I’m going to start you off with a little honest story. Once upon a time I, maybe like you, only walked around in hiking pants and jeans for days on end during my travels (except if I was shooting for our photography project @followmeaway or traveling somewhere hot like Italy).
Yesterday morning, I woke up and deleted all my social media. My Instagram, Twitter, and personal Facebook accounts (I deleted my Facebook business page a year earlier), all gone. I ghosted from the party. As a small business, it’s a bold move (if not insane) to walk away from such successful pages (I had over 60,000 followers between the three platforms). But I had had enough, and here’s why.
For a while now I have been working on establishing myself as a street photography educator by leading lessons and workshops throughout London, focusing on documenting human behavior and emotion rather than more new-wave techniques involving light-architecture and intricate technical compositions.
I see a lot of articles across the Internet claiming to know the "rules to follow" or the "things to avoid" in street photography, easily one of the most hotly debated genres. What they tend to misunderstand is just how little the genre cares for photographic rules, and what the defining elements of street photography really are that go beyond any of the purely photographic elements.
In recent years I’ve been privileged to be on the jury for a whole range of photography competitions. These include single image competitions such as WPS International Excellence Awards, Masters of Wedding Photography, and the Irish wedding photography awards (In association with Learning to Fly).
It was January 2009 and I was preparing to shoot the newest campaign for the television show, Deadliest Catch. Truth be told, I had made very little the year prior because the world was experiencing a market recession, and the first budgets that many companies cut were in advertising. But then came the phone call saying that I had been awarded the photo shoot. I immediately called the camera store, for I actually didn’t own a camera at the time, having sold my Nikon D3 in the preceding weeks.
As perceptions of bias have led to devastating levels of mistrust in the media, the role of political photography has remained relatively uncontroversial. While writers might deftly tweak facts to fit a narrative, photographers covering politics have less of a scope to inject their personal opinion into their work. The camera, as they say, doesn’t lie.
It was mid-2011, and I was looking for a way to capitalize on my newfound love of photographing snowflakes. I had thrown the idea to numerous magazine, agencies, and business to see if they would bite. One publication responded favorably, asking me to write an article on spec. If they liked it, they’d consider publishing it. There was immediate excitement and immediate pressure. This could be a huge break for me in the industry.
I’m at a Starbucks in Hanoi. Typically it’s a peaceful location where I can write and think, but today it’s overrun with young people smoking cigarettes, occasionally smiling and laughing, but mostly consumed with their phones browsing Instagram and taking selfies to reload their feed with an annoyed older man in their background typing away.
I made the uncommon decision to post my rates for on-location corporate headshots on my website. Some fear it will scare away clients before the photographer gets to explain the value in their work. Valid concern. Some want to gouge bigger clients who can pay more. That’s not the way I want to run my business.
A few years ago, I read an article online about an artist who was aiming to receive 100 rejections in a year. I understand his philosophy behind the article. Based on the number of rejections, there will be a number of accepted as well. So the higher the rejection number, the higher the accepted will be too.
Long-term projects can be one of the most frustrating creative pursuits for a number of reasons. There is a large investment of time, obviously, but there can also be the uncertainty of where a story goes as you watch it unfold over years, while constantly adjusting and readjusting the scope of the issues you want to deal with in your stories.
"Where should we go?" Melissa, my girlfriend, was trying to narrow down what seemed like a mountain of possibilities-places that were worthy of exploration. After a month of repeating that same question a million times, we finally settled on India.
It began with an email one morning. The link in it led to the work of one hundred fifty photographers. I had 1,500 images to judge for Focus Photo, a s**t ton of looking to get it right. It wasn’t going to be easy to hold it all in my mind, to remember why I was making the decisions I was making.
To shoot medium format had been a longtime dream of mine, but I have to admit I didn’t know it would be such a mindblowing experience. The 51.4-megapixel Pentax 645Z arrived on the market in 2014 and was the first camera to ever exceed 100 points in the DxOMark sensor test. For some unknown reason, the score and review weren't published until 2017.
After many years of doing photography as an amateur, I came to a few simple and rather trivial realizations.
I can’t help but notice all those articles proclaiming mistakes we should try to avoid in order to become a better photographer. Admittedly, I have issues with such an approach. First of all: I hate the word “should”. Basically we “should” nothing. Secondly, there is not much learning in avoiding mistakes — we learn best from our mistakes and the more bittersweet they are the more carved into our memory they become.
Walking past booth after booth at the PhotoPlus Expo in New York, I often heard camera company presenters explaining to their uncomfortably-seated, yet nonetheless-enraptured, audiences how they shot the “perfect” photo.
Almost every year, GoPro releases a new action camera, and for the last few years, they’ve been pretty disappointing. Also, every year I seem to fall for their marketing and buy one of their action cameras only to lament that decision. I understand it’s my fault, I should know better. Clearly, I’m operating with heaps of wishful thinking.
In covering the terrorist attack on a Nairobi hotel that killed at least 21 people by Shahab extremists, The New York Times decided to publish an image of a bullet-riddled body taken by Khalil Senosi. Photo Twitter was outraged, and Poynter wrote about the “hard choice” the NYT made regarding the selection.
6 months ago, my girlfriend and I finally did what we had always dreamed of doing: quitting our jobs and traveling the world. This is a relatively normal narrative for western couples in their 20s, but the difference here is I am a passionate wildlife photographer.
Back in May of last year, I finally made the move and got myself an a7 III. I had wanted a Sony body for quite some time but was hesitant to switch. Before getting into my long-term review, I’ll first explain what made me make the switch.
Can photography move you to tears? It seems like human emotions are difficult to unlock as a photographer, especially in our oversaturated world of Instagram; as of 2018, a staggering 95 million photos and videos are uploaded onto Instagram every single day. It’s more difficult than ever for a photograph to have an impact -- we’ve all debated it before, and we’ve probably seen still photography as a dying profession.
We are approaching the peak capacity for film photography labs. The machines are old, the parts are scarce, the demand is high. The measly Kodak Pakon Scanner, terrible it may be, fetches absurdly high prices.
One of my photography New Year's resolutions was to start to push my work to galleries and public photography showcases. In my mind, having my work in-print and in-public are some of the most significant steps in advancing my career as a fine art street photographer.
The defiant cry of the nostalgic hipster that’s become a hashtag: #filmisnotdead. But why? It’s 2019, people -- the digital camera reigns supreme; why won’t this analog trend die? Rationalism abandons the old way in recognition of the new’s superior efficiency. The combine harvester supplanted the scythe, clocks replaced the sundial, and electric lights extinguished the candle.
Photography is the bastard art. There are many reasons for this, not the least of which is that everyone owns a smartphone and many of those people are under the mistaken impression that they are “excellent” photographers.
One of the most overlooked aspects of the rangefinder method of photography, when comparing it to other systems, is the role of imagination when it comes to the focus and pre-visualisation of the composition.
2018 was an important year for mirrorless. As we kick off the new year, it's a good time for some reflection on the market. I've written quite a bit about where we are now that all the big players are seriously in the mirrorless game. This time I thought I'd write about what I think each company will/should be doing in the coming year+.
If you are a member of any photography groups, I can guarantee you've seen the issue of pricing come up often. One of the favorite activities of some photographers seems to be analyzing/criticizing how others run their businesses. It's wonderful to be able to ask for advice in these groups, but unsolicited criticism, or random rants on how everyone else is doing it all wrong and you're doing it right, are never okay.
My name is Mattias Hedberg, and I'm a photographer based in Norrköping, Sweden. I was recently about to get the Flickr Pro upgrade and was hovering above the buy button when I decided to take a deeper look at the Adobe offer since it sounded a little too good. I was interested in other features of the plan also, but the Adobe one was very tempting.
There is a particular obstacle that stands in the way of almost all travel, documentary and cultural photographers alike and, for some reason, no one seems to be willing to talk about it -- so I'm going to.
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.
The SLR has been the dominant camera type in photography for the last 70 years. SLRs are more intuitive, easy to focus, and versatile when it comes to mounting lenses of any length. So why does the rangefinder, as a design, persist into the modern era? There is not a single reason why anyone should be using these archaic and fiddly cameras when more advanced and efficient machines exist.
Kodak Ektar is the reason I fell in love with film photography. My first roll completely blew all of my digital shots out of the water. I was used to the ugly JPEGS that my old Nikon D40 spat out and Ektar just gave me what I wanted -- sharp pictures, with silky grain and a look that I didn’t know how to edit for.
Back in June I covered Fortarock, a fantastic metal festival in Nijmegen, the Netherlands. I had the opportunity to shoot bands like Dragonforce, Watain, Týr, Alestorm and Arch Enemy, all of whom are not only really fun to photograph, but also extremely talented musicians.
Over this past year, an increasing trend in photography seems to be finding a viable alternative to Adobe Lightroom. Some have done it to get out from underneath the subscription service while others aren't pleased with what remains to be inconsistent speed and performance. It seems to be more of the latter than the former, with the Lightroom Catalog largely responsible for the latter.
Debating which camera brand is best is a sure way to create a lively discussion among photographers. It’s easy to endlessly discuss specs and online reviews and to think that the latest model will give us some missing edge. But what about when you really put images to the test with prints?
I'm Allen Murabayashi, the co-founder of PhotoShelter. We recently launched our Guide to Photo Contests 2019, an annual look at contests around the world that we think are worth your consideration. Here's an excerpt from this year’s guide that looks at the sometimes controversial world of contests.
Where is the line between acceptable photo manipulation and cheating in photography? That's the question photographer Jamie Windsor asks and explores in this new 12-minute video.
A huge part of my photo practice is not taking photos. Photography is an inner game. What comes out in our photography is the total expression of who we are, how we think, and what we see.
PetaPixel recently published an open letter from photographer Usman Dawood entitled: "Dear Camera Companies: Please Make a Fast Lens Between 50mm and 85m." Today, I am asking for the pretty much the opposite: slower, lighter prime lenses.
Having learned photography in the time of manual analog film cameras, I know digital feels different. And for me, it’s all about the "left and right of photography."
Whenever PetaPixel has published an article about chemical photography in recent months, it has been met with a plethora of malicious, if not even downright hateful, comments. They're left by photographers who claim that only they may decide on how other photographers, their colleagues, or even hobbyists who simply enjoy photography for what it is may pursue photography as their passion or job.
Alright, I don’t know if it’s the best photo I’ve ever taken, but it’s one of my favorites and it’s been the most popular photo I’ve posted recently on Facebook and Instagram.
There are two major trends in photography today. The first is the ever-increasing numbers of photos being made. I can't even be bothered to look up how many billions of photos are being uploaded to Instickrbook every minute or every day or every year. It's a lot. This is usually talked about in terms of how many photos there are, and how we are drowning in them.
While scanning through my Facebook feed, I saw that my friend Ruby had shared some pictures of a party, all taken on Kodak Ultramax. One of her friends, however, pointed out something that I had never thought of...
Last month, legendary British painter David Hockney's 1972 painting titled “Portrait of an Artist (Pool with Two Figures)” (shown above) sold for a jaw-dropping $90.3 million, the highest auction price ever for a living artist!
Hasselblad. The company that went to the moon. A company known for producing some of the most iconic cameras in history. Since 1948, when Hasselblad produced its first consumer camera, it has built a strong reputation within the industry. As with many companies, it has had a few bumps in the road, but for the most part, it remains a highly respected organization.
Beware: instant cameras that produce Zink photos may not be a good option for preserving memories long term.
