It was the year 1987, living in São Paulo, three friends and I decided to undertake a trip to the south of Brazil. We took our surfboards and cheerful for the information we had collected in the region, we boarded the bus to face an 11-hour trip. I had a camera with me that was borrowed from my stepfather. It was a Penthax Sphotmatic with a 50mm and a 70-250mm lens. The photometer did not work, so I used a hand-Weston. I rewound 20 films and left.
Hi. My name is Elliot Madriss and I teach a successful class at the continuing education facility as part of the University of New Mexico called “Stop Taking Crappy Pictures!”. This class was created as a direct result of my reaction to the very poor quality of images being posted on the Internet and on many professional sites – in my opinion, collectively we are losing our ability to take great photographs. With the advent of incredible cell phone technologies as well as the great sensors that now populate most DSLRs, taking snapshots has been made much easier. However as always, photographs (which are great works of art) are still difficult to take. But don’t blame yourselves, its in your DNA not to see photographically!
Now no one’s ever going to accuse me of being a motorhead any more than they could accuse me of being a gearhead. Cars don’t provoke a tachycardic enthusiasm from me in the same way as other subjects do. But there happened to be a car show at a summer festival nearby yesterday so I ambled along with my camera to see the display. I was certainly tempted by the beautiful lines, form and colour of classic car anatomy.
The past few months I have fallen victim to a creative slump, a rut, a lack of enthusiasm around my photography. Call it what you want, I felt uninspired. Although I love nature and bird photography, I found myself struggling to make time to get out and shoot. We live on the gulf coast of southern Mississippi. There is an abundance of wonderful birdlife, beautiful sunsets and unique cypress swamps full of wildlife begging to be photographed. When I did get out, I found I was not very motivated to download my images, let alone take the time to process them. I needed a change. What I really needed was a challenge. I decided to try something I had heard of, but have never tried before, in the hopes that it would relight my photographic passion.
Not a very positive article to post from the perpetually optimistic Alpha Whiskey, or to pull me away from the exciting Euro soccer tournament (although this particularly pedestrian game will forgive me the distraction of writing this). But on a recent escapade a friend of mine seemed to be missing her photographic mojo. I’m not sure what happened but it had definitely vacated her previously enthusiastic demeanour. Perturbed to see my friend so forlorn I rationed a few brain cells (not having that many) to consider this problem.
Few topics in photography are as important – and as personal – as the composition that you choose. Composition has the power to convey exactly what you want to say with a photograph, guiding a viewer’s eye seamlessly across the frame. It has been called, with good reason, the strongest way of seeing. This article revisits some previous Photography Life articles on composition, covering the most important elements and discussing how they relate to one another.
The more you edit a particular photo, the more likely your eye is to grow weary of the changes that you make. Personally, after spending a few hours editing a single image, I begin to lose my ability to tell a good edit from a bad one – presenting a clear problem for making more edits. To some degree, this is even true after a two- or three-hour break; the photo is still too familiar to see with a fresh eye. In this quick article, I will cover a couple ways to look at your photos from a different perspective, including my personal favorite tip in photography.
There are some basic aspects of photography that one would have to strive to master no matter what type of photography you do – and these are light, composition, content, timing, camera settings, presentation. There is plenty of information on these subjects that is well written and very useful. In this article I wanted to bring attention to some less thought of elements of my photography (mainly wildlife) that I find are extremely important, and why they are important to me. These same topics also happen to be items that were heavily commented on by readers in my past articles on PL.
There are very few decisions in photography more personal than picking a set of lenses to use. With the incredible number of options available – no matter which brand of camera you use – it can seem impossible to find the right lenses for your needs. Personally, I have switched out my entire lens kit at least four times in the past four years, and many photographers have done so even more often than that! There are no perfect answers for someone looking for what lenses to buy, but I hope that the tips in this article can shed some light on some of the variables that you need to consider for a set of lenses, whether you use Nikon, Canon, Sony, or any other lens manufacturer.
Have you heard of the Orton Effect? This post-processing technique has been around since the 1980s, if not earlier, but the trend has exploded tremendously in the past few years. If you haven’t heard of it, you aren’t alone – it only recently began to gain mainstream popularity. And yet, in some ways, the Orton Effect is swallowing the modern world of landscape photography. This is barely an exaggeration; after seeing the Orton Effect in practice, you should be able to spot it in at least a third of the trending 500px landscape photos, as well as many winning photo contest entries. This article covers all the basics of the Orton Effect, including a tutorial on how to implement it in your own images – and a discussion on why you may not want to do so.