it was trying to work out how much of a great image was due to gear, processing or falling that the skill of the photographer.   Becoming a great photographer takes time, patience and practice and its understandable why more experienced photographers might want to protect their trade secrets.

Post Processing in Modern Photography

A common view is that post processing is a phenomenon that has only come about with the age of digital photography.  To a certain extent this is true however we need to be careful not to lump all forms of image manipulation into the same category.  In the age of film it was still possible to alter not only the basics such as aperture, shutter speed but also things like ISO, white balance and the overall aesthetic of the final image.   It’s true to say that these adjustments were less convenient than they are today (you had to physically swap out your film etc) but we shouldn’t confuse the convenience of modern technology with any form of deception.  It has always been necessary to ‘adjust’ the final image to achieve something more like reality and despite the capability of todays cameras and equipment this remains the case.  The reality is that even the best photographers make at least minor adjustments to their images.

So How Much?

So as a beginner what you really want to know is how much processing do most people and how do you know if you are doing too much?  When I started to get serious about photography this was a question that took up far too much of my time. To give you a sense of a typical photographers workflow here is a quick summary of my typical post processing routine and a few examples of how my images typically look before and after.

My Basic Workflow

My basic advice is this; only do as much post processing as necessary to achieve the look you want.  If your goal is to achieve an image that is realistic to real life then assuming you have a decent initial image you should be able to do this fairly quickly.  If however you want to achieve a more artistic result then you may need to take a bit longer.

The majority of my images are either travel or portraiture and therefore my basic post processing workflow is relatively simple.  Pretty much every image I take goes through the following five-step process, although for specific effects I will often do more.  Just so you know, I shoot all of my images in RAW with Lightroom being my editing software of choice.

  • Crop & Straighten – To clean up and correct any issues with composition.
  • White Balance – To correct any colour casts and ensure the image colour is as accurate as possible.
  • Exposure – To improve the overall tonality and dynamic range of the image.
  • Contrast & Clarity – To bring back any missing punch and bring out emphasis and detail.
  • Sharpening – Where necessary the last step is to apply selective sharpening to bring out any key details.

To give you an idea as to what this really looks like in the real world, here are a few examples of images I have taken and how they looked like before and after processing.

Example 1 – Travel Landscapes

Typical post processing for landscapes will include straightening and cropping to improve composition, followed by basic exposure and contrast adjustments. Finally I add some saturation and vibrance for impact.

Example 2 – Street Portrait

For travel portraits, its all about the white balance to ensure that the subject skin tones are spot on. After that I add contrast and boost detail with sharpening.

Example 3 – Studio Work

For studio portraits, white balance is again key followed by basic exposure and composition adjustments. In this case I may also spend more time working on more artistic effects and specialised image touch ups.

The Two Minute Rule

Obviously when you are starting out its important to spend time developing your processing skills, however as you start to get a handle on this its also very important to get efficient.  Not only will doing so stop you from wasting hours in front of your computer screen, but its also the best way limit the potential for over processing.  The ‘Two Minute Rule’ is the probably the best ‘pro tip’ I have ever heard and is something which has fundamentally changed my approach to photography.  The basic idea is to limit the time you spend processing any image to no more than two minutes.  Imagine that, just two minutes to do everything you need to get an image to look exactly as you want it to?  Basically you should be asking yourself if an images needs more than two minutes of work in post, is it worth the effort?  I’m not going to try and convince you that I follow this rule religiously but it is a really powerful way to focus your post processing efforts and I would certainly encourage you to consider building this into your own routine.  Limiting the time you spend in post will stop you from trying to rescue dud images and also give you a rough guide as to when you may have gone too far.

The ‘So What?’ for Beginners

If you are a beginner or someone getting started in post processing, what am I really telling you?  Simply it is this, most of this images you see will be post processed.  Whether this is to overcome the limitations of our equipment, correct mistakes or achieve a specific ‘look’ most photographers will process their photos. The important thing is not to worry about what others are doing, rather on if you are doing the right things to create the images you are looking for.  Focus on learning the techniques which will help deliver the photograph you want and use this as a way to hone your individual style and workflow to become an even better photographer.  If you get this right, then it won’t be long before you can start fibbing about your photographs too!

Post originally from: Digital Photography Tips.

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I’m a ‘Typical Photographer’ and This Is How Much I Post Process


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