Pro Techniques

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Jeff Howe Posted: Jul 18, 2014 Published: Jun 01, 2014 0 comments
Last year, I decided to take on a challenge focusing on the unique natural beauty associated with wildfires in a Florida scrub ecosystem, one of the most rare ecosystems in the state. Florida is no stranger to wildfires. Nationwide, Florida has the second highest number of wildfires annually. In 2011, it was estimated that 300,000 acres of land was burned due to over 4800 wildfires. My project was centered at Indrio Savannahs Preserve, where a 120-acre wildfire was ignited by lightning in March of 2013.
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Jack Neubart Posted: Jul 08, 2014 Published: Jun 01, 2014 2 comments
“I don’t have a favorite location. I just like the challenge of where I go and what I’m presented with on any given assignment,” advertising photographer Brian Bailey declares. One assignment lasting 10 days took Bailey to the Galapagos Islands, for a sunglasses company. But many assignments involve anything but sun-drenched conditions. In fact, the road to this point was a rocky one—of sorts…
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Jim Zuckerman Posted: May 28, 2014 1 comments
I have always been fascinated by a photographer’s ability to turn a common subject into a work of art. Being a photographer means seeing the artistic potential in the elements that surround us on a daily basis. I travel all over the world seeking out amazing things to shoot, but I also find them at home—in the kitchen, in my backyard or even in my office. It’s always an exciting discovery to work with a subject to which I never gave a second thought, and then one day it turns into something that is visually arresting.
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Jim Zuckerman Posted: May 28, 2014 1 comments
The pearlescent colors that appear in soap bubbles are endlessly fascinating if you take the time to look at them closely. It is chaos at its most beautiful—a random mix of color that, unfortunately, we can’t freeze with our mind to examine any one instant in time. With a camera and flash, however, we can capture these amazing works of art and examine every detail, even though each design lasts only milliseconds.
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George Schaub Posted: May 28, 2014 0 comments
The image color of even a conventional black and white silver print is rarely black, white and grayscale shades. It may be warm (golden) or cold (blue) neutral or toned (sepia, magenta). Over many years print makers and chemists developed paper and developer combinations, as well as after-printing toners, to add additional color to monochrome silver prints. For example, using a warm-tone paper such as Agfa Portriga and a warm-tone enhancing developer, such as Selectol Soft, could alter image color. This yielded brownish blacks and creamy whites. A cold-tone paper could be developed in Dektol and after fixing toned in a mild dilution of rapid selenium toner for added “snap”, resulting in a “harder” bright white/deep black effect.
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George Schaub Posted: May 28, 2014 1 comments
Human visual perception is a wondrous thing—it allows us to see a wide spectrum of colors, with all the subtleties and shades, lights and darks, pastels and richness of the earth and the heavens. To see in black and white is an abstraction of that world, one that perceives luminance, or brightness, without the benefit of hue. Yet hue, or color, and its shades, often determine what tones, or grayscale values, will be seen in black and white. If one were always to see the world only in black and white it would be considered a deficiency of vision. But to see that way occasionally, and to be able to render what we see in a monochrome fashion, opens the door to different perceptions and feelings about the world, and yields a unique form of expression in the bargain.
Maria Piscopo Posted: Jun 20, 2014 Published: May 01, 2014 0 comments
What is “stock” photography, and how can it be a source of revenue? First, let’s define some terms. In most cases, rather than selling an image in the stock photo market think “license,” as stock images are not really sold—they are licensed for a particular use. The larger agencies all license Rights Managed (RM) images and many Royalty Free (RF) agencies will offer a “removal from market” option if an exclusive license is needed by the client.
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Blaine Harrington Posted: Jun 24, 2014 Published: May 01, 2014 0 comments
The roads I follow as a travel photographer mostoften lead me to landmarks and landscapes, festivals and events, people and cultures. But not always. As you can see from the photos here, I consider photographing wildlife one of the requirements of a successful travel photographer.
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Suzanne Driscoll Posted: Jun 20, 2014 Published: May 01, 2014 0 comments
Known as a master of combining art in the traditional sense with photography, Chiarenza has been making pictures for five decades. He started out with tightly framed, documentary-style photographs that sparked a lifelong interest in abstract images and landscapes. But since 1979 he has been making collages out of scraps of paper, foil, can lids, and whatever else he finds or people send him. He then photographed the collages with Polaroid positive/negative film, always in black and white. Using light, shapes, forms, and surfaces, the results are very unique images that encourage the viewer to let his or her imagination do all the interpretation.
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Lorin R. Robinson Posted: Jun 27, 2014 Published: May 01, 2014 0 comments
The skies have been a source of fascination for humankind since our earliest days. But only in the past 100 years or so has photography provided tools to enable people to capture, view, and enjoy the astonishing images astronomers were privileged to see in their elaborate telescopes.
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Jim Zuckerman Posted: Apr 24, 2014 0 comments
Photography has taught me to be aware of color, design and patterns, and I am always looking for something interesting to photograph. A few years ago when my wife was making a marble cake, I was drawn to the design in the swirling chocolate and thought it would make a successful abstract shot. I liked the images I took, but I felt more color would make the pictures a lot more interesting.
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George Schaub Posted: Apr 24, 2014 0 comments
The print completes the creative circle you began inscribing when you first viewed the image and snapped the shutter. The beauty of black and white printmaking is that you can share that vision through interpretive techniques that include expressive use of tonality, artful contrast and exposure control. Yes, digital images can be viewed on a screen and shared through the Internet to a worldwide audience. But nothing quite matches the intimate beauty of a carefully produced print, one that can be hung on a wall in your home or a gallery.
Barry Tanenbaum Posted: Jun 05, 2014 Published: Apr 01, 2014 0 comments
The camera Michael carries might be his Leica M6, loaded with either Ilford XP-2 or Kodak BW400CN chromogenic film and fitted with either a 35mm f/2 or 50mm f/2 Summicron lens; or his Fuji X10 point-and-shoot with its zoom lens set for the equivalent of 50mm; or his Nikon D200 or D700 with the manual 50mm f/1.4 Nikkor lens he got with his F3 back when he was in college.
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Jack Neubart Posted: May 30, 2014 Published: Apr 01, 2014 0 comments
Architectural photography normally involves shooting exteriors and interiors, ranging from residential to corporate and industrial. Hospitality photography moves in a different direction. John Bellenis explains: “I would define hospitality photography as shooting hotels, resorts, cruise lines, spas, and destinations. It’s a niche market that encompasses a range of photographic disciplines: architectural exteriors, interiors, lifestyle, food, and travel. I enjoy it because it keeps things fresh and the demands are varied photographically.
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Jason Schneider Posted: May 20, 2014 Published: Apr 01, 2014 0 comments
Given that the physical and perceptual experience of making a photograph is shaped by technology, and that technology is also embedded in the resulting images, one of the chief and perhaps most profound changes in how we make an image has been the changes in focusing—and recently autofocusing—technology. There’s a reason that the documentary photojournalism of Lewis W. Hine (shot with a ponderous 5x7 view camera or a 4x5 Graflex SLR) has a qualitatively different feel from that of Alfred Eisenstaedt or Henri Cartier-Bresson (shot with pocket-sized 35mm rangefinder cameras). It’s not only framing—it’s responsiveness, spontaneity, and, perhaps, repose, that underlies what these image-makers showed us.

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