Even though tripods are one of the most used photography accessories around, they never seem to get as much attention as other tools that we use. One company is really trying to take tripod technology to the next level though with their ultralight, yet incredibly sturdy Carbon Fiber and Titanium offerings. To top it off the Colorado Tripod Company have also created the world's first full Titanium hollowball which promises to cut the ball weight by 52%. Read on after the break to find out more about this interesting Kickstarter project.
from https://www.thephoblographer.com/2018/12/30/the-worlds-first-titanium-tripod-system-promises-to-be-ultralight-and-user-friendly/
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While there’s no magic bullet for instantly growing your photography business, there are tools that can help. The top ones work best when used together, and they can be broken down into two categories: tools that help with lead gen (or getting leads/inquiries) and tools that help with lead management (or turning inquiries into bookings). Throw in a sprinkle of strategy and our community’s insider tips to optimize each tool and—voila—you’ll be getting more business in no time.
from https://www.thephoblographer.com/2018/12/30/the-5-best-tools-youre-not-using-to-grow-your-photography-business/
Some exciting news for Fujifilm fans as Timelapse+ have just recently announced that their VIEW Intervalometer is now available on the Fujifilm platform. This is huge news for Fujifilm users, and for those who love timelapse photography. Read on after the break to see the full press release, and to find out more about the VIEW and how Timelapse+ overcame the challenges in bringing this device to the Fujfilm platform.
from https://www.thephoblographer.com/2018/12/30/timelapse-brings-the-view-intervalometer-to-the-fujifilm-platform/
Solitude has been at the core of many concepts, making it one of the most widely explored ideas for many creative projects. More than just showing lone subjects in somber settings, Budapest-based photographer Bence Bakonyi in collaboration with graphic designer Kira Koroknai thought of probing deeper into the other possible meanings of solitude. Read on if you're looking for something to inspire your next conceptual photography projects.
from https://www.thephoblographer.com/2018/12/30/bence-bakonyi-floating/ Just get a new camera for Christmas and/or looking for a New Year’s resolution to improve your photography skills in 2019? Here’s a 52-week photo challenge designed to get you motivated and to stretch your creativity. The challenge below is the Dogwood 52 Week Photography Challenge by photographer Dale Foshe of Dogwood Photography. This popular challenge is in its four year, after successful runs in 2016, 2017, and 2018 that tens of thousands of photographers around the world participated in. Each week, the challenge rotates through three categories: Storytelling (taking a prompt and turning it into a photo story), Compositional Eye (using rules of composition to train your eye), and Inspiration (using a simple inspiration as creatively as you can). Here are the challenges for the 52 weeks of 2019: If you’d like to download and/or print it out, here’s the challenge as a PDF: Finally, if you’d like to do this challenge alongside photographers around the world, you can share your resulting photos with the community by hashtagging each week’s photos with #dogwood52, #dogwood2019, and #dogwoorkweek[number] (e.g. #dogwoodweek7 for week 7’s photo). There’s also an official Facebook group dedicated to the 2019 challenge. from https://petapixel.com/2018/12/29/shoot-this-52-week-photo-challenge-to-improve-your-skills-in-2019/
If you like using Photoshop, but would like a little help when it comes to applying commonly used effects, these Photoshop action bundles are for you. For just 24 hours you can save an additional 50% off of their already crazy low prices. There is no doubt that these bundles will help you take your images to the next level with just a few clicks of your mouse. You can grab the Amazing Artistic Photo FX Bundle 2 for just $14.50, The Complete Photoshop Actions Bundle is $13.50, and 40+ Creative Photoshop Actions For Portraits & Double Exposures can be yours for just $19.50. Check out all of the amazing deals on Photoshop actions after the break.
from https://www.thephoblographer.com/2018/12/29/cheap-photo-save-an-additional-50-on-these-amazing-photoshop-actions-24hrs-only/ The rise of Instagram in our culture has spawned a generation of professional Instagrammers who make a living from broadcasting (often sponsored) photos to their massive followings. Meghan Young is one such Instagrammer, and this 12-minute feature by Bloomberg gives us a look into what her life and career are like. The 33-year-old Young spends her time climbing mountains and sharing views of her adventures with her audience.
âMy job is to make it look effortless, to look like itâs the most fun ever and itâs never a job,â Young tells Bloomberg. âBut it is a job.â With about 200,000 followers tuned in right now, Young earns her living from both customers who license her photos and companies that pay for appearances and endorsements in her Instagram feed. Sheâs reportedly on track to earn between $50,000 and $100,000 over the next year through her job as a social media influencer.
Young says she turns down the majority of the unsolicited sponsorship offers she receives, as theyâre often unrelated to outdoor adventuring, and instead she spends days and weeks doing the legwork it takes to make carefully crafted pitches to potential sponsors that are relevant to her audience. She usually asks for $1,500 for each permanent post in her feed and $200 per day for temporary stories. About 70% of the pitches she sends out are rejected, and itâs the remaining 30% that help her make a living. This whole system may be far more work than most people think when they hear the words âInstagram influencer,â but Young is able to pay her bills and do what she loves for a living. (via Bloomberg via The Digital Picture) from https://petapixel.com/2018/12/29/how-this-pro-instagram-star-earns-up-to-100k-climbing-peaks-full-time/ One of my images has been subjected to criticism and scrutiny in a way that none of my other work ever has. The photograph in question is of a scene in London, Chinatown; a man reaches into a sewer while shouting about how someone threw his needles down there. I waited a moment or two before I decided to make a photograph, shot two frames, and then continued my walk. At the time I took it I knew there would be a strong response to the photograph, both artistically and philosophically/ethically. However, it will always be the prerogative of the photographer to decide on their own personal ethics and to apply those to their work. I will always photograph things that catch my attention, and leave it to the audience for whether or not it “works” for them. This should never stop me from creating in the first place — no one needs “permission” to make an image, but similarly, everyone in the audience has the choice to enjoy or disregard whatever they want. The main issues people brought up about this image were consent and exploitation. I will usually disagree quite strongly with anyone who argues that consent is necessary for street photography in public. The law in the UK and many other countries defends photographers and photojournalists when it comes to candid photography in public spaces. Often “permission” will destroy the integrity of a true photojournalistic-scene. The only time I ask for permission for photographs is when I’m shooting portraiture one-on-one, when it is necessary, and this shows in my work. As a member of the public (especially in London, one of the most heavily CCTV monitored cities in the world) I don’t think it’s reasonable to expect privacy. Exploitation is a slightly trickier problem to deal with because there is definitely some profit to be had from this image, even if only from exposure. I was conscious when taking the image to wait until a moment his face was obscured; so at least his specific identity is not what I am profiting from, and rather the scene in general. I also think that the image depicts quite a relatable form of suffering, an addict in a first world city. This is no more exploitative than war photography, or images of starvation and disease. If anything this is closer to home for much of my audience, and because of this has more emotional pressure. I think that because photography is an “art” form there is a conflation between photojournalism as storytelling, and art as an aesthetic to enjoy. The question of whether or not you can or should enjoy photojournalism is a difficult one, but I think that for me the answer is that the artistic elements of any image can be appreciated, but that the story being told is what deserves a second thought; whether through enjoyment, or catharsis, or any other considered emotional response. When it comes to street photography, at some point or another, a photographer will draw mental lines which mark out the boundaries of their ethics. This has a strong connection to the photographer’s agenda – whether they are using street photography to practice their craft, to enjoy a hobby, or to build a portfolio to move into other areas of photography, such as lifestyle or portraiture. I think that photographers who are uncertain about where they draw their lines are unsure of their agenda. With some introspection, this can be overcome, and I think the photographer’s work will be stronger as a result of this direction. I know that my own motives and agenda are not nefarious, so I have no issues with photographing people less fortunate than myself. I don’t feel the need to “justify” or reinforce these ideas to myself, but I enjoy sharing my perspective on these topics as it may help other photographers to make up their own minds. I don’t take photographs to make people look bad. I don’t distort faces with wide lenses, or highlight physical features people may not be comfortable with. I don’t go out of my way to search for people in a scene who may offer a sympathy or shock factor. I simply find images to make wherever I end up, and sometimes that means men in suits, and other times men in sewers. I respect all of my subjects, regardless of context. I shoot discreetly, without harassing or bothering people. If someone asks me to leave or to stop then I will. If they ask me to delete images I will stand up for myself if they exist, and if not I will explain that and leave the situation. I am not faking scenes to say that something happened when it did not. I can only document the reality of a moment; things that are a part of my life, life in London, and life in general. To not photograph these things when they are in front of me would be much worse, and can end up skewing people’s perceptions of an issue in the other direction. My responsibility (and maybe yours?) as a photographer is to avoid self-censorship. I can always choose to publish an image or not, but only if that image exists in the first place. If I take an image then I should have the presence of mind to understand what I saw in that scene, and what purpose I want to apply to that image. If I had not taken an image at this time would that be a form of erasing and ignoring this issue? I would rather face discussion and debate about my work than to talk as if these issues are distant and abstract. Thanks for taking the time to read this. I’d like to direct some of the attention from this topic and image to the website Addaction. It’s a UK-based organization providing aid and outreach to at-risk addicts. Please consider having a look at their website and possibly making a donation, or maybe going out of your way to produce an image that may also draw attention to this topic. About the author: Simon King is a London based photographer and photojournalist, currently working on a number of long-term documentary and street photography projects. The opinions expressed in this article are solely those of the author. You can follow his work on Instagram and you can read more of his thoughts on photography day-to-day over on his personal blog. Simon also teaches a short course in Street Photography at UAL, which can be read about here. The first half of this article is an excerpt from King’s personal blog. from https://petapixel.com/2018/12/29/defending-needles-in-the-sewer-and-photographing-the-disadvantaged/ DPReview just published this humorous 3-minute stop-motion video about how the full-frame mirrorless camera party was finally crashed by new brands in 2018. “It’s time to ring in the New Year, and we invite you to join us at the Full Frame Mirrorless camera party, where we’ll meet old friends and maybe some new ones as well,” DPReview writes. After years of enjoying the market to themselves, Sony and Leica saw Canon launch the EOS R and Nikon launch the Z6 and Z7. Panasonic also announced its upcoming S1 and S1R cameras. It’ll be interesting to see how these major brands battle for full-frame mirrorless supremacy in the coming years, as Sony’s market share of sales already experienced a sizable drop of about 1/3 by last month. from https://petapixel.com/2018/12/29/the-mirrorless-camera-party-of-2018/
There is no doubt that Steve McCurry is one of the greatest photographers of our time. His dedication and commitment to the art of photography has gifted the world with some of the most captivating images ever seen. In a recent interview Steve tell's Kate Snow about how he started his journey into the world of photography, how he captured some of his most famous images, and how that he still has to overcome his shyness to be able to approach people in the streets. Check out the insightful video interview after the break.
from https://www.thephoblographer.com/2018/12/29/how-legendary-photographer-steve-mccurry-overcame-shyness-to-become-one-of-the-greats/ |
Paul DeckerHi I Paul Decker,32 years old from Arizona,AZ,USA,working on 3D animation from the last 4 years.Here I am sharing tips about it. Archives
April 2019
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