Kelby Training: A Year of Photography Training for a Few Cents Per day
Todays Deal in our 12 Days of Christmas is epic!
It is a full year of training from some of the word’s best photographers for just a few cents per day.
Kelby Training is offering you a 20% discount on their full year training package. Normally $199 – today you get it for $40 off.
Note: This deal is for today only and to secure it you need to choose the full year option and use the coupon code – DPS11 – when checking out.
1000′s of Training Sessions from the World’s Best Photography Instructors
This subscription gets you to an amazing array of online learning. They have 1000′s of sessions and hundreds of hours of classes that you gain access to – plus they’re adding more every week.
The variation of topics is huge – loads on photography technique but also post production training – just check out the courses page to a look at what you get access to.
Best of all the caliber of those instructing in these sessions is second no none. Not only do you get training from Scott Kelby – author of the best selling photography books in the world – you’ll also get access to some World class photographers, authors and trainers like Joe McNally, Jay Maisel, Anne Cahill, Dave Black, Janine Warner, Jeremy Cowart and many many more will instruct you.
Their teaching is relaxed and informal and many times will even take you out on location with them to see what they’re doing on an actual shoot.
To learn more about Kelby Training and to hear if it’s for you – check out this short video from Scott Kelby himself (opens in new page).
Lastly – this deal has a Money Back Guarantee. So even if you’re not sure if its for you, you can sign up and experience Kelby Training for yourself and if you’re not satisfied get your money back.
Like our other deals in the last week – this deal lasts for 24 hours.
Secure This Deal Today
To secure your 20% discount you must choose the full year training option and use the coupon code – DPS11 – when checking out. Sign up today here.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Kelby Training: A Year of Photography Training for a Few Cents Per day
Get a Library of 35 Amazing Photography eBooks for just $2.83 each [Today Only]
Todays Deal in our 12 Deals of Christmas is a real bargain. 
Snap it up and you’ll get an entire library of 35 eBooks from the team at Craft and Vision for just $99.
Craft and Vision usually sell their eBooks at just $5 each (a bargain as it is) but for our deal we’ve convinced them to go further.
Pick up this library bundle and they come in at $2.83 per eBook (40% off).
Featuring 13 authors (including the world-renowned David DuChemin) these eBooks cover a vast array of topics – enough learning to keep you going for months!
Learn about what is included in the bundle and get yours here.
Already got the bundle last year?
I know many dPS readers picked up the Craft and Vision Bundle last year in our Christmas promotion – but don’t fret – Craft and Vision have since released 15 eBooks and have bundled them up into an ‘update’ bundle for just $49 (a 30% saving).
With the update bundle you’ll have the complete library and be ready for some great learning and inspiration!
Learn more about both options here.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Get a Library of 35 Amazing Photography eBooks for just $2.83 each [Today Only]
Improve Your Photography With 40% Off Photography Concentrate Resources Today
Today we’re rolling out Deal #3 in our 12 Deals of Christmas and its one that I know will help many of our readers. It’s from the very creative and smart team at Photography Concentrate and gives you 40% off any (or all) of their 3 excellent resources.
Here are the 3 resources that they have:
- Extremely Essential Camera Skills – take control over your camera and get creative confident with your photography. Was $49.95, today $29.97.
- Super Photo Editing Skills – get the skills you need to quickly and easily bring the best out of your photos. Was $79.95, today $47.97.
- Awesome Album Design Skills – get the skills you need to design beautiful albums quickly, easily and profitably. Was $79.95, today $47.97.
These downloadable resources contain hours of great video tutorial and pages of great teaching. You can learn more about each here.
With todays deal you can pick up the discount on just one of the above resources, apply it to a bundle two together or pick up all three – together they’re normally just under $210 but today they are $125.91).
To get the 40% off you need to use the coupon code of DPS40 when checking out.
Like all our deals one these 12 days – this deal lasts for just 24 hours so don’t hesitate to invest in and download yours today and see your photography improve.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Improve Your Photography With 40% Off Photography Concentrate Resources Today
Choosing a Photography Workshop Or Tour
It’s in the gloom of the Northern hemisphere’s winter that many people start planning trips for the new year. It’s also a time some of us upgrade our cameras when the big sales hit in December and begin looking for a teacher to help them get more out of it. A perfect time to talk about choosing a photography workshop or instructional tour.
While I lead workshops and tours around the USA and world, I have been on the other side of the coin on more than one occasion in the past. Choosing who you will learn from can be intimidating and a large financial and time risk. I used those experiences and time spent consulting with other tour operators to come up with a list of questions and items to think about when you decide you want to learn more from a local or international instructor.
Do They Listen?
This is the most important aspect, in my opinion. Many people can stand up in front of a class and drone on and on from a textbook. A good instructor will listen to what you are interested in learning and adjust topics to meet those needs. If the structure is still fairly stiff, the instructor can at least relate instructed topics to situations important to you.
Is There A Solid Structure Or Is It Flexible?
Will this workshop be a recital of text or can you work in your own topics? Will the tour have opportunities for individual exploration or do you have to stick to a particular path? One is not necessarily better or worse, it is simply best to know so expectations can be set accordingly.
Do They Ask For Your History Beforehand?
This is an indicator, again, of how much you will learn. If the topics can be molded, there is a better chance the instruction will stick for you. It also shows the instructor’s level of interest in you, more than just as a paycheck. Some operators will cover this step on the first day of a workshop or tour.
What Is Included?
Never make assumptions, especially if the trip is to a foreign country. Always ask for a complete list of what you receive for money paid. Are textbooks included? Water? Meals? Internet access?
What Other Costs Will There Be?
The flip side of what is included is to make sure you know what is not included as well. Again don’t assume. What about a cab from the airport to the first hotel? Entry fees? Tips?
How Long Has The Instructor Been Leading And Instructing?
Certainly more time spent leading groups does not always equate better leading, but it often is an indicator. It also shows if the instructor loves what they do. If they have not been instructing long, get an idea of what they were doing before coming into this line of work. Also ask for references. Sure, they will suggest people who enjoyed previous instruction, but hopefully you can dig a bit deeper by asking past clients.
Do They Have Any Writing You Can Check Out?
Check previous writing by the instructor if you can find it. Blogs and Facebook will help you see what type of voice the instructor typically uses. It also helps show how well they communicate topics that can be confusing. And it will arm you with a list of questions when you talk with them (see last item below).
Is There Any Follow Up?
Is the workshop or tour over and you’re on your own? Or can you ask followup questions? It is not vital if it is one way or another, but it is important to know before signing up. Personally, as a student, I prefer to have the opportunity to ask questions days later as the concepts sink in and I have a chance to practice.
Will Your Equipment Meet The Minimum Standards?
Some workshops are aimed at the true beginner. Some at intermediate or advanced. Will your point and shoot camera or 4/3rds version work well for the workshop? Will you get more out of it if you had a DSLR? Don’t waste your money on a workshop that will tell you how to use different aperture settings if you can’t set your aperture.
What Can You Expect To Walk Away With?
Ask the instructor to list what new knowledge you will gain after your time together. Some workshops also offer software or books for review.
What Is The Refund Policy?
This is pretty easy; how much of your money can you get back if plans should change? Can you reschedule and apply the fees you have paid?
Can You Get A Copy Of The Syllabus?
Websites often list the basics to draw you in. Ask for a complete list of topics covered to see if your time will be well served. If 40% or more of the workshop covers topics you are already solid with, consider private instruction to fill in the gaps.
Lastly, if at all possible (and especially when booking a longer tour) get on the phone with the instructor and chat. While many of these questions can be answered in email or by browsing websites, talking on the phone or in person will let you know how the instructor communicates and if you get along. If the workshop is short, just a day or two, compatibility is not too much of an issue if they can deliver on topics covered.
But on a longer trip, it’s more vital to make sure you can communicate well with the instructor. You don’t have to be best friends, but a good instructor will make you feel welcome and should be able to listen to your wants and desires for your time together.
As you may suspect, many of the DPS writers enjoy helping others learn about photography. Below is a list of workshops offered by DPS writers. Each has different areas of interest and topics covered, as well as geographic locations served.
- Jim Goldstein – Photo Tours and Workshops in California, Montana and Utah
- Natalie Norton – Photo Workshops in Hawaii and Photo Business Instruction
- Christina Dickson – Photography Business Instruction
- Valerie Jardin – Photo Tours In France starting in 2013
- Helen Bradley – Adobe Lightroom, CS5 and Elements Instruction, Individual Instruction
- Matt Dutile – Individual Photo Instruction
- Elizabeth Halford – Individual Instruction, Remote Consultation
- Neil Creek – Night Sky Photography Workshops
- Rachel Divine – Professional Child Photography Workshop, Mentoring, Online Classes
- Peter West Carey – Photo Workshops, Lightroom Workshops, Individual Instruction in Washington, Oregon and California, and Photo Tours to Nepal, Bhutan and India
- Rachel Devine – Camera Therapy Workshops
And if you need help looking for an instructor or workshop, my favorite resource (for photography and other subjects) has been TeachStreet.com.
What other questions do you typically ask an instructor before signing up for a workshop or tour? Please add your input in the comments section below.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Choosing a Photography Workshop Or Tour
People Photography and Portraits: Best Resources Toolbox
I’ll admit to you here and now: I am extremely picky about photography books. If you need proof to believe me, just look at the collection of 6 photography books sitting lonely on my bookshelf. Maybe this peculiar snobbery comes from the fact that I like photography books to have powerful photographs, be written very engagingly, and have good balance technical information. For whatever reason, these kind of books I have had great difficulty finding.
So then it is with great excitement I bring you the following resources as books that fulfill all my own personal criterion. These are books that I myself will be purchasing for my bookshelf, and strongly recommend to other photographers of all skill levels. I promise, study these books and your abilities will drastically improve and develop.
1. Photo Idea Index: People – Jim Krause
For those photographers who are exploring what it may look like to develop their abilities shooting people and portraits, but are running low on creative ideas. Krause has created a sort of “look book” for a resource that will help with just that. A thick one and half inch book, this photo index provides the most eclectic collection of people pictures in one piece. And don’t think these pictures are typical – if anything each image pushes the envelope of innovation. Any photographer can choose literally any area of interest within portraits or people photography and find inspiration, from motion, to drama, sports to quirky, Goth to kids. It’s a fantastic coffee table book sort of resource.
Buy Photo Idea Index: People by Jim Krause at Amazon
2. Focus on Photographing People: Haje Jan Kamps
Kamps has created a book that does a fantastic job opening the eyes of novice photographers and giving them wings to possibility in the portrait field. Innovatively designed, this book gives just enough technical details to inform without overwhelming.
Buy Focus on Photographing People by Haje Jan Kamps at Amazon.
3. The Hot Shoe Diaries – Joe McNally
Granted, this book is not quite as full of technical “how to” as some may like. However, McNally provides a unique perspective within this genre: What it looks like to add light (via flashes) in all kinds of varying environments. His writing paints a vivid picture of the shooting scenario, making you feel like you were with him as a part of the shoot. McNally shines in giving the viewer examples of his pictures as they progress through the shoot, before completing the “final image”. This certainly is not a book of “nuts and bolts” (though he certainly does state his opinion on this), but rather practical inspiration and craft.
Buy The Hot Shoe Diaries by Joe McNally at Amazon.
4. People Pictures: 30 Exercises for Creating Authentic Photographs: Chris Orwig
This book is hands down the best resource I’ve found which combines practical development ideas, technical aspects, stories, and inspiration. Best of all, the book is overflowing with profiles of real-life, successful portrait photographers who provide short industry vision and encouragement to the reader. Topics include connecting with your subjects by being empathetic, identifying the differences between mediocre and magnificent portraits, and how to be a catalyst with your portrait work.
Buy People Pictures: 30 Exercises for Creating Authentic Photographs by Chris Orwig at Amazon
5. The Portrait Photographers Lighting Style Guide: James Cheadle
With a book that perfectly balances technical details with inspiring imagery, Cheadle has created a resource by which creativity to be born. Interspersed through the book are powerful pictures, technical data, stories describing time and setting, and even charts of the lighting set up. An incredible variety in portrait styles represented, including street photography, action portraits, Hollywood vintage, and editorial portraits.
The author also provides a “Toolbox” of suggested equipment and workflow suggestions. This is a guide you won’t be able to put down until it’s been read from cover to cover.
Buy The Portrait Photographers Lighting Style Guide: James Cheadle at Amazon
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
People Photography and Portraits: Best Resources Toolbox
Branding Your Photography Business – Part 1: Logos
As a former PR person, the importance of branding was always a topic I was harping on with clients – from individual authors to multi-million dollar corporations and non-profit agencies. How a business presents itself can be the difference between success and failure. Photographers are no exception to this rule. How you brand your business – from logo to business cards, website to social media pages, portfolio to promo piece – all affect a buyer’s decision whether to work with you or not.
Let me caveat this entire series first with a contradiction. Branding is irrelevant in context to the quality of your images. No amount of money that you dump into amazing branding will make a difference if your images simply aren’t where they need to be for a particular client. Your images always come first.
That being said, photography is an incredibly competitive industry, and there are many shooters out there with comparable levels of work. This is when branding comes into play to help give you the advantage over another photographer. A buttoned up package and production shows a client that you value every part of your business.
The first post in this four part branding series dives into logos, chronicling my own journey developing a new brand and highlighting other commercial and wedding photographers branding.
What’s in a Logo?
It’s hard to argue against the importance of a logo. In non-visual fields it’s often what buyers first identify with in a brand. In the photo industry it plays second fiddle to your images, but it’s still an important visual cue and tie-together for your clients.
A logo is best when it is a written or designed representation of the style of your work. Whether you’re an edgy fashion, luxury travel, flirtatious lifestyle or classic wedding photographer your logo should have a distinct connection with your style. Think how silly it would feel for an edgy fashion photographer to have a Comic Sans font as their logo. Apply that same font type to the flirtatious lifestyle photographer, and it just may work.
Different font treatments and designs evoke a certain emotional response from us. I can’t say I know the science behind it, but I’m sure you could easily point out a design that had a classy feel to one that had a whimsical feel without any training either. You don’t have to be a typophile to know how a font makes you feel when you see it.
Logos can be as simple as your name in a certain font or as elaborate as a multi-font, multi-color, iconographic and artfully designed branding display. The choice is up to you, but generally you’ll find logos vary a bit between the commercial and wedding industries. The reason for this is because different audiences prefer different styles. Commercial photographers usually have logos as simple as their name in a specific font, with perhaps a design element or two thrown in. Wedding photographers often vary from simple fonts to elaborate graphics and designs.
Check out this list of logo examples from both commercial and wedding photographers. Notice how their logos closely resemble the feel of their style of photography and come together to emphasize their brand.
Commercial photographers: João Canziani, Nick Onken, Stephanie Rausser, Cheyenne Ellis, Thayer Allyson Gowdy, Ben Watts, Mikkel Vang, Sharyn Cairns
Wedding photographers: Lizzie Kimball, lunaphoto, Alexandra Meseke, Ben Adams, Kyle Barnes, Daniel Usenko, Sean Flanigan, Trevor Dayley
The DIY Logo
Chances are when you’ve made the decision to get a bit more serious about your photography and start branding yourself, your first logo is going to be a do-it-yourself (DIY) creation. You’re probably not too confident about your images yet (or even know what you want to really shoot) but think they’re good enough to maybe throw a watermark on them or put them on a website – which of course you need your name on at least!
Almost everyone starts here. It’s where my branding journey began as well. For those of us without a design background or very little familiarity in Photoshop or Illustrator, the first incarnation of your logo will probably be pretty simple. When I first started I had no idea what I was doing. I picked a font I liked that was already on my computer, opened up Photoshop, made a logo on a white background to match my website, and saved it as a jpeg. I didn’t even know about PNGs, transparent backgrounds or anything else! You can see the first incarnation here.
But just because you’re making it yourself, doesn’t mean you have to be as limited as I was. A simple way to spruce up a logo using just your name is by find a great typeface. Sites like FontSpace, Fonts, and dafont all offer a great variety of free or low license rate fonts. You can find thousands of different fonts organized by themes, styles and use. All you have to do is download, add to the font folder on your computer and start creating! If you have a bit more skill in Photoshop or Illustrator, you can even add graphics, icons or other elements.
Make sure you select a font that is licensed for free commercial use and not just personal use if you intend to use it on your website or business cards and are making money with your photography. If there’s a personal use font you really like you can often email the original designer and get it for a small license fee. These fonts range anywhere from $20 to hundreds of dollars, but can really add a great look to your logo.
DIY Pros: free or very low cost
DIY Cons: personal design time investment; often look hand-made or lower quality; may not be consistent across several mediums
Freelance Designer or Friend
If you’re stuck in that in between point where you want a better logo and brand identity than you’re capable of making yourself but don’t have a big budget to invest in a full service design or ad agency, a freelance graphic designer may be the best route for you.
Often the people who take this route have a friend who is a graphic designer, or know a friend of a friend (of a friend, etc) that is one. Sometimes it’s the neighbor’s kid who is going to school for graphic design, other times it’s the freelancer you met at a networking function. There are resources online too like iFreelance to cruise for graphic designers and post a job to bid on. There are some great pros and cons to using a freelancer that often vary greatly depending on the designer that you use.
There are all sorts of arrangements that can vary the cost when working with a freelancer but principally involve around; the quality of their work, the speed of delivery and the hours of design time. It runs similar to the old marketing saying, “You can get it fast, good or cheap. Pick two.” You might get someone to make you a logo incredibly cheap… but it could take months before you see anything (if at all) – or you could get a great logo right away, but it’ll cost.
Whatever the case may be and whether you work with a professional from a recommendation or your friend who happens to be a graphic designer, you need to get a signed contract that details the scope of the project, deadlines, design rounds and any penalties for breaking contract. There’s nothing worse than paying someone several hundred dollars for a logo and then having them flake out on you. Friend or not, treat this as the serious business transaction that it is.
Freelance Pros: could be well-designed, cost effective, minimal personal time investment
Freelance Cons: could be poorly-designed, excessive personal time investment, tardy delivery, risk factors with flakes
Agency Designed Logo
For photographers really looking for the full treatment and a well-thought brand design, the best way to go is with a professional and reputable design, marketing or ad agency. These are companies ranging from three to hundreds of individuals who specialize in creating identifiable brands. It does come at a cost though, but in my personal experience I’ve found the investment to be absolutely worth it.
There are a lot of benefits to working with a design agency. First and foremost is working with a team of professionals who are constantly creating branding for a variety of clients. Even if your work is designated to a less experienced or newer hire at an agency, it passes by several eyes and receives input a few times before it ever reaches you. If you can, try to find an agency in your area that has worked with photographers in the past, or other creative professionals. Agencies often specialize with clients in specific industries. Those who work with photographers usually know better what we’re looking for (and what attracts clients) in our industry.
When you’re shopping around, you can talk to multiple agencies and receive a few estimates to compare them. Don’t just look at the final price tag each quotes you, but also pay attention to what comes along with it. Things to look for are how many design revisions you get before you’re charged for extras, what the final deliverables are and any consultations. I recommend working with an agency that sits down for a consultation before working with you, to understand the direction you want to take your brand and any ideas you may have.
When I finally made the decision to work with an agency, I went with the creative team over at The James Agency. I’ve known people there for a few years, had seen a lot of their fantastic recent work and was happy they were willing to meet for an initial consult. I wanted a new brand clients could identify with that was fun enough to fit the style of my images, yet simple enough not to dominate. Together, they honed down just the right look for me that I could use across a number of mediums (website, biz cards, promos, etc). The feedback I’ve gotten has been tremendous, and it has really helped tie together my brand. Definitely a big improvement over my DIY logo.
It doesn’t just happen on the first try though. We took several revisions to get just the right look. Take a look here at the options and progressions we worked through when designing my logo. From a variety of looks to narrowing down the right style and then working through color treatments. Expect to go through the very same process.
I also asked a friend of mine (Lizzie Kimball) her experience while working with an agency in creating a new logo for her wedding photography. Here’s what she had to say:
When I started Lizzie Kimball Photography, I wanted branding that was fun, simple, and appealing to brides. I created a logo on my own, using a fun font I found on my computer and a flower decal that was included in the font. However, after looking at my logo I felt it was too whimsical and childish; not very appealing to the modern, sophisticated bride that I wanted to attract.
So, I made the decision to hire Becky from C1 Design and told her that I’d like to make a logo that was simple, clean and sophisticated. She presented me with my new logo that’s been in use since the spring of 2009 and it has served me well. With my new brand I still show my fun personality through my name, but I’m also able to present clients with a professional, simple branding that enhances my images rather than distracts from them.
I also made the choice hire a professional blog designer, Loverli Creative, to shape my blog around my logo making it clean, simple and appealing to the modern bride. Hiring a professional logo and blog designer are some of the best business choices I’ve made – yes, they were expensive investments, but it allowed my images, branding and blog to blend together into a cohesive design to appeal to my ideal client: more importantly, during this processes I was still able to put all my focus on doing what I do best: taking photographs.
Agency Pros: consultation, multiple revisions, experienced professionals, on time delivery, superior quality, customization to multiple mediums, better brand identification
Agency Cons: lost in the mix of other clients, higher costs
Logo Summary
So whether you’re working on your first DIY logo, hiring a freelancer or collaborating with an agency, make sure you do your homework and know what kind of feel you want your brand to project alongside your images. First and foremost, keep working to make your images as good as possible. Remember, great branding only helps give you that little extra edge, it can never take the place of the quality of your images.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Branding Your Photography Business – Part 1: Logos
Close-up & Macro Photography [Book Review]
Macro shooting was one of my earliest passions with a film camera, when the ordeal of capturing a small coin, bug or flower was a major project, involving a deep understanding of exposure and the effect of racking a lens far out from its ‘normal’ range.
If your camera of choice was not an SLR … forget it!
These days, even compact digicams can outshoot DSLRs when the lens moves in real, real close … provided your assessment criteria are not too critical!
Macro, as author Hallet explains, is the process of capturing a subject to a sensor film frame at the same size or 1:1; anything more, say 2:1, is micro; anything less, say 1:2, is closeup.
(insert Close-up & Macro Photography image)
The book helpfully gives a shopping list, beginning with a (digital) camera with an LCD screen of more than 6.35cm (useful if it’s articulated); an optical zoom of more than 2.5x; manual focus; a variety of manual settings. And, most importantly with fixed lens cameras, a macro shooting mode.
For DSLR users, the choice of lens is a challenge: dedicated macro lenses are expensive and not always suited for general photography. The interesting point is made that wide angle lenses, often overlooked by macro fans, are useful — thanks to their close focusing ability and enhanced depth of field. A negative factor can be that they often induce a false perspective.
With cameras that rely on an APS-C sized or similar sensor there is a benefit from the crop factor in macro shooting: a 50mm lens can then become a 75mm or 100mm.
For newcomers to the small world of macro there are many pages in the book that take you through other approaches to the technique: using long telephoto lenses so you can stand off from the subject; optical tele-converters that are placed between lens and camera body; CU lenses that fit onto the lens front but can cause image degradation; extension tubes or bellows that shrink the minimum focusing distance with no loss of quality but do introduce an increase in exposure time.
Overall, the book is a mine of information, touching on the choice of camera supports (tripod, beanbags etc), exposure and metering, choice of ISO, shutter speed and its effect on the final image, the role of depth of field, reading LCD histograms, focusing, understanding and controlling light, white balance and much more.
This book may be small at 18×14.5 cm but, in relative terms, the pictures are usefully large. The subjects are predominantly of plant life and very few of bugs and other critters.
A handy tip card is included that shows the various metering zones, colour temperature and the law of reciprocity.
IMHO the book is an invaluable resource of info and techniques. And pocketable.
Author: T Hallett
Publisher: Ammonite Press.
Length: 192 pages.
ISBN: 978 1 90770 800 8.
Price: Get a Price on Close-Up & Macro Photography by Tracy Hallett
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Close-up & Macro Photography [Book Review]
Rethinking Digital Photography [Book Review]
To my mind, author John Neel is right in his belief that “Today’s photographers are looking for fresh ways to reintroduce creativity and expression into their work.
The book explores “unconventional imaging methods” that can put the fizz back into digital technology that has possibly demanded too much in the way of comprehension of the technical aspects and delivered too little in the area of creative expression.
Neel is of the opinion that digital has much to learn from film. As a one time graphic artist he has a direct approach to image making that is refreshing to say the least. He manages to make the most amazing pictures from seemingly mundane objects… the book is full of inspirational photographs.
His methods are startling, unexpected and often challenging, much of his approach dating from the days when you could pull a camera or a lens apart in the pursuit of a different approach.
One example is a hairy contraption that began with a 1950s twin lens box camera (a Kodak Duaflex), to which he attached a digital camera that pointed down to capture the viewfinder image. The results taken with this rig are, to say the least, startling.
Now that mirrorless cameras are enjoying a spectacular popularity Neel notes that it is easy to attach early 16mm movie lenses to them to capture weird and wonderful images. This situation is helped by the easy availability of adaptors for M42 and Pentax screw mount optics.
Not content with this foray, the book then moves on to discuss the use of ‘alternative lenses’, such as lenses ripped from single use cameras, Dianas and Holgas, magnifiers, old binoculars and projectors. He even converted an old enlarger lens to a tilt-shift lens, describing the process in four pages of text and lucid pictures.
A ‘no lens’ approach even gets a look in: one adventure saw Neel create pinhole images by simply making an ‘aperture’ with his thumb and forefinger. The more capable can rest fall back to a clear section on making your own (fingerless!) pinhole lens from thin sheet brass.
The related subject of lensless zone plate photography gets attention. A zone plate is basically a tiny image of concentric rings printed on film that stand in for a lens aperture and impart their own ‘glowy’ effect on a photograph.
There is also a chapter on macro photography, covering the topics of dedicated lenses, extension rings, reversing the lens with a suitable mount.
Other subjects: HDR (High Dynamic Range) in colour and B&W; the use of software to emulate painterly effects; panoramas in all sorts; making mandalas with the use of repetitive images; stereoscopic imagery (red/blue anaglyph viewing specs provided). And, if that were not enough, Neel then goes on to describe some software that creates sound from an image… surely, the ultimate in cool!
This is without doubt the most inspiring book on photographic image making that I have ever come across. Simply spectacular!
- Author: J Neel.
- Publisher: Stirling Publishing.
- Length: 240 pages.
- ISBN: 13 978 1 60059 786 2.
- Price: Get a price on Rethinking Digital Photography: Making & Using Traditional & Contemporary Photo Tools at Amazon.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Rethinking Digital Photography [Book Review]
The Practice of Contemplative Photography – Seeing the World with Fresh Eyes by Andy Karr and Michael Wood
A Guest post by Kim Manley Ort.
The camera is an instrument that records exactly what is there, without judgment or interpretation. Therefore, it is perfect as a tool for meditation – observing (and recording) what comes to the eye just as it is.
In the book, The Practice of Contemplative Photography, authors Andy Karr and Michael Wood, explore what it means to align eye, mind, and heart and see with fresh eyes.
Through explanations, exercises, and examples, they show how to expand your ways of seeing and appreciation for the world.
Why I Read This Book
The contemplative life has always fascinated me. We often hear this term associated with monks, who live a life of solitude, work, and communion with nature. They believe that wisdom emerges from the stillness.
While attending a seminar on the contemplative poetry of the monk, Thomas Merton, and the poet, Mary Oliver, I was asked if I would like to do a photography workshop at the center. I responded by saying yes, of course, because I am a contemplative photographer. Those words had not been spoken aloud before that day, but they were, in fact, true.
Photography, for me, has always been about being present and showing appreciation for the world around me. Not long after the seminar, I was thrilled to find that this book, The Practice of Contemplative Photography, had just been published. The authors, who come from a Buddhist perspective, have been practicing the art of contemplative photography (through the Miksang Institute) for more than 25 years.
Summary
Chapters 1 through 3 explain what it means to truly see. The authors differentiate between conceptual and perceptual seeing, using the example of a traffic light.
Seeing a traffic light is conceptual – you are giving it a label. With perceptual seeing, you notice “brilliant, saturated color, the patterns formed by the facets of the lens, the red glow cast by the light on the orange housing, and the light blue sky that surrounds the whole thing.”
They say that to see clearly, one must be able to separate conceptual seeing from the perception.
Fresh seeing is about paying attention and noticing how an ordinary moment connects with your core creativity. True art presents “the unfabricated truth.”
Artists like Alfred Stieglitz, Paul Strand, Tina Modotti, and Edward Weston were all masters at capturing this type of art in everyday life, available to us all.
“You don’t need to learn how to fabricate creativity; you need to learn to remove the clouds that prevent it from expressing itself.” (p. 22)
Some of those clouds are our ongoing mental activity, judgments, labels and emotionality. Cutting through the clouds requires awareness of the gaps, where fresh seeing shines through. Having a curious and open mind helps too.
Chapters 4 through 7 deal with the practice itself, how to be ready to notice those gaps where fresh seeing appears. It involves tapping into intelligence separate from your thinking mind and your emotions.
There are three stages, each of which is dealt with in greater detail later in the book.
1. Connecting with the flash of perception
Flashes of perception are those moments when you notice something and all mental activity stops. You are totally in the moment and what is before you is seen in vivid color. You see beyond a label to the underlying form.
2. Working with visual discernment
We usually move quickly from the flash of perception to conceptualization. At this stage, we train ourselves to stay with the original flash of perception. Our minds stay open and curious. Excitement can even be an obstacle at this point.
3. Forming the equivalent of what we have seen
This is the stage where we pick up the camera and shoot what we see, without adding any interpretation or manipulation.
Once each of the stages is understood, you are ready for more specific assignments. The remainder of the book, Chapters 8 through 17, offers more detail on each of the three stages, including examples and assignments.
Assignments clearly explain what to do and what not to do. For example, with the assignment on color, we were asked to stay away from flowers (nature), graffiti, and graphic designs – too easy! The authors explain how to review images later, and clearly identify those that come from a flash of perception and those that do not.
Other assignment topics include synchronizing eye and mind, exploring a subject thoroughly (20 shots), and noticing texture, simplicity, space, and light. Some examples I came up with are shown below.
In the Appendices, there are resources for choosing a camera, working with images, and attending workshops.
Who is this book for?
Any photographer who loves the process of photography and is interested in expanding their vision will find value in this book.
What I Thought
Overall, I found this book clearly explained contemplative photography, why it is important and how it differs from conventional photography.
Through stunning examples, it shows how effective photography in everyday life can be, and the assignments are more than adequate for anyone who wants to develop a practice of contemplative photography.
Why is it important?
The practice of contemplative photography is one of being present to life as it is, to capturing the essence of the world around us, and finding that it is more rich, complex, and wondrous than we ever imagined. To me, having the skills to see in this way carries over into many other areas of life – learning to see people, situations, and everyday life with expanded awareness.
Paul Strand says it best in his quote, found in the book, “The unfabricated truth is the basis for genuine artistic endeavor and what gives life to art.” (p. 6)
Find this book on Amazon or visit the authors’ site – Seeing Fresh.
Kim Manley Ort is a contemplative photographer who is always learning to see. She offers photography workshops (both online and in person) in visual design and contemplative photography. Her photographic prints can be found at Imagekind.
Connect with her through her blog, Be Inspired, her Facebook page, Adventures in Seeing, or on Twitter.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Will Google+ Become Another Flickr-style Feeding Ground For Photo Theft?
Two month-old Google+ has already broken a number of records in adoption (and likely desertion) for a social networking site and is growing like no other. One of the groups most prolific on the new site are photographers. As you may have read here on DPS and other sites, photographers have found great results in regard to interaction and connection through the site.
And with good reason. Unlike individual blogs, where you connect with one photographer at a time, Google+ lumps your favorites into one place. Not only that, the size and presentation of photographs has made it a haven for those wishing to browse quality images. In the Photos tab/module/dohicky on the site, there is an endless stream of new images coming in from your circles.
For those who have spent time browsing the Photos section on Google+, you will know what a time sink it can be. Depending on who you are following and the quality of their images, it’s not uncommon to notice a half hour has flown by as you constantly scroll your mouse wheel lower and lower, heading backward in time to see more great (and some not so great) photos. For those not familiar, the service runs much like Google’s current image search on google.com, but only shows images people in your chosen circles have shared with you directly or publicly. It’s a narrower focus (pun intended) and you can fine tune it by circling or uncircling folks.
As with Flickr, the ability exists for unscrupulous people to download photos without the owner’s permission. As Google+ does not, as of yet, offer Creative Commons license abilities as Flickr does, unless a photographer specifically states the images are free to be used, all rights to copy the image, outside of use on Google+ (which is covered by the terms and conditions, as outlined in this post by Jim Goldstein) are reserved by the photographer. While it is true any image displayed on a screen can be copied via a screen capture, having the ability to simply right click and save an image makes theft easier for the casual, often ignorant, photo thief. (note: you may need to turn off the ‘normal’ ability for Picasa web album viewers to download your photos as well.)
Will Google+ become a haven for stealing photos as Flickr has become? And will that stop you from posting photos on the site (assuming you are there now)? I’d love to hear your input in the comments section below.
Find the DPS writers currently using Google+:
Darren Rowse
James Brandon
Jim Goldstein
Matt Dutile
Peter West Carey
Neil Creek
Simon Pollock
Helen Bradley
Christina Dickson
Anna Gay
Special Google+ photo note: By default Picasa Albums (which is what Google+’s albums run off of) turn on the ability to sell your photos when you create a Google+ account. If you do not want people to purchase your images, you need to turn off this ability with these instructions.
Post from: Digital Photography School’s Photography Tips. Check out our resources on Portrait Photography Tips, Travel Photography Tips and Understanding Digital Cameras.
Will Google+ Become Another Flickr-style Feeding Ground For Photo Theft?