Articles from Hans Rosemond

"I can't take a shot like that. My camera isn't good enough. Oh sure, you can talk all you want, but you have thousands of dollars in expensive equipment! Yeah, I know it's the photographer, not the camera, but let's get real: my beginner gear can't do that!" Excuses, excuses, excuses. A lot of people, especially those just starting out, use their lack of pro gear as a tether, holding them back from getting the shots they are capable of. Here are some reasons to push past your budget concerns and make the most of what you have.

I love color. Black and white photography holds a special place in my heart, but 90 percent of the time I gravitate toward color imagery in my own work. When I started shooting film again, I decided that I would most definitely learn to develop my own black and white film. From choosing your film stock to mixing super-secret developer cocktails guaranteed to make your images sing, there are tons of resources out there for the aspiring hobbyist. When it comes to color, however, I had always heard that the machines needed were expensive, the process complicated, and the chemicals harmful. Not so!

I was all set to write a completely different article. I think it had to do with film, maybe. Not anymore. Now I'm frustrated, so I'm going to write about that instead. I love Fujifilm. I love them until I hate them. The problem is, I never really know what sort of day it's going to be until I'm out shooting.

In my last article, Adventures in Large Format: A Beginner's Perspective, I talked about some of the things I noticed upon purchasing and attempting to use my first 4x5 large format camera. As fun as fiddling with some knobs and taking a photo of a stool was, it was time for me to point my camera at some actual people. After lugging the camera upstairs and taking portraits of some of the awesome characters that work at the bar, it was time to see how I did.

It happened. After years upon years of drooling over large format photographs in books and on the internet, I finally pulled the trigger. I got a 4x5 camera. Many of the masters I've looked up to used large format for their portraits and I've always wanted to try my hand. Here are my first observations of trying to tame the beast. First thing I noticed: this isn't easy.

Oh, what's that? I'm using flashes to take a portrait? Well let's turn those bad boys up to 11 and make that subject pop! When you're first learning to light with flashes, the temptation can be overpowering to drown out all the ambient light in your scene to make your subject stand out. I'd argue that, at least for environmental portraiture, sometimes subtlety with flash is a more compelling way to go.

One of the most exhilarating aspects of environmental portraiture, especially when out on assignment, is that you never quite know what your shooting environment is going to look like. If I had a nickel for every time I walked into an awesome location, only to be quickly shuttled off to a closet-like space to do my work... Well, I'd be able to buy a sandwich. But a really nice sandwich. Here are some tips that may save your sanity while trying to compose an interesting portrait in a postage stamp sized room.

In the comments section of my last article, I remarked that "I always liked the rendering of X-Trans files on C1 more than Lightroom anyway, so maybe this is just the reason I need to make the switch back." A longtime contributor to the comments, Pete Miller, asked if that was indeed the case. Good question! Let's find out if the reputation Lightroom has gained for inferior Fuji X-Trans processing is still warranted.

In my journey to separate my family life from my work life, as detailed in my last post, a change in my work environment has been key. Namely, my wife was tired of seeing my hard drive sitting on the kitchen island and I was handily kicked down to the basement. I took this opportunity to switch up my workflow from using a local external hard drive to a NAS (network-attached storage). Here are some interesting things I've discovered along the way.

Work hard. Create personal work. Blog. Be active on social media. Pick up the phone. These (any many others) are tried and true ways to promote yourself and your business while you're trying to get noticed in a sea of other artists. But what happens when life gets in the way of your success? How do you balance taking care of your family while giving photography an honest to goodness shot?

In my research to come up with ideas for blog posts, I watch a lot of videos. A few months ago I came across a few videos about the wet plate collodion process and I was hooked! The results are so unique that I just had to participate in it myself.

A few weeks ago, I wrote an article pitting the venerable Nikon D800 against a lowly Nikon D40x in a portrait shoot. The purpose of the article wasn’t to see if the D40x was as good as the D800 (it obviously isn’t), but to ascertain whether a beginner would be better off getting something cheap to start out with than starting with a behemoth of a camera.

The debate whether to work for free is an old one. It’s also one that I don’t care to get into. However, for most of us, there comes a time when we do shoot something without payment, whether it be because we’re testing lighting, doing pro bono work, or we just aren’t very good at asking for what we’re worth. But what do we do with the images after the shoot?

Pull up almost any lens review these days and one of the primary attributes people are judging is the oh-so-important bokeh. Purchases are made and lenses are brought back all because of the how a lens does or doesn't measure up in the bokeh department. Well I’m here to tell you, at least for portraiture, it’s just plain overrated.

I am a bartender. After 15 years of slinging drinks it’s still hard to come out and admit that shooting isn't what I do full time. The path I've taken has been a twisted, gnarled, winding thing fraught with frustration and surprise. I've been shooting for 11 years and I never expected to still be behind a bar. But, such is life! I’m here to talk about dealing with that gut-wrenching feeling that comes along with any artist who hasn’t quite made it: shame.

As a fairly established photographer, many beginners ask me what camera to buy to get started. What’s more important: body or lenses? Or is it the brand? My standard advice has always been to buy a cheap, used body and save your money for quality lenses. A beginner just doesn't need a high-end camera. That’s easy to say, of course, when you shoot on a Nikon D800 with some pretty nice glass. Perhaps it was time to do a little experimenting of my own to see what, if any, difference there was between a top end camera and something cheap.