We all know that wedding photography is not easy, and at our wedding, we want a record of moments that will last a lifetime. After working for Tom Harmon as an intern in the summer of 2015, I saw what went into shooting a wedding. It was a lot more than I expected. From the contracts to the gear, then shooting the actual wedding itself and going back to upload and edit the photos, it was tons of work, tons of gear, and a lot of patience and creativity.
The recent controversy surrounding Steve McCurry and his use of Photoshop has raised both questions relating to his past work and broader questions of representation in photography. Though an increasing number of images showing evidence of cloning and other manipulations have been uncovered, recently, two videos have surfaced that raise further questions.
This is an article I've been on the cusp of writing for some time. I was first jolted into this area of discussion when I heard someone refer to the photography of poorer cultures and communities as "white middle-class photography." I say jolted because — perhaps naively — I had drawn no parallels between types of photographer and types of subject before that day. Unlike most criticisms about photography, this comment didn't glide past me; instead, I found myself plunged into an internal debate. Are the loose motivations of "raising awareness for" and "the documentation of" these communities disingenuous and moreover, are they doing more harm than good?
There's no arguing that Bernie Sanders' rise has been one of the most remarkable grassroots campaigns in the history of the U.S. His photographer, Arun Chaudhary, recently gave a fascinating interview on what it's like to photograph Sanders and what he's trying to accomplish in doing so.
I stumbled across this video that was posted by B&H back in 2012 and was quickly amazed by the amount of information I was able to gather in terms of composition techniques. When starting out in photography, most people learn the rule of thirds, take off running, and never look back. Give this video a watch, and you will open an entire new world of tools for your image creation.
Paris-based Photojournalist Maya Vidon-White on Saturday called it "good news for photojournalism." But in a New York Times article, she is quoted as saying: "I don't feel a total sense of relief." Vidon-White was facing criminal charges in France for a photo she took of a victim of the November 2015 terror attacks in Paris, which was then sold to United Press International (UPI), a news agency, which in turn sold it to a French news agency. The image was ultimately published in a French magazine. The victim's family pressed charges under the nation's privacy laws, which are much stricter than U.S. laws.
This incredible year-long project by the 70 photojournalism students of Rochester Institute of Technology plays to the depths of photography in light, movement, emotion, and connection — Ideas laid out in short photographic bursts that create tangible emotions for the viewer to experience alongside the subjects in the photographs. In under two minutes we see nearly 100 stories, each on the screen for a second or less.
I’m sure most of us have been there before: standing on a street corner, your “camera bag that doesn’t look like a camera bag” slung casually over your shoulder. Your camera is in hand, its strap hanging loose, dancing in the summer breeze. You raise the rangefinder window to your eye and snap: the perfect shot of a homeless man! He looks really sad; this will finally change everyone's mind — straight to Instagram. But there’s a fine line between biting social commentary and “Poverty Porn,” and sometimes, it's hard to see which side you’re on.
On the tails of tragedy, one Denver nonprofit has focused on using photography as a valuable tool for healing. Almost a year to the day, terrible earthquakes struck Nepal. Eighteen individuals were given cameras as a way to cope with the dramatic change in their lives. The images that were produced are beautiful and poignant reminders of the resiliency of life. It is the core of photography, intended as a cathartic expression of loving memories and an emotional foundation for future reflection.
I’ve attended plenty of workshops in my time as a photographer. I’ve attended classes taught by Joe McNally, David Hobby, Joel Grimes, and more. I’ve assisted some of the best photographers in a variety of fields, and watched dozens of tutorials put out by some really top-tier shooters. It’s pretty safe to safe to say that I have had a solid amount of training through a variety of sources, but no amount of classes or YouTube videos will ever compare to the five months I spent interning at a large newspaper.
Some may be dubious of the merits of ENG cameras over their sleek and stylish film counterparts, such as the 8K F65 Cine Alta or Arri Alexa, and they wouldn't be entirely wrong. While ENG cameras have long been pigeonholed for their clunky construction and weight, much of network television depends upon their workhorse-like live sports coverage capabilities.
This gruesome photograph became pivotal anti-war propaganda that drastically shaped public opinion. The horrific frozen frame depicts a baptismal moment of unwavering distinction, a moment in a time that could not be undone, an elevated wartime tension that could not be unraveled. In this sense, the photograph was successful. It was shocking and characteristic in its ability to drive the anti war movement, protesting against brutality of the Vietnam conflict. But, what you can't see, is enough to change your perspective completely.
Reportage seems to be a genre where feminine qualities are seen as an obstacle rather then as an asset. I sat down with French photographer Audray Saulem who proved them wrong and listened to her experience shooting an epic race of 210 kilometers in the Sahara over 6 grueling days.
Canon and Nikon have always had their single digit models at the top level of performance. From the original D1, bringing a professional digital camera to the world that didn’t require a separate backpack for a processor, to the D3, Nikon’s first ever full-frame body, this series of cameras has pushed the envelope of what a camera can do. The Nikon D5 not only pushed the boundary, it has demolished any previous limitation that I have found in a camera.