As the holiday season approaches, the towns and neighborhoods in my neck of rural Utah light up with the magical glow of Christmas lights, presenting a wonderful opportunity to capture dynamic scenes that are heavy on holiday vibes.
With modern zoom lenses for mirrorless cameras getting better and better each year, more people lean towards their utility, and this is especially common in all-purpose APS-C lenses like Sigma’s 18-50 f/2.8 and Tamron’s 17-70 f/2.8—but which of the two is better?
Nowadays, photographers who use APS-C cameras have a pretty good selection of third-party lenses on the market that are capable of professional results, and this is becoming especially true in the ultra-wide arena.
The value of participating in non-commissioned projects in a photography career is very high, and photo competitions are a good example of that.
One of the most consistent opportunities we have as photographers to earn money with our cameras is photographing real estate and hospitality properties, such as Airbnb rentals, and contrary to popular belief, it doesn’t take a huge investment to offer quality images for this purpose.
I am a sucker for gadgets, but I am also a skeptic, so when I took the plunge on an inexpensive handheld digital microscope I found for macro photography, I didn’t have high expectations.
At the risk of enraging loyal Fuji fanboys and fangirls everywhere, I have decided that the best thing to happen to Fuji shooters in a long while is the release of a third-party lens.
I have long felt that perhaps too many photographers prioritize bokeh and blur more than they should, but now I am a hypocrite, because I fell in love with an f/0.95 lens.
My career as an elitist prime glass snob has come to an end after real-world professional work using an unexpected lens choice showed me the error of my ways.
One of the most exciting topics for me to cover during my time as a professional newspaper journalist was fires and firefighting, and the potential for great images is there for anyone who approaches the matter with a little preparation and knowledge.
Those who wish to practice their off-camera flash technique or simply, wish to create a successful concept shoot to boost their portfolio, should strongly consider practicing the arrangement with themselves as the subject.
Some tools are just too powerful to not have in your tool bag as a photographer, and the plate composite technique is one such method.
Coloring outside the lines is a good metaphor for when a photographer decides to take a leap outside the norm in a photographic genre.
What a time to be alive for photography! Advances in technology, combined with reduction in pricing and the “gear wars” that brands wage against each other continue to make image-making hardware of the highest quality more and more accessible to the every person. This market process continues to make it possible for us to minimize sacrifices in image quality we once made when shooting in less than optimal conditions.
