Photographers typically spend a lot of time thinking about color, everything from editing in Photoshop, calibrating a screen, or lighting with gels and filters, to deciding on wardrobe, set design, and locations. There is no escaping the importance of color in this profession, and yet the way we see and describe color is not so simple. Color vision games can be a great way to test your perception of the world around you and compare that to fellow photographers.
This week, I acquired a shiny new Olympus OM-D E-M1 Mark II, which surpasses all cameras in its class when it comes to speed. This is thanks to the advanced silent electronic shutter mode. And this got me thinking, will there come a day when the electronic shutter will ever fully replace the mechanical shutter? And do we want it to?
I recently posted an article about getting the most from the Fujifilm X system cameras. One of the points of discussion and contention that came up in the comments was that of autofocus. Other issues, such as flash system and software support were also raised. The flash system is a matter of needs. All manual systems are supported and HSS/TTL is also becoming more fully developed. As for software, although Adobe's support is still in a developing state, speed has increased somewhat, as has...
When starting out in photography, the number one obstacle I encountered was finding opportunities to learn from mentors. Research is pretty clear that the fastest way to shortcut the 10,000-hour rule, that is, the rule made famous in Malcolm Gladwell's "Outliers," which says it takes approximately 10,000 hours to become a master of your craft, is to use a mentor in your field, shortcutting by learning from their mistakes. My problem, which is likely yours as well, is that educators didn't come to my town. El Paso, Texas, with its 700,000 population, didn't seem very attractive to the teacher circuit. So, how do you change that?
I think it’s safe to say that we are all photographers because we love photography. I know I do, and I am so thankful that I am able to wake up every day and make money doing something that I love. However, like any other job, you’re going to run into an occasional gig that might not be right up your alley. That is a daily struggle for me and that is why I make a point to separate my business photography from my passion projects. The tricky part is where to draw the line.
Potential leads may not book you for many reasons. Maybe you are out of budget completely for them, maybe your style is not on par with what they wanted, or perhaps it was just not the right time for them. Knowing how to work with your leads can help create a solid stream of clients to book you solid throughout the year.
One of the most obvious telltale signs of an unprofessional commercial or product image is color. The most famous and readily cited issue is color grading, but it's not the only problem and the uniformity of color is often neglected. That is, the even color of the object or two objects' colors truly matching. As always, I will couch my method in the sentiment that it may not be the optimal technique, but it works very well for me.
Digital photography, especially concerning smartphones, is taking the world by storm these days. It's become the norm to see people whip out their phones when something dreadful happens in public, or when they want to photograph that special moment with their friends while cruising down the freeway at some awful speed. When that wasn't extreme enough, there's the very recent case of the model hanging off the edge of Dubai's 307-meter Cayan Tower.
Apple’s MacBook Air isn’t long for this world. When Apple announced its new lineup of MacBook Pros in October, absent from the update party was the MacBook Air. In fact, Apple quietly removed the 11-inch model from the website around the same time, leaving only the 13 inch to soldier on for the time being. It's not a good sign for photographers invested in the Apple ecosystem (that’s a lot of us) looking for a road-warrior laptop.
In the world of film and commercial video work, there are so many working components that need to come together in order to have a successful production. So when it comes to bringing all those components together, you want it to be as smooth and simple as possible to minimize stress and streamline efficiency so that production does not fall behind schedule. One of those components that is insanely critical for a finished product is the coloring — not an area you want to skip on.
As shutter speed is the limiting factor in taking pictures of the night sky, we often seek out more expensive lenses that open up that bit more or check Fstoppers if there’s a new low-light, high-ISO king of cameras on the horizon. But what if I told you that there’s a device you can use today, with the camera and lens you already have, that has the potential to capture places that are light years away from Earth?