This week I wrote an article pointing out that Canon Italy (among other Canon EU pages and Instagram accounts) had posted a composite landscape that had a large amount of the image stolen from Elia Locardi. There was an enormous response to this and so I decided to dig for more information and between my research, the community, and Locardi himself, there's rather a lot more to unpack.
Articles written by Robert K Baggs
Almost every hobbyist photographer has considered making the transition to full-time professional. Similarly, almost every professional photographer has made that transition from hobbyist to professional. There are myriad factors why that career move isn't always possible and a great deal of them stem from the central notion of money, or lack thereof. Whether you want to organically build your photography from hobby to side-hustle and then to a career or you merely want to improve you earnings in any of those categories, developing a niche can make a crucial difference.
Having Canon post one of your images to social media is a worthy accolade for any photographer. However, if they do so without crediting the artist, it devalues it somewhat. It's devalued further when your work only comprises half of the image in a re-edited composite. Any value left at this point is then stripped away when the image in question wasn't even taken with a Canon.
I don't have a vendetta with the color blue, or any colors for that matter; that would be odd. I do, however, remove the color blue either entirely or nearly entirely from the lion's share of my images, and for good reason.
Facebook Messenger was initially forced on us as a separate app to mild resistance. Eventually, the dichotomy of the platform was accepted and now Messenger is one of the most used communication applications there is.
Hasselblad have been a bit of an obsession of mine since I first saw the 500C/M. It's such a beauty and I will one day make the leap and buy one. However, the new Hasselblads are a financial commitment tantamount to a high end vehicle or a house deposit. It's a shame for me as the Hasselblad H5D Multishot is perfect for the commercial work I do, but not quite worth being homeless for. Hasselblad are stepping in to the rental arena to offer direct rentals at less eye-watering financial outlays.
In April 2016 I featured a video of one of my favorite places on Earth: Lofoton, Norway by the brilliant filmmaker, Dennis Schmelz. Well, Schmelz is back at it again, this time with The Beauty of Greenland in glorious 4K.
For many photographers, particularly hobbyists, making an image black and white is almost arbitrary. I remember in the early days of my photography, I was the same. I would mutter: "I wonder if this would look good in black and white," and then, I'd try it. Sometimes, it would look better, but usually, it would not. I presumed it was all just down to taste, but that's not true. After years of reading around the subject and experimenting, I began to understand why it worked when it did and conversely, why it often didn't. Here are some key elements that ought to be present in black and white images, and why.
Having used a wide selection of ZEISS glass, I can confidently say they are special. Their weight and lack of auto-focus might put some off, but in the right setting, they can aid to create truly noteworthy images. This morning, ZEISS have announced their new 25mm wide-angle lens, but with a mouth-watering widest aperture of f/1.4. I imagine a synchronized pricking up of astrophotographers' ears .
Whether you're a full-time photographer, interested in making the transition from hobbyist to professional, or just using photography on the side, attracting more clients is paramount to success and growth. With a plethora of photographers saturating the market, it can be intimidating and difficult to carve yourself a slice, but carve you must. Here are five of the most important ways I have attracted new clients.
When I was starting out as a professional photographer, I felt I had to be all things to all people. Any work that came in, no matter what genre of photography, how boring or bizarre, I said yes. If a company came to me with a request and they said they couldn't afford my quote, I'd bend myself in to unnatural shapes to accommodate them, because some money is better than no money, right? I eventually came to the conclusion that this was unsustainable and I began to say no and to quote those awful click-bait titles, you'll never guess what happened next.
In August 2015, I quit all working commitments and took the leap in to full-time photographer. In March 2016, I wrote an article of advice about being a photographer I wish I'd known earlier after I began to scrutinize my performance under the new, professional microscope. Well, time has elapsed, shutters have shut over 100,000 times, and more things have been learned. My photography business has grown in this interim and I found myself thinking about this aforementioned article again. Here are seven of the most important things I have learnt about being a professional photographer that I wish I'd known earlier.
Shooting live music appears to polarise photographers, with some enjoying it and some disliking the lack of creative control. While it isn't my favourite genre to put my camera to work, I do get some satisfaction from the atmosphere, unusual lighting, and singular poses. I noticed, however, that I had a bad habit: I didn't move very much and simply reframed the images using different focal lengths of my 70-200mm. So I decided to take a risk.
I'll start with a rather obvious warning: this video and article may contain spoilers for anything that happens up to and including episode 2 of season 7 of "Game of Thrones." With that out of the way, we can look at how the incredible fight scene of that second episode was created.
Whenever my girlfriend and I see antique stores or vintage markets, our eyes light up. Her eyes are lit up with dreams of bone china tea sets and antiquated woodworking, whereas mine are bright with visions of a dusty Hasselblad in a forgotten corner, or spools of unprocessed and antiquated film. On a Sunday morning in sunny Englandshire recently, my lady-friend and I went for breakfast and on returning to our car, saw a small sign for a vintage pop-up market.
There's something I've always loved about the photography community and in the age of the internet, it's nearly a unique quality: we give constructive feedback and rarely tear in to a photographer unprovoked. It is a welcoming environment that cultivates growth, for the most part. One particular area in which all previously mentioned qualities are magnified many times over, is young photographers. Their successes are fawned over and their mistakes excused, as they should be. Unless, of course, you're called Brooklyn Beckham.
This morning, Carl Zeiss have announced the tenth lens in the Milvus series for full-frame Canon and ZEISS DSLRs, boasting a new optical design that offers "practically no chromatic aberations". Previous Milvus lenses have been impressive, but often specialized, whereas this new addition is more of an all-rounder.
I worry about becoming stagnant. I'm quite sure lots of us share that worry and conversely, most of us will know people who don't have that worry at all. I envy them in many ways; they want an easy life and concentrate on enjoying things. As far as I can tell, that sentiment isn't compatible with self-employment, or if it is, it's so far away on the horizon I can't make it out yet. In my efforts to always grow and always be moving forwards, I invented a minor way to achieve this and I'd like to see if it works for other people.
Perhaps this article is a risk to my career by virtue of being too honest, but it's a subject I have wanted to discuss publicly for some time. In the era where social media is the backbone of perception, it's all too easy to feel you can never measure up. This isn't new information and in fact, it's a rather well-trodden path. Even armed with the knowledge, however, I still feel I walk in to the trap of taking the world that is presented to me as the only facts worth knowing. I want to sacrifice my self-consciousness to do my bit to rectify this.
This is the fifth in the series of my bite-size Photoshop tutorials and on the face of it, it's one of the most basic. Indeed, the technical side is rather basic but my application of the dodge and burn layers is crucial to my workflow with products and fashion.