How people think photographers spend their time VS How photographers actually spent their time
Published by International Society of Professional Wedding Photographers . This was quite an interesting study by ISPWP and by the way I am loving the contrast between the charts.
Next weekend CreativeLive is having Beauty+Fashion Photography Live Class. Interested…………….? Get yourself registered over here Beauty+Fashion Photography with Matthew Jordan Smith
Canon has launched some wonderful stuff. They have introduced a full fledged Video Camera along with some lenses.
For questions about video quality check out these samples – Canon Sample Movies
Here is a sneak peak –
via Chase Jarvis blog
Few weeks back Chase shared this list on his blog. I would say Must Read for photographers in fact for any creative person. Here it is –
Here is a list of 10 things I’ve learned the hard way that every photographer, designer, creative–hell, every creative person–should know.
1. Experts aren’t the answer.
The blogs, the teachers, the mentors, the seminars aren’t the answer. They’re not there to tell you exactly what you need to know. If they’re good, then they are there to give you some ideas, some guidelines, or some rules to learn and subsequently break. This isn’t about the expert, it’s about you. In creative pursuits especially…what’s going on inside you is where the answers can be found. Hear what experts say, but don’t always listen to them.
2. Clients cannot tell you what they need.
Clients hire you because they have a problem. They need a great visual representation of something, a solution. They think they know the best way to photograph something, but they don’t really. That’s why they hire you. Take their suggestions to heart, because they definitely know their brand, product, their vision–perhaps even shoot a few versions of the images they THINK they want to see first–but then go nuts with own vision. Add value. Show them something they didn’t expect. Don’t be a monkey with a finger. Remember why you got hired…that YOU are the badass image maker. If you are good enough to get selected for the job, you should be good enough to drive the photographic vision.
3. Don’t aim for ‘better’, aim for ‘different’.
It’s funny how related “better” and “different” are. If you aim for ‘better’ that usually means you’re walking in the footsteps of someone else. There will often be someone better than you, someone making those footsteps you’re following… But if you target being different–thinking in new ways, creating new things–then you are blazing your own trail. And in blazing your own trail, making your own footprints, you are far more likely to find yourself being ‘better’ without even trying. Better becomes easy because it’s really just different. You can’t stand out from the crowd by just being better. You have to be different.
4. Big challenges create the best work.
If you get assignments that are pushing your vision, your skills, then awesome. Kudos to you, keep getting those assignments. If you’re not getting those assignments, then you need to be self-assigning that challenging work. Give yourself tough deadlines and tougher creative challenges. You do your best work where there is a challenge that is clearly present and 10 feet taller than you think you can handle.
5. Aesthetic sensibilities actually matter.
Go figure on this one… I’m constantly surprised as how much this is overlooked. Read this and believe it: You must develop a keen understanding of design, color, light, and composition. To just say “I know a picture when I like it” isn’t going to get you anywhere. You need to know –for your own sake as well as the sake of your clients who will ask you– WHY a photo is a great photo. WHY is this one better than that one. If you don’t have any visual vocabulary, opinion, or aesthetic sensibility you won’t be able to explain these things. You won’t get the job. Or if you do get the job, you won’t be able to explain why your photos are worth getting hired again by the same client for the next campaign, story, or video. Trust me on this. Develop a sense of visual taste.
6. Simple is good.
Almost every photo that is bad has too much information. Outside of technical basics, the number one reason that most photos fail is because there is no clear subject. Often this is the case with design, film, fashion, you name it. Remove clutter, remove distraction. Tell one story, and tell it well.
7. Make mistakes, learn quickly.
Simply put, you need to be able to learn from your mistakes. Avoiding failure is not the goal. The goal is recovering from mistakes quickly. That goes for ever element of your photography–creative, business, vision…you name it. If you’re not willing to make mistakes, you’ll be paralyzed with inaction. That is the devil. Get out there and do stuff. If it works, do more of it. If it doesn’t work, change it. Quickly.
8. “Value” is different from “price.”
Don’t compete on price alone. That is certain death in any creative field. Focus on delivering value and price yourself accordingly. If you deliver great value with your images — better than expected, and better than your competition– and you can illustrate that through any means, then you should be more expensive. And remember that value comes in many forms.
9. A-Gamers work with A-Gamers.
If you are good at what you do, then you work–or seek to work–with other people who kick ass too. If you suck, then you put yourself around sucky people to feel better about yourself. If you want to be the best, seek to be around awesome people–be it other artists, assistants, producers, clients, partners, whatever. Shoot high. Shoot for better than yourself.
10. Real artists create.
Do you just sit around and think of stuff you could create, photograph, build, ship, or design, but never output anything? Then you’re a poser. Take a new approach and make stuff. Maybe what comes out of your studio isn’t perfect, but there should always stuff leaving the door and hitting the web, the page, the billboard, the gallery, or the street. If you are for real, you’ll be pumping out work on the regular.
I have seen many child photographers and they were really good but when I saw work of Kelly Ryden I was amazed. Her style is totally different from all other child photographers I have ever seen. It’s just amazing and you should see for yourself.
Apple Insider has posted early screenshot of Photoshop CS6 Beta code-named Superstition. Well the
news rumor is CS6 might be rolling out in May 2012. Few days back they let us sneak into their Image Deblurring feature though we are not sure if we will get to see it in CS6. For more information head over to Apple Insider blog.
Here are some of the interesting and funny facts shared by Peter Phun on BLACK STAR
In a day and age when anyone with an iPhone or a Flickr account can call themselves a photographer, it can be a little difficult to figure out when you’ve separated yourself from the pack to become a real photographer. After all, beauty — in photographs as in all things — is in the eye of the beholder.
But here are 21 clues that you’ve crossed the threshold from pretender to contender:
1. Your friends have begun to hand you their cameras at social gatherings when they want a good picture taken.
2. You don’t run out of battery power because you are chimping less.
3. Your kids have stopped fussing about being photographed because you work faster.
4. The salesman at your favorite camera store lets you handle the merchandise usually kept locked in the shiny glass display cases.
5. You understand the difference between bokeh and a flower arrangement.
6. A gorgeous woman with a digital SLR brushes by you — and you only notice her camera and what kind of lens she has.
7. You concentrate on the lighting instead of the undergarment when you photograph backlit subjects.
8. You snicker at the folks in the back row at the concert shooting with an iPhone or a point-and-shoot.
9. Photo lab workers ask you to complete paperwork to verify that you own the copyright to the pictures you bring in.
10. Your in-law who’s a pro shares fewer and fewer tips with you.
11. Other photographers follow you to see where you’re shooting from.
12. Other photographers ask your opinion about gear when they see you at camera stores.
13. You realize how inaccurately Hollywood portrays the photographer’s job in the movies.
14. More and more engaged women want to be your friend.
15. You stop asking what aperture and shutter speed was used to take a picture.
16. Fewer people make fun of your torn, tattered but ubiquitous photo vest.
17. The subjects in your group pictures no longer resemble the hapless victims of a firing squad (everyone against the wall).
18. You are unashamed to carry a point-and-shoot — even at events crawling with other photographers.
19. Before you allow yourself to be impressed by that long telephoto, you want to know its widest aperture and whether it has image stabilization.
20. Your spouse stops asking what FedEx or UPS delivered.
21. You realize overexposure has to do with how you meter instead of how many Twitter followers you have