“I want to be a pro.”
Don’t pretend like that thought hasn’t come across your mind at all. Many of us as photographers have always wanted to go pro. It’s in gear marketing, it’s part of the aspirations of many in the photo community, and it’s ingrained in so many tutorials that are all across the web. So what does being a pro mean? Being a professional photographer means that the large majority of your income is from photography. This means that you shoot for a living and if you’re not shooting then you probably can’t pay rent, put food on the table, etc. Is this you? Probably not.
But then let’s start to break that down a bit more: you could aspire to be a semi-professional photographer. This means that anywhere from around 40-50% of your income is from photography. The rest of the money may come from your full time job. Being the semi-professional photographer is a much more attainable ideal to strive for than relying entirely on photography for all of your income. No matter how good you are, you need to consider a couple of very big factors at play here.
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Depending on your approach, photography can be a communal experience or a loner’s art. When you’re in the early days of your practice, there’s a chance you might show your work to close friends, and they’ll most likely encourage you in your pursuit. If they’re not photographers, their encouragement will in many ways be superficial, and while the good remarks may feel good, they’re not substantively helpful. Thoughtful critique is key to any photographer’s development, regardless of genre. One of the best ways to get that critique, beyond workshops and portfolio reviews, is to develop and maintain relationships with other photographers. [click to continue…]
If you know anything about wet plate collodion photography, it’s probably that the photographer needs their subject to be very, very still for the entire duration of the photo. For most subjects, that isn’t too much of a problem, but Wet Plate photographer Giles Clement had a bit of a more animated subject in front of his lens. Ashley Schafher came into Giles’ studio to have her portrait taken of her and her dog. To ensure that the dog didn’t get too frightened, Mr. Clement decided to use strobes but make as quick and painless of a process as possible. If Giles didn’t use strobes, this means that he would have needed to do a long exposure. The reason for this is because a wet plate has such a low ISO value and such a large area to get into focus that they need an extremely narrow F stop and a very long exposure time.
Through the entire shoot, Giles talks us through the process. It begins with using a piece of black glass and pouring collodion on it–which is a solution of cotton, alcohol ether and acid. Then he adds silver nitrate to make it all light sensitive.
Giles did things like making sure that they were on the same plane of focus to make the job easier for him. In the end, he nails it. The video and the insight into his work are after the jump.
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Sometimes a product hits the market that makes us literally say “WTF!?” Today, that award goes to Lomography with their brand new Lomochrome Turquoise film. Based off of Lomochrome Purple (which was based off of Kodak Aerochrome) the company describes the film as taking warm colors and rendering them in shades of blue. But that’s not all. According to the company it is responsible for: “turning warm colors into varying shades of blues from aqua to cobalt, transforming greens into deep emerald shades, blue skies into a sunset and a crystal clear sea into a golden hue”
Essentially, it looks like a permanent cross process–which unless done correctly makes us want to cry and rub our eyes with fixer fluid.
The film is a brand new offering, and they’re expecting the first shipments of Lomography Lomochrome Turquoise to come in in April 2015. The film comes in packs of 5, 10, 15 and 20. They also have it available in 120 format and requires C-41 processing.But in our opinion, they’re a bit overpriced.
More images samples are after the jump.
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All images by Justin Brosey. Used with permission.
Images can show us a whole new way of looking at the world whether it’s an image that captures the big picture or an intimate scene typically hidden from the public eye. Likewise Justin Brosey, a passionate passionate photographer and mycologist (a biologist specializing in plant diseases) who shows us the hidden beauty of nature’s tiny micro-habitats that surrounds us all.
The Florida-based artist specializes in taking macro images of small animals like insects and spiders as well as mushrooms growing in the forest. If these gorgeous images themselves aren’t enough proof of Justin’s work, the 26-year-old photographer has been published in National Geographic in 2013.
Justin says his curiosity has been piqued since he was a child watching ants and other small animals go about their lives for hours. “I always tried to put myself in their shoes and wonder about how the landscape looked from their tiny perspective,” Justin expounds. “I see micro-habitats everywhere and I like to make these little worlds visible to others who don’t observe so closely.”
More recently, though, Justin has fallen on hard times having lost his old job as a plant doctor and eventually losing his home. His photography is not only his passion, but also his only means of supporting himself, his wife, and their daughter. Currently Justin and his family are homeless while they temporarily live out of a small camper parked in the forest. Justin explains that the camper gives his family enough shelter from the rain, but the heat and mosquitoes are torturous.
Click the jump to read Justin’s whole story