My mind is a strange and dangerous place. I shouldn’t go in there alone after dark. But the other night I was thinking, just me and myself, about all the new camera releases this year. Which had made the biggest impact? Was it the Canon 5D III with that world-class autofocus system? The Olympus OM-D bringing mirrorless cameras up a notch in image quality and usability? Should I mention the excellent Samsung NX20, just because no one knows it’s really good? Give the Fuji X-Pro an award for best concept most poorly carried out? Consider the Sony NEX-7 for putting full-frame resolution on an APS-C sensor? Read more…
Unlike most photographers, I hate my camera. I have read hundreds of stories on the Internet in which photographers argue about which cameras are the best and why. There are stories trying to prove that Canon is better than Nikon, or that 4×5 film is better than medium format digital. Camera review websites show scientific-style photographs displaying how much detail they have captured in a dollar bill, or pictures of color checkers and skin tones. They will also show “real-world” and studio tests illustrating how camera A is better than camera B and write long narratives about why. Read more…
This small mountain of gear leads to two very frightening thoughts. Firstly, there’s no ending in sight; one keeps accumulating more and more equipment in order to keep pushing the edge of what’s possible both from a compositional and artistic standpoint, as well as from an image quality standpoint. You’ve either got to have a great day job and very deep pockets, or some good recurring clients.
The second thought is around obsolescence. In the film days, the camera body and lenses lasted a long time; you invested in glass, got a decent body – one that fulfilled your personal needs as a photographer – and then picked the right film for the job. Read more…
On the heels of my guest blog post over at Tiffinbox, I wanted to showcase a little camera comparison I used to illustrate my points on gear acquisition. We are all at fault for lusting after the latest and greatest gear available to us on the market. I know I have, but that lust comes with a price tag and a trade-off.
Having dusted off my very first DSLR (Canon D30), I put it to the test against my current Canon 1D Mark IV. In doing so, I made some startling and not-so-startling discoveries (as one could only imagine)… Read more…
Here’s a short video by PBS about Duluth, Minnesota-based street photographer Kip Praslowicz. Praslowicz talks about his work and his approach to shooting in his community.
Last year I received an email from a photographer acquaintance about some images I had recently shot. I had met this photographer a couple times at a few photography functions and was Facebook friends with him, but I didn’t really know this person well… who really knows all their Facebook friends these days? Read more…
If you’re a fan of hearing from photography greats and have some free time, check out his awesome documentary film about Henri Cartier-Bresson titled Henri Cartier-Bresson: L’amour Tout Court (“Just Plain Love”). It was directed by Raphaël O’Byrne back in 2001 when Cartier-Bresson was 92 years old, and features interviews with the legendary photojournalist as he talks about how various photographs were made.
There are so many things to do and never enough time to do them. You talk about starting that new personal photography project, about updating your website, or wanting to call those prospective new clients. You know that these things need to be done if you are to succeed and you really want to do them. Yet, more often than not, you decide they can wait until tomorrow. Read more…
Our goal in photojournalism is reality. The foundation of ethics in photojournalism is that our photographs of any situation should look the way our eyes saw it. Let’s use the human eye as our benchmark standard of reality. How the eye sees is our goal, and thus our reality. We forget that the human eye is not film or glass. Read more…
