Shooting photos in big cities presents many opportunities to photographers for architecture, street, and candid shooting. It can be both a technical and creative challenge due to the fact that the pace is often quite fast. Sometimes you’ll only have a second or two to capture an image until you’ll need to keep moving. We’ve rounded up a number of quick tips (both technical and creative) to raise your keeper rate.
When it comes to protecting a Copyright, lots of photographers and photo enthusiasts don’t know much about it. After all, many of them aren’t lawyers. We all wish and hope that our work won’t get stolen, but unfortunately it happens much more often than we’d like. With millions of photos being taken each day, there is also no telling how many thefts are reported or if the artist is even aware that it’s happening.
But in anticipation of the moment that it happens, we’ve talked to a couple of experts on the matter.
There are loads of photographers out there who gawk at the Instagram look despite the fact that it’s so popular with many people. However, the trend is starting to die down as the whole hipster culture has evolved. With that in mind, Lynda has developed a tutorial on how to use and get the most out of Instagram’s editing tools. Though they’ve been available for a while, the editing tools have greatly improved over time as have those from EyeEm and Lightroom Mobile.
Lynda shows you how to make the most of saturation, shadows, etc and they explain why they’re doing the specific edits that they do.
If you’re a Lightroom desktop user, the editing tools are, for the most part, like the basic adjustments in Lightroom.
Lynda’s video is after the jump.
We’re going to start this post off by saying that at this point in the year 2015 and this stage in digital photography, image noise isn’t a major problem unless you’re printing. But for most folks who shoot and upload to the web, image noise isn’t a major issue. It can easily be fixed in post-production with the push or a slider, you can get back incredible amounts of image details, preserve your colors, and you can also choose to shoot at a lower ISO and push the files because shadow detail recovery is that damned good.
If you’re a pixel peeper that lives and dies by looking at your images at 100%, you’re living in an archaic age that doesn’t really exist anymore. For Pete’s sake, folks are shooting ad campaigns with an iPhone.
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If you’re in the US (where most of our readers are from) or Canada (where lots of readers come from), you’re going to be celebrating the celebration of your nation’s birth very soon. If you’re a reader of this site, then you’re probably going to have your camera in hand as you’re celebrating.
Don’t do that.
No, seriously–don’t handhold the camera. Instead, to get those trademark beautiful fireworks images you should get your hands on a tripod, point the camera and lens up to the sky, stop the aperture down, and use a slow/long shutter speed to capture those picturesque light trails.
As for lens choices, it really depends on where you’re standing. If you’re on flat even ground near sea level, then opt for a telephoto lens and pray for the best. If you’re on a rooftop of some sort or really high up on a building, then go for a wider lens.
Then when you’re all done, turn your lens to your friends and family and try to capture beautiful candid moments as you and your loved ones are celebrating.
And as always, have a happy celebration on Independence Day.
Rights grabs, payments, and more have been the talk of the town for the past couple of days. But this all brings up an even bigger question that deserves a very big answer:
Why, in 2015, with the prevalence of so many images being taken each and every minute, should someone pay for your images?
Now, let’s put some specific emphasis on this sentence and get right to the meat of the problem:
Why should someone pay for your images?