Working for free can be a little controversial and I'm sure there are many creatives out there that completely disagree with it. There are plenty of reasons as to why someone shouldn't work for free but the debate continues. I, on the other hand, would consider working for free depending on a number of factors. Sometimes making money isn't the objective for me and working for free can be very fulfilling. For instance, offering free work for a charity is something I've done regularly and felt very good about. On other occasions, however, I have worked for free as part of a strategy. This is a more risky method because it doesn't always pay off, but, when it does, it can pay off really well.
There are two ways to photography: registration and creation. Let me be clear that, before we get into a short essay about self-acceptance in art, neither is better than the other. While I’d like to teach you today about conscious creation, registration is the inherent nature of photography. But the way we modify and modulate light before it hits the sensor, as well as the entire process after it, is all up to us and not the camera manufacturer.
It's far too easy for people working in a creative field to somehow get the sense that basic attributes of professionalism don't apply because we're working in a non-traditional job setting. This is something to watch out for as that belief couldn't be further from the truth or worse for your business. Being labelled as an artist does not excuse poor professional habits or practices and if you're serious about having a lasting impact and a long career these common-sense business practices should be very high on your priority list.
Another day and another DxOMark rating has been broken. This time, however, I don't think it comes as a massive surprise. The Nikon D850 has so far been highly commended, and most, if not all, reviewers probably consider it to be the best DSLR currently available on the market. DxOMark gave it a rating of a clean 100 making it the highest rated stills camera for a brief moment. Since then, Hasselblad has taken that crown with the X1D-50c.
I stumbled upon this video earlier today and it was one of those things that really made me think. What if I didn't do what I do? Would I be happy or would I regret not doing it? I find that a lot of people are content doing the work they do or working the job they work. I believe that it is when we push ourselves to be creative or work harder and put our stuff out there for it to be seen, that we begin to take the right steps forward. The question "why not?" acts as a motivator to go out and create because all the reasons "we can't" are just excuses as to why we aren't.
This may be appalling to some, or realistic to others, but I think if we don't discuss the state of the profession of photography we will eventually regret it. When it is more than a hobby, how has the industry changed? Is it a good change? Has technology helped or hurt the professional?
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.
Art is about storytelling. It’s about using all the tools at one’s disposal to convey and idea or an emotion. To connect an audience to a brand, or a personality, or a moment in a way the no other medium can. Along with my own technique, the ingenuity of the on-camera talent and the creative team behind it, plus the tools necessary to complete the job, the location you select for your shoot is one of the many raw materials that will have an effect on the eventual alchemy you bring forth to produce a great image.
Perhaps a better question to ask is: “Why am I a photographer?” In recent months, I feel like I've completely lost touch with why I became a photographer. Don’t get me wrong, I absolutely love what I do, but sometimes I forget why. When I was first starting out as a photographer and all of my shoots were “just for fun,” it was easy to see why I enjoyed it. After all, there were no consequences if I screwed something up, and I looked at photography as more of an escape from reality than a job.
Photography, as with any creative pursuit, requires the creator to have their hand in the process for the results to shine. Countless Facebook ads, online workshops, and even our camera companies would have you believe that they if you just buy that next magic bullet, everything will change for you. If they are to be believed, swiping your credit card just one more time is the key to making great images. Rubbish. It’s time to break away from that thought.
Most of the times, wedding photography is looked at as this big ball of happiness, glam, and glitz where two hearts come together to exchange eternal vows and so many people come together to celebrate it in a grand way. Now that’s the fun part. From a wedding photographer’s eyes, there’s a lot more to it. From client communication to shooting to editing to delivery, there are so many things that a wedding photographer juggles around before signing a project off happily. One of the most important parts of it is the legal contract.
Unless you are buying an older digital camera, most of the ones on the market today are all over 10 megapixels which is large enough for the casual shooter. Even most cell phones come in at over 12 megapixels. Some people do get hung up on the number of megapixels the camera has to determine quality while having more available is great, it doesn’t necessarily mean it’s the most important thing you should be looking for in a camera. What is more important than megapixels?
A photojournalist is often called upon to photograph a scene at a moment’s notice. It can be a car accident one day, a music festival, the next and a protest the day after. With that in mind, there are two useful lenses that every photojournalist should carry in their bag to cover such a diverse range of photographic opportunities.