Photographer « 360Photography

RSS

Posts Tagged ‘Photographer’

Photographer finds fully-functional Fujifilm lens 4 months after losing it in the desert

20 Oct

Modern camera lenses are durable, but a little anecdote from Steve Boykin, writing for 35mmc, shows just how far weather-sealing has come in the past few years.

Four months ago, in June of this year, Boykin managed to lose his Fujifilm XF 23mm F2 R WR lens while on a hike in the wilderness. This week, he managed to stumble across the lens while out on another trek and after a bit of cleaning up, he says the lens is in seemingly perfect condition, even after withstanding the summer heat, countless thunderstorms and freezing temperatures.

The location where Boykin found the lens

Boykin says he was walking along a path he’s walked ’30 or 40 times over the last few months’ when he looked down and noticed the lens ‘sitting on the ground a few inches from my foot.’ Naturally, Boykin assumed the lens wouldn’t work, due to the harsh conditions it incurred, but after getting home and removing the front B+W filter and rear lens cap, Boykin mounted the lens to his Fujifilm X-Pro1 and ‘it came to life like nothing had happened.’

Despite there being some ‘slight discoloration’ on one side of the lens barrel (likely the side that was laying in the dirt) Boykin says the autofocus works ‘like nothing ever happened’ and both the aperture and focus rings rotate smoothly. Boykin credits much of the survival to the fact the front filter and rear lens cap were still attached, but even then it’s an impressive feat for the lens to survive a third of a year in the desert with essentially zero protection.

To read the full story, which includes a pair of photos captured with the lost lens, head on over to 35mmc (and check out their other coverage on all things film photography related).

Image credits: Photos by Steve Boykin, used with kind permission from 35mmc

Update (October 16, 2019): Updated the first sentence of the article as to better explain the current state of lens weather-sealing.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

These are the winners of the 2019 Wildlife Photographer of the Year competition

18 Oct

Winners of the Wildlife Photographer of the Year competition

The winners of the 55th annual Wildlife Photographer of the Year competition were announced earlier this week during a ceremony at the Natural History Museum, in London, which develops and produces the international event.

Over 48,000 images were submitted from 100 countries. The 19 category-winning images will be on display at an exhibition that opens Friday, October 18th, at the National History Museum before touring across the United Kingdom and internationally to locations including Canada, Spain, the USA, Australia and Germany.

The Grand Title Winner, titled ‘The Moment’ and captured by Chinese photographer Yongqing Baoas, is a humorous shot of a Himalayan marmot being scared by a Tibetan fox determined to find food for its three young cubs.

Open to photographers of all ages and abilities, entries for the next Wildlife Photographer of the Year competition will open on Monday, October 21st and close on December 12th. Find out more, here.

Winner, Wildlife Photographer of the Year

Winner 2019, Grand Title Winner: The Moment by Yongqing Bao

About the photo: This Himalayan marmot was not long out of hibernation when it was surprised by a mother Tibetan fox with three hungry cubs to feed. With lightning-fast reactions, Yongqing captured the attack – the power of the predator baring her teeth, the terror of her prey, the intensity of life and death written on their faces.

As one of the highest-altitude-dwelling mammals, the Himalayan marmot relies on its thick fur for survival through the extreme cold. In the heart of winter it spends more than six months in an exceptionally deep burrow with the rest of its colony. Marmots usually do not resurface until spring, an opportunity not to be missed by hungry predators.

Gear and specs: Canon EOS-1D X + 800mm f5.6 lens; 1/2500 sec at f5.6 (+0.67 e/v); ISO 640; Manfrotto carbon-fibre tripod + 509HD head

Winner, Young Wildlife Photographer of the Year

Winner 2019, Young Wildlife Photographer of the Year Grand title winner: Night Glow by Cruz Erdmann, New Zealand

About the photo: Cruz was on a night dive with his dad when he saw a pair of bigfin reef squid in the shallow water. One swam off but Cruz quickly adjusted his camera and strobe settings, knowing that the opportunity was too good to miss. He shot four frames of the remaining squid before it too disappeared into the inky blackness.

Bigfin reef squid are masters of camouflage, changing their body colour and pattern using their reflective and pigmented skin cells. They also alter their appearance to help them communicate. During courtship, males and females display complex patterns to indicate their willingness to mate.

Gear and specs: Canon EOS 5D Mark III + 100mm f2.8 lens; 1/125 sec at f29; ISO 200; Ikelite DS161 strobe; Aquatica 5D Mk II Pro housing

Winner, Animals in their Environment

Winner 2019, Animals in their Environment: Snow-Plateau Nomads by Shangzhen Fan, China

About the photo: A small herd of male chirus makes its way to the relative warmth of the Kumukuli Desert. These nimble antelopes are high-altitude specialists found only on the Qinghai–Tibet Plateau. For years, Shangzhen made the long, arduous journey to observe them there. Here he drew the contrasting elements of snow and sand together.

Underneath their long hair, chirus have a light, warm underfur called shahtoosh. It grows tightly against their skin and can only be harvested by killing and skinning the chirus. Protection since the 1990s has seen their once-decimated numbers increase, but there is still demand – primarily from Westerners – for shahtoosh shawls.

Gear and specs: Nikon D5 + 600mm f4 lens; 1/1250 sec at f6.3 (+0.3 e/v); ISO 125; Gitzo GT5532S 6X tripod

Winner, Animal Portraits

Winner 2019, Animal Portraits: Face of Deception by Ripan Biswas, India

About the photo: Ripan was photographing a red weaver ant colony when he spotted this slightly strange individual. It may have the face of an ant but its eight legs give it away – on closer inspection Ripan discovered that it was an ant-mimicking crab spider. By reverse mounting his lens, Ripan converted it to a macro capable of taking extreme close-ups.

Many spider species imitate ants in appearance and behaviour. Infiltrating an ant colony can help them prey on unsuspecting ants or avoid being eaten by predators that dislike ants. This particular spider, says Ripan, seemed to be roaming around the colony, looking for a solitary ant that it could grab for a meal.

Gear and specs: Nikon D500 + 18–55mm lens (reverse mounted); 1/160 sec; ISO 200; Godox V860II flash

Winner, Behavior: Amphibians and Reptiles

Winner 2019, Behaviour: Amphibians and Reptiles: Pondworld by Manuel Plaickner, Italy

About the photo: Every spring for more than a decade, Manuel followed the mass migration of common frogs. He took this image by immersing himself and his camera in a large pond where hundreds of frogs had gathered. There he waited until the moment arrived for the picture he had in mind – lingering frogs, harmonious colours, soft, natural light and dreamy reflections.

Rising spring temperatures bring common frogs out of their winter shelters. They head straight to water to breed, often returning to where they were spawned. Though widespread across Europe, their numbers are thought to be declining due to habitat degradation from pollution and drainage of breeding sites.

Gear and specs: Canon EOS 5D Mark II + 17–40mm f4 lens at 20mm; 1/640 sec at f8 (+0.7 e/v); ISO 800; Seacam housing

Winner, Behavior: Birds

Winner 2019, Behavior: Birds: Land of the Eagle by Audun Rikardsen, Norway

About the photo: Audun carefully positioned this tree branch, hoping it would make a perfect lookout for a golden eagle. He set up a camera trap and occasionally left road-kill carrion nearby. Very gradually, over the next three years, this eagle started to use the branch to survey its coastal realm. Audun captured its power as it came in to land, talons outstretched.

Golden eagles typically fly at around 50 kilometres per hour but can reach speeds of up to 320 kilometres per hour when diving for prey. This, along with their sharp talons, makes them formidable hunters. Normally they kill small mammals, birds, reptiles or fish, but they also eat carrion and have been known to target larger animals too.

Gear and specs: Canon EOS 5D Mark IV + 11–24mm f4 lens at 11m; 1/2500 sec at f14 (-1 e/v); ISO 800; Canon Speedlite 600EX II-RT flash; Camtraptions motion sensor; Sirui tripod

Winner, Behavior: Invertebrates

Winner 2019, Behavior: Invertebrates: The Architectural Army by Daniel Kronauer, Germany/USA

About the photo: By day this colony of army ants raided their surrounds, mostly hunting other ant species. At dusk they moved on, travelling up to 400 metres before building a nest for the night. Positioning his camera on the forest floor, Daniel was wary of upsetting thousands of venomous army ants. ‘You mustn’t breathe in their direction,’ he says.

Army ants alternate between nomadic and stationary phases. These ants are in a nomadic phase, building a new nest each night using their own bodies. The soldier ants interlock their claws to form a scaffold while the queen stays inside in a network of chambers and tunnels. During the stationary phase they will stay in the same nest while the queen lays new eggs.

Gear and specs: Canon EOS 7D + 16–35mm f2.8 lens at 16mm + extension ring; 3.2 sec at f22; ISO 100; Canon Speedlite flash

Winner, Behavior: Mammals

Winner 2019, Behavior: Mammals: The Equal Match by Ingo Arndt, Germany

About the photo: The guanaco turns, terrified, his last mouthful of grass flying in the wind as a female puma attacks. For Ingo, this is the culmination of months of work tracking wild pumas on foot, enduring extreme cold and biting winds. After an intense four-second struggle, the guanaco escaped with his life, leaving the puma to go hungry.

Because they are so abundant in Patagonia, guanacos are common prey of pumas. These big cats are solitary and hunt by patiently stalking before they pounce. Their robust hind legs allow them to take on animals bigger than themselves but they can also feed on smaller animals, such as rodents and birds.

Gear and specs: Canon EOS-1DX Mark II + 600mm f4 lens; 1/3000 sec at f4; ISO 1000; Gitzo tripod

Winner, Urban Wildlife

Winner 2019, Urban Wildlife: The Rat Pack by Charlie Hamilton James, UK

About the photo: On Pearl Street in Lower Manhattan, brown rats scamper between their home under a tree grille and a pile of rubbish bags full of food waste. Lighting his shot to blend with the glow of the street lights and operating his kit remotely, Charlie captured this intimate, street-level view.

Urban rat populations are rising fast worldwide and their association with spreading disease in humans inspires fear and disgust. Rats are smart and capable of navigating complex networks such as subway systems. Being powerful swimmers, burrowers and jumpers makes these rodents particularly well suited to city living.

Gear and specs: Sony ?7R III + 16–35mm f4 lens at 24mm; 1/20 sec at f11; ISO 4000; Sony flash; PocketWizard trigger

Winner, Earth’s Environments

Winner 2019, Earth’s Environments: Creation by Luis Vilariño, Spain

About the photo: Red-hot lava from K?lauea volcano instantly boils the cool Pacific Ocean where they meet at the Hawaiian coast. As Luis’s helicopter flew along the coastline a sudden change in wind direction parted the plumes of steam to reveal the fiery river. Quickly framing his shot through the helicopter’s open door, he captured the tumultuous creation of new land.

As the lava boils the seawater, it produces acid steam and tiny shards of glass, which combine to create a lava haze or ‘laze’. This eruption was K?lauea’s largest in 200 years. For three months in 2018, lava spewed from the summit and surrounding fissures, eventually destroying over 700 homes and solidifying to create hundreds of acres of new land.

Gear and specs: Sony ?7R III + 100–400mm f4.5–5.6 lens at 196mm; 1/4000 sec at f5.6; ISO 800

Winner, Black and White

Winner 2019, Black and White: Snow Exposure by Max Waugh, USA

About the photo: In a winter whiteout a lone American bison briefly lifts its head from its endless foraging. Max purposefully slowed his shutter speed to blur the snow and ‘paint lines across the silhouette of the bison’. Slightly overexposing the shot and converting it to black and white accentuated the simplicity of the wintry scene.

Swinging their huge heads from side to side, American bison sweep away snow with their muzzles to eat the grasses and sedges buried beneath. Originally a common sight, their largescale slaughter for meat and hides brought them close to extinction in the nineteenth century. But populations are recovering and wild American bison now thrive in national parks.

Gear and specs: Canon EOS-1D X + 100–400mm f5.6 lens at 200mm; 1/15 sec at f22 (+1 e/v); ISO 100

Winner, Wildlife Photojournalism

Winner 2019, Wildlife Photojournalism: Another Barred Migrant, Alejandro Prieto, Mexico

About the photo: It took Alejandro two years to take the perfect photo of a male jaguar. Under a luminous, star-studded Arizona sky, he projects it onto a section of the US–Mexico border fence to symbolise ‘the jaguar’s past and its possible future presence in the United States. If the wall is built,’ he says, ‘it will destroy the jaguar population in the United States.’

Jaguars are mainly found in South America but historically also roamed the southwest of the United States. Over the past century, hunting and habitat destruction have resulted in the species disappearing from this area. Any hope of establishing a breeding population in this region rests on the contentious border remaining partially open.

Gear and specs: Nikon D850 + Sigma 14–24mm f2.8 lens at 16mm; 30 sec at f2.8; ISO 1600; remote control; Gitzo tripod; Epson projector

Winner, Rising Star Portfolio Award

Winner 2019, Rising Start Portfolio Award: Frozen Moment by Jérémie Villet, France

About the photo: Entwined in each other’s thick spiral horns, two male Dall sheep pause during a fierce clash. For years, Jérémie had dreamed of photographing pure-white Dall sheep against a snow-clad alpine backdrop. Lying in the snow nearby, he battled with strong winds, heavy snow and bitterly cold temperatures, determined to capture this moment of both ‘purity and power’.

Dall sheep thrive in arctic and subarctic regions of the world. They depend on steep, rugged cliffs and outcrops to provide them with places to escape from predators, while using nearby open grass and meadows to feed. In winter they favour areas with strong winds that remove snow and expose forage.

Gear and specs: Canon EOS 5D Mark IV + 400mm f2.8 lens; 1/1600 sec at f2.8 (+1.3 e/v); ISO 500

Winner, Plants and Fungi

Winner 2019, Plants and Fungi: Tapestry of life by Zorica Kovacevic

About the photo: Festooned with bulging orange velvet, trimmed with grey lace, the arms of a Monterey cypress tree weave an otherworldly canopy over Pinnacle Point, in Point Lobos State Natural Reserve, California. This tiny, protected coastal zone is the only place in the world where natural conditions combine to conjure this magical scene.

Though the Monterey cypress is widely planted (valued for its resistance to wind, salt, drought and pests), it is native only on the Californian coast in just two groves. Its spongy orange cladding is in fact a mass of green algae spectacularly colored by carotenoid pigments, which depend on the tree for physical support but photosynthesize their own food. The algal species occurs widely, but it is found on Monterey cypress trees only at Point Lobos, which has the conditions it needs – clean air and moisture, delivered by sea breezes and fog. The vibrant orange is set off by the tangles of grey lace lichen (a combination of alga and fungus), also harmless to the trees.

After several days experimenting, Kovacevic decided on a close-up abstract of one particular tree. With reserve visitors to this popular spot confined to marked trails, she was lucky to get overcast weather (avoiding harsh light) at a quiet moment. She had just enough time to focus-stack 22 images (merging the sharp parts of all the photos) to reveal the colorful maze in depth.

Gear and specs: Nikon D850 + 70–200mm f2.8 lens at 112mm; 1/4 sec at f8; ISO 64; Really Right Stuff tripod + ballhead.

Winner, Under Water

Winner 2019, Under Water: The garden of eels by David Doubilet

About the photo: The colony of garden eels was one of the largest David Doubilet had ever seen, at least two thirds the size of a football field, stretching down a steep sandy slope off Dauin, in the Philippines – a cornerstone of the famous Coral Triangle.

Doubilet rolled off the boat in the shallows and descended along the colony edge, deciding where to set up his kit. He had long awaited this chance, sketching out an ideal portrait of the colony back in his studio and designing an underwater remote system to realize his ambition. It was also a return to a much-loved subject – his first story of very many stories in National Geographic was also on garden eels.

These warm-water relatives of conger eels are extremely shy, vanishing into their sandy burrows the moment they sense anything unfamiliar. David placed his camera housing (mounted on a base plate, with a ball head) just within the colony and hid behind the remnants of a shipwreck. From there he could trigger the system remotely via a 12-meter (40-foot) extension cord.

It was several hours before the eels dared to rise again to feed on the plankton that drifted by in the current. He gradually perfected the set-up, each time leaving an object where the camera had been so as not to surprise the eels when it reappeared. Several days later – now familiar with the eels’ rhythms and the path of the light – he began to get images he liked. When a small wrasse led a slender cornetfish through the gently swaying forms, he had his shot.

Gear and specs: Nikon D3 + 17–35mm f2.8 lens at 19mm; 1/40 sec at f14; ISO 400; Seacam housing; aluminum plate + ballhead; remote trigger; Sea & Sea YS250 strobes (at half power).

Winner, Wildlife Photojournalist Story Award

Winner 2019, Wildlife Photojournalist Story Award: Show Time by Jasper Doest, The Netherlands

About the photo: For 17 years Riku has performed skits three times a day in front of large audiences in a theatre in Japan. The appeal of these traditional and popular performances lies in the anthropomorphic appearance of the trained macaques. It took Jasper a long time to gain permission to take pictures of the performance, and he was appalled that an animal once considered a sacred mediator between gods and humans was now being ridiculed for commercial gain.

Gear and specs: Canon EOS 5D Mark IV + 24–70mm f2.8 lens; 1/160 sec at f10 (-1.7 e/v); ISO 2000

Winner, Wildlife Photographer Portfolio Award

Winner 2019, Wildlife Photographer Portfolio Award: The Art of Conception by Stefan Christmann, Germany

About the photo: Stefan was lucky to find this isolated couple courting – many pairs had already mated by the time conditions allowed him to access this remote spot. The serene backdrop of sea ice and a distant stranded iceberg softly lit by the setting sun gives no hint that the Antarctic winter is about to intensify.

Emperor penguins form a new bond each year and are monogamous for the season. Males perform a courtship call until chosen by a female. The female lies on the sea ice and signals that she is ready before the male climbs onto her back. ‘The male struggled to keep his balance,’ says Stefan.

Gear and specs: Nikon D810 + 400mm f2.8 lens; 1/400 sec at f5.6; ISO 800

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Equipment Versus Photographer – Which Matters More?

19 Sep

The post Equipment Versus Photographer – Which Matters More? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Flatlay image: Jeff Hopper. Photographer image: Alexander Andrews

Equipment versus photographer, which matters more?

It’s a common question without an easy answer. It’s one that pretty much every photographer has asked themselves at one time or another.

In this article, I’m going to start by identifying the ways in which the equipment matters. And then I’m going to cover the ways in which the photographer matters.

Finally, I’ll address the main question:

Which is more important?

So let’s dive right in.

equipment-versus-photographer

How does equipment change your photography?

Here’s the thing:

As much as photographers hate to admit it, equipment does matter.

If it didn’t, why would professional photographers spend $ 5000+ on a camera setup?

It’s not a question of whether equipment matters, it’s a question of how much it affects your photography.

So here’s a list of the key reasons equipment matters:

Why your equipment matters

Continuous shooting speeds

Cameras with high continuous shooting rates make it possible to capture amazing action photos without leaving much to chance. A camera that can shoot 12 frames-per-second is going to maximize your chances of getting a gorgeous image in the thick of the action.

Autofocus capabilities

Cameras with more autofocus points, greater autofocus coverage, better tracking, and better autofocus points (e.g., cross-type points) will make it easier to quickly lock focus on your subject and track them as they move. This is useful for any genre of photography that is fast-paced.

Equipment Versus Photographer – Which Matters More?

Ruggedness

Metal cameras with weather-sealing can handle much more difficult conditions than cameras made of non-weather sealed plastic. You can shoot for longer in the rain, snow, and freezing temperatures without your camera failing, which increases your chance of capturing a once-in-a-lifetime shot.

High-ISO capabilities

Cameras with the most advanced sensors are able to capture noise-free images when shooting at high ISOs. This makes shooting at night without a tripod a much more feasible option.

Resolution

The greater your camera’s megapixel count, the more you can crop your photos. This gives you additional flexibility in post-processing and helps you compensate for a shorter lens.

Equipment Versus Photographer – Which Matters More?

High dynamic range

Cameras with a high dynamic range maximize the amount of detail you capture in a scene. This gives you more latitude when selecting an exposure. It also allows you to photography high dynamic range scenes without resorting to HDR techniques.

Accurate previews

Mirrorless cameras with high-quality electronic viewfinders (EVFs) give you fairly accurate previews of your images before you press the shutter button. This allows you to get your exposure and depth of field correct, right from the beginning.

Size and weight

Smaller and lighter cameras are easier to carry on long treks and on travel expeditions. And the easier your camera is to carry, the more likely you are to have it with you when a once-in-a-lifetime scene happens right before your eyes.

Image stabilization

Cameras and lenses with some form of image stabilization make it possible to handhold at low shutter speeds. This increases your shooting opportunities in low light and allows you to increase your depth of field during the day.

Optical quality

Higher-quality lenses are sharper and have fewer problems (such as color fringing and distortion). This makes it possible to get tack-sharp shots that look great straight out of the camera.

Equipment Versus Photographer – Which Matters More?

Focal length

Lenses with different focal lengths allow you to capture different types of shots. If you want to capture sweeping landscape images, you’ll want an ultra-wide lens on hand. If you want to capture a detail shot of a perching eagle, you’ll want a 500mm or 600mm lens. Therefore, different lenses give you different photo opportunities.

How do you, the photographer, change your photography?

Now that we’ve covered the ways in which equipment affects your photography, it’s time to talk about you, the photographer.

What impact do you have in the photo-making process? How do you make a difference in your photography?

equipment-versus-photographer

Why you matter

Focusing skills

Even if you have the best autofocus system in the world, it won’t matter if you don’t have the capabilities to use it. It takes serious skill to track fast-moving subjects, and it’s something that takes lots of practice to master. If you want to capture gorgeous action shots, you can’t just press the shutter and hope for the best. The autofocus system is part of the equation, but so are you.

Handholding skills

Your ability to handhold is often the difference between a sharp photo and a blurry photo. You’ve often got to keep your hands steady while in the thick of the action, never an easy task. Image stabilization helps, but if your technique isn’t sound, you’ll end up with blurry photos anyway.

Exposure skills

Cameras are pretty good at identifying the right exposure for the scene. But there are plenty of times when the camera’s choice just doesn’t look good. That’s when you have to step in, as the photographer, and take control of your camera’s exposure.

equipment-versus-photographer

Working with light

As great as modern cameras are, they still can’t tell you how to find good light, and they definitely can’t tell you how to use the light for great shots. That’s all up to you, and it’s something that photographers spend their whole lives studying. Expertly used light can be the sole difference between an amazing photo and a mediocre photo.

Compositional skills

I’m putting this under a single header, but it’s a big one. Composition isn’t something that’s innate, and it’s definitely not something that your camera can control. It’s something that you learn through practice and hard work. And if you don’t bring composition skills to your photography, it’s going to look plain bad. There’s no way around it.

Working with aperture

Choosing a composition is a skill. It’s also a skill to be able to pull off that composition – to be able to use camera settings to your advantage. That’s where you have to leverage your knowledge to choose the aperture and shutter speed you need to capture the perfect shot.

Post-processing skills

This is another huge factor as post-processing skills allow you to take a shot and really turn it into something incredible. Post-processing is how you put the finishing touches on your photos, and it’s how you give your photos that professional flair.

Equipment Versus Photographer – Which Matters More?

Equipment versus photographer. And the winner is…?

Now that you’ve read this far, you and I can surely agree that both the equipment and the photographer matters.

However, if you look over the two lists, you’ll notice that there are certain aspects of photography that the gear can barely contribute to such as working with light, choosing a composition, putting the final touches on a photo in post-processing, and more.

These are huge aspects of being a photographer. If you can’t do these things, your images will be consistently poor. There’s no other way to say it.

equipment-versus-photographer

But if you can do these things well, you’ll get amazing photos. Yes, high-quality gear will help. It will increase your chances of getting beautiful shots – if you’re already very skilled. However, while the equipment is important, gear will never get you an amazing photo. At best, gear will get you ultra-sharp, well-exposed, in-focus snapshots – and that’s all. At worst, gear will get you blurry, poorly-exposed images.

In other words, you don’t need incredible gear to get incredible photos. But you do need to be an incredible photographer to get incredible photos.

Equipment Versus Photographer – Which Matters More?

So…

Which is more important, the equipment or the photographer?

The photographer.

No doubt about it.

What are your thoughts on equipment versus photographer? Do you agree that the photographer matters more than the equipment? Share your thoughts in the comments!

The post Equipment Versus Photographer – Which Matters More? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

Comments Off

Posted in Photography

Influential photographer Robert Frank passes away at 94

11 Sep

This Super 8 footage, shot in 1971, would later be repurposed for The Rolling Stones 1972 album Exile on Main Street.

Legendary Swiss-American photographer, filmmaker and artist Robert Frank, who is best known for his 1958 book The Americans, as well as his behind-the-scenes work with rock band The Rolling Stones, passed away from natural causes on September 9th at the age of 94. His death, which occurred at the Inverness Consolidated Memorial Hospital in Nova Scotia, Canada, was confirmed by his gallerist and longtime friend Peter MacGill.

Frank was born in Switzerland on November 9, 1924. He emigrated to the United States in 1947, after releasing his first hand-made photography book, 40 Fotos, landing in New York City where he secured employment as a fashion photographer for Harper’s Bazaar. He also started hanging out with an eclectic crowd that included Beat Generation poet Allen Ginsberg and On the Road author Jack Kerouac. Kerouac provided the introduction to Frank’s seminal photography book The Americans.

If you call Robert Frank a documentary photographer, you’re missing the point. He was an artist, even when his images masqueraded as documentary. Still, this is a good obituary, especially if you think his career ended after he published The Americans. https://t.co/zcninBfY2Y

— John Edwin Mason (@johnedwinmason) September 10, 2019

The collection of 83 black-and-white photos, captured on a cross-country road trip that began in 1955, with a Leica 35mm camera, exposed the neglected aspects of American life. In an era that glorified family values, clean-cut figures, and a booming postwar economy, Frank’s dark, grainy imagery was subversive. While The Americans was not well-received initially, its eventual success would present a level of notoriety that made him uncomfortable.

As a result, Frank pivoted to creating experimental short films and autobiographical documentaries. This would lead him to develop a relationship with one of the world’s most notorious rock bands, The Rolling Stones. The group commissioned him to create photos for their 1972 album, Exile on Main Street. Thrilled with his work, they invited him to shoot a documentary about their return to America and supporting 1972 concert tour.

The Rolling Stones were thrilled with Robert Frank’s work for the cover of their 1972 release, Exile on Main Street. However, they would go on to block the widespread release of his documentary Cocksucker Blues.

The resulting work, titled Cocksucker Blues, exposed rampant drug use and escapades including excessive orgies that the band deemed unflattering for their image. A restraining order was put in place to limit where and how often the documentary could be screened. It was ultimately shelved in favor of the documentary Ladies and Gentlemen: The Rolling Stones which consisted of strictly on-stage footage.

Upon hearing of Frank’s passing, The Rolling Stones posted the following statement on their Facebook page: ‘We’re very sad to hear the news that the visionary photographer and filmmaker Robert Frank has died. Robert collaborated with us on a number of projects including the cover design of Exile On Main Street and directed the Cocksucker Blues documentary. He was an incredible artist whose unique style broke the mould. Our thoughts are with his family and friends at this time.’

View this post on Instagram

Robert Frank has passed away at 94. As one of the key figures in postwar American art, Frank has never wanted for recognition. Few works in the history of photography have landed a punch as woozying as that book, “The Americans.” An unconsoling portrait of his adopted country, the 83 photographs in the book are a record of the Swiss-born Frank’s on-the-road travels in 1955 and 1956. It is a country of empty highways and drained faces in barrooms, divided by race and income. Frank’s people seem bereft, beaten. It’s a portrait by an outsider identifying to his fingertips with other outsiders. “In America, they had another tone, the pictures,” Frank told @nytmag in 1994. “One became aware of white cities, black people, no money, no hope. The noise. The violence. How brutal people were. A brutal country. Still is. And I began to be part of it.” Read the 1994 piece at the link in our bio. #RobertFrank photographed by @eugenerichardsphotography

A post shared by The New York Times Magazine (@nytmag) on Sep 10, 2019 at 7:28am PDT

In a poignant moment from his first video project, Home Improvements, created in 1985, he films his own reflection through a glass door and reflects on his method with the following quote: ‘I’m always looking outside trying to look inside. Trying to tell something that’s true. But maybe nothing is really true. Except what’s out there, and what’s out there is always different.’

‘I’m always looking outside trying to look inside. Trying to tell something that’s true. But maybe nothing is really true. Except what’s out there, and what’s out there is always different.’

Frank’s lasting impact includes being deemed ‘the father of ‘the snapshot aesthetic.’ His ability to create compelling images on-the-fly inspired influential artists including Jeff Wall, Mary Ellen Mark and Ed Ruscha. Critic Sean O’Hagan, writing for The Guardian in 2014, said The Americans ‘changed the nature of photography, what it could say and how it could say it. [ . . . ] it remains perhaps the most influential photography book of the 20th century.’

Frank experienced personal tragedy in his life. He lost his first daughter, at the age of 20, in a plane crash. Twenty years later, his son Pablo took his own life after suffering from schizophrenia. He is survived by his second wife, June Leaf.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

3 Tips for Becoming a Unique and Successful Photographer

02 Sep

The post 3 Tips for Becoming a Unique and Successful Photographer appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

If you want to become a successful photographer, then there are a few things you absolutely must know.

That’s what you’re going to learn in this article:

Three key tips for becoming a truly masterful photographer.

successful photographer two people with bright clothing

Will it be a fast journey? Probably not.

But it doesn’t have to be difficult, either. If you enjoy photography, then you’ll have a ton of fun!

So if you’re ready to become a unique and successful photographer…

…then let’s get started.

Tip 1: Don’t get hung up on what you ‘should’ do

Many photographers read tutorials and watch videos. Then they try to mimic exactly what is being taught. They try to create the same photos the instructor is telling them to.

But if you learn photography this way, you’ll end up having photos that look like everyone else’s. You won’t discover a unique style of your own.

Sure, it’s good to study and learn from those who have more skill and understanding. But there is no formula for perfect photography. There is no absolutely correct way to make a picture.

Whether you’re taking a senior portrait or photographing products for a catalog, there are no hard and fast rules. There are guidelines. If you follow some of them you’ll make sharp, well-exposed photos that are well-composed. But if you try to rigidly stick to a method, you will not make creative photos.

Every scene you photograph is different. Even if you photograph the same garden or building every day, things will change. The light will be different. It may be sunny one day and raining the next. Your subject may change over time.

So you must take what you’ve learned and adapt it to the situation. Apply photography techniques that best suit your subject and the current circumstances.

Obtain the skills and learn the rules. Know these things well, so your thoughts aren’t consumed by them each time you want to take a photograph.

But don’t apply a set of rules to your photography. Doing this may bring technically correct results. But often photography which is only technically correct is rather dull and boring.

You can find examples of very similar sets of images posted on social media and photo-sharing sites, and in all manner of ‘how to’ photography books. They all look repetitively similar because the photographer has only followed the rules.

Instead, apply your own creative thinking. Consider the rules, but don’t apply them unless they enhance your photo the way you want them to.

Tip 2: Put feeling into your photography for masterful images

If you want to be a truly great photographer, learn how to infuse your photography with feeling. Put something of yourself into your pictures.

This is what will make your photos unique. Nobody else has the same worldview you do.

This is not an easy concept for many photographers to grasp, but all you need to do is look at some of the best photos. The ones which attract you the most.

Ask yourself why you like them so much. Look at the greats. Admire the work of Irving Penn, Ansel Adams, Henri Cartier-Bresson, and the like. What is it about the way they have seen the world and photographed it that makes their photographs special?

Look at favorite photos you have taken. What’s special about them? Are they only technically correct, or is there more to them? Do they capture a unique moment? Do they include feeling?

Photos which embody emotion are more powerful. Capturing the moment that conveys emotion, regardless of technical considerations, often results in the most compelling photographs.

Technical imperfection can even enhance the feeling in a photograph. A moment of laughter mistakenly overexposed can add to the spirited feeling. An underexposed photo of someone feeling sad will add to the expression of their despair.

Here’s the bottom line:

If you can include feeling in your photos, if you can communicate something to viewers about your perspective, then you’ll be well on your way to being a truly successful photographer.

Tip 3: Study your craft and photograph often

Here’s the great thing about photography:

The more you pick up your camera, the faster you will develop as a photographer.

Your technical skills will improve, and your ability to see what makes a great photo will improve, too.

cultural abstract

I suggest you commit yourself to learning a new photography technique every month, or even every week. Get the new technique ingrained into your subconscious mind so you don’t have to concentrate on what camera settings to use. Then the settings will come to you automatically, even when you do choose to use Manual mode.

Reaching a high level of ability takes time. Like any artist, you have to start by mastering the essentials. Once you have, you will be free to express yourself.

Learning to play the piano or to dance well involves hours and hours of patient, determined practice. Photography is the same! The more you study and practice with your camera, the more expressive you will become with it. The less you have to think about the adjustments you need to make, the more focus you can give to being creative.

So engross yourself in your favorite genres of photography. Photograph often and with the desire to make improvements each time you do.

Over time your photographic skills will advance.

And, pretty soon, you’ll be a successful photographer.

Conclusion

I believe we are all inherently creative. We are created to be creative.

This means that every one of us has the potential to be a great photographer.

You just have to work hard at your photography.

Eventually, you’ll be creating stunning, unique photos.

How to become a Unique and Successful Photographer Iron Bridge in Chiang Mai

The post 3 Tips for Becoming a Unique and Successful Photographer appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School

Comments Off

Posted in Photography

Slideshow: Winners of the 2019 Australian Geographic Nature Photographer of the Year

24 Aug

2019 Australian Geographic Nature Photographer of the Year Winners

The South Australian Museum has announced the 2019 Australian Geographic Nature Photographer of the Year and also shared the winning images from each of the ten categories offered in this year’s contest.

In total, 2,219 images were submitted and judged by Justin Gilligan, Glenn McKimmin and Tui De Roy. In the end, the 2019 Australian Geographic Nature Photographer of the Year award was handed out to Mat Beetson of Western Australia for the above image of a beached Fin Whale being circled by sharks on Cheynes Beach in Albany, Western Australia. The winning image was captured with a DJI Phantom 4 Pro drone, marking the first time a drone-captured photograph has won the competition.

‘It was unreal, arriving at a peaceful coastal town with a pristine beach and then seeing this huge whale not even five metres from shore – we then noticed the thrashing close by and realised that a few sharks had also stopped by,’ Beetson told the Southern Australian Museum about the capture. ‘I launched the drone to see the aerial view and captured a sequence of photographs, this shot was one of the last ones I took and I was very lucky that the shark came back for a look.’

Beetson received a $ 10,000 cash prize as well as a Coral Expeditions cruise for winning.

The remainder of the images in this gallery are the ten winners in each of this year’s categories.

You can find out more information about the Australian Geographic Nature Photographer of the Year competition and the South Australian Museum by visiting their respective websites.

Above Image:

Overall Winner

Fin Whale, Balaenoptera physalus

The fin whale is sighted regularly in this region; seeing one beached, however, is rare. The whale sits less than 5m from shore and 100m from residential homes, giving whale researchers access to an unusual occurrence for this species. Bronze whalers and great whites feasted over the remains before removal.

Location: Cheynes Beach, Albany, Western Australia

Gear: DJI Phantom 4 Pro Drone, 24mm, 1/500, f/5.6, ISO 100, 118m high, filmed with permission DPAW

Photographer: Mat Beetson, Western Australia

Photo credits: Images owned by their respective creators, used with the permission of the South Australian Museum.

Winner, Animal Portrait

Decorator crab, Achaeus spinosus

Typically, decorator crabs attach pieces of sponge and seaweed to themselves to camouflage and hide from predators (which makes them very poor photographic subjects). However, Achaeus spinosus attaches stinging hydroids to itself to ward off potential predators (making it a very attractive subject for photography).

Location: Lembeh Strait, North East Sulawesi, Indonesia

Gear: Canon EOS 7D Mk II, Canon EF 100mm, f/2.8 macro USM, 1/250, f/16, ISO 200, INON Z240 strobe with Retra Pro light shaping device, handheld

Photographer: Ross Gudgeon, Western Australia

Winner, Animal Behaviour

Humpback whales, Megaptera novaeangliae,
Dolphins, unidentified species

The heat run is the ultimate wildlife encounter – multiple whales competing for a female. The chase can last for hours or even days and males can display bubble netting, open mouth gulping, physical contact, loud acoustic sounds, and breaching. Even after 16 years documenting humpback behaviour in the region, it is still truly heart-thumping and adrenaline-pumping action.

Location: Tonga, South Pacific

Gear: Canon 1DX Mk II, Canon 8–15mm fisheye, 1/320, f/8, ISO 200

Photographer: Scott Portelli, New South Wales

Winner, Animal Habitat

Commensal amphipod living in solitary ascidian

I was searching for miniature pygmy seahorses on the reefs of West Papua when I happened across this tiny amphipod crustacean. Just 0.5–1cm long, this male is sitting at the mouth of the sea squirt to guard the females and young within. According to an amphipod expert, this is likely a new species.

Location: Raja Ampat, West Papua, Indonesia

Gear: Nikon D800, Nikkor 105mm macro, 1/125, f/14, ISO 100, twin INON Z240 strobes, handheld, Subal underwater housing

Photographer: Richard Smith, United Kingdom

Winner, Botanical

Ghost fungus, Omphalotus nidiformis

The elusive ghost mushroom show starts after dark, when the green light of its bioluminescence glows across the pine forest on the Bellarine Peninsula. It seems like magic but the glowing works to attract insects that then help disperse the spores and spread the mushroom.

Location: Ocean Grove, Victoria

Gear: Canon 5D Mk IV, Samyang 14mm, 30, f/2.8, ISO 3200, Manfrotto tripod

Photographer: Marcia Riederer, Victoria

Winner, Landscape

When Barron Falls (Din Din) is in flood, the usually tranquil scene is transformed into a tumultuous cataract as huge volumes of water make their way to the coastal plain below. The sheer violence of this display, coupled with the deafening roar, makes it an unforgettable experience.

Location: Barron Falls, Kuranda, Queensland

Gear: Pentax X-5, 28.3mm, 1/320, f/5, ISO 100, handheld

Photographer: Neil Pritchard, Queensland

Winner, Monochrome

Honeycomb moray eel, Gymnothorax favagineus
Maze coral, Leptoria sp.

I came across this amazing juxtaposition of a honeycomb moray eel and a textured brain coral. It screamed monochrome to me, but one of the significant disadvantages of shooting underwater is that you cannot just change your lens to suit the subject. Still, I slowly moved as close to the eel as possible, increased the depth of field, and adjusted my strobes to light up the coral and the eel.

Location: Banda Sea

Gear: Nikon D850, Nikonos 13mm RS, 1/200, f/16, ISO 400, Seacam housing, Ikelite 161s strobe

Photographer: Tracey Jennings, United Kingdom/Malaysia

Winner, Junior

This night was the most amazing display of lightning that I have ever seen, with constant flashes of lightning lasting hours. For the composition, I decided to focus on a man standing at the edge of the water with an umbrella to add a sense of scale to the image.

Location: Fingal Bay, New South Wales

Gear: Canon EOS 5D Mk lll, Canon 17–40mm f4 L, 15, f/4, ISO 200, tripod

Photographer: Floyd Mallon, New South Wales. Age 17

Winner, Our Impact

The Menindee Lakes were deliberately drained in 2016–17 and New South Wales has experienced a lengthy drought. Animals and birds desperately seek food and water and there is very little left due to these human-made and natural events. Lake Cawndilla is now just a drying lakebed scattered with the remains of our native animals.

Location: Cawndilla Creek, Menindee, New South Wales

Gear: DJI Phantom 3 Advanced, 20mm, 1/640, f/2.8, ISO 200, ND4 filter

Photographer: Melissa Williams-Brown, South Australia

Threatened Species Winner

Winner, Threatened Species

Mertens’ water monitor, Varanus mertensi

STATUS: ENDANGERED

Mertens’ water monitors are highly inquisitive. This extremely bold specimen ostentatiously approached me to investigate the good-looking lizard in my dome port while I observed another nearby pair engaged in courtship – sadly for him he was staring at his own reflection, not the mate of his dreams.

Location: Adelaide River, Northern Territory

Gear: Olympus OMD EM-1 Mk II, Olympus 8mm f1.8, 1/125, f/11, ISO 64, two Sea & Sea YS-D2 strobes, manual flash output, handheld, Nauticam underwater housing

Photographer: Etienne Littlefair, Northern Territory

Portfolio Prize

Portfolio Prize (best portfolio of size or more images)

Artist: Charles Davis, (NSW)

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Woodstock photographer shares what it was like to photograph the 1969 music festival

21 Aug

Henry Diltz, an official photographer of the Woodstock music festival held in August 1969, has detailed his experience in a new six-minute video produced by Keeper and directed by Scott Hanson. Diltz captured thousands of photos during the three-day festival, which was attended by nearly half a million people.

‘It’s almost every day now, people are asking me to interviews, about Woodstock, to use my photos, and my remembrance of it,’ Diltz says in the new short film. The photographer explains how he landed the job, revealing that he was only able to attend the event thanks to lighting director Chip Monck, who sent Diltz a plane ticket and $ 500.

Unlike other photographers who attended the music festival, Diltz explains that he was allowed to shoot from a walkway built for the film crew, putting him directly in front of the concert stage. It’s from this position that Diltz was able to capture iconic photos of renowned artists, including one he says he managed to capture with all four members of The Who in the same image, something that was difficult using his widest lens.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Street Photographer Attacked on Social Media for Taking Photos in Public

19 Aug

The post Street Photographer Attacked on Social Media for Taking Photos in Public appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Joshua Rosenthal’s Instagram feed.

Are you a street photographer?

Have you considered what might go wrong in your line of work?

Most street photographers don’t.

But maybe they should.

View this post on Instagram

A post shared by Josh Rosenthal (@two_stops_ahead) on Aug 9, 2019 at 8:33am PDT

Joshua Rosenthal is your average street photographer. He goes out with his camera, photographs people in public places, and posts the photos on his website and Instagram. He does no harm, and nobody is bothered.

Until this past week, when Rosenthal’s actions attracted a lot of attention – and not in a good way.

Rosenthal journeyed to the Ventura County Fair in California. He walked around, taking photos of fairgoers. People noticed, became suspicious, and the police questioned Rosenthal. But doing photography in a public place is not a crime, and so nothing came of it.

According to the police department:

“The subject was contacted by police officers at the Fair on that date and has been contacted again today for questioning. No crime occurred during this incident.”

Rosenthal probably thought that being questioned at the county fair was the end of things; after all, he hadn’t broken the law.

View this post on Instagram

A post shared by Josh Rosenthal (@two_stops_ahead) on Aug 12, 2019 at 6:32pm PDT

So it was most likely a huge surprise when he awoke the next morning to find his name plastered all over social media alongside accusations of pedophilia and of predatory behavior.

As it turned out, a number of fairgoers took videos and photos of Rosenthal at the fair, which depicted Rosenthal snapping images of a young girl. These videos and photos were promptly distributed on social media, capturing intense attention.

One poster writes “Hey moms and dads, beware of this P.O.S. at the fair. He’s going around taking pictures of…little girls, in dresses.”

Another poster compared Rosenthal’s actions to child traffickers, while a third wondered whether he is a “perv.”

Rosenthal was questioned once again by the police but was not arrested. We can be confident that no legal action will be taken against Rosenthal.

Rosenthal has plans, however. He will be reaching out to the ACLU, which deals with civil liberty cases. He explains, “This is more about the First Amendment and doxing than it is about me.” He also apologized to the parents of the girl he was seen photographing.

For all the street photographers out there:

How would you handle this scenario? And how do you handle taking photos of children?

One way to prevent this kind of thing is to ask permission before photographing children. The parents might refuse, and that’s okay; there are plenty of people to photograph in the world!

Another way to protect yourself is to avoid photographing children entirely. As Rosenthal found out, parents are often extremely uncomfortable with their children being photographed, and for good reason. While there are plenty of harmless photographers out there, dedicated street photographers aren’t the only people taking photos of children.

What do you think? Do you have any tips for avoiding these difficult situations? Do you feel comfortable photographing children?

Leave a comment below!

The post Street Photographer Attacked on Social Media for Taking Photos in Public appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

Comments Off

Posted in Photography

Photographer creates an exact replica of The Apollo 11 Hasselblad used by NASA

15 Aug

Photographer and self-described ‘space nerd’ Cole Rise has detailed his creation of a replica of the Hasselblad camera used by NASA’s Apollo 11 astronauts. The model is precise down to the finest details, including the camera’s serial number and labels. The creation process, as explained by Wired, was a lengthy one, involving the acquisition of a Hasselblad Apollo camera prototype, NASA archival photos and more.

NASA engineers had heavily modified a Hasselblad 500 EL camera for the Apollo 11 mission, including adding motors, removing the focus screen and mirror, and adding heat-resistant aluminum paint, among other things. Rise spent four years working on his replica of this camera, a process that involved machining many of the components himself, in addition to salvaging select parts from a broken Hasselblad MK-70 camera.

In addition to the modified Hasselblad 500 EL camera, the Space Camera Co. website also shows his replica of NASA’s Hasselblad 500C camera, which had been modified by NASA engineers in collaboration with an RCA contractor. Rise worked on his 500C replica before the Apollo 11 camera, saying on the Space Camera Co. website:

By going through the tedious process of remaking this camera, you begin to uncover its secrets and the thought processes that went into making it space-worthy. It was the seed that eventually cemented Hasselblad’s relationship with NASA as the de facto space camera maker. And it was the project that taught me the skills required to eventually make a functional lunar camera.

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6881376982″,”galleryId”:”6881376982″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Rise is making multiple 500C replicas for private collectors and creating a documentary that details his work. Rise’s website lists the Apollo 11 Hasselblad camera replica as currently on display in Le Marais, Paris.

Photo credits: Photos by Cole Rise, used with permission

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized

Video: Photographer debunks popular food photography ‘hacks’

14 Aug

Commercial food photographer Scott Choucino has published a new video debunking some of the food photography ‘hacks’ popularized in YouTube videos. Choucino comments on a variety of supposed industry techniques, including things like using lipstick to make fruit look ripe and spraying hairspray on fruit.

‘We don’t color in fruit if it’s the wrong color, we just buy more fruit,’ Choucino explains in the video while shrugging. The photographer shares some techniques that are used by food photography professionals, as well, including using glycerin and water — not hairspray — to make fruit look wet. Choucino likewise touches on the topic of making meat look cooked, getting gooey cheese pizza shots, myths about foamy coffee and more.

Articles: Digital Photography Review (dpreview.com)

Comments Off

Posted in Uncategorized