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Posts Tagged ‘Photographer’

Video: Lynsey Addario on how being a war photographer got her kidnapped twice

25 Nov

American photojournalist and New York Times bestseller Lynsey Addario has defined her career on the battlefield, capturing incredible images from conflict zones around the world.

She recently sat down with VICE to talk about how her life as a photojournalist has resulted in her being kidnapped twice. The eight-minute interview also sees Addario talk about life, death and a number of other contemporary topics. It’s an inspiring interview that shares an inside look at the life, work and mind of a MacArthur Genius Grant recipient and someone whom Jennifer Lawrence will be playing as in her biopic.

You can find Lynsey Addario’s book and browse her extensive portfolio on her website.

Articles: Digital Photography Review (dpreview.com)

 
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Iconic photographer Terry O’Neill passes away at 81

19 Nov
Photo credit: Misan Harriman/Iconic Images, used with permission

Only two months back, Peter Lindberg, Charlie Cole, Fred Herzog, and Robert Frank passed away within days of each other. Now the photography world has lost another icon. Terry O’Neill, best known for capturing the essence of the ‘Swinging Sixties’ with his photographs of legendary performers from the era including The Beatles, David Bowie, Elton John, Barbara Streisand, and Clint Eastwood, succumbed to a long battle with prostate cancer on Saturday night at the age of 81.

O’Neill was known for capturing his subjects authentically and in an unconventional manner. As Elton John reflects, ‘looking at Terry’s photographs is like gazing through a window at the most extraordinary and exciting moments of my life.’ Born on July, 30 1938 in Heston, West London, O’Neill was on track to become a priest but found his true calling in music. ‘I was told I had too many questions to be a priest,’ he remarked.

Photography would find O’Neill by accident. An aspiring jazz drummer, he sought out employment at British Overseas Airways Corporation (BOAC), now British Airways, in hopes that as a steward he could travel to New York City’s jazz clubs in between work breaks. There weren’t any steward positions open at the time. Reluctantly, he took a job in the airline’s photography department.

Working with Peter Campion in BOAC’s photography department is what changed the course of O’Neill’s career. Campion immediately knew he had an eye and would give O’Neill photography books to peruse for inspiration. A chance encounter with then Home Secretary Rab Butler, asleep on a bench in a BOAC terminal, would yield a photo that was published in the Daily Sketch. O’Neill was immediately offered a job on the Fleet Street beat and worked at the paper for a few years before striking out on his own.

One of his earliest assignments happened to be of a musical group that would define a generation. ‘I was asked to go down to Abbey Road Studios and take a few portraits of this new band. I didn’t know how to work with a group — but because I was a musician myself and the youngest on-staff by a decade — I was always the one they’d ask. I took the four young lads outside for better light. That portrait ran in the papers the next day and the paper sold out. That band became the biggest band in the world; The Beatles,’ recalls O’Neill in a quote published by his agency, Iconic Images.

He would go on to photograph The Rolling Stones during their formative years. Their manager, Andrew Loog Oldham, credited O’Neill’s images as being fundamental to the band’s success. ‘Terry O’Neill captured us on the street, and that made all the difference. Terry captured the time.’ He continued on his path, photographing more famous faces that defined the 60s including Michael Caine, Audrey Hepburn, Elizabeth Taylor, Terence Stamp, Jean Shrimpton, and Frank Sinatra. Notably, he was one of the first photographers to work with Sean Connery as he portrayed James Bond. O’Neill worked as a photographer on all the Bond films in the coming decades.

Although most of O’Neill’s work focused on the glitz and glamour of celebrity life during his six decades as a photographer, he also captured prominent athletes and politicians. He photographed the Queen of England twice and also caught Winston Churchill leaving the hospital in 1962. ‘Terry was a ‘historian’ whose camera captured the resurgence and energy of this revolution,’ says Michael Caine. ‘I can think of no other photographer who has contributed so much to our heritage.’

O’Neill went on to capture classic images into the 70s including David Bowie’s ‘Jumping Dog,’ which premiered at the V&A Museum in London, along with riveting moments from Elton John’s ‘Rocketman’ tour – many that were used as reference material for the recent film. It was his portrait of actress Faye Dunaway, ‘Faye at the pool,’ that would establish him as an icon. Dunaway brought her Oscar statue, an award for her role in the 1976 film ‘Network,’ to the Beverly Hills Hotel pool the morning after she won. This atypical ‘day after’ take is recognized as one of Hollywood’s most iconic images to this day. O’Neill and Dunaway would go on to marry in 1983 before splitting in 1987.

At the start of the 21st century, O’Neill started focusing more of his efforts on exhibiting, publishing, and discussing his work. In 2011, he was awarded the Royal Photographic Society Centenary Medal in recognition of his significant contribution to the art of photography plus an Honorary Fellowship of The Society. Earlier this year, he was awarded a Commander of the British Empire (CBE) for services to Photography in this year’s Queen’s Birthday Honours list.

Robin Morgan, the former editor of The Sunday Times Magazine and CEO of Iconic Images, the agency that represents O’Neill’s work, sums up his career with the following statement; ‘No other photographer worked the frontline of fame for so long and with such panache. Terry chronicled the cultural landscape for six decades from HM Queen Elizabeth II, Winston Churchill to Nelson Mandela, The Beatles to Amy Winehouse, Muhammad Ali to the biggest stars of film and stage. They all dropped their guard to his mischief, charm and wit.’

Adds Morgan, ‘By the end of his life his work was hanging in more than 40 galleries and museums around the world.’ To this day, O’Neill is one of the world’s most collected photographers. He is survived by his son, actor Liam Dunaway O’Neill and current wife Laraine Ashton.

Articles: Digital Photography Review (dpreview.com)

 
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Student photographer knocked unconscious after vicious collision on the sideline of a football game

17 Nov

During today’s college football game between the Georgia Bulldogs and Auburn Tigers, a photographer on the sideline was knocked unconscious when a Georgia wide receiver knocked her over as he ran out of bounds following a short pass play.

University of Georgia student photographer, Chamberlain Smith, was put in a neck brace and taken off the field on a stretcher following the hard collision.

According to reports, Smith was responsive on the stretcher and was able to move all of her extremities, but was taken to the hospital to be checked for an orbital fracture and a concussion. It’s since been confirmed that Smith was released from the hospital, but there are no details on the extent of her injuries.

Brian Herrien, the receiver who ran into Smith, was extremely concerned about her wellbeing and had to be told by officials to go to his sideline following the incident. After the game he shared the below tweet:

Gary Danielson, one of the college football analysts providing color commentary for the game, has taken heat across social media for chuckling at the photographer on the ground following the collision and subsequently making insensitive comments:

Football photography might not seem dangerous, but when you’re looking through the viewfinder, you never know what can happen. Consider this a reminder to always be vigilant about your surroundings.

We would like to wish Smith the best in her recovery.

Articles: Digital Photography Review (dpreview.com)

 
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Treat yourself 2019: 10 gifts for the most important photographer in your life: you

17 Nov

Treat Yourself 2019

You’ve worked hard and been good all year, it’s time to treat yourself.

Photographers are notorious for being difficult to please when it comes to gift receiving. We often have both brand-specific and/or expensive taste. So this holiday season, instead of leaving your holiday wishes up to the gift gods/friends and family, why not indulge yourself in the gear you actually want?

We’ve spent all of 2019 shooting, testing and obsessing over the latest cameras, lenses and accessories. And what follows are the items we, as the staff of DPR, most desire. For photographers, by photographers, we present Treat Yourself 2019. Happy shopping!

Peak Design Travel Tripod

Peak Design Travel Tripod | $ 350 (aluminum), $ 600 (carbon fiber) | PeakDesign.com

By far one of the hottest accessories to come out this year was the Peak Design Travel Tripod. Available in aluminum and carbon fiber, it’s quickly become our favorite tripod for on-the-go work thanks to its compact size (it breaks down smaller than the competition), high-degree of stability and well-designed, low-profile ballhead.

We obviously prefer the carbon fiber version, which is lighter and more stable than the aluminum one. But we’d still take PD’s aluminum model over just about any other travel tripod in the game. So treat yourself to the gift of stability, wherever you may go.

View our Peak Design Travel Tripod
hands-on slideshow

Sony Cyber-shot RX100 VII

Sony RX100 VII | $ 1300 | Sony.com

Sony got just about everything right in the RX100 VII, the ultimate do-it-all compact camera. The RX100 series has long impressed, but it wasn’t until this iteration that they really nailed down the autofocus implementation as well as the AF performance. Sony also made a series of much-needed usability improvements.

These upgrades help to better unlock the camera’s full potential, allowing users to make the most of a long, sharp, versatile zoom lens, super-fast burst shooting and class-leading stills and video quality. So treat yourself to the Swiss Army Knife of cameras.

Read our Sony RX100 VII Review conclusion

Sony TOUGH SD cards

Sony Tough Cards | $ 60 (32GB), $ 110 (64GB), $ 210 (128GB) | Sony.com

One thing we lost when the industry mostly abandoned CF cards in favor of SD cards is the structural integrity of the media. Like many photographers, I have an ever-growing pile of busted SD cards at my desk, some with missing ribs, some with cracks along their seams and others that have just disintegrated completely. Fortunately Sony has solved the issue of the fragile SD with their SF-G series TOUGH cards.

These cards are molded from one piece of composite material with no seams and no ribs around the contact points. They’re drop, crush and bend-proof far beyond that of a traditional SD card. And an IP68 dust and water-proof rating means they’re not going to let you down, even in the worst conditions. Plus they offer super-fast transfer speeds up to 299Mb/s and write speeds up to 200MB/s. Simply put, these are the most reliable cards we’ve come across. And there’s no better treat than peace of mind.

Read more about Sony’s Tough SD cards

Gnarbox 2.0 SSD

Gnarbox 2.0 SSD | $ 500 (256GB), $ 600 (512GB), $ 900 (1TB) | Gnarbox.com

Speaking of peace of mind, having reliable memory cards is only part of the battle. The journey from photos being shot, to being backed up properly is one with occasional bumps in the roads – bumps that can cause devastation.

The Gnarbox 2.0 SSD looks to smooth out some of these bumps by offering a rugged go-anywhere SSD solution meant for backing up files as soon as they’re shot, with the added ability to tag and sort images via mobile device. The Gnarbox has a built-in SD slot, USB-C connectivity and a Micro-HDMI port. It’s also weather, dust and impact-resistant. Batteries are swappable and it can even be used to charge another device. But perhaps most importantly, transfer speeds are super-fast (up to 350MB/s), plus integration with Photo Mechanic and Lightroom makes it an even more versatile tool for those on-the-go. It’ll even play nice with iPad Pro devices when connected via USB-C.

Read more about the Gnarbox 2.0

Olympus XA 35mm film rangefinder

Olympus XA | $ 65-120 (used)

We’ve long preached the values of shooting film as a photographic companion to your digital work, or vice versa. Both mediums offer benefits that will improve your photography. Seeing as this is a digital camera site, we figured most people around here don’t have analog on their mind. But let’s change that.

If you’ve never shot film, or haven’t in a while, the Olympus XA is an enjoyable and affordable entry into the 35mm medium. Released in the late 70’s, this pocketable aperture-priority rangefinder (one of the world’s smallest) offers a fixed 35mm F2.8 lens hidden behind a sliding cover. The lens is sharp, the shutter is very quiet and the camera itself is full of wacky charm, from the tiny rangefinder tab, to the big red square shutter release, to the four-bladed aperture. In short, the XA is both fun and capable, without taking itself too seriously. Just like you.

Read more about the Olympus XA and other film cameras we recommend

Leica Q2

Leica Q2 | $ 5000 | us.Leica-Camera.com

Speaking of rangefinders, what ‘Treat yourself’ list would be complete without a Leica product? Among the DPReview staff, the rangefinder-style Leica Q2 was easily one of the most lusted-after cameras of the year. And why shouldn’t it be? The combination of a seriously-sharp 28mm F1.7 lens in front of a high-res 47MP full-frame sensor in a beautifully-designed body with excellent ergonomics makes the Q2 the ‘créme de la créme’ of modern fixed-lens cameras. Plus Leica redesigned the Q2 from the inside out to add extensive weather-sealing. They also updated the EVF and improved battery life.

And if the price tag seems a bit steep, perhaps you can justify picking the Q2 up for that special someone (that’s you) knowing there will never be another lens to drool over for the camera. Owning one is an end in itself to one’s gear lust. Probably. Maybe. Whatever… treat yourself!

Read our Leica Q2 Review conclusion

DJI Mavic Mini

DJI Mavic Mini | $ 399 (drone), $ 499 (Fly More Combo) | store.DJI.com

If the idea of using a drone as a creative tool hasn’t hovered noisily to the top of your mind yet, now is the perfect time to consider aerial photography/videography. Most people think of drones as big, loud nuisances, zipping around like angry bees. But the just-announced DJI Mavic Mini is compact (palm-sized), lightweight and reasonably quiet. It’s also super easy to fly. And despite its comparably lower price tag, it offers many of the same features found in its pricier DJI siblings like an accident avoidance camera, return-home functionality and a 3-axis camera gimbal.

The camera aboard the Mini is relatively modest with a 12MP 1/2.3-inch sensor capable of JPEG-capture only and up to 2.7K/30p or 1080/60p video. But for first time fliers, it’ll easily give you just about the same image/video quality of a smartphone, with the advantage of a bird’s eye view. So go on and treat yourself to a fresh new perspective, courtesy of this tiny/fun drone.

Read our DJI Mavic Mini Review

RucPac Professional Tech Gloves

RucPac Tech Gloves | $ 40 | RucPac.com

Cold hands are a reality for many photographers, especially those passionate about landscape, wildlife and sports. Sacrificing dexterity for warmth is simply not an option when ‘the shot’ can come and go in an instant. We’ve used finger-less gloves in the past, but found they don’t keep our hands all that warm. And ordinary gloves don’t provide enough finger movement. If only there were a warm form-fitting glove with good dexterity. Oh wait, there is! RuPac’s Tech gloves.

This pair of hotties comes in two sizes with sticky rubberized grips along the palm and fingers. They’re made of a weather-resistant polyester material that’s thick enough to provide a good deal of warmth on a cold day, but not so thick that they’ll limit hand movement or tactile response. They’re not going to save your paws from an Arctic chill, but for reasonable cold, they’ll get the job done. Plus they offer touchscreen compatible material at the tips of the index fingers and thumbs. So treat yourself to some happy hands this winter.

CAM-IN camera strap

Cam-IN camera strap | $ 25-35 (depending on style) | Cam-In.dk or Amazon.com

Let’s be honest – the strap that came in the box with your camera works just fine. But if you’re looking to treat yourself to something a little more stylish yet highly-functional, look no further than Danish brand CAM-IN’s leather and rope camera straps.

These straps looks great, are made from high-quality materials and feature excellent craftsmanship. They’re also fairly affordable. Simply put, they’ll provide you camera support long into the future, while looking snazzy all along the way. What more could you ask for? Treat yourself.

‘Parks Project’ National Parks/National Geographic apparel

Parks Projects T-shirts, hoodies and hats | $ 35-70 | ParksProject.us

Photographers are not usually known as a well-dressed bunch, but all more reason to freshen up your look with some new threads. And why not support a worthy cause while doing so? Parks Project is a clothing brand that’s partnered with more than 50 non-profits to help restore and protect National Parks in the United States through donations and volunteer work. You can read more about their contributions here. As photographers, many of us have a special relationship with the outdoors: all the more reason to protect it.

Most of Parks Projects’ clothing features hip/retro designs related to specific National Parks like Yosemite, Yellowstone and Zion. They also recently launched a super cool National Geographic collaboration. If there’s a clothing line more appropriate for photo nerds, without being cheesy, we haven’t seen it. TREAT YOURSELF.

Articles: Digital Photography Review (dpreview.com)

 
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Photographer David Burnett on shooting his third impeachment: ‘I felt that historic pang’

16 Nov
© 2019 David Burnett/Contact Press Images

It’s not every day that you see someone using a 4 x 5 film camera on TV, and certainly not during the coverage of one of this years’ most-watched events: the opening on Wednesday of the public phase of the house impeachment enquiry into President Donald Trump. But as diplomat William Taylor and State Department official George Kent took their seats, our eye was caught by one figure among the crowd of photographers jostling for a shot, and his camera.

After some quick Twitter research, we identified him as David Burnett, multi award-winning photographer, and veteran of three impeachment hearings. His camera? A custom-made ‘Aero Liberator’. We caught up with David on his drive back to New York after the hearings to learn more about his work, his approach to photography, and that camera.

The following interview has been lightly edited for clarity and flow.

When did you start shooting large format film?

I’ve been shooting with my Speed Graphic for 15, 16 years. I started in 2003-4 doing politics, then I did the Olympics, and some presidential stuff – John Kerry and George Bush. I won a bunch of World Press Photo prizes in 2004-5, ‘Best Sports Story’ with the pictures taken with my Speed Graphic. Along the way I met this guy called John Minnicks, who I happily describe as a mad scientist, who takes a camera and then makes it into something else. John made me this camera, which he calls the ‘Aero Liberator’.

He figured out a way to make it using a Graflex Super D, which is a sweet little camera, and just such a beautiful little thing. So he puts the Aero Ektar lens on it. I’m sort of responsible for the re-birth of that lens in the past 15 years, because for my Speed Graphic, I was getting tired of shooting slow lenses. So I looked around, and I found this F2.5 lens, from a WWII reconnaissance camera.

There must be easier ways of working, as a photojournalist….

If you’re shooting with film holders, you have created for yourself a major impediment. Nobody did that to you, you did it to yourself. And in a way, you could say to yourself ‘well that was kind of a dumb move, why can’t you just shoot cool digital cameras like everybody else?’ And I’ve got Sony a7s and a9s and I love those cameras. But one frame, having the wherewithal and the guts to slow down and figure out when that one frame is supposed to be shot, that’s the real deal.

WW1 re-enactors at the 2019 Veteran’s Day Parade, New York City.
© 2019 David Burnett/Contact Press Images

So the other day, I walked up and down 5th Avenue during the Veterans Day parade, I shot 18 frames. I’ve been shooting this stuff for 15 years now. You could ask why would you tie one hand behind your back by working like that? When you force yourself to step up to that challenge, and you get a picture – and you don’t always get a picture! I may not have anything from today, in which case my so-called ‘heroic’ actions will have been for naught! But it’s worth a try.

I’ve been doing this a long time, and I love being fired up enough to still want to do something a little different, and a little challenging.

Did you know that you were featured in the live stream from the hearing?

I had no idea that I was on-camera. We’d all just gotten into the room to figure out where we were going to be. I was just standing there with my camera, and I’d brought along my little Sony a6500, which today I was using with an old 1940s Kodak Cine lens, a 50mm F1.6 Anastigmat. It’s very fun! It rekindles the fun, and makes it challenging.

David Burnett at the opening of the house impeachment hearings on Tuesday November 12th, with his custom ‘Aero Liberator’ 4 x 5 film camera. (NBC News)

Your first color assignment was covering Apollo 11, and that was 50 years ago…

I know, that was a long time ago!

What keeps you doing it?

I don’t know if you’ve seen the wonderful movie that Stephen Wilkes did about Jay Maisel? It’s called ‘Jay, Myself’. There’s a wonderful moment in there when Jay says ‘I love photographs, but I really love photographing’. You have to decide which is your dominant personal motivation. And watching the movie I was thinking ‘well, I know which one I would choose – I wonder if I chose the right one?’

There are many times when you don’t get the picture, but the act of being there and trying to get it is not a bad thing.

I love photographing. I’d prefer to be paid for it, but there are times when it’s pretty clear I’m not going to be paid for it and if I want to go shoot something, I’ll go shoot it. There are many times when you don’t get the picture that you want, but the act of being there and trying to get it is not a bad thing. Just be happy to share and discover.

Were you on assignment today?

No, that was just me. I was at the Nixon hearings, and Clinton, and I felt that historic pang.

So this is your third impeachment?

I will be my third, yeah! But it’s not really about politics for me. I’ve been going to the white house for 52 years. The only thing I care about is how I feel when I walk through the North West gate. It’s always special. I’ve been there for Nixon, Johnson, both Bushes – everybody. For me it’s about the institution, and how it still works. That’s the cool thing. That’s really what draws me to politics. Eventually you’ll find yourself in a place where for 200 years people have been doing the same thing.

It’s a great tradition to be able to walk into that place with a camera and try not to get to beat by everyone around you. And that happens a lot! Turns out there are a lot of really great photographers, men and women, that work there.

President Lyndon B. Johnson at a joint session.
© 2019 David Burnett/Contact Press Images

Watching you in the footage today, I’m interested to know about your process.

With this camera, it’s a mirror reflex so you look down into it from overhead. I kind of eyeball it, roughly, then I’m just looking at Ambassador Taylor to see if I can identify a moment which might be more interesting than half a second ago, or half a second from now. A thing like this, where you don’t have long, and then you have to back away, I try to get my focus where I think he’s going to be, but I don’t always shoot right away. You’ve got one shot, and by the time you’re ready for the next one that’s maybe 20 or 30 seconds. I can do it pretty quickly, I’m not bad with it, but there’s a lot to do on those cameras.

The ‘Speed‘ Graphic? I mean – compared to what? Well, compared to what came before it, it was pretty good.

Natalie Coughlin, Olympic Gold Medalist.
© 2019 David Burnett/Contact Press Images

What kind of reaction does the old film equipment get?

When you bring out a camera like that, people tend to give you a second of hesitation, before they say ‘no’. It puts you in a slightly different place as a photographer, as a journalist and an artist. Compared to if you were showing up with the usual three or four digital cameras and all that stuff. ‘OK, this is a little different’. And it’s much appreciated, by me. As long as you don’t drop it, or do something stupid, it definitely gives you a little bit of an edge.

I was the only guy at the Olympics to get a letter saying ‘he’s authorized to carry a tripod’.

It’s hilarious – I used to carry my Speed Graphic around at the Olympics. I was the only guy at the last three Olympics to get a letter from the Olympics chief saying ‘he’s authorized to carry a tripod’. It’s been great, I made a few really good pictures, and maybe you could have made the same picture with a digital camera, but when you see all the flaws that can happen [with large format film] it has more of an honesty about it. There are 100 things that could go wrong, and any one of them can really screw you up.

If it turns out that you didn’t get any shots from today, how would you feel?

Well, I looked at my digital pictures already, and honestly, I’m going to look at the papers tonight and tomorrow and see who made a great picture. There was some real talent in that room. I mean real talent. Doug Mills, Damon Winter – those guys, it’s hard to do better than either of them. Scott Applewhite from AP was there, there were some really good people in the room.

So if I don’t get anything, I won’t feel like a total schmo but I’ll be a little disappointed. But I made a couple of good pictures at the veterans parade on Monday and that kicked me in the ass to decide to go give it a try.

How long before you’ll know?

Well it’s Wednesday night now, so maybe Friday afternoon if I’m lucky. I’ll let you know!

Visit David Burnett’s website to see more of his work

Learn more about the Aero Liberator by John Minnicks

Articles: Digital Photography Review (dpreview.com)

 
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Photographer David Burnett with his large-format, wooden camera was the real hero of today’s impeachment hearings

14 Nov

Photographer David Burnett (L), pictured in the press pack at today’s first public session of the ongoing impeachment hearings.

As diplomat William Taylor and State Department official George Kent took their seats in the House today to begin their public testimony, their entry was heralded by a noisy fluttering sound, as attendant photographers shot off hundreds of continuous frames on their Canon and Nikon DSLRs. But one man stood alone, among the fray: David Burnett, veteran, multi award-winning photographer, co-founder of ContactPressImages and large format film enthusiast.

The camera is an ‘Aero Liberator’ – Made by John Minnicks, the Liberator is a custom-made camera, which takes 4 x 5 plates. Judging by today’s footage of David using it, continuous shooting speed is limited to about one frame every five or six seconds.

Articles: Digital Photography Review (dpreview.com)

 
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Why Every Photographer Should be a Teacher

12 Nov

The post Why Every Photographer Should be a Teacher appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

why-every-photographer-should-be-a-teacher

I love teaching photography – it helps me to be a better photographer as well as those I teach. Every photographer should be a teacher at some point.

Many photographers, including myself, are largely self-taught. This does not mean learning new techniques and methods from someone more advanced than us is not welcome.

Modern life affords you endless resources to become self-taught in many subjects. Certain professions require an academic degree, photography does not. Becoming a doctor or engineer would be impossible without formal education. To learn photography all you need to do is get online and start reading and watching videos. Most of it you can even do for free.

Why-Every-Photographer-Should-be-a-Teacher

© Kevin Landwer-Johan

There’s no substitute for a competent teacher

Aspects of learning that require a teacher include: receiving clear instruction in person. Having the opportunity to ask and have your questions answered, and being challenged about specifics at your personal level of learning.

Everyone can become a competent teacher. You will always know at least a little more than someone else. Even if you’ve only learned what you believe is a little. You are capable of sharing what you know in a unique way. Your knowledge and experience will be appreciated by someone.

Image: © Pansa Landwer-Johan

© Pansa Landwer-Johan

Finding the right students

Whatever level of photography you are at, you’ll always be able to find someone who knows less than you. Or someone who does things differently than you. Connecting with people who appreciate your willingness to share is important. It’s practically impossible to teach someone who does not want to learn.

Even complete novices can teach each other through practical experience. Going out with another photographer provides you opportunities to talk about the photos you’re taking. Because we all have a unique view of the world, we all see things differently. Sharing this with others can help us become more skilled with our cameras.

More advanced photographers are usually more capable of teaching those with less experience. Having a positive and encouraging attitude towards each other helps. I never tell people they are doing something wrong, instead, I prefer to teach them how to make improvements to what they are doing.

Making yourself available and reaching out to those with less experience is a good first step. Building a relationship of trust will encourage the learning process. Once your students know you’ll not lambast them for an incorrect exposure or out of focus subject, they’ll be more open to learning from you.

Image: © Kevin Landwer-Johan

© Kevin Landwer-Johan

Start by asking and looking

Before I run a workshop, I like to see a selection of photos from people who will attend. This gives me a pretty good idea of how they like to use their cameras. It often provides me with a pretty good idea of how to teach them.

I like asking questions, and I love it when people ask me questions. This is a huge part of the learning process. Establishing how a person uses their camera, and what they prefer to photograph, helps me know where to start teaching.

Asking questions and looking at the photos of someone you are teaching makes the whole interaction more personal. It also makes the experience much more practical.

Don’t only look at the best photos someone has taken. Ask to see some recent pictures they’ve made that have disappointed them. Even if you cannot see any obvious reason for the lack of success, discuss the pictures. This will often bring new ideas to life, and you can both learn something new.

Asking a person questions about their photography shows you are interested in them. Most people will appreciate this. Once they know you are interested, they will be more receptive to what you have to teach.

Why-Every-Photographer-Should-be-a-Teacher

© Pansa Landwer-Johan

Teaching is not only about what you know

You need to become aware of what your students do and do not know. This information is gained both by asking questions and looking at their photos. Once you have this understanding, you can focus on teaching them what will be practical.

Remember that when we hear something we’ve had no prior knowledge about, it’s more difficult to understand it. Building on what students already know and incrementally introducing new concepts is practical.

Understanding what you have to share is important. Albert Einstein said, “If you can’t explain it simply, you don’t understand it well enough.” Teaching what you understand well, you will be received more readily by your students.

When you think you have a good grasp of technique and the person you’re sharing it with is looking bored, this is a clear sign you are not hitting the mark. Do you really have such a good understanding of what you are teaching? How can you simplify your explanation to make it more acceptable? Or are you introducing a brand new idea too soon?

Teaching and doing is the best way to learn photography. Having their camera in hand, a student can put into practice what you are teaching them. If, for example, you’re teaching about depth of field, this is better understood when you can see the results different camera settings produce. When photographing the same subject that your student is, you can compare your photos. This way, you’ll see if they understand the teaching.

Why-Every-Photographer-Should-be-a-Teacher

© Kevin Landwer-Johan

You will reap what you sow

Every photographer should be a teacher because as you teach, you will also learn. Giving out brings back to you many times more than what you contribute. I’ve always enjoyed sharing what I know about photography with others. It wasn’t until about six years ago that I started running regular photography workshops. Because I was teaching, my rate of learning increased incredibly.

Teaching can push you to learn more too. Questions from students or fellow photographers will challenge you to learn more. It feels good to give a clear and understandable answer to someone’s question. Regular interaction like this will inspire you to increase your knowledge, and as a result, your photography will improve.

You don’t need to wait until you believe you’re completely competent. Start now. Build relationships with other photographers who are at about the same level as you and find others who are beginners. Start to share your experiences together and encourage them to share with you what they know about photography. This way, you’ll all benefit from teaching, and you’ll grow together in your photography experience.

I hope you’ve enjoyed Why Every Photographer Should be a Teacher. If you have anything else you would like to add, please do so in the comments.

The post Why Every Photographer Should be a Teacher appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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From field to cup: We join photographer Lauren Kelly as she documents tea production with the Canon EOS RP

30 Oct

Positioned far to the south of the country in the shadow of an active volcano, Kagoshima has a very different feel to most Japanese cities. Warm and humid all year, the area around Kagoshima is ideal growing country for fruit and vegetables, and the rich volcanic soil is perfect for the cultivation of tea.

In this video, we’re joining photographer Lauren Kelly in Japan, on assignment to document the production of matcha – a finely ground type of green tea, prized by connoisseurs for its rich, complex flavor. Along the way, Lauren captured the vivid sights and sounds of the Kagoshima area using the Canon EOS RP, a small, lightweight mirrorless camera ideal for travel and portraiture.

Canon EOS RP in Kagoshima, Japan

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Articles: Digital Photography Review (dpreview.com)

 
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Photographer Jean Fruth captures Grassroots baseball in Route 66 Tour

25 Oct

The Grassroots Baseball project aims to shine a light on the game of baseball as it is played in yards, streets, and small community fields. Away from the bright lights and huge stadiums of the major league game, the project’s co-founder, photographer and Sony Artisan Jean Fruth, has been documenting all levels of the amateur game in the US and around the world.

This summer, Jean and her team embarked on the ‘Route 66’ tour, taking in historical sights from Chicago to Santa Monica. We joined Jean as she worked with Sony’s Alpha a9, photographing the people and communities that keep grassroots baseball alive.

Grassroots Baseball – pictures by Jean Fruth

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Articles: Digital Photography Review (dpreview.com)

 
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Photographer uses drone with thermal camera to find missing 6-year-old boy

24 Oct

Photographer Steve Fines helped save the life of a 6-year-old boy who went missing last week on a subfreezing night in Sherburne County, Minnesota.

A group of roughly 600 people showed up to search for Ethan and his dog. As temperatures dropped below 30ºF that evening, the situation became increasingly dire. ‘I heard about the search at 8:00 pm and arrived on site about 9:00 pm,’ Fines tells DPReview. He arrived carrying his DJI m210RTK v2 drone equipped with an XT2 dual thermal camera.

An annotated image shared by Fine showing the location of Ethan and his dog being rescued.

Since Fines uses the drone for business purposes, he already had 10-12 sets of batteries charged and ready to go. ‘I went to the command center and introduced myself. They asked me not to fly until the state police helicopter left the area, which happened about 10:30 pm,’ Fines told us. He also emphasized how important it is for drone operators to yield the right of way to helicopters and other emergency response efforts. Interfering with these critical operations is against the law and can result in fines upwards of $ 20,000. Drone operators need to coordinate with local authorities first before getting involved.

Once Fines received clearance for takeoff, he said ‘I quickly started flying and it was by using a programmed flight path that I could efficiently cover a lot of ground. After quite a few false positives – otters, deer, bear – at 1:40 am, I spotted the six-year-old and his dog. By 1:50 am, a ground rescue team made it to his location and I watched them pick him up on the thermal monitor.’

While Fines has received a lion’s share of the credit from local news station KARE 11 for the success of the rescue, he took to social media and gave thanks to the coordinated efforts led by the County Sheriff along with the hundreds of volunteers that helped guide him in the right direction.

This thermal image shows a stream of volunteers walking a path to find missing 6-year-old Ethan.

While I was running the camera that found him […] I only knew in which direction to look because volunteers on the ground had found a footprint that pointed me in the right direction. I knew which areas had already been searched because of the excellent coordination of the Sherburne County Sheriff. I had other volunteers running radios to coordinate ground search parties – the people moving across really rough ground to find him. There were 600 of us that found Ethan that night.

Below is a video from KARE 11 showing more behind-the-scenes footage of the rescue and a thank you from Ethan:

You can check out more of Fines’ work via his website and follow Fines Aerial Imaging on Facebook and Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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