Inspiration is something we all wrestle with as creatives. Where do our ideas come from? Why can’t we simply come up with them on the fly? Why do we wake up at three o’clock in the morning with the perfect shoot planned out? How can we get more of these kinds of ideas? Let’s look at a few things that I do to keep myself inspired and ready to create.
Articles written by Dylan Goldby
Chase Jarvis has been getting real with a lot of topics on his show The Daily Creative. He's been answering questions from callers all over the world and doing it in an honest, straightforward way. If you haven't been following this, I recommend you start below and then head over to watch a whole lot more direct advice from one of the photography industry greats. In this week's episode, entitled "Dabbling Gets You Nowhere," Jarvis takes a question from my good friend Jason Teale that I think is something a lot of us struggle with.
Back in the day (not all that long ago, in fact), the only memory cards you would find in a “pro”-level camera were Compact Flash. That all changed as SD cards started to get faster and faster. Speeds up to 95 MB/s were great for emptying out the buffer on machine-gun mode and writing 1080p footage, which meant that space in the bodies could be used for other things. These cards were great. You could dump 64 GB of images while you watched the evening news. Then came along UHS-II cards, and if you’re not using them yet, you should definitely add them to you list next time you're upgrading cards.
The weather. Of the many things I wish I could control, this is certainly one of them. Recently, my home of Seoul has had some of the clearest skies and nicest puffy clouds that I’ve seen in my 11 years of living here, but typically this is not so. On the few days of the year we get nice clouds, fisty-cuffs determine your tripod’s resting place at the popular photo spots, and the Internet is afire with the chatter of excited shutterbugs. However, there are so many days of the year where the haze is too thick or a monotone blanket of clouds covers the sky. I have come up with a quick and dirty method of dropping in skies from my library that I use when the job calls for it. I’d like to share that with you today.
This year’s Travel Photographer Society (TPS) competition culminated in a beautiful exhibition of interesting and unique work from travel photographers all over the world in Kuala Lumpur, Malaysia. Surrounding the exhibition, TPS also held a series of talks by prominent travel photographers. In his standout presentation and follow-up blog post, Pics of Asia’s Etienne Bossot questions us deeply about the ethics surrounding travel photography and just what constitutes the genre.
Let us take a moment of silence to respect the venerable 70-200mm lenses in our midst. The workhorses that they are have kept many a working professional with their rent happily paid, and many a serious amateur smiling at their results. The collection of several useful focal lengths, 85mm, 135mm, and 200mm, plus everything in between and a fast aperture of f/2.8 has made it the go-to lens for many. Up until recently, it was all but missing from the Fujifilm X System lens lineup as Fuji focused on creating spectacular primes one after another. But, Fujifilm rectified that with their announcement of the XF 50-140mm R LM OIS WR lens in September of 2014.
Photography, since its inception, has always been used as a tool to document a moment in time that the photographer believes has value. From modern history's defining moments, like World War II or the speeches of Martin Luther King, to seemingly mundane family moments, photography has captured billions of such moments in human history that may never repeat. Recently, Gareth Smit produced a short film on three young documentary photographers from New York City.
Last week, I posted an overview and review of the Godox Witstro AD200, and there were quite a few questions about the unit and things that I wanted to clear up with a follow-up article. So, this week, we'll dive a little deeper into the unit and have a look at some of the issues raised and make a more detailed comparison of the two heads that it comes with.
A while back I reviewed the Godox AD600 which I thought was going to be the all-in-one solution I was after. Even after comparing it to the Profoto B1, I was more impressed with the AD600, especially at its price point. It had a few construction issues, but overall was a flash to compete with the big boys. As I said, I thought it was going to be the solution I was looking for. Then Godox dropped the bomb: the Wistro AD200. This little flash promised to be less than half the weight and powerful enough for most of the work its big brother was made for. So, is it all it's said to be and how does it stack up against other options?
Over the last two years, I have been traveling quite a few times for a personal project involving the last remaining tribal-tattooed faces of Asia. The results of that project are finding a home at Tattoos of Asia. I still have five or six more trips to make before I can consider the project complete, and I wanted to share my experience so far with finding help for a project like this. Finding the right guide or fixer for your project isn't easy, and can be a lot like hiring a new employee. Let's go through my process for finding and hiring the right person for the job.
Fujifilm's XF 50mm f/2 WR is the third addition in the series that have affectionately become known as the "Fujichrons." These are compact, lightweight, weather resistant, and have extremely fast autofocus. Made up of nine elements in seven groups, and formed in Fujifilm's classicly-styled telescoping design, it is another diminutive lens that should appeal to X-Pro shooters and anyone looking for a tiny addition to their bag. Comparisons may be drawn to the other lenses in this series, and of course the daddy of X System portrait lenses, the 56mm f/1.2. Let's take a look at this lens and then see how it fits into the Fuji line.
I recently posted an article about getting the most from the Fujifilm X system cameras. One of the points of discussion and contention that came up in the comments was that of autofocus. Other issues, such as flash system and software support were also raised. The flash system is a matter of needs. All manual systems are supported and HSS/TTL is also becoming more fully developed. As for software, although Adobe's support is still in a developing state, speed has increased somewhat, as...
Creating and maintaining backups of our data is essential in the business of photography. There are countless articles out there about the importance of backup, and anyone who has lost precious data will feel that need acutely. Data loss is not a question of if but a question of when. We need to take the necessary steps to prepare for that loss. How we do it, and the tools we can use are about as varied as the types of photography we all do. Today, I'll run you through my workflow.
The Fujifilm X Series Mirrorless Interchangeable Lens cameras have gained a dedicated, almost cult-like following over the last few years for their colors, ergonomics, image quality, and firmware updates. However, getting into the Fuji world, especially from a DSLR user's standpoint, can be a daunting experience. Here are a few things you can do to make sure you get the most from your Fujifilm X Series system.
Mainland China-based Godox Photo Equipment (also sold under FlashPoint in the United States) announced the latest in their series of challengers to the dominant flash makers, the Wistro Pocket Flash AD200. As with the other units in the series, the AD360 and AD600, the AD200 offers stable color temperature across all power levels and fast recycle times. It packs 200 Ws of power, which makes it significantly more powerful than any unit in its size or price range. Perhaps the most interesting feature, however, is the dual flash heads (more on that after the jump).
Since the end of the Korean war, North Korea has been a closed nation. So closed, it is often referred to as the world's most reclusive nation. It shocks and delights the world almost every day with propaganda and anti-propaganda that peppers our news reports. It's a place that heavily regulates visits and the activities during those visits. Each tourist requires special permission and a guide that sticks to them like glue to visit anywhere in the nation. On top of that, you have to pick from a list of government approved locations, you can't just go for a walk or cycle the highways. So, what possessed Slovenian-born, London-educated, Matjaž Tančič to take his already difficult 3D workflow into a place that restricts movement and photography so much?
In 2012, Leica created a stir in the photographic industry with the release of its Leica M Monochrom. Half of the Internet was up in arms about the ridiculousness of the concept (and, of course, the price tag), while the other half praised Leica for its bold move in the modern market of high-contrast, over-saturated camera phone images. With names like "poor man's Leica" and "the new Leica" being thrown around Fuji forums all over the Internet, the question was put to Fuji asking if they would consider a monochrome-only version of one of their cameras.