During the last few weeks, Instagram has teased in your news feeds that they were removing and deactivating spam accounts. Their message mentioned it would ultimately result in a loss in the follower count on your profiles, as shown above. This had many people running for the hills, imagining their tens of thousands of followers would turn to dust, and the loss of that clout they have built over the years will be all but nothing. The results have been widespread, but here are a few accounts to check in on as I give my thoughts on the whole thing.
For the last 2 years I've made my living shooting architecture with DSLRs, mostly short videos of California's fanciest multifamily apartment communities. When my client Synergy Corporate Housing asked me to continue that mission with all of their international properties in 10 major cities across 8 European countries, the first thing I thought when I saw the 32-day itinerary was, "bring a Hasselblad."
I love art for its freedom. I love art for its simplistic complexities. I love art for its infinite possibilities. I love art for its ability to make me feel happy, feel sad, laugh out loud like a crazy person, feel empathy and feel completely alone. Which is exactly why the reasoning behind the cancellation of the film ‘The Interview’ makes me feel outraged.
Every time I hear a photographer state, “I’m a natural light photographer”, it can carry a suggestion that they are a more honest type of photographer, better attuned to reality, and purer in motive. What I hear is, “I haven’t learned to use my flash.” This may sound harsh but I can’t help it; right or wrong, I want to call them out on it. It is time to question why natural light shooting has, in many circles, become the more virtuous form of photography.
I guess I’ve always been different; I’ve never really yearned for a big studio space. As a freelance photographer, the majority of my clients require that I come to their location and shoot on-site. I have a strict organizational-mobile system to transport all my equipment which includes over 8 strobes, 2 scrims and a plethora of staging props and modifiers. I’m asked quite often about my studio and where I shoot all these incredible portraits and dramatic fashion editorials. The answer is easy; my living room.
Let's face it, it is about to be 2015. As in, 15 years after the change to the new millennium. We are firmly in what we used to call "the future" when I was a kid, and technology is overwhelming us with brutal amazingness every couple of weeks. The youth of today have no idea what life is like sans smartphones (read: access to almost every piece of information in the world at any time in your pocket) or social media platforms. To them, life is one big pile of over shared, overseen and overly celebrated schlock mixed in with useful bits of knowledge, and it is all taken for granted. The digital world isn't coming, it is here, and has been. So who in the right mind gives a crap about a printed photograph anymore?
People often forget that all successful photographers started from the bottom. This knowledge should be an aspiring photographer's motivation that fuels every action and re-touch. Each person has the ability to exceed beyond expectations; to set goals and reach them. In the future, you may look back at your work with embarrassment. Remembering where you started from should be a source of pride. The growth of 20 popular photographers in their retouching skills might be the greatest source of inspiration.
Peter Lik must be one very happy camper. Earlier we broke the news of the sale of the “Phantom”, a black and white image of Arizona’s Antelope Canyon, sold for a record breaking $6.5m, making it the most expensive photograph ever sold. A massive internal discussion amongst Fstoppers writers took place shortly thereafter, arguing whether any photograph was actually worth that much money.
Artificial lighting can be overwhelming, there are thousands of options to modify one single light source and there are dozens of companies that claim they have the best product and best bang for your buck. Regardless, photography equipment is expensive and I know I'd rather not waste money on a gimmick product when the same result could be achieved with just the right strobe placement or accessory.
Our latest article in the Seniors Ignite series with Jen Basford from 3 girls photography covers how to create a year round senior business. Jen has created a studio that doesn’t slow down in the off months. Instead, she is constantly building her portfolio and generating revenue. How does she does do this? In this article, we dive into the four things that have helped Jen create a year-round business.
My studio receives client inquires anywhere from once per week to several times a day. Obviously not all of these inquiries turn into paid work, some are a downright waste of time. Dealing with client inquiries is not my favorite pastime, but if everything goes to plan, at least a few of them get me behind the camera and end up paying the bills. Here's a few things to keep in mind when making initial contact and responding to client inquiries.
I’ve just read a comment from a photographer who said it’s time to stop shooting in black and white. He claimed we don’t see the world in black and white and it was something only done in the past due to the limitations at the time and it’s time to move on. Here’s a number of reasons why I think it’s critical to shoot black and white from time to time, and how it can help nurture your photographic eye.
Remember that time you planned a business and it worked out perfectly? Neither do I. Starting a business, any business, is a daunting task. The reality however is that most of us overcomplicate the starting process and do some severe damage to our business before it ever takes off. Let’s put things into a bit of perspective.