There are hundreds if not thousands of posts discussing why creative vision is the most important aspect of photography. Why, then, are we so obsessed with gear?
It has almost become a truism: social media creates mediocrity. In an effort to gain a share of the social media pie, artists are rewarded for blending in, not standing out.
YouTube and photography blogs seem to be all stocked up with quick BTS videos these days. We see photographers swinging lights around and talking about post, but I don’t think we see enough of their thought processes. Here, with Nathan Elson, we get a little bit of everything.
If you haven’t had a chance to watch Julia Hart’s recent film, I’m Your Woman, make a point to add it to your list. Bryce Fortner’s photography isn’t just eye-candy, it shows what you can do when you use style along with intention.
As Gray Kotzé points out, there are bushels of reviews for entry-level cinema lenses on the web, lenses you might look to pick up on sale maybe. However, most feature films are shot on prohibitively expensive lenses that were always intended to be rented out over their multi-decade lifespans. The cost for these lenses puts them out of reach for most filmmakers who aspire towards ownership, but, if you have a budget and you're looking to shoot feature/cinema quality films, it's important to understand what's available for rent.
Without doubt, there is a sub-culture of photographers who adore Lego. Count Benjamin Bezine among them. Bezine has used Lego, a Raspberry Pi personal computer, and an integrated LED to create an automated film to digital, erm... contraption, scanner.
In his trademark understated introduction, Ted Forbes acknowledges that technology is a charged conversation for photographers. Photographers are something of a Luddite-like bunch. On the whole, we seem to have a preference for the technology we learned the craft on. Be that a medium format film camera, a digital DSLR and an early version of Photoshop Elements or a more modern mirrorless, we seem to stand up against the tide of change like it's in our DNA. What are we going to do about the rise of machine learning?
Troy Hyde, owner of Animals of Montana, is appealing the ruling of the State of Montana's Department of Fish, Wildlife, and Parks to revoke his license. As photographers, we should care, as Hyde has been supplying captive animals to photographers for decades. Apparently, he's been doing so in a way that mistreats the animals.
I recently had the chance to speak with Chris Menges about his newest project, "Waiting for the Barbarians." Menges’ insights into the art (and underlying politics) of filmmaking are a must-read for anyone looking to tell stories with film.
If you're looking for tips on how to slowly lift the tension of your film, watching Thomas Bezucha's new film, Let Him Go, will serve you well.
The Way I See It is marketed as a look behind the curtain of two of the most iconic U.S. Presidencies in the last century, courtesy of White House Photographer Pete Souza. It's quite a bit more than that. To be upfront, if you don't believe in photojournalism or the importance of a historical record, if you're a Trump supporter with thin skin, or if you have an inability to think critically, this movie likely isn't for you. To be honest, neither is this article.
Drug and alcohol addiction often go hand in hand with art. Painting has Van Gogh and Pollock, poetry has Coleridge and Ginsburg, music has The Beatles and Jim Morrison, and novels have Burroughs and Welsh. I was, however, surprised by how little information I could find about photographers’ substance abuse. Where are the in-depth books about photographers that were inspired or crushed by their addictions?
There's been a bit of an uproar in the wildlife photography community this week. One of the genre's most popular and successful photographers has been called out for turning wildlife into an accessory. What do you make of all this?
Photo ops don't always go they way they're supposed to, especially if the photograph is taken in dangerous times. In fact, some of the most famous photographs in history are the product of a re-shoot. Sometimes though, the re-shoot still puts lives at risk.
Have you ever tried out a new camera at a convention, tech show, or open house? Do you have a method for testing out something you’ve never touched before?
Perhaps it was a technical mistake, gear breakdown, blocked access, or a moment of hesitation. We’ve all missed shots at some time or another. Here are mine along with my lessons learned. Tell me about you?
Esteban Toro’s new episodic short-format travel film, "Aperture: A World of Stories," is a beautiful watch. On top of the eye-candy, Toro’s film also provides some very valuable insights into and tips for filming internationally.
Over the last few weeks I’ve talked with several adventure, wildlife, and landscape photographers about the Canon R5. I think that Paul Zizka’s four-word summary has been the most direct expression of satisfaction to date: it has it all.
Ontario is Canada’s most populous province. It contains 9 of the top 20 urban areas by population size in the country. Where, then, is there room for an annual convention on wildlife photography? Whitney, Ontario, the gateway to Algonquin: meet Howl.
Do photographers have any ethical obligations towards wildlife? Drones can cause significant damage to wildlife and should be used with caution, not abandon.
