In a typical wedding, dozens of vendors come together to make the bride's day special. All these vendors have one thing in common: the photographer doesn't owe them a single picture.

As a wedding photographer, we are always looking for new and interesting ways to add to our income. This usually comes in the form of photoshoots, prints, albums, and various types of upgrades, but most wedding photographers seem to be missing out on one of the easiest ways to make more money.

Photographers tend to bemoan that everyone's seeming belief that they are a photo critic. Event though the vast majority of people aren't really experienced enough or aware enough of what makes a good photo to be taken seriously. This position is often weakened by the fact that even top photographers generally can't agree on what makes a great photo. I'd propose the argument that the average viewer actually is quite aware of what makes a great photo while the nit picks of us pros more often than not have little to do with photographic greatness and more to do with photographic elitism.

The year is 2017 and at this point, it's fair to say that most people are on Instagram. Now I don't think that you have to be and I don't believe that an Instagram presence is a requirement for your success. If you've chosen to forgo this particular media app you're not necessarily missing out. IG is a tool at your disposal and as time goes on, that tool becomes increasingly useless. Here are three reasons why Instagram's algorithm is garbage and may not be worth your time anyways.

What am I worth? This is a question every new photographer ultimately asks himself. If you’ve ever wondered what you should be charging your clients and what the best way to go about it would be, keep on reading. I will go over how to determine your personal creative fee and how to present it to your client in a way that makes sense.

Many of you know about my headshot work, but one of the other major areas of my business is photography for hotels, also known as hospitality photography. Hospitality photography often requires a jack-of-all-trades. I frequently shoot food, cocktails, headshots, mock weddings, and work with models for lifestyle shots. Then add to all that the architectural elements and details of the interior and exterior of the property and you have a shoot that requires quite a bit of different types of gear. When you add it all up, sometimes I’m flying a few hundred pounds worth of gear with me. As I was traveling recently, I thought it was a good time to write up an article about flying and traveling with your gear, and the best way you can minimize the cost of moving it all.

With more and more amazing lenses being introduced at a dizzying pace, I find myself asking a very basic question: How many lenses do I actually need?

After the release of Nikon’s new Z8 mirrorless camera, you may be asking yourself a simple question. Should you get the Z8 or its big brother, the Z9?

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.

I was on Instagram the other day when an ad for one of Canon’s two-lens kits popped up. The kits package together a couple of interesting options for photographers looking to step up from a kit lens, but the real question is: are the lenses a good value for photographers or should the money be spent elsewhere?

Zoom lenses are very versatile. In a way, these lenses offer an infinitely variable focal length adjustment. If you could have only one zoom lens, which focal range would you choose?

A long time ago, I heard someone utter this bit of nonsense. Depending upon the genre of photography you shoot, there are good arguments for using manual controls and settings. However, there are times when your camera’s automated technologies prove the Luddites wrong, then automation is king.

I just watched Justin Timberlake's "Say Something" video, and then, I watched it again. No doubt that's professional production work. Knowing the technical challenges of such a video, for me it felt like I was watching a reality show. The almost "unplugged" vibe of the song was so right for that video that the rest of my senses could be focused on how those guys pull that work off (pun intended). This article will be a humble attempt to reveal how they shot the video.

We have all been there at one point or another. The thought of picking up a camera and having to take more pictures seems less than appealing. Shooting the same thing over and over, dealing with frustrating clients, or simply not getting the results you had hoped for. All these things can take a toll on your mental state and will eventually translate into feelings of disdain towards your passion. It might feel like you need a miracle to find your passion again, but here are four things which have worked for me, and maybe they can work for you as well!

Do you have a macro lens in your camera bag? If you don’t, is it because you don’t shoot macro photography? If you do, are you limiting the use of the lens? There are several lenses out there that some photographers use only for a specific reason, and a macro lens is one of them which many photographers limits to macro photography. What if I told you the lens has many more uses than just extreme up-close photos which they are known for.

Noticing movie mistakes feels like finding out how a great magic trick is done. But as with an illusion, the way a movie is shot and cut tends to distract us from those flaws and most of the time we don't even see them.

Around this time last year, I wrote an article called “Why Other Camera Manufacturers Should Be More Like Fuji.” Although I wasn't the only one saying this, it seems that Sony has taken note.

There are a zillion photographers out there, but there aren’t a zillion clients. How do you make your work stand out? Success comes when a client will book you because it's you and not because you are just another good photographer. In the process, having a recognizable style might also make you a happier photographer. But how can you get there?

Whether you’re a photographer, filmmaker, video editor, first assistant, or even just starting out as a PA, you’ve got to work to survive. There are many lengths of time where the work might seem to be non-stop; you work so much that when you do have free time, you might not even know what to do with yourself. The winds of fate can change quickly though, and you might find yourself all of sudden not having any new jobs lined up. After doing this dance for over ten years as a video producer and photographer now based out of Lexington, Kentucky, I’ve learned a few things about dealing with the stresses of when business is slow.

The recent introduction of new lenses for Canon's RF-S mount by third-party manufacturers Sigma and Tamron is a significant development for the industry. These lenses, all designed for APS-C format cameras, are a significant development that reveals Canon's strategic approach to its mirrorless camera lineup.

British landscape photographer and YouTube personality Thomas Heaton came in for a bit of heat recently after he botched one of his latest videos that features Fujifilm's latest medium format camera, the GFX 50R. However, he didn't just get stick for that, so he decides to wipe the slate clean for 2019 by taking it all on the chin like the pro that he is.

Please - do yourself a favor. Stop whatever you’re doing and go and watch the scene from True Detective I’ve linked in this article right now. It is not only possibly the greatest one shot I’ve ever seen, but it’s one of the most stunning pieces of cinema I've seen in recent memory.

This is a pet peeve of mine, so I am going to thank you in advance for indulging me. There seems to be a rampant misunderstanding in certain levels of the photo community as to what editing presets are, and what they actually accomplish. I (like many of you I would assume) am a member of various photo-centric groups on Facebook. In particular, I am a member of groups for people who have purchased Lightroom and ACR preset packs from a variety of creators. Almost daily I see posts in these groups that go something like this: "I thought my photos were beyond hope, but then I applied "WHIMSICAL PRESET NAME" and they were saved! These presets are amazing!!!1!111!!!" Sound familiar?

At the most basic level, photographers seem to be in two camps when it comes to image file types. There are those who care about the look of their images and shoot with big RAW files and those who don’t and use the smaller JPEG files.

RAW files offer a tremendous level of control over noise, tonality and color; a hearty file that can cope with the demands of our creativity.

To be honest, I’m not huge on pop culture. So when I heard that Kate Middleton, The Duchess of Cambridge, was recently awarded an honorary membership into The Royal Photographic Society, I didn’t really think much of it. Doing some research on it, there are quite a few opinions on her, her work, and her new membership into the society that I think are relevant to talk about in regards to the photo industry as a whole.

It emerged on Thursday that Magnum Photos may have been selling photographs of child sexual abuse for more than 30 years. Until it can answer some critical questions about its past and how it runs its business, its reputation is under threat.

New York City-based photographer Arne Svenson spent a lot of time in the news after he pointed his telephoto lens at his neighbors' windows and began photographing them for the sake of art. Understandably many of his subjects were outraged when they learned that they had been secretly photographed and put on display for Svenson's profit. The resulting lawsuits spanned two separate courts and several years, during which, Svenson had remained mostly silent.

While approaching the end to my holidaze, I stumbled upon the blog post of a friend I met at a photo workshop years ago. The title caught my attention: “Why I Ended My Nikon Professional Services Membership.” His reasoning behind it wasn’t what I expected, but in the era of information hacking, it kind of makes sense.