There are very few things that captivate landscape photographers like the sunset; and Stefano Gardel has captured that pretty perfectly in his series “Neon Deserts.” The series, which is shot out in deserts in California, has a haunting look to it. It’s very easy for a photographer or a viewer to imagine that someone or something would be moving about. But instead, that isn’t really the case. What you see in the compositions are loneliness and a harsh life.
When you are getting into photography there are some things that many aspiring photographers dream about accomplishing; for some that is something like getting published in a big name magazine. For others, that is something like having their work exhibited at a gallery. Both are lofty goals but today we are going to take a look at the latter. Jordan Matter recently teamed up with Shutterbug to put together this great video featuring 10 tips on how to get your photography exhibited, and it offers some great advice for photographers hoping to go that route.
As societal taboos ebb and flow, Boudoir Photography has been on the rise, becoming a more common and accepted niche of photography than it ever has been. It is likely that many of you have seen boudoir work by photographers you follow and have maybe been thinking about getting into it a little yourself. If so, this post is for you as we share some great points for utilizing natural light and a 50mm lens to create some fun boudoir imagery.
What’s the first lens I should upgrade after my kit lens? This may have been a question that you have asked recently, and if so, chances are that one of the popular answers given to you was 50mm or Nifty Fifty. The reason for this is that you can get a fast lens with good image quality for cheap, and 50mm is a versatile focal length too, so its Nifty. But as with all things, there are options to consider, so if you are wondering how to choose the right Nifty 50mm for you, you’ve come to the right place.
Photographer Yasser Alaa Mobarak is a 24-year-old, award-winning Egyptian photographer based in Delhi, India–and he’s not your typical street photographer. He’s the one of the winners of the highly coveted Sony World Photography Awards. But he’s also won prized from The International Federation of Photographic Art, National Geographic Egypt, Photographic Society of America and Prix De La Photographie Paris. Of course, for such a young age, he’s quite decorated.
P for Professional: that’s the mantra that has been preached amongst photographer after photographer simply to make fun of the idea. It’s been taken so seriously that the Home Shopping network has said it at times with complete seriousness. Though amongst the millions of us, we tend to know better and that this saying is often connotated with the idea that a personal can’t shoot in manual mode. But look at loads of photographers out there, a whole lot of them shoot in aperture priority or shutter priority that more or less also automates the process. The idea of shooting in P, or Program Auto, is blasphemy to so many photographers out there as a result of the photography industry’s years of marketing and ideals.
In the past couple of years, photographers have finally been able to pick up their first good zoom lens. By that we mean that lower end zoom lenses have become just that much better at delivering high quality photos. For years, photographers went to higher end zooms and prime lenses for good quality optics. When you combine these new zoom lenses with high quality sensors though, you’ll be able to create photos that really stand out to you and so many others around you.
“What drew me to street photography was the thrill of candid photography.” explains photographer Gene Altman about his candid street photography from the 1960s in NYC. “I was drawn to it because I soon found that giving people time to pose usually masked their truth.” Gene’s images are part of his book called Cityscapes: Intimate Strangers which brings many of these beautiful candid moments to the fore. Gene moved to NYC a long time ago in pursuit of becoming a full time photographer. There were bouts in between where he went without work and sometimes got depressed. So in order to cope, he went out and photographed the people in the streets.
Not all that long ago there was a lot of talk about Fujifilm and the lack of IBIS (In Body Image Stabilization). They even did some interviews and explained that IBIS was supposedly not compatible with their current X-Trans implementation, also noting that they were unwilling to compromise image quality to made software adjustments to images that would be required. That pretty much put to rest any hope and rumor regarding Fuji and IBIS… until now.
Years ago, photojournalists were creating images that changed the world, our opinions on life, public policies, etc. The photo was powerful; and it arguably still is. But the inherent problem with the photo’s power these days has to do with a myriad of changes in society where the photo just hasn’t been able to keep up. Just think about it: years ago photography had a big part of ending the Vietnam War and exposing lots of other major issues with society. But these days, it’s not as effective. This isn’t only in the richer, more developed societies but instead all over the world. To understand why, we need to explore photography and culture’s relationship.