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All images by Lester Cannon. Used with permission; also be sure to check out our previous interview with Lester.

This was a Facebook comment left by a very passionate film photographer I was chatting with in a group a few months ago. I thought to myself, “That sounds pretty harsh”. As I thought more about what he wrote, the words ring true. Here’s why…

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Image by photographer James Douglas.

Editor’s Note: This is a syndicated blog post from Photographer James Douglas. It is being used with permission, as are all images in this post.

Here at TJDS, we have some pretty strict guidelines for utilizing and sharing the images that we create; the literature to explain our guidelines looks pretty daunting attached to an email, but we hope it isn’t taken that way. Our goal at the studio as well as around town is to educate everyone from artists just getting started to our clients (since one can be just as misinformed as the other on many issues) on the proper ways to credit and distribute creative work.

One of the most important, yet frequently overlooked aspects of the creative process is providing appropriate credit to the artist(s) who create. Another overlooked aspect is the need to respect artistic vision and not altering the art from it’s original form. Hopefully this post will mitigate a lot of unpleasant conversations about why an individual, company, celebrity, organization, etc. would need to give credit to the artist they are working with when utilizing original artwork. Why so much emphasis on artistic credit? Because there are so many ways proper credit can benefit our business and literally no way it could negatively impact a client’s. As a photographer the following points will largely apply to my chosen medium but what I’ll attempt to explain(without pissing too many people off) is fairly universal across the artistic spectrum.

So here goes.

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Screenshot taken from the video

Screenshot taken from the video

Sandwiches and food in general can be tough to photograph and do sufficient justice to their delectable tastes. Unfortunately there is no end-all-be-all solution that works out very well. But photographer Michael Ray spends 11 minutes talking about how he painstakingly went in and added one light at a time–the way that many photographers were trained to light. Then he also talks about how he did a couple of things in-camera to spend less time in the post-production phase.

Believe it or not, there are a number of lights involved including two main lights as well as fresnels to add a bit more punch to the front of the sandwich.

Mike admits that it isn’t the most exciting image of a sandwich, but it surely is a very standard one and the lighting for something like this isn’t necessarily simple.

The video on lighting a sandwich is after the jump. But for more food lighting tutorials you should check out our interview with a bunch of photographers on composing better food photos, Daniel Krieger, Howard Shooter, Lou Manna, and Shea Evans. But if you’re looking for more inspiration there are a bunch of projects that you can do this weekend with food.

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Chris Gampat The Phoblographer A Street Photographer's Notebook for iPad Review (2 of 9)ISO 4001-40 sec at f - 5.6

One of the best tools that every photographer can always look back on are eBooks. And in the case of Shaun Hines, he’s back again with a brand new eBook for street photographers. The author of Unravelling the Mysteries of the Little Black Box has decided to make his talents much more specialized and in a very bite sized package. In fact, we’re talking about two chapters and a very rudimentary introduction to street photography.

A Street Photographer’s Notebook is short introduction to the art of street photography that doesn’t spend too much time getting its rocks off on gear–instead it focuses on the thought process from a very personal view.

And like many personal views, we don’t agree with all of it.

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Every single photographer should try to shoot with film consistently at least for a month. Why? Because film makes a photographer pay more attention to a scene than they do to the LCD screen of their camera. The slow process of pay attention to the subtle details, finding the right light because you’re locked into a single ISO setting, slowly focusing on a subject and ensuring that they’re totally in focus, getting the exposure just right to balance the highlights and shadows, and knowing that you’ll only get a handful of chances to capture the scene is all part of what can help you become a better photographer.

Some of the best photographers out there are very detail oriented. And as long as you have the pressure on yourself to get the shot right in a single frame, you’ll be better off.

Don’t know where to start? Here are five films that every photographer needs to try.

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One of the most undervalued and little talked about light modifiers is also one of the most absolute essential for nearly any shooter who works with monolights. It’s the umbrella reflector–and many people don’t really know about them. In general, all that we hear about are softboxes, umbrellas, beauty dishes, and octabanks. But if you want beautiful light output right from the start with your monolight, you should absolutely never underestimate what this little addition can do for your photography.

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