With almost all of our cameras featuring video capabilities (I’m looking at you, Nikon Df), most of you have probably considered going beyond the occasional family video. However, like photography, video requires post-processing for best results, and the prospect of buying After Effects, Premiere Pro, and SpeedGrade just to get your toes wet is daunting for many photographers. What you may not know is that you already have a powerful video-editing program in Adobe Photoshop CC, or CS6 Extended. This is an easy way for photographers to play around with film without purchasing hundreds of dollars worth of software, and is surprisingly effective. I’m certainly not a professional videographer as my example video will show, but I have enjoyed editing a few shorts, just for fun. The two most critical aspects of editing for video (not including cuts/sequencing) are color-grading and sharpening, both of which can be done relatively painlessly in Photoshop using tools you’re already experienced with.
If you haven’t noticed, camera sales are down. I mean, they’re way down. Unsurprisingly, everyone’s scrambling to find a reason why. There’s a video floating around from Mayflower Concepts that, at the very least, explains what is not the cause for the camera sales drop. If you don’t have 50 minutes to watch it for yourself, here’s the “TL;DR” version: It’s not due to the rise of phones with cameras – at least, not in the way you think. It’s not because the economy is in the tank, as most camera manufacturers claim on their financial reports. There’s simply no strong correlation between any of the global financial crises, or the simple existence of cameras on phones, to have any reason to believe either is the cause for a huge drop in sales.
If you become a student of street photography, the curriculum is littered with advice and maxims on what defines and makes a “good” street photograph; I use the word “littered” intentionally – because much of that curriculum is just that… things that can be tossed out. Within that heritage, I don’t claim to be a master, let alone a division chair or associate professor, or even a teaching assistant. But I am a student, or a ‘disciple’ of the genre if you will – one that realizes that that I will never stop learning the craft, and that beyond the techniques or gear used or the aesthetic of an image I am working to create, the genre is itself as much about a process of self discovery, growth, and expression of who I am as it is about the final “result.” That may sound out of place in a discussion of street photography, but to that end, I want to state that – in this student’s opinion – what matters most in street photography is the choice and act of your presence, and shooting “who you are” in an image. Grab some coffee, as this isn’t going to be another “three essential ways to improve your street photography” kind of article.
I still remember the first time I came to PhotographyLife.com. Not the exact date I put my digital feet on the site but how I felt the first time I saw the big header with the nice “PL” logo and a clean layout. I felt relaxed and calm, not feeling the need to hurry up through lots of banners and links. I simply felt good and it was that very nice feeling what I remembered from my very first visit.
Landscape photographers often use fog to help them create wonderful, moody images. You’ve likely seen one of those arresting photographs of a single tree shrouded by fog standing silently in a field.
Unless you have the luxury of close access to National Parks or scenic destinations or can travel during the off-seasons, visiting a destination for the first time is something hard to plan for. Prior to each trip, I always browse the internet to look for interesting locations I may want to visit. It’s especially hard to fully explore some National Parks such as the ones in Utah in only under a week. Therefore pre-planning some hiking trips doable by the whole family within the limited time is a must.
I have thoroughly enjoyed the response from my first article here at Photography Life – both the encouragement as well as the advice to follow my photographic instincts than to be led sideways. It is nice to have allowed a wider audience a peek at my work and hear some constructive feedback on my images and thought process. This article is a bit of a throwback post and is intended to be a general starter guide to photographing the Northern lights. The title is perhaps misleading as the “Northern Lights” are not just a phenomenon of the Northern hemisphere but also occur in the Southern Hemisphere. In the North, it’s generally referred to as the Aurora Borealis whereas in the south, it goes by Aurora Australis. However, my experience, though not vast, has generally been shooting the Northern Lights in Norway and Iceland and this is what I will now expand upon.
When Nikon announced the new 24-2000mm equivalent Coolpix P900 it took the world of superzooms and put it into hyperzoom. Or is that hype-zoom? I’ll have the comprehensive review of this intriguing camera done soon, but to whet your appetite until then, wrap your mind around these shots of Grand Canyon’s Desert View Watchtower all taken from the same spot at Lipan Point, 1.8 miles away.
During a recent trip to the Myrtle Beach area of South Carolina I took the opportunity to try something new, and captured a number of images of brown pelicans. Although I’ve seen these birds a number of times in the past I never tried photographing them before, and as with any bird species there was a learning curve involved.
Hello, my name is Rick Keller. I am an amateur photographer who lives in San Diego, CA, one of many readers of Photography Life, and an occasional participant in its forums. Recently, after having participated in the Photography Life Photo Critique forum and Weekly Critique Section, Nasim Mansurov graciously and enthusiastically extended me an invitation to write a guest article for Photography Life to share more of my film work and discuss the tools and methodology that I use. I wholeheartedly accepted the invitation. As I pondered this task, it was immediately apparent that I could write such an article in a variety of ways, each of which might lead to a discussion of additional subtopics in both general photography and film photography. As I contemplated a specific topic to discuss, I felt that it would be more meaningful and productive to write an article that is both interesting and educational as opposed to a prosaic description of a few photographs and the choices of tools. As tempting as it is to delve straight into a detailed description of his/her work in photography, I concluded that I could not in good conscious write a pure show-and-tell article on my film exploits without first describing my general approach to photography – an approach that is grounded in classic teachings, shapes my contemplative process, guides why and how I choose my compositions, and ultimately determines the subsequent process of making the print. Then, and only then, would I feel comfortable writing a dedicated article on my film work. Thus, after much deliberation, this is how I decided to proceed with this invitation. In this essay, I will briefly discuss the history of a fundamental, yet still under-emphasized, concept in photography along with an integral (and underrated) tool that epitomizes this concept. Subsequently, in a follow-up article, I plan to share an essay that chronicles one of my of most cherished photographs and which I believe illustrates the emotional and creative process of visualization. And in a third follow-up article, I will share a select group of photographs that I have made on film and briefly describe the technical process involved and the ancillary services that I use for development, scanning, printing, as well as introduce other subtopics for a future discussion.