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Chris Gampat The Phoblographer Lomography Bel Air Hands on Review (2 of 10)ISO 400

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The other night I was in a bar with a photographer that we featured here on the site recently. When we chatted, we talked about how the industry was going in general. She (the photographer) assists other larger names and does her own work on the side. For extra income, she thought about doing weddings with another photographer she is close with. The problem is that they didn’t want to deal with the editing process and everything else in the post-world that has to do with working with weddings. Additionally, everything that they found wasn’t worth the money and there are tons of low ballers out there. Essentially, that is also only one of the reasons why wedding photographers get paid what they do.

So after chatting with her and a couple of other photographers, we figured it out: just don’t post-process. If anything just shoot JPEG, cut the session down to the best images, and then hand them off to the clients. This goes for weddings, portraits, events, etc.

Again, we are not preaching laziness here–and if you take away from this article that we are doing that then you’ve obviously not read it. We’re preaching a way for photographers to make some extra cash on the side and still make the work profitable for them. If someone only wants to pay you $300 for a wedding and you’re giving them six hours of your time, just find ways to cut corners and make your time totally worth it and as profitable as you can.

On the other hand, if someone is paying you handsomely, put the according amount of work in and show that work off in your portfolio accordingly. Then always keep in mind that the high end photographers will never compete with the ones that only do cheap weddings because they are totally different price points. To the gear heads, it’s like comparing a Nikon D4s to a Canon Rebel.

Then in the end, just don’t tell anyone that you did it.

Chris Gampat The Phoblographer Sony NEX 50mm lens review (4 of 10)

Congratulations! You’ve got your first paid photo gig. This also means that you’re on your way to the dream of shooting full time and getting lots more work. But you’ll need to play your cards rights. Now what? You’re lost, right? You’re nervous, right? Well, you should be.

Just kidding. This will be a breeze if you keep in mind these simple reminders.

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Screen Shot 2014-08-26 at 1.53.26 PM

Most location photographers would kill to have more flash power output in a small flash body of some sort. Today, Interfit is announcing another addition into the category of small flashes that produce light like full studio strobes. It’s called the Strobies Pro-Flash 360 and looks very similar to products made by Cheetah Stand and Adorama’s Flashpoint.

The main selling point is of course the 360 watt seconds of power output available in a small body that needs to be connected to a small power pack. Additionally, it has an actual flash bulb that can be used totally bear or with the umbrella reflector that comes included.

Interfit claims that it is capable of high speed sync in addition to power adjustment of 1/3 increments, 450 full powered flashes, and a stroboscopic mode. Many years ago the Strobies were used by loads of photographers. And this new flagship product from the company may find its way into the hands of strobists everywhere.

Expect the Strobies Pro-Flash 360 to come in at $499.99 with the battery pack.


DIY Softbox

Image courtesy of Digital Camera World

We’ve seen a lot of softboxes in our day—from the Profoto RFi Softboxes to Westcott’s Rapid Box Octa Mini and Photogenic SB22 Square Soft Box—but have you ever though about making your own. Digital Camera World has come up with a nifty guide to do just that with a bit of cardboard, tin foil, and some cloth.

First you’ll need to cut out four wedge-shaped pieces of cardboard that will form into the softbox tent around the flash head. Then wrap the sections with aluminum foil and adjoin them together into a trapezoidal shape, filling in any gaps with light-proof tape (i.e. electrical or gaffers tape). As for your fabric anything white like an old t-shirt will suffice as long as it covers the front opening of the softbox.

Now that you’ve put it all together, the whole point of a softbox is to provide defused beam of light directed at your subject. Whether the flash is on your camera or off to the side as a second light source it should light your subject evenly while still in a directed manner.

Of course softboxes aren’t limited to just shooting model, they can be useful for product photography from nick-nacks destined for eBay to cars, make shift photo booth operations, and just about anything that demands more light. Now that you can build our own with random household items, there are even less holding you back from giving it a shot. Be sure to checkout Digital Camera World for the full build guide. Also be sure to check out our intro to softboxes.

Via Digital Camera World


Infographic originally made by Online Product Mail. Used with permission.

Peter over at Online Product Mail created a very educational infographic giving viewers a better idea of how the camera has evolved. It starts with things like the Obscura in ancient Greece and also continues on to show things like the daguerreotype well into the modern day.

If you’re a history nerd, you’re bound to stop all productivity for a little bit.


The folks over at Treat recently emailed us to share their new massive glossary of photography terms originally published on their site. If there is any term that you’ve ever wanted to know, it’s probably in here. You can check it out on their website or hit the jump.

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