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All images by Josh Kane. Used with permission.

Photographer Joshua Kane lives the dream of so many photographers. He gets paid to travel the world, photograph weddings for clients, and in some ways lives a creatively enriched life because of it. But Josh tells us that doing destination wedding photography these days is a ballsy move, and because of it he only shoots 10% of the time and 90% of his time is spent editing, booking clients, negotiating, marketing, etc. While that doesn’t sound so fun for an aspiring photographer, it is a reality. When you combine this with Josh’s goal to give every single wedding client unique images (and the amount of work that he puts into it) Josh is in many ways still challenging himself creatively.

We talked to him about destination wedding photography, the challenges, the clients, and how he started out.

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Kevin-Lee The Phoblographer -Fujifilm XF 18-135mm f3.5-5.6 R LM OIS WR Lens Product Images (4 of 5)

In terms of technical speak, if you want to get the absolute best performance from your camera, you’ll need a solid lens. Many portrait photographers that use DSLRs tend to reach for the closest 70-200mm f2.8 zoom lens that they can get their hands on. But you don’t necessarily need those!

Mirrorless camera technology has come a long way to where we now have unique lineups and interpretations of the famous telephoto zoom lens. And you have lots of choices.

Here are just some of our favorite portrait lenses for your mirrorless camera. But before you even begin to shoot portraits, we recommend that you read the basics first.

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Katy Perry

All images by Timothy Hiatt. Used with permission.

Photographer Timothy Hiatt is one of the most in-demand music photographers in the business right now. Not only is the man talented, but he has a lot of insight to share about shooting concerts and music. Tim is based in Chicago and has shot major acts like Katy Perry, Kiss, and Florence and the Machine, among many others. He started as an Art Director and eventually got into shooting from the pits.

We recently asked Tim for an interview about the music industry, and his humor is probably one of the reasons why he works so well with others.

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JColeWeddingPhotography - 8

All images by Pat Brownewell. Used with permission.

Photographer Pat Brownewell usually shoots digitally, but in some cases still shoots with film as an extra bonus for his clients. But we’re not talking about the 35mm variety–oh no, that stuff is child’s play. We’re not even talking medium format. Pat shoots with 4×5 large format film in both color and black and white at weddings.

Why would he do this? Pat tells the Phoblographer that it was partially out of boredom.

We talked to Pat about the expenses and how it made him a better photographer.

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Woman Power marie

All images by Richard Veil. Used with permission.

There are professional photographers today that have never shot on film and have grown up in the digital age of Photoshop. Many of these photographers rely on computer programs to improve their digital images.

Those of us who grew up in the age of film emulations and darkrooms relied on perfect execution in shooting and faith that there would be images on the film. Imagine shooting a dozen rolls of film and having no idea what the images were going to look like; that’s real anxiety. Cameras and processing equipment could malfunction and leave us with nothing of use.

Today images are instantly available for viewing alleviating a lot of anxiety that either the camera or the processing equipment might malfunction and destroy all or part of a shoot. The closest we could get to a preview of our images were Polaroids that some cameras had adapters for but the actual image on film was a matter of artistic faith.

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Put a camera in front of a street photographer in a given situation, and they will use it based off of the camera and lens’s specific strengths and characteristics. Yes, gear is cool–and it can help you get specific and specialized images, but it isn’t the end all be all for street photography. The most important part of taking a picture is the photographer that composes, frames, and manipulates the images to get a specific look. However, street photographers for some odd reason love to chat about gear and how amazing it is.

Yes, gear is cool. But not many people can tell which image was taken with a Leica or a Fujifilm camera. The debating back and forth along with the gearhounding is unnecessary. If I were to tell you straight up what the best camera for street photography is I would probably say the iPhone and Nexus 5. Why? Because they’re always available, have entire scenes in focus, deliver images that can easily be manipulated in a whole number of ways, and there are people who shoot with them that make their living or supplementary income from them.

With this said, there are loads and loads of street photographers that don’t accept or validate the work of many mobile shooters.

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