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All images by Markus Kretzschmar. Used with permission.

Photographer Markus Kretzschmar is a lifestyle photographer in Berlin that mostly shoots with his Fujifilm X100s. It helps him out when he wants to transition to street photography. That–and Markus likes using natural light a lot even though he used to use flashes.

All this, and he used to hate photographing people.

But these days, Merkus shoots for fashion designers, brands, and agencies. He tells us that he loves to work outside, but during this time of the year he tends to focus more on street or studio shooting. His goal: to not copy anyone, any to create unique work.


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Chris Gampat The Phoblographer Sony 85mm f1.4 G Master Lens (8 of 11)ISO 4001-50 sec at f - 2.8

Years ago, two companies did something very big for the lens manufacturing world in the photo industry. Those two companies were Zeiss and Sigma. Zeiss announced and released the Otus 55mm f1.4 while Sigma revamped with the Global Vision and dropped the 35mm f1.4 Art lens. Both exhibited major strides forward in lens design and manufacturing. For years, the industry hadn’t seen anything that sharp, contrasty, etc.

Then everyone else started to catch up.

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Chris Gampat The Phoblographer Canon 8-15mm tugboat graveyard (13 of 29)

The Phoblographer is looking to feature the work of various urban exploring (urbex) photographers. Think you’ve got what it takes? Hit the jump to see how you can be featured on the site.

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Chris Gampat The Phoblographer Panasonic 20mm f1.7 II first impressions images (12 of 22)ISO 2001-250 sec at f - 1.7

“It’s less this, and more this…” said an archival rep to me at Magnum Photos years ago when I interned there, first motioning to shooting photos and second motioning to talking by using hand gestures. That piece of advice is still ranked amongst the most important lines I’ve heard about the industry.

One of the most common things that you’ll hear photographers state is “I can do that too!” For example, think about the Peter Lik sale: many other photographers came out and literally stated “I can do that too.” Typically though, this is associated more with the means of capturing an image rather than creating a scene or an idea.

And you’re right. You can do it too. You, and everyone else with a camera, a knowledge of manual mode, an idea of how metering in a scene actually works, compositional framing, and Photoshop knowledge can totally create that image by yourself, at your home.

But did you? And are you a photographer with a famous name in the art world?

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All images by Dan Bannister. Used with permission.

Photographer Dan Bannister is all about not only doing creative photo projects, but he also understands the the importance of networking. When he did The Blacksmiths and #WokeUpLikeThis, he understood that he needed to get eyes on his work–so he contacted me. But Dan also knows just how important to it is for people to know about what you’re doing. So every year, he mails a sketchbook called the Assistants. It goes out to art director, designer friends and clients every year. “The theme is ‘The Assistants’ because the book contains images of light tests with assistants from various commercial and editorial shoots, paired with the final finished image we were actually shooting for the client.” says Dan. He’s been doing it for four years.

After a couple of years, he gets calls from designers and art directors reminding him to send them one. “I get designers asking for an opportunity to design it because there’s so much latitude and opportunity to really make it their own.”

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DSC_0181 as Smart Object-1

Image by Jaanus Ree. Used with permission. 

Red Bull Illume Photographer Jaanus Ree has already proven that he can create incredible photos of athletes done in extreme situations. This time, he’s back and showing off a new shoot that, well, saying that there was a lot of effort put into it doesn’t begin to do justice to just how much work was done.

Jaanus used a bulldozer to move loads of snow to create a pipe/ramp for a snowboarder to leap off of. But he was very specific about his lighting. Done in what seems to be a lot for trailers or busses, he placed Elinchrom lights into each of them and lights that will illuminate the athlete. Then he shot and triggered all of the lights to go off at once.

The glass windows are frosted and so they provide a natural diffusion and just enough kick to make the image look different.

The video on how this was done is after the jump; it’s well worth the watch.

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IRAN: TEHRAN January 1979. After a pro Shah demonstration at the Amjadiyeh Stadium, a woman believed to be pro Shah supporter is lynched by a Revolutionary mob.

IRAN: TEHRAN January 1979.
After a pro Shah demonstration at the Amjadiyeh Stadium, a woman believed to be pro Shah supporter is lynched by a Revolutionary mob.

A new site is looking to profile the work of famed Magnum Photographer Abbas–who covered much of the Iranian revolution. The site is a collaboration between IranWire and Journalism Is Not A Crime and produced by Iranian journalist and filmmaker Maziar Bahari. It commemorates the 37th anniversary of the Iranian Revolution.

Abbas.site does a great job of showing off how much the times have changed between the news coverage of Iran today and what it was back then. It’s broken down into many sections that not only show images but accompanying text that explains more about what was happening at that time. Since it’s Magnum photos photographer Abbas, it’s also just quite powerful in light of all that’s happening in the world right now.

If you’re into photojournalism and documentary work, some of the images will really grab you.

Chris Gampat The Phoblographer 4V Design Lusso Slim brown and cyan product images review (1 of 9)ISO 2001-125 sec at f - 2.0

In 2016, I’d like to think that film finally became a respected format again that lives as its own individual medium. For the most part, that’s true in the artistic end of the photography world–but there are still those that associate it with being hipster, inadequate, and in no way superior to digital. Those beliefs couldn’t be any further from the truth. It’s a tougher medium to master (along with all the other analog mediums): but in today’s day and age there isn’t a single photographer whose entire career (all the way to the end of it) has been founded on and fully digital.

Film, instead, just reminds us of the absolute truth of photography: there are abysmal digital photographers and there are abysmal film photographers. Then there are those who excel no matter what medium they choose.

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