When I was a little girl, I lived in Incirlik AFB, Turkey. We lived for a year off base on the third floor of a very large apartment building. My parents spoke no Turkish and the landlady spoke no English, but somehow, they managed just fine. My dad was a lot cooler about the whole thing than my mom. But then, dad left and went to work on base each morning, while my mom had to deal with things like mice in the kitchen, Turkish toilets, and the man who walked his bear down the street each day. Yes, a bear. And if he saw you watching from your apartment window, he wouldn’t leave until you paid him. Or until the land lady shoo’d him off. After a year, my family moved onto base housing and my mom finally exhaled. I think she had been holding her breath the entire time.
Are you looking for an affordable but also electronic macro lens? Or maybe you have an old kit lens, that’s just sitting around, collecting dust since your last upgrade?
Well, then read on, because in this article I am going to share one cool hack that will allow you to transform almost any kit or standard zoom lens into a capable macro lens!
And I am not talking about reversing the lens or mounting it on extension tubes, we’re actually going to convert the lens for good. And it’s incredibly simple.
Ah, the night. What a wonderful time to go out and do some street photography! As a photographer who got his start in the streets of Tokyo, it was inevitable that I would end up photographing mostly at night. To me, the city becomes its ‘true self’ when the sun sets, and the artificial lights come on and illuminate the metropolis. But let’s save my romanticism for another time.
I hope to share with you my methodology, some tips and tricks, for night street photography. First off, please don’t expect any magic tips or secrets. I keep my photographic approach pretty simple, but fundamentals used well lead to great photography!
Note: I had read THIS story on Buzzfeed about a social media influencer who posted professional photos of her accident on Instagram along with what appeared to be a product placement. I thought it unbelievable until…it happened to me.
Okay guys…the first thing you need to know is that I AM OKAY. Seriously, I’m okay, but in the interest of self-promotion, here’s the scary, magical series of events exactly as they happened.
I will start with a warning: Digital Infrared Photography it’s not easy & this will get technical fast.
It all started when I saw some awesome Instagram photos in infrared and I ordered an IR filter (an 88mm ice 760nm from B&H to be more precise) not knowing much about infrared. Filters usually range from 590 to 8-900 nm and usually, this kind of colored infrared shots are obtained with 590nm on a modded camera because it lets some visible light pass as well as infrared. But I had no modded camera and the wrong filter so I decided to try regardless and soon found out that my trusty DSLRs have well-made hot mirrors (the part of the DLSR that normally blocks IR from hitting the sensor) but later discovered that my phone’s sensor is quite sensitive to infrared and this is how my journey started.
Wedding Photojournalism or Photojournalism? What’s The Difference?
This is an unposed, naturally caught moment at Rachael and Carl’s wedding at The Vineyard in Stockcross, Berkshire. It’s recently won a couple of awards from This is Reportage and the Wedding Photojournalist Association. It’s a striking image, and drew some criticism that it must be staged, or was not photojournalism. So I thought I’d explain why I believe this is wedding photojournalism, and how I came about taking this image.
For those of us born in the 1970s and ’80s, this new phenomenon of mottled, cloudy backdrops appearing in modern portraits is an odd one. You see, back when we were kids, we had horrendously cheesy family and school portraits taken in front of these bizarrely arranged patterns, so to us, it’s pretty weird to see these painted, cloudy backdrops now grace the covers of Vogue and Tatler.
Part of the joy of landscape photography for me is standing around and waiting for the light to change. You put your camera on its tripod, compose a shot and wait, taking photos every few minutes, whenever the sky or light or whatever looks interesting.
I caught the tail end of a storm in Santorini, Greece, with heavy clouds blowing over right at sunset. An hour or so later and it was blue hour, with streetlights and buildings lit up. Both photos are below, after being edited in Lightroom using the Lightroom Develop System.
Before the rise of social media and the ubiquity of apps like Instagram, photographers established and flexed their brands through their personal website and blog. The photographer website supplanted the printed portfolio, for the most part, offering photographers a way to showcase their work with a remote audience of photo editors, customers, and fans.
Arlington, Texas, was long in the lead when it came to being this summer’s family vacation destination. However, sometime in May we arrived at that we wanted to revisit Italy. Last time we didn’t make it to Tuscany, so there was no doubt that this would be the area to stay and explore. Some friends had recommended agroturismos, that is, wine farms. Initially I had my strong doubts about staying at a farm of some sort, but when it struck me that it was milky way season in Italy in July my misgivings somehow vanished.
After all it was a family vacation where photography would be second priority, so I wasn’t thoroughly convinced that I would get my shots. And besides I had no idea whether light pollution would put an effective stop to my milky way hopes.