1) The difference between a second shooter and an assistant

First things first, without diving into semantics too deep, I want to clarify the difference between a second shooter and an assistant. A second shooter is a photographer that is called/asked/hired to work alongside the main photographer for a particular event. An assistant, on the other hand, is not necessarily a photographer – it could be anyone that is hired to assist the main photographer in carrying his/her gear and perform simple tasks like holding lights, reflectors, etc. While second shooters can also perform assistant roles (if agreed upon earlier), keep in mind that they could be skilled professionals, just like you. Assistants, on the other hand, can be interns or student photographers, who are hired to assist and who are there to learn. Regardless of who you choose to work with, a binding contract with clearly stated duties and dues should be put together and signed in advance.

Before engaging with anyone, you should clearly know why you need an assistant or a second shooter. What is it that you are looking for in this person and what exactly do you need help with? Perhaps you need someone for a wider coverage of the event. Perhaps you need a dedicated person to photograph decorative details. Or perhaps you just need someone to hold your equipment while you take pictures. Generally, if you do not need another person to take pictures, you are always better off by hiring an assistant. Some professional photographers often look for a second shooter, when in fact they only need an assistant. It is important to clarify exactly what you need to the person you are about to hire.

2) Choosing a second shooter

I categorize second shooters into three categories:

1. Those that want to expand their portfolio. When I first decided on second shooting for someone, it was strictly for gathering photos for my own portfolio and I did not care about the money. Sure, money was a bonus, but my main aim was to get good photos to jump start my wedding work. I believed I had a skill set to do what it takes and I was ready to push myself a little further. This is what I ultimately communicated to the photographers who wanted to hire me as their second shooters. I also like the flexibility of being able to use the photos I took during the event on my personal blog. Even though I cannot submit those photos to a publication or tag any vendors via Facebook, at the end of the day, I like the idea of being able to have the rights to my 8 hours of hard work, regardless if I choose to post it on my blog or not. If a photographer who is looking for a second shooter is not satisfied with your terms and is not comfortable with what you have to offer, it shouldn’t be hard to find someone who is.
2. Those that want to gain experience. These types of photographers are typically just starting out, wanting to engage with you to gain experience in photographing weddings. They are not necessarily interested in making money now or building a portfolio in the near future. Their number one priority is to learn the craft from someone with a lot more experience.
3. Those that want to make money. We all know that most photographers generally do not make a whole lot of money. I do not want to rain on your parade if you are a starter upper, but the truth needs to be told. A lot of the times photographers need some extra cash to support their families, pay for their rent or at least to support their expensive hobbies. In these cases, photographers look for opportunities like second shooting to earn some extra cash. So those that get hired for the money will often comply with the rules that the main shooter sets and agree not to use photos anywhere.

3) Where to find a second shooter

Successful photographers get booked very quickly and most of them do not like to be bound as a second shooter for the wedding season for another photographer. This is actually true for most wedding photographers out there. But you will always have lots of options, since the wedding photography market is typically very saturated. Regardless, try not to look way in advance of the event and start booking your second shooters closer to the start of the wedding season. During this time of the year, photographers pretty much know if they will be booked for the days you need them.

If you constantly use second shooters in your business, having a dedicated page on your blog filled with guidelines and information for second shooters will be a desirable place to start. When you have such a page, photographers (aspiring ones mostly) will know that you often employ second shooters and they will contact you themselves. Keep those contacts and keep their portfolios in case you need to choose the most suitable one for your needs.

Hit up people you most trust and know how they work. If you’ve shot with another photographer before, send them an e-mail first and see if they are available for the date of the event.

Thanks to social media, another option is to find a perfect match via Facebook. If you are a Facebook member, chances are, you know a lot of photographers in your area. You can join small or large groups of photographers in your area and you can post your requests there. For example, I am a member of two Facebook groups called “Mile High Photographers” and “Colorado Wedding Photographers”. Daily, there is a lot going on in both groups and I see second shooter requests there all the time. Depending on the membership of the group, you should be able to get at least multiple candidates that are interested in what you have to offer.

4) Paying the second shooter

When it comes to paying a second shooter, every market is different. If you have good financial planning (which should be your priority while setting up a business) and know exactly how to allocate your money, you will know how much you can afford paying for your second shooter. Keep in mind they are there to make your job easier, but they still need to get paid. For hire photographer in California might be a little more costly than in Colorado. So, do some prior research and find out what the going rates are where you live. Make sure you have enough to offer for the services provided by the second shooter. Some might want to be paid hourly, while others might be comfortable with a single payment that covers the entire event.

If the event is far from your second shooter’s place, you may need to compensate for a longer drive and pay for mileage.

5) Contract

While working with your best friend might be great and comfortable for you, keep in mind that having a contract in place will not hurt the parties involved. This should be a high preference for both the first shooter and the second shooter. If you make an arrangement from the beginning, you will save yourselves from the agony of going through it later or remembering the contract if things go wrong. Besides, having a contract psychologically engages someone to be more responsible towards the job than they usually are.

While one “template” contract may come handy every time, send the contract to the second shooter to get their feedback. Better yet, post the conditions of your contract while looking for a second shooter. This way, you only attract those who will agree with what you have to offer. If the second shooter of your choice wants some changes amended to the contract, within reason, you should be able to make the requested changes.

Do yourself a favor and sign the contract BEFORE the event and not after it is over. I was once a second shooter and was completely caught off guard by the main photograpehr after the wedding was over. Not only was the situation unpleasant, but it also beat the purpose of why I was in that event to begin with.

6) What should be included in the contract between the first and the second shooter?

The agreement between the main photographer and the second shooter should include the entire scope of work for that particular event. This will start from what is expected from the independent contractor (which is the photographer for hire). A good contract should include how much the independent contractor gets paid, date and time of the event, number of hours to be expected to work, work relationship, work product, post production and delivery, insurance, project requirements, arbitration/legal standings, expense coverage, amendments and all other extras. This is a serious document, not a half page of gibberish.

7) Photo gear a second shooter should have

This one is totally up to you. Choose someone who has the most desirable gear that matches your workflow and standards. Better yet, list all your gear preferences while you put out the note to hire a second shooter. Do not be intimidated if the second shooter’s equipment is better than yours. While having good gear might give a photographer lots of flexibility and reliability, it is the person behind the camera that matters! It is your artistic vision that drives the process. This would also be a good time to let the second shooter know the delivery of the final images. Would you like your second shooter to use your memory card instead of theirs? Would you like them to use their cards and send the photos later? What format do you prefer your second shooters to use? While your contract will include all these terms, do not catch the second shooter off guard by telling them these details on the day of the event.

8) Communicating with your second shooter before and during the event

Communicating with your second shooter is equally important as communicating with your clients. Remember that events like weddings are one of a kind occurrence and virtually cannot be restated again. Make sure you send all the necessary information regarding the event to the second shooter prior to the date of the contract. Make sure to tell them what to wear and what to expect from the venues you are going to be working in.

During the event give clear directions to your second shooters and make sure that they are comfortable with the tasks you have given them. If your second shooter is a female, before sending her to photograph the groom, make sure to ask her if she is comfortable photographing men. I don’t see why she shouldn’t be, but you do not want to leave things up to a wild guess. Dividing and conquering is a huge plus when you have a second shooter. If you trust your second shooter (I am hoping that you do after all the hassle you went through to hire them) let them cover some bases by taking detail shots, photographing event decor, etc. If they don’t already know, ask your second shooter to constantly keep you in sight while helping you photograph important moments of the event. The last thing you will want is to be in each others shots. Having two different lenses while photographing will more or less give you some flexibility to avoid photo-bombing those important moments.

9) Educating the second shooter

Educate the second shooter of your style and how you work with your clients. Clearly explain your second shooter that your clients will only communicate with you. In case clients approach them for guidance, advice your second shooters to immediately find you first. Explain your work ethics and explain that your second shooter is there to represent you and your brand. Which means for that day, they will become a part of your brand! Do not assume that the second shooter already knows these things.

Last but not least, be nice to those you work with. Having great interpersonal skills will make everyone’s time worthwhile and will create a comfortable environment. Weddings tend to get a little chaotic, and the last thing you want is a panicking second shooter. Don’t forget that people make mistakes, so be forgiving and kind. Who knows, maybe your second shooter will become your business partner one day!

The post Hiring a Second Shooter for Wedding Photography appeared first on Photography Life.

I did not want to rush with this Nikon 80-400mm f/4.5-5.6G VR review, because I wanted to make sure that I test every aspect of the lens and fully understand its advantages and disadvantages, especially when compared its older sibling. Personally, I never liked the old Nikon 80-400mm lens (more on this below), so aside from finding out how it fared optically, my main goal was to evaluate the new 80-400mm for serious sports and wildlife work. My Nikon 300mm f/4D is also long overdue for a replacement and its lack of VR makes it tough to use it in low-light conditions. The new 80-400mm looked very promising when I looked at its impressive MTF charts, so my first objective was to see if the 80-400mm could replace my aged 300mm f/4D lens (which I love and use all the time when travelling). I also wanted to compare the lens against my Nikon 200-400mm f/4G, with and without teleconverters. The ability to use teleconverters on the new 80-400mm sounded quite intriguing.

By now, I am happy to say that I have thoroughly examined this lens in various conditions and having spent close to three months with two separate lens samples, I now have a pretty good idea about its performance characteristics. In this review, I will be comparing the Nikon 80-400mm VR to the older AF-D version, as well as other lenses like Nikon 300mm f/4D, Sigma 50-500mm OS and Nikon 200-400mm VR.

1) Lens Specifications

Main Features:

1. Up to 4 stops of image stabilization compensation with the Vibration Reduction II technology
2. The ultimate medium to super-telephoto zoom lens with a versatile zoom range of 80-400mm
3. 4 Extra-low Dispersion (ED) glass elements for maximum sharpness and minimum chromatic aberration
4. Nano Crystal Coat (N) reduces ghosting and lens flare
5. Silent Wave Motor (SWM) provides ultra-fast, ultra-quiet autofocusing with seamless manual focus override
6. Internal Focusing (IF) lens construction, which means that the lens does not change in size during AF operation

Technical Specifications:

1. Focal length: 80-400mm
2. Maximum aperture: f/4.5-5.6
3. Minimum aperture: f/32-40
4. Lens construction: 20 elements in 12 groups (with 4 ED and Nano Crystal Coat-deposited lens elements)
5. Picture angle: 30°10′ – 6°10′ (20° – 4° with Nikon DX format)
6. Closest focusing distance: 5.74 ft. (1.75m)
7. No. of diaphragm blades: 9
8. Filter/attachment size: 77mm
9. Diameter x length (extension from lens mount): Approximately 95.5 x 203mm
10. Weight: Approximately 1570g

Detailed specifications for the lens, along with MTF charts and other useful data can be found in our lens database.

The post Nikon 80-400mm VR Review appeared first on Photography Life.

I always reach out for prime lenses while photographing food. Using these fast primes and being able to position myself at close proximity from the food gives me multiple advantages:

1. Helps me visualize the composition I am going for without the equipment (eye composition), which gives me an idea of what I can potentially capture with the camera at a later stage.
2. Forces me to move around by getting closer and further away from what I am photographing and try out different angles.
3. Fast aperture prime lenses allow me to isolate subjects effectively. With a shallow depth of field, I can choose my plane of focus and throw everything else out of it.
4. Prime lenses let in a lot of light compared to zooms, so I can photograph my food in natural light, even in low-light situations.
5. The prime lenses I use are sharp wide open and get even better when stopped down a little, so I do not have to worry about dealing with soft images.

For more information on prime and zoom lenses, check out Roman’s Prime vs Zoom lenses article.

That’s not to say that you cannot photograph food with zoom lenses – in fact, the very last image in this article are photographed with the Nikon 70-200mm f/2.8G VR II lens. I just prefer primes to zooms because of their better subject isolation capabilities at shorter distances. Although with lenses like the Sigma 18-35mm f/1.8, I might have to re-evaluate my needs at some point in the future. Speaking of which, Sigma just announced pricing for the 18-35mm f/1.8 and apparently it will be at $799, which is amazing. Bravo Sigma! Now we need a couple of lenses like that for full-frame and life will be peachy!

1) Nikon 50mm f/1.4G

I have to say that I am a big fan of the Nikon 50mm f/1.4G – by far my most favorite lens to photograph food. Although Nasim says that the 50mm f/1.8G is better optically (see below), there is just something magical about the f/1.4 that I cannot quite describe. I had the same feel for the older Nikon 50mm f/1.4D, which I used to own and love a long time ago.

The Nikon 50mm f/1.4G is not super sharp wide open, so I often stop it down a little to get the best out of it. But it is still beautiful at f/1.4 when I need it, even with all of its optical deficiencies. Perhaps I am just too attached to my nifty fifty!

2) Nikon 50mm f/1.8G

The Nikon 50mm f/1.8G is an impressive lens, especially given its $220 price tag. Nasim loves that one more than my 50mm f/1.4G and I can’t blame him – it is a great lens! I have photographed people with the 50mm f/1.8G and even some weddings and I have to say that I was pleasantly surprised with it. Autofocus is fast and accurate, something I cannot always say about my favorite 50mm f/1.4G!

If I were starting out, I would probably pick the 50mm f/1.8G instead of the twice more expensive 50mm f/1.4G now. Great bang for the buck for sure!

3) Nikon 35mm f/1.8G

Next up in my list is the Nikon 35mm f/1.8 which is also a great lens to use for food photography when you need a wider angle of view. While it is a DX lens, it is also perfectly usable on FX/full-frame cameras (although you might need to crop the corners out later).

If you shoot with a Nikon DX camera, get this lens instead of the 50mm above, because it gives you a similar field of view. Distortion is not a big issue with this lens, which is good news! It may also be very handy if you tend to photograph in tighter spots.

4) Nikon 105mm f/2.8G Macro

What I like about Nikon 105mm f/2.8 is that it gives you a lot of details within the shallow depth of field you choose. And if I want to see all those crazy details up close, the 105mm certainly has the reach – I do not have to shove the lens into the food to get the perfect shot.

The Nikon 105mm f/2.8G may not be as versatile and lightweight as the 35mm or 50mm lenses, but it still gives amazing results. Just keep in mind that if you have a big dish to photograph, you will need some space around you, especially on a crop-factor camera!

5) Nikon 60mm f/2.8G Macro

The Nikon 60mm f/2.8G is another phenomenal macro lens for food photography. In fact, many of my food blogger friends prefer the 60mm macro to the 50mm lens, because it gives them the right focal length and versatility of a macro lens.

My only complaint about this lens is its f/2.8 aperture, which is obviously not as good as f/1.4-f/1.8 lenses in terms of subject isolation capabilities when keeping the subject distance the same. For smaller details, you would want this lens over the 50mm, because of its short minimum focus distance. For those situations, the smaller aperture is actually an advantage, since depth of field is razor thin!

6) What About the Camera?

I know that some of our readers will ask about the best camera for food photography. FX or DX? In all honesty, I do not think it really matters! Many of my older shots were taken with cropped-sensor cameras and they look just as good as the images I took with full-frame cameras. If ISO performance on your camera is poor, just use a tripod and you will be good to go (see Nasim’s excellent guide on how to buy a tripod). Most of us end up cropping and down-sampling images anyway, so camera resolution does not matter for the most part.

Please let me know if you have any questions!

The post Best Nikon Lenses For Food Photography appeared first on Photography Life.

When transporting your photo equipment, the weight of your lenses can play an important role, especially when travelling on foot or by airplane. To find out which telephoto lens gives you the best compromise between weight and reach, I created a few charts to compare all professional lenses of Nikon and Canon with focal lengths equal to or greater than 300mm (see the table further below). The following comparison should not be taken too seriously, but nonetheless might give you some valuable insight when deciding on a lens.

1) Lens Weight

The first three charts show lens weight, diameter and length against focal length. The first thing you will notice is that both lines of lenses have more or less the same dimensions, but the Canon• lenses are between 0.5 and 1 kg lighter than the Nikon■ counterparts, except for the new Nikon 800mm (see below).

The biggest discrepancy in weight is between the two 600mm lenses. This is unfortunate, because unless you are a bodybuilder, you can’t handhold the Nikon■, whereas it is still possible with the Canon• 600mm.

Why is that? My first idea was that it might be the number of glass elements, so I looked at the specifications of both 600mm lenses, but it’s even the opposite. The Canon EF 600mm f/4L IS II USM has 16 elements, while the Nikon AF-S NIKKOR 600mm f/4G ED VR is made up of 15 elements. Then after I read the description of the Canon lens, I realized that its parts are made of lighter magnesium and titanium material, which is probably why it is lighter.

2) Maximum Aperture

The 300mm and 400mm lenses are f/2.8, whereas the 500mm and 600mm are f/4.0. If you look at the gradient in the graphs for weight and diameter, twice there is an increase followed by a decrease. This is a consequence of increasing the lens diameter in order to keep the minimum aperture the same, when increasing the focal length. A larger diameter means more glass, and more glass means of course more weight.

3) Best Super-Telephoto Lens

So which is the best lens in terms of weight? In order to have a better measure than just weight itself, I decided to divide the focal length by weight for each lens. This ratio gives you a measure for how much reach you get per kilogram for the lens you want to carry. If you look at the last graph, the 400mm lenses are obviously the worst to carry around. In the case of the Canons, the Canon 500mm, 600mm and 800mm are more or less the same. In the case of the Nikons, the Nikon 800mm is by far the best and in par with the Canon. The second in place would be the Nikon 500mm with a slight edge over the 600mm.

Of course there are also other factors than weight to consider such as image quality, low-light capabilities and price. But image quality is superb for all of these premium lenses. Also low-light is not such a big issue anymore with modern camera sensors and post processing. So in the end, it comes all down to budget and weight in my opinion.

Simon Speich is a web programmer and amateur photographer from Switzerland. He maintains a photo database and a blog on his website www.speich.net.

The post Canon vs Nikon Telephoto Lenses appeared first on Photography Life.

Even though Lightroom’s shortcuts table can be of great help, I still think that it’s a bit over-cramped for daily use. That’s why, after one of our reader’s inquiry (thanks, JADiniz!), I’ve made a list of my most-used Lightroom keyboard shortcuts for you to download and print. Having a printed copy within reach as you post-process your images will help you quickly memorize the shortcuts you use most. Even if you don’t use all of them, the list hopefully won’t be too difficult to search through. Do note these shortcuts are for Windows PC users with Mac OS version coming up soon.

• Click here to download Adobe Photoshop Lightroom 4 Most-Used Keyboard Shortcuts print-ready PDF (Windows PC)
• Click here to download Adobe Photoshop Lightroom 5 Most-Used Keyboard Shortcuts print-ready PDF (Windows PC)

If you have any suggestions how this list may be improved, feel free to share them in the comments section below.

The post Most-Used Lightroom Keyboard Shortcuts appeared first on Photography Life.

Fuji Rebates

Fuji also recently joined the rebate program and this one is perhaps the most aggressive with them all. It is hard to say what is making Fuji push these incentives, perhaps they want to capture more of the mirrorless market share and expand their reach beyond professionals and enthusiasts. Or perhaps the company is threatened by the new Zeiss Touit lenses, so they want to sell those Fuji lenses as fast as they can now. Either way, if you purchase the already discounted Fuji X-Pro1 (dropped to $1199 from $1699) or X-E1 (dropped to $799 from $999), you can buy any of the Fuji lenses with discounts from $200 and $300 on each lens. So if you buy the four lenses currently made by Fuji, you can save a total of $1000 on lenses alone:

Olympus Rebates

Olympus also has a bunch of different discounts on lenses, cameras and accessories, and this program does not bind you to purchase a camera body to qualify for discounts – all incentives are on individual items. Some of my favorite lenses are in this program, including the Olympus M. Zuiko 12mm f/2 and the Olympus M. Zuiko 75mm f/1.8 and both are discounted by $100 each:

Additional 4% Off from B&H – Expires Tomorrow!

To top all of this, B&H is also hosting a 4% discount program, where you get an additional 4% from all of the above deals! While this may not sound like a lot, this is another $112 off from the already discounted Nikon D800 (currently $2,796). This 4% is applied towards all of the above cameras and lenses, so this is an additional incentive. The 4% discount program works like a store credit – B&H will issue a gift certificate for you after sometime, so that you can apply that towards future purchases.

But keep in mind that the 4% discount ends tomorrow (Saturday), 06/15/2013 at 11:59 Eastern Time.

As of now, it does not look like these rebate programs will extend beyond this month. The next rebates will be available at the end of the year (Christmas / New Year time frame). Happy shopping!

The post Additional 4% Off at B&H and Crazy Fuji and Olympus Rebates appeared first on Photography Life.

Cause the good ole days weren’t always good,
And tomorrow ain’t as bad as it seems.”

Keeping The Faith
- Billy Joel

The Chicago Sun-Times’ decision to lay off its staff of photographers and editors (~28 total), including a Pulitzer Prize winner, sent shock waves throughout the photography industry. Some cried foul. Some expressed disbelief. Others lamented the changing times and the commoditization of the professional media photography field. Many mocked the paper’s suggestion that it would rely on reporters to take their own photos using iPhones and DSLRs. The Sun-Times did not eliminate using professional photographers, since it plans on using some freelancers to fill some of the void created by the departure of the full-time professional crew. But the Sun-Times’ announcement was a clear indication that it believe something had fundamentally changed and it was willing to take radical action to do what it thought best for the immediate and long-term health of the business.

Was the Sun-Times being heartless? Heavy-handed? Short-sighted? An example of capitalist greed gone awry? Maybe. But then again, maybe not. No doubt everyone will use this announcement to further their own agenda, which will likely include some or all of the following: photographers railing against the pace, nature, and impact of the technological change, unions attempting to expand union power and influence, attempts to subsidize and protect the newspaper industry from a plethora of new competitors, politicians seeking to harken us back to the “good old days” and vote them into office, government bureaucrats expanding training programs, and a host of other well-sounding “solutions” that do little, if anything, to address the core issue. The truth is a bit more complicated and deserves something more than the usual mud-slinging, overhyped phrases, and political back-and-forth. As a Pew Research Center study shows, many are unaware of the struggles facing the news industry. Fewer still likely understand the cumulative challenges now facing newspaper organizations.

1) The Nature of Change – Drips vs. Floods

When changes are gradual, we notice them less. It is only after some extended period of time that we reflect on how much things have diverged from their previous state. The Sun-Times’ announcement had all the subtlety of a nuclear bomb. The reason for the widespread attention was that it put the issue, regarding the how deeply and rapidly our society is being transformed by technological and cultural changes, right in front of our face. The Sun-Times’ decision made it impossible to kid ourselves that it is business as usual or that such changes are going to happen gradually or someday down the road. If the Sun-Times had laid-off one professional photographer each year and gradually introduced educational courses training reporters in the use of DSLRs or iPhones, we probably would never have noticed it – until some years down the road, when someone waxed eloquently regarding their sadness over the decline of the professional media photographer.

2) Not So Long Ago and Not So Far Away

The simple reality is that the media industry has been going through tremendous changes for the last 30+ years. In 1980, most of us had 3 major television networks and perhaps a PBS station available to us. A new group of cable start-ups were just making their way onto the national landscape, with names like HBO, Cinemax, and TBS. Nearly every house had a local newspaper delivered to its doorstep. Many towns had at least 2 papers. Some had more, some had only 1. We relied on a handful of general purpose magazines such as Time, Look, and Life, and some others that appealed to our specialized interests, such as Better Homes & Gardens for home decor, and Outdoor Life for hunting and fishing. Newspapers, due to their relevance and importance in our daily lives, commanded a significant portion of the local advertising revenue. If you ran a local business or an individual with something to sell, you were likely advertising in the local newspaper. And with little exception, newspapers from around the country didn’t compete with each other, since it was not cost effective to ship tons of paper all over the country, and the ads were for a given locale.

3) Fast Forward

With an seemingly endless supply of television channels, cable news channels, blogs, online forums, and number of websites, the world looks radically different than the one I described above. Add the tremendous cost reductions and mind-boggling technological improvements such as high speed internet, wireless capabilities, faster computer processing, brighter, higher definition displays, and high volume storage capabilities, and you have a society where nearly anyone can access just about anything real time from the convenience of a PC, Mac, iPhone, iPad, smartphone or tablet. Someone can likely access almost any newspaper website in the world with a few clicks on any of these devices. In such a world, the newspapers of yesterday are struggling to maintain both their relevance in the lives of their readers as well as the attention of the advertising community. And they now have to compete with one another and a host of new entrants in what could be classified more broadly as the “information business.”

4) Changing Nature of Newspaper Busines

I grew up delivering newspapers from age 11 through 15. I also worked in a newspaper press room on weekends, where union workers operated and maintained massive, intricate machinery that printed, assembled, cut, and fed a continuous stream of papers to me and my fellow workers at high speed. I was fascinated by this finely-tuned engineering behemoth worked and how reliable it was. I probably would have spent more time observing it work, if I was not so busy trying to keep up with the blistering pace at which it was delivering newspapers! It was rumored that when members of our crew wanted some downtime, someone would flip a metal bottle cap into the press. This would shred the paper and send it flying in every direction. From a distance, it appeared that the machine had exploded. It was quite a sight! Everyone got a half-hour to an hour break – except those poor guys cleaning up the mess.

During my teens, I read the paper just like my parents had done throughout their lifetime. By age 25, I was reading 1 paper – the Wall Street Journal. Today, I subscribe to the digital version of the Wall Street Journal, the Washington Times, and a number of other fee-based digital magazines, along with free news sources and blogs. A local newspaper delivered to my doorstep? Nowhere to be found. Google News, customized for my interests, is my home page and the most accessed site on my PC, Galaxy SIII smartphone, and iPad.

For better or worse, I suspect that most children and teens today think of a physical newspaper as something used to house-train a puppy, line their parrot’s cage, wrap household items with during a move, or start a fire. If they want any form of news or information, they search Google, Youtube, or Facebook, or click on a myriad of other “favorites,” few of which include their local newspaper website. More often than not, they will opt for some video representation rather than the printed word – not very comforting consideration for a newspaper organization.

The simple truth is that the competition for “eyeballs” has increased tremendously. And despite what some newspapers claim, they don’t have a lock on investigative journalism, objectivity, or even quality photos. With age and time, I have come to the conclusion that the image many newspapers want us to have of them often has little to do with reality. There is a not-so-subtle bias inherent in which stories they cover, which ones they don’t, and the particular slant they apply. Some people believe they are little more than mouthpieces for the local establishment instead of being the independent set of eyes that investigates and uncovers truth on behalf of society. In some countries, the newspapers and other media outlets have been little more than propaganda departments of the government. Newspapers have historically had quite a bit of power to influence the masses, since their perspective, particularly at the local level, was often the only one people had available to them.

I contend that the one of the main reasons that many newspapers did so well for so long was that they had a virtual lock on the local markets, and the financial and technical hurdles for competing against them were extremely difficult to overcome. But oh how things have changed. The internet, rapidly improving technology, and falling prices have enabled anyone with decent writing skills and a modestly–priced digital camera, to create innovative written, photographic, and video content, and post it to a WordPress blog in no time. And those huge printing presses? Not even on the radar. What is really upsetting the newspaper industry? They now have competition, and lots of it! Furthermore, their power and influence are waning. I would go so far as to say newspaper organizations are under siege! According to the Pew Research Center, the current estimates for newspaper organizations is 1,380. It is unlikely that another traditional newspaper organization, complete with printing presses, will ever be created again.

5) The Stark Business Realities – What’s A Newspaper to Do?

A few facts from the Pew Research Center’s 2012 State of the News Media site:

• Although newspaper circulation reductions leveled off in 2012, newspaper ad revenue fell 6% from 2011 to 2012
• Overall newspaper revenues are down 40% from 10 years ago
• Newspaper employment in 2013 is approximately 40,000 – equal to what it was in 1978
• For every $1 gained in digital revenue gained by the newspaper industry, it lost $16 of print ad revenue
• And while digital ad sales revenue continues to rapidly increase as a percentage of overall ad sales revenue, a mere 6 companies command a whopping 72% of all digital ad sales revenue
• Companies such as Google, Facebook, Pandora, and others are making deep inroads relative to local ad sales revenue, an area that has historically been the bread and butter of newspaper companies
• In 2012, 39% of people indicated that they got news online or on mobile devices
• 31% indicated that they stopped turning to local new outlets because they no longer provided them with news they were accustomed to getting

If you like graphs better, this one shows the stark reality facing traditional providers of news information:

Given the reality I described, is it any wonder that the Chicago Sun-Times is feeling the effects of these sweeping changes on their bottom line, and implementing some revolutionary changes? No one ever wants to see people thrown out of work, have to deal with the financial implications of losing a job, and in some cases, be forced to leave a profession that they were trained for and love. Despite the lamentations regarding the Sun-Times jettison of its professional photographer team, and the platitudes bestowed on their photographic skills, however, the simple truth is that general public and advertising community didn’t want to pay for the Chicago Sun-Times content – including the photos – at least not in the same levels as they did before.
So while we may feel for the Sun-Times’ photography team, you have to ask yourself what you would have done if you were running the Sun-Times and responsible for the long-term health of the company? It is not an easy problem to solve, and with each passing day, access to additional content and rapidly improving technologies will only add to the challenge of managing a newspaper.

6) Send Us Your Pictures!

One of the other popular trends that newspapers will exploit is already well-underway – the appeal by the news networks, magazines, and others to have people upload their photos and videos. And why not? A media organization can’t have people everywhere. It isn’t practical or cost-effective. It would also assume that the media outlets could somehow predict where and when a newsworthy story will evolve.

With nearly everyone having a digital camera today, whether a cellphone, point and shoot camera, or a DSLR, and the quality of the technology and resultant photos/videos increasing dramatically, the simple truth is that the masses are likely better able to capture the moment, whether it be by chance or raw talent, than having the media organization send a photo/film crew to the every possible news scene – at least for rapidly evolving stories. And by the way, people are often willing to send their photos/videos to the media organizations – for free! Most are simply happy to have had their photo/video featured on a network or in a magazine. The amateur photographers/videographers get their proverbial “15 minutes of fame,” and the media outlets get free content. Not a bad deal. For some photos that are exceptional and/or unique, the media outlets may indeed agree to license them.

7) Will The Sun-Times’ Strategy Work?

Many newspapers are attempting to shift toward a paid subscription model for their digital content. Some, like the NY Times and Wall Street Journal, are having quite a bit of success with this approach. Others, with less of a following, may simply see their online visitors depart once they start charging for their digital subscriptions. It remains to be seen how well the Sun-Times will fare in the digital world. They face a variety of competitors for both readers and advertisers. On the local advertising level, Google and Facebook are targeting people in new and innovative ways, and are far ahead of the newspapers relative to using business analytics technology.

This may shock some, but I don’t believe the future of the Sun-Times or any other newspaper will hinge on having a deep bench of professional photographers. They have a much larger struggle on their hands – how to remain relevant in light of cataclysmic changes occurring in the media industry, technology fields, and society itself.
Here are some reasons why the Sun-Times strategy might (a big “might!”) work:

7.1) Leica or iPhone? Only The Photographer Knows…

The technological improvements in digital cameras/phones have evened the playing field. You don’t need high-end, expensive gear to take great photos/video. Realistically, I doubt that most people could tell a photo taken with an iPhone or a $25,000 medium format Leica DSLR combined with a $5,000 lens, when both photos were printed at low resolution pixelated newspaper. Same goes for 300 X 500 pixel photos on the newspapers’ websites. And if you need a camera that handles action and higher ISOs, you can easily find a DSLR for under $1,500 that will be more than sufficient for all but the most demanding reporting needs.

7.2) Journalists —> Photojournalists?

Can journalists rise to the occasion of focusing on both the content of the story, as well as the photographic depiction of it? Some will undoubtedly learn some new skills and do quite well. Others may decide that it is not their thing, and move onto another job. Many have predicted the immediate demise of quality photos from the Sun-Times, and of the paper itself. I am not so sure it matters as much as some think.

There are many people who can be classified as “photojournalists.” Some do a great job of telling a story and weaving in compelling images that make it come alive. One might surmise that photojournalists may find more opportunities within the industry now that the Sun-Times intends to rely on people that have both skill sets. Someday in the future, we might look back and wonder why media outlets employed journalists who did not have photography skills.

7.3) 28 Professional Photographers or Thousands of Amateurs?

Given the proliferation of digital camera technology, and the general public’s willingness to share their photos with media outlets, should the Sun-Times and other media outlets leverage these capabilities? Absolutely. They say that the best camera is the one that you have with you when you need it. In the same vein, the “best professional photographer,” may be any person with any camera who is available at a potential newsworthy event.

Many are lamenting the decline of the professional media photographer, but the cynic in me would reply that if pictures taken by professional photographers were so important to the subscribers, one would think that they would have made a difference in the Sun-Times’ circulation and revenue numbers, and more broadly, those of the newspaper industry. Clearly, this is not the case.

It may indeed turn out that the photographic quality goes down the tubes after this decision is implemented and the Sun-Times’ circulation and revenues continue to decline, but I would be hard-pressed to blame it on the quality of the photos alone. If professional photographers could not stop these declines to date, I would hold little hope that having them on board will guarantee the future success of this industry. That may sound harsh – until you consider the facts.

If anyone doubts the potential of amateurs and serious amateurs to take good photos, you only need peruse flickr, 500xp.com, 1x.com, and other sites to see that there are indeed plenty of people that are more than capable of taking phenomenal photos. They just happen not to have the prefix “pro” in front of their names. Similar to the newspapers themselves, there is little doubt that professional photographers do not welcome such competition in a domain they long-claimed as their own.

8) Summary

The Chicago Sun-Times, like many newspapers and print publications, faces extraordinary challenges in the digital/internet age. New competitors vie for consumers’ attention every day across a myriad of digital platforms, as rapid technology improvements and cost reductions continue to lower barriers to entry.

Google, Youtube, Facebook, blogs, and the general availability of information are changing the way we think about content, consume it, and share information about it with others. All these forces are combining to alter business models, in some cases, destroying old ones, while creating many new ones in their place. Like any industry undergoing massive changes, the Sun-Times needs to respond with strategies that they believe will sustain their long-term viability. And while the company has received a slew of criticism, it seems that not enough people are considering the complete story behind the recent announcement.

There are some positive signs in the overall industry. Overall circulation declines nearly leveled off in 2012. Some newspaper stocks have increased as well, as people believe consolidation is inevitable. If the newspaper industry can aggressively adapt its business model and practices in light of the changes discussed, it may live to fight another day. We will all know soon enough if Sun-Times’ changes have succeeded in turning the newspaper’s decline.

The only questions that need to be answered are the following:

• Will anyone will notice once the Sun-Times makes this change?
• What, if any, impact will these changes have on the Sun-Times’ circulation and revenues?

What do you think?

The post The Case of the Disappearing Professional Media Photographer? appeared first on Photography Life.

Canon 1Ds-II | 85L at f/1.2 | ISO50 | 1/400s | Existing Light

Who am I? My name is Mario Masitti – I am a 25 year old photographer based out Denver, CO that specializes in high-end High School Senior portraits. This article is aimed towards the amateur going professional photographer who wants to crush their High School (H.S.) Senior Market. If you’re on the road to becoming a full time photographer, then no doubt you’ll find this piece beneficial. If you’re already a professional photographer, I hope you find a bit or two interesting as well.

Canon 1Ds-II | 85L at f/1.2 | ISO 50 | 1/200s | ND16x| AB800 at 1:1 Power | Bare Bulb

1) Overview Of My Style, Light, and Gear

Because my style and my work is so simple, I don’t place a lot of value on the latest and greatest photography equipment. More often than not, aspiring photographers end up being a bit disappointed with my gear selection. I guess I am not infected with any of the diseases that often plague photographers. With that said, my gear is as follows:

Camera Bag

1. Canon 1DS II
2. Canon 5D Classic (Backup)
3. Canon 35mm f/1.4L
4. Canon 50mm f/1.2L
5. Canon 85mm f/1.2L
6. Sandisk 8GB Cards
7. Hoya ND Filters

Lighting

1. 2x Alien Bee 800’s
2. Westcott 28, 43, and 50” Apollos
3. Westcott 50” Reflectors
4. Vagabond Mini
5. Radio Popper JrX’s

Computers

1. MacBook Pro 15” Retina
2. Apple Cinema Display 27”
3. Wacom Bamboo
4. LightRoom 5 / Photoshop CS6

Canon 1Ds-II | 50L at f/1.4 | ISO 50 | 1/640s | Westcott 50” Reflector

My H.S. Senior work takes on notable cues from editorial/commercial work. This means I place a lot of emphasis on clean/non-intrusive light, simple composition, engaging expressions/emotions, with a slight hint of a cinematic feel. I love lighting for lots of reasons, but one of the best reasons is that lighting is one of the best visual differences between an amateur and professional. As you get to scroll through some of my portfolio here, you’ll get a sense in how I use light in so many different ways while still retaining many cohesive elements from image to image.

1.1) Sun flare

I love sun flare. I think it creates a whimsical look to images that can create a sense of surrealism while still feeling real enough. Sun flare is fascinating because it’s pretty easy to achieve, but it’s really hard to become great at it. I love the continuous effort it takes to get better.

Canon 1Ds-II | 85L at f/1.2 | ISO50 | 1/640s | Existing Light

1.2) Reflector Fill

A nice soft look with minimal shadows looks great on everyone. I often use this style of light when I am doing motion/walking/spinning as I like for the drama of light to get out of the way so my final image is focused.

Canon 1Ds-II | 50L at f/1.4 | ISO50 | 1/1600s | Westcott 50” Reflector

1.3) Artificial Light

I love artificial light, and more particularly making it look like it is natural to a various degree.

Canon 1Ds-II | 35L at f/6.3 | ISO50 | 1/200s | ND16x| PCB Einstein 640 at 1:1 Power | Westcott 43” Box | Westcott 50” Reflector

1.4) Breaking Rules

Sometimes the most interesting photos, or some of my personal favorites, are ones where the rules are broken. So in a way, I like to ‘mess up’ when shooting to find new ways to create something different.

Canon 1Ds-II | 50L at f/1.2 | ISO50 | 1/200s | Existing Light

There are a few things that are inevitable over the next 5-10 years. Cameras will get better. Lenses will get better (albeit not as quick). Processing will get better. But light isn’t on this same path. So if your advantage is processing (trendy action, textures, etc.) technology will replace you. If your advantage is having a nice camera, then technology will replace you.

If your advantage, however, is beautiful light – engaging, interesting, spectacular light – that is something that technology will not easily replace and you have created an advantage already. With how quick photography is evolving, this is more important than ever.

2) Creating Separation In A Saturated Market

The common opinion is that the photography industry is saturated. I disagree. If you do everything different, then your market is not saturated. Simple concept right? When I began photography, I found that the mainstream photography was very saturated. A common H.S. photographer could be described as: selling digitals, shooting with the trusty 70-200, posed against a brick wall, provocative outfits, all sealed with some sort of Photoshop texture. In a way, THAT market is absolutely saturated.

To create value and differentiation, the simple answer is to determine what your market is doing and do the opposite. For me this meant selling fine art prints, shooting with creative lenses such as the 35 and 50L, create dynamic posing, and using clean commercial/editorial inspired light. Because I shoot H.S. Seniors, my clientele and I share a commonality of wanting to be different. If I were shooting traditional portraits of Royalty than being unconventional would not be high on my list.

Canon 1Ds-II | 50L at f/1.2 | ISO125 | 1/200s | Westcott 50” Reflector

3) Specialize!

I feel like there are many articles and books that discuss the advantages of specializing and they are far more powerful than what I have to say. With that said, it is easier to start with one smaller market and then expand out as you’re ready. I shoot female H.S. Seniors only (and even that description is pretty general in comparison to my actual client). 90% of my revenue comes from this, and it is very obvious (website, social media, advertising, etc.) that this is all I shoot. It’s not to say that a photographer can’t become specialized in a handful of areas, but let that expansion be natural.

It helps to be passionate about what you’re shooting. I admire the psychology and social pressures that H.S. Students go through, and getting to create a positive experience for them despite the typical tensions is ultimately why I love what I do.

Canon 1Ds-II | 50L at f/1.2 | ISO50 | 1/500s | Existing Light

4) The Importance Of A Brand (With A Hint Of Marketing)

I love branding more than most people. I don’t only love branding, but I love the concept of it. I love the impact and power it has. And I love that there are so many different layers to branding beyond the visual obvious. While working with my designer (Ellen at http://www.identitykitchen.com) on building my brand, I was able to define my total brand for myself and my business. Despite my re-branding being more than 3 years ago, I love how relevant it still is.

Besides the obvious deliverable my clients receive (photography / images / products), I also create a radical experience during the session. That can be really hard to convey but it’s such an important piece of my brand. Despite many photographers describing their sessions as ‘really fun’, I knew I had to do something dramatically better (or at the very least, dramatically different).

The immediate answer was a video marketing piece. My sessions feature lots of motion, lots of laughing, and lots of interaction. Furthermore, because I work with such short lenses, a video would show the dynamic of a shoot really well since I am in such close proximity with my subject. I sat down with my extremely talented videographer Michael Sasser to talk about my goals, and we created a fantastic piece that really conveys to my clients what my shoots are about. Not only that but the video embraces so many aspects of my brand that I wanted to convey.

As you decide on your marketing and advertising efforts, find the mediums that work for you. For a box studio shooter that does Pose A, Pose B, and Pose C – a behind the scenes video makes no sense. There’s no engagement, no interest, and might very well work against you.

There’s a cohesiveness that is driven deep inside of me. It’s the idea of simplicity and focus. I have learned to embrace this rather than ‘fix it’. My work, my branding, my marketing, and even myself as a person (the way I dress, what I drive, where I live, and more) encompasses this central idea. This idea is ultimately delivered to my clients. There is no confusion about who I am, why I do what I do, or how I do it. So embrace your inner brand and allow your art, your business, and your marketing to be influenced.

5) Finally

Do what you want and forget the rest. Don’t be afraid to go against the grain and make mistakes. Don’t be afraid to make money. And enjoy. Much of being a photographer is about the journey and not the destination.

Find Mario Online
Web: http://www.mariomasitti.com
Facebook (Fan Page): http://www.facebook.com/mariomasittistudios
Facebook (Personal): http://www.facebook.com/mariomasitti
Twitter: http://www.twitter.com/mariomasitti
Instagram: http://www.instagram.com/mariomasitti
Vine: vine://user/912902783349432320

Canon 1Ds-II | 85L at f/11 | ISO50 | 1/50s | AB800 at 1:2 Power | Westcott 50” Apollo | Vagabond Mini

Canon 1Ds-II | 85L at f/1.6 | ISO50 | 1/40s | ND16x | AB800 at 1:2 Power | Westcott 50” Apollo | Westcott 50” Reflector

Canon 1Ds-II | 50L at f/1.2 | ISO50 | 1/2500s | Existing Snow

Canon 1Ds-II | 50L at f/1.2 | ISO50 | 1/125s | ND8x | AB800 at 1:4 Power | Westcott 43” Apollo | Vagabond Mini

The post How to Photograph High School Seniors by Mario Masitti appeared first on Photography Life.

1) Import

Lightroom is a catalog-based post-processing application. For someone new to such photo managing approach, it may sound complicated at first, but actually isn’t. What it means is that Lightroom doesn’t work with the original files, but stores information about them – along with rendered previews – in a set of files that make up a Catalog. We’re not going to talk about advantages and disadvantages of such a system, suffice to say both are present. More importantly with Lightroom, in order to edit images, you first need to import them into the Catalog. To import your images, start Lightroom and select “Import…” from the bottom of the left-side panel while in Library module (hit “E” to engage Library module or select from the Module panel at the top of the screen). Alternatively, you can import photographs by selecting “Import Photos and Video…” from File menu (Ctrl+Shift+I for Windows users).

Once you’ve done that, the Import window will pop up. This is where you find the images you want to post-process and assign keywords to. We will be covering Importing more thoroughly in a separate article – information provided below is enough to get you started quickly.

1. Choose Source - find the location of the photographs you want to import and edit within Lightroom.
2. Copy as DNG, Copy, Move or Add - this setting can be found at the top of the Import window. Choose how you want the images to be added to your Catalog here. If you’re importing straight from a memory card, the option of simply adding photographs to Catalog will not be available as you must store them on your internal or external hard drive. If you’re not sure whether you should use DNG or proprietary RAW format, read our “DNG vs RAW format” article.
   
3. File Handling - not much to worry about here – I usually leave these check-boxes blank. Just make sure you select 1:1 previews. It will take longer for Lightroom to import photographs, but if you zoom in and out a lot to check image sharpness and noise, for example, 1:1 previews will greatly speed things up. If you suspect you may have duplicate photographs among those you want to import, you should check the “Don’t Import Suspected Duplicates” box. If you’re importing images from a memory card or flash-drive and want to back-up to another location, select the second check-box and specify destination.
4. File Renaming - this tab is only available if you’re moving/copying images from another location, otherwise it’s unavailable. If you want to rename original image files you’re about to import (and copy/move) from, say, a memory card, use the provided renaming templates or create your own.
5. Apply During Import - there are three settings available in this tab, all of which ought to be discussed in much more detail in a separate article dedicated to importing images. For our current purposes, keywords are most important here, so make sure to specify them. They will allow you o find related images much more efficiently through filters in Library module if you ever need to.
   
6. Destination - this tab is only available if you’re moving/copying images from another location. If you simply want to add photographs to Catalog, these settings won’t be visible. Other than that, everything’s quite straightforward – specify where you want the files moved/copied to before import.

2) Pick or Reject

Lightroom has the usual range of filters available, including color and rating. All these filters will be covered more extensively in a separate article. For now, we just need the flags. I find them very useful and quick to use. Basically, Lightroom has two flags you can put on each photograph. One of them is called Pick and is assigned by hitting the “P” key, the other one is called Reject and is assigned by hitting the “X” key. In total, this can give you three choices for an image. You can either “pick” it, “reject” it or leave it without a flag. To remove a flag from a photograph – regardless if it’s a Pick or Reject flag – just hit “U” on your keyboard.

When going through imported images I am about to post-process, I mark them with corresponding flags right away. If I chose not to sort out photographs I don’t like prior to importing, I will assign Reject flag to them and, once I’ve looked through all the images, remove them by hitting Ctrl+Backspace (or choosing the “Remove Rejected Photos” from the “Photo” menu). I also find it very convenient separating images I want to be in B&W from those I want in color, and because usually I convert up to 30-50% of images to B&W for my wedding couples (less or equal to those in color), I assign the Pick flag to the ones I want in B&W as I sort through my images. In case it sounds a bit complicated, let me simplify – hit “X” on images you don’t like and want to remove, hit “P” for images you want in B&W, then delete (either from Catalog or hard drive) Rejected images by hitting Ctrl+Backspace and apply flag filters to edit color and B&W images separately. In the following screenshot, I have the Pick Flag filter enabled, which allows me to see just the Picked photographs to convert to B&W:

Alternatively, if there are images you are unsure of, you may mark the ones you like best with the Pick flag, mark those you want to remove with the Reject flag and assign images you want to convert to B&W to Quick Collection by hitting “B”, of which I will explain in the next section of this article. This way, you mark the images you like, those you dislike, and leave the ones you’re unsure of unmarked. You can then edit selected photographs by applying corresponding filter, as shown in the previous screenshot.

You may also choose to do the sorting in Library module as you get to work with large thumbnails, which quickens the whole process, but may not be such a good idea on low resolution monitors as it will be hard to see whether photograph in question is well focused or not.

3) Assign to Collection

Collections are the best way to organize your photographs within Lightroom for quick access. They are much like simple folders within your operating system – you create a Collection and then assign images to it by drag-and-drop. It doesn’t physically copy the photographs within Lightroom nor hard drive, but acts more like a shortcut would. Basically, you still have only one image in Lightroom even after copying it to a specific Collection (or several Collections) – it’s just that you can access it from different places. For example, if you have a Collection where you store all portraits, but also a Collection where you store all your B&W images, you could place a B&W portrait into both Collections. Also, if you select that image in your portraits Collection and then go to your B&W image Collection where it’s also stored, it’ll be already selected there as well.

In any case, once you sort through your photographs and remove the ones you don’t like, it’s best to put them into a separate Collection. What this does is allows you to easily find the images among all the thousands you may have in your current Catalog, but also prevents you from permanently deleting images from it accidentally. Removing an image while being in a specific Collection will delete it from that Collection, but not from the Catalog.

To create a Collection, simply click “+” on the Collections tab which you can find on the right-side panel. A menu will pop-up – choose “Create Collection…” and name it. You can either select the images you want assigned to that Collection after you’ve created it and drag-and-drop, or you can select them prior to creating a Collection and tick “Include selected photos” check-box as you create a Collection.

In the previous section of this article, I mentioned assigning images to a Quick Collection by hitting “B”. You can remove images from quick collection by selecting them and hitting “B” again. Images assigned to Quick Collection will be marked with a grey dot and will appear in “Quick Collection+” section of the Catalog tab on the right-side panel. It’s rather convenient temporarily assigning images to Quick Collection as if it were a filter if, for example, you want to convert them to B&W all at once or perform some other action to a set of several different images quickly. That is, of course, not the only use Quick Collection has. Collections will be covered more thoroughly in upcoming Mastering Lightroom series articles.

4) Process and Export

That’s it! All you’ve got to do now is post-process your photographs as you wish. With the help of either filters (flags, more specifically) or Quick Collection you now have color and B&W images separated so you can batch-process them quickly. Once you’re done with all the adjustments, turn off filters and select images to export.

Exporting is easy – once you’ve selected photographs you want to export, right click on any one of them and choose “Export”->”Export…”. A new window will pop up and here are the most important settings you should revise (exporting will be covered in more detail in a separate article):

1. Export Location - specify where you want Lightroom to save your images.
2. File Naming - choose whether you want to rename the images on export or keep original file names. In case you do want to rename images, there’s a number of naming presets to choose from.
3. File Settings - specify file format (JPEG, TIF, DNG, etc.) of exported images as well as quality.
4. Image Sizing - if you want to export resized images, this is the best way to do it (for example, if you want to showcase your work on a personal blog, etc.). Specify dimensions.
5. Output Sharpening - apply additional sharpening to exported files. Especially useful if downsizing images on export or for print, where you’d want to slightly oversharpen the digital file.
6. Metadata - specify how much and what sort of metadata will be stored with the image once exported.

5) Final Words

It may seem to you at first that, for a very basic workflow, there’s quite a lot of points mentioned above. The truth is, however, you will only need to do a large portion of these actions just once or twice – most of the settings rarely need to be changed. In other words, what you’re left with is importing, assigning keywords, sorting through with the help of flags and separating B&W images from the color ones for quicker conversion. That’s it! Very simple. I use this workflow quite often – in fact, whenever I just want to process my images as quickly as possible and get back to shooting or writing. This workflow allows me to do just that without leaving my Catalog in a complete mess.

There are a lot of settings and options that, at first glance, require a lot more in-depth explaining, and that’s true up to a point. But to actually start working with Lightroom, you don’t need to know everything about it. You just need to know where to start – filling the blanks takes time and effort and can be done with practice. With this article, I did my best to show you one of the possible starting points. Hopefully, if you’re completely new to Lightroom, this article was of use to you.

The post Mastering Lightroom: Basic Post-Processing Workflow appeared first on Photography Life.

Photoshop, PSE and Lightroom Differences

The three most popular image post-processing programs among photographers by Adobe – Lightroom, Photoshop and Photoshop Elements – all target different user bases. While each can be used as a substitute for another in many situations, it usually results in a compromise. Let me give you a short user-base description for each product.

• Adobe Photoshop - Photoshop is an extremely powerful piece of software with virtually unlimited capabilities when it comes to any sort of graphical editing. In fact, photographers probably make up only a fraction of the whole professional user base that choose to use Photoshop either for their business or personal projects. It’s true photographers have used Photoshop for many years now (mainly because there wasn’t a better option at the time), but the software itself was never meant strictly for photographic tasks – far from it. In fact, the version many professionals first started using was Photoshop 5.5, and that was released in 1999 – before digital photography gained its momentum. It’s also enough to look at the set of tools Adobe offers, many of which are not directly related to photography, such as brushes. The truth is, many of its functions will remain untouched by photographers, it’s such a powerful and thorough piece of software with a very broad appeal. Even so, Photoshop is there for any sort of post-processing you may want to do.

  

  With all this capability comes Photoshop’s compromise, a sort of a weakness – it’s not the best software for small, quick adjustments, especially if you’re working with a few hundred RAW images from a recent wedding. It’s too heavy on resources and too complicated with all those tools and filters. Photoshop is best when used professionally for extensive retouching and editing, but there are far more suitable programs for quick, strictly photographic post-processing. Before I started using Lightroom, Photoshop CS5 was my main program for editing numerous RAW images and I must say, it took me ages to finish a wedding. With Lightroom, I can do it in a few hours and with fewer mistakes because of the non-destructive processing and Catalog system.

  Of course, price reflects the potential – at $640 for a retail box, and now part of Adobe’s Creative Cloud subscription-license, it is certainly far from being cheap (and as you may already know, we are not fans of Adobe CC).

• Photoshop Elements - many see PSE as a lighter version of Photoshop, which they are right about, to an extent. Photoshop Elements does indeed look much like a simplified version of Photoshop and it is also suitable for a reasonably broad user base, but loses most of the advanced functionality in favor of a user-friendly interface. By doing so, it effectively targets a slightly different user group – beginners and amateurs instead of professionals. But the actual application of the software remains roughly similar – you can edit images, as well as do some light RAW processing (though it’s much more suitable for working with JPEGs), and also draw a smiley face or write text on an illustration if so desired. The key point of PSE is its broad appeal for editing family pictures through a user friendly user interface. Sharing some of the technology with Photoshop means that it is still a powerful program, although obviously not as flexible.

  PSE shifts more attention towards photography than Photoshop, and in that way is similar to Lightroom. However, unlike Lightroom, it’s not for advanced photography post-processing, nor is it suitable for editing a large number of RAW files quickly and simultaneously. So, in terms of targeted user base, it sits somewhere in the middle between Photoshop, which has a very broad user base, and Lightroom, which is meant for (professional, in many cases) photography only. As far as photographic post-processing capability goes, it’s not as sophisticated as Lightroom and Photoshop, both of which are quite a bit more complex and capable in that area. On the other hand, PSE offers some basic Catalog and Organizer functions, and in that way it is again similar to Lightroom.

  If you must relate the three programs, PSE can be thought of a stripped down version of Photoshop, merged with a stripped down version of Lightroom. Think of it as a bridge between the two. It’s not as powerful as either one, but shares the functionality of both. Also, because it is marketed as a tool for beginners and amateurs, PSE will probably never be a part of Creative Cloud.

  

  Photoshop Elements is much less complicated than Photoshop and thus quicker to use with fewer tools and fast operation. However, it’s still just as inconvenient when working with a large number of images, especially RAW, simultaneously. It doesn’t offer nearly as much capability as both its bigger brothers do. And that’s where PSE’s compromise lies – if you want a piece of software for quick JPEG adjustments, some minor retouching and basic image managing and organizing without the complexity of either feature-packed Photoshop or pro-photographer targeted Lightroom, it can be a great choice. But Photoshop is still better for extensive professional retouching, excellent plugin system for third party applications, manipulation and graphical work, while Lightroom is much better for RAW files and processing large number of images quickly. Luckily, PSE is cheaper than both (and much cheaper than Photoshop) at around $80.

• Photoshop Lightroom - finally, we get to Lightroom. On one hand, it seems similar to PSE in that both emphasize photography post-processing as their main task (Elements a bit less so, perhaps). Both include some file management capabilities for your images with separate catalog systems. On the other hand, if PSE puts user-friendliness as a priority over advanced functionality, Lightroom makes no such claims – it’s a tool for those who know how to use it, with plenty of terms and settings that may be difficult to understand for someone who’s not seriously into photography. The main purpose of Lightroom is to help you manage, sort and post-process huge numbers of photographs as quickly as possible. Many professional photographers – be it wedding, fashion, landscape or others, use it as their main post-processing program, or use its rivals, such as Capture One Pro and Aperture. For these photographers, Lightroom is often all they need, with the ability to Geotag, sort, manage, edit, retouch, print images as well as create online galleries and design albums.

  

  I have to say that I am a big fan of Lightroom. I find it intuitive and simple to use and, with the exception of panorama stitching, frankly, there’s hardly been a task I couldn’t do with Lightroom. But there are two caveats. First, it’s good for my type of photography and my style of post-processing, which may not necessarily suit everyone else (those more into creative editing will strongly prefer Photoshop). It’s a flexible, professional tool, make no mistake. But it’s not one for extreme manipulation and tweaking. Lightroom has been getting better, but it still lacks some core functionality of Photoshop for things like advanced cloning, layers, etc., and there’s a good chance these features will never reach Lightroom. Second, while I find it simple and intuitive, it’s because my work includes daily use of the software – it’s what I do. So, someone new to photography might find it to be complex and not that user-friendly. For this reason, I would struggle to suggest it as a solution to someone who just wants good-looking family pictures quick and easy.

  How is Lightroom positioned price-wise? Well, it’s not even close to being as flexible as Photoshop and is much more specialized. On the other hand, within its limitations, it’s still a very capable, pro targeted piece of software. So, for me, it makes perfect sense that it’s much cheaper than Photoshop, but also somewhat more expensive than PSE at around $150.

Lightroom vs Photoshop Elements – Which One Should You Choose?

After spending a little bit more time with PSE and exploring its capabilities, I got a better understanding of its features and functionality – things that help it hold its own against its sibling. It’s true that Lightroom is targeted at professionals, while Elements is better suited for beginners and amateurs who don’t make a living out of photography. But here’s a surprise: PSE also has a basic organizer with tools for printing, creating albums, galleries, calendars, slide shows, etc. It’s very simple and quick to use. You can access Photo Book, Photo Calendar, Slide Show and the rest of the tools either from PSE Photo Editor environment or the Organizer. When using the Organizer, you also get a number of social sharing options such as Facebook, Flickr, Youtube and Vimeo.

To use one of the available tools, simply click on the Create menu at the top-right corner of either PSE Photo Editor or Organizer, choose what you want to do and follow the steps. In most cases, you will have a number of templates to work with and create some simple, fun photo albums or slide shows which all of your family will be able to enjoy.

The way these two programs – Lightroom and Photoshop Elements – are positioned against each other is quite interesting. They have much more in common than I thought at first: they share the same main functions, being designed mainly for photographers (with PSE giving a bit more room to play for amateurs) and have, overall, a similar feature set with organizing capabilities, catalog systems as well as tools for printing and showcasing work. At the same time, Photoshop Elements also has some similarities with Photoshop in that they both offer advanced editing of images using layers, brush, pencil, erase, text and other tools that you could use for non-photographic work. So, which one is for you?

Well, if you’re the kind of person who takes a lot of images, particularly, but not exclusively, in RAW format, and is into photography big time with professional aspirations, Lightroom is the way to go. It’s a professional and very capable piece of software designed to help you go through the process of organizing, post-processing, printing and exhibiting your work online through social networks or stand-alone galleries. Lightroom offers you a way to quickly work with a large number of photographs at a time with an advanced user interface and straightforward, precise, capable set of tools and full control over the end result. With Lightroom, you have the option of going back as many steps as needed at any given time and rework your images from ground-up without the danger of overwriting the original files thanks to its catalog-based image managing system. It is used most of all by serious, aspiring amateurs and professionals, and this is the user group I would feel most comfortable recommending Lightroom to.

As for Photoshop Elements, I would like to mention once more how powerful it is in its own right. It has a lot of similar capabilities that Lightroom has and even has an organizer for basic file management. With PSE, you can also showcase your work online quickly and create photo books, slide shows or other content from your images. Not to mention Photoshop-borrowed layers, which, alone, bring a vast number of post-processing possibilities. It would seem, then, that PSE is a no-brainer for near half the price of Lightroom, but do note – it’s not meant for professional use. Once you start working with many files, you will realize that you might need more serious image management and sorting capabilities, which you will not find in Photoshop Elements. I’m not saying you can’t work with it professionally – obviously, you can. It’s not the best choice, however, as it includes a lot of features a professional photographer might call gimmicky – like effects and photo album templates that may be a bit too fun for weddings or other paid jobs. You should see Photoshop Elements as a family photographer’s best friend – it is simple, cheap, gives great results and doesn’t demand a high level of expertise from the user. That is why I would suggest it to anyone who works with a limited number of images and just wants to do some basic editing. PSE might also be a great stepping stone for an aspiring novice, as it offers a lot of bang for your buck. Just like entry-level DSLR or mirrorless cameras, it makes achieving great results easy, yet packs great potential for more experienced photographers as well. As such, it is likely to remain extremely useful for quite some time.

In summary, here is how I would describe all three:

1. Adobe Photoshop Lightroom – advanced workflow management software with tools for non-destructive mass image editing, publishing and printing. Mainly targeted at professional photographers.
2. Adobe Photoshop – complex image and graphics editing software package designed for editing one file at a time. Mainly targeted at graphic artists.
3. Adobe Photoshop Elements – a bridge between Lightroom and Photoshop, with limited functionality from both. Basic workflow/file management, along with some editing tools from Photoshop. Targeted at beginner and amateur photographers and graphic artists.

The post Lightroom vs Photoshop Elements appeared first on Photography Life.