How do you make a photograph that sells for more than $100,000? Gregory Crewdson may not have the answer, and I suspect he probably doesn’t care, but that is what his prints will routinely fetch, if not more. What is it that allows him to create such staggeringly powerful works of art, and what are the struggles he endures through the creative process?
Articles written by David Geffin
Mark Seliger is one of the top portrait photographers in the world. His career spans thirty years and in this time he has photographed some of the biggest names in music, politics, business and entertainment. Interviewing him was fascinating. Who has inspired him? What would he say to his younger self if he could go back to when he was just starting out, and which photographer would he choose to take his portrait, if given the chance?
How would it feel to photograph Will Ferrell or Seth Rogen? How would you ever get to be able to shoot clients like these? How do you marry technical capability and develop your own style to deliver something unique? What if you could learn from someone doing this sort of work day in day out? Well, now you can, in this exclusive interview with Emily Shur.
What sets you and your work apart? Having a clear idea of this is critical if you want to develop your work but when was the last time you actually thought about it? Shane Hurlbut is a veteran Director of Photography and today shares his thoughts on his career and success. Whether you work with stills or motion, his approach sets him apart and we can all learn from him.
You might have missed it, but last night, the earth cracked and shifted a little in the world of the photo community. The “Stand Out! Photographic Forums” launched and details the first of a series of events that promise to offer up some of the most exciting photographic speakers I’ve seen in a long time. Not only that, but the price is ridiculously low to hear them talk. Something special is afoot, read on to get the full scoop.
This post is in celebration of simple ideas, executed brilliantly. Incredibly simple ideas demonstrate that simplicity, combined with brilliant execution, can result in incredibly powerful images that affect us far more deeply than those that are more complex and technically well executed, but are boring and bring nothing new to the table. To make better images, stop thinking big and start thinking simple.
Ed Keating, Pulitzer Prize-winner, career photographer of over thirty years and mentee and friend of Robert Frank (the most celebrated American documentary photographer probably ever), is one of the most fascinating people I’ve ever met. I filmed and edited this exclusive Fstoppers interview, as his insight was just too good not to share. No matter what type of photographer you are, I’m sure you can all take something of value away from this video interview.
How do you achieve long term success? Whether you want to grow a huge photography or video business, or just improve your skills, it would pay to look at the dramatic failures of others rather than just the “success stories”. Why? Because long term success is the result of resilience and determination in the face of constant failure and almost insurmountable odds, and if we understand - and embrace - this philosophy, we can overcome almost anything.
Photo walks have grown exponentially in the last few years serving a growing international collective of photographers who are looking to meet other like minded souls and shoot together. Next month sees the second 500px annual Global Photo Walk taking place on September 6th, promising to be the biggest photo walk of all time.
Our DSLRs have confused us. We obssess over the wrong things. Sharpness at 400%; bokeh characteristics of lenses produced from what-must-surely-be prancing magical unicorns; high speed burst frame rates that make cameras sound like gatling guns; 4k resolution to shoot better cat videos; 100 auto focus points that still won’t focus on what we need them to; and noise performance at 400,000 ISO. Absolutely none of these will make your photographs better. Shooting film will though, here's why.
The premise for the Cutting Edge Tour headed up by Adam Epstein, five year veteran video editor and post production guru for Saturday Night Live, was a tricky one. I know because I spent a few days bouncing ideas around with him and looking at how to structure the thing. This review will set out specifically what you will (and won’t) find in the workshop.
I recently noticed that a handful of photographers were producing images that had a look as if they were stills captured from films. A couple of the most well known photographers of this genre are based here in New York so I got them together and challenged them to not only come up with a dynamic personal project on the fly incorporating this cinematic look, but to share with us how it is achieved. Read on to find out how it all went down...
There is one thing we all share in common, regardless of what we shoot or what gear we use. When we raise the viewfinder to our eye, we take it for granted that we can actually see what we are photographing. Brenden Borrellini is completely blind, but that does not stop him making photographs and loving every moment of it. This is the fascinating story of the blind photographer.
Most of us love natural light and feel comfortable shooting with it – but how well do you really know how to utilize it effectively and to control it with precision? I just spent the day with Erik Valind, a New York City-based lifestyle photographer in his 'Controling Natural Light' workshop. Here are 17 simple ways to help get great results from better understanding and utliizing natural light.
Exclusive Fstoppers Giveaway – A Chance To Win Free Tickets To The 'Cutting Edge Video And Post Production Tour'
Big things are happening in the world of video editing and post-production. If you ever thought you’d like to develop (or improve) your video editing and post production skill set (and get a chance to do so for free) read on.
Miss Aniela creates photographic magic. She inhabits a dream world and uses her photographs as a visual means to realize the whimsical, highly creative visions that she dreams up. Her new commissions for Nikon’s D810 flagship launch blur the boundaries between fantasy and reality even more than usual as none of them utilize Photoshop, only relying on some technical post work in Nikon’s NX-D RAW image software.
Stijn Verlinde is boarding a flight home to Belgium from a shoot in Las Vegas. “The one piece of advice I would give to anyone starting out is 'be dedicated'.” Stijn, who started out a few years ago with some basic gear has lived by that advice. He is constantly working and is revolutionizing dance music festival videos across the globe. His success is not elusive or down to luck – it’s the result of three very clear factors we can all apply.
What We Can Learn From David Bailey’s “Stardust”, One Of The Most Important Photographic Exhibitions In Decades
David Bailey is a master of portrait photography. His four month gallery exhibition “Stardust” just closed in London. It took 3 years of planning to put it together, and looked at his 50+ years as a photographer and artist. I got to see it before it closed, but if you didn’t get a chance to go, don’t worry – here are five things that I think made Bailey the success we celebrate today, and what we can learn from him.
There is one thing that constantly keeps cropping up in both my own work, and in the work of others I see around me. I've worked with more and more photographers and videographers lately who just shoot with a single zoom for most of what they do. So many people I see seem to be producing strong work with one decent zoom. This post asks a very simple question that keeps bouncing around in my head. "Just how many lenses do we actually need?".
I just got off a plane from a job in London a few days ago. It necessitated bringing some gear, and while I made every effort to travel light, it still felt like a huge amount of weight to carry. As soon as I saw these vintage photographer photos, however, I realized I had almost no grounds to complain about the imposition of the size or weight of my gear ever again.