Articles written by Dylan Goldby

At some point or another, most of us photographers will have a chance to work a job that requires us to hire help. It may be a one-off, or perhaps your studio has come to a point where hiring a full-time assistant makes sense. There are so many factors that go into hiring another person, even full-time. Thinking of the expense, the role that person will play, and how they will fit into your style are just the beginning of these considerations.

As mirrorless cameras get better and better, the temptation to lose the weight and bulk of the DSLR is becoming very large for many photographers. Wedding photographers like V Opoku are opting for the smaller footprint of the Fujifilm X-Series, as is famed Music and Editorial Photographer Zack Arias. Humanitarian Photographer David DuChemin also has them in the mix, and much of his beautiful work in northern Kenya was shot on these small and light cameras. I have had a slightly tumultuous relationship with these cameras, but have come to love using them so much that I have found ways to work them from a toy for personal work into business.

Photography is tough. There's no doubt about that. The gear and the numbers are the easy parts. These can be practiced, learned, and applied over time. Creativity is at the core of what we do as photographers and that's the tricky part. Jose Rosado's article here on Fstoppers talks about bridging the creative gap and pushing through challenges. Today, we're going to talk about something a little more introspective. Receptiveness.

Editorial photography is a wonderful place to flex your muscles and test your abilities. You don't often get to shoot such variety and have such control on a single assignment. Over the past couple of weeks, we've discussed ways to approach the photography of your first assignment. Check those out here and here. This week, we'll be taking a look at getting your foot in the door and what to charge.

Editorial photography is still alive and well, despite what the cynics will tell you. It no longer has the budgets it used to, and there are not as many publications to go around, but you may still get called on from time to time to shoot a series of images for a magazine. Editorial assignments can be extremely varied, and a challenge to do successfully, but they're extremely rewarding and often lead to meeting interesting people along the way. But where do you start when you get the call?

After 127 years as a purely for-information, not-for-profit publication, National Geographic has been pulled into Rupert Murdoch's media-industry fold. In a $723 million deal, 73 percent of shares in National Geographic were bought up by the media mogul who owns companies such as 21st Century Fox; only 23 percent of shares remain with the Geographic Society. Although announcements from Murdoch's son James have stated that the integrity of National Geographic will remain intact, skeptics are voicing their opinions.

Seoul, the capital city of South Korea, along with its adjoining cities houses and employs approximately half of Korea's 51 million residents. With high-rise apartments being the norm for housing, and a three to four hour traffic jam twice a day, it's easy to see that Seoul is a city of epic proportions. Seoul-based photographer and videographer Noe Alonzo's time-lapse superbly captures the magnitude and pace of his city.

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.

Color management is constantly an issue for photographers, digital artists, and videographers. We spend money on great monitors, only to know that we have to calibrate them and our input devices and our output devices as well. Some of us even opt for a wide gamut monitor designed specifically for those who work in the digital arts, allowing us to adjust brightness, color, and contrast like we would an image. This introduces one more, slightly more insidious potential problem: color management within our web browsers.