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How to Get Started Making Extra Money with Your Nature Photography

16 Sep

Photography is expensive, there’s no doubt about that. Nature photographers have it bad, though, especially if you’re buying long telephoto lenses for wildlife. The Canon 200-400mm lens will set you back $ 11,000 – ouch. So it’s no wonder that many people want to make it in photography and start monetising their work. But can you make money with your nature photography?

Brown Bear at Sunset

Making money from your photography isn’t easy, and it doesn’t get any easier as a nature photographer either. There’s less demand, and more people doing it. That means increased competition for a smaller slice of the pie. If you want to make money from your nature photos, then you must realize that it’s not easy by any means – but it’s also not impossible.

I’ve been working as a professional nature photographer for about six years now. What I’ve learned over my relatively short career so far is that you need to think outside the box to stay ahead of the competition. A bit of a cliché statement maybe, but one that you’ll have to embrace – especially if you want to be a full-time photographer.

But you’re probably reading this wondering how you can make a bit of extra cash from your photos on the side, rather than an entire life-altering career move. Well, that I can help you with! Let’s take a look at some of the main ways you can start to make money with your nature photography.

Prints and Other Products

The first print I ever sold was in 2008. That’s eight years ago now, and I’ve been doing it ever since. To the surprise of some, people do buy photographs to hang on their walls. This isn’t a space reserved solely for paintings.

Personally, I have my photos printed and framed myself, but you can have this process automated by dedicated web hosts. Zenfolio is a popular choice amongst photographers for a website, and they offer the ability to have orders automatically fulfilled by printing labs. This means you can sit back and relax, selling prints from your website.

Brown Bear

Beauty and picturesque scenes sell better as prints, rather than action-packed shots.

It’s not just online though. You can sell prints in the real world too! Head to a market or trade show, set up a stall and get selling. It’s great fun talking to customers about your work and to sell your photos this way. Doing just a couple of shows a year can buy you a new camera or lens, so that’s something to think about.

What sells best? Well, I find the more traditional wildlife photography like; clean bokeh shots, cute animals, or dramatic scenes. You’re looking for something that someone will want to look at over and over again. After all, when was the last time you moved a framed picture in your house? They stay up for a long time.

Workshops

If you really know your way around your camera and can take a decent photograph, then this is something you could consider. Day workshops offer clients tuition in photography, let them know your secrets and just help them to take a better photo and understand their equipment. It’s a popular move amongst photographers nowadays, and almost everyone trying to make a living out of nature photography is offering workshops.

wildlife-photography

The best thing about it is that you can set your own hours and choose when you work. You can fit sessions in on the weekend around your full-time job, and have a little extra money coming in on the side. All of this helps to take the sting out the costs of new photography kit.

There are different types of workshops you can offer. Some photographers partake in one-to-one guiding days, showing clients different locations for landscapes or wildlife sightings while imparting photographic knowledge. Others may rent out a blind they have built to view a particular animal (see image above), something that is often in high demand by those who don’t have the time to create such possibilities themselves.

Sell Stock Images

The stock photography industry is depleting day by day, unfortunately. It used to be the case that you could make a five-figure salary, or more, from stock photography alone. Maybe not just as a nature photographer, but you could definitely make big bucks in comparison to nowadays.

nature-photography-money

But with the rise of microstock, photographers are seeing their earnings decrease. On top of that, many stock websites are taking increased percentages as a commission, leaving photographers with little left of the few sales they may still make.

Despite that bleak picture, there are specialist nature photography stock agencies you can submit to. The likes of Nature Picture Library still sell well, at least in the UK, and photographers are able to make a decent income from them. However, they are very selective about who they work with – you need something unique in your portfolio to be accepted.

Selling to Publications

This is where there is definitely still money. Selling images to newspapers or magazines can be pretty lucrative indeed – the trick is making it a regular gig. Publications are often looking to buy not just one photo, but a sequence of photos that tell a story. That’s where your best chance to get published sits.

Selling to newspapers and other publications can be a good source of income.

Selling to newspapers and other publications can be a good source of income.

Working with a press agency to get your photos syndicated and in front of the right people is the best way to go about it. While you can contact publications yourself, you’re likely to be ignored and if your photos are used you may have to spend months chasing them for payment. Press agents take the stress out of it. There are plenty around the world, and they’ll take a commission (usually 40-50%) of the sale price for their services. I work with

Press agents take the stress out of it. There are plenty around the world, and they’ll take a commission (usually 40-50%) of the sale price for their services. I work with REX Features, but there are plenty out there such as Caters News and Associated Press. If you think you have a good, fresh sequence of images then send some low-resolution copies over and you’ll soon find out if they are sellable or not.

nature-photography-money

In Conclusion

Here are just some ways that you can make money as a nature photographer. It takes work and dedication, especially if you want to make it a full-time job. It’s definitely not the path everyone will be able to take. But, there’s no harm in trying to make a bit of extra money at first and seeing where it takes you. You just have to take that first step.

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How Making Horrible Photos Will Lead to More Keepers

19 May

I make a lot of really, really, horrible photos. It’s an odd thing to say isn’t it? But I do. Thousands of them every year, and that is totally okay with me.

I know that most (even all) of those really terrible, poorly composed, exposed, or focused shots, are just practice. They are practice for the next image, and the next, and the next, each building until I find that one keeper in a long string of wasted pixels, and more keepers overall at the end of the day.

As I scrolled through my Lightroom catalog looking for images to accompany this piece, I found in my unedited photos many near-lookalikes. As I edit, I scroll through them one at time. Some get deleted right away because they are soft (out of focus), or the exposure is too far off the mark. Others get deleted because the composition was clearly wrong, unbalanced, or awkward. I often wonder, “What was I thinking?”

Chiloesketch

Sometimes, it takes a lot of shots to find the one you are looking for. I was shooting the sunset on Chiloe Island, Chile, and eventually I found two that made the final cut (below).

Chile-Chiloe-Pinihuil-103085-57

Chile-Chiloe-Pinihuil-103085-61

Most of the time the answer to that question, is that I wasn’t thinking at all. I had found a subject that intrigued me, and I started making photos, and thought had not yet worked its way into the equation. Scroll a few images further into the series, and things start to come together. The distracting elements, one at a time, disappear from the image. The exposure and focus are corrected, and by the time the last shot in the series appears, it’s technically decent, and maybe even a good photograph.

aerial sketch

AK-KatmaiCoast-AW-1075-660

Shooting out of the window of a small airplane flying low over the coastal mudflats of Cook Inlet, Alaska made exploring a single view difficult. But as I shot the first few images, I got a sense for what I was looking for, and when it appeared a few moments later in my viewfinder, I was ready for it.

Those first shots are sketches, and they happen when my mind is still at play, too immature to recognize the scene for what it should be. Eventually, as I settle into the moment, the scene evolves and matures, as I begin to recognize what should and should not belong in the image.

The Freedom of Digital

With digital cameras, there is no harm in playing with a scene this way. Pixels are free, and we can shoot and shoot until our fingers are sore, or we get the right photo. When I’m shooting film however, (which believe it or not, I still do occasionally), there is no such luxury. Every time I release the shutter it’s a few bucks in film, processing, and scanning fees. If I shot with my film camera the way I do with digital, I’d be broke inside of a month.

brookswintersketch

AK-Wiseman-Sukukpak-104025-23

This contrasty Brooks Range scene, made finding both the proper exposure and composition a challenge. Many images later, I settled on this one. I still think I could have done better.

Instead, when shooting film, I’m forced to make those sketch images in my head, and in my viewfinder. I adjust tripod heights, I inch forward and backward, I focus and refocus, and I watch my light meter like a hawk. Then, once I’m sure I’ve got what I need, I click the shutter, and cross my fingers that I’ve got it right.

antlersketch

AK-ANWR-Kongakut-108094-1065

Above are just a small number of the preliminary images this final shot required. At one point I even hiked off from the scene, thinking that I’d captured it. When I realized 10 minutes later that it could still be improved, I ran back, found the spot again, and made the image I should have made the first time around. My clients were less than pleased. (Arctic National Wildlife Refuge, Alaska).

Whether you make the sketch images as a digital file, or as a mental one, the result is the same. Those preliminary frames, are just that, preparatory. Embrace them, but most importantly don’t stop at the first, or second, or even third shot. Keep exploring your subject, and you may find something you weren’t expecting.

Patagoniasketch

Chile-Patagonia-landscape-103125-7

I often find myself playing with both vertical and horizontal compositions as I sketch my way to a final composition. In this case, a horizontal one. (Chilean Patagonia).

Exploring

A few years ago, I was approaching the end of a ten day wilderness canoe trip in Gates of the Arctic National Park in the Brooks Range of northern Alaska. I was guiding, and so I was mostly concerned about keeping my clients safe, warm, well fed, and helping them make their own photos. My photography took a back seat. But after dinner, as my clients were heading off to their own tents on the tundra, I would often wander off with my camera and tripod. On that evening, as the trip was coming to its end, I ambled up the gravel bar away from camp. It was mid-August, and for the first time in months, the sun, for an hour or two each night, was actually dropping below the mountains that surrounded us.

The river flowed past in a gentle riffle, washing over the stones with a shushing sound, that hushed my thoughts as quickly as librarian with a finger to her lips. As the sun made its long low dive toward the mountains, the light grew sweeter, illuminating the tundra and mountains in light so beautiful I could hardly bear to look at it.

noataksketches

Though several of the images I made as the evening progressed are good, they more importantly allowed me to get comfortable with, and involved in the changing scenery.

Slowly, and it took a long time, I started making images. For a while, I let my myself play with the landscape, making photos here and there, pointing this way and that. I made images of a tributary river flowing over the rocks, the winding cut gravel banks, bear tracks, and sedges growing along quiet shores. Some of those images are decent, even good, but they were still leading me somewhere. Eventually I found myself by the main stem of the river when the sun was about to disappear behind the silhouetted mountains. There, after an hour or more of play, I found the image that I had ventured away from camp to make.

AK-GAAR-Alatna-Noatak-1083-890

Be There-There

I got it right, because I was there-there. I wasn’t just existing with a camera in my hand, worried about f-stops and ISOs. I was present, because all those previous images over the past hours allowed me to put aside the technical worries, and permitted me to focus on the scene at hand – the way it felt, the way the breeze moved the surface of a quiet backwater, the sound of the water hushing over stone, and the way the river’s edge wandered away toward the setting sun.

All those sketch images not only gave me permission to focus on the scene the way it needed to be, they gave me access to the moment when I needed it.

As you can see, perfecting exposure and focus is just one part of what it means to work through your practice photos. These preliminary images allow your mind to get away from all that other stuff, and concentrate on what matters. Like me, you’ll end up with lot of really horrible photos, but occasionally, they will lead up to something meaningful. 

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Making a splash: Nikon D500 real-world sample gallery

03 May

Nikon’s flagship APS-C line got a long-awaited update in the D500. And as far as updates go, it’s an impressive one: its 20.9MP sensor, 10 fps continuous shooting, 153-point AF system and 4K video shooting make it something of a DX-format D5. Our initial studio test results have been very encouraging, so we were eager to follow them up with plenty of real-world shooting.

Articles: Digital Photography Review (dpreview.com)

 
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List of Resources for Making a Photography Website

08 Feb

I’ve just made a new photography website for my fashion, portrait, and event photography. This meant researching the different options currently available (as of December 2015) for creating photography websites. So whether you’ve just gotten your first camera, or are a seasoned pro looking to update your photography website, here are some options to consider.

I’ll make some recommendations about specific companies that I’ve used. Most articles would make money on these through affiliate links; but there are no affiliate links here (I get no benefit recommending them), these are just companies that I’ve been happy with.

Editor’s note: none these companies have not been researched or checked by dPS, and are solely the recommendations of the author. As with any purchase please do your own due diligence, read online reviews, and do trial periods where possible, before choosing your web suppliers. dPS is not responsible for any issues that may arise if you follow these suggestions.

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Why make a photography website?

Now that the majority of photos aren’t printed, sometimes they can get lost in your hard drives and forgotten. Sharing the pictures you make with family and friends is much easier when your photos are online. Depending on the photography website you use, you can also get useful feedback on your pictures, or even sell them to buyers around the world. Now is also the best time to start getting followers, if you haven’t already done so.

As well as sharing, developing, and selling your photography online, having a photography website helps encourage you, and gives you a sense of accountability so you keep practicing. Old photos are also one of the most valuable things we own, professional or amateur, and photo albums are often what most people would choose to save in a fire. Keeping your memories online not only shows you how your photography has improved, but also keeps them safe in the cloud. When my Western Digital hard drive arbitrarily malfunctioned and lost all of my photos, I was thankful to have uploaded my favourite ones online.

Make a photography website for free

Alan O'Rourke

By Alan O’Rourke

There are several excellent free options to get your photography online.

  • Flickr – Like a resurrected giant, Flickr offers a huge 1 TB of complimentary storage and has a thriving community.
  • Facebook – A humble Facebook page (not your personal profile but a business page) for your pictures is an ideal way to start to gain a following.
  • Google Plus – Less popular lately, but better quality, and good if you want to be found online by the Google search engine.
  • Instagram– Even if this isn’t your main site, it’s very useful to have as a photographer.
  • Tumblr – A clean, free way to create a blog and feature your most recent photography.
  • 500px – A relative newcomer, the 500px design is clean and contemporary; their free option is fine.
  • Behance – A professional space for your best photos that looks more prestigious.

Make a photography website

As well as the free options, you might like to make a photography website that you have more control over. Personally after much research I opted for a self-hosted WordPress site using a pre-designed theme that I customized. To do so you will need;

A Domain name

The domain name is your address on the internet. For example: http://digital-photography-school.com is the domain name, or URL for dPS. I get my domain names from www.Internet.bs or www.NameCheap.com.

Hosting

This is your real estate on the internet. You need a place to park your site, that is called hosting. Your host online is where all the files for your site will be stored (hosted).

I use www.LiquiLayer.com (really excellent, personal support) and www.HostDeal.com. I’ve heard good things about www.HostGator.com, www.DreamHost.com and www.HostWinds.com, but haven’t used any of those personally.

make-photography-website_1413

Content Management System

This simplifies building your website tremendously. I use WordPress and highly recommend it. Most web hosts will give you options to install it very easily.

WordPress Theme

This provides a structure for your website. There are both free and paid options available, which allow you to make a great looking site faster. Here are my favourites:

SLR Lounge’s WordPress Theme – I recently discovered this free WordPress photography theme and used it to build my latest website. It has a clean, simple style and creating the site took a few days.

Screen Shot 2016-01-30 at 1.16.20 PM

Home page of my new site

Screen Shot 2016-01-30 at 1.17.21 PM

Portrait page

MySiteMyWay’s InFocus Theme – (Paid theme) I’ve used MySiteMyWay’s themes for several websites. As well as the design, I’ve been incredibly happy with the ongoing support, which has saved me a huge amount of time, and allowed me to do things I wouldn’t otherwise have been able to do.

Screen Shot 2016-01-30 at 1.22.01 PM

Home page

Screen Shot 2016-01-30 at 1.22.31 PM

Gallery page

The X Theme – (Paid option) It’s a silly name, but this Premium WordPress theme looks good, and they have done very well with updating it. There is a lot of features available here for more advanced internet users and web designers.

Screen Shot 2016-01-30 at 1.28.18 PM

Themeforest – (Free and paid options) Themeforest is the marketplace for WordPress themes online. Because they are constantly being released and updated, and because creating a website can be quite a personal choice, it is worth having a look here to see which themes are currently rated highly.

Designers

It can be helpful to hire a designer/ coder to help you with creating your photography website.

  • Fiverr – This is my go-to site for getting help with websites and so on. It’s cheap, fast, and so far I’ve been very happy with the results.
  • Elance – More professional than Fiverr; expect to pay more as well.

Pay monthly for a photography website

If designing a site isn’t for you, there are quite a few companies that can help. I don’t use these options personally because I like being able to move my website to another hosting provider if I want, or archive a site and bring it back later.

  • Smugmug – An established player that will allow you to show, share and sell your photos.
  • SquareSpace – The choice of many top professionals, although caveat emptor, several are sponsored. It’s quite pricey, but the designs it offers for photographers really look incredible, and it’s the easiest way to get a good looking photography website online quickly and easily.

Some bonus photography related companies

While we’re on the subject, here are a few companies that are very useful for photographers.

  • WeTransfer – Ideal for sending large files or even whole photoshoots. Their free option is excellent, and the paid version is great for photographers who want more options.
  • Dropbox – Very well integrated, and a great way to back up your photos online.
  • Google Drive – Again, an excellent option to save and send photos.
  • PicSurge.com – I use this a lot. It’s a well-designed site that allows you to show photos in good looking galleries that remain live for years. It lets you password-protect your images, and allows clients/family/friends to download files individually or collectively – and it’s free!

Conclusion

So those are some of the main options to consider if you want to make a photography website in 2016, and some reasons why you might want to consider doing so if you haven’t already. Hopefully this has been useful – please feel free to share your own websites in the comments below!


Editor’s note: please see this page for website resources, personally recommended by dPS founder and chief, Darren Rowse, over on his other site dedicated to blogging – ProBlogger. If you’re really interested in blogging you may wish to sign up there to get free weekly blogging tips.

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Making (radio) waves: Nikon releases SB-5000 Speedlight

06 Jan

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The Nikon SB-5000 Speedlight is the company’s new flagship flash, released alongside the flagship Nikon D5 camera. The standout feature for the SB-5000 is its ability to operate and trigger via radio frequency, a first for Nikon’s line of portable flashes.

Nikon claims that when the flash is paired with the WR-R10 Wireless Remote Adapter set and a D5 or D500, the flash will operate without a direct line of sight at a range of up to approximately 98 feet (30 meters). With that same combination, the flash will be able to control up to six groups or 18 Speedlights for when you want to get really fancy. Although we haven’t had a chance to try this system out yet, we’re hoping that Nikon CLS features like TTL/Manual and Flash Exposure Compensation settings will be accessible via the camera menu system – especially since a radio-controlled commander with dedicated dials and buttons (like Nissin’s Air 1 system) isn’t available from Nikon. The SB-5000 retains similar optical-control and triggering capabilities as the other advanced Speedlights in the company’s lineup.

Attaching the WR-R10 to your camera should give you full control over up to 18 Speedlights (up to 6 groups) directly from your camera, without the need for any other flashes or commanders attached to your camera. This should be a boon for off-camera flash photography.

This is a significant addition to Nikon’s flash line-up, not only for the radio-triggered control it brings during applications where line-of-sight isn’t feasible or practical, but also because pairing flashes to the WR-R10 is arguably more preferable to pairing to the outdated SU-800 commander (which is so dated that it attaching it to your camera disables Auto ISO). 

Also new for the SB-5000 is a redesigned cooling system promising improved consecutive firing times before cool-downs, and 120 continuous shots at 5-second intervals. Controls are updated with an ‘i’ button for frequently used settings, and the flash head maintains tilt-and-rotate capability.


Press release:

New Radio Controlled SB-5000 Speedlight: Lighting with No Limits

The Nikon D5 is optimized to work with the newest flagship Speedlight, the SB-5000, illuminating new possibilities in creative lighting. A first for Nikon, the flash operates via radio frequency and will operate without a direct line of sight for a range of up to approx. 98 feet (30 meters). This new-found flexibility lets photographers place lights in different rooms, around corners and work seamlessly in bright ambient light with maximum efficiency. When paired with the WR-R10 and the D5 or the D500, this Speedlight can control up to six groups (A-F) or 18 Speedlights for truly advanced wireless lighting. It is also possible to perform Advanced Wireless Lighting using either radio-controlled (up to three groups) and/or optical-controlled units (up to three groups) by simply attaching a conventional, optical-control Nikon Speedlight or the SU-800 Commander (as a master or commander unit) and a WR-R10 (as a commander) onto the D5.

The new smaller SB-5000 Speedlight also has a radically new design that includes its own internal cooling system, which prevents overheating of the flash panel from consecutive firings. As a result, the SB-5000 can fire consecutively for longer than conventional models, without flash cool-down time between bursts, and can fire up to 120 continuous shots at 5 second intervals. Controls have also been streamlined and refined, with the addition of an “i” button for access to frequently used settings. The design also integrates versatile bounce ability, with the flash head capable of tilting down to -7° or up to 90°, and rotate horizontally 180° to the left and right.

Pricing and Availability:

The Nikon SB-5000 AF Speedlight will be available in March for the SRP of $ 599.95.

Nikon SB-5000 Key Specifications

  • Price: $ 599.95
  • Commander function: Yes
  • Remote function: Yes
  • Transmission mode: Radio control and optical communication
  • Transmission range: Radio control approx. 98 ft. (30m), optical communication – line of sight
  • Guide number: 34.5 m / 113 ft. (at 35mm) 55m / 180 ft. (at 200mm) (FX format, ISO 100)
  • Lens coverage: 24 to 200mm lens, 14mm with wide panel (FX format)
  • Minimum recycling time: 1.8 sec. (approx.) with Ni-MH (2600 mAh) batteries, 2.6 sec. (approx.) with AA-size Alkaline (1.5V) batteries
  • Flash duration: 1/980 sec. at M 1/1 (full) output, 1/30,820 sec. at M 1/256 output
  • Optional power supply: SK-6 Power Bracket Unit, SD-9 High-Performance Battery Pack
  • Wireless groups: Radio controlled: Master + 6 groups; Optically controlled: Master + 3 groups
  • Dimensions: 73 x 137 x 103.5mm
  • Weight (sans batteries): 14.9 oz. (420 g)

Articles: Digital Photography Review (dpreview.com)

 
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Polyphonic Playground: Making Music with Fun Movement

29 Sep

[ By Steph in Design & Products & Packaging. ]

polyphonic playground 1

Climb a ladder, swing on a hammock-like seat and run your hands along various wooden surfaces on this strange polyphonic playground, and your movements will create a unique song. Studio PSK teamed up with beatboxer Reeps One to create this multi-sensory play experience for this year’s London Design Festival, encouraging people to interact with an unusual physical fusion of music, design and technology.

polyphonic playground 2

Designer Patrick Stevenson-Keating d Reeps record a bunch of different sound banks of samples, which were then loaded onto the program Ableton Live and mapped to trigger points on the playground. A product called ‘Electric Paint,’ which sends signals to the computer, is screen-printed onto paper tiles and covered in protective acrylic, acting as giant keys on a keyboard.

polyphonic playground 3

The wooden playground frame is like one big musical instrument in this sense, setting off cascades of sound as participants clamber up the steps or take a trip down the slide. In addition to the conductive paint on the wooden elements, the team integrated copper tape into the slide and conductive thread in the swings.

polyphonic playground 4

polyphonic playground 5

“We were always very clear from the start that we wanted ‘play’ to be an important part of the project,” the designer tells Bare Conductive. “…Often we communicate quite complex ideas or narratives, but by employing a playful strategy to do so, we can engage with the audience in more meaningful ways. This was certainly the hope for the Polyphonic Playground.”

 

 

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[ By Steph in Design & Products & Packaging. ]

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Start Making Photographs to Become a Better Photographer

25 Sep

If you are an avid reader of this site, most likely you are a photography enthusiast wanting to learn more and advance your craft. If you really care about doing so, it is time to stop taking snapshots and start making photographs to become a better photographer.

Taking versus making can be a question of semantics; that’s why I prefer to call it snapshot versus photograph. But beyond semantics, in my humble opinion, you graduate as a photographer the moment you start making photos instead of taking them, regardless of the results. But wait, regardless of the results? Well, not really. Of course, you want great photos. What I mean by that is that you’ll progress in your craft the moment you start thinking about your photos, your vision, and how to reflect it with your image. The results could be bad or good, but you are thinking as a photographer. When you start thinking as a photographer, the results will come, sooner or later.

New Orleans Skyline

So what’s the difference? Taking a photo is the result of an impulsive reaction; you just press the shutter because you are there and you shoot it. Taking a photo is just snapping what you see. Instead, making a photograph is a process. When you make a photo, you are creating something from your vision. You are constructing it, and you are putting what comes from you in it.

The process of making a photo can take different periods of time. For some, it is a longer, thoughtful process, and for others it is a just a moment. For a National Geographic photographer, making a photo can take months; there is a lot of planning, research and being there just to get the right image that makes the cover of the magazine. For a street photographer, making a photo is totally different; they only have a split second to get it right without the luxury of setting up. But, there are other things they can control, like location, time of the day for best light, and so on.

I am telling you that you graduate as a photographer when you start making photographs because, for most us, enjoying the creative process is what makes us different from the rest. It does not matter if you are an enthusiast, serious amateur, or pro – we all enjoy it. Sure, learning how to expose, compose and post-process is important, but it’s something you can learn with enough practice and attention. That’s the technical aspect of photography, and when you master the basics, there will be always something new learn. But besides that, it comes with the freedom to stop thinking about aperture/depth of field and ISO/noise, and focus more on the photos you want to create.

Making a photograph will also help you to cut the clutter. When I first started to go on travel photography trips, I used to come back home with thousands of photos that were taken in just a span of a couple of days. That made the selection process a daunting task. First, who really wants to see thousands of photos? Second, is there any meaning in them? When you take the time to plan a more thoughtful photograph, you cut the clutter because often you’ll shoot less, but come out with better content.

Happy woman in Taung Tho Market Inle Lake

Last, I want to leave you with a couple of examples, starting with the opening picture of this article. I was going to be in New Orleans only for a long weekend and one the things I wanted to photograph was the skyline of the city. So, I started my research ahead of time to find the best spot to do it. I only had three nights in the city and as I wanted to shoot during the blue hour, I really didn’t have the chance of messing it up. Once I knew where I was going to make my photo from, it was all a matter of arriving there in time to set up and wait for the right moment. So besides finding the location and arriving early to set up, I also had the right tools with me to make it happen. I knew I wanted to include the Crescent Connection Bridge, so I brought a wide angle lens. I knew that it was going to be a long exposure, not only because of the time, but also because I wanted a smooth reflection over the Mississippi River, so I also brought a tripod and a neutral density filter to make a long exposure.

Sometimes making a photo also means finding an interesting subject, and trying to learn more from them by staying for a while, instead of grabbing a shot and moving. I found this amazing woman for this photo (above) from the Taung Tho Market of Inle Lake in Myanmar. I sat there taking pictures of her for a while, and I remember she pretended I was not there until I told my guide to tell her that she was beautiful. Her reaction was priceless and that made the photo.

Monk in the Punakha Dzong

Other times, making a photo means waiting for something interesting to happen if you are in the right place. For the Bhutanese monk above, I found myself on a big patio surrounded by typical and colorful windows that I wanted to photograph, while I was visiting one of the many monasteries. But I needed something else besides the windows. Because I had seen them earlier, I knew that another monk would walk across my frame sooner or later, so I carefully composed my photo and waited until this one walked by.

There you have it. As you can see, there are different meanings and ways to create photos, and not just take them. But the most important thing is for you to understand that you can be a better photographer by making photos instead of just taking them. Plan and enjoy the process, and results will follow. By the way, if you are already making photos, why don’t you share one with us in the comments below with a short caption on how you made it and why.

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Making Sense of Exposure

24 Sep

When I first started out in photography I had a tough time wrapping my head around one of its most fundamental concepts: exposure. I learned everything I could about things like aperture, light, shutter speed, highlights, shadows and dynamic range, but all these were planets orbiting a central sun called exposure and I couldn’t nail down exactly what that meant. I heard terms like “expose for the highlights” and “try to get a good exposure” sandwiched between people talking about “double exposure” and “long exposure” and my head was swimming. I figured things out eventually, but it took trial and error and cries for help to my fellow photographers (not to mention a lot of online research and books). So, then, let me help other aspiring image-makers learn a thing or two by making sense of exposure.

what-is-exposure-building

A properly exposed architecture photo.

Here’s the most basic, but informative, definition I can offer of exposure: it’s how bright or dark your photograph is. If a photo is too bright, it’s considered to be overexposed. Too dark, and it’s underexposed. But the Goldilocks-approved version of almost any picture is what’s known as a proper exposure – it’s neither too dark nor too light. All other bits aside, when people talk about getting a properly-exposed image, or tweaking camera settings to get a good exposure, all it really means is getting an image that’s not too bright or not too dark.

what-is-exposure-birthday

The bright sunlight made getting a proper exposure a bit tricky, but understanding how it works helped me get the photo I was looking for.

Sounds simple, right? It is, and yet it’s much more because photography is not just about getting things to be neither too bright or too dark. It’s up to you as a photographer to know not only how to get an image that’s properly exposed but how to adjust your camera’s settings to get the exposure you want. You might look at a given scene and decide that you want things to be a bit too bright or too dark, or you would really like some of the darker areas of the image to show up brighter, or you want to get a picture of something in broad daylight that’s normally too bright for your camera to deal with. Or perhaps you like images with extremely dark and light areas and you want to purposely create a sense of contrast while also maintaining a certain type of exposure. In Auto mode your camera will almost always try to get what it thinks is a properly-exposed image, but if you can work up the courage to try Aperture Priority, Shutter Priority, or even Manual mode you can start to control the various parameters that combine to make an image and, thus, get the precise type of exposure you want – not what your camera thinks you want.

what-is-exposure-trees-sunrise

Knowing how to adjust my exposure was critical to capturing this image. My camera’s Auto function would have left me with an unusable photo.

So how do these other elements affect exposure, and what can you do to manipulate them to get the exposure you want? This is a simple breakdown of the three most important things you need to know:

Aperture: The size of the opening in your camera lens that lets light pass through to the image sensor. A larger aperture will let more light pass through, while a smaller one will not let much light pass through.

Shutter Speed: How long the curtains in front of the image sensor are open. A longer shutter speed will let more light pass through, while a shorter shutter speed will not let much light pass through.

ISO: How sensitive your image sensor is to light. Lower ISO values mean your camera is not very sensitive to light, which means a proper exposure requires either a longer shutter speed, a wider aperture, or both. High ISO values mean your camera is very sensitive to light, which means a proper exposure requires either a shorter shutter speed, smaller aperture, or both.

what-is-exposure-silhouette

In this shot, I used a special light-blocking tool called a neutral density filter in order to get the desired exposure.

What does all this mean in practice, and how can you adjust these elements to get the exposure you want? To illustrate a few basic principles, here are some photos that show what can be done to manipulate your camera in order to get the proper exposure (combination of light and dark) that you want.

This first picture has a proper exposure: there’s some bright areas, some dark areas, and a mix of both in various sections of the photo.

what-is-exposure-even

Early morning on campus with a good overall exposure. 50mm, ISO 100, f/4.0, 1/2000 second.

Now take a look at the next one, which has been exposed for the highlights. This means I wanted to take the bright areas of the picture, specifically the sidewalk as it recedes to the horizon, and make that part be properly exposed. To do this, I had to decrease my shutter speed quite a bit, which meant that only a little bit of light was captured. Since there was so much light shining on the sidewalk, a little bit was all I needed. You’ll notice that the result illustrates a bit of a trade-off: the very bright portions of the  image are now more properly balanced and you can make out a lot more detail in the sidewalk, but the darker portions are now really dark and you can’t see much of anything.

what-is-exposure-highlights

The same scene, exposed for the highlights. 50mm, ISO 100,f/4.0, 1/5000 second.

I also took a photo of the same scene but exposed for the shadows. Since the dark areas of a given composition are not reflecting much light, you’ll need to find a way of capturing as much of it as possible. In this case, I chose to use a much longer shutter speed in order to let in much more light. Once again, you can see an immediate trade-off: the dark areas are much more colorful, but the bright areas are way too bright. If I wanted to emphasize the trees, shrubs and other greenery this is one way to do that, even though it would come at the expense of some of the color and detail on the sidewalk.

what-is-exposure-shadows

The same scene, exposed for the shadows. 50mm, ISO 100,f/6.7, 1/90 second.

If you want to try altering the exposure of a given photograph the simplest way is to use your camera’s exposure compensation function to quickly over – or under – expose your composition. Alternatively, you can manually adjust the parameters like Aperture, Shutter Speed and ISO to get the desired result. If you want to get really creative you can use different metering modes on your camera (spot, center-weighted, average, etc.) to adjust how your camera takes various sources of light into account in order to get the exposure you are looking for.

As a side note, you might have heard about a technique called HDR which stands for High Dynamic Range, and involves taking multiple exposures of the same scene and combining them on your computer using a program like Photoshop. This means you get the best of all worlds: properly exposed highlights and shadows along with a good overall balance of color throughout the image. It’s just another tool in your kit that you can utilize to get the exact image you are going for, which is why understanding exposure is so critical to photography. By knowing what it is and how to control the exposure of a scene to get the picture to turn out how you want, you can take more control over your pictures and start making creative decisions instead of leaving things up to your camera.

I hope this article clears up some confusion you might have about the subject of exposure, as it’s the kind of piece I wish I had in front of me several years ago. Do you still have questions about what exposure is all about? What are your favorite tips and tricks to deal with exposure? Leave your thoughts in the comments below.

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Top 6 Interview Tips For Making It In The Photography Industry

08 Sep

Photography Industry Leaders Share Their 6 Top Interview Tips For Getting Ahead

Top 6 Interview Tips To Advance In The Photography Industry

Hey there FashionPhotographyBlog.com readers. Our friends from the Dots are back once again to share great tips from photography industry leaders who attended their portfolio masterclass in London, UK. The Dots is a community of creative professionals, designed to connect creatives with collaborators, companies and commercial opportunities. They believe in collectively building a stronger, more profitable and diverse creative sector, similar to us here at FPBlog. We are super excited to have them here with us again on our website.

 

Just in case you may not be aware, The Dots hosted a Photography Portfolio Masterclass at Spring Studios to give talented emerging photographers the chance to have their work reviewed by some of the UK’s most prominent picture editors and photographic agents. It was also an opportunity for these budding photographers to ask questions and engage in dialogue with these photography representatives, who would be otherwise out of reach. 

 

With such a wealth of collective experience in the room, they all must have heard all sorts of answers photographers give in interviews when they come to meet them. This is why the team at The Dots took each of them aside to ask them for their best interview tips they could give to photographers to get ahead in the hugely competitive photography industry. Here’s what the photography industry representatives revealed:

 

6 Interviews Tips For Photographers Who Want To Move Up In The Industry

 

  1. Research

 

It may seem obvious to some, but our industry leaders’ main interview tip was to make sure you do your research.

 

Jamie Klingler (Publishing Manager, Shortlist/Stylist Magazine) made it very clear that “if you walk in and you don’t know what my job is, you don’t know where I’ve worked before, you haven’t seen any of the shoots I’ve produced before – you’re not gonna have an ‘in’ with me, you’re not gonna be showing me your professionalism.”

 

David Birkitt (Owner & Managing Director, DMB Represents) noted that you should “have a really good reason as to why you’re coming to see me, be aware of what I do. Be aware of something you can add to what I’ve got, not replicate what I’ve got. Have a goal, have a reason for why you want to come, and have at least one thing that you wanna learn.”

 

Our golden rule for interviews: Do your homework!

 

  1. Have a point of view

 

(Robin Derrick, Executive Creative Director, Spring Studios) illuminates why perfectly – “when people ask me how to become a fashion photographer – which is mostly what I commission. What they should remember is the word ‘Fashion’ is as big as the word ‘Photographer’ in that phrase, and it’s very important for a fashion photographer to have a point of view on fashion […] most people can take a picture; I think really learning about fashion and having a point of view on that is normally what improves the work.”

 

Holly Hay (Photographic Editor, AnOther Magazine & Another Man) reinforced this notion, stating that she also looks for “someone who has something to say, someone who has an opinion on the world and on fashion and on style.”

 

  1. Make sure your style fits.

 

If your work is more ‘classic’ than ‘edgy’ then there’s no point in applying for a job at places such as Dazed or Vice as that’s not the kind of work they’re looking for, it’s “a waste of time for everybody, a waste of time for the photographer and for ourselves” Dalia Nassimi (Deputy Picture Editor, WIRED).

 

Your time is precious; make sure you’re not wasting it!

 

  1. Be passionate.

 

Jamie Klingler needs to see passion from a photographer in an interview – “it’s not an easy job, we’re not in this because we want to work 9-5, we’re in this because we want more. So you have to show me that you want to give more and you want to collaborate more.”

 

Dalia Nassimi points out that, “in magazines – you’re not in it for money you’re in it for the experience, for the exposure. You’re going to get access to a really interesting person or access to a really interesting company. That’s what we’re giving you – go run with it, because in ad world you don’t get that.”

 

So, in your interview, be passionate about the project and let them know how much you want the opportunity to work with them.

 

  1. Be on time

 

Again it may seem obvious, but punctuality is crucial in an interview. It’s the very first impression you give to the interviewer and you don’t want it to be a bad one, as Jamie Klingler stresses, “if I think you’re late for an interview you’re gonna be late for my shoot and I just don’t deal with lateness […] I’ve never hired anyone that was late for an interview.”

 

And Finally…

 

  1. Be persistent

 

After so many emails sent with no response, it can feel like you may never get your big break.

 

But Holly Hay’s advice for breaking into the industry is to “have persistence – don’t feel like you’re chasing people. Everyone is so busy they won’t feel hounded […] it’s all about timing – hitting someone’s inbox at the right time. So persistence and be brave, and stay true to why you originally started taking pictures.”

 

What did you think about these photographer’s interview tips? Hopefully, next time you are sitting at the desk of a photography magazine editor or creative director to pitch an idea or show them your portfolio, you will now be better prepared. If you have any interview tips for getting ahead in the industry that you want to share, that hasn’t been mentioned in this post, or you want to leave a comment about the ones listed above please feel free to write them in the comment section below. 

 

 

To find out  more about The Dots’ next Photography Portfolio Masterclasses here: https://the-dots.co.uk/about/portfolio-masterclasses

 

You can also check out The Dots’ Vimeo channel for video interviews, tips & highlights from the Photography Portfolio Masterclass here:  https://vimeo.com/album/3444505

 

 

 

IMAGE SOURCE: 

Feature image & images 1: courtesy of Jack Woodhouse


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Making the grade: Firmware brings log gamma to GH4 and new Panasonic GH4R gets unlimited recording

02 Sep

Panasonic has announced the Lumix DMC-GH4R, a variant of the GH4 that offers a Log gamma curve and unlimited 4K video recording. There will also be a paid-for firmware update adding the V-Log L Photo Style to the GH4 – a super-flat tone curve designed to capture the maximum dynamic range for greater flexibility while color grading. Read more

Articles: Digital Photography Review (dpreview.com)

 
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