Jack Neubart

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Jack Neubart  |  Apr 04, 2016  |  0 comments

I’ve always preferred longer focal-length macro lenses in the 90-100mm range because they give you more breathing room between the camera and skittish subjects than does standard (50/60mm) macros. No wonder, then, that one of my earliest lenses was the original Vivitar Series 1 90mm f/2.5 macro, which I first paired with a Minolta SR-T 102. I burned plenty of Kodachrome with that glass.

Jack Neubart  |  Mar 18, 2016  |  0 comments

Photographing people for a living can prove intimidating for many photographers. Now add “celebrity” to that and you may find you have to step up your game several notches to stand on equal footing with your subject. You can’t afford to be intimidated and you certainly can’t afford to appear unsure of yourself or to question your decisions. You have to enter the picture with a game plan and be decisive, know which lens you’ll be using, what lights, and where to place those lights. But you also have to be prepared for the unexpected. That’s why they give these jobs to photographers such as Victoria Will.

Jack Neubart  |  Mar 16, 2016  |  0 comments

You don’t compromise on the camera you choose, so why do that with the neck strap, sling or harness you use while shooting? There are a variety of attractive options that combine improved functionality with style, and here are seven of our favorites for carrying your DSLR or mirrorless camera.

Jack Neubart  |  Mar 08, 2016  |  0 comments

Back in the day when fixed-focal-length optics reigned supreme, the 35mm lens, along with its wider cousin, the 28mm, was known as the lens a portrait or wedding photographer would use for group or full-length portraits or, especially if it had a fast aperture, the photojournalist would use to grab street candids. Today, with our wide zooms we’re often happy enough with an f/4 maximum aperture and we tend to overlook what faster fixed-focal-length lenses could do to help our photography.

Jack Neubart  |  Feb 23, 2016  |  0 comments

Documentary photography, street photography, photojournalism, news photography, the photo essay—at their best, each records moments in time where man, nature, or machine impacts the surrounding universe. Centered in Rochester, New York, George Eastman, the man, and Eastman Kodak, the company, changed the universe around them as they rose to prominence. And when Eastman Kodak fell, a tidal wave broke on the shoulders of a city and its people.

Jack Neubart  |  Feb 01, 2016  |  0 comments

Without telling us why, Olympus ferried a number of the photo press to Austin, Texas last week, myself included. As it turned out, the purpose was to debut the new Olympus Pen-F Micro Four Thirds digital mirrorless camera ($1199.99, body only). We got to test out the new Olympus Pen-F for several days in Austin, and all I can say is, Wow! 

Jack Neubart  |  Jan 29, 2016  |  0 comments

Scott Serfas is one photographer who likes to get in on the action. In fact, he thrives on it. There is a certain amount of serendipity involved, but there is also a certain amount of passive control, in the sense that Serfas knows what to expect and expects the unexpected.

Jack Neubart  |  Jan 06, 2016  |  0 comments

Call them what you will – ultra-wides or super-wides – I love ‘em. By covering a breathtaking expanse, these types of extreme wide-angle lenses are not only capable of capturing most landscapes, they also help sweep you into that landscape, making you feel a part of the scene in the process.

Jack Neubart  |  Dec 29, 2015  |  0 comments

For those of you who have never worked in medium format, trust me, there is a difference you can see and feel. It’s no wonder that photographers such as Douglas Sonders choose a medium format camera system over a DSLR for the bulk of their work. And in Sonders’s case, his workhorse camera system is Phase One.

Jack Neubart  |  Dec 01, 2015  |  0 comments

For a sports photographer, the thrill of the game is superseded only by the thrill of capturing that peak moment of action. For the uninitiated, photographing a sport—especially football—can be intimidating and certainly challenging. Hit-or-miss, in fact. But not to a seasoned pro like Peter Read Miller. This illustrious Sports Illustrated photographer, who now largely shoots for commercial clients, shares with us his experience and knowledge of how to shoot the game of football.

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