RSS Daily Photography

Photographers Struggle with Licensing Models

Fri, 12 Mar 2010 00:00:00 +0100

If a photographer were to open a store — or even a gallery — the business plan would be pretty simple: figure out the right price for a photo, put the price on a sticker, put the sticker next to the image, and wait for someone willing to pay that amount. It’s the way retail usually works and it’s straightforward enough. The seller names the price; the buyer gets to take it or leave it. Set up a photography business though and when it comes to ways of taking money for your photos, you’ll be spoiled for choice. Selling prints might be simple to plan (if hard to do), but event photographers have to create packages that combine hourly rates with physical products, making them flexible enough to appeal to different budgets but enticing enough to encourage clients to spend as much as they can. Even those sorts of packages though are fairly clear, and a quick look at what competitors are doing can usually provide a pretty good guide. It’s when a photographer want to license his or her photos that things start to get really complicated.

In practice, photographers are basing their prices on four main models. Choose the wrong model for your images, you could well find that you’re priced out of the market and struggling to make sales.

Microstock’s royalty-free model is the simplest. Prices are low and once a buyer has bought the image, he can do whatever he wants with it, short of selling it somewhere else. So an image that might have cost no more than a buck or three can end up on the cover of a book, on the website of an international magazine as well as on blogs, marketing material and in low-cost newsletters.

Cheap and Simple

This model’s simplicity benefits buyers — and microstock agencies — most. Designers can go from needing an image to acquiring one in just minutes, and even for a low price, and the agencies make profits by taking a small cut of lots of sales. While that can mean plenty of buyers and lots of small opportunities, it does mean that images run the risk of being underpriced and overused. Publishers are usually willing to pay several hundred dollars for an image that will appear on the cover of a major book, for example. This microstock picture cost just a few dollars on Shutterstock.

That makes microstock a useful model primarily for images that are hard to place elsewhere and for photographers without helpful contacts. “Rich,” the microstock photographer whose photo was used on a children’s book cover, also has images on Alamy. They’ve brought him one sale. Shutterstock has given him almost 6,000.

“It is near impossible for a beginner photographer to first get represented by one of those agencies, and… to have their images shown someplace where buyers will actually get to find them,” he explained. “So in that situation I turned to microstock.”

Stock is Hard for Photographers – and Hard for Buyers

Those traditional stock agencies represent a very different pricing model, one that provides full value for the image but which is both difficult for photographers to break into and complicated for buyers who have to state exactly what they plan to do with the picture. It’s a model that’s under pressure and while it’s likely to remain for top photographers and the biggest buyers who need the most exclusive images, even Getty and Corbis have subsidiaries that offer royalty-free photos in the same way as microstock.

It’s also a model that’s based on long-term revenues. Microstock photographers often post images that they shot with at least one eye on the pleasure of creating a good image. That allows them to write off at least some of their costs. Professional stock photographers shoot with both eyes on the profit, and they’re willing to invest in an image, spending money on models and location, even if it means waiting a couple of years before the sales move the photo into profit. It’s a model for professionals with exceptional commercial photos and a solid track record. Even users of PhotoShelter, a site that allows anyone to license their photos themselves using the stock industry’s usage model, tend to sell to clients they already know.

Microstock’s low-cost, royalty-free licenses and traditional stock’s rights-managed licenses represent two extremes but there also different models opening between them.

Flickr’s Free Photography Market

On Flickr, where photographers tend have a much looser grasp of market rates and the potential value of their images, contributors negotiate freely. They also often make frequent mistakes, charging too little — and often nothing at all — for their photos.

As a model, receiving or inviting requests on Flickr is popular among photo-sharers and has the advantage of providing complete flexibility. Sellers receive an amount that they agree for their photos. There’s no framework, no rules and little attention to conditions, usage limitations or terms. It contains all the anarchy of the open market but one in which an experienced buyer will always have the upper hand over an inexperienced enthusiast.

That doesn’t necessarily mean that it’s a model to avoid though. Buyers are browsing the site looking for the kinds of unique images that are hard to find elsewhere, even from stock companies, so Flickr can provide a good model for creative photographers. But it does mean that those photographers will need to look at the stock licensing model to understand the kinds of conditions they should be demanding.

Limited Licensing for Small Niches

Finally, the method that photographer Craig Holmes uses to sell images can be seen as yet another way of buying and selling photos — and one which reflects the very processes that are changing licensing models. Like microstock, his own stock site prices images based on size not usage. Unlike microstock though, the license is limited for a year and prices begin at £25. Regular customers can download freely and receive a monthly bill.

The ability to use that model comes in part from Craig’s knowledge of his buyers and their budgets — something to which users of PhotoShelter are able to relate — and also from years of struggling with usage rights. Clients, he says, just didn’t get it.

“Gone are the days when clients wanted to chat over the price of an image,” says Craig. “They simply see it, want it there and then for a fair price.”

It’s likely that all of these models will continue to operate side-by-side for different photographers and for different buyers. Professionals will continue to sell rights managed licenses through traditional stock agencies; enthusiasts will earn small amounts for royalty free microstock images; creative photo sharers will negotiate openly with buyers as they turn up; and niche photographers will create unique models that reflect their markets and the subjects of their images. When it comes to licensing models, there’s no one sticker price

Interesting photos 28 Feb 2010 Flickr

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Interesting photos 27 Feb 2010 Flickr

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Interesting photos 26 Feb 2010 Flickr

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Interesting photos 25 Feb 2010 Flickr

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Interesting photos 24 Feb 2010 Flickr

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Interesting photos 23 Feb 2010 Flickr

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Interesting photos 22 Feb 2010 Flickr

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Woman in Halong Bay

Fri, 12 Mar 2010 00:00:00 +0100

soli

Fri, 12 Mar 2010 00:00:00 +0100

two ladies

Fri, 12 Mar 2010 00:00:00 +0100

boulevard cowboy

Fri, 12 Mar 2010 00:00:00 +0100

Dark Rooms Have No Corners

Fri, 12 Mar 2010 00:00:00 +0100

Staple Street Project 6

Fri, 12 Mar 2010 00:00:00 +0100

omens

Fri, 12 Mar 2010 00:00:00 +0100

MPEX Now Outsourcing Business Decisions

Fri, 12 Mar 2010 00:00:00 +0100

Here's an idea that Moishe has been kicking around with me for the last couple of weeks: Midwest is letting readers vote on which items will go on sale the following week.

So far, everything is small flash/lighting related and they plan to rotate it each Monday. This week, the Lumiquest SB-III has jumped out to an early lead.

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Five Things Music Can Teach Us About Lighting

Fri, 12 Mar 2010 00:00:00 +0100

In 1986 I walked into the photo department at The Gainesville (FL) Sun for the first time. I was 21, and it was like walking into heaven.

Several well-respected photogs worked there. There was pool glass available for borrowing. There were huge photos on the wall. And there was a nice stereo with a pair of high-end (to me) speakers on top of the bookshelf.

Looking back, I think they were Bose 301's. But I was impressed back then.

They said that they paid for the stereo by pooling the money they received for transmitting AP specials and enterprise art over the wire. It was the first time the connection between music and photography ever hit me.

Ever since, I have made an effort to install some sort of music into the photo departments where I worked -- stereo in the darkroom at Patuxent, amplified speakers in the studio at The Sun and now, multi-source music on demand in The Cave.

Music and photography share a lot of concepts. And even more specific, there is actually a lot of crossover between music and light.
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1. Music is Part Art and Part Science

The more photographers I meet, the less it now surprises me to learn that many of them have some sort of a musical background. As for myself, I was a musician from way back. I started with piano lessons in elementary school, and played in bands (saxes, mostly) from middle school through college jazz ensembles.

Music sits at the intersection of math and art, as does photography. It calls on both sides of our brains, and we cannot function well as musicians or photographers without being able to access both right- and left-brain thinking.

Lighting is inherently grounded in physics -- ratios, fall-off, beam spread, inverse square rule, etc. Even your f/stop scale is a function of the square root of two.

Music is like a code -- a time-based, mathematical code that you have to either solve or create on the fly. Reading two clefs of music at once is like simultaneously translating two people speaking a foreign language.

And being good at the mathematics part does not make you a good musician any more than it makes you a good lighting photographer. You need to be able to access the expressive components as well, or you'll just be a "technically" good photog or musician.

Which is kinda like a blind date being described as having a good personality. That statement is defined more by the what it doesn't say that what it does.

2. Music is All About the Ensemble

If I had a dollar for everyone who asked me what f/stop I was shooting at, or power rating on a flash, or how far to place the flash away from something, I'd probably be in a different income tax bracket.

And in the end, none of that matters -- I could alter my power rating on a flash from 1/8 to 1/4, change my ISO from 200 to 100 and nothing would change. It is not about the absolute numbers. It is about the relationship between the lights, and/or between the flash and the ambient.

Music is the same. How loud is fortissimo? That depends on whether you are playing on a stage in front of 500 people or in a small room with a string quartet. What matters is what intensity it takes to blend with the other notes being produced.

Is the goal to blend into a chord? To carry the melody? To belt out a solo, backed up by the horn section? How loud you play is not an absolute -- it is relative to the loudness of the other sounds in the ensemble.

Same thing with lighting. How much salt do you add in a pot of soup? Depends. How big is the pot? How salty do you want it?

3. Music Has Color and Feel

Music has major and minor chords, and patterns such as circles of fifths. Lighting has warm and cool gels -- and visual patterns such as families of color.

Music has dissonant notes that tend to really grab your attention -- much as a warm, gridded light will make something in a dark, cool palette stand out.

Within musical passages there are things that fit and things that don't. Similarly, there is a logic to lighting. You can sell all sorts of strange things in your light -- if there is a logical reason to arrive at that light.

Sure, you can put a strobe in a toilet. But why would there be light coming out of a toilet?

McNally, on the other hand, once needed to light the interior of a torpedo tube on a sub. So he stuck an SB into the tube, and had a weapons tech point a flashlight into there. Now the lighting coming from the tube not only did the job it needed to do, but made sense.

Just as with music, you can do dissonant things with your lighting if you establish a logical framework first.

4. Music Can Alter the Way We Interact

Don't believe me? Well, then you've never seen a room full of middle-aged white people transform at a wedding reception when the DJ cranks up Love Shack, by the B-52's.

It can be a little embarrassing, actually. It's an excuse to go crazy -- and go crazy they do.

Lighting can drastically alter the way we visually interact with something. You can make someone look like an angel with the right light. And ten minutes later, you can have him looking like The Devil himself.

Further, I love actually shooting with music playing in the background. That's why we had the amplified speakers in the studio at The Sun -- just bring your iPod and you were good to go. Any time I am going to be shooting someone in my own tiny studio, I either ask them to bring their own iPod or have my iPhone set up to run Pandora through the house system.

That way, they pick an artist and Pandora creates a play list for them. Perfect. And being in their own musical environment puts people in a good place.

Sometimes I will choose music based on the feel of the photo we are trying to create. It not only alters my perception of the shoot, but the subject's as well. And it starts to get us into the same vibe, which really helps.

I am planning to photograph a cellist a few weeks from now for my long-term arts project. Still brainstorming ideas, but I think I want to have him playing in the woods. It's one thing to be shooting a cellist out in the woods, and yet another to have the sounds of, say, Bach's Cello Suite #1 wafting through the trees as we are shooting.

No iPod needed, and nice work if you can get it.

5. Music Should Be Organic

One of the ironies of music is that when it is technically perfect it is often utterly uninspiring. And I feel the same way about light. If anything, I tend to default to making things too structured and buttoned down. And I do not like that very much. So I have to work to reintroduce the imperfections that make things more interesting. More believable.

The musical equivalent of what I am trying to avoid here would be Auto-Tune. And as far as I am concerned, Auto-Tune absolutely sucks. It systematically drains the life out of music in it's effort to create singers out of people who happen to have more looks than talent.

The world is not perfect. Unless you have an overriding reason to the contrary, your lighting probably should not be totally perfect, either. Get the feel you are looking for, and then scrape up some edges. Find and create some randomness -- introduce imperfection if none is there. Think "al dente."

Your lighting, and your music, will thank you for turning off the Auto-Tune.
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I am very curious as to how many of you are musicians, and whether you have thought about how it affects your photography in general and your lighting in specific.

Hit us in the comments if you have thoughts of your own.

Travel Light

Fri, 12 Mar 2010 00:00:00 +0100

UPDATE: Corrects backpack, adds links to backpack and duffel.
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I have logged a lot of air miles over the last few years, and am getting ready to pile on a few more en route to Dubai this week.

On of the biggest advantages of being speedlight-based is being able to avoid the excess-baggage mafia. Given that I usually travel with computer, camera gear, lighting gear (including stands, etc.) in addition to the typical clothing stuff, I thought I would do a quick post on what and how I pack.
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Two In the Belly

First off, I always strive to get all of my clothing/personal items into a medium-sized L.L. Bean White Mountain backpack. I can get a ton of stuff in there, and it doesn't take any hands to schlep it. That bag always gets checked.

The second checked bag is an L.L. Bean roller duffel. It is modestly sized but can really swell up to handle extra clothing and/or souvies for the kids. That bag takes my light stands, umbrellas, grip, mods, etc. Nothing in the soft roller is very fragile. And more important, if it gets lost there is nothing in there that I cannot replace quickly in any medium-sized city.

Being able to throw four light stands and umbrellas into a normal-sized bag and still have room for plenty of other stuff is one of the reasons I love 5-section compact stands and Westcott double-fold umbrellas. Pint-sized powerhouses.

Two in the Cabin

Never lost a bag yet, knock wood. But if I do, the goal is to still be able to do a shoot with the carry-on stuff. To that end, the most important stuff stays with me.

My one carry-on bag, pictured above, is a Think Tank Airport International Security. I cannot tell you how much I love this roller. It is built like a tank, has locks (and locking cable), holds all of my critical stuff and is designed to be a legal carry on just about anywhere in the world. They make a bigger one that meets U.S. domestic limits, but that one is too big for many international carriers.

Pictured above, it has my core and/or breakable gear. In addition to the pockets full of cards, papers, gels, fold-flat Lumiquest mods, speedstraps, etc., here is what I typically take in the main compartment:

1. Nikon D3 -- main body.

2. Nikon D300 -- backup body. Bought two weeks before the D700 was announced, of course. Grr.

3. Nikon 24-70 f/2.8 -- my most frequently used lens by a mile.

4. Nikon 70-200 f/2.8 -- great lens, but I use it way less now that I do not shoot for papers anymore.

5. Nikon 55 f/2.8 AI (MF) Macro lens

6. Holga (80mm portrait) and Diana (wide) plastic lenses in Nikon mounts -- light, cheap, quirky and occasionally invaluable.

7. Six Nikon SB-800s -- I know, I am a little bit addicted.

8. Orbis Ring Flash Adapter -- gets heavy use. Will sometimes take a Ray Flash, depending on circumstances.

9. Charger for D3 -- (D300 charger rides in checked bag.)

10. Two Nikon SC-17 cords -- one neutered, one not.

11. Honl grids (underneath other stuff) -- prefer the 1/8 to the 1/4.

12. Four Nikon diffuser domes for SB-800s.

13. Three PW Plus II's (and 4 more in the second case.) These will get me by just in case, as I can SU-4 the other SB-800's.

14. Extra AA's -- Kodak slow-drain Ni-MH's are my favorites.

and, special for this trip…

15. A couple RadioPopperJrX's, because I am doing the GPP Shootout against JoeyL and Zack Arias. And I just know Zack is planning on trying to pwn me with his Pocket Wizards after what we did to him last year.

Oh, and I got me a nice, long SYNC CORD, too, Mr. Zack. 'Cause I wasn't born yesterday.

Last, I have a small "personal" bag which gets the laptop, iPhone, spare hard drive, coupla magazines and a book. And, just in case: An extra T-shirt, skvvies and a toothbrush for the inevitable airport delays/cancellations. And for overnight flights, I have a big, poofy jacket that I wear onto the plane. It transforms into a pretty nice pillow once I am curled into that window seat.

I shop for tickets inclusive of baggage fees, so I compare apples to apples. (That's one reason I love Southwest airlines.) Delta, which charges out the wazoo for checked bags, for some reason has no fees if you are going to the Middle East. So this week, it's Delta for me.

(For lots more very good gear/packing/flying info, I recommend the blog Flying With Fish, by Steve Frischling.)

Seventeen-hour trip up next = guaranteed Hobbit feet by the time we get to DXB. But at least my gear will be none the worse for wear.
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NOTE: If you are posting Q's on the Flickr photo page about the Think Tank bag, please be aware tham I am in Dubai right now and cannot access Flickr as it is a banned site. The Firefox plugin that worked last year is not working this year, either. Solutions welcomed!

Tent Pole Light Stands More Details

Fri, 12 Mar 2010 00:00:00 +0100

Due to popular demand, Swedish photographer Peter Karlsson has created a more explanatory video on his tent pole light stand. They run about 1 lb. each, and pack very small and flat. They can be a good option for traveling interior/portrait shooters.

Got questions? Peter is answering them in the comments section of his blog post. Oh, and take a moment to look at his portfolio, too. It is all speedlight-driven.

Of his diminutive lights, Peter says, "clients sometimes look a little puzzled about their tinyness," but hey, it gets the job done.

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Cave Studio Gus Sentementes

Fri, 12 Mar 2010 00:00:00 +0100

Local tech blogger Gus Sentementes popped down to The Cave for a headshot recently. And that was a good excuse to play with some atypical (for me, anyway) light.

Keep reading for some thoughts on working with differently shaped faces -- and taking the final display size into account, too.
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Take a Walk on the Wide Side

Facial shape is something you really do need to take into account when designing your light. To that end, there are a standard list of pat solutions for just about any variety of face.

Problem is, I hate standard, pat solutions.

What they are really doing if you stop to think about it, is using light to push us all toward some idealized ratio. And who wants that?

As far as I am concerned, any time someone give you the "if they have this kind of face, light them in this way" speech, you can be pretty sure they are trying to cram you into some standardized portrait box.

Seriously, what's the point in that? If the goal is to make everyone look the same, just use the liquify filter in Photoshop and be done with it. Everyone will come out looking like the Dove Lady.

That said, there are some lighting styles that will give you problems with some face types. I just like to try to find more interesting (and varied) solutions when practical.

Here is Gus, with beauty dish + ring lighting. It is similar to the AscendOne shots I blogged about a little while back, but without the rims. This lighting makes his face look pretty wide. And the effect would be enhanced if I added the rim lights.

Another thing you may be noticing is the reddish tones on Gus's face. This is (as far as I can tell) a byproduct of the combo of my D3, which tends toward warm/red, and my AB's -- which do the same, but in an inconsistent way.

Shooting in RAW, I still have not been able to tweak things to a tone I am happy with. But I am not exactly thrilled about it and I am doing some testing with other platforms to see how to best swap out to correct it. More on that soon.

Anyway, back to the lighting position. In the pic above I have a AB in a beauty dish top/front, and a ring (a couple of stops down) for fill. There is an SB-800 on the background, and another SB-800 up top in a scissor-clip for a top light.

And this light really does not do anything for me, to be honest. It's a headshot, but it really does not bring anything special to the party. But it is a start.

Lately, I am trying to approach each headshot as more of a unique experience. And that means working with the light as a variable to add interest or visual focus. And in this case I wanted to draw some interest to the center of Gus's face with some restricted light.

Normally, I'd head straight to the grid spots for this kind of thing. But I already had the strip boxes out from another shoot. And besides, they had egg crate -type grids on them anyway.

So I killed the dish and the ring and brought the strips in very close -- aimed at each other. They were right in front of his face. The falloff from each gridded strip light kept it from creeping around to the side of Gus's face, which created a neat focus in the front.

The lights, of course, fall off kinda gradually, which accounts for the fact that there is some detail going back around his head. You can vary this falloff from how you aim the lights. Point them more toward the camera for a faster falloff, and aim them further back for more light on the sides.

To me, this light has way more interest than does the beauty/ring light above. It's certainly not a pat response to a wide face, either -- nor is it ever to likely be one. But playing around with different solutions is what makes tight portraiture so interesting to me. For something that is very standard in general shape and scale, there are still lots of creative possibilities.

Here's a pullback so you can see just how tight those gridded strips were. His face is really just a few inches from the edges of the boxes, and that is the key to getting the control on the front of his face.

The SB up top is gobo'd with a strip of gaffer's tape, and the (unseen) background light (another SB) has a dome to make that little separating glow.

You can modify how fast the gradient occurs in the background with the dome (180-degree light) and varying the distance to the wall. In this case, it was about a foot away.

Size Matters

As I said, my strong preference is for the shot with the more interesting light. But when we saw it avatar-sized (~50 pixels) it kinda made Gus look like, um, The Devil.

See what I mean?

Having worked with Gus for the better part of 10 years, I am pretty sure he is not, in fact, the Dark Lord Mephistopheles. (Although, to be fair, I don't socialize with him that much at night.)

But for very small (i.e., avatar) usage, we both agreed it was better to go with the other pic. Interesting, as I think the more dramatic light kills the standard-lit stuff at any other size.

Valuing Experimentation

This was a collaborative shoot -- no money involved either way -- so there was plenty of room for trying new things. And next time out, I will have that extra lighting technique in my bag of tricks and will be comfortable using it.

And that's what makes those kinds of shoots both interesting and valuable. I get to experiment and Gus gets new photos for his various social media channels. It works for both of us.

For his part, Gus is in at an interesting intersection for a newspaper guy right now. He is working in traditional media, but his blog's subject matter means that he has strong visibility into both print and new media/tech.

Gus is a fairly young guy, and no doubt realizes that newspapers will not be a dominant information channel going forward. Fortunately, the people who work in newspapers are very well suited to transitioning to new media formats as individuals.

The printing presses, trucks, newspaper racks and dead trees -- not so much.
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Check out Sentementes' blog BaltTech, here.

Lunar Layers

Fri, 12 Mar 2010 00:00:00 +0100

Finding art in nature is always a highlight to any moment I spend behind my camera. So often we get caught up in our day to day lives that the brief and special moments we observe are fleeting. A subject I cannot photograph enough is the moon. The moon like few other subjects consistently captures my imagination.

Lunar Layers

This weekend I had the pleasure of using a Canon 800mm f/5.6 lens and made full use of it in capturing February’s full moon. With limited visibility due to fast moving storm clouds, a horizon level photo was not in the cards, but as the moon peeked through the clouds at sunset I was able to capture this composition (that mildly resembles a big eye in the sky).

Tecnical Info:
Canon 1Ds Mark III, 800mm f/5.6, 2240mm (800mm + 2xTC + 1.4xTC), f/11, ISO 400, 1/160 sec

Photoshop 107 iPhone App Review

Fri, 12 Mar 2010 00:00:00 +0100

I consider myself lucky to have been include in a select group of folks randomly selected at the Adobe Photoshop 20th Anniversary celebration to receive a copy of Photoshop 1.0.7 for the iPhone. Thanks to Adobe’s Russell Brown for the creation of this retro application for the iPhone (or at least announcing the news of it… seeing as it was actually made by development firm named Corona). So what’s the fuss about this app?

First let me burst most people’s bubble…

This app is not a full version of Adobe Photoshop 1.0.7 and only provides basic levels adjustments. (No cropping, no image rotation, no resizing, no curves, etc.)
Touch screen controls on the iPhone are quite clumsy to use
It’s not being distributed beyond the select pool of people who were given the opportunity to receive it at the 20th anniversary celebration
The app is not being further supported
The app is tied to specific iPhones ID’s.

Now that I’ve laid the ground work as to why you shouldn’t be upset Photoshop 1.0.7 is not widely available let me tell you why it’s cool.

For those who used the first or early versions of Photoshop the user interface is a real flashback
The startup sound is another great flashback and reminds Apple/Adobe fan of Pavlov’s theory of conditioning.
Adjusting levels by color channel (red, green and blue), in addition to a master adjustment is nice be able to do.

Really? That’s it?

Yup that’s it. This app highlights one function of the original Photoshop app. Nothing more and nothing less. Other photo apps that are currently available do tons more. This app hardly will become a part of my standard iPhone photo editing workflow. But if you’re a tech geek… meaning you grew up using Photoshop & old macs and still hoard old equipement and software (please don’t tell my wife) then you’d love this app. How long I’ll be inclined to show my buddies this app at bar-b-q’s and various tech events I don’t know. The shelf life might be quite short, but the inner geek in me loves it.

Technorati Tags: Adobe, Photoshop, Photoshop 1.0.7, iPhone app, iPhone, app, technology, photography, geekery, review

Stormy Badlands � Badlands National Park South Dakota

Fri, 12 Mar 2010 00:00:00 +0100

The South Dakota Badlands have a menacing beauty. Colorful, rich in texture and expansive, the Badlands under the right conditions can provide a landscape photographer endless opportunities. Having visited the Badlands National Park in the spring I was happy to find intense green grass dotted throughout the landscape. Recent rains and overcast light enhanced the intensity of the green grass providing a nice offset to the rusty red color normally found in the sedimentary layers of the eroded buttes, pinnacles and spires. Spring in the Badlands is certainly not a bad place to be with your camera.

Stormy Badlands - Badlands National Park, South Dakota

Technical Info:
Canon 1Ds Mark III, 16-35mm f/2.8 II USM, f/22, 1/10 sec

Technorati Tags: photography, landscape, Badlands National Park, badlands, South Dakota, stock photo

Top Dog No Animals Were Harmed In This Photo

Fri, 12 Mar 2010 00:00:00 +0100

Looking back for an older photo in my library I rediscovered this gem of my two dogs. Zoe, the German Shepherd… an adolescent at the time, and Moe, the Jack Russell Terrier playing ball. Well from the look of this photo it looks as though Moe is about to be lunch for Zoe. Rest assured they were playing and this brief moment looks fierce, but they’re best buds and no one was hurt.

Top Dog - Zoe the German Shepherd chasing Moe the Jack Russell Terrier

I look at this photo and I can think of a ton of captions:

Pays To Keep an Eye On Your Competition
Keep An Eye Over Your Shoulder
Keep Your Friends Close and Your Enemies Closer
etc.

Any captions I’m missing?

Anyhow the moral of the story here is always look to rediscover photos in your library as you’re finding older work. You might surprise yourself as to what you find.

Technorati Tags: photography, pets, dog, canine, k9, German Shepherd, Jack Russell Terrier, stock photo

Remembering CR Johnson

Fri, 12 Mar 2010 00:00:00 +0100

Yesterday the professional free skier C.R. Johnson died in an accident on the slopes of Squaw Valley, California. My heart goes out to his family and friends. I first crossed paths with C.R. while shooting the 2005 Icer Air event in San Francisco. In 2005 Icer Air caught the attention of millions of people who were witness (in person or on TV) to the odd juxtaposition of extreme skiing and snowboarding against the backdrop of steep San Francisco hills, mansions and iconic landmarks such as Alcatraz. The scene was surreal, but the energy was intense. At this event C.R. Johnson won the skiing competition. His enthusiasm for the sport was palpable and his energy lit up those around him. I never knew C.R. other than this one time we crossed paths, but seeing how his influence in this sport grew and his incredibly positive energy impacted others it’s obvious now the sport has lost a great ambassador. More on C.R. Johnson can be read over at Chase Jarvis’ blog

C.R. Johnson being interviewed after winning the 2005 Icer Air skiing competition in San Francisco, California

Technorati Tags: C.R. Johnson, extreme sports, sports, skiing, Icer Air

The Long and Winding Path of Inspiration

Fri, 12 Mar 2010 00:00:00 +0100

Before I got too enveloped by some domestic distractions over the past week or two (moving my home office, caring for a sick dog and tending to my pregnant wife) I read a great post by Jay Goodrich titled “Where Does Your Inspiration Come From?” I’ve had this blog post open for a couple weeks and I’ve reread it and rewatched the video numerous times.

Clearly if I kept this blog post open on my computer for this long it struck a nerve. Laughably it struck quite an odd nerve in me too. As a child of the 70’s I wasn’t exposed to 600 cable channels and simple things like the advent of color photography and color movies captured my imagination. With no video games at hand I often watched TV with an interest in a variety of old movies & sitcoms. At the time there seemed to be an equal number of black & white shows on TV as there were color programs. Between this and looking at old photo albums the world seemed to magically turn color only a short time before I was born. The more contemporary programs I’d watch were mostly sports focused and fed a youthful addiction to memorizing baseball & football team rosters and stats.

What does this have to do with Jay’s post? My “child of the 70’s” brain instantly thought of two programs that inspired me early on and later have surfaced in my photography efforts. Any guesses to the programs?

ABC’s Wide World of Sports
Replace “sports” with “photography” and “athletic” with “photographic” in the opening sequence of this show, as seen in the video below, and you’ll step a little closer to my mindset and inspiration. Photography has always been a technical challenge, and for me a sport unto itself. Plus who can forget/love the classic quote “The thrill of victory and the agony of defeat”. If you want to know what goes through my head when I get a shot or miss a shot the imagery of that sequence is what plays in my head every time.

Mutual of Omaha’s Wild Kingdom
As if I haven’t dated myself enough, most of my earliest exploration to the world of wildlife was through National Geographic magazines and books. When I first caught a glimpse of Mutual of Omaha’s Wild Kingdom I was hooked. It was fascinating to see 1) diversity of animals 2) wild animals in context to man made objects (ex. a Rhino slamming into jeep/rangerover) and 3) the active efforts of conservation. My interest in exploring nature (studying ecosystems, understanding animal behavior, even learning about geography, etc.) can be traced back to programs such as this.

By today’s standards these shows would hardly grab the attention of most youth, but back in the day they were inspiring. Little did I know that they’d inspire so deeply or for so long.

So to pass on Jay’s question...

Where does your inspiration come from?

On a side note: I received a nod in a recent 50 Amazing Nature Photography Blogger posting. Worthy of checking out for other great sites.

Technorati Tags: photography, inspiration, sports, wildlife, 70’s, television, Wide World of Sports, Wild Kingdom

The Strobist Corner Attention Pocketwizard Flex TT5 Users

Fri, 12 Mar 2010 00:00:00 +0100

The fact that Pocketwizard have a new TTL enabled unit is old news. The Flex TT5 and Flex TT1 have been shipping for almost a year now.

In the beginning the Flex units were having some hard time dealing with radio interference coming from some of the Canon flashes. This interference comin from the Canon flashes had impact both on distance and reliability of the TTX units.

The good news: Pocketwizard made a 580 radio-frequency-blocking-beer-holder for the delinquent Canon flashes. They go by the code name AC5 (I can only guess that it stands for Allocation Control, or Algorithmic Collision. Go figure).

The even better news: Pocketwizard decided to provide them AC5s shields free of charge to US photographers who bought the Flex units.

The not so good news: If you are living outside of the US, this offer is not for you. Other thing is that the AC5s will be free only till the end of the month.

Good news again: photographer Daniel Aqua posted a DIY tutorial on the Flickr pool that shows how to build a Canon shield at home.

Creative Gel Cheat Sheet Giveaway

Fri, 12 Mar 2010 00:00:00 +0100

After reviewing the Rosco Strobist gel collection, I just had to take it for an intense spin.

Since one of the main uses I see for this kit is the ability to color objects and backgrounds for creative effects, I did a little matrix of colors. (I am a computer geek, I know).

As with all the other cheat sheets on the site, I will go through the idea, the setup and end with a creative commons statement. Unlike the other cheat sheets, we are also going to have a Rosco Strobist gel collection giveaway. That stuff is near the end of the post.

What Do You Get When You Cross?

Fri, 12 Mar 2010 00:00:00 +0100

The following idea kinda reminds me of what do you get when you cross kinda jokes. You know, like: What do you get if you cross an octopus with a cow? An animal that can milk itself. Or what do you get if you cross a sheep with a kangaroo? A woolly jumper.

Ok, so what do you get when you cross a GPS flash mount with a Mount it anywhere camera tripod? (Answer after the jump).

Light Tent And Paper Binders Refolded

Fri, 12 Mar 2010 00:00:00 +0100

Today @AM time I discussed a light tent made from virtually nothing but coroplast and binders. (Not the previous supermarket-box-light-tent took more products to make).

Then I saw a variation on that theme by Nathan Moroney that used nothing but paper binders to create a very similar light same tent.

Now, if you think that coroplast tent was frugal, this one is on the fringe of being made from pure nothing. (Link and musing after the jump).

Create a FlatFold Light Tent Using Coroplast

Fri, 12 Mar 2010 00:00:00 +0100

Light tents (also called light boxes) are a great way to shoot a product. They eliminate harsh reflections and create appealing highlights. This specific light tent from Robert Miler has a nice twist since it can fold flat for storage.

It is all Robert from after the jump

Two Flashes Are Better Than One Simple DIY MultiFlash Bracket Tutorial

Fri, 12 Mar 2010 00:00:00 +0100

I guess this should go without saying, but I am going to say it anyhow: two flashes are better than one. Now you must be wondering why?

For starters, two flashes will get you a higher score on the GAS scale. (G.A.S. stands for Gear Acquisition Syndrome). This alone is a good reason to get two. But there are lighting oriented reasons as well. For some tech talk and a multi flash bracket tutorial, hit the jump.

Valentines Special Couples Album

Fri, 12 Mar 2010 00:00:00 +0100

With Valentines just around the corner and all, I thought I'd share one of the wedding gifts wifey and I got about seven years ago when we got married. Amongst all the gifts, this gift is the one single gift that helped us hold our marriage through some very rough times. Really, I cannot over estimate it one bit.

That said, it is full of commitment so only give it if you're OK with smelling your current significant other's morning breath for the rest of your life. If you are that serious, hit the jump for more details.

Hooking My Little One On Photography Vtech Kidizoom Review

Fri, 12 Mar 2010 00:00:00 +0100

There is only one way that will allow you to take a ton of photography gear on a family trip and get away with it. Hook your family on photography.

My wife is a lost cause, so I decided to try and lure my 5 years old daughter into the photography dark side. I got her a camera. Specifically, the Vtech Kidizoom Plus Pink Digital Camera. Below you can find my reasons for getting this camera as well as my thoughts and review. I would also love to hear your thoughts about getting a camera for your little one, share them in the comments.

Low On Budget? Consider A Desk Lamp Softbox

Fri, 12 Mar 2010 00:00:00 +0100

If you read this blog long enough, you know I am a big fan of small strobes. They are portable, relatively cheap, can squeeze some intense light and great for on the go. Key words for this post are relatively cheap.

While you can buy used SBs on eBay for a bit over $100 or a LumoPro for a similar price, you are still in for more than a $100 for lights.

Just saw photog Andy Game setup which has a great answer to the money issue.

Light Tents

Fri, 12 Mar 2010 00:00:00 +0100

Photographer Peter Karlsson has it all worked out when it comes to travel light. Peter is a Strobist at heart and as such he is using small flashes quite a bit. The coolness comes in when you see how he places his flashes in space.

Instead of your orthodox light stand solution Peter uses a home brewed light stand made of tent poles. Those are great for travel for several reasons: There are super light-weight, they fold small and they will definitely make your subject go WOW! Luckily for photographers wold wide there are two vids available that shows how those light stands were made.

Protect Your Camera From Rain Using An Old Pair Of Rain Trousers

Fri, 12 Mar 2010 00:00:00 +0100

When it comes to protecting your camera from the elements we already know that a condom will go a great way. However, sometimes a more subtle approach is needed. Especially if all you are seeking is to protect your camera from a bit of rain.

The following guest post about creating a camera rain cover from trousers is made by Matti Hassinen.

The Best Invention Since The Invention Of The Power Cord

Fri, 12 Mar 2010 00:00:00 +0100

The following guest post about the best invention since the invention of the power cord (and saving space while traveling) is made by Simon Williams of Simon James Williams Photography.

You’ve been looking for something that will change your photography forever, something you’ve never quite been able to put your finger on, the “Zen” some people say that you have been looking for.

You have the best camera that your wife (or husband) will allow – in fact you’ve got more mega-pixels at your disposal that the Hubble space telescope. You are in more debt than the Lehman Brothers website designer because of it.

STOP Censoring Your Vision

Fri, 12 Mar 2010 00:00:00 +0100

(A rant about self censoring your work)

Have you ever stopped yourself from taking a photograph? And then thought later that “I should have taken that shot…” The excuses and reasons abound for not taking a photograph that presents itself to you. Not the right time Not the right lens. Not exactly what I had in mind. Not as good as that shot I saw by that photographer I like so much. Not a photograph in my style. Can’t use it in my portfolio.

I have heard them all. And I have said all of them to myself earlier in my career. And they seem on the surface to be somewhat valid, if not a little lame. But I also think that there is a certain amount of fear associated with the reasons and excuses stated above. A fear that we bring to our work through years and years of self-censorship. A fear of failing, or not measuring up. A fear that somehow taking a photo that will not go in your portfolio is wasted, or silly… there are so many fears disguised as reasons. Reasons are fine, irrational fears are not.

Let’s examine that a little.

Fear of making a bad shot:
First of all, I don’t believe in failing as a bad thing. On the contrary, a failed shot teaches us so much more about what we need to work on. It shines a light on the areas we are lacking in. It is a triumph over the un-taken image because it simply exists, while the image not taken is lost. Forever. It is unable to teach us anything.

I see it in the workshops, occasionally. A photographer won’t take a shot because he/she cannot see beyond what they miscalculated. They see the shot on the screen and begin to analyze it within the constraints of failure instead of the joy of learning. Looking at the image as it starts to come together is a truly marvelous tool, but judging the image as to its worthiness from a single snap is unwise.

That failed shot shows you where to go next… tighter, move back, zoom a bit, change the angle, make her smile, move her hips, bring in the fill card a little more… it isn’t a failure. It is actually a roadmap to success, if it is studied and dissected.

And that goes as well for entire shoots. If things didn’t go well, analyze and correct. Fix it next time. Dwelling on that failure only makes it bigger than it ultimately is. It isn’t the end of anything, it is the journey of photography and the discovery of our own talent that is beginning. Acknowledge it, learn from it… move on.

Becoming good at photography is not an easy process, no matter what you read on the blogs or the forums. It takes time and consistent effort. It takes perseverance.

The fear of not getting something totally right, not ‘measuring up’ to something or someone you are emulating should never be a reason to not taking the shot. You want it to be your shot anyway. Make your shot… work it until you cannot conceive of another way of shooting it. Then shoot it a little more just to be sure.

I have seen photographers shoot something, a few clicks, and walk away without pushing anything of themselves into the shot… don’t be afraid to challenge yourself or your subject or the location or the gear. Make it do what you want to try. You could fail (see above) or something truly unique and exciting can be achieved.

Too often it is an unreasonable fear that someone somewhere will make a disparaging comment on the image. The fear that the image will be torn apart by Flickrites, or someone on another forum somewhere. And, heck, it may be.

But so what? You took it, you like it, it means something to you, it may lead to more images that are better. Making a photograph is action, criticisms are not. Let it go… make the images for you, not other people who may or may not be even worthy to criticize your image. And keep in mind that not everyone everywhere likes your kids… ya know. As long as you do, all is well in the world.

When is it the right time to make the photograph?

When it is the time you have. With the lens you have, and the gear you have, and the place you have to do it. Right now, with the camera you have with you. iPhone, P&S, D700… whatever you have, when you have the shot in front of you.

Too many times I hear that the photographer ‘woulda’ done the shot, but they were waiting for a sunny day or a cloudy day or the weekend or when they would have more time or after American Idol is over (JK…) or a litany of ‘reasons’.

Bull.

You didn’t take the shot because you were afraid it wouldn’t be that magical time when you would only have to control those things that weren’t already perfect. You wanted a blue sky, on a weekend, when the only model you want to shoot is available, and you would have all day to work on it and the location was a beach in Maui… that about right? All you would have to do is set up your beauty light. Ahhh…

Well, I hate to burst your bubble, baby, but that ain’t never gonna happen. And you know it. You really do, but instead choose to blame all those things on the reason you don’t photograph. If those things are keeping you from making images, you may be more of a hobbyist than you thought. And that’s OK, it really is.

It wouldn’t be right for my portfolio.

I hear this all the time. From photographers I meet and work with to students at the workshop to that little voice that used to chat in my mind when the cameras were out. And this particular one is a doozy of an excuse… “I can’t use it in my portfolio.”

And really, does that matter? Are you a photographer or a “portfolio constructionist?” Do you love and revel in making images, or are you simply trying to get some pictures together so you can go out and show them a couple of times then get rich shooting only the stuff that will – you know – go in your portfolio?

Oh, I got some bad news for you. That just isn’t the way it works. This is not a business you go into to become rich. You want rich… banking or congress. Photography is a lifestyle choice that is made because you simply want to do it more than anything else. (If you are not driven to photography, the business will drive you out of it quickly.)

Shooting for your book is always important… but not shooting something that potentially will not go in your book is not the way to go. Making photographs of the family dog, or that cool sunset, or the way the ketchup bottle makes a shadow on the lunch counter… all that stuff is your vision at play. It is simply what it is… a photograph of a ketchup bottle shadow on a formica counter.

Someday you may be working on a still life shot, or a portrait… anything, and struggling with some aspect of it. The shadow shot will pop forward in your minds eye and it may be just the catalyst you need to work through the shot at hand.

To me, being a photographer means freedom. No 9-5 for me (more like 5 – to a little north of midnight sometimes). No cubicle, no parking space. Take Wednesdays off to hit a movie or travel… whatever. It also means the freedom to simply make an image of a shadow, or a wall, or the way the light bounces off a girl’s hair. It is all good. Those shots may never be in my portfolio… but I have them, and they are mine. My vision of something that happened for a split second one day in my life. Captured.

Without taking that shot, they would be lost. I prefer to keep than lose.

I used to hear that voice – “nope, not a portfolio shot” – but I vanquished him when I realized that it was far more fun to make a photograph than to not make a photograph.

NOTE: Family and friends may get on your case about always having your camera out and making photographs. Let them. They don’t understand why you want, need, must take photographs. And that is OK, really it is.

They aren’t photographers… you are.

Thanks for visiting Lighting Essentials. We try to publish stuff that emerging and serious photographers are interested in. You can follow me on Twitter, and see more about our workshops here.

Nick Onken?s New Travel Photography Book ?Photo Trekking?

Fri, 12 Mar 2010 00:00:00 +0100

I discovered Nick’s work a couple of years ago. Surfin’ from link to link, I stumbled upon his opening page and the image there of a woman with some amazing flare engulfing her. I immediately liked that shot, so I took some time to look around his site. simply wonderful imagery. Easy to get view, with a sensibility that was so accessible that I bookmarked it immediately.

Every one of my workshop students know his name as it is one of the dozen or so that I through out as being totally involved with making great pictures with light. Nope… not tons of strobes, as Nick seems to use a lot of natural light, and bounced ambient with great success, but light that wraps and flares and seems so integral to the communication ability of the image.

Yeah… I’m a fan. Heh.

So when I heard that he was coming out with a book of travel photographs, I emailed a congratulatory note to him. I mentioned that I would love to review the book when it came out and he emailed back that an advanced copy was on its way. Even cooler!

I gotta tell you that if you are interested in travel photography, or photography of people in environments, you must get this book. It is available now on Pre-Order at Amazon, and at a price that is simply irresistible. Man, those Amazon folks make the pre-orders really attractive with a huge discount.

Before I continue with the review, I would like to thank everyone for the great response to the workshops. Santa Cruz is nearly filled, and West Palm Beach is filling nicely. I do have some openings in New Orleans and Omaha, so if you know anyone who is interested in a workshop this year – one that actually teaches a ton of stuff you will use – send them on over to Learn To Light for more information.

A few important links That you may have missed:
A Sense of Urgency: Are You Demanding More of Yourself and Branding Your Photography Business, A Realistic View right here at LE.
Heather Morton has two great pieces in a row on Branding and the issues of working in another city. In Canada they call it the “Tall Poppy Syndrome” – refer to it as the “Out of Town Expert… on steroids”. My buddy Kirk Tuck has a post on building the perfect camera for himself… ah that it were that easy, and Seth always has something great to say. This point of “Looking Successful” is something to think about.

On the personal front, we are all moved in to the new studio, the office is setup and everything has been taken from the boxes and carefully arranged (LOL) in my work space. I am antsy to get in there and start shooting some food and still life soon. Probably after this weekend in Houston. I will do a walk around with a video soon so you can get an idea of how the studio lays out and what the work flow there looks like.

Please don’t hesitate to offer an article idea or to ask questions regarding any aspect of Lighting Essentials focus. We are ready and able to answer most questions you have as an emerging photographer.

Well, take the jump on to Nick Onken’s new book, Photo Trekking.

Photo Trekking is a different sort of travel photography book. From the outset you notice the landscape layout and the large, oversize images. Mmmm… big pictures! I like that! The printing is very nice, and for a photobook, that is really important.

But it is the content that is mixed with the images that set this book apart from a lot of other travel photography books that I have seen. Content that is real, easy to follow, and conversational… as if Nick were standing there telling you about traveling all over the world shooting known and exotic locations.

The table of contents shows how in depth the book really is: From Preparation to Tips to what to do After the Shoot, the information is delivered in easy to understand bites that don’t necessarily have to be done in order. Each chapter stands on its own. And that means you can read it any way you want. If you want to start with the Tips for Taking Great Travel Photographs chapter, go right ahead… it is self contained and full of great tips, tricks and professional working methods that are sure to increase the quality of your travel photography.

Nick starts by giving a real world evaluation of travel photography today. He cautions the unprepared and slowly guides the beginner through a potentially challenging maze of potential roadblocks. Traveling around the world, with bags and bags of camera gear is part art, part alchemy and a whole hell of a lot of planning. At every turn Nick takes the lead and tells the novice how to prepare and be ready.

This information is well stated and laid out through out the book as it relates to the different chapters, and I found that refreshing. Sometimes we need to be told a few times how something works, and keeping the challenges mixed with the fun of the imagery reinforces the serious side of such a fun lifestyle.

Nick Onken loves to make photographs.

And that truth is on every page, from setup shots and tests for his book, to once in a lifetime moments that are captured with his unique style, the imagery simply rocks. The larger size landscape images make such a great presentation.

Preparation is a fantastic chapter. Nearly all you need to know about preparing yourself, your gear and your mind’s eye to get the most out of a photo shoot on the road. Much of this advice is practical for the shooter who simply stays near home, but it is even more important for the ‘Trekker’ who may find it a bit difficult to get a sync cord in the middle of a Tibetan village in a snow storm. Funny how a $6 piece of gear can take the whole shoot with it when it goes.

Onken stresses the vision of the photographer. How to nurture it, press it, push it and develop it into a style that is unique to your shoot plans. Planning Your Images in Advance (heh, LE Workshop students… you have heard a bit of that before) and delivering them when the moment presents itself is one of the most important take-aways for the photographer who bought the book with hope of increasing the quality of their work.

The Tips Section is the one that will become dog-eared first in most folk’s books. From time honored suggestions of rules of thirds, through color and juxtaposition to the use of lens flare, there are some eye opening ideas and images that reflect the concepts.

Whether you are a newbie to digital photography or a long time pro, there will be something for you in this chapter. Nick presents it tightly, with examples and challenges for you to consider. One of the things a lot of photographers will like is the little personal commentary throughout the book giving the reader a glimpse into what he was thinking and doing at the time the image was taken. This insight is remarkable.

As a photographer as well as a designer, I must give kudos to the design team on this book. Beautifully arranged, with just the amount of white space and ‘air’. All of that leads to a more enjoyable read, for sure.

In the final chapter, Nick goes into detail on marketing travel photography, the creation of web sites, email campaigns and portfolio design. He uses his own portfolio and bound books to show how photographers can begin to market their travel work to ad agencies, NGO’s and magazines. Well presented and concise, the information is rock solid and easy to manage.

All in all I found the book to be an excellent addition to my collection. If it has a drawback it is that it makes you want to run off to the wilds of Argentina or Africa or… well, you get the picture. While some of us may have to settle for that cool road that goes from Sacramento to Mariposa (49), or a trip up the Eastern seaboard on the smallest two lane we can find, others will be inspired to pack it all in, grab their gear and go. Just go.

I recommend this book to any and all photographers who are interested in photographing people, developing a style, working on location or simply wanting to get a creative kick in the ass. Nick Onken’s “Photo Trekking” will deliver.

I would be remiss if I didn’t direct you to Nick’s new website – www.nickonken.com and his not to be missed blog at www.nickonken.com/shoptalk. Two sites that will inspire you as well as entertain.

Thanks for dropping by. You can follow me on Twitter – Nick too – and I hope you tell your friends about Lighting Essentials.

PhotoNetCast 40 � Photographing copyrighted works

Fri, 12 Mar 2010 00:00:00 +0100

Including copyrighted works on your photography

We’ve all been there – photographing a nice street scene only to find out later that the art installment on the background is indeed copyrighted by the artist.

While for editorial use this might not be much of a problem, for any other use that photo is pretty much out of bounds. Still, once in a while some horror stories of photographers getting sued for copyright infringement come up.

So, how to deal with this issue? What is fair use and what isn’t? While the definitive answer is too much of a gray area even for the courts, from our discussion you might be able to get a few pointers on what is allowed and what you should avoid.

Many thanks to David Sanger (@davidsanger, David on facebook) and William Burrard-Lucas (@willbl, Will on facebook) for their insights on this discussion.

As you’ll probably notice, the conversation was going and going and I didn’t want to interrupt just for time reasons. In any case, I know that not many people have over one and a half hours for just one episode of PhotoNetCast, so we’ve decided to break the conversation in two. The remaining part (including answering some listener questions and our Selected from the Web) will be released in a few days.

As always, your comments are very much appreciated. Drop them below or use our re-opened Listener Voicemail.

Show Notes

Intro

Feeling Negative?

Copyrighted Works in Photography

504 in snow

Fri, 12 Mar 2010 00:00:00 +0100

Streetcar on King Street East.

evening lines

Fri, 12 Mar 2010 00:00:00 +0100

Winter on Carlton street.

bike and walking man

Fri, 12 Mar 2010 00:00:00 +0100

Seen on Gould street, before SAM The Record Man was torn down.

oh canada!

Fri, 12 Mar 2010 00:00:00 +0100

Big celebration at Yonge-Dundas Square over Canada's Gold win in Ice Hockey in 2010 Vancouver Winter Olympics.

a bike for all seasons

Fri, 12 Mar 2010 00:00:00 +0100

Scott's bike in snow. He rides his bike no matter what the weather is like. I've posted it before in a rainy day but here it is again.

hot dog in snow

Fri, 12 Mar 2010 00:00:00 +0100

Snowy day on Yonge and Dundas.

textures

Fri, 12 Mar 2010 00:00:00 +0100

Building seen on Parliament street.

The Blue Marble

Fri, 12 Mar 2010 00:00:00 +0100

You probably have seen the famous photo of Earth taken by the crew of Apollo 17 in 1972, which shows most of Antarctica, Africa and the Saudi Arabian peninsula. Well, we can add more amazing photographs to the ‘Blue Marble’ series. NASA’s Goddard Space Flight Center has released these beautiful images to the public, showing gorgeous detail of our planet.

This spectacular “blue marble” image is the most detailed true-color image of the entire Earth to date. Using a collection of satellite-based observations, scientists and visualizers stitched together months of observations of the land surface, oceans, sea ice, and clouds into a seamless, true-color mosaic of every square kilometer (.386 square mile) of our planet. These images are freely available to educators, scientists, museums, and the public. This record includes preview images and links to full resolution versions up to 21,600 pixels across.

Photos by Goddard Photo and Video Blog.

Lisbon Then and Now

Fri, 12 Mar 2010 00:00:00 +0100

Photos from Biblioteca de Arte-Fundação Calouste Gulbenkian, jaime.silva, Rupes72, detengase and Jordi Meneses S..

Earthquake in Chile

Fri, 12 Mar 2010 00:00:00 +0100

A massive magnitude 8.8 earthquake has devastated central Chile with tragic loss of life and property, and has set off tsunami warnings around the Pacific Ocean. Our thoughts go out to all affected and condolences to those who have lost loved ones in this tragedy.

Photos by condeorloff, action datsun, Destino Para Lelos!, JanOSpixeles, and todosnuestrosmuertos.

Luzinteruptus

Fri, 12 Mar 2010 00:00:00 +0100

Above are a few images from sanabria. To see more of his installations, check out his set luzinterruptus.

Tales of the Alhambra

Fri, 12 Mar 2010 00:00:00 +0100

As Abu ‘abd-Allah Muhammad XII, known as Boabdil, surrendered Granada, Spain, to Ferdinand and Isabella, in the same year that they sent Christopher Columbus on his explorations of the New World, Boabdil descended from the Alhambra, overlooked the city and was reproached by his mother,

Weep like a woman for what you could not defend as a man – The Moor’s Last Sigh

Photos from the Swedish National Heritage Board, javi_indy, Kalense Kid, Darrell Godliman, karlo, mau_tweety and Balthus Van Tassel.

Bokeh Mask

Fri, 12 Mar 2010 00:00:00 +0100

goodbyebyesunday gives a tutorial on how to make these and it's pretty easy! "First: Cut a circle that fits to your lens…“

Photos from Astig!! and goodbyebyesunday.

Cement Eclipses

Fri, 12 Mar 2010 00:00:00 +0100

Photos by Issac Cordal from the set Cement Eclipses; which came to our attention via a gallery curated by carisworld. (Thanks for the pointer, straup!)

Alps

Fri, 12 Mar 2010 00:00:00 +0100

Photos from Vincentfavre, SBA73 & Jim Barter.

The Commons welcomes the University of Washington Libraries!

Fri, 12 Mar 2010 00:00:00 +0100

Welcome the University of Washington Libraries Digital Collection to The Commons!

They join The Commons with a special treat in honor of the Olympics: Winter Sports! They’ve got all the great sports from curling to hockey to dog sled teams (huskies, anyone?) to toboggans galore. These historic photos from the Pacific Northwest showcase the athletic prowess of former champions; some are quite whimsical, too.

Take a break from Olympic coverage by checking out their fabulous winter images; these images have No Known Copyright Restrictions and are waiting for you to comment, annotate, and tag.

Photos from the University of Washington Libraries Digital Collection.

Mavericks the Spectators

Fri, 12 Mar 2010 00:00:00 +0100

The waves at the Mavericks Surf Contest a week ago were both enormous and dangerous. Some reached up to 50 feet catching spectators unaware.

Photos from miz_nicole, elsparquito, jseimas95008, michael’sphotography, and shaire productions.

First Photo from New Zealand � The Glowing Icy Cave at the Glacier

Fri, 12 Mar 2010 00:00:00 +0100

New Version of Topaz Adjust out today!

Topaz Adjust 4 is out today on the Topaz Website. You may have already seen my Topaz Adjust Review in the recent past, and you’ll be happy to know the new one is a free upgrade if you have the previous one! I got a sneak peak at the new one, and I posted an image below from the slick new interface. If you haven’t already got it, then I recommend it totally. I use it quite a bit to sharpen things up and give images some pop.

Screenie from the new Topaz Adjust 4 – Nice looking interface, eh?

Daily Photo – The Icy Cave at the Franz Josef Glacier

I’ve had an amazing time so far in New Zealand. I’m here for about a month with my family. On a recent evening, my 8-year-old son and I went on a decent hike to the base of the Franz Josef Glacier on towards the west coast of the southern island. Once we got close to it, we could see the icy blue cave where a glacial-white river emerged. Awesome! My son looked at me and said, “Wow. I feel like we just discovered Atlantis!”

In truth, we stayed way too late. This was a good 1.5 km from the car, and it was pretty dark. By the time we got back, it was totally dark except for the moonlight that helped guide us home. I had a flashlight hanging off my camera “just in case”, but, as case would have it, the flashlight fell off into the glacial river!

Shopping in Tokyo at Night

Fri, 12 Mar 2010 00:00:00 +0100

Newsletter Soon!

I have a new Newsletter coming out any time now. Be sure to sign up. It’s free and pretty, and it will make your inbox much prettier. The newsletter growth has been amazing, and it’s thanks to you guys. You have been forwarding along like crazy and these long email chains bring even more subscribers!

In the last newsletter, I asked if anyone in my network knew Hans Zimmer, and a few days later, I was able to shoot in his studio! Well, this is a rare thing that I ask YOU for help… most of the time, I give out a bunch of information and pretty pictures to make your week go easier…

Daily Photo – Shopping in Tokyo at Night

My first night in Tokyo, I was so revved up that I went out to do a lot of night shooting! The streets were wet, and that is perfect for colorful cities at night. I found this unique gem not far from Rappongi.

The only bad thing is the occasional drizzle. I love my 14-24 lens — but it seems to get wet so easily with that gnarly bulbous lens. I just wipe it down with my shirt…. that doesn’t seem like the best thing to do, but it works well enough!

The River Through Petaluma

Fri, 12 Mar 2010 00:00:00 +0100

Looking for good Podcasts?

If you are like me, you don’t have a lot of spare time in the week, so you try to hyper-compress and optimize your media consumption. To that end, I now listen to a few podcasts on a regular basis. You can subscribe to them all via iTunes for free, or go right to the webpages below. I have many that I sample from time to time, but the following are some great “regulars”.

This Week in Technology – A great combination of tech news and analysis. Always fun and interesting.
This Week in Photography – with host Frederick Van – he’s often joined by very knowledgable people like Alex Lindsey, Ron Brinkmann, Joseph Linaschke, Steve Simon, and more!
Macbreak Weekly – I do love my Mac – and this is a great podcast that is all-things Mac.

Leo in the TWIT Cottage

When I was there, I grabbed a quick photo that I put in this previous post about visiting Petaluma.

Daily Photo – The River Through Petaluma

A few days after the talk at Google (I think the Authors@Google *LINK to video are adding subtitles now, for those of you that have trouble hearing), I went up to Napa to visit my mom and my grandmother. Besides getting a bunch of homemade fudge (which I brought to the Stanford photowalk), I also stopped on the way back south in Petaluma at Leo Laporte’s “cottage”.

I’ve always been a big fan of Leo’s! Beside just seeing out of one eye (a strange bond I feel with him), I’ve really gotten a kick out of the way he approaches and discusses technology. In fact, I listen to his podcasts so much that my wife often says, “If I have to hear that Leo ONE MORE TIME, before jamming the radio to get off AUX to FM.”

Leo was in the middle of a podcast when I walked in to watch his operation in person. We didn’t really get a chance to talk, but he was gracious and said hello quickly while in the middle of the broadcast. I think he’s very clever with his media powerhouse there. I was fascinated seeing the operation — everything from the logistics to the electronics – smart.

His whole team was out in the front part of the college, and, while there, I also met Dr. Kiki (Dr. Kirsten Sanford is probably what it says on her degree). She was as nice as I expected as well – her show is called “Dr. Kiki’s Science Hour” — another nice podcast for your lineup!

After leaving, I stopped in downtown Petaluma to grab some lunch and some internet. Whilst there, I went over one of the bridges to grab this shot. I don’t know if the water is always this brown and muddy, but it certainly was this day!

The Gentle Bridge

Fri, 12 Mar 2010 00:00:00 +0100

Kiva and Team Stuck In Customs – Over $3,000 raised so far!

I’m glad you guys are having fun on the Charity page here on the site. We’ve already done more than $3,000 for Kiva, and that is great! I’m still enjoying my own personal experience on there… seeing emails come in from time to time talking about repayment of the loans… How has your experience been so far?

March 1 – First Photo From New Zealand

This is my goal! Be ready for that day… I’m not totally sure I can make it happen… but this is my goal!

Daily Photo – The Gentle Bridge

If I could only clone myself, just for dusk! After that, all the clones could die off, like in The Prestige. They could die off in a less-violent way, however…

Usually, when I scout a location (let’s say case the joint), I wind up finding a number of spots to take pictures at dusk. Then, that high-pressure 10 minute-period hits and I run around trying to squeeze them all in… and it’s never easy with five exposures each!

This little bridge is at Horseshoe Bay in Texas. Everyone likes bridges, eh? Like cute kittens and Yourube videos when dads get hurt in the crotch, they are universal favorites.

The Tunnel to the Singularity

Fri, 12 Mar 2010 00:00:00 +0100

How Long Until the Singularity?

About halfway through my HDR talk at Google (Youtube link), I asked this to the crowd there. I figured they would know! I was thinking about all that a bit recently while working on this photo for the day….

Don’t forget to come discover new artists!

We started this Smugmug Portfolio Contest just recently. Be sure to come over and see some of the new entrants… som beautiful work out htere!

Daily Photo – The Tunnel to the Singularity

While getting lost on purpose in the streets of Tokyo, I decided to head up into one of the buildings to wander about. It led to one hallway, which led to another, another, and then to this amazing place. I’m not sure I could ever find it again, so I was sure to take way a photo as a keepsake. Sometimes special things like that happen, and I am sure to appreciate it at the time. One part of me thinks, “Oh, no worries, you’ll be back here again some day.” The other half worries, “Okay, maybe not, you better fully appreciate it!” And I did!

The Giants in the Muir Woods

Fri, 12 Mar 2010 00:00:00 +0100

The Auckland Photowalk

I knew a Type A personality would come along and create a Flickr Group for the Auckland Photowalk. Thanks for that – there is the link for everyone else that has yet to discover it. I am so lame and slow – it takes me a long time to process photos, but I will ! Thanks again everyone for the walk, the talk, and the pizza! I’d also like to thank Vivian Ho and Virginia Mui for helping me out with the whole event!

Christchurch Event Soon!

On the heels of the north island, the photowalk is moving to the south island and Christchurch on March 4. This talk will be a high-class event, complete with Wine and Cheese… but of course!

Daily Photo – The Giants in the Muir Woods

When I was in California recently, I left Leo Laporte’s cottage to take some photos of the Muir Woods. If you have never been here, it’s a must!

Did you know this is where they filmed that speeder scene from Return of the Jedi? Very cool. I did nto see any Ewoks in the forest, nor did they try to trip me by making me roll my robo-angle on strategically-placed logs. Those Ewoks… so small, crafty, and flammable.

The Hellenistic Ruins

Fri, 12 Mar 2010 00:00:00 +0100

Great Time on the Hobbiton Movie Set!

Did you know they are already getting geared up to make The Hobbit? And it will be a two-movie event? Cool!

It turns out that Ian Brodie, who is a fan of the site and a big HDR enthusiast, works there on the Hobbiton Tours and offered to give my family and me a private tour of everything! It was really cool to walk around the Shire and see all the various bits and pieces from the movies. They are starting to move stuff around and get ready to shoot the next Hobbit movie there sometime in the near future.

I took a lot of photos and even made a little video of how I took one of the shots. After I get back and get everything edited, I’ll get it uploaded so you can check my settings and all that good stuff!

New Print Avail – The Red and White Lighthouse

This new lighthouse print is a perfect little place was spotted in Iceland. The skies are have such a nice tone there, and they are even better with the high icy clouds. It’s such a treat to shoot there and to find wonderful things like this lighthouse that complement it so well.

Daily Photo – The Hellenistic Ruins

For our weekly photo mystery, which is, mysteriously, neither weekly or all that mysterious, is up again! Who can tell me where these strange ruins are from? Or, maybe, at least, some creative guesses?

Fog in the Fishing Village

Fri, 12 Mar 2010 00:00:00 +0100

Black and White HDR Photography

In case you missed this article a few months back, I did a post on Black and White HDR Photography over at Photofocus. It’s a long-form article with a bunch more information, in case you are interested in this sort of thing!

Daily Photo – Fog in the Fishing Village

You all know that I hate waking up early in the morning. This is very true. A lot of my somewhat older friends say that as you get older, waking up early comes naturally. I look forward to this day. For now, it’s all hard work… but I know that is when the light is interesting and the weather patterns can be unexpected.

This is very early morning with a dense fog over this little harbor. I loved the details on these bits, so I did my best to capture them in the morning wetness. In the distance, you can see the anchored boats. This is also from the little bay of Portofino — the same location as the photo I posted a few days ago.

it?s fucking march already?!?

Fri, 12 Mar 2010 00:00:00 +0100

10.

11.

12.

13.

Interesting photos 21 Feb 2010 Flickr

Fri, 12 Mar 2010 00:00:00 +0100

Interesting photos 20 Feb 2010 Flickr

Fri, 12 Mar 2010 00:00:00 +0100

Mavericks Surf Bigger Than Life � Impact of Scale

Fri, 12 Mar 2010 00:00:00 +0100

Fitting a huge eye catching scene into a 35mm frame can often be a daunting task. I routinely see photographers attempting to do this and missing the mark. Experiencing a grand scene and capturing it effectively for others to experience often eludes photographers. One trick of the trade is to leverage a component of your scene for scale. In many instances the object included for scale is the element of focus and other times it can be a secondary object lending itself to provide viewers an anchor to make sense of the scene.

As an example photographers photographing Mavericks will either shoot a close up of the surfer losing all perspective to the scene or they’ll include a view of the massive wave with the surfer. The later can produce some jaw dropping images highlighting the size of the waves in relation to the surfers.

2nd place finisher Shane Desmond surfs a giant wave in the second heat of the 2010 Mavericks Surf Contest held in Half Moon Bay, California on February 13, 2010

Another popular technique to exploit an exaggerated sense of scale is to utilize a tilt-shift lens or employ a faux tilt-shift effect. Capturing an image with a very shallow depth of field or mimicking a very shallow depth of field can make normal photo subjects look like toys. To exaggerate the sense of scale, in the previous image, I used Photoshop to apply a Gaussian Blur to a duplicate layer of my image. I then applied a layer mask to show all but a thin ribbon of the blurred photo… revealing the in focus layer behind. The result is the following version of the photo.

Toy effect added in post-production of 2nd place finisher Shane Desmond surfs a giant wave in the second heat of the 2010 Mavericks Surf Contest held in Half Moon Bay, California on February 13, 2010

If you’re looking for a quick and dirty way to apply a faux tilt-shift effect check out this online tool to upload a photo or use a photo from the web to create your own – TiltShift Maker

So which do you prefer, the original or the faux tilt-shift version of the Mavericks surf photo?

Technorati Tags: photography, sports, mavericks, surf, surfing, extreme sports, Half Moon Bay, Pillar Point, wave

Content is King Guest Post by Daron Shade

Fri, 12 Mar 2010 00:00:00 +0100

Content is King

In preparation for the Social Media Marketing article, I came to the realization that most of us have trouble figuring out what to say about ourselves, so I decided that we first need to talk about content – both on the website and in the portfolio. Whether your printed portfolio, your own website, tweeting, using a fan page, blogging, or any other content outlet, we need to focus on the #1 rule in creating an enduring web-based marketing strategy: Content is King. Yes, I consider your printed portfolio part of your web-based marketing strategy. Since we rarely show our portfolio to anyone who hasn’t already seen our website, it becomes part of the overall web-based strategy.

Your target audience falls into two distinct categories: prospects and repeat business. Let’s address these demographics separately.

Repeat Business
Existing clients are relatively easy to market in 2010. In fact, they are easier than ever. All you need to do is open a media channel to them and then provide interesting photos and bits of written content that let them know you’re active and progressing in your craft. They want to know that they’re working with someone who is consistently producing quality content and social media is the best place to keep them informed of your work.

The flip side of social marketing to your clients is that you need to be watching their channels and occasionally providing positive feedback to their content. This way they will know you’re staying in touch. Don’t be sales-y on your comments, be genuine. Keep an eye on their business trends and send them the right marketing messages.

New Business
New business is a totally different endeavor. Attracting new business through a fan page or twitter is much more difficult because there is so much competition for the attention of your client and there’s no direct way on these networks to reach out and impress the prospect with your style and expertise before they begin to follow you. Yeah, the best content in the world is powerless if nobody ever sees it.

Another very interesting fact about social media is that prospective clients hardly ever follow you. From my conversations with other photographers and my own experience, most of our followers are other photographers, friends from outside the industry, or existing clients. When I started on twitter and my fan page, I expected mostly potential clients to follow me. In reality, it has been other photographers who are following and contacting me through Facebook or my own website. I don’t feel as though putting the work into these media outlets is wasted energy, but it is something that should be understood and analyzed before making the commitment to social media. Eyes wide open.

The most effective way to engage a prospect is to show them that you’re constantly updating your content with stuff they find interesting. They need to understand that you’re a working professional and that you are an approachable and knowledgeable individual.

(There is more from Daron after the jump, and you must read his entire article. I just had to jump in with a few items before we leave the front page. Workshops are going great, and I do have openings in Omaha and New Orleans which we will see a ton of push on. I am so excited about bringing the concepts of great lighting and professional photography to those areas.

We are working toward a seminar titled Going Pro NOW with Selina Maitreya, Jack Hollingsworth and myself. I am excited like crazy about this project. The price will be wonderfully affordable and the seminar will have you ready to embark on a professional career, or fine tune where you are going currently. We are planning three cities at this point: Seattle, Chicago, Boston. If there is anything that has you stymied and think this seminar should address it, let me know so we can look at making the seminar the most informative you have ever attended. NOTE: We will not be addressing tax, licensing, incorporation and similar issues that are best left between you and your accountant.

One last thing. This week promises to be a big one for LE. We have a review of Nick Onken’s new book which will launch Tuesday and an article on the touchy world of model releases sure to bring a lot of controversy… heh. That’s me. Shaking the hornets nest!

So on with Daron’s great article on Content for your Portfolio.

Portfolio Images
Choosing images for your portfolio is very tough. I have been doing this for 20 years and still sweat the correct images. Occasionally I even totally miss the mark and show the wrong printed portfolio entirely. It’s a tough market and you have to communicate with your reviewer.

When I am preparing to show a book, I gather as much information about the client as possible. I will read their publications, Google them and see who they work with, and make phone calls to contacts in the industry who I know have worked with them or may have some experience to share. Once I have a good idea of what type of work my reviewing art director sees on a regular basis, I attempt to figure out what they like. Remember, if they are reviewing your work, there’s usually some type of opening.

Now that I believe to have a handle on the needs of my prospect, I attempt to build my portfolio around that assumption.

I will pull my strongest images that I feel meet their expectations from my archives. I will mix in different types of images that show my strengths and style as a photographer. In fact, I try to use mostly images that didn’t have specific art direction- ones where the entire concept is my vision. I feel that this communicates a stronger sense of my style than showing images that were closely directed by another creative professional. I also like to show a good number of paid work mixed in with my personal work – if the paid images are strong enough, it is a much smoother conversation when the AD starts asking who you were shooting certain images for. They do ask.

Once I have about 50 images, the goal is to cull them down to the strongest set of images that work and flow well together. For general commercial relationships, I prefer to show 24 images – but when the style or scope of your reviewer is much narrower, it’s best to show less unless you really have the depth of work.

You can’t show a weak image in your portfolio. I can’t say this enough. Your book is only as good as the weakest image. Missing the mark with a client and showing a bad image are two different things. Showing them images that aren’t what they’re looking for may mean that they’re not going to hire you, but if they’re solid images; they may refer you somewhere else or remember you in the future. This has happened to me more than once.

Once you have strong images selected, it’s time to figure out what order to display them and which images won’t fit into the lineup. There might be some great images that just don’t work with the book your displaying. That’s fine. If you present yourself well, your reviewer will take the time to visit your website and see what else you have to offer. I tend to put images together by category then find smooth transition images within those set. These transitions my be through mixed-subject images or through color palettes. Looking at the images and analyzing them should give you a pretty good idea of what flows and what doesn’t.

There has been a lot of talk lately about choosing a color palette for your work and shooting within that palette, creating a strong body of work with a concise feel. I couldn’t disagree with this approach more. In our markets, we may need to show work within a very wide array of subjects and styles, so tying ourselves to a specific palette will make creating this diverse portfolio very difficult.

Printed Portfolio
There is debate over what makes the best presentation, some AD’s are adamant about not using presentation books with poly sleeves and others are annoyed by buckles and latches that are on the more expensive presentation books to make them fancier. Choose work that speaks for itself and you won’t need to buy an expensive case and minor peeves of the reviewer will be forgotten by the third image. In my early days, my book was an 11×14 Oriental Seagull box. I got a lot of jobs with what was in that box. I doubt the box itself lost me any work.

I would love to have a hardbound book of my work that I show to prospective clients, but my work changes so often and I tailor my book to each reviewer (I haven’t showed the exact same book twice in the last 15 years) – I am just not willing to invest in a custom book for every presentation. I have two books. One is 8×10 and the other is 11×14. Both have the poly sleeves.

Portfolio Presentation
I strongly prefer to have a face-to-face review. I consider it a job interview – with a resume of photographs rather than a written history of your experience. I like to be available for any questions that may arise and to watch the eyes of the reviewer. It’s important to use this opportunity to present yourself as the professional that they will be both working with and sending to their clients. You must be a professional that can walk into any situation and make it work when their reputation is on the line.

Hopefully you will be asked questions about images. I personally love this type of review. An anecdotal story about how an image came together or the opportunity to drop names of previous clients can really help close the deal.

Thanks to Daron for sharing this solid information. For a look at Daron’s work, visit his site and blog at DaronShade.com – there is a wealth of information there.

For more on Going Pro, visit that area on Lighting Essentials and let us know what you think. To follow me on Twitter, click here. To follow Daron, here ya go!

cold coke

Fri, 12 Mar 2010 00:00:00 +0100

Seen on Front Street.

morning people

Fri, 12 Mar 2010 00:00:00 +0100

Seen at Parliament and Carlton.

The Harmony Garden

Fri, 12 Mar 2010 00:00:00 +0100

Thanks again Kiwis!

I had a great time on our photowalk down here and met some very nice people. I think my kids were a little drained! At the end, during the talk, both of them fell asleep in a back room… We hoisted them into the campervan after that, drove to the beach, and then they were surprised to find where they woke up! Fell asleep during dad’s boring talk — wake up at the beach! Woo!

It was great to meet so many nice people from all over Auckland. There were even a few Aussies at the event! I haven’t had time to process any photos yet, but I will soon.

Daily Photo – The Harmony Garden

Kyoto was filled with thousands of these tiny gardens with ponds and little rivers. Which one to take photos of first?!?

None of them seemed to have artificial pumps that moved the water around. I always think of that whenever I see little gardens with water features in the states, or like they sell at Sam’s. Somehow, it seems, Japanese garden-masters are able to constantly refill their ponds by keeping the appropriate amount of dew forming on surrounding leaves, which then drips into the pond, which then goes down a perfect little waterfall, and ends up at another perfect pond about 50 paces away.

The Great Room at Hearst

Fri, 12 Mar 2010 00:00:00 +0100

Yet another Book Contest!

Michael over at PetaPixel (he is a good Tweeter – I rewet a lot of his stuff @PetaPixel) is running a contest to give away the book. Head over there to see how to enter!

Continue Discovering New Photographers and Artists!

Be sure to look at the Smugmug Portfolio Contest to see some of the nice entries there. I think you will see some stuff that appeals to you… and it will be a good way to discover some new photographers!

The Great Room at Hearst

I was able to get up through a somewhat secret door into the upper area of this room. It was a little sketchy up there with a sharp dropoff, so I had to keep my wits about me!

The greatest challenge at Hearst is getting set up, composing, and executing all the shots before the next wave of tourists come through. I was usually able to get this done, and there was always a gentle pressure to shoot fast and then move on! One time, however, I just could not finish in time.

They strode in and began randomly shooting away. I think it is so interesting (and somewhat depressing) to watch how tourists take pictures. Really, they are just “documenting” and “collecting”. Why? This is an interesting question! These people are not dumb or vapid… They are not doing it because everyone else is doing it. But I do think people like to softly record their lives. They do the best they can, and I guess that is okay. I do get flummoxed that people don’t go out of their way to take “better” pictures. They seem satisfied with lackluster, predictable, “scientific-documentary” shots that are just not interesting. Not that every photo has to be a work of art, but why not try a little? Why not do a few things here and there to improve your personal photography. It’s not that hard to improve, and anyone can improve! I suppose I just get bummed out that people don’t even try to improve… they just expect and then become satisfied with mediocrity.

Also at Hearst there is a “no flash” rule. Thank goodness! Of course, they do it to protect the works of art there, but I am happy that people do not use their flash because I normally see people do it in silly conditions. As far as I know, this “no flash” in Hearst Castle (and other museums) is a good policy. I always hear that flashes can damage paintings and whatnot — is this scientifically true? Maybe it is. I know if you leave art in bright light all day that it can become discolored… but are a bunch of instantaneous flashes the same thing? I don’t know… I’d love to see a full study on it if anyone has a link. As with all things, the policy certainly sounds solid, but I am skeptical about “common wisdom”.

Personally, I would institute a “no Dumb Use of Flash” rule, which would tell people not to use their flash to take photos of things that are over 15 feet away. Like, for example, did you see the opening ceremonies of the Olympics? Thousands and thousands of clueless people using their flashes! Aren’t any of those thousands of people somewhat curious — wondering if the flash actually does anything? Or maybe this mass flash-delusion is only negatively reinforced by seeing all the other flashes going off? I don’t know…. but it is interesting to think about.

Photodoto closing down

Fri, 12 Mar 2010 00:00:00 +0100

I started Photodoto in 2006. In four years, we’ve published nearly 600 articles on a diverse range of topics for beginners to advanced photographers. I’m proud of the work. For myself, and on behalf of all of Photodoto’s contributing writers: thank you for reading and contributing.

When I started Photodoto, my mission was to try to make photography more accessible to everyone. I believe strongly that anyone can be a good photographer and that photography is not as mysterious or difficult as many people think. I hope that I’ve achieved that goal, at least for some of you.

Unfortunately, over the past year, I haven’t had the time to dedicate to Photodoto that I think it or you deserves. I’ve got a lot on my plate. I’ve been forced to prioritize and Photodoto just didn’t make the cut.

Photodoto will not just disappear. There will be no new blog posts. But the content will live on in some form. I intend to reorganize and republish the most popular articles. And all existing links to content here will continue to work.

There are many great photography blogs out there. Here are three in particular that I think have a similar aim as Photodoto and that I think you will enjoy:

See you around. :-)

-John
john@photodoto.com

Memory Card Tips

Fri, 12 Mar 2010 00:00:00 +0100

This guest post was written by Sherry Osborne. Sherry is unable to leave home without at least one camera hanging off her shoulder. She posts photography tips geared to beginners several times a week at photoblog.net. Contact me if you are interested in guest writing for Photodoto. -John

I don’t know if this has ever happened to you but one of the worst feelings in the world (photography-wise at least!) is discovering that your memory card has become corrupted and you’ve now lost all the photos you recently took. It happened to me on my old point and shoot card but I was really lucky in that there were only about five or six photos on the card and they weren’t particularly important to me.

It can, however, be a disaster to lose your photos before you can remove them from the card. While you can’t prevent all problems, here are some memory card tips to avoid as many issues as possible.

1. Enjoy sales on memory cards but avoid cheap. When you’re shopping for a card buy the big name brands when a store is having a good sale. No matter how tempting it is, don’t pick up a card with a name brand you’ve never heard of and say, “Huh, only five bucks! I’ll get this one.” Sometimes price and brand really do matter and while even the popular brands can occasionally produce a defective card, you’re less likely to find yourself asking where all your photos went if you don’t buy a cheap card.

2. Do not leave your card in a card reader, even if you don’t think it’s doing anything. This is one of the tips that is hardest for me to follow. I have a tendency to take an average of 100+ photos on any given outing so I’ll often put the card in my reader, let it start, and then I’ll wander off to do other things. Then I realize, hours later, that the card is still sitting there. It seems like no big deal but as long as something is in the reader the computer will keep interacting with it. Don’t use it if it doesn’t actually need to be used.

3. Format your card each time you finish removing photos. Even if you delete the photos from the card, some data is still embedded in the card. When you load it back in your camera, take a moment to go into your menu and format the card each time.

4. Avoid extremes. Cards don’t like a lot of intense cold or high humidity. Keep it away from a lot of dust, and magnets. Be careful with it. They may look all sturdy and compact but they’re very sensitive.

5. Don’t use your card as a storage unit. This is such a common mistake and it’s so easily avoided. My parents travelled out East for my sister’s wedding back in September and my father took hundreds of photos while out there. I visited my parents at Christmas time and was utterly appalled that my father had never dumped his photos onto his computer. It was over three months after the fact and he had simply left the pictures on his card, continuing to take more on a fairly regular basis. He’s extremely lucky that his card didn’t become corrupted because he would have lost hundreds of pictures of his youngest daughter getting married, not to mention all the travel photos he took during his week-long visit. Just because your card can hold hundreds or even thousands of photos doesn’t mean that you should. Dump them and back them up often.

6. Consider more than one card. If you can buy two it’s a good idea to do so because then you have a back up. Change out your cards partway through the day. If you lose photos on one card, at least you’ll still have some on the other.

7. Don’t remove your card from the reader while it’s accessing the photos, don’t remove it from your camera while it’s turned on, and don’t insert it when the camera is on. All of these things can potentially corrupt your card, causing you to lose some or all of your images.

Do you have any memory card tips that work for you? Share them in the comments!

TTV Photos

Fri, 12 Mar 2010 00:00:00 +0100

I’ve mentioned before that I’m often inspired by this blog and yesterday’s post was a TTV photo, which inspired me to tell you, dear Photodoto readers, how to create TTV photos. Luckily for you it’s very simple, in principle.

TTV stands for “Through the Viewfinder” and to create one of these photos you need two cameras. Basically you set up your digital camera to shoot through the viewfinder of another camera. It sounds simple but requires quite a bit of patience to get it set up correctly. The best advice is to give it a try and practice until you get the hang of it. Also, try placing something dark coloured around the gap between the two lenses to keep out extra light.

Oh, and check out the Through the Viewfinder group on Flickr for some more TTV inspiration.

Photo credit:

http://www.flickr.com/photos/crowolf/ / CC BY-NC-SA 2.0

Earn Money With Digital Photography�Promote Your Skills

Fri, 12 Mar 2010 00:00:00 +0100

This guest post was written by Laura Charon. Laura is an avid photographer who has been taking pictures for years–first with an old brownie camera and more recently with a Canon Digital Rebel XTi. You can read more of Laura’s posts at Beyond Megapixels. Contact me if you are interested in guest writing for Photodoto. -John

Congratulations! You’re ready to take the next step with your digital photography, and start earning some money with it! There are two avenues you can pursue — you can sell the photographs that you take, or you can provide your photography skills as a service to other people. Either way you go, earning money with your photography is challenging and rewarding in this highly competitive field.

In this article we’re going to talk about promoting your photography skills.

Create a portfolio — The first important step in selling your photographs is to establish a portfolio. Create a collection of the work that you are the most proud of, or that is the most applicable to the type of photography you will be performing (portraits, product photography, interiors, etc.). Click here for an an article I have written on how to develop a portfolio.

Establish rates — Next you need to figure out how much you’re going to charge people. This can be tricky — charge too little and your work is undervalued; charge too much and you’ll be passed over for a photographer who is less expensive. Conduct some research into what kind of rates the industry currently supports. Review the rates of your local competition or photographers in your type of genre, and weigh their rates against how much you need to make per hour, per project, per photo, etc.

Get business cards — When people see you with a camera, they tend to be interested in your work. Most of my “advertisement’ has come from people who have attended the events and venues that I am photographing. They ask me who I am and what I do, and I am able to produce a business card that has all of my contact information and website URL. Word of mouth is a powerful tool in the photography industry, so make sure you’re prepared at a moment’s notice to get your name out there!

Volunteer your services for free — Experience and practice and vital to garnering customers for your photography business. You don’t want to go in cold to your first “gig’, so gather some experience by volunteering for some photography projects for free. This will allow you to gain the experience you need, bulk up your portfolio, and establish potential future paying customers. Ask friends and family members to pose for portraits. Attend events and venues similar to those whose business you’d like to receive. Offer free examples of your work on CD’s or in print to showcase your talents.

Buy some basic gear — In order to be sure that you’ll be ready for whatever requirements come your way during your photo shoots, be sure that you have some basic gear to get you by. A good prime lens, a fast telephoto lens, a quality wide angle lens, and a quality macro lens are a good starting collection. Also consider a softbox for portable lighting, neutral colored drapes or drop-cloths for backgrounds, a tripod, a remote shutter release, and a remote off-camera flash.

Get the word out — The final concern is how to get the word out about your photographs. You can’t sell anything if people don’t know about your work, right? Consider printing and framing some of your photos — put them in your own home for your friends and family to see, or give them as gifts to friends and family members, so that they will be seen by their own visitors. Approach local establishments (businesses, restaurants, libraries, etc.), and ask them if they will allow you to hang your work on their walls. Often, if it’s of no cost to them, a business owner will be happy to showcase quality work and decorate their store or office. Be sure you leave some method of contact – a business card tucked inside the frame, for instance – and make it clear that the photos on the walls are for sale, and that there’s plenty more where they came from!

Photo credits (all): Snerkology Media, http://snerkologymedia.com/

Inspiration

Fri, 12 Mar 2010 00:00:00 +0100

If you’re following along with DSLR-101, if you’re a more experienced amateur, or even if you don’t own a camera and just like to look at pretty pictures check out this website for some inspiring interviews with professional photographers. I’m going to call it inspiration Tuesday. Enjoy. Be inspired. Go play with your camera.

Photo by:

http://www.flickr.com/photos/wfiupublicradio/ / CC BY-NC 2.0