Abstract photography is possibly the most difficult style of photography there is. It forces the photographer to look outside the box and discover something that is not as literal as “being in the right place at the right time”. Many photographers ask me how to accomplish great abstract photos. I think this is because of the fact that photographers have to let go of almost all control and produce a photo that absolutely does not follow a specific rule set.
You know that saying…“You only get one chance to make a first impression.” With this statement in mind, I ask you…How do we see you? Do you present what you do as an occupation in a clean and organized manner or do you go to school with stains on your shirt? As a photographer, artist or designer what is your philosophy on how you show your skills to the world? This is where we begin to think about defining you brand for the web.
Have you ever considered using your friends and family to add a human touch to your images? More often than not, most of us go camping, hiking, or just head into nature with a group of our friends and family. Taking the opportunity to use any of these people as a human connection within your photos can often turn a good image into a great one. In addition, you will create a lasting memory of good times in a great location.
Instagram made its inauspicious debut as an app for the iPhone on the social media circuit on October 6, 2010. It was originally created by Kevin Systrom and Mike Krieger, and a short 6 months later they managed to acquire $500,000 in seed money. From there, in just a little over 2 years after the app was created, it was bought by Facebook for a measly $300 million in cash and 23 million shares of stock! Essentially a $1 billion dollar offer/deal.¹ I wish photographers could pull off that kind of growth. We could rule the galaxy…
The First Pedal Strokes
Do you remember your first time? It was probably a crisp spring morning. Your training wheels were gone and your dad or mom was holding the back of your seat. You began pedaling. Wobbly. Leaning left and right. Quickly realizing that every time you turned the handlebars your bike leaned even harder in that direction. You pedaled as fast as those little legs of yours could go. Completely out of control. Your parent grabbing and holding you up from ominous explosion. You wanted those stupid, piece of shit, bent and abused training wheels back. You cried. Tears flowed down your face catching the glimmering early morning light. You pedaled faster and faster, trembling with fear as the speed began to freak out your brain’s receptors. You could hear you dad breathing harder and harder as he ran along your side.
In today’s market more and more people are heading to their mobile devices and iPhones to accomplish daily tasks. They search the internet, post to their social media, send email, share photos with their friends all on their mobile devices. As a professional photographer, I have come to rely pretty heavily myself on the iPhone in my pocket. Here are my top 9 reasons photographers need to carry an iPhone or similar handheld device. These are by no means the only reasons I have an iPhone, but they are definitely the ones that help me the most in my daily business operation.
Last week Adobe released its newest version of Lightroom; it is now known as Lightroom CC or Lightroom 6 depending on how you purchase the software. Lightroom CC is available in Adobe’s Creative Cloud and will continuously be updated from now and into the foreseeable future. If you decide the Creative Cloud isn’t for you, you can still purchase Lightroom 6 in software box form from a reseller like B and H Photo Video. The downside to this purchase method, however, is that Adobe doesn’t have plans at this point to update the non-cloud version down the road. This is pretty much the key decision you’ll need to make as to the direction you think your needs will take you regarding your photo editing software. We have had our entire office on the Creative Cloud for close to two years at this point, and have zero complaints with the ease of keeping everything up to date.
Wildlife photography is not a cheap investment. It typically requires big, expensive, high-quality lenses and fast cameras to even begin to think about creating a quality wildlife photograph. However, there are many photographers who show up on game day with the equipment, but not the game. In my opinion, it is fine to be a trophy hunter with a camera because you are spending time in the wild and are only taking home photographs of the animals and not the animals themselves. However, if you truly want to create an image where you’ll give a wild animal its moment to shine, you need more. You need to give your viewer a connection to that creature. Here are some tips to help you achieve the best possible wildlife images.
If you read last week’s post you would know that I have a bunch of projects in the making. A large part of my job is editing the thousands of images that are attached to any one project. Choosing the right photograph from a scene or a series of scenes that are all related can be the make or break to getting an image published or more importantly a happy client. Typical day shoots for me will produce anywhere from 1000 to 3000 images. Some of these could be a series of images created from a motor drive sequence, while others could be entirely different compositions with entirely different stories attached. So how do I choose a photograph? And how do I complete this crazy editing task efficiently enough to feel like the editing process isn’t a complete and total burden?
Welcome to the Matrix
This week we are taking a quick break to highlight some of the amazing projects we have been working on. The past couple of weeks have had me producing a bunch of new contracted commercial and editorial work. We have two new editorial projects in the works for Dirt Rag Magazine. The first is a photo essay on mountain biking connected to quotes from the movie The Matrix. The images are following translated meanings of the movie quotes and the images are then reminiscent of the color toning of the movie itself.