Photography is an expensive hobby and an even more expensive profession. As a person who started photography as a young student, out of pure love and passion, I was not really able to afford everything I needed wanted for this hobby. To be honest, ten years later I’m still unable to afford most of the stuff. This held me back in some aspects, I suppose. But when I look back, I realize that it has also helped me in many more ways. Believe it or not, being poor made me who I am as a photographer.
I had an interesting discussion in a photography group on Facebook some time ago. It started with my question about the 35mm prime lens, and somehow I ended up discussing zoom lenses with a member of the group. He said that, as an event photographer, he doesn’t have the luxury of moving around and focusing with his feet so he only uses zoom lenses. I support him and agree with him – up to some point.
I am not a professional event photographer, so I have the luxury to experiment. And a few months ago I was in a situation where I had to experiment. My prime lens was put to a test in event photography – and I believe it passed.
Here is why (I think) you shouldn’t sell your files in bundles!
Doing IPS (In Person Sales) does not mean that you cannot sell your files – but it does mean you shouldn’t be giving them away as a Shoot and burn photographer (S&B). And now some of the S&B’ernes will object, they are not giving them away, they are selling them as an all inclusive package!
The S&B’s I know, are priced from 60-180£ (67€/70$-200€/220$) for a CD/USB/Download with 5-30 files included. And this is telling your clients that your images has almost no value. For the client it looks like they are only paying for your time, not the art you create.
If we break the numbers down, depending on your CODB (cost of doing business), best case scenario, you will make somewhere around 20-25£ pr image – worst case scenario – 2£ pr file (!!). Do you really, deep in your heart, believe your art should be sold that cheap?
The number of new drone owners I’ve seen showing off on social media the last few days is crazy. It’s obvious a lot have been given out over Christmas. While some new drone users have already hit a spot of bad luck, one thing many will have to do is register with the FAA. A lot of the tiny toy drones won’t need it, but if you’ve got a Mavic Pro, Phantom, or similar sized drone, it will.
Fortunately, Adorama have put together a complete step-by-step walkthrough video of the registration process. If your drone weighs between 0.55lbs (250g) and 55lbs (25kg), you’ll need to do it. It’s cheap though. It costs $5, is valid for three years, and only takes about five minutes to do.
Colour wheels are fairly common to video editing applications. Lately, they seem to have started popping up in still image editing applications, too through the use of various plugins. With the line between photography and video becoming somewhat blurred over the last few years, it’s really not much of a surprise. Photographers are making the transition to video, and filmmakers using DSLRs to film are shooting more stills. So, it creates a familiar bridge between the two.
But, colour wheels can seem a little intimidating for colour correction if you’ve never used them before. Often misunderstood, they’re an extremely powerful tool. Theo at Miesner Media has put together a video to show how they work. While the video demonstrates their use in Davinci Resolve, the same techniques work in virtually all video editing applications and plugins that offer colour wheels.
Now that you know more about your mechanics and attributes of your kit lens, the time has come to look at the creative use of the wee plastic beasty and we’ll start with macro first, this is by far the longest of the three Kit Lens Masterclass articles so grab a cold drink and some snacks.
When you’re photographing interiors or tall buildings, perspective distortion is often inevitable. There’s ways around it with tilt shift lenses or large format film cameras, but for most of us that’s not an option. These days, Lightroom, Adobe Camera Raw, Photoshop and other tools provide a number of fancy automated ways to help correct for this. Sometimes, though, it doesn’t quite hit the mark, and we need to step in and do it manually.
This particular type of perspective distortion is commonly known as “converging verticals”. It’s caused by things getting smaller as they get further away from the camera. It’s essentially the same thing you see when looking down a straight set of train tracks that seem to eventually arrive at a point. Only, this happens vertically when shooting up or down on objects oriented vertically. Fixing it manually is fairly simple and straightforward. This video from the folks at Sleeklens shows us how.
Fuji’s GFX 50S medium format camera got a lot of attention when it was announced at Photokina in September. But, it was also still shrouded in quite a lot of mystery. They wouldn’t let us have a look at it outside of its glass cabinet, and certainly not test it out. Even the official GFX page on the FUji website doesn’t really have a whole lot of information now.
We know it’s medium format, mirrorless, has a 43.8 x 32.9mm 51.4MP sensor and will have an array of impressive looking lenses available. We also know that there’s a vertical grip available for it, for those that shoot portrait orientation often. Fuji have been teasing us with some videos, though. The first two appeared in September during the GFX announcement, but several more we released just a few days ago.
Earlier this year, we were quite surprised (to say the least) by the information that Dutch police were training eagles to take down drones. And what’s more, it seems that the weird approach against UAVs worked. But it appears eagles in Australia require no training to do it. Because they started seeing surveillance drones as their prey, a mining giant Gold Fields has lost nine drones!
I really, really hate guns. If someone invited me out for some shooting, I would think he wants me to go taking photos with him. And this is exactly what happened to astrophotographer Marc Leatham. Some friends invited him to a bonfire shoot at Four Peaks Wilderness in Arizona. It was only when they got there that he realized they didn’t bring cameras – they brought guns instead.