Portrait Photographer Tracie Maglosky on Using the New Olympus 25mm f1.2


All images by Tracie Maglosky. Used with permission.

One of the more exciting announcements to come out of Photokina is the arrival of the new Olympus 25mm f1.2 PRO lens. This surely is a lens that many have been waiting for for a long time and considering the design, it seems very worth it. Olympus went through the trouble of completely redesigning the lens to make only a single element move when it focuses. This ensures that the lens has fast focusing. Surely, you also get the light gathering benefits of f1.2 and weather sealing. With the Four Thirds crop, you’re getting the equivalent of f2.4 on a full frame camera–which means that there is no real reason to stop the lens down when shooting portraits or anything for that matter.

But to get more insight in to how the lens works, we talked to Olympus Visionary Tracie Maglosky about how she’s using it for her work.

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Werner Philipps: Inspiration in Natural Light Portraiture


All images by Werner Philipps. Used with permission.

You wouldn’t think that despite the way that photographer Werner Philipps got his start in photography, he’d be shooting and creating incredible portraits. “A few years back I was planing an online shop as a secondary income.” says Werner. He purchased Canon EOS 20D; and the idea of the shop failed. Seeing that this happened, he didn’t want the purchase to go to waste. Afterall, it was an investment. “So one day I went on a day trip to Groningen (Netherlands) with a couple of friends and I took the camera and started taking pictures. Thats how it all started.”

Like many other photographers getting their start, Werner began by shooting everything out there. “From the flowers of the balcony to random street photography. At first I was really intimidated taking pictures of people but at the same time it was an opportunity to develop myself through photography.” With time though, Werner gathered himself and faced his fears. Soon, he began shooting portraits and getting out of his comfort zone.

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The Last First Day: An Exploration of Our Own Fears


All images by Frédérick Carnet. Used with permission.

“First of January 2016. Rügen. An island in northern Germany plunged into a strange atmosphere, post-apocalyptic, that reminds me of the movie The Road (2009, John Hillcoat). And if that day was the last first day of a fragile peace?” says photographer Frédérick Carnet about his series THE LAST FIRST DAY. “I shot it as an outlet to my own fears.”  Indeed it’s easy for you to be reminded of some monster film, a thriller from Stephen King, or Silent Hill. It’s the unknown that sometimes really gets us.

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A Crisis of Purpose in the Age of Instagram


This is a syndicated blog post from Street Silhouettes. It and the images here are being republished with exclusive permission from Horatio Tan.

Photographing for likes. Has the world come to this? Everyone is a photographer, and photographs are manufactured voluntarily by the thousands per second, streamed instantaneously to handheld devices around the world. We’ve seen everything there is to be seen. We’ve seen beauty in abundance. We’ve seen torrents of cruelty. We’ve seen gross excesses. We’ve seen notoriety. And we’ve seen nothing of consequence. We’ve seen more than we need to see, and so we’ve become desensitized. Nothing moves us, and nothing shocks us. We’ve seen it all with the swipe of a thumb.

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Developing a Creative Vision in Portraiture


All images by Giulio Sciorio. Used with permission.

We live in time where technology has removed most technical barriers with photography. For the portrait photographer in particular, virtually any camera for sale today will give you what you need technically. When the majority of baseline technical tasks in an image are no longer a factor what remains is vision.

Vision is your unique signature on how you see the world. You already have that vision but you’ll need to develop it so that when others see your work they know it’s origin. Photographs with a unique vision speak for you when you’re not able to. They tell the viewer something about the subject in a way that only you can. As you build your vision, you’ll notice that others will hire you for that vision and if your vision is unique you have no competition.

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Massimo Lupidi’s Landscape Images Are About Feelings

Horses in Fljótshlíð rural area, Iceland

All images by Massimo Lupidi. Used with permission.

“Photography for me is not looking, it’s feeling,” explains Massimo Lupidi in an email to the Phoblographer. “It’s my way of capturing what I see so I can relive those moments, those sensations and feelings again and again.” Massimo is an Ialian self-taught, freelance photographer with a background in travel reportage and scenics too, but he shoots other categories as well such as aerials, environment, creative photography, and people. With over twenty years of photography experience, he has been awarded in the United Nations “Focus on Your World” during the Earth Summit in 1992 and he has shot production stills for award-winning competitions, several exhibitions, covers for magazines, brochures, and books.

He attributes part of his creative vision (especially with landscapes) to attention to details.

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MEAT: 5 Tips for Better Pictures


This is a guest blog post from Xavier D. Buendia. It and the images here are being syndicated with exclusive permission to the Phoblographer.

In the last couple of days I was exposed to meat in all its forms as I had several different shoots with it as the main subject. From a “simple” Sunday roast at a pub to a review of a Brazilian rodizio restaurant. A t-bone on a barbecue with some friends and a shoot at a steakhouse finishing with another review at a top steak restaurant… all in less than 10 days! These made me come to a conclusion: grilled, braised, slow cooked, or on a barbecue; meat can be a pain in the neck to photograph.

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Photographer Jason Lanier on Why Gear Wars Are Stupid

Chris Gampat The Phoblographer ZKin Yeti camera bag product images (7 of 13)ISO 4001-30 sec at f - 4.0

Photographer Jason Lanier speaks on the stupidity of arguing over gear in a recent video–explaining that any photographer can use any piece of gear to take a great image. After seeing countless posts on his workshop’s Facebook page, Lanier found himself fed up with topics becoming more about gear and not about photography. As he states, the focus of his workshops is about growing and becoming better photographers so these posts often distracted from the overall point. Despite being a Sony shooter himself, he also states how he values that many of his followers shoot with Canon and Nikon.

Users who insist on posting about gear or getting into heated debates will have their comments deleted or even be removed from the group, he says in the video. Lanier is very clear on his goal: making photographers better shooters regardless of what they use. And this change he hopes will ensure the group stays focused to achieve just that.

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