The response to the Supergirl image I posted on social media a few days back has been amazing. DIY Photography contacted me and asked me to do a write-up for their readers.
I will probably get a bunch of hate for this post but whatever. Hopefully, my message will help some of you. I realise this website is filled with enthusiasts, professionals, camera geeks, etc… but this post is pointed more at people that want to make it as a portrait or fashion photographer.
I’m a photographer that lives off photography shooting a campaign every few months and I just wanted to share some advice that I wish someone had told me years back.
I’ve met a lot of photographers in my time and they always break down into two categories. The ones that are artists and the ones that obsess over camera gear.
Nikon is celebrating their 100th anniversary this year, and they spoke up about their plans for the future. They didn’t start off very well, as they canceled an entire series of premium compact cameras. However, despite the bad start, the company has some big plans for the future. Also, they’ve made some radical decisions.
1.Always using the Manual Mode
One common misconception and Street Photography mistake is the believe that professional photographers always use the manual mode and therefore it is also useful for Street Photography, right?
Firstly, professional photographers don’t use the manual mode every time. They use it when it benefits them, but they also choose an automatic mode when conditions are changing rapidly and would mean to adjust the camera settings too often. The automatic modes that come with the camera are already well developed and tested in the field. A lot of professional wedding photographers use them, as well as photojournalists.
The street isn’t a place where you can define your settings once and can go with them all day. Choosing the automatic modes allows you to focus more on taking the picture and wasting less time to fiddle with your camera.
At the beginning of the year, me and fellow DIYP writer and photographer John Aldred, and our good friend and model Ambellina decided at the last minute, to go out to the Lake District in Cumbria and shoot. There was no planning really, it was a last-minute, let’s just get and see what happens kind of shoot. When you are the type of person who continuously plans every shoot, sometimes it can be fun to throw caution to the wind and just do something without planning! It was more about having fun on the day, and the experience of having an adventure with friends than it was about getting the images. I
I won’t fill you in on the whole day as it would take too long, including funny little stories of my car getting stuck and my saviours John and Ambellina having to push me up a hill. But I will focus on one image, which we created at our first stop by Coniston Lake. As we were driving down the road we spotted this little outcrop in the Lake and knew we could get something useable there. What it turned out to be was some hybrid Lara Croft/adventure/dramatic action scene, and this is how I created the image. [Read more…]
We’ve all heard it right? Calibrate your monitor otherwise, your colours will be different from what they should be, and your photographic work will become a potential mess without you even knowing how badly.
I recently sold my ASUS 27″ 4K monitor and side-graded to a 27″ Dell U2713H 1440p one instead. The main reasons being a wider colour gamut, a resolution easier on my eyesight (4k panels in Photoshop are just way too small for me, and the 200% option makes them far too big), and a way to gain some cash back.
On setting up the Dell for the first time at my house, I immediately noticed the extreme difference between my old calibrated 4K monitor and this new uncalibrated one.
However, this was quite a shock just how badly it was off by. It came with a piece of paper from Dell telling me that it was factory calibrated and was “smack on the money”. After doing a factory reset the monitor went from interpreting every colour as a variation of green (people looked like the incredible hulk) to a somewhat “I could work with this, but I wouldn’t trust it”.
Forward a couple of days and a good friend of mine Maarten De Booer shipped over his XRITE i1 pro for me to use to calibrate the new Dell.
The embedded video above shows you just how badly a factory reset monitor can be with regards to colour. And despite any amount of paperwork telling you it’s perfect, any pre-calibration should be ignored.
Whose image is it anyway? When does inspiration or imitation of a landscape photo cross the line or go too far?
Recently a few things came up that makes me ask if or when does the idea of copying someone else’s photo go too far, or is it just a form of flattery derived from a source of inspiration via the route of imitation? In the commercial photography world, this can have an impact in real dollars and sense (yes, that’s the word I meant to use), especially if you get caught deliberately copying someone else’s work. This was brought up in a recent article on PetaPixel, When someone copies your photo for Commercial Purposes, where the question was raised whether someone who (may have) copied many elements of a photo went so far as to push the boundaries of what’s right and permissible or was it a violation of the original photographer’s copyright? When there are things like models, props, studio lights, camera angles, etc., that gives the court leeway in deciding what elements of an image are protected expressions of copyright. There is a poll on this article where more than 2/3rds or the respondents felt what was done was unethical.
Having models at camera demo events isn’t all that strange. It doesn’t happen at most of them, but it’s not unusual. Especially with cameras marketed towards fashion and portraits. Somebody at Fujifilm UK, however, decided that just bringing out a model wasn’t good enough for the Fujifilm GFX 50S, though. Oh no, she had to be topless, too.
Fujifilm UK held a paid event that would let photographers try out the new medium format GFX 50s. It started as many do, with a technical talk. Then they were to bring out a model. That way photographers to try out the new camera for themselves. It caused at least one photographer, Danny North, to leave immediately. He then went on a Twitter tirade to voice his displeasure.
Just as Sony hits the “world’s fastest” mark with their new SF-G Series UHS-II cards, the SD Association comes along and moves the goalposts. Well, this card is almost at the theoretical 312MB/sec limit of the UHS-II specification. The SD Card Association have now announced the new UHS-III specification, which doubles this limit to 624MB/sec.
With cards ever expanding in size due to the demands of today’s gear, the speed has to also increase. Even if that increase really only benefits the speed at which you can back everything up to your computer. Of course, there will be real world benefits. Now that the megapixel wars seem to have shifted from stills to video, the SDA specifically cite 8K footage as one of their considerations.
Thursday, September 29, 2016, it is 10:00 am and I have a meeting at Boulogne in the office of the White Dog agency. Everything starts with a good coffee and an announcement… “We are going to realize the new McPlace internal communication campaign for McDonalds”. While the day before I was still eating a Royal Cheese innocently, I am informed that we are going to make together a small step in the McDonald’s history.
The objective of this campaign is to reward McDonald’s employees by offering them an unique photography experience. The agency wishes that the dynamism of the company and its multicultural richness are reflected in these portraits. Then we imagine an original concept based on colored powder, like the powders used in Indian festivals.