Since seeing the new Nokia Lumia 1020 at the unveiling recently, we’ve been extremely curious about the 41MP camera and all the technicalities behind it. To learn more, we talked to Nicole Balle, Carl Zeiss’s Marketing Manager for the Americas for the Camera Lens Division. Indeed, Nicole was at the event explaining and talking about the resolution charts that were present at the event. The company designed the lens in the camera module–which comprises of five plastic elements with one gorilla glass element on the outside for extra protection. Plastic you say? Well, it still out-resolved lots of the competition. But we wanted to know even more. So we asked Nicole to talk about the lens and the camera.
Not everyone has a DSLR, but there are many that are trying to step up to one. But guess what: you don’t necessarily have to. You can instead move up to any other type of interchangeable lens camera. The advantage of most DSLRs is that they have an optical viewfinder. But if you don’t necessarily need that and you just want to keep the package small and the image quality big, then you’ll want to take a look at some of our favorite options.
When it comes to photo education, the industry has adopted a lot of the ideas and practices of the self-help movement. Whether it’s in a book or at a big photo event, there are people that get you psyched up about making the choice to “live the dream” and to become a professional photographer.
Some of these people are sincere in their encouragements, while others seem more interested in pushing a product or a service. In any case, they tap into a desire that many people have to lead a more creative and satisfying life.
Zack Arias’ new book, Photography Q&A: Real Questions. Real Answers is a welcome alternative that provides a frank and brutally honest perspective on what it takes to go pro.
All photos by Christian Pondella. Used with permission
Christian Pondella has been an adventure photographer for years. He is based in Mammoth Lakes, CA, and besides adventure photography he also shoots loads and loads of skiing. Because he was an avid athlete growing up, he embraced his artistic side and his active side to create the photographer that he is today. Right now, he is the head photographer for Red Bull USA, a member of the SanDisk Extreme Team, and a senior photographer for Powder magazine.
And recently, he partnered up with F-Stop Gear to bring you guys an awesome video about his work. But we were sure to ask him some questions of our own as well. And if you want more, check out the rest of the Life in Focus series.
All images by Mike Fulton. Used with permission
Mike Fulton and Cody Clinton have a unique approach to wedding, fashion, and high-volume photography. They are the driving force behind TriCoast Photography – a Southeast Texas-based studio business. Previously selected as Kodak’s Photographers to Watch, Mike and Cody have landed prestigious assignments around the globe from germany to Mexico to Uganda. Mike also serves on the Professional Photographers of America Board of Directors.
We had a moment to pick Mike’s brain about effective TTL flash techniques and his former life as a crime scene photographers.
PS: Mike is actually teaching two courses on creativeLIVE on July 15-19. One is on TTL flash (July 15-16) while the other is on volume photography (July 17-18). Both are free to watch live.
In the history of photography, there are few people who have had as lasting an impact as Robert Capa. A Hungarian-born photographer, he helped to redefine conflict photography. His observation that “if your photographs aren’t good enough, you’re not close enough” has been repeated like a mantra by photojournalists for decades.
With street photography, the optimal word when it comes to lenses is “primes”. Fixed focal lengths are the better choice for this particular genre of photography, and not just for their better image quality. Yes, zoom lenses provide you the flexibility of several focal lengths within one lens, but that’s not necessarily an advantage when working on the street. Those critical moments that happen in front of the camera are often so fleeting that they can be easily lost while turning the zoom ring to the appropriate focal length. A fixed focal length eliminates that. You know exactly what you have to work with as soon as you attach the lens to the camera. At that point it becomes all about composition. Prime lenses are also faster or offer a wider aperture (f1.4, f1.8 or f2) than most zoom lenses. This can be particularly important when you are shooting under low light conditions. That not only impacts your exposure options, but it also improves the effectiveness of the camera’s autofocus system when working under dim conditions. Though some people may start off street photography using “discrete” telephoto zooms, the best photographs involve proximity to the subject and the moment. So, it’s often focal lengths of 50mm and wider that make up the heart of a street photographer’s kit. Here are the focal lengths that I believe should be in a street photographer’s camera bag.
Marc Janks is a very special type of photographer. He’s the man behind Who Are You New York–which is a Tumblr site about his daily encounters through photography. The format and layout is simple: a photo of a person with a little bit of background about them and some info about what type of film the portrait was shot with. It isn’t the massive undertaking that Humans of New York is, but it’s significantly more personal. Marc created the blog and started shooting film photos as a way to get over shyness–which is something that he’s had since he was a young boy. He works as a freelance photographer here in New York City and followed his girlfriend here from California.
In between his busy schedule of meeting folks and his full-time gig, Marc had some time to answer a couple of inquiries that piqued our curiosity.
A little over four years ago, when my son was born, I suddenly found myself in a situation where I would take tons of pictures in low light. It occured to me that my Panasonic FZ30, which had served me well for three years at that point, wasn’t really up to the task. So after doing some research, I jumped at the then-new Olympus E-P1 and Panasonic 20/1.7 pancake lens, which was my first step into taking photography more seriously. It didn’t take long until I was bitten by the gear bug–you know, that nasty little creature that lives in your ear and tells you to spend money on new equipment. Now, almost four years later and a lot of cash less wealthy, I’ve made photography my daily routine.
“The single most important component of a camera is the twelve inches behind it.” – Ansel Adams
The connected camera and mobile photography currently represents a major switch in the way that modern photography works. As much as people may say that it is the end of professional photography, they still don’t realize that it’s still all about the creativity in the mind of the person behind the camera. And while some apps are quite good, others allow you to unleash even more creativity than a standard filter. Here are our favorites.
In recent years, the film industry has been suffering greatly and many manufacturers have been cutting down their stocks and supplies. But many of us still love the look, feel, and rendering that film can give us. It’s also a wonderful learning tool for the photographer just getting into the art.
We’ve tearfully parted ways with many famous and wonderful films: Kodachrome, Astia, Ektachrome, and loads more. But there are some staples that we absolutely never want to part ways with. Here are just five of those films that still tug at our hearts.
Natural light is beautiful and can help you create some equally stunning photos–if it’s used correctly. While you can surely find items in your natural surroundings to help you create better images, it isn’t always possible or practical. But if you want to work with natural lighting and make it work the best for you, then there are three items that I’ve been using for years that I’m in love with.
FACT: A DSLR will not get you better pictures, knowledge will. Think about it this way–who is bound to do better at capturing a better photo: a person with an expensive camera that knows nothing about it or a person with a cheap camera that knows loads about it?
It’s happened. Photography has exploded and more than any time previous, there are DSLRs in the hands of more people than ever before. But there are also loads of people that don’t know a single thing about what they’re doing with the camera. On many occasions, I’ve been asked to take a picture of people and have been handed a DSLR on auto. Or I’ve just randomly seen people taking pictures with the cameras and not knowing a single thing about what they’re doing with the device.
During the mid-seventies, color photography was relegated to the glossy pages of consumer magazines, rather than prestigious gallery walls. When the work of William Eggleston was exhibited in the Museum of Modern Art in 1976, the art community saw it as a garish collection of colorful noise, a mash-up of the ordinary and the mundane.
That exhibit was a benchmark for a huge shift in photography, but it wasn’t one that was relegated to the United States. There were photographers all over the world who had shifted away from the traditional world of black and white photography and who began to experiment with the possibilities of color. One of these people was Italian photographer, Luiggi Ghirri, whose self-published book, Kodachrome, was released one year after the Eggleston’s landmark exhibition at MoMA.
I never wanted to be a photographer. The thought never crossed my mind. Sure, we had a few cameras around the house growing up, but I grew up relatively poor so our cameras were nothing more than your standard Polaroid instant film camera. Oh and we had the disposable ones, too! I didn’t come from a long line of great photographers or pick it up at an early age. I probably didn’t use a digital camera for anything until around 2005. I got into photography purely by chance. Once I discovered it, my life changed forever. Here’s my story.
When I was 10 years old, I suffered from a terrible stutter. It was a physical manifestation of my awkwardness and insecurity that I felt around others.
There was a feeling of inadequacy that seemed to pervade all my interactions with other children be it in the school yard, in the classroom or out in the streets of my neighborhood. While it seemed that others were able to become part of the group with ease, I felt this perpetual sense of anxiety that at any moment I would say or do the wrong thing.
One of the things that I share with my students about the practice of photography is the role of “the editor”. And by that I don’t mean the software that one uses to massage a digital photograph or even the person sitting at the computer working the mouse or the stylus. Rather, I am referring to the voice in the head that makes the decision of what’s good or bad, what works or doesn’t work. It’s the voice that’s meant to guide me as to whether I’m walking the right creative path or that I’ve lost my direction and have become tangled in the burrs and weeds.
The editor is an important part of my creative process whether I am raising my camera to my eye or attempting to put words on a virtual blank sheet of paper. It’s my innate power of discernment that helps me to evaluate the work that I’ve produced and which allows me to effectively separate the wheat from the chaff. It’s a skill that I’ve been able to develop especially well because of the many opportunities I’ve had to serve in the role of editor for other people’s work, be it photography, videos or fiction. It’s something that I know that I’m pretty good at.
However, that editor can also be my worst enemy, especially when it comes to moments of creativity.
The fixed-lens compact camera with a larger-than-average sensor is the prothusiast’s most valued companion. Why? Because it promises excellent image quality in a small and light package. Often equipped with lenses between 28 and 35mm, these cameras lend themselves to street photography and journalistic styles. Due to the success and popularity of this camera type, there is now a significant number of models on the market, which can make it difficult to decide which one to get. In order to make things easier for you, here are five fixed-lens compacts that The Phoblographer recommends.
Image by Rick Friedman. Be sure to check out the rest of creativeLive’s lineup this week.
Rick Friedman is an extremely accomplished photographer that has been shooting for over three decades. His published work has appeared in Time, Newsweek, The New York Times, USA Today, The Guardian, Der Spiegel, Stern, Discover and many other publications. He has produced over 75 book and magazine covers. Rick has been teaching the Location Lighting Workshop for a while as well and is spending time on creativeLive this week teaching about lighting.
Creative Live did a recent interview with Rick talking about his work. But we also asked a couple of other questions about finding inspiration and getting over a photographic slump.
See that photo of me above? That was me four years ago–freshly into of the early stage of my photography career.
Most people that know me will say that I shoot various things: weddings, models, anything requiring a complicated lighting setup, street, and more. I had my paparazzi stage when I got out of college and I’ve also been an events shooter. But if you had to ask me how I got my start in photography, you’d probably never guess how it happened or why it happened. And if you look at my entire career and gauge where I am now, you’ll see a tremendous difference in not only the creative self expression, but in the entire thought process as well. If you asked the 18 year old me where I would be in life in my late 20’s, I would’ve told you that I’d be a mid-level editor at a major magazine or newspaper. And that younger self wouldn’t ever have expected to be telling the story of how he caught the photo bug.
And like most things, it’s partially a love story.
As part of my photography workshops, I like to start off with a jarring but hopefully inspiring exercise. Because I know from personal experience how hard it can be to shake a photographer from old habits of seeing and shooting, I have come up with ways to shake things up. The result is not only something that helps my students, but that also helps me when I want to challenge myself in a new way.
With that in mind, I send students out with a shooting exercise which is meant to make them rethink not only how the see through the camera, but more importantly how carefully they choose a subject and compose their photographs.
Editor’s Note: This blog post was originally published at The Candid Frame.