Creating More Effective Street Photography Through Editing

Kevin Lee The Phoblographer Fujifilm X100T  1-125 sec at f - 2.0 ISO 2000

The idea of capturing great street photographs is one that sometimes forgets that the photo capturing process doesn’t end when the camera records the information. Instead, it continues into the darkroom or on your computer. Editing can also make a drab photo into one that is incredible–but this really happens only if you’re more experimental and embrace the idea of having fun with and playing with ideas to create something different.

In truth, it really isn’t that tough.

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Has Digital Technology Ruined Black and White Photography?

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This is a syndicated blog post from Street Silhouettes. All images and text from Horatio Tan. Used with permission.

There was a time when all photographers shot black and white film. For the most part, the decision to shoot in black and white had very little to do with choice or preference for black and white photographs. In most cases, it was because black and white film was more convenient to develop, when compared to color film. And in case you’ve forgotten what develop means, it’s not when you drop off your film at the local photo-mat. It means going to the darkroom and developing it yourself.

It was in developing film and printing images that separated real photographers from those who just took photographs. Whereas the latter group had no control in optimizing the look of the images (after it was developed and printed at a photo-mat), the former had complete control limited only by the scope of his ability in the darkroom.

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Under $1,000: 5 Lenses for the Sony Travel Photographer

Chris Gampat The Phoblographer Sony 18-105mm f4 lens review product images (6 of 7)ISO 2001-60 sec at f - 1.0

Much like the basis for our previous Under $1,000  travel lens guide for the Fujifilm X-Series, Sony mirrorless shooters are also finding themselves flock to to E-Mount based cameras for travel purposes. The reasons are very similar to that of the Fuji’s, the cameras are small, light weight, and many of the lenses offer significant size savings over their full frame DSLR brethren.

Today we are going to be looking at some of the top Sony E-Mount compatible lenses for under $1000. So let’s jump right into it, but also be sure to check out our Sony Deals Page for any of these that may be on sale.

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I’m a Freelancer and I Hate Summer

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In partnership with Format Magazine.Click here to build your Format portfolio website today with a free 14-day trial, no credit card required.

This post was syndicated from Format, prepared by Anthony Thurston. Originally done by Anne T. Donahue, featured image by Angelo Kangleon.

The weather is beautiful but you have freelance work. We asked a freelancer for productivity tips to help survive the summer.

I hate the summer. (There, I said it.) I hate being too warm, I hate how easily I sunburn, I hate how trees, grass, weeds, and whatever-else-exists on this earth seem like they’re trying to kill me, and I hate feeling pressured to go outside. Especially when I have work to do.

Because I love working. Freelancing is what keeps me afloat in moments of anxiety, over-tiredness, or when I need to distract from real life. When it’s sunny out and my friends want me to hang out with them, it’s a lot harder to deflect invitations, and stay inside the way I normally do in the fall and winter.

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30 Inspiring Street Photographers To Motivate You to Shoot in 2016

Jamel Shabazz (8 of 20)

All images used with permission from the photographers in our interviews. Lead image by Jamel Shabazz.

Street photographers are numerous on the internet–there are famous ones, up and coming ones, little known ones, and the ones that everyone immortalizes. Over the years, we’ve interviewed a number of excellent street photographers that you’ll want to check out right after the jump.

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The Failure of Modern Documentary Photography and Photojournalism

Chris Gampat The Phoblographer News from flipboard (1 of 1)ISO 2001-75 sec at f - 1.4

For generations, what photographers have tried to do to get society to change its minds about social and political issues is showing exactly what happens. We, as in most of society, are behind a safety of sorts: there are screens, editors, warnings etc that the most graphic photojournalism and documentary stories that can really change a person’s mind about an issue. These censors have made the public immune to so many things–so much so that we continue on to other stories like those of some kid blaming Pokemon Go for them walking into traffic.

Why? We, as a society, like being entertained pretty much to death,

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Photojournalism, Permission Rights and The Social Web: A Combination That Works Least for the Photographer

Chris Gampat The Phoblographer Sigma 30mm f1.4 DC mirrorless extra sample photos (7 of 46)ISO 1001-640 sec at f - 1.4

While there are loads of award winning photographers in the best agencies, newspapers, and wires the future of photojournalism seems to be changing more and more to where quite honestly, the photographer has the least amount of importance in most of history. Just recently, a photo of a woman in a dress being arrested by well armed police men made the rounds like wildfire online. Part of getting this shot involved access that working with those big companies can get you. It also comes with publication after publication using the image without permission or licensing for their own reasons. It’s theft–and part of this has to do with how the social web works.

But is this the future of photojournalism as we know it? This has been asked before, but is it really, truly the future of the format?

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