It's an unavoidable topic in American conversations. In the photography world, it seems to pop up on the forums and Facebook groups often enough to warrant further consideration: guns. Not necessarily in the heated, political debate sense, but to ask this question: In a world where carrying a concealed weapon has become more normalized and photographers spend more time in remote and urban locations, do firearms have a place in your business?
We love our images. We put our heart, soul, sweat, and tears into our work and we can't wait to share it with the world! But one of the more popular practices in the photography industry is watermarking. The concept behind watermarking is understandable and useful, but in reality, is it really a necessity? I will explain why for my third installment of my community discussions.
The previous article about the processed image ended with similar arguments both for and against digital manipulation, and the artist’s disclosure of such actions. But how does the motivation for creating art through both photography and creative editing arise? I’ve gathered a panel of fellow international landscape photographers to expatiate on the power of the processed image. Professional landscape photographers Ryan Dyar, Felipe Gómez, and Simon Roppel are here to help us understand why certain decisions in editing process are made, as well as in the field.
Human beings have rendered images of themselves in one form or another since the beginning of our species. The desire to try and capture the human essence in something that will outlast the physical body is universal; the need to encapsulate our understandings of “self” and “others” is found in every culture throughout the world. But have digital cameras, selfie sticks, iPhones, and Snapchat made such a pursuit so mind numbingly easy, that it has now completely lost it’s value?
When we think what defines our brand as photographers, we think of our logo, website, and even the style of imagery we create. But, everything that is related and connected to us and our company is a representation of our brand — from the way we answer our emails, interact with our clients, down to the pants we wear, the bag we carry our gear in, and the overall way we present ourselves to the world. Every detail reflects back on our company and in the end reflects back on our bottom line.
As a studio owner I am privileged to see many different photographers working in my studio space. I have a chance to observe their individual working styles and to see what results in success. Over the past couple years I have noticed some rather interesting trends. Let me give you some insider tips after observing how some of the top photographers work.
You might find today very interesting for Instagram. It seems like everyone on your feed is posting a hefty range of different photos telling you to "turn on notifications" on their feed. If you missed Andrew's regarding Instagram changes, check it out to find out the latest on how Instagram handles feeds. Changes will definitely be happening whether you like it or not. But is that something to worry about?
The processed photograph is growing more popular. Whether that has to do with the technology involved in image processing becoming more accessible to many is up for debate. Maybe it is a gradual shift of the human perception of what we call the art of photography. I have asked a handful of professional landscape photographers to contribute to the case of the processed photograph, making this second part in this series more practical than the rather philosophical first article.
A few weeks ago, we asked the Fstoppers Community to submit their best Concert Photography, you all rocked out! It took us a little longer to get the Critique back in front of your eyes with Lee Morris' wedding and finishing up the new Joey Wright Swimwear tutorial, but we finally have it ready for you. We selected twenty of our favorite images to review. Take a look at the selections and add your thoughts in the comments below!
A lot of photographers are afraid to put their work out into the public eye for fear that its not perfect. A lot of work goes unseen because the photographer wasn't comfortable enough to show what they created. Chase Jarvis interviews Austin Kleon, the author of the book Show Your Work!: 10 Ways To Share Your Creativity And Get Discovered, and delves in 3 reasons not showing your work is a bad idea.
Recently, during my annual trek to Las Vegas for WPPI (wherein I arrive in the city of sin and proceed to actively avoid going to the actual expo because I book too many other things), I found myself in the deserts outside of Vegas with a Sony A7RII, a few bits of glorious Zeiss glass, no modifiers or lighting of any kind, and Renee Robyn as my model. Welp, guess it was time to see what Sony's dynamic range claims were truly about then.
As many of you have seen and made clear on your feeds across various social networks this week, Instagram is changing its algorithm and from the looks of it, possibly for the worse. Chronological feed to curated feed is the proposed plan for the Instagram team in hopes "to show the moments we believe you will care about the most." How exactly will they know what I want? Facebook seems to do pretty well in retaining users so they must be doing something right for the majority. Now what does that mean for us photographers and professionals? Who knows but change will come so adapt and get over it!