I know that for a lot of people, the cold keeps them inside, but it can be really rewarding to go out in the bitter cold. Tonight I got the bug to go out and shoot, but the air temp was -15, with a windchill of -30. Here are a few reflections:
Surfing has become wildly popular since it started to see a major revival in the 1960s. Along with the sport, came photographers. Things have come a long way since the days of photographers like LeRoy Grannis. But, we get to a point where styles and ideas become recycled. It happens with most genres of photography, though. Once it becomes saturated, it’s often difficult to innovate.
Some photographers, however, want to push the boundaries and try something genuinely new. Such is the case with photographers Emil Sollie & Mats Grimsæth. Their mission was to photograph Australian surfing champ, Mick Fanning performing under Norway’s Northern Lights.
Working in low light conditions can be very frustrating for photographers. If you have a tripod and shoot a steady scene – well, you basically don’t have a problem here. But the conditions are often far from ideal. First, you don’t have a tripod. The light is horrible to say the least, yet you must shoot from hand. Naturally, this can drive you insane because it’s hard to get sharp photos, even with the steadiest hands. But fortunately, you can stabilize the camera, reduce shake and make sharp images even in crappy light. David Bergman will show you how.
If you use guides in Photoshop, you know they can help you position and align the elements of the photo accurately. But do you miss these guides in Lightroom? If you do, it’s good to know Lightroom offers them, too. This option is kinda “buried” in the menu, and you may easily miss if you don’t know it’s there. This quick and easy tutorial by Scott Kelby will help you find it and use Guides in Lightroom CC.
Masking different layers based on brightness is an often tricky but vital Photoshop skill to have. There’s a bunch of different ways of doing it from the simple to the advanced. Two of the most common methods are by using Luminosity Masks or with Photoshop’s “Blend If” layer options.
While the two might appear to do similar things on a quick glance, there are some pretty distinct differences between the two. Black Rudis from F64 Academy looks into both methods to show us how they work. Each has advantages over the other depending on what you’re trying to achieve. And both will let you do things that the other simply cannot.
DIYP has seen its share of interviews, aside our regular work we’ve been to over 10 shows including the latest Photokina. We need a rig that is robust, easy to carry around, and that adapts to various conditions. This rig has gone through many changes over the years, this is what it is now.
Do you use Photoshop for your portrait photos? Silly me, of course you do. We all do, and that’s fine. But do you draw a line between acceptable and unacceptable amount of retouching? Do you merely emphasize people’s natural beauty, or are you the one who makes them look beautiful? Scott Kelby – photographer, retouchist, the editor and publisher of Photoshop User Magazine, gives a fantastic and inspiring talk on this topic. Why do we retouch people in Photoshop? And do we know what our job as retouchists is?
No matter who you are and what you do, the moment you become a parent, your life changes forever. For Benjamin (Ben) Lowy it was exactly like this. He is an award-winning conflict photographer who covered Iraq War in 2003, as well as many other major events all over the world. But becoming a dad made him reexamine his priorities and change his view of the world.
… and how you can do the same (no matter what country you are in)!
A little backstory: I have been a full time professional photographer for close to 9 years. My passion is weddings – I have done more than a 100 weddings, and I still cry when they say yes. For the first 7 years of my carrier I was a starving artist. I did lots of weddings (and families, and children, and events, and corporate, anything that came my way, really) – I worked worked and worked – always trying to book the next client – my portfolio was full, my calendar was full, I was a popular choice when people got married, had babies or having their family portraits done.
The truth is, however, I would have made more money working the cashier at the local fast food joint – and would even have worked less! So I decided I needed a change – I needed a fair pay for my work, I am a damn good photographer, why shouldn’t I get paid for my time and talent? So I started reading and stumbled across “In Person Sales” (IPS) for photographers. I saw people writing about making thousands – on a single client. I didn’t really believe in it – and yeah, maybe it worked in America – but here, in Denmark? No way! Everyone wants the CD (or if you are really trendy, the USB). I believed the same lie I have been telling clients for years; “You want the CD right?” WRONG!
If nobody cared, would you still take pictures?
I’ve been posing this question to myself for a while now, this idea of “If nobody cared about my work, would I still create?”. Am I creating truly for myself, or is it a hybrid between the audience’s and my own enjoyment combined?
It stems back to this idea of value. More specifically self value. Whether it comes from respect, love, friendship, art etc.