Posts Published in June 2012
Here’s an interesting graphic that’s floating around the social networks (anyone know the source?) that shows why photography is more expensive than some people think it should be (“it’s just pointing and snapping, right?”). If you like this, then check out our post back in January titled, “Why Wedding Photographers’ Prices Are ‘Wack’“.
(via Pixel Analogo)
A UK couple is very displeased after their wedding photographer lost all the images from their wedding during a scuffle in a pub.
Jackie and Anam Sanderson enlisted a friend, Ben Fagan, to take wedding photographs — mostly to his benefit, they said, to boost his portfolio. But after the wedding, Fagan placed the card in his wallet and lost it a week later — though he doesn’t have a clear memory of when or where. Unfortunately for the couple, who had a small wedding service with just 60 guests, Fagan was the only one taking pictures, save a few blurry photos taken by guests.
Instagram’s latest 2.5 update has swapped out their “popular” tab for a new “explore” feature which allows users to browse photos based on users and hashtags — it’s a more functional search system. Now, instead of seeing photos that have the most likes, users can search for hashtags based on events and topics, which also makes it possible for users to have wider circulation of their images.
Adobe promised Lightroom 4 as part of its Creative Cloud subscription plan, but didn’t have it ready to go when the cloud service was launched back in April. Today they finally added the popular image editing program to the package, giving you some additional photo editing muscle for the same $50/month rate. Not bad, considering Adobe’s $2599 CS6 Master Collection doesn’t even include Lightroom.
At some point or another, as a creative professional, you will have the option to exhibit work to the public. Exhibitions are a great tool to market yourself, and your work to potential clients and art buyers.
In a world where everybody wants more for less, it’s hard to justify spending money on things which may or may not make your clients happier. I have always been a believer in the idea that you need to spend money to make money, yet I find other photographers are very split on this subject. I know photographers who are proud that they use the same camera and laptop they bought 5 years ago citing that their clients aren’t complaining so it must be working just fine.
Yesterday we reported on how US Track and Field saw its first “photo finish” tie this past weekend in an Olympic qualifying race. If you thought the finish line photo looked strange, it’s not just you: it’s not an ordinary photo. Journalist Daniel Rutter has written up a great article on how finish line cameras work:
[...] most finish-line cameras aren’t super-high-speed movie cameras, but instead a kind of slit camera. A slit camera has a line-shaped lens, which exposes the film or electronic sensor line by line or column by column, not unlike the way a rolling shutter works. The critical difference, though, is that a slit camera can keep on going past the lens indefinitely. You can keep collecting image data, or keep spooling film past the slit, for as long as you have memory or film. The shutter never closes as long as the film or memory lasts, so it’s impossible to miss any action between the frames.
[...] imagine taking a flatbed scanner sensor and setting it up vertically, looking across a racetrack at the finish line. Start a “scan”, and it’ll authoritatively tell you when every body-part of every runner makes it to the finish, by simply showing that part of that person before any part of anyone else. The speed of the scan should be set to roughly match the speed of the runners, so they look generally the right shape, but any part of any runner that stays stationary relative to the scan rate – a foot on the ground, for instance – will seem long. Any part that’s moving forward relative to the scan rate – a hand or foot coming forward, for instance – will seem short. Even if you mess up the scan rate so everyone looks wide or narrow, whatever part of whatever runner shows up first in the scan is the first to cross the finish line.
Elastic athletes [How to Spot a Psychopath]
Editor’s note: This post contains graphic photos that some readers may find disturbing.
Javier Manzano is a freelance photographer currently based in Afghanistan — no stranger to documenting conflict. He received a 2011 World Press Photo award for an image from his 2010 work in Ciudad Juárez, Mexico. The border city has been embroiled in a drug war since 2008 when the Sinaloa cartel moved to take over Juárez — located just over three miles from El Paso, Texas. Violence broke out between warring cartels, gangs and police. In 2010, Juarez recorded over 3000 homicides.
PetaPixel: Can you tell us a little about yourself and your background?
Javier Manzano: I was born and raised in Mexico and moved to the United States at the age of eighteen. Soon after graduating from college I landed a job at an advertising agency where I worked in for several years. The events that unraveled early on the morning of September 11, 2001 would change our lives forever. For me, it meant quitting my job and returning to school for what I believed was my calling in life – journalism. After completing several newspaper photography internships y became employed at the Rocky Mountain News in Denver, CO. The paper folded in 2009 and over 200 people were laid off. Since then, I’ve worked as a freelance photographer producing a wide range of material, from editorial and commercial photography, to news and documentary films.