THE UBER OF PHOTOSHOP IS HERE

Mendr-logo.jpg

For photographers eager to make a little extra money, there is an option on the rise much like Uber & Lyft contributed to the pockets of many who were out of work. Mendr is the product of Dallas-based entrepreneurs Pat Thibodeau and Josh Farrar who thought it was a great idea.

To make it an easy product for all, Mendr has a free version (Editor's Touch) and then a paid version (Tailor Edit). The free version allows the user to make basic changes like toning and exposure. Why users would use this vs. their own phone's editing features is a mystery but it's great of Mendr to make it available on their app. The real feature is the Tailor edit which gives the customer an extensive menu of options. You can reduce blemishes, alter clothing, remove objects in the background or any other variety of changes. Prices vary based on your request. 

Early word is that it's a great source of income for photographers looking to build their clientele, and they could use a little pocket change. Can you make a full-time income from Mendr? That remains to be seen, but unlikely. However, it's a stream of income to pay for small shoots, camera rentals for your own projects, or just save up for some vacation money.

To become a Mendr editor, you'll have to take a test. That's available at this Mendr Editor link.

Do you think Mendr can be a viable option for the general population? It could provide a good flow of cash for editors capitalizing on the need to be instafamous, blogs, Youtube videos, and more. Once you have an image that looks better than anything you've had int he past, Mendr can become an addiction. 

Want a $1 off your retouching? Use CODE: HTP

To see an updated review of Mendr, and see how they tested with our image...please check out this link. To see our Video review of Mendr, please see this link.

41 REASONS WHY NOT TO DATE A PHOTOGRAPHER

Photographers are a different kind of creatures. We are both artists and entrepreneurs. We love our cameras and we sure love playing with them, sometimes too much. After a longer series of technical articles and advice, I thought I’d put together a list of reasons why you shouldn’t date a photographer. Before we get started, I just want to point out that although some of the items on the list will seem realistic, it’s all intended to make you laugh or at least bring a knowing smile on your face. At the end of the day, everybody loves photographers, otherwise I can’t explain why so many people want to get into photography. Without further ado, I bring you the 41 things to take into account before setting a date with a photographer.

1. They’re weird

Photographers are artists. And that should be self explanatory. You might find yourself at a restaurant table with a photographer who is looking deep into your eyes. Well, don’t be fooled. He’s probably thinking about your best angle

 

2. The birthday presents will surprise you

Most of the times it will be a framed portrait of yourself, captured some time ago when you probably weren’t looking.

 

3. Their favorite days are not yours

Like most people, you probably enjoy a bright, sunny day. Well, photographers enjoy foggy, gloomy mornings that would make most people sad.

 

4. They’re hoarders

Photographers collect piles of news papers, magazine, and generally anything they find inspiring, even for a short term.

 

5. They will break the law

 

Trespassing into abandoned buildings has always been a favorite activity among photographers, and they rarely even concern themselves with the fact that they are breaking laws.
 

6. Your vacation luggage will look like you’re moving

That’s because no photographer who respects himself will go on vacations without at least 50lbs of gear.

 

7. Watching movies together will not be as expected

The reason for that is because photographers will constantly criticize choice of color and frame composition in a movie.

8. They mark everything

Especially their photos. You will rarely see a photographer’s portfolio that’s not full of watermarks.

 

9. Everyone else sucks

Photographers are very proud creatures. Therefore, nobody else’s work is as good as theirs, and, at best, it can only come close.

 

10. Envy takes a new form

Among men, there is the well-known term penis envy. Among photographers, it’s a whole different thing. It’s called camera envy.

 

11. They spend time with cool people

You might be an interesting person with interesting friends, but photographers spend most of their time with models, stylists, designers and other cool people.

 

12. Their movie choices are different than yours

That’s because most of their choices are old, artsy movies that most people never get.

 

13. They like to play it vintage…in excess

They either use film cameras or dress like photographers did forty years ago.

 

14. They are control freaks

They like to control the position of anything. Whether it’s you or the coffee cup on the table. It has to look good.

 

 

15. They don’t care about your opinions

Yet they always want to show you their latest photos.

 

16. Their communications is awkward at the least

They might not return your phone calls or Facebook messages, but you can be sure that if you check their Instagram account, it will be active on a daily basis.

 

17. They are way too honest about your looks

If you ask a photographer if you look fat, he’ll probably say yes, but not to worry, he’ll Photoshop it later.

 

18. They spend most of their time in front of a computer

It’s not for Facebook or porn, but they can spend days in a row editing their pictures.

 

19. Romantic sunsets will never be the same

Unlike any other people, when you gaze at a beautiful sunset with a photographer, instead of feeling the romantic mood, they’ll probably be thinking “f8 at 1/125”.

 

20. They won’t spend any serious money on you

If you go out with a photographer and point out a certain pair of shoes that you really like, you should remove any expectations. They might cost 100$ but they won’t get them for you. Instead, they will $1000 glass for themselves.

 

21. Meals together will be quite different

Instead of actually enjoying their meal, photographers will probably spend the first five minutes Instagraming the dish from every possible angle.

 

22. They hate it when your friends ask photography questions

One thing photographers hate being asked by newbies, are questions about camera purchases. They get irritated when someone wants a camera “that takes good pictures, but it shouldn’t be anything professional”.

 

23. Holding hands will be pretty rare

That’s because they’ll be carrying a heavy camera most of the times.

 

 

24. They never send you the photos they take…of you

Noticed how your photographer girlfriend or boyfriend snapped a few random shots of you the other day? Don’t worry. You’ll probably never see them.

 

 

25. They don’t run away from natural disasters

If you live in a hurricane active area and are dating a photographer…good luck! Instead of running away, your love one will probably wait around for the action to happen, just to get some dramatic shots in that rare light.

 

26. Anniversaries will be missed

Think of it this way: if your anniversary and an interesting workshop happen on the same day, you might as well forget about the romantic dinner.

 

27. They are hazardous to themselves

If any accidents happen or if there is a hazardous situation, a photographer will protect his gear before anything else. That means that you or they are secondary priorities.

 

28. They stare at people in public

If you catch your date staring at someone attractive or, just as well someone different, don’t worry, they’re not having any dirty thoughts. They’re probably just imagining the photo they would take of that person. It doesn’t make it any less awkward or embarrassing though.

 

29. They find beauty in the weirdest places

That includes dirty alleys, places with a lot of poverty or just about any other location normal people would stay away from.

 

30. You’ll have a hard time proving that you were together on vacation

That’s because they’ll be taking most of the pictures, without themselves being in front of the camera.

 

31. They won’t photograph what you ask them

Think having a photographer partner will bring you advantages? Think again. Photographers are very proud and stubborn creatures and they will rarely photograph anything they consider unworthy, unless it’s paid or they like it. 

 

32. They’ll remind everyone of what it is they do

If you’re out socializing with friends and are having a normal conversation, don’t expect it to last too long. Your date will probably be jumping in with some “killer” stories about a place or a person they photographed in the past.

 

33. Birthday presents will be expensive

Anything under $500 will probably not buy them anything useful for their hobby, not something they already haven’t got anyway.

 

34. They won’t Photoshop your older photos

Your older vacation or family photos might need some improvement and your photographer partner should be just the person for the job. Not likely. Their ego will prevent them from editing anything not taken by them.

 

35. They don’t like your emo and artsy friends

That’s because unless it’s someone more famous than them, they’re not really worth spending time with.

 

36. They hardly print any of their work

Yet the storage space on their computer is always low because of the massive numbers of photographs.

 

37. If you accidentally drop a camera, you’ll owe them big time

The average contents of a photographer’s bag cost anywhere between $1500 and …well a lot. Make sure you are extra careful around their gear, or else.

 

 

38. You’ll turn into a model, whether you like it or not.

It might seem like fun in the beginning, but don’t be fooled. Whenever you’re out for a walk and the light will seem interesting for your date, you’ll have to pose for at least one portrait. And no, the clothes you’ll be wearing won’t matter.

 

39. They’re a pain at family events

Let’s say someone in your family is getting married and you decide to bring your date. Most of their attention will probably be going to the photographer hired to shoot the wedding. It will be a mix of criticism of everything the hired pro does and a secret envy that he didn’t get to do it, even after refusing in the first place.

 

40. Nothing natural is good

Translated: every picture must be tweaked with Photoshop or Lightroom. Don’t ever expect to see any pictures straight out of the camera.

 

41. When staring into your eyes, it usually means something else

You might find it to be a romantic moment, but it’s usually a process that goes on in their mind and has to do with how they would correct the tiny imperfections on your face.

BEST PAYING NEWS OUTLETS FOR PHOTOJOURNALISM PHOTOGRAPHERS

photojournalism

The Columbia Journal Review (CJR) printed a great article about the state of photojournalism pay and how much each outlet shells out for your work. It's an interesting read and here's where the original article. We abbreviated the article for you, see below!

The Washington Post

What it is: Recently branded with a new slogan, “Democracy Dies in Darkness,” The Post is the paper of record in DC with burgeoning national ambitions digitally. Freelancers credit Chloe ColemanThe Post’s photo editor, with respect and thoughtfulness in working with photographers.

What they pay: Multiple freelancers confirm The Washington Post’s day rate is $350.


Harper’s Magazine

What it is: According to its website, Harper’s is the oldest general interest publication in the US. Freelancing for the monthly, award-winning magazine is a dream for many photographers and writers. Harper’s, which tackles charged topics around politics, seems to equally value the importance of photography alongside written stories.

What they pay: Harper’s is one case where it was hard to nail down a standard day rate. Reported rates ranged from $500 to $1,000. Freelancers said those assigned to conflict work make $1,000 per day.


National Geographic

What it is: Known for its deep dives and explorations with a science focus, National Geographic dedicates a lot of space to photography. Some recent photo essays featured on its website include a beautifully shot piece on grass-eating monkeys, one on women in Nepal exiled for menstruating, and one story showing the other side of Russia.

What they pay: Associate photo editor Mallory Benedict tells CJR the flagship National Geographic magazine and its corresponding website pay day rates in the range of $500 to $650, with the possibility of higher rates in certain circumstances such as conflict zones. Separately, we found that National Geographic Traveler pays $425 per day, according to its website.


CNN

What it is: The 24-hour network offers a wide range of coverage across multiple mediums. With a worldwide reach, including over 1.5 billion digital pageviews per month, working with CNN gives freelancers great exposure. The network has also done more with photography in the past few years, including launching a photography blog in 2011. Bernadette Tuazon is CNN Digital’s senior photo editor, and she accepts pitches here.

What they pay: Multiple freelancers confirm CNN pays a day rate of $650, plus $150 for post-production editing.


The Wall Street Journal

What it is: The business-centric newspaper published by Dow Jones also covers national news, world news, culture, and politics. With a stated mission to ramp visuals across all platforms, the Journal promoted Lucy Gilmour to director of photography in 2015.

What they pay: Freelancers report that The Wall Street Journalpays $400 per day for assignments and will typically cover expenses.


The New York Times

What it is: Many photographers we spoke with work with the Times but had a hard time endorsing it as a top choice for freelancers because of its low day rate.*

What they pay: Times editor for photography Michele McNally told CJR that The New York Times recently increased its day rate to $450, from $200.


Honorable Mentions: We wanted to note a few publications that did not make the list, but still received a fair number of endorsements. Those include Bloomberg BusinessweekTime, and AARP.

Other Resources: Many freelancers who spoke with CJR also highly recommend that freelance photojournalists look into grants and other opportunities to help support them and their work in such a tough industry. Here are a few with links for photographers:

Alexia Foundation
Getty Images
VSCO Artist Initiative
Eugene Smith Fund

IMPORTANT ADVICE FROM 4 WEDDING PHOTOGRAPHERS

Susan Shek Photography

Susan Shek Photography

Weddings have always been about a day of celebration. A day where two people and their loved ones come together to join a union. It is an event that is very memorable, yet it is also something that needs to be well captured. That being said, here at How to Photograph, we had the opportunity to chat with some of the experts in the field of wedding photography. We asked some of our favorite wedding photographers about their businesses in an effort to help our readers. 

Read more to hear a Q&A about the advice, stories, and techniques these experts have to share! We asked many questions and will give you the answers in the coming weeks!

Belathee Photography

Belathee Photography

With Love by Georgie

With Love by Georgie

Thus far, what has been vital thing you have learned from owning your business?

@susanshekphotography - Never stop creating and learning. There are no breaks, and you have to make sacrifices.

@belathee - There is no one set of rules or recipes for running a business…learn as you go and try to stay true to yourself and your initial vision as much as possible.

Reaching out to others when needing help and being generous with advice in return has been the best practice for us so far.

@johndolanphotog- In weddings, we are in the trust business. People hire you to witness and record an intimate day in their lives. After 25 years of shooting weddings, I take this role seriously and I am careful not to diminish that trust.

@withlovebygeorgie- Having trustworthy colleagues in the same industry is so important! I've been so fortunate to have few that give me advice from their experience and confidence to continue on working hard when I question myself.

John Dolan Photography

John Dolan Photography

What has been your most memorable shoot? Why?
 

@susanshekphotography - Museum of Natural History - Being surrounded by history and a giant whale model over your head is kind of amazing and breathtaking at the same time.

@belathee - Photographing a wedding in New Orleans shortly after Hurricane Katrina, the couple were artists/scientists and celebrated on long tables set up in the street with southern BBQ and a local band playing. Truly individual and memorable. The local community was very involved so it felt good to "give back".

@johndolanphotog- In 2014, I shot a three-day wedding in Rome. The bride had a PhD in Roman Studies and knew the city intimately. Each event was in a unique and ancient venue. After the ceremony, the bride and groom strolled through the streets with their bridal party, passing through crowds and cafe's and piazzas. A waiter kissed the bride, a priest gave a blessing, tourists took photos. The city became part of the wedding party, all the while I shot while walking backwards, changing film on the fly.

@withlovebygeorgie- I've been to amazing weddings in Cancun & Bali, but it's actually a wedding I did in a small town in Texas outside of Houston.  The reception was done amazingly by Wedding Designer Coordinator who created a beautiful garden chandelier table setting and at that moment, I remembered when I first started wedding photography how much I wanted to have a wedding with such a beautiful setting   and I realize that I was doing it!


Article by Brandon Young. Brandon is an LA Based creative working in photography and film.

INSTAGRAM'S NEW COLLECTION FEATURE

A few days ago Instagram quietly launched its latest attack on other social platforms which take attention from the app giant. For months Instagram offered a simple feature called BOOKMARK which is a private collection of posts you keep.

In the photograph community, many of us used it to bookmark great cameras, tutorials, inspirational shots, names of good people to follow and more. Over months that collection of posts created a large mess and COLLECTIONS is a natural way to organize your thoughts and collections. Wait a minute...you're thinking that sounds a lot like Pinterest!? You're not alone.

Many in the blogosphere are now saying Instagram's latest attack is on the pinning king, Pinterest. Lets see if they make the feature into something you can share with the public or simple keep it private for personal use. Here are some of our categories that may help you organize...

 

 

10 MISTAKES PEOPLE MAKE IN PHOTOSHOP

If you're using photoshop, chances are that you're doing at least 1-2 things incorrectly. 
Growing up, many of us used PowerPoint for school. Did you notice how a few of the tricks were used over and over? The same theory applies to Photoshop. Less is more! Check out the video and leave your thoughts below...

 

 

WOMEN PHOTOGRAPH

What started as a small project now is a robust website dedicated to the female eye of the photography world. Some might say this is gender-biased and if men created the same it would be frowned upon. We're in a unique era of human history and any project that celebrates artists in whole or part should be recognized. See the article below originally posted on DP Review.

Women Photograph is an online directory of female photographers. What started as a spreadsheet has grown to a database over 500 members strong thanks to its creator Daniella Zalcman, a freelance documentary photographer. We asked her a few questions about her experiences, the directory and its origins.

What has your own experience been like as a female photographer in a male dominated field?

At the beginning, it was definitely tough. I started stringing as a news photographer in New York when I was 19, and it was very much a boy's club back then. Getting anyone to take me seriously was always a challenge, and I can't tell you the number of times I had a male photographer try to adjust the settings on my camera for me or make a joke about the size of my lens. There was a lot of casual sexual harassment that I think I and many of my female colleagues normalized for a long time — sometimes it's just easier to shrug and move on. But I've done enough shrugging.

Now, I'm a relatively established photographer and I spend most of my time working on long form documentary projects on my own. I rarely interact with news photographer scrums, or even assigning editors, so I'm able to avoid the more frustrating interactions. But I see young women coming up in the field, and I see the attrition rates between photojournalism school and photographers in the first 3-5 years of their careers, and I know what they're going through. And something needs to change.

What inspired you to create Women Photograph? How did it start?

It started with a Google Form last July. I was frustrated by the number of photo editors who were telling me they didn't know where to find women photographers, so I wanted to have a resource on hand that would render that excuse invalid.

How many photographers are included now?

Right now, the private database (which includes more complete information like e-mails, phone numbers, languages spoken, geographical areas of expertise, HEFAT/PPE info, and so on) has 525 members. The site is a little slower to build out because it requires that each photographer send me an image and I'm manually entering them all — so it's probably at around 300 right now.

What’s the response to it been like so far?

It's been great! It's provoked a lot of good conversations, which is really what I'm hoping for. If the presence of this site at least makes photo editors who traditionally rely on the same cadre of male news photographers think about their hiring practices, then I think that's a good start.

Why do you think it’s important to hire female photographers?

This isn't just about equality in hiring practices — though obviously that's important to me too. It's about making sure that the people in charge of visually documenting our diverse, complex world are diverse themselves. We can't look at everything through a predominantly white, male gaze — that's irresponsible and, frankly, colonial. We need our storytellers to be as diverse as our audience and our subjects.

Interesting Read: How to use dirty windows for a soft box 

THE 25% RULE IN PHOTOGRAPHY

Dear friend,

I have this principle I’ve followed in my photography and life — the “25% rule.”

The 25% rule in photography

The concept is simple. When you’re out taking photos, try to shoot 25% more of a scene (than you think you should).

For example, you see someone you want to photograph. Then you approach them for permission. They say yes. Then you take a few photos, and you feel guilty for wasting their time, and you want to leave.

When you feel that moment of awkwardness, think of the 25% rule. Try to shoot 25% more than you think you should. So if you’ve shot only 5 photos of them, try to shoot at least 2-3 more photos. Push your limits.

For me, I know that my best photos are often at the end. When I’m photographing a scene, I often get too trapped in one perspective. But when I push myself 25% more, I need to move my position. I take a step closer, or further away. I move left, or right. I try to shoot more verticals instead of just horizontals. I try to use a flash. 

In real life, I also try to apply the 25% rule. When I’m working out, I try to do 25% more repetitions than I think I can. When I’m upset, frustrated, or angry — I try to be 25% more patient. When it comes to pricing in business, I try to price 25% more than I think I should.

I just thought of 25% as a general concept. It can be anything for you — 1%, 5%, 50%, 100%. Whatever helps push you to the next level.

The basic concept is to not become complacent. To push your limits to the next level. To break through the glass ceiling. To soar towards the heavens.

Never stop hustling,
Eric

Article Post Here 

WHY IS MEDIUM FORMAT SO GORGEOUS?

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One of the biggest reasons to shoot film nowadays is medium format, an option that yields gorgeous results but whose digital counterpart is wildly expensive. It's well known that medium format offers an increase in resolution and print size, but there are other advantages that make it a unique tool in a photographer's repertoire. 

The biggest advantage to shooting medium format is the outright size. With 3-4 times the surface of a 35mm frame, medium format (which actually comprises a number of possible sizes) can be enlarged significantly without losing quality. Artists often make use of the size for huge prints that look good on gallery walls.

Comparing film sizes: Everything larger than 35mm and 6x9 or smaller is considered medium format

Comparing film sizes: Everything larger than 35mm and 6x9 or smaller is considered medium format

But print size aside, it's often easy to detect medium format images even when viewing on the web. It has a certain something, a signature look that is often recognizable but hard to articulate. It comes from the lack of perspective distortion. This makes photos look more natural, closer to what your eye sees in the real world. 

Let's say you're shooting on a 6x7 medium format camera with a 50mm lens. If you compare your images to a 35mm camera, also with a 50mm lens, you will notice the difference in field of view. Your medium format pictures will actually see what a 24mm lens on a 35mm camera would see. Simply put: the larger the film format, the wider angle your lenses become compared to 35mm.

Image by Anton Novoselov

The key point as a result of that difference is that even though the field of view is wider, the geometry, or "look," of the 50mm focal length remains. You don't get the exaggerated perspective that wide angle lenses usually produce on 35mm cameras. In that regard, medium format mimics how your eyes actually see the world, at least more so than the smaller 35mm size. The effect is even more apparent with large format 4x5, 5x8, or 8x10 film. You can shoot an extremely wide scene but it will have the "real-world" look of a lens with a longer focal length. The subject remains flat and not 'stretched' out. 

Image by Ivan Constantin

A great deal of art photography over the past two decades was shot in medium or large format in order to suit the large exhibition prints demanded by galleries and collectors. Take a look at the work of artists like An-My LêThomas Struth, or younger photogs like Rob Hornstra, you'll see this flattening of wide expansive views in their images.

It's a subtle difference, no doubt. But medium format produces a really beautiful look by expanding the field of view. If you're intimidated about the gear, don't be! You can get into the medium format game with a $30 Holga or a $1000 Hasselblad. There are tons of options, and the unique properties of the image are a great reason beyond image size to consider trying your hand at at the format.


Story originally posted here

METABONES LAUNCHES FOUR NEW CANON-TO-SONY ADAPTORS

Metabones 5th generation

Metabones 5th generation

Metabones today unveiled four new EF to E-mount lens adapters that make using Canon glass on Sony cameras even easier. The new models make up the fifth generation of Metabones’ Smart Adapters and include two brand-new Cine versions specifically designed for users of Sony’s FS7 II cinema camera.

Sony introduced a “positive lock” collar on the FS7 II which adds an additional layer of security over the standard E mount. Metabones applied that same concept to these new Cine adapters, using a locking ring to secure the lens to the adapter. FS7 II users can now use Canon glass with the same level of security as they have with native Sony lenses.

The Cine adapters come in two versions: the standard Smart Adapter for $449 and the Speed Booster for $699. Both feature full electronic control over the lens, including smooth aperture control from the camera body on most newer lenses. The Speed Booster version contains optics that shrink the image circle of a full-frame lens down to APS-C dimensions, regaining the lens’ full field of view and adding a stop of light in the process. 

Non-cinema versions of the new adapters will also be available, although Metabones has yet to release pricing on those models.

Other features shared by all fifth-generation adapters include an LED status light, a dedicated switch to control in-body image stabilization on supported cameras, and a rubber gasket to seal the adapter against dust and moisture. All adapters allow for contrast detection autofocus on all E-mount cameras and phase detection AF on those models that support it, including the A6300, A6500, and A7R II.

The adapters also support lenses that communicate distance information, which enables the use of 5-axis stabilization on Sony cameras that have the feature, like the A7R II. Older lenses that don’t have distance information will limit the cameras to 3-axis stabilization. EXIF data (focal length, aperture setting, and zoom range) are also correctly transmitted from lens to camera.

Of interest to long-time Metabones customers, the company also mentioned that even first-generation adapters can be updated to take advantage of several new features that have been introduced over the years, including contrast-detect autofocus and smooth iris control. For more information, visit the Metabones website.


Story originally here
 

FUJI JUST MADE ANOTHER BIG SPLASH IN THE MIRRORLESS CAMERA WORLD

A couple months ago some readers asked if they should purchase a FujiFilm camera and my response was to wait it out. Wait because what Fuji has in the stores now is good, but I see GREAT potential in the future. This new release is an example of something great. Still I feel Sony has the lead in this department, but this is a solid effort on Fuji's part. I do wish the new X-T20 had  higher ISO than the 12,800 or 30fps for video. If anything the video speed is what limit my purchase, but keep your eyes on Fuji! This mirrorless camera is solid if you're in the market for something new. For those who ask, "Should I purchase a Sony or Fuji?" I would say keep an eye on Fujifilm. I have a feeling the next generation will blow us away, but for now I would still side with Sony though Fuji is quite respectable.

Here's a full review from Wired


FUJIFILM’S HIGH-END SHOOTERS feature a bit of tech that makes them unique: The X-Trans sensor that separates green, red, and blue light differently than the chip in nearly every other camera. It gives photos a distinct filmlike, moiré-free look that some photographers love and others hate.

The X-Trans magic gets cheaper this year with two cameras built around the 24-megapixel X-Trans III sensor in last year’s flagship X-Pro2. The interchangeable-lens X-T20 and fixed-lens X100F feature a high-resolution APS-C sensor, shoot RAW in Fujifilm’s own .RAF format, and retain the throwback looks of their predecessors.

The mirrorless X-T20 replaces the X-T10 and offers a higher ISO ceiling (12,800), 4K video recording at 30fps and 24fps, a more powerful autofocus system, and a touchscreen interface. You can tap the adjustable 3-inch LCD to focus and shoot. But don’t worry—the X-T20 offers the same knobs and buttons as the X-T10, and an eye-level 2.3 million dot OLED viewfinder.

Fujifilm’s revamped autofocus system should be plenty responsive to your taps. The hybrid phase- and contrast-detection autofocus system offers greater coverage and more focus points to keep moving subjects sharp. You also get five continuous shooting modes that max out at 14 frames per second.

The X100F is the latest sibling in Fujifilm’s much-loved X100 line of compact, fixed-focal-length cameras. This new “F” model has a 35mm f/2.0 lens and an “advanced hybrid viewfinder” similar to what you see on the X-Pro2. It’s an optical rangefinder-style peephole with up to 6x magnification and digital overlays for extra information about your shot—things like focus peaking and exposure settings. It offers the same hybrid hybrid phase- and contrast-detection autofocus system as the X-T20.

Around the back, the X100F gets a significant redesign over the previous version (the X100T) it replaces. Fujifilm moved most of the buttons to the right of the 3-inch LCD display to make it easier to access all of your settings with right thumb.

While both cameras are cheaper than the X-Pro2, they’ll still set you back. The Fujifilm X100F goes on sale next month for $1,300, while the X-T20 is $900 for the body or $1,200 for a kit that includes an 18-55mm, f/2.8-f/4 zoom lens. Of course, both of these cameras are replacing models that are still excellent. The previous X-T10 and the X100T are still capable shooters, and because they’re a year or two old, they’ll see a price drop now that the new models are out.

7 PIECES OF ADVICE FOR BEGINNERS, FROM A HOBBYIST LIKE YOU

I’m not a pro photographer, maybe just an average hobbyist who has found lots of great tips, tutorials, reviews, and inspiration on 500px ISO and many other photo related sites, forums, and galleries. However, most of these articles are written by people who have deep knowledge of photography… they do it for their living.

What I’d like to share as an amateur is how I got into photography, what mistakes I made, and some things that helped me a lot from my point of view—the hobbist one.

Photo by Matej Sokol

Photo by Matej Sokol

1. Get the right camera

This is the point where our story begins: the camera. Some of us were given our first cameras, some started with mobile photography, and some knew they want to buy DSLR right away. I’ve read many articles in which renowned photographers state that gear is not so important—that you have to be perceptive, have good eye for composition, correct exposure and so on… let’s call it skill and talent.

I don’t dare say they are wrong, but from my point of view gear matters, and matters a lot, especially for beginners. 

Yes, buying the shoes Usain Bolt is using does not guarantee that you will run like he does. But if you buy the wrong ones, your feet may end up in so much pain you give up running entirely. Why do I think this applies to photography as well? I’ve seen many beginners disappointed with their cameras, not using them because they’re too heavy to carry around, or too difficult to understand, or too expensive to use them at this or that occasion. 

Megapixels and sensor size are not the only thing that counts. Sometimes an older, cheaper model can work better for you because the controls fit you better, it’s lighter, and does not have distracting features that you’ll never use or can be easily reproduced in post-processing.

The trick is to think a little bit ahead when choosing you first camera, but not too far. How, why, and when you want to use your camera? Do you want to carry it lot? Do you need interchangeble lenses? What about ergonomics, does it fit your hand well? Do you need camera able to withstand rough conditions because you want to use it on your adventures, or is plastic body just fine? 

Buy the camera you will use, not the camera you think you need or they try to sell you in the shop. And, of course, always try to take some pictures with it before buying one.

Photo by Matej Sokol

Photo by Matej Sokol

2. Become friends with it

Ok, you just got your camera, nice! For many, now comes the disappointment. Why? Because the better the camera you buy, the fewer things it does for you. You have to make it work, and work like you want it to work.

I was in the same situation: my first real camera was DSLR, quite a jump from mobile, and suddenly my photos lacked vibrance—they all came out somewhat dull and grey-ish. My camera had many features and settings I didn’t understand, so I went trough manual, Googled for answers, or asked on forums.

There are many people out there willing to help you with almost any technical question you have about your camera.

The next step? Get some technical background on how your camera works. I’m a technical type of person, I’m willing to take the time to find out how things work, and one invaluable source of information I found on web is the Cambridge in Color page, where everything from basic concepts of photography to color management is described.

Try to shoot in Av or M mode, learn what exposure compensation is and when to use it. Have a look at The Zone System and learn to read a histogram. It’s free, and it will help you a lot.

Photo by Matej Sokol

Photo by Matej Sokol

3. Snap photos, take photos, create photos

Simply said: if you really want to improve in something, you just have to go out and do it… and do it a lot. It’s nice to talk about it, it’s nice to read about it, but nothing can replace experience.

Don’t take only snapshots, I did that at first and I ended up with tons of snapshots from my trips, but I quickly realized that I didn’t need a fancy DSLR for these kinds of photos. I wanted to improve.

Try to think about the technical side of photography at least a little bit while you’re out shooting. Learn composition, learn to read the light, and wait for your decisive moment. It can come at any time: sometimes it’s sunrise, other times a man crossing the screen. The more you practice, the more prepared you will be to capture it.

Photo by Matej Sokol

Photo by Matej Sokol

4. Learn to do magic in post

Shoot raw whenever possible. This has been said many times before by many people more qualified than me, and it will be said again and again. It opens the door to fully post-processing your photos.

Get Lightroom and Photoshop or another photo editing application, the price is really low compared to cost of lenses, cameras, tripods, and other gear, and yet in digital photography more than half of the process is often done on your computer, behind the screen.

Oh, and if possible, get fast computer. There is nothing more depressing than having to wait ages for changes to be applied. Be patient, try more post-processing workflows, experiment, learn new tricks online, and then USE THEM.

5. Find inspiration

Join photo a sharing site. Browse photos in the Popular section and Editors’ Choice, or seek out the work of photographers who inspire you. Do it often.

Personally, I find it relaxing to go trough tons of amazing photos here on 500px. In fact, this was the reason I joined the site. You will learn that there is always something to improve on, something new to try, or something new to experiment with.

You can even stop your favorite movie scenes and check for how the composition, lighting, colors, and shapes form the scene.

Then share you own work.

Photo by Matej Sokol

Photo by Matej Sokol

6. Get feedback

Ask friends who are into photography, ask people whose work you admire, and most of all join a photo club, photo session, or course.

When thinking about joining photo course, check the work of your lecturers. If you like it, give it a go. I did, and got the kind of advice no one ever thinks to comment on your uploads—it’s more personal and more subtle.

Listen to this advice, think about it, apply it, but don’t lose your own photographic voice in the process.

Photo by Matej Sokol

Photo by Matej Sokol

7. Enjoy it

Just do : )


Article originally posted hereMatej Sokol is a self-taught hobbyist who loves nature, mountains, and travel. To see more of his work, give him a follow on 500px

POCKETFUL OF ADAPTORS - IF YOU'RE BUYING THE NEW MACBOOK PRO AND iPHONE

I'm currently typing on my 2011 Macbook Pro, which I love but recognize that she's getting tired. We've been waiting for a reasonable update and something that would make life easier. That's always been what I've thought about Apple, a company that works at streamlining your life by listening to its core customer base. Like any relationship that nears hard times, I'm noticing a trend with Apple loyalists. In the past year we've been frustrated at their lack of innovation but also felt trapped, because no other brand came close to Apple. With the new Macbook Pro, we feel frustrated but also several of us have a wandering eye. In a personal relationship, this is should sound all alarms. With Apple we feel connected on the personal and professional levels. For years they were the only choice. So what's the problem and how can they fix it? 

Lets start with the newly announced MacBook Pro on October 27th

On the 25th anniversary of the Macbook Laptops, Apple introduced their latest update for the Macbook Pro. They included a TOUCH BAR which is a secondary and smaller display right above the keyboard. This is a beautiful upgrade which will serve the purpose of being efficient with various programs. It is 60 Pixels high and 2,170 across. It is for quick access to virtual controls and comes with a TouchID Sensor for logging and authenticating the slow-to-catch-on Apple Pay (I'm convinced this is why they really killed the headphone jack on the iPhone).

It also boasts a 23% smaller body that's about half a pound lighter than the previous model. Those carrying the machine in your backpack or gear bag can appreciate any help in that department. The 13 inch weights 3 LBS and the 15 inch model weighs 4 LBS and is 20% smaller. 

The downside is that Apple waived goodbye to the USB ports, a terrible decision for the community of photographers and videographers. They welcomed the Thunderbolt 3. Lets focus more on Apple's inability to listen to their customer base and their keen sense of alienating long time customers.

Dear Apple, replacing the SD Card slot means you took away one of the best features on a MacBook Pro. As photographers we love that the card reader was included. Like everything else with Apple, it was innate and something we did not have to think about. The point was to stay streamlined work WITH the community of creatives who built your name (Still not forgiven for Final Cut Pro X debacle either). Having it included meant we had one less item to carry and needlessly purchase.

Killing off the USB port entirely means we will also purchase additional adaptors for the hard drives accumulated over the years. MASHABLE says that if you're upset about the dongles needed to operate the new iPhone 7 you have more bad news coming. They estimate that in order to get everything you need, you will likely spend an additional $200 for all the right adaptors. That's in addition to the headache of making sure you have all the adaptors, or you're out of commission.  Many of us want the the 15" because editing on the 13 is difficult. Factor in $2,799 for the machine, $349 for Apple Care, and now additionally $200 for all the adaptors. Is there a middle finger Emoji on this 2011 Macbook I can use?

For example:
Want to hook up your iPhone 7 to your new Macbook Pro? $19 Dongle needed
Photographers do you want to continue using your SD cards? $49.95 for a Dongle
Want to hookup a monitor to your new laptop? $39.95 Dongle there
Want to connect Thunderbolt 2 devices to your Macbook? Buy a $49 Dongle for that

Apple, you are a Dongle! You should include free dongles to anyone willing to overpay for your laptop. Yes it's a great device and you're still a wonderful company but I like how Business Insider put it..."People are saying that Microsoft is now more innovative than Apple". Do you agree?

 

 

 

Hasselblad Debuts Phone Attachment That Adds RAW and 10x Zoom

Motorola has announced a new Moto Mod for its line of Moto Z smartphones. Partnering with storied camera brand Hasselblad, the new device is called the Hasselblad True Zoom, and is an attachment case that offers RAW photography and 10x optical zoom. The device is simple and sleek, featuring an ergonomic case that emulates a high-end camera. It features a physical shutter button and zoom controls for easy use, while a prominent lens allows you to shoot these higher-quality photos. With 12 MP and a 1/2.3-inch CMOS sensor, a 25-250mmequivalent lens, f/3.5-6.5 aperture, an ISO range of 100 to 3200, 1080p video recording, and two built-in microphones, the device itself is impressive. The True Zoom attachment will be available for purchase beginning September with a price tag of $299 USD. - Or just buy a real point-and-shoot and get a solid piece? What are your thoughts?

45 THINGS I LEARNED FROM PHOTOGRAPHY

Hemet, CA.

Hemet, CA.

When you shoot all the time, you learn all the time. That is why we say, art is in the process. It's nice to see what a professional photographer thinks, and see if it parallels some of your own discoveries. The photography world is in a transitional mode and we're figuring the new path day by day. Technological advances will come & go, but nothing will take the place of quality. In a world where everyone is screaming "look at me!", it's the quality images that will stand out. Look at the list below, see how many you agree with...


Over the last couple years I have been taking notes on my phone of various thoughts on what I feel have learned from my time in photography. Hard to believe it’s been a decade now since I started to take it seriously. Along with these random thoughts I referenced some of my past presentation slides and some were created as I typed this post out. Those that know me should not be surprised. I like lists and that is really all this is! I am sure I will get the question… why 45? It’s simply because that is what I ended up with. It’s not some magic number that represents anything special.

1.    New or expensive gear can be nice yet does not make you a better photographer. It’s good to follow what is coming out and changing without pulling out that credit card for every announcement.
2.    The rat race of social media is not worth fretting over counting likes, comments and shares. Sometimes you are ahead, sometimes you are behind.
3.    A sense of camaraderie and making friends in photography is very important. Don’t always fly solo.
4.    A good outdoor trip with few to no keepers is still better than being indoors. It’s the experience that helps shape who we are.
5.    In my early years I thought my work was awesome but it really stunk like a skunk and I am fine with that. Everyone starts somewhere. I can never stop growing and learning.
6.    Don’t under value your own work. Always selling your work for peanuts does not help you or the industry. It’s okay to say no to some requests.
7.    Be open to feedback, whether it’s praise or constructive critique. Simply being open to listening to others opinions does not mean you have to change your work. On the flip side be respectful when you provide feedback.
8.    No matter the accomplishments (or failures) it’s still a photo and I am still the same person. Don’t pat yourself on the back too much nor give yourself too hard of a time.
9.    Placing well or winning a well-known photography competition will not bring you fame or fortune.
10.    If you send a photo out to a client with a known flaw they will find it. I learned to always spend the money to reprint when needed.

11.    The one photo you post on your website that you can’t print large for whatever reason, is the one someone will request large.
12.    My horizon will be off by 2 degrees no matter what tools I use in the field. Horizon correction software was made for people like me.
13.    Abstract photos often get little love online (or in general) but I post them anyway because I love them. Even when photography is a business there needs to times when it’s be purely for you.
14.    Everyone has at least one piece of equipment they will regret going the ultra-cheap route. Mine was remotes going through 6 in about a year before learning my lesson.
15.    Although I love to travel I won’t be able to visit every place on the planet that I see in other photographers photos. I am fine with this. Be happy where you can get to and just enjoy getting out.
16.    In nature photography there’s much more than photographing colorful sunrises and sunsets day in and day out. Don’t forget to look down and all around at all times of the day and in all weather.
17.    Trying to ‘fix’ a photo in post processing that was shot poorly is usually like trying to salvage a half sunken ship. Get it right from the beginning.
18.    The most amazing sky an hour or two before sunset will often end up being the biggest dud by the time the golden hour comes.
19.    Sometimes you need to leave the camera behind (or stop chasing new scenes) and focus on family. Trying to do both all the time won’t make you or the family happy.
20.    Taking an amazing photo, whatever that means at the time for me, does bring a sense of elation and high that likely only other photographers understand.

21.    I went through a funk more than once where photography carried little interest or inspiration to me for months. We all go through phases. Let it ride knowing you will come out on the other side.
22.     Collaborate where and when you can. I wouldn’t be writing this blog post for the Photo Cascadia site right now if I wasn’t open to collaborating with others (who in the end have become good friends).
23.    Your equipment will fail you at the most inopportune time if you photograph enough. I have many stories with a full corrupt CF card from a wedding where I was the sole photographer near the top.
24.    Try saying “Woah look at the body!” out loud at work while viewing the latest camera online. Guarantee you will get some interesting looks and responses.
25.    No I won’t license my image for free to use in an article where you will place my website URL while I will wait for the inquiries to purchase my work come pouring in.
26.    It’s okay to compare your work to others as a means of learning and growing with your photography. Doing it thinking others are good and you’re not is self-destructive.
27.    I am merely a single pixel in a very large sensor we call earth and a tiny blimp on the radar of time. I don’t take myself too seriously and neither should you.
28.    Nature photography and loving the outdoors is something my wife and I had in common when we met and still do today. I am always thankful for the support she shows to this endeavor called photography.
29.    I try not criticizing others work solely because it doesn’t align with what I think is great photography. Simply because I don’t think it is great doesn’t mean it’s any less worthy.
30.    I have learned as much (or more) from bad photos as from good photos I have taken. It’s never a complete waste.

31.    You can do pretty much anything in post processing except replicating what a good polarizer can do when it comes to removing glare. It’s not a tool to leave behind.
32.    No matter how well you know your equipment there will be a time(s) you make a rookie mistake. When taking photos the day after night photography don’t forget to bring down that ISO or changing back to RAW after photographing your kids soccer game.
33.    Take risks with your photography without risking your life. If you are not around to enjoy taking photos it obviously wasn’t worth it.  Fortunately I am here to write this.
34.    Study. Whether it’s studying how you take photos in the field or studying photography online or many other ways, it’s all important to avoid becoming stagnant. The only constant in life is change.
35.    If you care about your photos read the fine print before submitting to photography contests. You may be giving the rights away without knowing it.
36.    Don’t worry much about ‘comp stomping’ as being original with every photo today is hard even in best of intentions. Your style and creativity will come in time.
37.    It’s not worth the effort and cost to print my own work. I will always use a lab.
38.    Take time to get your work printed even if it’s small prints or books. It’s a shame to leave everything you photograph to online viewing only. Viewing your work printed is seeing it in a different light.
39.    Be leery of projects that require investment of time and or money that give a guaranteed return for someone else but not you. I have been burned a couple times not seeing the warning signals soon enough.
40.    Use your animal instincts and don’t forget to chimp before you leave the scene. Coming home and saying @%#&! because you missed something that would have been an easy correction is painful.

41.    If you don’t own a good tripod and ball head, stop reading this article now and go buy one immediately. All the best equipment means little with nature photography if your tripod sucks.
42.    Leading workshops is hard work to do it right. If you don’t care about being a true guide/teacher to others and it’s only for the all mighty dollar or to simply grow your personal photo collection, do everyone a favor and don’t hold workshops.
43.    No matter how much technology advances understanding composition is paramount. The best camera technology isn’t going to set the camera up for you, tell where to place your tripod legs and what to focus on… at least not yet.
44.    Watching your children taking their first photos that are more than snap-shots is a very cool and rewarding feeling. Especially when they are as excited about it as you are.
45.    Less is more. Do what you can to simplify elements in your composition. One of the larger challenges as nature photographers is to take busy and chaotic scenes from Mother Nature to make a compelling photograph.

I am sure I could keep typing with endless thoughts on what I have learned from photography yet this is good stopping point and enough to ponder for those that took the time to get this far in my post. Whether you have been interested in photography for 45 days or 45 years, feel free to share what you have learned from your time behind the camera.


Original Post by Adrian Klein on Photocascadia. 

 

 

WHO OWNS A PHOTOGRAPH?

With any legal advice, we always urge you to speak with a lawyer in your jurisdiction. Laws change from state to state, country to country and such articles give a general idea. If you're in a legal bind, please contact a copyright lawyer.

You may have heard about the huge copyright case where wildlife photographer David J Slater had a monkey take his camera and shoot a selfie.Since then the U.S. Copyright Office updated their draft of their copyrightable work, and it states that “a photograph taken by a monkey” is an example of work that would not be registered. This download was created by Clifton Cameras. Clifton Cameras is a leading independent digital camera dealer in the UK. They offer Digital Cameras, SLR Lenses, Binoculars, Scopes and More. There’s a link to their website below.

Original Post Found Here

FUJI'S NEW WEATHER-SEALED MIRRORLESS CAMERA

If you want a mirrorless camera with retro styling, the only two brands that offer them are Olympus and Fujifilm.

The latter company announced the X-T2 on Thursday, which will be available in the U.S. starting in September for $1,599.95 (body only) and $1,899.95 (with a XF 18-55mm kit lens).

SEE ALSO: Fujifilm's latest pocket printer is one of the best ways to print your phone pics

The X-T2 improves on the X-T1 not just with more megapixels for still photos, but with 4K video recording (four times the resolution of 1080p full HD video recording) at various frame rates including 30, 25 and 24p.

The stylish magnesium alloy camera body boasts a new 24.3-megapixel X-Trans CMOS III APS-C image sensor that's as large as the ones found in many beginner and intermediate DSLRs.

Fujifilm has also made the X-T2 fast as hell. There are more autofocus points (325) that now cover 40 percent of the sensor and 91 zone focusing points (up from 41 on the X-T1). 

The X-T2 can also record 4K video with the camera's Film Simulation mode on, which applies a film grain-like filter on top of the footage for that old-school look.

Moreover, the 2.36-million dot resolution OLED electronic viewfinder displays up to 100 frames per second and has a lag time of only 0.005 seconds.

As with the previous model, the X-T2 is weather-sealed, making it dust and moisture resistant at 63 points in the body. It can also function at temperatures as cold as 14°F.

EF-X500 FLASH $499.95

Photographers hesitant on mirrorless cameras will find a lot to like about the X-T2. Compared to DSLR, it's compact and mighty powerful. 

Original Report Here by Raymond Wong

OBAMA'S OFFICIAL PHOTOGRAPHER SHARES HIS FAVORITE PHOTOS

The job of a photographer is to show beauty in something others cannot see. In this case, that would be the life of the most powerful man on the planet. Peter Souza was a fly-on-the-wall for one of America's greatest eras and we look forward to more images releasing from his awesome collection of over 2 million images. 


As President Obama’s final term winds down, official White House photographer Pete Souza has released a curated selection of the nearly two million photos that he’s taken of POTUS over the years.

The pictures are a beautiful microcosm of the President as a man and as the leader of the free world, from candid and mundane moments to deeply emotional images that give us a glimpse into the President as a husband and a father, stripping away the mystique of office and showing what a genuine and compassionate man he is at his core.

We will miss him deeply when he returns to private life, and we cannot repay him for guiding our nation out of troubled waters.

STEPHEN WILKES: THE PASSING OF TIME CAUGHT IN A SINGLE PHOTO

Photographer Stephen Wilkes crafts stunning compositions of landscapes as they transition from day to night, exploring the space-time continuum within a two-dimensional still photograph. Journey with him to iconic locations like the Tournelle Bridge in Paris, El Capitan in Yosemite National Park and a life-giving watering hole in heart of the Serengeti in this tour of his art and process.

Original Link Here

APPLE WORKING ON WAYS TO TURN OFF THE IPHONE CAMERA IN CERTAIN LOCATIONS

Typically every good can be used for bad. Sure the idea of turning off someone's cell phone camera during a concert can seem like a good idea for frustrated artists and concert goers who just want to focus on the music. However, our phone cameras can be used to mark memories even at the concert. Group pics with you friends attending a show is important, but so is having a camera to document anything criminal. The idea of one party having the right to control a part of your phone is something to fear. If a concert venue can control your phone, do you feel police departments can also have this ability? Do you see a danger in this with Apple's new patent file? Would it be enough to jump to another brand if this is approved?


Apple’s latest patent describes a way to block the iPhone’s camera functions while at a concert, making it useless as a recording device.

 

“When I go to a great concert and the drum solo begins, I’m going to want to video it and see it again and again, and I think that’s my right,” iPhone user Virginia Grabowski said.

But Grabowski agrees that cell phones at concerts can be a problem.

“If I were the concert promoter, I certainly wouldn’t want the concert shown on every social media site if I was selling tickets for it,” Grabowski said.

Cell phone lights have been credited with adding to the ambiance of a show. But camera recording is often called a distraction or a rip-off of an artist.

Adele famously stopped her concert to call out a fan for recording it on a phone.

And metal vocalist Geoff Tate actually grabbed a fan’s phone out of his hand and threw it back in the crowd.

Apple did not respond to a request for comment, but the company’s patent would use infrared technology to temporarily disable camera functions at concert halls, museums or other places where recording is considered illegal or sensitive.

“It’s very disturbing when someone proposes technology that would take the power out of the owner or user and hand it to a third party,” Danny O’Brien of the Electronic Frontier Foundation said.

O’Brien worries the new technology could be easily corrupted.

“Where something that was designed to stop you from filming concerts can be turned around to stop you from filming police violence,” O’Brien said.

Brian Epes recently used his phone to record a concert, and doesn’t want to give it up.

“I want the ability to take my memories of the concert with me,” Epes said.

He says if the technology makes it to the mainstream, one way around it is to do what he does – use a non-Apple phone.


Original Post Here