Opinion

360-degree video is a great way to tell immersive stories. Until recently though, the experience hasn’t been all that accessible. Just to view 360-degree content the way it was meant to look, you’d need an expensive headset like an Oculus Rift or HTC Vive and a fairly beefy computer to run it on like a high-end Alienware or something with a powerful graphics card. This meant that while VR content was being produced in droves, few people were experiencing it the way it was meant to be. That’s about to change. Oculus just announced a standalone VR headset called the Oculus Go.

I’ve always been jealous of people who know where they’re headed. They’re like greyhounds chasing a rabbit, absolutely certain of what they were put on this earth to do, and doggedly (pun intended) pursuing their purpose. When I first picked up a camera, I took photographs of everything. Bees, power lines, babies, weddings, families, anything I could point a lens at became my subject. It didn’t take long before I had people asking me to photograph them, and soon enough I was dragging families through shrubs and fields looking for that perfect outdoor shot.

A few months ago, I took an overnight bus from Pokhara, Nepal, to Kathmandu. Arriving at five in the morning was not a part of the plan; nor was losing a night’s worth of sleep to dangerous curves, heavy rainfall, imminent landslides, and music that blared until shortly before arrival in the city. When I got there, I wasn't in too pleasant of a mood.

What is the one part of your photography business that you enjoy the least? The one aspect that, while necessary, bores the living daylights out of you. Now, what if instead of trying to avoid that thing, you instead chose to lean in to the activity and make it your own?

The Canon 50mm f/1.8 lens, or commonly referred to as the nifty fifty, is a great lens that comes in with an amazing price tag of only $125 as I write this. For many, especially those on a budget, this is one of the first and most often recommended lens to pick up for any photographer of any genre.

Going pro or full time in photography is often a daunting task. A lot of us are making the jump from another career rather than straight from university. This offers a particular set of challenges. Chances are that you have a mortgage or rent, loans, credit cards, children, cars, bills, a cat and dog, and a host of expenses that you have to keep on top of. The risk is high, but so is the reward.

In many of the photography groups I am part of, I constantly come across the question of which lens should someone get as a portrait photographer. We all have different styles, and depending on what type of portraits and what other genres of photography we usually shoot in, we could all recommend you a different lens or pair of lenses.

Color has always been an Achilles' heel for me. When I first started in this industry, I was always looking for the magic answer: a specific Photoshop action, or a Lightroom preset, or a plug-in that did some kind of magic that created the color that I had wanted. Boy was I barking up the wrong tree.

Preparation is quite possibly the most important part of any project. Before starting anything it's extremely important to prepare and this is one of those things that many people including myself tend to forget. We get caught up in the moment or the excitement and due to this mistakes can occur. It's generally the little things that tend to get missed, I hope I'm not the only one that's turned up to a shoot without a battery or SD card. I know I've had my fair share of occasions where I could have put in a little more work into the planning stages. One can, of course, become better at these sorts of things but then one must also put such things into practice.

In my camera bag, there are two lenses I use the most and it all comes down to what I am shooting that decides which of the two I am using. For a majority of my event coverages, I pull out my standard zoom lens as my go-to weapon of choice. Occasionally, I do find myself yearning for extra reach, especially when I am stuck at a certain distance and can’t walk any closer to the subjects. Looking for a telephoto lens, I tested out the Sigma 100-400mm f/5-6.3 DG OS HSM Contemporary telephoto lens, aka the “light-bazooka,” which is considered highly compact and lightweight to the other contenders on the market. This lens sounds like the perfect fit for me.

I love 360-degree video. I've spent a bit of time with a few different brands on the market. While there are many things I love about the medium, the actual cameras aren't one of them. I don’t rave about them the way I do about perhaps a Nikon DSLR or Fuji mirrorless. That's because the manufacturers of these 360-degree cameras aren't making it easy.

There has been an increasing trend over the last few years that many newer photographers have latched onto. That trend is how important it is to tell the story "of" the photoshoot rather than just conducting the shoot itself. I've been noticing a very specific shift in priority from a time when it was all about the final images to a balance between shooting and behind the scene to our modern world where it can often be surprising how often behind the scenes actually seems to be the true product of a photoshoot.

Seven years since inception, I have shot over 250 weddings across the world and it all began from that first itch to capturing someone’s special memory and putting a smile on their face. Looking back is always fun; a lot of mistakes made and lessons learned. As a wedding photographer, I sat by and thought over what I’d say to myself if I were to begin fresh now. Now, this post is not just to those who are raring to get started in photography, but also to the beginner in each one of us who loves to get started every now and then with a fresh perspective.

Photographers who are active on social media often get a lot of questions about the technicalities of photography. Especially about nightscape photography – the subgenre of landscape imaging where you basically have a dark landscape set to some celestial backdrop featuring twinkly stars. Either through commenting on a shared image, a direct message, or an email, people ask about the type of gear that was used to capture a specific shot or any of the numerous variables that make up a given photo. Variables that range from the time of day to how many degrees of rotation on the polarizing filter. But this time I got an email that announced the inevitable demise of the subgenre of nightscape photography. But there’s a strong, intrinsic motivation for nightscape photography that I want to share with you here.

One of the reasons I love art is that is it the most effective way not only to entertain us, but to help us reflect on life itself. A well-placed verse or a well-timed press of the shutter can connect the world in ways that a thousand politicians simply can’t.

To capture those memorable moments at wedding parties and other events where lighting isn’t always optimal, many of us bring off-camera lights to help light up the scene. In the past, popular choices have been speedlights due to size, portability, and being able to run off batteries. The game has changed in the off-camera flash market with studio strobes and other flashes increasingly getting better across those three concerns.

All of the improved features of the Nikon D850 have prompted many photographers to sell their entire kit in order to completely switch camera brands. Do such modest advances in technology really merit a complete overhaul of your gear?

There are many debates over gear in the photography world, one of them coming down to the size of the sensor in your camera. Does it make a real difference? Are you thinking of upgrading your crop sensor camera to a full frame beast? You might want to check this out before doing so.

Whether you're a full-time photographer, interested in making the transition from hobbyist to professional, or just using photography on the side, attracting more clients is paramount to success and growth. With a plethora of photographers saturating the market, it can be intimidating and difficult to carve yourself a slice, but carve you must. Here are five of the most important ways I have attracted new clients.

When shooting assignments in the past, whether portraits, weddings, or journalism, I’ve always been one to carry two bodies to give myself options. I like to be able to access two different focal lengths at a moment’s notice. In the past, it would not be uncommon that those bodies would be two DSLRs of the same brand, usually Nikon or Canon. But now it’s something that is uncommon for me. You see, I now roll with a DSLR and a mirrorless body to allow myself maximum flexibility. And perhaps it’s something you should try, too. Here are a couple of reasons why.

The velocity at which camera technology accelerates each year is incredible. While we as consumers complain about the pressure to upgrade more often than we had to in the past, manufacturers cope with a similar, but different issue: how fast should we push to release new, exciting technology?

I have a confession to make: this past week I've been playing around with images that I've taken with my cell phone over the last year or so. I went to backup my phone's photos and decided why not try and play with them a bit in Photoshop during some downtime. You know what? I've been having a great time, my creative gears are turning, and I have a new found respect and appreciation for that tiny camera built into my phone.

We all have them, those cloudy days when you just can't create no matter how much you want to. As normal as this is, it's very frustrating. I'll spend hours doing random things before getting to work in hopes of stumbling upon any crumbs of inspiration left behind. I've found a few things that always work like going for a walk, sitting outside or talking with other artists. However. I've found value in working on old images.

If I had a nickel for every time I witnessed a photographer missing out on a great photographic opportunity in the name of fear, I'd be a rich man. Fear is one of the most powerful forces that holds us back in our lives. Fear of failure, fear of rejection, fear of embarrassment, or fear of injury all play a huge role in our decision making by clouding our rational judgment. By letting fear control us we let it define the limits of what is possible. Never let fear play a key role in the creation of your art.

I have been struggling with my bad filing hierarchy for years. An inefficient, inconsistent, or straight up bad folder structure not only robs you of of your hard-earned time but it can also sabotage entire projects, hiding your files in the deepest, darkest corners of your hard drive, nowhere to be found ever again. I recently came up with a system that enables me to easily and efficiently store files as well as retrieve them. Follow along to hopefully also put an end to your digital storage struggles.

I’ve written before about the genius of Buster Keaton. Agent Zero on the landscape of cinematic laughter, his influences stretch far and wide. Even nearly 100 years after the high point of his career, you can still see references to “The Great Stone Face” in everything from the films of Wes Anderson to the action comedy of Jackie Chan. In a world without dialogue, Keaton embodied the still-true mantra of motion pictures: show don’t tell. Without the ability, or in his case, desire to draw laughs through witty dialogue, he instead used action, composition, and creativity to tickle our funny bones. The lessons that can be gleaned from watching the master at work are essential learning for any visual storyteller, and this video from Every Frame A Painting helps detail Keaton's approach.

“I want to work with my dream wedding photographer as an assistant, learn the craft, and start up on my own sooner. What is your advice to me?” This question was posed to me at a recent photography meet up. In a way, this reflects the aspirations of many new-generation photographers who are raring to get started with wedding photography. One logical step many think about is to join as an assistant, master the skills, and startup. That's what I did six years ago. But there are mistakes that I made and hopefully the new-gen wedding photographers don't make too.

I always think that knowing a bit about the author is important, especially when reading an article about camera equipment. I work predominantly as a commercial photographer shooting people and food. However, most of my kit was purchased when I was starting out as a wedding photographer. So the reasons I shoot prime lenses apply to both my event work and the more commercial work I shoot now.

Remember the time you first discovered photography? That day of unboxing your first camera and going out into the backyard and photographing just about anything you come across. That perilous voyage you embarked on, trying to get that bee perfectly in focus as it hovers above the flower or the macro image of the tree bark shot in shallow depth of field. The first sunset you shot. The first time you launched Photoshop in the 90s and then publishing your first portfolio on DeviantArt soon after. Landing your first job as a photographer. The stresses that followed and the mistakes you made. If you could do it all over again, would you do it any differently?

As most of us know, the new iPhone 8, 8 Plus, and iPhone X were just recently announced. As a photographer, I have learned to love using my phone as a camera and have been digging a bit deeper into which phone I want to get next. Of course Android makes a few phones with great cameras, but the iPhone has always been known for its photography and definitely markets their phone camera towards it. In these new models, we see some improvements that may be a game changer for any photographer on the move.

The latest entry-level DSLR released from Canon, the SL2, is one with some very interesting features. It is now the cheapest DSLR currently available with Dual Pixel autofocus making this a very interesting and capable camera. If you haven't tried Dual Pixel autofocus before, it may just change the way you work because it is simply incredible. Coupled with a much-needed flip touchscreen, this autofocus system is still yet to be beaten. The beauty of this feature is that when it comes to focusing, it tracks moving subjects and locks onto stationary subjects extremely well making very useful for video.

If you work with people, whether it be kids, families, seniors, adults, or professional models, male or female, then you have almost certainly shot a TFP (trade for print) shoot before. While the definition of TFP is flexible these days, as most commonly we mean "trade time for digital images" rather than physical prints, these kinds of shoots have and will continue to be an industry staple. The most important aspect of these shoots is the one thing that often gets forgotten: getting a return on your investment of time.

If I asked you what comes to mind when I say painterly photography, what would your answer be? Do you think of technical art school concepts that define the two mediums like abstract versus figurative? Or maybe you think of stylistic photography choices, whether in shooting or post-processing, that give the finished image a timeless quality. Whatever your reaction to the concept is, here's a cool mini-series to check out that is delving much deeper into the topic.

The International Broadcasting Convention has just ended, but before wrapping up, there were some serious insights to the future of VR technology. Now, we may be seeing virtual reality being broadcast live in lieu of a regular TV event.

Whether you live in a football-crazed nation like America, or are beholden to the whim as another sport, nothing is more exciting than the start of a new season. As the kickoffs are underway, I think today I’ll take it from the gridiron to the studio with a few lessons I learned in the huddle.

I regularly get asked on Instagram how I edit my studio headshots and yet keep them looking natural. In truth I’ve spent years learning the intricacies of Capture One Pro, Photoshop, and the various retouching techniques that are frequently discussed.

I don't make time-lapses, but as a viewer I frequently happen to find time-lapse videos that I can't or don't watch at all. Here are my tips for all of you out there to make your sequence of images more appealing to any audience.

Award-winning Wedding Photographer Susan Stripling recently shared an open letter she wrote dealing with sexism in the photography industry. In the letter, she shares her experiences with male peers, wedding guests, employees at camera stores, and everyone in between who makes gender an issue in a field where sex shouldn't matter.

For filmmakers, our reels are often the first thing a prospective client sees from us, so why do we put so little of ourselves into the edit? Your reel should show the world who you are, just as much as it shows the world the kind of work you do.

There are several debates over which type of lighting is better between natural light and off-camera flash lighting. Some photographers build their style on one over the other, while some find themselves using both. I believe that it comes down to your personal preference in which you like over the other.

In the last decade, cell phones have made huge leaps forward in technology and capability. It's simply incredible what they are capable of these days, and the amount of processing power and features they have would have been unimaginable not so long ago. The latest iPhones are capable of shooting beautiful images and video up to 4K at 60p. Further, still, the iPhone 8 and X are capable of filming at 240 fps when shot at 1080p, which is very impressive indeed. Both of these features are currently not available in any other similarly priced phone, DSLR, or even most mirrorless cameras. Even popular DSLRs like the Canon 5D Mark IV and Nikon D850 aren't able to shoot at the same frame rates as the iPhone. The question that many people ask is, why?

The Nikon D850 is quite the beast of a camera. It holds a massive 45.7-megapixel full-frame sensor that can record 4k video and create 8k time-lapses. It can shoot at a blazing fast seven frames per second and has an enormous 51 image buffer when shooting 14-bit raw images. The focus speed is insanely fast, deadly accurate, and offers 153 focus points with 130% more frame coverage than the older Nikon D810. The only problem with such an amazing monster of a camera is that Nikon thinks it’s too much for women to handle.

When it comes to wildlife photography, high megapixel cameras aren't normally the first kind of cameras that most people tend to think of. Cameras such as the Canon 1DX Mark II, the Nikon D5, and the Sony a9 come to mind, due to their incredible burst rates, rugged build quality, and amazing autofocus systems. Tony Northrup, an avid wildlife photographer, believes the Nikon D850 to be the best camera for wildlife photography. In his latest video, Northrup describes in detail why he believes this to be true and based on the information he presents, it's difficult to argue against his points.

Every couple of months it seems like there is a new story about how a magazine cover was photographed with an iPhone. Magazines like Bon Appetit, Elle Australia, and Billboard have opted out of the realm of photographers using traditional, professional gear, and into the realm of gear used for taking snapshots and selfies. For each announcement, there are thousands of photographers grinding their teeth and shouting, "this is nothing but a publicity stunt!" But is it? Maybe it's time for the photography community to face the truth: it's not the gear that matters.

At this point, we should all know that almost all jobs and opportunities to find success in photography are built off networking. Now there are tons of ways to network and the path you pick will depend solely on the niche you associate with. Either way, the main goal is to meet people with the same professional interests as yourself to feed off each other creatively and to broaden your reach in the community. We tend to forget about the community aspect as we get caught up in chasing money or companies but what we sometimes need to go to that next level is support system built off our love for photography.

Food photography is great fun and really easy to get into. All you need is a camera (which if you own a smart phone, you already have) and some food.

In the last few years, Laowa, a Chinese company, released some very interesting lenses. Several of their wide-angle lenses have been praised for excellent performance and can be bought at relatively reasonable prices. The Laowa 15mm f/2 is one of these lenses and is currently the fastest 15mm lens that you can buy. Of course, there is the Sigma 14mm f/1.8 Art, and although that lens is almost double the price, Sigma's Art lenses have developed quite the following due to their incredible performance. But can the Laowa beat it? Kaiman "Kai" Wong helps us find out in this video review.

I had the glorious opportunity to play with the highly-anticipated (at least for me) upgrade from the D810, the D850. I wanted to touch on a few things, namely the hype and if one really needs this new camera. For me, absolutely I do and I'll explain why. This isn't a review of the D850, but just a few key things that I was really wondering about and needed to know before upgrading.

It would seem that the Nikon D850 can do no wrong and with this latest test and comparison from Tony Northrup, the results seem even more positive. The dynamic range was something a lot of photographers were concerned about, especially due to the higher megapixel count. At ISO 64, it's safe to say that the dynamic range of the D850 is a solid improvement over the Nikon D810. As Northrup demonstrates in his video, the D810 suffered from a heavy magenta cast in recovered shadows whereas the D850 has a more neutral and pleasing look to it. At higher ISO, however, the differences between the two Nikon cameras may not be as significant.

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.