In the world of digital photography, retouching often plays just as much of a role in the final image as taking the photo(s). There seems to be an even split of professional photographers who do it all themselves vs those who hire it out, and lately I've been noticing some discussion based around where credit is due when a photo's final appearance relies more on editing than setting up lights and pressing the shutter.
First 5 is a government agency in California aimed at - among other things - curbing obesity in children. It's a great cause, no doubt. They are, however, getting a little bit of backlash over a campaign that is currently featured on posters around California. The ad features an overweight, little girl drinking from a bag of sugar with the caption, "Sugary drinks like juice, sports drinks and soda can cause obesity. Choose milk and water instead." But some people are a little upset over the fact that the girl in the image isn't actually overweight - she's been photoshopped.
The explosion of the app development industry after the colossal growth of smartphone and tablet products in the market started out as a fantastic new tech segment worth watching. It has contributed significantly the rebirth of my beloved Bay Area and Silicon Valley. However, in recent months, this once proud and innovative space has devolved into an overcrowded, hyper competitive and absurdly redundant “look at me” marketplace. This is probably most true for apps based on taking and sharing photos and videos, and I’m getting really sick of it.
This is a topic that many paid video and photo shooters tend to feel very strongly about, and I’ve tried to analyze my experiences for some rational thoughts on the matter. If you want your voice heard, leave your opinion in the comments, but first read about how one particular band actually offered pro and hobby photographers press access to shoot images of their performance. For a fee of $150.
Large, imposing and drop dead gorgeous, the new Sigma 120-300mm f/2.8 EX DG OS APO HSM AF is one hell of a lens. Sigma has done an outstanding job in recent months producing some top quality lenses and they didn’t let up on the gas with the first Sport category offering in their new global vision. With two levels of optical stabilization, a wide open f/2.8 aperture, crazy fast and accurate AF and a beautiful body build, you want this lens, even if you don’t know it yet.
As a creative professional, your marketing tools can be one of the most important aspects of your business. Facebook has always been a great place for your social marketing strategies, but what happens when that is stolen from you? It happened just recently with the creators of The Underwater Realm. This is their story.
When you think group shots, what lens immediately comes to your mind? Often, the initial reaction to a "group picture" is to reach for the widest lens in your bag. It's a safe option that makes sure you'll fit everyone in the frame. It could be said group shots are more about accounting for everyone who was present rather than being a work of art. However, if you care about the quality of images you're creating, maybe your widest option shouldn't be your default.
The longer I've been a photographer, the more I've come to realize that the quality of the camera you own is far less important than how you shoot. The iPhone fashion shoot, now an iconic post on Fstoppers, showed that quality images can be taken without the biggest or latest camera body. While I'll affirm that shooting professionally shouldn't be determined by what kind of cameras you have, I think professionalism should be somewhat defined by how many cameras (and lenses) you have.
Sigma, hot on the heels of the outstandingly successful 35mm f/1.4 Art lens, has been releasing and announcing new lenses in their Global Vision realignment like crazy. Recently they released the 30mm f/1.4 lens for APS-C cameras, and I had high expectations for it after being told that the president of Sigma was aiming it to meet the performance set by the 35mm. So did it?
A couple months ago, I made a post explaining the uses of the Canon Professional Services that is available to all Canon photographers using more than a couple pieces of professional equipment. The post got some backlash from some non-Canon users, exclaiming that their service was nothing special. Well, I'm back again, to drop the bomb on what makes it a class above the rest.
Monopods, once really only useful in a handful of situations, have evolved into irreplaceable members of our creative arsenals due to the advent of high quality video being produced in DSLRs. The idea of a “video monopod” might frighten video purists, but there are those such as Patrick Hall and myself who swear by them. Manfrotto’s version was a fantastic foray into the medium, but slightly pricey. Benro recently released their more affordable versions, and I was more than ready to see if they were able to hold their own.
As any wedding photographer knows, one of the most nerve-wracking events is when a guest completely destroys the picture perfect moment you've been hired to capture. Whether they stand up in the aisle during the first kiss, take photos with their ipad in front of your camera, or inadvertently cause half the family to look off to the side during posed family portraits, wedding photo bombs can be a real headache. Wedding photographer Corey Ann's suggestion is having an "Unplugged Wedding".
I'm James Robertson, a new addition to the Fstoppers writer staff and a full time commercial photographer/studio owner for the past year. I've joined the team to bring content to the readers who may find themselves either ready to jump into the professional world, or have already and are looking for tips to make life easier. I thought it would be good to start with an article that will give everyone some tips on simplifying the work load that comes with the industry through organization and planning ahead.
Ok, so we've covered why you should love the Creative Cloud: it gives you access to everything Adobe everywhere you go. It gives you all the outstanding programs at your fingertips. It is taking connectivity to a whole new level for creative collaboration. Updates are instantaneous. But all that aside, it's a stifling, expensive system that might be forcing you into something you don't want.
Adobe Creative Cloud, in lieu of Adobe Creative Suite 7, has some great new features but also some hotly contested issues including the loss of disc support and move to a monthly payment feature for all future software. Mike Kelley, Rebecca Britt and I (Jaron Schneider) discuss what this means for creatives and why it may not be the big deal some are trying to make it out to be.