COVID-19 Resources for Photographers

The world as we knew it has paused for the moment, perhaps changed forever. As for many in the arts, the global pandemic is posing huge and unfolding challenges for the entire photography community, from individual practitioners, to collectives and agencies, as well as global institutions and organizations. The COVID-19 situation impacts us all in different ways and there are certainly more uncertain times ahead, but one thing we know for sure: the global photography community is rallying to provide support.

We’ve curated a list of initiatives, ideas and resources currently available for image-makers to help navigate the coming months, whether that be financial support, professional development opportunities, or inspiring things to read and watch to fill extended time at home. Pulling this list together was a heart-warming experience. Witnessing the scope of this massive collective response from organizations big and small has felt something like a virtual hug, one we wanted to extend to photographers around the world.

While not exhaustive, our hope is that you’ll find something in this list that helps, no matter your location or your situation. We’ll be updating weekly, if you have suggestions for new additions, please let us know by commenting on our Facebook or Instagram page.

ALSO CAMERA, LIGHTING AND MOTION CAPTURE POST

Some ideas for my venture into photography, not sure where or how to start.  There is so much information available, so many fantastic photographers.  Where do I start, the camera, the shot, technical information?  The story is told through the camera which is used to manipulate the elements, how they appear, setting the mood and effects while letting the viewer know what they need to focus on and controlling how they might feel.

Maybe a theme: getting from A to B such as stuck in traffic, walking, driving, on a train, in transit, it is all so familiar. How do I choose?  What do I choose? How do I make a photo, isolate something? What is the photo going to say? What do I want to say?  How will the shot be composed? How will I frame it? What will be in the frame ? What is in focus? What is the exposure? Is it day or night?  What is the depth of field?  Will there be some motion blur?  Maybe something abstract like I read in a magazine, hiding around corners, pressed against walls, peering down from bridges now this sounds interesting and exciting.

Go out and have a go.

https://www.youtube.com/watch?v=PRgFtTloHIg

My first experiments:

SHOOT  |  MY  OWN  SHUTTER  SPEEDS

EXPERIMENTS  WITH  SHUTTER  PRIORITY  MODE

Nikon Electronic Format (NEF)

Exclusive to Nikon cameras, the NEF is Nikon’s RAW file format. RAW image files, sometimes referred to as digital negatives, contain all the image information captured by the camera’s sensor, along with the image’s metadata (the camera’s identification and its settings, the lens used and other information). The NEF file is written to the memory card in either an uncompressed or “lossless” compressed form. 

The primary benefit of writing images to the memory card in NEF format rather than TIFF or JPEG is that no in-camera processing for white balance, hue, tone and sharpening are applied to the NEF file; rather, those values are retained as instruction sets included in the file. You can change the instruction set as many times as you like without ever disturbing the original image’s RAW data. Another benefit of the NEF file is that depending on the camera, it retains 12-bit or 14-bit data, resulting in an image with a far greater tonal range than an eight-bit JPEG or TIFF file.

After-capture processing of the NEF file by Nikon’s Capture NX2 software, or other imaging programs, offers greater control over the final image than the processing of a JPEG or a TIFF. After processing, the NEF file can be saved as a TIFF, JPEG or again as a NEF with the addition of any applied Capture NX2 processing saved inside the file as a second or alternate instruction set. As long as the original NEF file is preserved, the “digital negative” remains untouched; processing a NEF file does not alter the original instruction set.

What are the differences between: RAW, NEF, Compressed-NEF, TIFF, and JPG file formats?

Nikon calls images saved in the RAW format “NEF” files. Nikon RAW NEF files can be edited in Nikon View Editor, PictureProject, Nikon Capture Editor and Nikon Adobe Photoshop plug-in.

This unique format consists of the RAW data of an image, along with an instruction set that provides extensive image editing capability not available with other file formats.  With a NEF file, the original RAW data of an image is never changed.  All corrections and adjustments that you make are preserved in the file’s instruction set. You can change the instruction set as many times as you like without ever disturbing the original image’s RAW data. Using the software listed above you can change the shooting White Balance, adjust Exposure Compensation as well as basic color, sharpening and levels controls.

Current Nikon DSLR cameras, including the D3-series, D2-series, D700, D300(S),  D200, D100, D7000, D5000, D3100, D3000, D90, D80, D70s, D70, D60, D50, D40X, D40, all support the NEF RAW file format. All future Nikon Digital SLR cameras will support the NEF RAW file, and some Coolpix cameras will as well.

Many users think of their NEF files as their original digital “negative” which they then make changes to and save the changed files as TIFF (or JPEG) for printing.

https://www.youtube.com/watch?v=g2SpCzPq8Ps&t=11s

https://www.youtube.com/watch?v=tjmy7mqii0w

https://www.youtube.com/watch?v=Jl_ezwHwY_8

COLLECTION  of  NOTES and LINKS

What do you love about photography?

What area of interest do you love to photograph?

What ideas do you have for more fun when taking photographs?

What event would you like to photograph?

What is it about photography that is important to you?

What qualities does photography bring out in you?

What does your photography say about you?

What do you want in the world that is significant in your photography?

What does when, why and how say about you and your photographs?

Photographers have this innate talent for bringing shadows to life and telling a whole story in a single frame.

Editing RAW and ProRAW Photos Using RAW Power 3

TAKING BETTER HOLIDAY SHOTS

• use gridlines to balance the shot  | turn on the camera’s gridlines, the rule of thirds which is a photographic composition principle that breaks the image into thirds both horizontally and vertically with nine parts in total.
• focus the subject  | include one interesting subject, consider not filling the frame with the subject leaving two-thirds of the photo as negative space helping the subject stand out.  Tap the screen of the smart phone to focus on the subject and the lighting is optimised.
• embrace negative space  |  refers to the areas around and between the subject of an image possibly having the subject stand out more and evoke a stronger reaction from the viewer.  It could be large expanse of open sky, water, empty field or a large wall.
• find different perspectives  |  from a unique, unexpected angle, creating the illusion of depth or height with the subjects.  Not straight-on or from a bird’s eye view, consider directly upwards using the sky as negative space or slightly downward angle.  Can make an image stand out.
• play with reflections  |  such as the sky reflected in a body of water, our eyes are drawn to reflections.  Puddles, larger bodies of water, mirrors, sunglasses, drinking glasses, metallic surfaces etc.
• use leading lines  |  lines that draw the viewer’s eye towards a certain part of the frame.  They can be straight or circular, think staircases, building facades, train tracks, roads, a path through the woods.  Great for creating a sense of depth in an image and can make a photo look purposefully designed.

https://www.nikonusa.com/en/learn-and-explore/a/tips-and-techniques/understanding-focal-length.html#

Understanding Focal Length – usually represented in millimeters (mm), is the basic description of a photographic lens. It is not a measurement of the actual length of a lens, but a calculation of an optical distance from the point where light rays converge to form a sharp image of an object to the digital sensor or 35mm film at the focal plane in the camera. The focal length of a lens is determined when the lens is focused at infinity.

The focal length tells us the angle of view—how much of the scene will be captured—and the magnification—how large individual elements will be. The longer the focal length, the narrower the angle of view and the higher the magnification. The shorter the focal length, the wider the angle of view and the lower the magnification.

The Focus Distance determines the area of the image that is in focus, areas in front or behind this area will be out of focus.

F Stop describes the relationship between the diameter of the aperture and the focal length of the lens.  Essentially, it is the amount of blurriness seen in the rendered image.  The lower the value; the blurrier the area will be beyond the focus distance.  Changing the focal length of the lens will affect the amount of blur as well.   If you are happy with ta camera’s DOF settings but then change the focal length or angle of view, you probably need to reset the F Stop setting.  Typically, values range from 2.18 to 12.

If the camera shutter is open when there is movement then the movement shows up as a blur.

Things to consider:

• angle of view, how much of the scene will be captured
• magnification, how large individual elements in the image will be
• narrow angle of view has higher magnification
• wide angle of view and lower magnification
• wider angle of view stretches the edges of the frame
• compression, appearance of objets being closer to each other than they actually are

WHITE BALANCE

The camera is making up the whole spectrum of colours by using a mix of red, green and blue.  As white is a mix of all three, it is very easy to get it wrong.  The “white” light coming from a fluro tube has a considerably bluer tinge than the light coming from a standard globe.  In the real world you brain adjusts to the hue differences in “white” light, but not when you watch a scene change.

Therefore, in order to produce a beautifully exposed image with true to life colors, you must learn to effectively use the white balance setting of your digital camera.

Nikon White Balance

White Balance Explained for Beginner Photographers

How Understanding White Balance Makes You a Better Filmmaker

How To Get The Perfect White Balance Every Time

CYLINDRICAL PANORAMAS

One way to capture a wide-angle view of the world is to use a wide-angle lens. However, very wide-angle lenses are expensive, and no lens is wide enough to capture a full-surround (360-degree) view. But as most photographers know, you can instead capture a sequence of images, rotating the camera between views, then stitch them together using Photoshop or another tool.

HDRI IMAGES

HDRI is a panoramic photo, which covers all angles from a single point and contains a large amount of data (usually 32 bits per pixel per channel), which can be used for the illumination of CG scene.  True HDRI will be in a format that can contain many data (HDR/EXR/TIFF). It will look just like any other image, until you adjust the exposure, and discover that it secretly stores much more vivid colors than you could see before.

HDR Shop is an interactive graphical user interface image processing and manipulation system designed to create, view and manipulate High-Dynamic Range images.

PTGui is panoramic image stitching software for Windows, macOS and Linux. Originally started as a Graphical User Interface for Panorama Tools (hence the name), PTGui has evolved into a full featured, industry leading photo stitching application.

ZOOM

OPTICAL ZOOM will zoom the picture that hits the CCD chip

DIGITAL ZOOM reduces the resolution of the picture by blowing up the picture that has already been captured.

CREATIVE TECHNIQUES by Shane Rozario of  We Are Observers

Backlight and reflective surfaces
Understanding the character of light and using it to develop your style.  If you keep track of certain photographers work you will see a pattern in their approach which forms their style.  Personally I love backlight and one of the beautiful characteristics of glass is the way it holds tone as it reflects light.
What to do next
Find a glass building (plenty of them in the city) use the light source (in this case – the sun) and put your point of interest (the building) between you and the light source. Take your first shot to see what the exposure looks like then experiment with over exposing or underexposing. Its that simple.

How Focal Length Affects Your Background: Take and Make Great Photography with Gavin Hoey

Highlighting Women  in Photojournalism

In 1973, Sara Krulwich visited 29 newspapers, looking for a job after graduating from the University of Michigan. She met with male photo editors who mostly scoffed at the idea of a woman as a news photographer. One editor, she said, told her that hiring a woman was like “hiring half a person.”

TIME’s Top 100 Photos of 2022

AUSTRALIAN PHOTOGRAPHY AWARDS

Australian Photography Awards is on the hunt for Australia’s most original, honest and thought provoking photography. Our 2019 categories offer Portrait, Landscape, Aerial, Documentary, Travel / Street, Wildlife, Mobile, Film / Analogue, Open / Illustrative, Student & Junior as well as a Peoples Choice. We have a huge prize pool of cash & Fujifilm camera equipment to be won. Entries open from June 1st 2019 – 2nd September 2019

INTERNATIONAL LANDSCAPE PHOTOGRAPHER OF THE YEAR

THE EPSON INTERNATIONAL PANO AWARDS

GREENWAY ART PRIZE The GreenWay is an urban green corridor linking the Parramatta River at Iron Cove to the Cooks River at Canterbury. It winds through the heart of Sydney’s Inner West and takes in parts of the City of Canterbury Bankstown and Inner West Council areas.

Following the route of the recently extended Inner West Light Rail, the GreenWay features bike paths and foreshore walks, cultural and historical sites, cafes, urban bush care sites and a variety of parks, playgrounds and sporting facilities.

https://www.youtube.com/watch?v=hFLSzpBe2-g

LIFE FARMER

A unique photography competition and a renowned platform for discovering and exhibiting contemporary photography. Gain widespread exposure, your work exhibited around the world, and win cash prizes along the way. Judges include Martin Parr, Bruce Gilden, and Philip-Lorca DiCorcia.

HEAD ON

• A Photo Odyssey:  Pingyao and Byond
• Americian Roadschool
• Best Photos from #headoninteractional
• Celebrating Queer Photography
• Eyes on Katrin Koenning
• Gerard & Marc: The Last Enchantment
• Ian Berry:  Still Shooting
• In Conversation with Chris Byrnes
• The Largest Stateless Nation in the World
• MEET WOMEN IN STREET
• MEET BURN MY EYE
• MOBILE PHOTOGRAPHY COMES OF AGE
• New Book Release:  Through the Lens:  The Pandemic and Black Lives Matter
• New Wars, Old Techniques
• Photographing the Indigenous
• Revolution and Realities
• Risky Business
• Somewhere Beyond Reality:  Nikos Economopoulos
• When I Press the Shutter

TOP 6 PHOTO EDITING APPS

TOP 10 VIDEO CAMERAS OF 2022

18 BEST AUSTRALIAN PHOTOS

AUSTRALIAN LIFE THROUGH SOME ICONIC AUSTRALIAN PHOTOGRAPHY

Australian identity has been shaped through imagery since 1841 when the first daguerreotype of Bridge Street in Sydney was taken by a visiting English naval captain, Augustin Lucas.  A year later George Baron Goodman opened the first commercial portrait studio in Sydney where he took thousands of pictures before returning to England.  In the mid-20^th century, a wave of European migrants contributed to the modernist style and to the creation of a vibrant photographic community in Australia.  However, Australian photography matured in the seventies and eighties as Australian identity evolved into a global multicultural society giving a voice to silent sections of the community.  Here are some defining images of Australia, some by very well-known photographers and other lesser-known – each however, depict the unique Australian place and culture.

HEAD ON  |  TIPS FOR ENTERING A COMPETITION

Login or create a free account on www.headon.com.au/user and get instant access to our ‘Tips for entering photo contests’ webinar recording.

Speaking about Moral rights, Copyrights, who owns the photograph, costs, what the exhibitions covers, includes, exposure of your photographs, definition of the categories, can depend on who is judging, how many judges, judging system, are there other similar photos, is the subject photographed in a different perspective, following a trend, does it fit in with the selection, want to stand out from the crowd, is the image over complicated, technical quality of the image, fit with competition gridlines, believe in our own style, tell stories, engage emotionally with the image, be bold, making a statement, do not use clichés, check out past winners, short image description of something that is not in the picture, not a biography and the story behind the picture can help.

HEAD ON Photo Festival Tips

Three tips to prepare your submission:

1. Get to know the festival and what we want

Read about the festival first! Find out what we’re about and how the festival runs. We use a blind selection process and are generally looking for well-executed work with a unique voice in any genre of photography.

2. Let your work do the talking

During the selection process, we look at three things; your images, the exhibition description and how they work together as a cohesive body of work on a single theme.
Note: group shows and retrospectives do not need to have an overarching theme.

We understand that words may not come to you naturally, but it is important that you can provide us with the context required to grasp your work. The description and imagery must reflect each other, i.e. do your images communicate what you are saying in words?

Spend a bit of extra time fine-tuning your exhibition description. Keep it clear and concise, do not describe what is already in the pictures and avoid too much ‘art-speak’.

3. Are you the best curator for your own work?

Your photographs are the most important part of your submission. Your work may highlight a very important social cause but if your images or selection of images are not up to snuff you won’t get in.

When you are choosing what work to submit run the images past people who approach photomedia with different perspectives – is the theme interesting? Do the images and words work together?

Head On to the Art Gallery of Hyderabad 

This year we presented the wonderful work by finalists of the Head On Portrait Prize AND the Head On Landscape Prize at State Art Gallery of Hyderabad as part of the Indian Photogrpahy Festival.

Top 10 Tips for Portrait Photography by Sharon Hickey  June 2018

The Key to Portrait Photography is… to Test and Experiment.  Over the years working as a professional photographer focused on people, I have learned that each time I take a photograph I learn something new and so can you!  Each photograph gives me feedback and I am able to problem solve for a particular variable so as to refine the final outcome.  So next time you set up for a portrait photography session be prepared to Test and Experiment so as to capture what you have in mind!

The Aperture Club  Sharon and her team of professional photographers are passionate about meeting people, travelling and of course photography. The Aperture Club runs photography workshops and tours that allow you to develop your creativity, with like-minded people.  Our workshop are run around Chippendale, Newtown, Circular Quay and other well kept secret locations around Sydney.

SONY FILM FESTIVAL

Starting in 2018, we scoured the world of Alpha photographers across Australia and New Zealand to find Advocates that are ready to help other photographers take the next steps in their own photographic journeys.  Every year we will take new submissions to discover the next generation of Advocates.  If you have a passion for photography and you would like to share it with a wider audience, consider applying in the coming year.

LIFE  MAGAZINE

• Amusing LIFE Magazine Back Page Photos (108 pics)
• Life magazine: The photos that defined the US
• Life Picture Collection
• Collection
• LIFE Magazine and the Power of Photography

THE WASHINGTON POST

Winners of the iPhone Photography Awards  2021

LENS CULTURE

Free Guides

Welcome to our collection of free guides for photographers! Over the years we’ve developed a suite of downloadable guides packed with advice, inspiration and recommendations for photographers of all levels. Covering a range of topics, each guide has been written specifically to motivate and help photographers move forward creatively and professionally.

Lens Culture  |  Here is some tips to help you improve your Bio:

Your Bio Length: Aim for 200 words, but it’s also a good idea to have a 100-word version.

Bios must be written in third person. Your biography is a summary of your resume, written in narrative form. It is a short paragraph that describes your experience and career. Many artists get confused about the difference between an artist bio and an artist statement, but there is a simple distinction: the artist statement is about your work, and the artist bio is about you.

Tell a story. Take the information you gathered in your CV and then shortened into your resume. Now, build it out into sentences that thread together to tell a story. If there is something unique about your practice, your bio is the place to emphasize this. Your CV has all the nitty, gritty detail, but your bio can be directive in terms of the specific achievements and experiences you would like to draw attention to.

Aperture Gallery, New York

• 15 Most Popular Discoveries, Interviews and Visual Stories from LensCulture in 2021
• A Celebration of Light in Black and White
• A Life’s Work
• A Permanent Home in the Mouth of the Sun
• The Abstract Underpinnings of Black and White: A Conversation with Barbara Tannenbaum
• A mal tiempo, buena cara
• A Place of Our Own
• A Sense of Place
• ABQ
• The April Theses
• After the Fact
• Afuera: Rooftops and Balconies in Times of Isolation
• Altered Negatives
• An Alternative Idea of Intimacy
• Art on the Grid
• A Womb of My Own
• Ambient Pressure
• Another Way of Looking At Love
• An Elegy for the Death of Hamun
• appa and other animals
• The April Theses
• At Night Gardens Grow
• A Ballad Through Time
• American Boys
• The Americans
• Adapting to Covid-19 in London’s Supermarkets
• A Mycological Foray
• A Present Observer
• Arabian Transfer: Iconic Architecture and Everyday Street Life
• The Anarchist Citizenship
• As Immense as the Sky
• A Search for Something Fresh
• A Symphony of Images
• The art of visual storytelling – in pictures
• As it Seemed
• Avenue of Roses
• Balancing Excellence
• Batismo
• A Bear in the Lowlands
• The Beautiful
• Behind Glass
• Between Reality and Surreality
• Beyond the Visible: The Hidden Structures of the Street
• The Bigger Picture
• Bittersweet on Bostwick Lane
• Bittersweet on Bostwick Lane
• Black and White Photography — A New Free Guide
• Black Queer Diaspora in the Netherlands
• The Blindest Man
• Bluid and Sweat
• Blessed Be the Fruit
• BODY COPY
• Boys of Volta
• Brave Beauties: Zanele Muholi on Self-Portraiture
• Caged
• Call Me Heena: Hijra, The Third Gender
• Cast Out of Heaven
• Catherine Opie
• Centralia
• Cholita’s Escaladoras
• Chosen [Not] To Be
• CHUKWUDI ONWUMERE  Road Runners
• Cinematography: From Still to Movie
• The Class of 2021
• Combing for Ice and Jade
• Companion Pieces: New Photography 2020
• Conceptual Photographs, the Neutral in Realism, and More
• Concrete Flowers
• The Constructed Self
• Cose Certe — Certain Things
• The Couch
• Creative Leaps
• Cry Sadness into the Coming Rain
• COVID-19 Resources for Photographers
• Dacia & Chauffeur
• The day you were born, I wasn’t born yet
• Dear Padua
• Dichotomy
• Disneyfication
• Dizzy
• Deana Lawson — Aperture Monograph
• Does the Photograph Connote Power?
• Don McCullin
• Don’t Lie to Me
• Down by the Hudson
• Dreaming Places: Ming Smith
• Drummies
• The Earth Will Come to Laugh and Feast
• Earshot
• The Editorial Portrait
• Embodiment : Salvaging a Self
• The Endless Draw of Portraiture
• Evolution through Exhibiting
• Exclusion Zone
• Extinction Party
• Except the Clouds
• Experimenting with Tradition: Publishing Insights From TBW Books
• Extraordinary Experiences
• The Faithful
• Farleigh Hungerford Swim Club
• Fatherland
• The Final Days of Georgian Nomads
• Flesh Love All
• Flowers and Fruit
• Forever
• From ‘Apple’ to ‘Anomaly’
• Files of the Disappeared
• Finding Ways to Live in Peace with Nature
• From queer homes to strip-hop: next-gen photography stars
• From Labyrinth
• The Fulani Project
• Glass Life
• Gold Coast
• Goddesses and Dragons
• The Golden City
• Girl Pictures
• Grandma Divers
• Great Portrait Advice from Award-Winning Photographers, Part I
• Great Portrait Advice from Award-Winning Photographers, Part 2
• Greenfield. The Archive
• Harvest of Nature
• Have Something to Say: 30 Years of Photobooks with Dewi Lewis
• “He is not a photographer of jazz, he is a jazz photographer”
• Homebound with my Parents
• The Hotel
• Home in the Ozarks
• Home Is Where The Garden Grows
• Home Sweet Home
• Horse and Canadair
• How to Approach a Gallery: Advice from the Director of Von Lintel
• How To Get The Most Out Of Photography Competitions Guide
• How To Get The Most Out Of Photography Competitions Guide
• How to Look Natural In Photos
• Here Among the Flowers
• Harvest of Nature
• How We Were
• Hiding from Baba Yaga
• Highway 61
• Hiroshima Graph — Everlasting Flow
• Imagined Homeland
• Impossible Installations
• In My Mind There is Never Silence
• In Retrospect
• In Search of the Poets and New Masters of Street
• In the Mood for Beauty
• #nyc
• I Read I Write
• I Need You More Than You Need Me
• In Australia
• In Between Dreams the Forest Echos the Song of the Burning Anaconda
• In Search of the Poets and New Masters of Street Photography
• In Search of Brilliant Moments: Street Photography’s Heightened Existence
• In Spirit
• Insight into what makes ‘good’ photography
• Into the Void
• Images Vevey — A Preview of the Biennial Festival
• Images in Transition: Wirephoto 1938-1945
• Infinite Tenderness
• The Illusions of the Photographer
• Is your work ready to be exhibited?
• Jardín de mi Padre
• JOSÉ IBARRA RIZO  Bre and James Forever.

  Judith Joy Ross: Photographs 1978-2015
• Jugaad: Of Intimacy and Love
• Just Like You, But Different
• Known by Sight (Only)
• Keeper of the Hearth
• Lakeside
• Laissez-Faire
• Landfall
• LatinAmericana
• Lay Her Down Upon Her Back
• LensCulture New York 2022 Exhibition — New Discoveries in Contemporary Photography
• The Lingering Urge: A  Review of “Independent Mysteries” by Michael Magers
• Looking Inside
• Look at me like you love me
• Look Twice, then Again and Again
• Looking Out From Within
• The Lotus Seeds Waiting to Sprout
• MADRE
• Making Room, A Trailblazer in Documentary
• Mapping An Interior
• Maternal Sheet
• Memory of the Eyes
• Memories through the Liquid
• Midlife
• Me, Myself and I — Anonymous Portrait Collages
• Measure and Middle
• Meeting Sofie
• Memory of the Eyes
• Midnight La Frontera
• Milking Butterflies—Painted Photographs
• Minimal Republics
• Mothers
• The Most Fantastic Rocks
• Myth of a Woman
• My Travels Through the World on My Copy Machine
• Myth of a Woman
• Mystics, Priests and Artists from Poltava, Ukraine
• NAOMIEH JOVIN  Gwo Fanm — Being Strong in Vulnerability
• Necessary Words: “Conversations on Conflict Photography”
• In Need of New Ceremonies
• New Love in the Time of Corona
• N e w f l e s h
• Nostalgia and Mystery
• Novogen
• Notes (and Advice) from Aperture Magazine
• 101 Pictures
• Of Poetry and Magic
• Ordered Chaos
• Our Songs from the Forest
• Our Ways of Being: Visualizing Neurodiversity and Autism
• OUT OF THE SHADOW
• Oyster
• The Only Thing You Can’t Get Is Red Ink
• On the Speed of the Real
• The Outlands
• Pace and Patience
• Parallel Crisis
• The Path of an Honest Man
• The Power of Collections: Learning From San Francisco’s
• Plain Ordinary Working People
• Persistence Pays Off: Tips and Tricks for Applying to Awards & Portfolio Reviews
• Photographers’ Guide to Working with Galleries
• Photos that Should Not be Possible
• Playing through Portraiture
• The Poetic Verisimilitude of the Vernacular
• Positive Disintegration
• Portraits of my Mother
• Portraits and Windows
• Primal Sight
• Portrait Photography in Major Art Museums
• Promise Land
• Progress?
• Purgatorio
• Pseudologia
• Rato, Tesoura, Pistola
• Reading: The Gratification of Watching Others Absorbed
• Ready for Surprise: Joel Meyerowtiz Interview 2020
• Redefining Street Photography with Alex and Rebecca Norris Webb
• Ready for Surprise: Joel Meyerowtiz Interview 2020
• Recognition Patterns
• Reflections Inside the Seoul Metro
• Regard
• Remnants of an Exodus
• Responding to Tragedy with Art and Hope
• Revelation through Collaboration
• Relations
• Rescue Sketches
• Return
• River Notes
• Road Runners
• RUTH LAUER MANENTI   Excerpts
• SAM FERRIS  In Visible Light
• Samsara — Departure and Reinvention
• Santa Barbara
• The Sapeurs of Brazzaville
• Scenes of Return
• 7 Days of Garbage
• Sentiments and Sorrows
• The Shabbiness of Beauty
• Shifting States: New Role of Photography in Weekly Magazines
• Simple, Essential Fragments from the Street
• Skin on Skin
• Sleep Creek
• Sleeping Garden
• Small Differences Can Make Great Pictures
• Some Birds Are Not Meant To Be Caged
• Speak the Wind
• Spill
• Steve McQueen Year 3
• Stop Tanks with Books
• Strange Paradise
• Stranger Fruit
• Street Photography’s Perfect Unpredictability
• Street Photography as Process
• Street Photography Guide
• Stars
• Stille Berge
• Stranger Fruit
• The Street Philosophy of Garry Winogrand
• The Suicide Boom in Japan
• Svitlo — Images of Light for Ukraine
• Synchronised Swimming
• Time As We Know It
• Topographies of Fragility
• Traveling Light
• Transparent Curtains: Aging through the Eyes of Gay Elders
• Todd Hido On “Homes at Night” and Illustrating Memories in Photography
• Town Boy
• The Theater of the Street
• There is No Ark
• 30 Women Street Photographers – Paris Exhibition
• Think Like a Street Photographer
• This archive has no legs
• This Is The Closest We Will Get
• To Discover a Story
• Topographies of Fragility
• Topsy Turvy
• Transcendent Country of the Mind
• Trinity
• The Truth is in the Soil
• Turning Points: Life-Changing Moments by Magnum Photographers
• Ukrzaliznytsia
• Units
• Urban Street Portraits
• Untitled Portraits
• Vanessa Winship: Photographing Sète
• Valparaiso
• Vessel Collection
• Virtual Exhibitions: Digital Spaces, Open Possibilities
• Vistas
• What Comes Next: Thoughts on the Future of Photography
• The Wide Truth
• Utopia
• What Makes A House A Home?
• While Standing My Ground
• The White House China
• Worry for the Fruit the Birds
• What Makes a Curator Tick?
• What Makes A House A Home?
• When Bodies Misbehave
• Where Blue Birds Fly
• Working Together
• X-Ray Vision vs. Invisibility
• Yerevan 1996/1997

LENS CULTURE  |  PODCASTS

• The Messy Truth – Conversations on Photography Gem Fletcher
• Small Voice – conversations with photographers
• Magic Hour – Episode 43 | Moyra Davey
• Nearest Truth – Rob Hornstra Dutch photographer and photobook maker

MAGNUM

• 4 Photographic Approaches to Try This Summer
• 14 Most Popular Photo Discoveries from 2022
• 14 Photographic Stories from Magnum’s Mentees
• A Brief History of California’s Wildfires
• A Journey of Discovery, and a Work Ever in Progress
• A Quiet Observation: Deconstructing Hannah Price’s Portraits of the Everyday
• After Dark
• Agony in the Garden
• Alec Soth on Learning From Failure
• All of Life is Here at Home
• Alec Soth’s Notes on the Making of His Book, Niagara
• Alessandra Sanguinetti: “This work is an ode, a love letter, to the often-overlooked rural towns south of Buenos Aires”
• Alex Majoli on Mentoring and the Power of Dialogue
• America in Crisis: Revisited
• America in Crisis at the Saatchi Gallery London: 21 January to 3 April, 2022
• The American Desert: an Elegy to Friendship
• American Geography
• An Alternative Idea of Intimacy
• A New Year
• Approximate Joy: How Christopher Anderson’s imagined future shaped a vision of the present
• Arrivals and Departures
• Arthur Miller, Neighbor and Friend
• Behind the Image: Alec Soth’s ‘White Bear Lake, Minnesota’
• Behind the Image: Ian Berry’s Intimate Portrait of Serge Gainsbourg and Jane Birkin
• Behind the Image: David Alan Harvey’s Boy with Balloons
• Behind the Image: Protesting the Vietnam War with a Flower
• Between These Folded Walls, Utopia
• Bieke Depoorter on trust, intimacy and chance encounters
• Bieke Depoorter shortlisted for Deutsche Börse Photography Foundation Prize
• Bitcoin Nation
• The Black Country in Close Up
• Black in White America 1963-1965
• The Blindest Man
• Boa Noite Povo
• Books, Design and Photography by an Art Director
• The Book of Veles: How Jonas Bendiksen Hoodwinked the Photography Industry
• Border Story: Russia-Ukraine War
• Broken Manual: Alec Soth in Conversation with Aaron Schuman
• Bruce Davidson & Khalik Allah: New York – the Inaugural Exhibition at Magnum Gallery Paris
• Bruno Barbey: 1941 – 2020
• Capturing the Anthropocene: Changing Depictions of the Climate Crisis
• Carnival Strippers Revisited
• Central Park
• Concorde
• Creating a Fantastical World in Autocratic Russia
• Creativity During Crisis: Magnum Live Lab in Quarantine
• The Crimson Line
• The Camera Ministry of Khalik Allah
• Celebrating Marilyn
• The Christmas Tree Bucket
• Close Enough
• Custodians of a Desire: Herbert List’s Couples at the Beach
• Dead Season
• Déjà Vu in Houston’s Third Ward
• Die Vier Hoeke: inside the four corners of the South African prison system
• The Decisive Network
• Dennis Stock’s Hawaii
• The Director of the Deutsche Börse Photography Foundation On Promoting Contemporary Photography
• Eli Reed’s Formative Years
• Emerging in Fragments: Sim Chi Yin’s ‘One Day We’ll Understand’
• Encounters of the Archive Kind: Histories of Somalia and its Diaspora
• Enri Canaj: Say Goodbye Before You Leave
• “The Era of Plenty is Over”
• Ernest Cole’s Rediscovered Archive
• Eve Arnold in the Trucial States: The United Arab Emirates before Federation
• Fall: A Photographic Appreciation
• Family in Miami
• Fingerprint: Tracing the Roots of Jim Goldberg’s Raised by Wolves
• Florals: Through Magnum Images
• For The Sake of Calmness
• Found, Not Lost
• Four Magnum women
• Four Tumultuous Decades in Afghanistan
• From Black and White, to Color, and Back Again
• From the Arab Spring to Tunisia’s Neglected Mining Towns
• From Paris to Benin: the restitution of the royal treasures of Abomey
• Glitter: Through Magnum Images
• God Inc II
• Gregory Halpern: Documentary Sur/Realism
• Gregory Halpern: Editing and Sequencing
• Hannah Price on Identity, Projections and Distortions
• Hafiz: Guardians of the Qur’an
• “He is not a photographer of jazz, he is a jazz photographer”
• Heels: Through the Magnum Archive
• Henri Cartier-Bresson: Principles of a Practice
• Hiding from Baba Yaga
• “History is what’s written, my pictures are what happened”
• Holding Onto You: Photographs as Protest Signs
• House of Bondage Revisited
• How To Get Ahead in Advertising
• I carry Her photo with Me
• I Walk on Water: Khalik Allah’s Documentary Poem
• In Dialogue: Susan Meiselas, Bieke Depoorter, Olivia Arthur & Lúa Ribeira
• Ian Berry’s 1980s Portrait of the ‘Marseilles’ of Ukraine
• The Illusion of an Everlasting Summer
• I’m Warning You: Rafal Milach on the Orban Wall
• I’m Starting to Feel the Pain
• Imagination and Photographic Education
• Impossible Installations
• Inge Morath’s First Months at Magnum
• Inner Disorder
• Inside the World of a Photobook Publisher
• Internat
• “It’s a complex story and we don’t want to simplify it.”
• It’s Expensive to Be Poor
• It’s okay to be quiet
• Japan 1945: Hiroshima Aftermath
• Jérôme Sessini: Afghanistan, September 2021
• JFK for President
• Jonas Bendiksen: Curiosity in Practice
• Jonas Bendiksen’s Satellites, 15 Years On
• The Joy of Seeing: Magnum Street Photography
• Khalik Allah: “The streets are depicted through the faces of the people I photograph”
• La Chambre
• Larry Towell’s Afghanistan
• The Levee by Sohrab Hura
• Let the Sun Beheaded Be
• Looking for America: Mark Power in conversation with Yasufumi Nakamori
• Lorenzo Meloni: “I try to avoid images that contain easy answers and simplify the conflict”
• The Lost Head & the Bird
• Lua Ribeira: Shadow – A Parable
• Making Hitchcockian Portraits
• Making the Image: Werner Bischof’s Snow-Draped Meiji Shrine
• Making the Image: Mark Power’s Dalmatian in Warsaw
• Making the Image: Miles Davis
• Making Photo Books: Four Key Questions to Consider
• Magnum 2020
• Magnum Dogs
• Magnum 75 in Paris
• Magnum launches first NFT Collection
• Magnum On Set: High Society
• Magnum On Set: The Crucible
• Maidan: Five Years On
• The Making of Icons
• Magnum Digest #183
• Magnum Digest #184
• Magnum Emerging Writers in Residence
• Magnum Illustrated
• Magnum x Prix Pictet: Cristina de Middel & Olivia Arthur
• Magnum Nominee Myriam Boulos: “I don’t know how to deal with these obsessions in any other way but through photography”
• Magnum on Set: The Misfits
• Marc Riboud on the Friendship of Strangers in Afghanistan
• Martin Parr Goes Paris
• Martin Parr x Henri Cartier-Bresson
• Martin Parr’s Right Royal Knees-Up
• Memories through the Liquid Desert Waves
• Most People Were Silent
• Matt Black’s American Geography: A Tale of Two Countries
• My Private Capa and Chim: Unknown Records from a Family Archive
• Mystical Space and a Choreography of Gestures: Nikos Economopoulos on Cuba
• Midnight at the Crossroads
• Nanna Heitmann: Witnesses – When The Birds Will Fly Again
• Newsha Tavakolian guest curates group show at Breda Photo
• Newsha Tavakolian: On Patience and Portraiture
• Nominee William Keo: “Everywhere I go, I learn a little more. There is no absolute truth.”
• Northern Ireland
• Notre-Dame: symbol of recovery
• Obscura Magnum Commission: Lua Ribeira’s Agony in the Garden
• On Book-making and Editing: A Discussion with Aperture’s Lesley A. Martin
• On Art, Life, and Cricket’s Answers to Both
• Online Portfolio Reviews Highlights
• On Antiracism, Resisting Fascism, and Policing in London
• On the Trail of The Grapes of Wrath
• One Influential Image
• Opera Aperta
• Outside the Frame: Carolyn Drake in Conversation with Olivia Arthur
• Palermo Gilden
• The Parameters of Our Cage
• Peter van Agtmael on Witnessing the Storming of the US Capitol
• Photography in Times of Restricted Movement
• Photography, Trump, the Manipulation of Public Sentiment, and the Phantasmagoria of Politics
• Photographing Australia’s Black Summer
• Photographing Syria’s Civil War and its Ramifications
• The Pleasures and Denials of Window-shopping
• Poland’s ministry of memory spins the Holocaust
• Power and the Camera: Gregory Halpern on Intuition, Reflection and Representation
• Prison Propaganda
• Proselytizing a New Way to Be Free: Elliott Landy’s Music Photography
• Paolo Pellegrin on Documenting Family
• Quarantine Conversations: Peter van Agtmael and Lorenzo Meloni
• The Quality of Mercy: COVID-19 in the UK
• Queen Elizabeth through Magnum’s lens
• Rafal Milach on the Use of Visual Metaphors to Deconstruct the System
• Rafal Milach: “It’s not just about creating a counter narrative, it’s about actually helping”
• Rafal Milach on the motivations behind his award-winning book, Strike
• Ready to enter a picture perfect world?
• Refocusing the Lens
• Reporting the Early Stages of the War in Ukraine
• Revisiting Ambiguity
• RIP Jimmy Fox, Magnum’s ‘eye’
• Robert Capa: Death in the Making
• Rooftop
• Sabiha Çimen 14
• Sabiha Çimen’s Wins the Paris Photo-Aperture First Photobook Award
• Satanists, Surfers, Hippies and Radicals: Dennis Stock’s California Trip
• Searching for the Light
• The Seventh Wave
• The Shape of a Circle
• The Slow Cancellation of Eskîfê (Hasankeyf)
• Some Say Ice
• “Sometimes we just need a little push to overcome our fears”
• Sorry For the War
• The Spirit of the Game
• Susan Meiselas: Carnival Strippers Revisited
• Susan Meiselas and Matt Black on Being the Mentors They Wanted to Have
• Susan Meiselas: Carnival Strippers Revisited
• The Symbolic Construction of a Territory Where Violence Penetrates All
• Taliban
• TATIANA LOPEZ In Between Dreams the Forest Echos the Song of the Burning Anaconda
• Tar Beach
• Television and the Presidential Debate
• Time As We Know It
• To Sleep, Perchance to Dream
• To the North
• Tour de France: Inside the Peloton
• TRUTH IN PHOTOGRAPHY
• The Trench Coat: Through Magnum Images
• The Troubles,  Chris Steele Perkins
• TV Shots
• Thomas Dworzak:   Battling History with Coda Story
• The 2020 Presidential Election, Through the Eyes of Magnum Photographers
• Three Essential Ingredients for a Successful Grant Application
• Ukraine
• Ukraine: Larry Towell and Jérôme Sessini in Conversation
• Ukraine: Updates from Magnum Photographers in the Field
• Understanding the Fine-Art Market: Three Fundamentals
• Upon Reflection: Orientating The Body in Sohrab Hura’s Photography
• Video: A roundtable with four Magnum women
• Village People
• Voyages de Mémoire – Patrick Zachmann’s Decades-long Investigation into History, Identity and Himself
• W. Eugene Smith’s Warning to the World
• War Lingers: Srebrenica 25 years on
• Watching Me, Watching You
• Waves: a Pandemic Logbook
• We Are Family
• What Bruce Gilden Learnt Photographing in Grocery Store Parking Lots During COVID-19
• “What people face every day on the island is shameful”
• While Standing My Ground
• Winter: A Season of Visual Contrasts
• Winter Solace
• Witnesses: 50 years of Doctors Without Borders
• Witnesses: Lindokuhle Sobekwa – Generations of Refugees in Dadaab
• Witnesses: Newsha Tavakolian – A Glimmer Through the Crack
• The Women Behind the Camera
• World War II
• Zied Ben Romdhane: Come Hell or High Water

https://www.youtube.com/watch?v=WR0q2ohjFn4

https://www.youtube.com/watch?v=1s8NJZn-LI0&t=658s&utm_source=Audience&utm_campaign=14d925f1b0-FIELD_NOTES_2306_COPY_01&utm_medium=email&utm_term=0_237144cbf5-14d925f1b0-6012268&mc_cid=14d925f1b0&mc_eid=2e21d82136

Digital Camera World

• Shutter speed explained
• Free Portrait Lighting Guide
• Night photography settings your camera wants you to use
• Night Photography Tips: 9 essential steps for beginners

Digital Photo Mentor

• Using Shutter Speed to Freeze or Blur Motion

Digital Photography School

• • RAW Versus JPG – Why You Might Want to Shoot in RAW Format
  • Digital Camera Modes
  • What is ISO?
  • Introduction to Aperture in Digital Photography
  • Introduction to Shutter Speed in Digital Photography
  • 6 Ways to Use Shutter Speed Creatively
  • How to Shoot Light Trails
  • 5 Photo Essay Tips  A Post By: Christina N Dickson
  • 13 Places Take Beautiful Motion Blur Shots
  • New photographer’s guide to the blue hour

Chris Bowes   27 March at 14:20

Essential Guide: HDR For Cinematography

Although we’ve been using camera log curves, in the guise of gamma, for as long as we’ve been broadcasting television, the real impact they provide has started to become apparent as we move to HDR. Not only do they form a type of video compression, the camera log curves also add to the aesthetic quality of the image and to get the best out of HDR broadcast engineers, technologists, and their managers, must all understand the impact of this technology.

Original glass-plate negatives from the New South Wales Police Forensic Photography Archive arranged on a lightbox. Photo © Jamie North for Sydney Living Museums

CAPTURED ON GLASS

It’s almost 100 years since New South Wales police used glass-plate negatives to photograph suspects in custody. These negatives are a direct link to that moment in time, and provide evidence about photographic technology and methods in the 1920s.

“How To Take High-Quality iPhone Photos So You Can Finally Leave Your Big Camera At Home”

If you’d like to take better photos with your iPhone than most people can take with a DSLR, this might be the most important page you’re going to read in a long time…   That’s because I’m going to share a story about how I went from taking boring iPhone photos to creating incredible photos that most people don’t even believe were taken with the iPhone…  And you’re going to discover how you can do the same with your own iPhone photos!  From: Emil Pakarklis

6 Portrait Lighting Patterns Every Photographer Should Know

In classical portraiture there are several things you need to control and think about to make a flattering portrait of your subjects, including: lighting ratio, lighting pattern, facial view, and angle of view. I suggest you get to know these basics inside out, and as with most things, then you can break the rules. But if you can nail this one thing you’ll be well on your way to great people photos. In this article we’re going to look at lighting pattern: what is it, why it’s important, and how to use it. Perhaps in another future article, if you enjoy this one, I’ll talk about the other aspects of good portraiture.

CHECK YOUR SELFIE BEFORE YOU WRECK YOUR SELFIE

So how can you look after yourself when taking a selfie? Here’s how to #checkyoselfie to stay safe on your photo shoot and go about it in an eco-friendly way so that you can be proud of your snaps.

LEARNING | NIRIN AT HOME: BARBARA MCGRADY & MUSA N NXUMALO

As a trained sociologist, athlete and sports lover, McGrady has not only photographed in the greatest sporting arenas in Australia, but she also assiduously documents the participation of Aboriginal and Torres Strait Islander sportspeople engaged in the ideal of gladiatorial contest.

SAM CAHILL, #ADOBECREATIVESIDE INFLUENCER

I use many different effects for my videos, but the hyperzoom is one of my favorites. I’ve made a tutorial on how to achieve the effect.

HOW TO RETOUCH A PHOTO FOR YOUR WEBSITE PROJECT

High-quality photos create big impact for school assignments. Whether building an online store for business class, or developing a website for a campus club, you’ll want photos as compelling as they are creative.  Photo retouching can be done in Adobe Photoshop or Adobe Lightroom using a variety of tools. In Photoshop, there are several popular tools and techniques you can use for retouching, such as:

Thoughts on Sharing Vacation Photos

Along with navigation (see “Real-World Observations about Mapping Apps,” 19 August 2019), one of the top vacation uses of an iPhone is for taking photos—as the saying goes, the best camera is the one in your pocket. In a typical week, I might take a couple of photos, but over the two weeks while Tonya and I were traveling in Switzerland, I snapped over 1000. Switzerland is unreasonably scenic, so it was nearly impossible to resist yet another postcard-perfect shot of a gorgeous Alpine valley. Despite that compulsion, now and then I’d try to take a step back and think about why I was taking a photo

NOMADASAURUS  Photographic

Photos have the incredible ability to transport you to a place, tell a story and provide inspiration, simply by capturing one moment in time. We have been travelling the world for over seven years together, and our passion for travel photography has continued to blossom.  These days we work as professional travel photographers and travel writers, exploring the world and creating stories as we go. Everyday brings a new experience and a chance to learn, and we love being able to bring our travels to life through images.

HOW TO USE DIGITAL ART TO ENHANCE YOUR PHOTOGRAPHY  – If I had to describe briefly my passion for photography, I’d discard the word passion because what I really feel about this art, is admiration. The condition that makes photography so unique is its ability to communicate. I am not talking about communicating facts, events, any of that; the kind of communication I’ve discovered seven years ago was the message of emotion, sensation and feeling.

LIZZIE PEIRCE

With a specialty in corporate video, they soon pivoted to commercial and travel based content. Some of their clients include Corona, Toyota, Mercedes Benz, Northface, and The Scotland Tourism Board. Their growing expertise in viral videos for their Know Hau Media clients, soon influenced them to grow their own social media channels.  Lizzie is now a sought after social media influencer with a specialty in educational photography and video content. With a combined audience of over 160,000 followers/subscribers, she travels all over the world sharing her adventures with her audience.

The Lady in Green – Visions of the Arctic Night

16 Years of War in Afghanistan, in Pictures   ROD NORDLANDAUG. 22, 2017

KABUL, Afghanistan — Soon after the attacks of Sept. 11, 2001, the United States military’s attention turned to Afghanistan, where Al Qaeda’s leaders were based. The world awaited an invasion that many knew was sure to come.

TED’S  PHOTOGRAPHICS:  Photographers Through Time

24 HOUR  PROJECT Documenting Humanity to make a Difference, photographers share the human condition of their own city in one single day.

RAW vs JPEG

PHOTO SHARING

• Flickr

About Tech

• Photo Essays – An Introduction to Photo Essays

AINT – BAD An Independent Publisher of New Photographic Art

Artsy.net: Andreas Gursky

Australian Video Camera

Bēhance – Photography

BERKELEY ADVANCED MEDIA INSTITUTE

Blue Hour Site: how to take blue hour photos

Cinefii

Cinematography Archives

COLLEGE PHOTOGRAPHER of the YEAR  CPOY’s greatest value is educational: it encourages photographers to sort through and evaluate their own work and assemble the best of it to show, both to peers and to the working professionals who donate their time to judge the contest.

COMPOSITION: THE SECRET LANGUAGE OF PHOTOGRAPHY  words and photos by Julian Thomas

TOP PHOTOGRAPHY TALENTS FROM JAPAN’S CULTURAL CAPITAL

Adobe recently discovered three Tokyo=based artists who create unique and inspiring work with Adobe Creative cloud photography tools.

GUIDE (Simplified): RAW on 5D mark III with Magic Lantern (Updated May 12th ’15)

The developers working on the Magic Lantern hack for the Canon 5D mark III have enabled continuous 14bit RAW recording last year. We tested it and it works great. The resulting images are totally breathtaking for a DSLR. The installation procedure has now been strongly simplified.

The EOSHD 5D Mark III Raw Shooter’s Guide

Written entirely by Andrew Reid as if one-to-one consultation – absolutely no guest or ghost writing – the EOSHD 5D Mark III Raw Shooter’s Guide is an indispensable book for filmmakers. In the book I guide you through the emerging world of raw video on the 5D Mark III.

Hands on with the Hydrogen One – RED’s gamble for mobile filmmakers

I remember playing with a couple of the RED One cameras and dealing with the myriads of issues when that camera was still in its infancy. I also remember only having marginal success with sorting through such issues. Despite those challenges, it was obvious the camera represented a real game-changer for the industry. It’s part of that reason that when Jim Jannard announced that RED would be putting some of their latest camera tech into a smartphone to create a more mobile acquisition and delivery system, I was interested. I certainly wasn’t the only person that was anxious to learn more about the RED Hydrogen One (RH1) as soon as more details about it started to emerge.

WITLYNX Wireless Bluetooth Camera Shutter Remote Control for Smartphones

Compatible with All iOS and Android Devices with Bluetooth/Including Wrist Strap.  Perfect for taking selfies and steady tripod shots. COMPATIBLE WITH ANDROID 4.2.2 OS AND UP / APPLE IOS 6.0 AND UP: Option to use in-built app or Google Camera 360 app and a wide range of devices Including iPhone X, 8, 8 Plus, 7, 7 Plus, 6, 6 Plus, 5, 5S, 5C, 4, 4S; iPad 2, 3, 4, Mini, Mini 2, Air; Samsung Galaxy S7, S7 Edge, S6, S6 Edge, S5, S4, S4 Mini, S5, S5 Mini, Note 2, Note 3 Note 5; and other devices  from $4.99

Apexel 5 in 1 HD Camera Lens Kit

198°Fisheye Lens/0.63x Wide Angle/15x Macro Lens/2X Telephoto Lens/CPL Lens for iPhone 6/6s Plus SE Samsung Galaxy S7/S7 Edge S6/S6 Edge and most Smartphone

3D LENS FOR DSLR CAMERA  and  SMARTPHONES

The Kúla Deeper stereo lens is attached to a camera lens thread for high quality stereoscopic 3D photography.

• Use existing lens features like VR, autofocus and metering.
• View images in 3D on the camera display using the included stereo viewer
• Generate any 3D format using the accompanying image processing software Kúlacode
• Compatible with Nikon, Canon, Sony, Sigma and the rest of the gang.

Kúla Bebe 3D lens is attached to any smartphone with a simple clip. It comes with a paper stereoviewer for smartphones, the CinemaBox for viewing the 3D content right away. To make sure you have the fun you deserve, Kúla Bebe also comes with old school red/cyan anaglyph glasses. Kúla Bebe is in production and the limited first batch will be delivered autumn 2017.

What mm lens was used in this shot? Directed by Sergio Leone.

Creative Live

Chris Bray Photography  http://chrisbrayphotography.com

• We seek out the world’s most extraordinary wildlife, landscape and cultural experiences bring small groups there in comfort, providing unique access away from the crowds with exclusive charter of ships, aircraft, vehicles and remote lodges for not only the most incredible, unhurried photography opportunities on Earth, but also an amazing holiday.
• Free Course Videos Complete course by award-winning Australian Geographic photographer Chris Bray. Ten easy-to-understand episodes with plenty of examples from basic setup and composition, to aperture, shutter speed, exposure, ISO, lighting, lenses, histograms, white balance and more!

Digital Photo Secrets:  photos too blue, white balance might be to blame

Discount Digital Photographs

Exposure Guide:  Photography Blog with Photography News, Tips & Tutorials

FOTOGRAOIA

THE FOX DARKROOM & Gallery is a Melbourne darkroom for hire and exhibition space. It promotes and celebrates photography through hands-on workshops and by exhibiting work from emerging and established artists.

How to Turn your iPhone into a Professional Video Camera in One Easy Step   Whoever said, “the best camera is the one you have with you” must have been talking about smart phones.

Chris Burkard’s landscape photography tutorials

“It’s not about subject matter – it’s about how you saw it and how you felt it.”

Taking Photos for Social Media? Try These 4 Tips

On social media, a picture is worth a thousand clicks. And images get more than double the engagement on Facebook compared to text, according to Hubspot.  The 2018 Social Media Marketing Industry report stated that 80 percent of marketers use visuals in their social media posts. With photocentric platforms like Pinterest and Instagram amassing 250 million and 1 billion users, respectively, you’re missing a valuable opportunity to connect with potential customers if you don’t up your photography game.

A 5-point checklist for capturing the best landscape image possible

6 Tips for Creating More Captivating Landscape Photographs

Landscape Photography Tips:  Take Your Nature Photography to the Next Level!

10 quick landscape photography tips

Landscape Photography Tips:  National Geographic

THE BEST LENS to USE is the ONE THAT is WITH YOU

Ian Wright Travel Photography:  Design Elements

Every Frame a Painting

Hurlbut Visuals

Macro Photography for Beginners

Started in Macro Photography

Movies in Color

No Film School

Photo.net:  a site for photographers by photographers

Photography Life

• Understanding Shutter Speed – A Beginner’s Guide

Free Portrait Lighting Guide

FLICKR

Sergio lightroom

SMARTPHONE and happy snapping

STUDIO: SYDNEY PROP SPECIALISTS  8 photographic studios available for hire in Sydney

What are some rare historical photos you wouldn’t believe exist?

Snow Melts And Flash-Freezes Into Icy Downhill River

Mountain Thaw Creates A River Of Ice  This is what Narnia looked like before the return of Aslan. The original site is in Russian but if Google translate is at least partially right, this was a winter snow that started to melt and then flash froze into these surreal shapes.

Visual Watermark

• Mastering the Exposure Triangle: Aperture, Shutter Speed and ISO

Every Moon Photo Shot by Apollo Astronauts is Now on Flickr.  Want to browse the entire collection of photos captured on the moon by Apollo astronauts with their chest-mounted Hasselblad cameras? You can now do so right on Flickr.  The Project Apollo Archive has uploaded over 8,400 high-resolution scans of photos shot by Apollo astronauts during trips to the moon. The images are unprocessed versions of original NASA scans. It’s a huge treasure trove of photos that includes both iconic images and blurry outtakes, all grouped into the film magazines they were exposed in.

In the Allport Library and Museum of Fine Arts in Hobart – Morton Allport, possibly environmental photography in Australia.  Allport’s ‘Excursion to Lake St Clair February 1863 album’, a phonebook with text and images.  https://stors.tas.gov.au/AUTA001126254101

ZOOM BROWSER

CANNON  ZoomBrowser EX is a software programmes that enable you to easily manage and edit your images. You can process RAW images, create panoramic images and remotely shoot your camera from your PC.  All of the functions of ZoomBrowser EX are now available in ImageBrowser EX

ZoomBrowser EX is an image management system from Canon. It is software that acts as a hub from which to manage all the images produced by Canon digital cameras, as well as other images on your computer.

The older versions of ZoomBrowser were originally developed to complement the PowerShot and IXUS ranges of Canon digital cameras. However, it soon became clear that EOS digital SLR users would also benefit from the features it offers. To make this possible, Canon has taken the earlier software and improved almost every feature to make it more powerful and feature-filled, yet easier and quicker to use.

FILM v DIGITAL

SENSORS

The sensor grid is made up of millions of CCDs to capture still images.  They record the brightness of the light that falls on them.  The Red, Green or Blue filters positioned in front of the CCDs separate the colour from the scene into three different channels. The two pieces of information, brightness and colour, pluse the sensors’ position within the grid, combine to make the whole digital image.  CMOS sensor technology, SuperCCD and CMY Bayer Pattern.

MEGAPIXELS  & IMAGE SENSOR

A single layer of image sensors captures light at every pixel location.  A filter covering teh image sensors determines the colour of the light allowed to pass through to the sensor.  This only allows one colour to pass through, so the filter must be designed in a mosaic pattern, with alternating pixels of red, green and blue to capture the full spectrum of colour. Software interpolation is then applied to make a reasonable guess as to what the true colourisation of an image would be.  Three layers of photodetectors in silicon absorb different wavelengths of light at different depths allowing the capture of the colour of light at every pixel and not a mosaic pattern. PIXELS

The number of pixels determines the image size.

MEGAPIXEL

RESOLUTION

INFRARED  CINEMATOGRAPHY

‘BRINDABELLAS | edge of light’ features the sky and landscapes of the Canberra region of Australia – in particular the Brindabella Ranges – captured in monochromatic (near) infrared. This feature-length film (140+ minutes in total) focuses on the interplay of mountain light, air and water as these elements are transformed across the seasons – from clouds to mist, rain and snow – then frost and ice – and onto creeks and rivers. It explores both the wider montane vistas of the Brindabellas and the more intimate details of the natural flows that are created by these mountains and, in turn, shape the very landscapes they arise from.

40 Incredible Examples Of Infrared Photography  Because everyday objects reflect infrared in proportions that differ sharply from that of visible light, the tonal relationships are wildly unexpected. Such near-infrared techniques used in photography give subjects an exotic, antique look. Green vegetation becomes white, whereas human skin becomes pale and ghostly. The resulting images look alien.

Exploring Infrared Cinematography opens up a whole new spectrum of light not visible to the unaided eye. This has the potential to give otherwise ordinary scenes a surreal and dream-like appearance. In this article, we explore several of the unique applications and technical hurdles.

How to Interpret Common False Color Images  Though there are many possible combinations of wavelength bands, the Earth Observatory typically selects one of four combinations based on the event or feature we want to illustrate. For instance, floods are best viewed in shortwave infrared, near infrared, and green light because muddy water blends with brown land in a natural color image. Shortwave infrared light highlights the difference between clouds, ice, and snow, all of which are white in visible light.

MARK ROGERS ON HIS APPROACH TO PORTRAITURE

Mark Rogers is known for his innate ability to distil the essence of a story or character into a singular image. His portraits are defined by an ease and directness that balance intimacy with presence and feeling. It is this approach that has secured him over the past two decades work with prominent clients and a regular spot as a finalist in The Head On Portrait Prize, National Portrait Prize, Moran Photographic Prize and Olive Cotton Award.

Mark recently took some time off the set of the upcoming movie ‘Peter Rabbit’ where he is working as the stills photographer to talk about his approach to portraiture and what it is like working on set.

“The personality, the presence and the approach of the photographer are somehow written in the portrait. For me, it’s a process of manufacturing spontaneity. With people, particularly celebrities, who have been photographed a lot, there is always a tension between them performing a portrait and finding an intimacy together where this mask may drop.”

Mark is always thoroughly prepared before his subject arrives so he is ready and relaxed when he takes the first picture. “Setting the lighting with an assistant sitting in, preparing the backdrop and props, using music for the right atmosphere – whether calm or energetic, so that I am happy with the image and can then concentrate on breathing the life of the subject into it. Then it [the process] can become a direct relationship with my subject, where we are both relaxed and spontaneity can occur.”

Being prepared is equally important on set where ‘action’ is repeated over multiple takes and the actors are different each time. “Magic only ever occurs fleetingly. Often the best portraits of actors are between scenes when they bring the character and performance we need for a powerful shot.”

You can keep up to date with Mark on
Facebook: /markrogersphotographer
Insta: @markrogers_photo
Web: markrogers.com.au

JARRAD SENG ON LANDSCAPES

Jarrad Seng is a creative based in Western Australia who now travels around the world with musicians and taking pictures. He has worked with UK bands and artists such as Passenger and Ed Sheeran and his client list includes Converse, Qantas and many tourism agencies around the world. Jarrad is not your traditional landscape photographer and it is his unique approach that has won him an online fanbase of over 300,000 people.

We asked Jarrad to share some words of wisdom with us on how he approaches photography, not the technical stuff but more on his attitude to photography. This is what he had to say.

Markus Andersen has a passion for revealing truths and creating unexpected narratives through photography.  His focus is primarily documentary and conceptual bodies of work using both analog & digital camera formats. Markus has held solo and collaborative exhibitions in New York, Paris, Toronto, Istanbul, Sydney and the United Kingdom, and his work is represented in private and institutional collections around the world.

Markus Andersen’s first book, Rage Against The Light, was released in late 2015 and a second book, Cabramatta: A moment in time, was released in early 2017 (both titles through T&G Publishing). You can see behind the scenes footage from his Cabramatta project in a recently released documentary (directed by Maria Tran) titled Cabramatta Into The Light.

We asked Markus to share some tips and his thoughts on mobile photography and here is what he had to say.

“The mobile phone camera has on occasion become my diary for recording certain spontaneous moments of life. I am not a photographer that walks around daily with my big cameras in hand unless I am shooting a specific project.”

“I do have trouble switching my eye off, I subconsciously scan a scene for a possible picture, whether it be walking down a city street, at the beach or hiking in the Blue Mountains. As a result, the mobile has sometimes become the camera I use to grab a photo that just pops up. I treat the mobile the same as I would a compact film /digital camera due to its size and ability to capture instinctive images discreetly and quickly. Of course there has to be an awareness of the output limitations of a phone camera when compared to a rangefinder, mirrorless or DSLR camera and understand the parameters to work within the device.”

Markus finds that when photographing with the phone it is possible to move in closer to people on the street than when using cameras “grabbing a picture quickly before the subject is aware. I find the mobile phone useful as it is so common that people do not notice or care a photo is being taken in their direction –  just another person doing what millions of others are doing.”

The Secret To Understanding F-Stops For Creative Photography

Lesley Sebastian  http://lessysebastian.wixsite.com/lessy-sebastian

Colin Seton

Dean Sewell  photographic essay: Ten days in a Russian steelworks  https://en.wikipedia.org/wiki/Dean_Sewell_(photographer)

Nathan Shapiro  http://www.nathanshapiroactor.com

Roz Sharp

Michael Silver  http://www.photonet.com.au

Alexia Sinclair  https://alexiasinclair.com

Glenn Sloggett  http://www.glennsloggett.com

David Maurice Smith  https://www.davidmauricesmith.com

Friso Spoelstra  http://www.frisospoelstra.com/index

Doug Spowart  http://www.cooperandspowart.com.au

Maggie Steber  http://www.maggiesteber.com/main.html

Kris Stenders  https://www.screenaustralia.gov.au/the-screen-guide/p/kriv-stenders/20881#ccTall

Mim Stirling  http://www.photography-now.com/artist/mim-stirling

Frédéric Stuchin http://www.fredericstucin.com

North Sullivan  http://www.northsullivan.com/#/

Lawrence Sumulong  http://www.lawrencesumulong.com

John Swainston  Australain Institute of Professional Photography (AIPP)

Nyk Sykes http://nyksykes.com

Eugene Tan  https://www.canon.com.au/explore/eugene-tan-photographing-liquid-magic-aquabumps

Anastasia Taylor-Lind  http://www.anastasiataylorlind.com