Reproducible photography started with forms that would produce a monochromatic image. For a large portion of the history of the medium, this was all we had. Color photography brought about a choice as to which you would like to use, and over time it became the dominant choice of consumers and professionals alike. Even so, in the art world it persisted for much longer as the choice of the artist and right up to the overwhelming force of digital, dozens of different black and white films were still in production. As digital photographers, we have the choice, most of us after the fact, to make a black and white conversion of our files. Today, I’d like to talk about my thought process when it comes to making the decision to go black and white.

A couple of weeks ago, I bought my first drone: a DJI Mavic Pro. I’d been eyeing one for months, trying to decide if it was worth it and if I could justify its use for my business. I pulled the trigger right after Thanksgiving, have been trying to learn all of the rules about using it, and have been studying for the FAA Part 107 test ever since. And there are a lot of rules. And one of those rules is about to change — again— thanks to a bill President Trump signed yesterday that requires all drone flyers in the U.S., including hobbyists, to register with the FAA.

How does a photographer have names such as National Geographic, Smithsonian, Powder Magazine and The New York Times on his client list? And how might you be able to do the same?

A well-devised digital storage system should be one of the most crucial considerations for every digital creative. With larger and larger camera sensors constantly emerging on the market, we find ourselves needing to accommodate and functionally access enormous raw and video files. Like many photographers, I face a near-constant search for the perfect storage solution. This month, a new Thunderbolt 3 SSD by Plugable is emerging on the scene, and I have a feeling it is going to change photographers’ and videographers’ workflows in a drastic way.

In late November 2017, Pixelmator Pro was released to those eagerly awaiting a new photo editing solution on the Mac. Whether it was to finally escape the never-ending Adobe Creative Cloud subscription fee, or for those just getting started in photography and looking to get their toes wet, there was a good amount of hype and excitement leading up to its release. One month later, here’s my early impressions of Pixelmator Pro.

Who knows how many new videos and articles are put on the line each day talking about the gear you should own as a photographer? And, more importantly, when was the last time that you read an article about gear that promised to get you closer to the action, help make you more energetic, and it can charge all of your batteries too?

A long time ago, in a galaxy far away, Adobe Photoshop had yet to be created. OK, I am being a bit dramatic, but Adobe is celebrating 25 years of Photoshop. Watch this video to truly appreciate how easy we have it in our digital age.

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.

Color is the word this week, from the pioneering, contemporary, and successful work of Paul Outerbrdige through to applying the Orton Effect to color landscape images... or indeed, any images.

You may hate heavily post-processed images and videos, but do you hate them the right way? Here's how to properly do it.

Leaving the car, mountains, and solid ground behind, we get into a small airplane to do some landscape photography over Western Australia with International Fine Art Photographer of the Year Scott Jon McCook, not only to cover more ground while we’re at it, but to gain a rather unique perspective of the landscape and the story behind it.

We live in times of turmoil. The old fixed orders of the post-World-War-II globe have lately been called into question in new and unexpected ways. People are more engaged in politics than ever before during most of our lifetimes. Photography has always been a very political art form, and not simply in the obvious ways. You may not think that your images are political because they do not showcase political issues. But even if they don't do that, they still say something in the political sphere. As we all struggle to be the best photographers we can be, none of us should forget that, when taking and making images, we always also make statements.

We’re in the depths of a format war, and I’m a little uneasy picking the winner so early.