Ever hear someone say “Don’t worry, we can fix it in post”? This is increasingly both a still photography and motion ‘issue’. We’ve become so accustomed to having the digital tools to ‘fix’ our work, most people see it as a normal part of the process. For personal and business growth, this mindset is like asking to be blindfolded and then getting directions to the nearest minefield. Fixing things in post should not be a standard approrach as it's asking for trouble. Here’s why, and more importantly, what you can do about it.

In recent years Photoshop has garnered more negative attention than any other platform that is utilized for image manipulation. Photoshop can be used to create unnatural product resulting in unrealistic expectations. As photographers and retouchers, we have the power to control what the media perceives as attractive.

Photography is an art form that combines technical skill with creative vision, and among the fundamental principles that every photographer should master is the art of straightening horizons. Yet, it's a common oversight, often dismissed as a minor detail. It's a pet peeve of mine and is something that is easily avoided. Let's delve into the significance of level horizons in photography, explore the reasons why they often go unnoticed, and provide practical tips on how to break the habit of being a lazy photographer by ensuring your horizons are straight.

One of the questions that crops up often on photography forums, sites, and even in photography conversations over a pint is "which lens should I buy next?" It is said with such sincerity and met with so many recommendations that are, in the end, mostly meaningless. It even rears its ugly head in the form of "What is the best lens for 'X' photography?", as though somehow, another person's answer will guide the asker to greatness.

Never forget where that perfect shooting spot is ever again! If you're like me, location scouting is something that is never an oversight. In previous articles, I've often written that preparation will make or break a photo shoot, it is essential. With that said, this simple and rather obvious hack that I discovered will make the preparation process that much easier!

Recently, Ted Forbes over at The Art of Photography posted a rather interesting video that challenges the pervasive axiom of the artistic world that the action of making art will inevitably translate to an audience valuing and appreciating your work. Forbes asserts that our society is so saturated with creative content makers that it is nearly impossible to create photography that people care about unless you are pushing beyond the normal limits and expectations of what is already present in the world. I agree with this on the surface; however, I also feel that it doesn't tell the entire story.

Fuji's Instax line of products — the legacy of its film heyday — is successful. They've sold more than 50 million cameras, with 10 million alone in the 2019 business year. However, more than that, it's the financial powerhouse for its Imaging division, turning over twice as much money as its digital counterpart. It's strange to think that film is where the money is, but for Fuji, that is the case. So, why is it making digital cameras?

Manufacturing a product range focused upon APS-C and full frame (FF) ILCs is one of those strategic decisions that seems set in stone. If Canon and Nikon think it's a good differentiator for consumers, then it must be an industry standard that is broadly followed by everyone. However, the camera market is more nuanced than this and has some surprising origins. So, what is the best strategy?

With the wedding season right around the corner, it is time to find a solution to improve last year’s workflow. Most event photographers complain about the same thing: culling. It can quickly become a very time-consuming task, and it is far from being the most interesting part of the job. Although, there are a few ways to help speed up the process while retaining a solid quality control.

It’s easy to be astounded by statistics such as 14 fps and ISO 3,000,000. But when you put everything that Nikon’s latest flagship body offers together, you get a machine that is the first of its kind, and that's really thanks to the combination of two features Nikon obviously pushed to new heights: autofocus, and — yes — ISO sensitivity (which has itself been a point of controversy for the Nikon D5).

If there's one thing that's certain with Nikon and Canon's product lines, it's the availability of a professional specification camera body. With their pivot to mirrorless, it's understandable that they haven't released a MILC version yet. So why doesn't Sony have a pro-spec body?

What does it take to win an internationally respected photography competition? A few weeks ago, the Sony World Photo Awards announced their winners, one of whom was Fstoppers community member Mikkel Beiter, who won two awards: Open Travel and Denmark National Award. We caught up with him to find out about his work and his prize-winning photograph.