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Lightroom blog with some killer tip! Check it out if you have been using Lightroom...
Sporadic Detailings of the Wedding Market from Maine and San Francisco
Alright, I'll warn ya right now.... this is the artsy side of me coming out. Proceed at your own risk. :)
Yet, it seemed as I thought more about it, that these are sort of all after-thoughts, and while these factors certainly add to an image, they don't seem (to me at least) to be what really makes an oustanding image.
As I was thinking of those images that I've seen in both my own work and from other photographers that really pop out to me the most, I was trying to reflect on what it was that really turned me onto them. Suddenly, a word came to mind.
Essence.
Again, this isn't to say technical excellence or creative post processing isn't important, but rather, these things are the icing on the cake, not the cake itself.
This is definitely a tricky subject to talk about, because I don't think there's an easy, magic forumla for capturing the "essence" of people or of moments. I'm certainly not going to venture to define what constitutes capturing essence or give a "3 easy steps" list, but here are a few things that you might consider....
1. Be Prepared. It's not just for boy scouts! :) Being ready and anticipating a certain moment before it happens is vital. It's tough to capture the essence of a moment while you're changing lenses or fidgeting with your exposure.
"Essence" is a tough thing to put your finger on. It's subjective, for sure. One person may totally think an image communicates the essence of a person or a moment, while another person looking at the same image might yawn. The point probably shouldn't be to convince everyone you come in contact with of the "essence" you captured in your images. Rather, maybe the point should be to strive to find the people who naturally do connect with your art and your ability and allow them to preach your art for you. It's what just about every sucessful artist and photographer does so well.
Perhaps this post is somewhat of a call for photographers to bring this to the forefront of our consciousness at our next shoot. I know for myself, I can at times get lost in trying to create something cool, or original, or technically interesting or complicated, and at times I need to remind myself to put first things first. To focus my photography on capturing the heart of what is going on, either in the people I'm shooting or the moments they're existing in.
The Coming Earthquake in Photography April 2007 by Dirck Halstead | ![]() |
If the change from film to digital was the equivalent of a magnitude 5 earthquake, the changes to photography in the next 10 years will be equivalent of a magnitude 10.
The Digital Journalist, the monthly online magazine for visual journalism, has been predicting many of these changes for the past 10 years. In 1997 we stated that the days of the use of film were coming to an end. We also said that in the future photojournalists would no longer be shooting still pictures, but instead would be using video as their prime medium of acquisition.
All those things have already happened. Still cameras that shoot film have already been abandoned by most manufacturers. Increasingly, newspaper photographers are being asked to shoot video for Web sites.
These seismic shifts, as we are already witnessing, will literally change the way photographers take pictures and how they are displayed.
Of course, in the next 10 years there could be a third world war, in which case all bets are off, but certain evolutions are already too far along to make it unlikely they will be stopped.
First, most of the major camera manufacturers that are now associated with still photography will probably be out of business by 2016. Of the majors now selling cameras, I would put my money on only Canon to survive. That is because they have a farsighted video division, which will provide the research and development that will be a key to their survival. Already, Sony is moving to become the number one still-camera company. Their newest top-of-the line digital still cameras are based on designs from Konica, a company they absorbed.
However, it is video that will undoubtedly become the main means of acquisition in photography. Today, almost all the manufacturers of prosumer video cameras have moved to High Definition. These cameras, off the shelf, are capable of delivering a 2-megapixel still image. The Dallas Morning News is now equipping their still photographers with Sony Z1U video cameras, and they have created an algorithm that allows those frame grabs to be boosted to 16 megapixels, which only two years ago was the maximum you could get out of a professional 35mm camera. The Dallas Morning News is regularly running 4- and 5-column front-page pictures from these video grabs. Then, they put the streaming video on their Web site.
The financial imperative to newspapers is clear. Their salvation, in a time of plummeting ad revenues on their broadsheets, lies with their online versions. Online demands video. For this reason, we can comfortably say that in 10 years photojournalists will only be carrying video cameras.
Because video cameras now all feature a 16:9 "wide-screen" aspect ratio, the old 4:3 box that we used to associate with movies will be gone. This has enormous implications for how still photographs will be displayed in print. The standard 8x10 aspect ratio now commonly used will be dropped. Why waste all of that horizontal information in the pictures? Eventually, you can expect to see wide-screen pictures not only on your TV screen, but in print as well. We predict that magazines (those that still exist) in 10 years will be bound on the top or bottom, not on the sides as they now are. That will allow the magazine to be opened to display a horizontal rather than vertical layout. This will accommodate all those "wide-screen" photographs. However, it is more likely that paper printing will be long since gone, and instead newspapers, magazines and books will be delivered on "electronic" paper, in which case the visual presentation would most likely be video in the first place. Today, if you go to The New York Times online, you will notice that right on the front page is a box displaying video, not a still photograph.
Don Winslow, the editor of News Photographer magazine, has noted that vertical photographs have almost ceased to exist in the photography lexicon. It used to be a maxim of photojournalism that it was important to get as much information as possible into a small space. Verticals were the best way of doing that. However, for a generation of photographers who grew up watching television, and editors who wanted to display a photograph across a double-truck spread, the rules changed.
With video becoming the prime tool of acquisition, audio of course now enters into the picture. In fact, it becomes as important as the video. This means that a whole new set of skills must be developed by the photographer. Every photographer has already become a computer technician, spending more time on the "post" process, such as Photoshop, than on taking the picture. In the future, editing will be done in such programs as Final Cut Pro. All of this means that photographers will have to be smarter.
However, ultimately, the classic need for talent – the "eye of the photographer" – will never change.
© Dirck Halstead Editor and Publisher of The Digital Journalist Dirck Halstead was Time magazine's Senior White House Photographer for 29 years. He now is the Publisher and Editor of The Digital Journalist, the monthly online magazine for visual journalism, and a Senior Fellow at the Center For American History at the University of Texas in Austin. His new book, MOMENTS IN TIME, published by Harry N. Abrams, is in bookstores, and available from Amazon.com. |
What's your opinion of background music in websites?
When the music is right, I like it. 8 (4.4%)
It's ok, but I often turn it off. 62 (34.3%)
No way. 111 (61.3%)
Life is about so much more than money. May this day reveal to you how much you can truly be grateful for.
Lady, Are You Rich? by Marion DoolanThey huddled inside the storm door—two children in ragged outgrown coats.
"Any old papers, lady?”
I was busy. I wanted to say no—until I looked down at their feet. Thin little sandals, sopped with sleet.
"Come in and I'll make you a cup of hot cocoa.”
There was no conversation. Their soggy sandals left marks upon the hearthstone. I served them cocoa and toast with jam to fortify against the chill outside. Then I went back to the kitchen and started again on my household budget.
The silence in the front room struck through to me. I looked in. The girl held the empty cup in her hands, looking at it. The boy asked in a flat voice, "Lady . . . are you rich?"
“Am I rich? Mercy, no!"
I looked at my shabby slipcovers. The girl put her cup back in its saucer—carefully.
“Your cups match your saucers."
Her voice was old, with a hunger that was not of the stomach. They left then, holding their bundles of papers against the wind. They hadn't said thank you. They didn't need to. They had done more than that. Plain blue pottery cups and saucers. But they matched.
I tested the potatoes and stirred the gravy. Potatoes and brown gravy, a roof over our heads, my man with a good steady job—these things matched, too.
I moved the chairs back from the fire and tidied the living room. The muddy prints of small sandals were still wet upon my hearth. I let them be. I want them there in case I ever forget again how very rich I am.
Posted on Mar 9, 06:37 AM by Skip Cohen
All professional photographers face the same challenge:
“What good is creating the greatest image of your life if you can’t sell it?”
Unfortunately the majority of professional photographers spend too much time focusing on their subjects and not enough time on a marketing plan. What’s even more pathetic is how simple it really is to go through the process. It’s just a matter of establishing a few goals and setting a few benchmarks to track how you’re doing.
Let’s start with a basic premise that everyone can relate to. Let’s assume you’re a wedding photographer with an interest in diversifying into children and family portraiture. Think about all the brides you photographed over the last year.
Here are some simple assumptions:
1) The majority of newlyweds start new families
2) The majority of newlyweds have their first child within 2-3 years
3) This only works if your brides have loved your work and the albums you’ve created
Now start thinking about the last time you did any serious marketing. If your clients loved your work, why not think about targeting all those new moms out there who already know you and trust you? Why wouldn’t you want to become this new family’s photographer for the rest of their lives?
Newlyweds start families – children create a need for professional portraiture – children become high school seniors – seniors become new brides and grooms – mom and dad become grandparents and the cycle starts all over again. Meanwhile, all along the way there are some ideal opportunities for portraits of soon-to-be moms, new babies, children, seniors, families and business headshots as Mom and Dad’s careers blossom. Sooner or later you’re right back to another bride in the cycle from a new generation.
Just like the family doctor, why shouldn’t you be the family’s photographer for the next few generations?
Remember, this is only a blog, but doesn’t it make sense? Next time, let’s take a shot at actually putting a marketing plan on paper.