Feb 02 2012

Nikon Coolpix P310

Category: Photographers, Technology Insightsdjordan @ 8:55 am

The Nikon Coolpix P310 is another point and shoot—except it’s completely gorgeous. The boxy design is a matte slate of black perfection. Everyone line is clean, every centimeter accounted for, every button well-placed. Make more things like this.

Inside, the P310 is no dinky shooter: 16 megapixel stills, 1080p video recording, an assignable front function button, full manual controls, image stabilization, and a swank f/1.8 zoom NIKKOR lens. By my god—it’s so small! What you’re looking at is only 4.1 x 2.3 x 1.3 inches—easily pocketable. But I don’t want to keep it in any pocket. I want to look at it. Boxy is beautiful. More angles. Cameras shouldn’t resemble spaceships. Check for it next month at $330. [Nikon]

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Jan 06 2012

Can the Nikon D4 Soon Become the Latest and Greatest DSLR?

Category: Photographers, Technology Insightsdjordan @ 8:22 am


Not much info to go off of here, but the French publication Responses Photo published some shots of what might be the Nikon D4. If this is in fact accurate, Nikon’s new flagship DSLR could be right around the corner.

Technically, it doesn’t exist, but has been recently rumored for a release. As far as specs go, the article merely says that it has an a 16 megapixel FX sensor, 51 point autofocus, 1080p video recording, an ISO range of 100-12,800, weighs 1.34 kilograms and will sell for 5800 Euros. Not sure about you, but I’m definitely excited to see what Nikon has up their sleeve. [Nikon Rumors]

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Apr 07 2011

Eye-Opening Insights from Gail Mooney: A Still-Video Hybrid Movie Trailer Goes Viral

Category: Business & Marketing, Creative Process, PhotographersEthan G. Salwen @ 12:07 pm

“Working on this trailer was one of the hardest things I’ve ever done,” Gail Mooney told me yesterday. “The shorter the piece, the harder it is for me to edit, and it probably is for most people. I needed to cut to the essence of the story yet not give away too much. I needed to create interest by what I didn’t tell the viewer.”

One thing this wonderful, interest-grabbing trailer doesn’t tell the viewer is incredible passion, energy and innovation Mooney has put into transforming her personal movie project, “Opening Our Eyes,” from the tiny tickle of an idea into a massive, tangible reality.

Created in partnership with her daughter, Erin Kelly, Mooney shares much of her passion — behind the scenes triumphs, frustrations and the technical and creative nuts and bolts of making a movie  — through her blogging on the “Opening Our Eyes” website, as well as on Journeys of a Hybrid, where for two years Mooney has been dishing up practical advice and motivation for photographers moving into motion.

Thanks to Mooney’s enthusiastic, adept use of social media, as of yesterday, a week after she posted it, Mooney’s trailer has already been viewed by 1,142 people in 62 countries.

“I realize in the YouTube playing field — of babies biting fingers and cats playing pianos — these type of stats are nothing in the viral world,” Mooney observed. “But they are amazing when you consider what it is.”

Indeed. What it is, at least in part, is a passionate visual communicator — who started her career long before the advent of digital imaging and the Web — sharing a personal project with more than a thousand eager viewers in 62 countries.

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Boy with eggs at Camino Abierto, Carlos Keen, Argentina.

The Possibilities in Passion

In a Hybrids blog post last week, Mooney wrote, “When you are convinced that you have the ability to make the impossible possible, then you will put your dreams into action. You will take that chance, and by doing so you are creating your own reality instead of reacting to what others have created for you, which may not be in your best interests.”

There are many people who share this kind of positive sentiment: make your dreams happen with positive thinking. It’s a sentiment that often rubs me the wrong way. It often feels hollow, oversimplifying the immense challenges we all face in life. Regardless of what a Nike ad campaign might say, many of us can’t “Just Do It.” Desire is not enough.

What makes Mooney’s “make the impossible possible” sentiment attractive is that it is grounded in the example of how she lives her life. She struggles, she strives, she overcomes. Yes, she does it. But she never “just” does it.

In her blogging over the past two years Mooney has become increasingly open and honest, sharing her personal struggles. She never complains of simply vents, but she lets us see that a great deal of her making the (seemingly) impossible possible depends on her never given up, even when the (seemingly) possible feels impossible.

In wonderful posts related to her experiences with “Opening Our Eyes,” Mooney shows us how she gets deeply inspired but then has serious doubts but that she still takes big chances anyway. She remains open to learning from diverse sources as she struggles with technical and creative challenges. And although she experiences many moments of sasisfied success, she also  experiences extreme let downs. The common thread — what’s truly important — is that she keeps on going and actively makes things happen.

Viola Majewska with horse at her hippotherapy stable located outside Warsaw, Poland.

Viola Majewska with horse at her hippotherapy stable located outside Warsaw, Poland.

Positive Change From and Beyond Technology

When “Opening our Eyes” is completed, I have no doubt Continue reading “Eye-Opening Insights from Gail Mooney: A Still-Video Hybrid Movie Trailer Goes Viral”

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Mar 21 2011

The Unfussy, Beautifully-Crafted People Photography of Tamea Burd

Category: PhotographersEthan G. Salwen @ 9:47 am

Tamea Burd_Vancouver photographer_1“Ideally, the best choice would be to incorporate the nature and the nurture,” Tamea Burd wrote in response to one of my recent posts. “Natural, unfussy photo taking and then really detailed, crafted post-production work on the resulting images.”

I really liked this sentiment from Burd, a wedding and portrait photographer, who was responding to my question: “Are you images fundamentally created in-camera with little technical fuss, or do they require painstaking control, either in-camera or in post-production?”

I absolutely love Burd’s images, which bear witness to the fact that she is achieving the photographic ideal she expressed in her comment.

Burd’s wedding, portrait, head shot, and family photography consistently exhibit two wonderful qualities that work beautifully in harmony with each other:

• On the one hand, Burd’s images feel utterly casual in the in-camera picture making sense. There seems to be little fuss. The comfort of her subjects is palpable, and many of her best images feel like casual snap shots.

• On the other hand, it is clear that Burd is carefully crafting her images in post-production, giving them a modern, compelling aesthetic. Her use of techniques such as black-and-white processing, vignetting, saturating colors and employing localized focus ensure that her no-fuss images become much more than snap shots.

The best part of Burd’s work is that she doesn’t go overboard in post-production. This ensures that her images retain what is best in casual snap shots — intimacy and approachability — while also meeting the standards of excellent professional photography.

It’s hard to discuss images that don’t call attention to themselves, but do exactly what they are supposed to do: call attention to the people they document. So here, to represent themselves — and the no fuss, carefully crafted work that the photographer put into them — are four of Burd’s images.

Tamea Burd_Vancouver photographer_3

Tamea Burd_Vancouver photographer_2 Continue reading “The Unfussy, Beautifully-Crafted People Photography of Tamea Burd”

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Jan 17 2011

Judy Herrmann: Reinventing Creativity

After Capture Blog_110117_RF1110_Judy Herrmann_Reinventing Creativity_1“If you really want to earn a living as full-time, self-employed photographer, you’re signing up to work in an industry where you have to watch for every opportunity and be ready to take advantage of them,” says commercial photographer Judy Herrmann. “There is creative vision — a photographer’s artistic voice — and then there is vision for business and career. These two things have to work together, but they are not the same.”

I featured these thoughts from Herrmann in “Judy Herrmann: Reinventing Creativity,” a recent profile for Rangefinder that focuses on Herrmann increasing efforts — through workshops, consulting and her new blog, 2 Good Things — to help creative professionals gain more satisfaction through their carriers, making more money doing more of what they truly love.

“Reinventing Creativity” is probably the most important article I wrote in 2010, but — dangit! — I probably gave it the worst name.

A much better, if less flowery, title (that would have really pissed off the design team) would have been:

“Judy Herrmann: How To Reinvent the Business and Creative Aspects of Your Photography Career in a Harmonious Manner, Over Time, In an Ongoing Process, To Earn More Money and Feel Profoundly More Satisfied In Life.”

That’s what Herrmann’s insights are all about, and there are a few things that make them particularly valuable.

One is that Herrmann is full-time working photographer, and has been for two decades, and her increased interest in supporting other photographers with the challenges of business-creative success comes from an honest passion to help. She says providing consulting services to photographers “is one of the few things in my professional life that actually gives me a deep sense of meaning.”

Another reason Herrmann’s guidance rings true is that she is deep in the reinvention trenches herself, and has been since she was 27-years-old. That’s when she forced herself, for the first time, to figure out how to make more money with more satisfaction through her photography. (I reported on this in “Triumph Over Fear” for Rangefinder a few years back.)

That’s right. I have been talking to Herrmann about this topic for years now, and distilling her insights into less than 2,000 words was painful. This woman has so many valuable insights to offer professional photographers that I’m just dying for you to be aware of her. And then — damn me! — I gave her article a crappy name.

Luckily, you can get in touch with Herrmanns’ ideas directly through her posts on ASMP’s Strictly Business Blog. Good stuff, like “‘If you don’t know where you’re going…you might not get there.’ – Yogi Berra” and “Looking Forward, Looking Back.”

After Capture Blog_110117_RF1110_Judy Herrmann_Reinventing Creativity_2Another reason Herrmann’s reinvention insights rock is because she is adamantly adverse to serving in a counseling capacity. “I make it clear that I am not a therapist,” she told me. “This is not psychiatry. What I’m really teaching people is problem solving. It is defining a problem very, very clearly and then brainstorming solutions.”

“What I’m trying to do is to give people an arsenal of tools,” Herrmann explained. “My goal is to make my client not need me any more.”

One place you can learn from Herrmann how to not need Herrmann is at the ASMP’s Strictly Business 3 conferences (Philadelphia, February 25–27; Chicago, April 1–3).

Yet another reason Herrmann’s strategies are so valuable is that she is not formulaic in her approach for working with photographers. She says, “I don’t think there exists a one-size-fits-all answer to this kind of problem solving.”

Can you see why I think it’s so important to learn about Herrmann’s business reinvention processes?

So, poopy title aside, I urge you to download “Reinventing Creativity” and soak up Herrmann’s ideas.

To be clear, I am not concerned about drumming up consulting business for Herrmann (although, um, I do get a percentage of all fees she earns resulting from this post).

What makes Herrmann’s insights so invaluable is that they don’t depend on her or, for that matter, any other career consultant. Like all great ideas, Herrmann’s strategies are a distillation of other people’s great ideas. And like all great ideas, you can put them to use for yourself on your own.

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Jan 11 2011

David Julian: Strange Beauty

Category: AfterCapture & Rangefinder Articles, PhotographersEthan G. Salwen @ 8:55 am

AfterCapture Blog_110111_David Julian_Strange Beauty_1More than once during our three long, intriguing conversations, David Julian apologized for his life not making sense — in a nice, neat linear sort of way. I was interviewing him for “Strange Beauty,” a profile on Julian I penned for AfterCapture. Julian’s apologies were unnecessary. An artist’s life is never easy to distill into clean, clear chronologies, even if that’s what writers attempt to do when we write profiles.

Julian is a photographer, illustrator, sculptor and educator, and his website is a joy to view — especially if you compare the overlapping themes between his fine art photography and his commercial illustrations.

At any one time, Julian is engaged in so many projects using so many types of media for so many clients that I could understand why he apologized for “not being easy to define.” However, by the time I finished “Strange Beauty” it seemed clear to me that throughout Julian’s evolution as a visual artist and educator it is possible to identify a very clear, very consistent thread: his desire to understand himself and the world around him through a process — sometimes feverish, but always grounded — of constantly playing with new techniques and visual media.

AfterCapture Blog_110111_David Julian_Strange Beauty_2“I can now work almost as fast as I can think,” Julian told me of his love of electronic imaging. A master of Photoshop compositing, glancing at Julian’s work is likely to make one think that he’s all about composting, in a modern, technical sense. But Julian has been compositing materials since early childhood, pasting newspaper clippings onto pieces of glass long before he picked up a camera. Yes, Julian continues to thrive with an exploratory use of layers in Photoshop. But ultimately, Julian is concerned about the ideas behind his composites — and his straight captures.

Julian’s idea-driven artistic exploration is clearly illustrated by “Taken From The Heart,” the body of fine art photography he produced in New Orleans in the aftermath of Hurricane Katrina. Photographically, these are straight images. Intellectually and emotionally they are anything but straight.

My profile about Julian opens. . .

“What struck me was as I was walking through this wasteland is that of all of these things—these personal objects dangling in trees—were lost,” David Julian recalls. “They were all tied to people who could not reconnect to them.” It was December 2005, and Julian, a commercial and editorial photo illustrator, fine art photographer and educator, was making his way through the devastation Hurricane Katrina wrought upon New Orleans. Using his camera both to explore, and to try to understand a landscape that overwhelmed his senses, Julian remembers thinking, “whatever had once been outside was forced inside, and what had been inside was now swept outside.”

To continue learn more about the World of David Julian, continue reading “Strange Beauty” by downloading the PDF file.

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Jan 03 2011

Jill Waterman: Night, Low Light, New Year’s!

Category: Books, PhotographersEthan G. Salwen @ 5:44 pm

About three in the morning on Saturday, 1/1/11, I found myself thinking of Jill Waterman. How could I not? As New Year’s Eve was winding down I was setting up my tripod to capture an image of the Southern Cross. For her New Year’s Eve Project, Waterman has been been recording the last (and first) day of each year since 1983 — in locations far and wide.

AfterCapture Blog_110103_Jill Waterman

New Year's Eve 2003 - Philadelphia. © Jill Waterman

Waterman also wrote the fantastic book Night and Low Light Photography, which is not only a remarkably broad and in-depth guide on the the how-tos of the topic, but also serves as as a wonderful introduction to many image makers who thrive capturing images in the night.

For a number of years, Waterman served as my editor for the magazine of the ASMP, and she always challenged with me fantastic assignments, pushing me to write timely, balanced and valuable articles for the professional community. For Waterman’s editorial guidance I will always be grateful.

AfterCapture Blog_110103_Jill Waterman_2-1As much as I have deeply respected Waterman as an editor of on topics of photography, I gained a much deeper respect for her when I reviewed Night and Low Light Photography. I was simply blown away by the feverish energy and scope of vision that was required to see such an ambitious task completed.

So, given the connection I hold among night photography, New Year’s and Jill Waterman, it didn’t surprise me that on this New Year’s Eve I found myself thinking of Waterman as I made a few nighttime exposures — just for the heck of it. After all, I had thought of Waterman when shooting the Big Dog in Mendoza, Argentina, earlier in the year.

It did come as a surprise — a very pleasant one — when I checked my email this morning and learned from Waterman that she had received some nice (and much deserved) press for her New Year’s Eve Project.

NPR’s The Picture Show blog ran “The New Year’s Eve Project: A Documentary Photo Essay” by Claire O’Neill, which features a gallery of some of Waterman’s great images. (The twelve samples prove that Waterman’s vision is focused on the soft and intimate rather than the garish and obvious.)

Waterman received more kudos for her work this year on December 31 when PDN’s Photo of the Day ran her Global Countdown — an image she captured at Scotland’s Edinburgh Castle in 1999, as one century shifted to the next and while Waterman was doing what she been driven to do for nearly three decades: photographically recording the international, nighttime festivities of New Year’s.

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Dec 17 2010

New Media Blogging Inspiration from Chase Jarvis

Category: Business & Marketing, PhotographersEthan G. Salwen @ 8:14 am

AfterCapture Blog_101217_Chase Jarvis Blog_1Chase Jarvis is an über popular commercial photographer, and his New Media-savvy blogging is a key ingredient to his marketing and self-promotion efforts — although “effort” is not the right word. Javis blogs for the pure love of it, and his love of blogging is critical to his success with blogging. Blogging is not a chore for Jarvis, nor something he does in a calculated manner to increase his hits. Jarvis’ number of hits keep increasing because he’s eager to speak to a popular audience, and because he has something that audience wants to hear.

If you are not familiar with Jarvis’ blog, definitely take a thoughtful tour — even if Jarvis’ photography (or personality) don’t float your boat.

New Media Blogging?

I know. “New Media blogging” seems repetitive. After all, blogging is about as New Media as you can get, right? Actually, blogging is just a tool — a simple way to post content to the Web — and most of us Dead Tree Bloggers do not fully embrace the New Media spirit. Two critical ways Jarvis does is to:

• Constantly link out to peer content. Jarvis does much more than add SEO-friendly links to his posts; he features content from other creative professionals. This is good for him. In the blogosphere, the more you link out, the more people link back in.

• Makes the blogging experience interactive. This is no easy task: to make people feel involved in your blogging. One way Jarvis does so is by enticing people to comment on his posts, and then rewarding them with follow-up responses.

Popular in Flesh, Popular in the Blogosphere

Don’t try to imitate the way Jarvis blogs. Jarvis is Jarvis. You are You. The key to Jarvis’ blogging is that it is honest.

In person, Jarvis is more charismatic than most photographers will ever be (or would want to be). Jarvis once told me Continue reading “New Media Blogging Inspiration from Chase Jarvis”

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Dec 02 2010

Unpretentious Jane Goodall by Stewart Cohen

Category: AfterCapture & Rangefinder Articles, Photographers, ViewpointEthan G. Salwen @ 5:35 pm

“How naïve I was,” Jane Goodall recalls in Through the Window, going on to share:

As I had not had an undergraduate science education I didn’t realise that animals were not supposed to have personalities, or to think, or to feel emotions or pain . . . Not knowing, I freely made use of all those forbidden terms and concepts in my initial attempts to describe, to the best of my ability, the amazing things I had observed at Gombe.

AfterCapture-Blog_101202_Goodall_Cohen

When I read this last night it made me think of the portrait of Goodall that Stewart Cohen made for his book Identity.

I was reading Matt Ridley’s The Agile Gene, in which Ridley notes that, “Goodall’s anthropomorphism had driven a stake through the heart of human exceptionalism.” This is important to Ridly’s notion, when comparing human beings to “lesser animals,” that:

There is no exact parallel to the human scheme. But in the animal kingdom, there is nothing exceptional in being unique. Every species is unique.

AfterCapture Blog_101007_Stewart Cohen Identity_1This made me think of another one of Cohen’s Identity subjects, Erik “Lizardman” Sprague, who in the book shares: “I generally find the claim of being unique to be rather trite since we are all by nature individuals and thus unique.” That’s nice sentiment coming from a guy who has filed his teeth to points and tattooed green scales on his face. It also seems to speak to perfectly to Cohen’s approach to Identity, and so I used it in the opening of my article reporting on his project.

Identity Beyond Symbolism

In his simple, black-and-white portrait of Goodall Cohen has included a blatant visual reference to the concept of evolution. There Goodall is, sitting in Continue reading “Unpretentious Jane Goodall by Stewart Cohen”

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Nov 01 2010

Niépce Gains Greater, Much Deserved Respect

Category: Photographers, The IndustryEthan G. Salwen @ 12:56 pm

“But what about Niépce?”

I asked this in a post two years back while pondering who really invited photography and why there seems to be so much confusion about the issue. (Even the typically-stated date of invention — 1839 — seems to blatantly contradict the facts.) In a recent British Journal of Photography article, “New early photographic process to force history re-write,” Olivier Laurent reports that “Joseph Nicéphore Niépce’s contribution to the history of photography has been elevated after the National Media Museum and the Getty Conservation Institute revealed new findings stemming from three of Niépce’s photographic plates.”

Un Claire de Lune, c. 1827 © The Royal Photographic Society Collection at National Media Museum/SSPL.

Un Claire de Lune, c. 1827 © The Royal Photographic Society Collection at National Media Museum/SSPL.

Created by Niépce circa 1827, Un Claire de Lune is the name of the work that’s really got photographic history re-writers excited. Laurent explains that the image — truly beautiful and evocative, hardly a mere photographic experiment — was long thought to be “enhanced with etching” but that “it is actually a photograph without any hand tooling at all.”

To better understand the confusion regarding the early years of photographic history, check out my earlier post and see how Louis Daguerre usually gets pitted against William Henry Fox Talbot, while Niépce seems to get such short thrift because:

1. Apparently he was not able to demonstrate his work to the Royal Society in London. (Something about the organization being in turmoil, says that National Media Museum.)

2. He died in 1833. (Never good for standing up for one’s place in history.)

According to the National Media Museum, these facts left Niépce’s “sometimes collaborator Louis Daguerre to publicly reveal photography to the world in 1839.”

Beauty Beyond Theft

This might make it sounds like Daguerre was an opportunist and a thief, and maybe he was. But as I Continue reading “Niépce Gains Greater, Much Deserved Respect”

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