With wider angle lenses becoming better and better, photographers are bound to ask the question of 50mm vs 35mm lenses and how they relate to portraiture. For years now, it was never recommended that photographers use something like a 35mm or a 50mm lenses. In fact, the shortest focal length recommended was an 85mm–to some degree that’s still true. But in many situations, a 35mm and 50mm lens can be awesome. Photographers who perhaps come from a street background or prefer to work physically closer to their subjects may like the 50mm and 35mm lens options. So in this post, we’re going to explore why you’d choose one over the other.
Yes, I know; if you’re an experienced photographer then this sounds pretty crazy. But this question was typed into our search bar a number of times and so I decided I’d take a stab at answering exactly what’s going on here. The question comes from the idea that digital cameras don’t need UV or other filters but instead only film cameras do. It’s something easily misunderstood by many people who are just starting out. In fact, digital cameras do indeed sometimes need filters, but by and large they are much more necessary with various film cameras.
Screenshot image taken from the video by Phase One
Those who are probably not familiar with the name Albert Watson must have still seen seen many of his iconic images. The British photographer has taken timeless portraits of many celebrities, and has worked with some of the biggest global brands for their advertising campaigns. From the start of his career, his images have graced the covers and pages of the world’s top magazines, such as Rolling Stone, Time, GQ, Mademoiselle, Harper’s Bazaar, and Vogue.
Today, Albert Watson is credited for hundreds of well-known photographs of the famous and the influential, from movie stars, supermodels, and rock stars, to Steve Jobs, former US President Bill Clinton, and Queen Elizabeth. In this insightful video by Phase One, we get to learn something about his colorful career, as well as the story behind some of his beautiful photographs from the master himself.
This blog post is being syndicated with permission from Deirdre Ryan. All photographs appearing on this post are the property of Deirdre Ryan Photography. They are protected by U.S. Copyright Laws, and are not to be downloaded or reproduced in any way without the written permission of Deirdre Ryan Photography. Copyright ©2017 Deirdre Ryan All Rights Reserved.
In this post, I want to share a “bedtime story” with you all. Yes….for my closest friends and family members, you know what this post is about. I’ve waited a long time, but with so many stories showing up on PetaPixel, two years is long enough I think. For the sake of what happened, I can’t name the band.
It is the life of a photographer these days, constantly posting our work on social media, constantly trying to get our work in front of the right people to hopefully gain new clients. Often this means using hashtags to help those who may be interested in our work be able to find it easier. However, this can be a long a tedious process if you type out each hashtag on every post, so much so that it can make us dread posting – but it doesn’t have to be that way. Continue reading…
We love a good party and when we found out that the Portra line is about to celebrate its twentieth birthday next year (introduced in 1998!), we thought we would take the time to cover some ground (and after, perhaps raise a glass) when it comes to Kodak’s Portra line. Kodak Portra has put out a variety of film stocks from this line, some of which are discontinued, but three of which are now a staple to film photographers like those of us at Carmencita and yourself. We’re gonna cover some ground on those three that take the cake when it comes to Kodak’s Portra line: Portra 160, Portra 400, and Portra 800 ISO.
There is absolutely no reason why you shouldn’t care about white balance in the same way that you care about manual control over the exposure of the image. The way that color is rendered in a photo can completely change the way that it appears and in order to get the absolute best color, you should use manual control over your white balance in the same way that you manually control the ISO, aperture and shutter speeds. While manufacturers sit there and try in vain to get better high ISO results and more dynamic range, they’re not giving us what can possibly provide for even more creative freedom: better color control. The majority of cameras don’t provide incredibly accurate color control or gradation from their sensors. Film arguably does a better job of this in the right situations but digital cameras are capable of getting pretty darned close to real results.
When you get to the idea of calibrating your monitor as a photographer, chances are that so many photographers stray away from it simply because they don’t understand it. But calibrating the monitor that you’re editing on or at least editing in the same spot over and over again will really help you not necessarily create better photos, but create more consistency in the photos that you put out. In earlier times, it wasn’t as important simply because everyone had different displays. But these days, most photography is consumed on a mobile screen and therefore the screens are typically all balanced in the same ways when it comes to color. So ensuring that you get consistent color accuracy across the board makes a whole lot of sense lest you get weird shifts in your colors.