Women in Photography: Daria Amaranth | St. Petersburg

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This is a syndicated blog post from Nicole Struppert and Women in Photography. It and all contents are being used with permission. All images by Daria Amaranth.

Hello Daria, thank you for submitting your beautiful portrait series. Can you tell our readers a little bit about yourself?

Hello, Nicole! Thank you so much for your attention towards my works, I really appreciate it and I can say that it is great to me to be published in such an inspiring magazine dedicated to women:) I was born in Russia and I live here as well. I am enchanted by different spheres of art – singing, literature, cinematography, music, painting, perfumery art but only photography has become the main field for expressing something important to me.

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Review: DSLRKIT 1.08x-1.60x Zoom Viewfinder Eyepiece Magnifier

Chris Gampat The Phoblographer DSLRKIT 1.08x-1.60x zoom viewfinder eyepiece magnifier product images (2 of 9)ISO 8001-125 sec

One of the biggest reasons for my moving away from DSLRs has to do with seeing through the diopter, but the DSLRKIT 1.08x-1.60x zoom viewfinder eyepiece magnifier has made me want to give them a genuine second try. If you’ve been a reader of the Phoblographer for many years, you’ll know that I’m legally blind and that my vision has been degrading over the years (both a blessing and a curse in some ways.) This is a big reason why I went to EVFs–because they’re capable of giving me a histogram, a high resolution image in a small area, and other smart previews like white balance and ambient light in the scene. Sony, Fujifilm and a number of others have done a fantastic job with EVFs though at times it’s easy to miss seeing exactly what’s in front of you and not a digital readout of it.

With medium format DSLRs it tends to be much easier; but when you work with full frame and APS-C DSLRs, it’s tougher overall to peer through that little viewfinder. But the DSLRKit Zoom Eyepiece is changing my opinions.

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The 8 Biggest Mistakes on Your Portfolio (And How to Fix Them)

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

This is a syndicated blog post from Format Magazine. It’s contents are being used with exclusive permission.

For potential clients and collaborators, a good online portfolio should provide an in-depth introduction to you and your work. Whether you’re a photographer, illustrator, or designer, you know the importance of making a good first impression.

It can be easy to feel intimidated by all the possible ways you can slip up with your site. Is it too crowded, or too empty? Too simple, or too difficult to navigate? Too much information, or not enough? Ultimately, there’s no one answer for what makes an ideal portfolio.

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“Photography” vs “photography”: A Big Difference

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There’s a thought in our industry that gives me stress at times: especially when I go into meetings with manufacturers who try to push the idea of someone buying a camera and not at all pushing the idea of what they can do with light, lenses, a system and how to be an actual creative.

Something that I often talk about on this website is the idea of “photography” vs “Photography.” To quickly recap, lowercase p refers to casual photos being taken such as what people share on Snapchat, the biggest accounts on Instagram, etc. They’re very personal and self-serving. Capital P refers to creating with the intent of doing something artistic. It too can be self-serving; but generally when you create art you do it to show it off. This is true of any art format.

But the idea of Big P vs little p will help to define us as photographers in the coming years.

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How to Light a Basketball Court For the Big Game

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Editor’s note, we contacted Patrick to ask for permission to share an image or two. We will update if he responds.

If you know anything about lighting, you’re probably every aware that some of the photos you see in sports are very well lit–especially with basketball. Ever wonder how that’s done? Well photographer Patrick Murphy-Racey created a video on just how: and trust us, it isn’t simple. In fact, it’s quite a production and he shows off that it requires a photographer to get there very early ahead of the game to set up. In fact, Patrick says that you should go the day before if possible.

In the video after the jump, he shows you how to safely install a 4- head Dynalite Arena System into a large, NBA sized arena. The packs used in this video are the AP1600 and they’re used with AH4000 heads, AR0040 reflectors and Avenger clamps. The sync is setup and secured so that all the lights will fire at once.

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Bodie Strain: Directing Creative Portrait Shoots With Shy Subjects

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All images by Bodie Strain. Used with permission.

“I’m not so interested trying to capture some “true” inner self of a subject, and more excited by people showing off an idea of what they want to be.” says photographer Bodie Strain about the types of subjects he likes to work with. He hails from Melbourne, Australia and mostly focuses on portraits and have been featured on album covers, ebook covers, theatre and entertainment promos and news websites.

“One of my bigger jobs has been for an LGBT+ community magazine, working on a series of editorials and cover photos exploring different queer subcultures.” says Bodie. “It’s meant meeting and working with lot of people from often less visible communities, and trying to get a shot that is both representative and striking for the story.”

Bodie’s work is not only creative, but is very punchy, edgy and beautiful.

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The Pinhole Photography of a Filmmaker

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All images by Steven Dempsey. Used with permission.

“What matters most to me as a photographer is not just capturing the beauty of a thing or person, but also conveying a particular feeling.” says photographer Steven Dempsey. Indeed, his mind is in the advanced stages of the creative process. “A pretty picture by itself is just that but when I can find a way to give it soul, then that is truly a beautiful thing.”

Born in Dublin, Ireland, Steven moved to New York with a rock band. When that crashed and burned, he took up oil painting before getting into web and graphic design. “Static imagery led to an interest in video and I created Americonic Films with director/composer Glenn Scott Lacey. My interest in moving images eventually steered me to my strongest passion to date, photography.”

For Steven, the creative process became really interesting when experimenting with Pinholes.

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Useful Photography Tip #162: The x2 And Difference Rule of Charging for Photos

Model: Justin Kirck

Want more Useful Photography Tips? Click here.

Lots of photographers have absolutely no idea what to charge a client when they’re first starting out. So to help you out in some ways when considering pricing, keep these tips in mind. First off consider your expenses, time shooting, transportation, commute time, knowledge needed to actually create the images, post production time and effort on top of knowledge, etc. as a base. Then look at that and compare it to photographers that do similar work in your area and are of a similar skill level as you are. If you’re not as good as them or haven’t been shooting as long, then start bringing the price down.

Now whatever figure you had in mind, double it. Why? Taxes are a big reason for this, especially if you’re getting paid in checks.

Then consider a couple of differences: whether you can reasonably charge that much money, whether you can convince the client to pay you that, etc. Then also keep things in mind like if you’re working with a company, a person, and various things about them and who they are. The rest of it is way too much to honestly type out but getting these three videos and the worksheets that I created will help you immensely with this.

Just remember: it all starts with your identity as a photographer.