Advertise here via BSA

If this title sounds vaguely familiar to you we are probably about the same age, for those of you that don’t know Dire Straits here is a link to history!

We know you love FYP and we also know that you are not always at your computer and therefore can’t get on your browser to keep up-to-date with the latest postings.  Rather than watch you flop around on the floor, I’m going to share some additional ways that you can read your favorite FYP authors during your morning  or afternoon travels, lunchtime or even lying on a tropical beach like me.  If you are reading this congratulations, you already know the most popular way to read the great articles from the most diverse photography writers on the web!  In this posting I’m going to explain elements of the little yellow box on the site inviting you to “Get Fueled”

RSS

Really Simple Syndication more commonly known as RSS is a great way to aggregate feeds from your favorite sites.  RSS comes in both desktop and mobile forms and allows you to go to a single place to receive all your latest updates. Google Reader is a popular desktop and mobile RSS client if you have an Android phone you can get it from the Android Marketplace.  Apple fanboys/fangirls you are not to be left out, a version for iPhone is available here.  Blackberry users , like me, will have to be content with Viigo, it is not quite as intuitive but it does the job!

Once you have your preferred method you can click on the “SITE RSS FEED” link and then select Google Reader and FYP will be added to your feed.  Full and complete articles are available for you to read at any time just by opening your RSS reader and selecting Fuel Your Photography.  This is especially great for smaller screened mobile devices where mobile browsers are a pain.

Email

Keeping up by email is even easier, simply enter your email address in the field in the yellow box that says “Suscribe by Email” and then click the subscribe button new articles will be emailed to you immediately after posting.  Depending on your mobile email client you may not receive the full multimedia experience.  Your mileage may vary!  You will not be sent any Unsolicited Commercial Email (SPAM) by subscribing to the email feed.

Twitter

FYP maintains a very active twitter feed, a link to every article published is posted here along with select other tweets, follow us on twitter @FuelPhotography.   One of our Twitter secrets, for you die hard photographers and tweeters you can follow the list of our writers and keep up with their tweets.  Be advised that writers tweets are their own and do not necessarily reflect the opinion of FYP.  If you are brave and not faint of heart follow TeamFYP.

Facebook

Facebook??  Heck yeah, we are on Facebook!  You can find our page here and Facebook provides an additional forum for you to give feedback and easily share our articles with friends and groups, we really appreciate when you do so.  Feel free to fan us on Facebook.   We also have a page strictly dedicated to our FYP/500px Photography Contest, have you entered yet?

Google +

What is Google +?  Google Plus, like FYP, is a great place for creatives, however not as targeted as FYP, we know we are among your top photography resources. FYP maintains a page on Google Plus and reaches out to photographers and photography lovers alike, if you are on Google Plus circle us at gplus.to/FYP, if you are not yet on Google + join here mobile clients are also available.

Flickr

Check, we are also on Flickr and if you are too you can post 2 images per day to our group for feedback of other members.  We look forward to seeing your shared images!

I’ve shared with you some great ways to interact with FYP, I’m interested in hearing how you use it in the comments section below.

Advertise here via BSA

Behind the Lens is a new series that allows you to learn a bit more about your favorite FYP Writers.  While we know your enjoy their articles, sometimes you just want to know what makes them tick!  We are pleased to provide that insight for you.

Hugh Walker is an amateur photographer who lives on the beautiful island paradise of Barbados with his wife, Cheryl and 14 year old daughter, Giselle. Photography is a family affair for the Walkers; Hugh’s wife and daughter being award winning photographers, having both won numerous medals and special prizes at the annual Barbados National Independence Festival of Creative Arts. As Hugh put it: “We have a healthy family competition going on and so far I am losing to the ladies”. However, Hugh is not to be outdone by the family, having won silver and gold medals as well and special prizes in Architectural, and Black & White photography.

Hugh has a passion for landscape photography and one of his greatest dreams is to have the opportunity to travel to exotic locations and be exposed to a wide variety of landscape scenarios. In late 2010 he took one such memorable trip to the Grand Canyon. His comment about the trip being “The temperature was about 5 degrees below zero and there is this guy from the Caribbean, with an insane smile on his face, shooting everything in sight an loving it! It was a dream come true”.

Besides landscape photography he has dabbled a bit with portrait photography. Hugh is however drawn to architecture and abstract photography. There is something about the lines of a building that intrigues him. Each building has a character that has been developed through the design elements used by the architect, and he loves to try to find it and demonstrate it in an artistic manner.

Hugh loves to create images that are dramatic in nature; his point of view is that “We see the ordinary every day in our lives and I strongly believe that the images we create should not be ordinary, but should attempt to take the viewer to another place”. Hugh embraces colour, but loves black and white. His initial exposure to photography was in the era of film and the wet dark room . “Black & white was the medium we used because we could not afford to process colour, because of the cost of the chemicals and papers. We had full control of the black and white process, from developing to printing”. Today he embraces the digital tools, especially Adobe Lightroom and the Nik suite of plugins. His favorite tool is Nick Silver Effects Pro which he finds is best at black and white conversion.

When it comes to equipment Hugh has a foot in both of the major camps. He shoots both Nikon and Canon. Some may think this is strange but he finds that both have their weakness and strengths and that being slavishly tied to one system does not fit his profile. Favorite lens are the Canon 100mm f 2.8 L macro, and 70 -200 f2.8l and the Nikon 16-85 VR . Favorite software products are Adobe Lightroom and Nik Silver Effects Pro.

Hugh’s work can be found online at his portfolio site  http://Art4life.zenfolio.com

Advertise here via BSA

[Editor's note:  Photographs in this post contain a degree of nudity and maybe considered NSFW.]

This month we interview Fine Art and Editorial Photographer D. Yee, who is currently based in New York City and works freelance. He uses photography as a continuation of his works in figurative drawing and painting, and through it he experiments with his admiration for the human condition.

FYP: Tell us a little about yourself

D. Yee: I lived in the metro areas of New York for most of my life. Apart from photography, I continue to paint and draw as my other alternative to visual work involving human figures and stories. World travel is one of my favorite activities whenever I get/make the opportunity to.

FYP: Have you had formal training in photography?

D. Yee: No proper training as in classes or school. I’m mostly self taught and had worked with a photographer for a summer some years ago. Studying photographs and photo essays are also ways of learning and discovery.

FYP: Where do you see yourself in five years time?

D. Yee: That’s what I asked myself five years ago this time. So, for the next five years, maybe I see myself finally putting together a book of strong (and I mean very strong) collection of work, live and work abroad. Or, simply to have seen more of the world than I have now.

FYP: What is the biggest challenge you’ve had to overcome in your photographic career?

D. Yee: Projecting my most honest tone of voice and vision in my work. Whether or not it appeals to others. I’m sure this is something one comes into conflict with, especially when you start out. You want to produce work you want to feel accepted by a mass public. If you can find pleasure in this go for it. For me, when I took into consideration what may appeal to others I found myself feeling bland and quite empty. I don’t often listen to what people want to see unless it’s a commercial job (even with that, I try to inject my aesthetic – stand for your artistic voice).

FYP: Who is your favourite artist?

D. Yee: I have quite a few, but I’ll randomly pick one now: Guy Bourdin.

FYP: Where do you find your inspiration?

D. Yee: In the most unexpected places. It could be from a silent walk to the most absurd moments/subject matter. I try to keep my senses open.

FYP: What are your favourite techniques or methods?

D. Yee: I tend to I draw out an idea before I decide to go forth with a photograph (if it’s a production). For my street work, it’s just a lot of aimless wandering and patience while framing each moment as if I’m shooting the film that I see before me.

FYP: How much emphasis do you put on post-production?

D. Yee: Depends on the situation and project. Half and half? Or less. I’m mostly concerned about color temperature in a photograph when it comes to this stage.

FYP: What genre would you most like to experiment in?

D. Yee: Cinema. Motion storytelling.

FYP: If you could photograph anyone/anywhere in the world, who/where would you photograph?

D. Yee: I would like to shoot a short film (or stills) on a beautiful baron landscape of individuals (and nudes) adorned in some kind of strange and beautiful fashion. It’d be based on a short story I have had in the back of my mind for the last six years. Just haven’t found the right time and place to do so.

FYP: Have you got any hints or tips to share with aspiring photographers?

D. Yee: Realize that photography is a soul-sucking job, but being persistent and passionate about it helps. And, most importantly, don’t always follow the stream even though we’ll fall into it once in a while. Go explore and take a creative risk once in a while. Make the best of yourself. You live once.

FYP: What is your favourite way to de-stress?

D. Yee: One of my de-stressors is thrashing/dancing to my favorite bass-thumping dance tracks. Drawing/painting or a long walk would be my more quiet alternative.

FYP: Thanks for sharing, D. Yee, and good luck with the future!

Contact Info:

Facebook

Flickr

Website

Advertise here via BSA

Behind the Lens is a new series that allows you to learn a bit more about your favorite FYP Writers.  While we know your enjoy their articles, sometimes you just want to know what makes them tick!  We are pleased to provide that insight for you.

Ameena comes from a small town just on the outside of London, United Kingdom.  She will be 21 years old this September, and will have been with FYP for two years and a few months by that time. She currently lives in Bristol, in the south west, where she is in her first year of studying photography at university.

Ameena is a prolific writer and has published numerous articles about different techniques and genres in photography at FYP, but at the moment she is responsible for the ‘Weekend Photo Focus’  and ‘Weekend Photo Find’ which are published every Friday and Monday. She also publishes a monthly interview with notable professional photographers, which goes live on the 30th of every month (look out for this months featured photographer).

Her style is still in its developmental stages, and therefore very experimental. Portraiture is her strongest area, as well as conceptual photography, which is mainly due to her participation in the 365 project (in which she attempted to take a self-portrait everyday for a year). As well as that, she has a great love for creating surreal and dream-like images, especially as sometimes she gains inspiration from her dreams which can be very vivid.

As well as portraiture, she loves to photograph landscapes and different cultures, this stems from having relatives all over the world and being quite well-traveled as a child because of it.  One day, when she can afford it, her dream is to go traveling and discover all the hidden gems of the world,  just to take photographs.  Ameena also has a growing collection of film cameras, and loves to expose roll upon roll of black and white  film.

Recently, Ameena upgraded her dSLR from a Nikon D60 which was cherished and loved for many years, to a Nikon D7000 which was bought because of its greater range of features but also because of its ability to shoot video, which Ameena hopes to experiment with in the near future.  Her favourite lens is also a recent purchase, a 50mm F1.8 lens, which she fell in love with as soon as it was affixed to her camera.  Ameena loves to use it for her portraiture photography, and self-portrait series as it provides gorgeous depth-of-focus, she is rapidly developing an affection for prime lenses.  It was also the perfect lens for a recent series she did based on the cinematic style for a university project, which she also did an article on.

Ameena was introduced to photography in an unusual way; before she was given a digital camera for her 14th birthday, photography as an art had never crossed her mind.  She took her new camera with her to local gigs that she attended fortnightly with her friends, and started taking photographs of the bands that played.  Eventually, she was asked to take photographs for the company that held the gigs, so that they could show them on their website.  She did this for about three years, and during those years her skill in using a camera developed, and her interest became a full-blown love affair with photography, which to this day has not dwindled, nor does she expect it to.

As mentioned before, Ameena is in her first year, studying photography at university, and intends to become a famous and perhaps rich photographer one day, photographing for the likes of Vogue and I-D magazine.  Writing for FYP has given her the technical skill and desire to become part-journalist and to also has allowed her to pick up a variety of other skills to add to her collection and therefore up her value as a creative.  When she started university, Ameena decided to take it a step further by seeking clients and hopefully have the chance to work with real models and establish her name in the industry.  Yes, it is a slow process, but everyone has to start somewhere, fortunately for Ameena it is paying off slowly because  in December 2011 she did her first ever fashion shoot in which she shot some brilliant photographs, and had a great experience at the same time.

You can view Ameena’s most recent work on her Flickr and Facebook page, and her portfolio here. She may also be contacted by email to a.rojee@hotmail.co.uk.

Advertise here via BSA

Last time we focused on the Library module , specifically the tasks of importing and organizing images into Lightroom.  Today we are going to get started on the most important module, “The Develop” module. This is where the action begins, it is huge , can be complicated , but its where the benefits of working with a non destructive image management application become evident.

Remember our example of  having  completed a shooting 600 images at  a retirement function for Mr Jameson at the Bradbury Hotel. We had used light room to whittle those 600 images down to a  set  of 5 star images that are suitable for presentation to the client.  Our next step is to retouch the images before we send a proof page of to the client. Lets start with ensuring that what we saw in the viewfinder in terms of colour  is reflected in the images that we are working on . We will do this by  setting white balance and camera calibration  options.

The Develop Module (Overview)

In the module picker, select the develop module. The Develop module contains two sets of panels and a toolbar for viewing and editing a photo. On the left are the Navigator, Presets, Snapshots, History, and Collections panels for previewing, saving, and selecting changes you‘ve made to a photo. On the right are the tools and panels for making global and local adjustments to a photo. The toolbar contains controls for tasks such as changing between Before and After views, playing an impromptu slide show, and zooming. The panel on the left contains the following options

• Presets ( a number of canned actions that can be used to add dramatic flair to images).
• Snapshots ( a means of creating a reference point that captures the editing effects that have been applied to an image)
• History ( very similar to the history panel in Photoshop, this allows the user to step backwards through the various edits that have been performed on an image)
• Collections ( A set of images )

The right panel contains the various  tools and sub panels for editing the image.

• The Histogram
• The adjustment tools (Crop,spot heal, red eye, gradient, adjustment brush)
• Basic  (Brightness, Contrast, Blacks, Saturation etc.)
• Tone  (Tone Curves)
• HSL  (Colour Manipulation)
• Split Toning
• Detail (Sharpness, Noise reduction)
• Lens Correction ( Corrects optical anomalies of a lens)
• Effects  (Vignette)
• Camera Calibration

The bottom panel displays the film loop of images that are currently being worked on .

White balance adjustment

Assuming that we captured the images in the RAW format then the  white balance can be adjusted to reflect the lighting conditions under which it was taken—daylight, tungsten, flash etc.  The  white balance can be set by  either choosing  a white balance preset option or selecting an area in the photo that can be considered to be a neutral color.  Note: White balance preset options are available only for raw and DNG photos. White balance for all photos can be edited using the sliders.

White balance preset options

In the Basic panel of the Develop module, Lightroom  provides a number of white balance options which have been calibrated to closely duplicate the effect of a variety of light sources on an image, these are referred to as the white balance pre sets and can be accessed via the WB button in the basic panel  , these are normally the same presents that can be found in the white balance menu of  most modern  digital cameras.

• As Shot uses the camera‘s white balance settings, if they are available.
• Auto calculates the white balance based on the  image data.
• Daylight emulates the conditions normally found on a cloudless day
• Cloudy  emulates the lighting conditions that can be found on a day with overcast skies
• Shade emulates the lighting conditions that can be found when shooting under shade
• Tungsten emulates the lighting conditions that can be found when shooting under tungsten lights
• Fluorescent emulates the lighting conditions that can be found when shooting  under fluorescent light
• Flash emulates the lighting conditions that can be found when shooting with  a flash unit
• Custom allows the user to create a custom white balance setting to meet specific lighting requirements

When one of the presets is selected then Lightroom applies the white balance setting and moves the Temp and Tint sliders in the Basic panel accordingly. However oi if the Lightroom cannot read the image’s meta data to determine which in camera white balance setting was used it will default to Auto .

The second method of setting the white balance is to select a reference point (neutral area) within the image which Lightroom will use to calibrate the white balance setting. One should select an area of the image that when printed or viewed on the screen will be gray.

1. In the Basic panel of the Develop module, click the White Balance Selector tool  select it, or press the W key.
2. Move the White Balance Selector into an area of the photo that should be a neutral light gray. Avoid spectral highlights or areas that are 100% white.
3. The Navigator displays a preview of the color balance as you move the White Balance Selector over different pixels.
4. When you find an appropriate area, click it., The Temp and Tint sliders in the Basic panel adjust to make the selected colour neutral, if  possible  Fine-tune the white balance using the Temp and Tint controls

In the Basic panel of the Develop module, adjust the Temp and Tint sliders.

Temp

Fine-tunes the white balance using the Kelvin color temperature scale. Move the slider to the left to make the photo appear cooler, and right to warm the photo colors. You can also set a specific Kelvin value in the Temp text box to match the color of the ambient light. Click the current value to select the text box and enter a new value. For example, photographic tungsten lights are often balanced at 3200 Kelvin. If you shoot  under photo tungsten lights and set the image temperature to 3200, your photos should appear color balanced.
One of the benefits of working with  raw files is that you can adjust the color temperature as if you were changing a setting in a camera during capture, allowing a broad range of settings  When working with JPEG, TIFF, and PSD files, you work in a scale of -100 to 100 rather than the Kelvin scale. Non-raw files such as JPEG or TIFF include the temperate setting in the file, so the temperate scale is more limited.

Tint

Fine-tunes the white balance to compensate for a green or magenta tint. Move the slider to the left (negative values) to add green to the photo; move it to the right (positive values) to add magenta.  If you see a green or magenta color cast in the shadow areas after adjusting the temperature and tint, try removing it by adjusting the Shadows Tint slider in the Camera Calibration panel.

Camera Calibration

Lightroom uses two camera profiles for every camera model it supports to process raw images. The profiles are produced by photographing a color target under different white-balanced lighting conditions. When you set a white balance, Lightroom uses the profiles for your camera to extrapolate color information.

These camera profiles are the same ones developed for Adobe  Camera Raw. They are not ICC color profiles. You can adjust how Lightroom interprets the color from your camera by using the controls in the Camera Calibration panel and saving the changes  as a preset. You may find it useful to photograph a standard color target under the lighting you want to calibrate.

Select a photo, and then set options in the  Camera Calibration panel.

• Profile sets the profile to use for your camera.
• ACR [version]- These profiles are compatible with older versions of Camera Raw and Lightroom. The version corresponds to the version of Camera Raw in which the profile first appeared. Choose an ACR profile if you want consistent behavior with legacy photos.
• Adobe Standard-These profiles significantly improve color rendering, especially in warm tones such as reds, yellows, and oranges, from earlier Adobe camera profiles. The Profile pop-up menu displays  only one Adobe Standard profile for your camera.
• Camera Matching-These profiles attempt to match the camera manufacturer‘s color appearance under specific settings. Use a Camera Matching profile if you prefer the color rendering offered by your camera manufacturer‘s software. Camera Matching profiles include the prefix Camera in the profile name.

Shadows

• Corrects for any green or magenta tint in the shadow areas of the photo.
• Red, Green, and Blue Primary

The Hue and Saturation sliders adjust the red, green, and blue in the photo. Adjust the hue first, and then adjust its saturation. When you are happy with the result on the screen then save the adjustments as a develop preset, which you can use again when faced with images taken with the same camera in similar lighting .

Next time we will continue  our exploration of the develop module by looking at “Virtual Copies” and “Global Adjustments”. Until then happy shooting

Advertise here via BSA

I have a confession to make: I am mildly obsessed with just about anything that is of an abnormal scale/size. This includes (but is not limited to) dogs that are of the “giant” or teeny-tiny variety like newfoundlands or teacup and micro sized dogs, or furniture that is impossibly huge or ridiculously small like the giant adirondack chair located DC or the mini 1950s style playball chair that is just the right size for my three-year old daughter.  Also included in my mild obsession? Train sets and dollhouses.

This image was taken with my Android phone and the phone app Pixlr-o-matic as reviewed by my fellow writer David Pringle some weeks ago. It is a snippet of the amazing train set display done at the science center in Pittsburgh every year around this time. Hard to believe but this was maybe 1/10th of the whole set up!

This is another image taken with the same phone app as the above image. This one I tweaked slightly though to make it appear as if it truly is one taken from way back when it historically could have been taken with regard to the part of the train set (the coal miners camps) that is pictured.

So what does this have to do with photography? (Since that IS what we are here for, right?) Well, it’s got a LOT to do with photography. Why? Because there just happens to be a type of photography that goes right to the heart of my love for these miniature views of life. Say “hello” to Tilt-shift photography.

Ever heard of tilt-shift photography? It’s not hugely popular by it’s name because it is so much more easily recognizable by the way it looks. Here are some classic examples of tilt-shift photography. (If these aren’t enough to convince you of the coolness factor of tilt-shifting check out this flickr group devoted entirely to it.)

Kind of amazing to behold isn’t it? It is because of the “magic” that is the tilt-shift lens that makes it all possible. A tilt-shift lens achieves this fake miniaturized effect by using a selective focus on one portion of the frame of an image.  The lens is designed such that it can be bent (or rather tilted) to an angle relative to the image plane (within the camera body) which then shifts the orientation of the plane of focus of one part of the image so that it is sharply focused in juxtaposition with the rest of the image. (The Scheimpflug principle is the reason why it happens this way.)  Is what I just incredibly difficult to follow understand? Well, whether or not you followed it or not doesn’t matter anyway because we can just agree that it looks REALLY cool and that’s the point of this to begin with.

Anyway, can you believe that these pictures would be correctly proportioned if they were only taken with a standard lens and not a tilt-shift lens? Too bad the whole world of tilt-shift photography is so cost prohibitive because of how pricey the lenses are. (Too many of them are in the range of closer to a thousand dollars at least.) Even things like lens babies (an alternative to the actual lenses) still cost a pretty penny enough that it’s hard to justify such an expensive to satisfy an unreasonably obsession like what I have. Let’s not dwell on seemingly impossible dreams here though, okay? I have an incredibly cost effective approach to tilt-shifting. Guess what! You can “fake” the tilt-shift effect with a very quick and simple photoshop tutorial. Check it out in this completely do-able tilt-shift photography tutorial for photoshop that will walk you through the steps of taking an image you already have and digitally rendering it with some tilt-shift magic.

Something else you can do if you don’t have photoshop. How about using lenses you already have?  You can always use what you got and do a little Freelensing a la the legendary Ryan Brenizer.  Be forewarned though! This method and technique is NOT something for the faint of heart or unsteady of hand since it requires you do to something exactly like taking the lens off of your camera body mid-shutter hit and then physically holding it in a bit of a hover in just the right way in front of your camera body. Does it sound a bit challenging? Well. It is. Trust me! (I’ve tried it with less than stellar results.)  However, I’m sure that it is something that you certainly could master with decent practice so that’s why I even mention it here and now.

And last but not least, you can always give the Tilt-shift maker a whirl. I mention this last only because it requires the bare minimum of effort and why work smarter when you can work harder? All you’ll need is a photograph of your choice and then you just point-click and *voila* you’ve got a tilt-shift image with hardly any fuss.

Have I made you a fan of tilt-shift photography?  Please share your best tilt-shift efforts via the comment section below. If you still aren’t convinced of all of its awesomeness and as yet refuse to join the ranks of its fandom, well (I assure you) I am more than enough of a fan to make up for whomever still doesn’t like this the biggest little images there ever could be in the photographic medium.

Advertise here via BSA

There usually comes a point in every artists progression when the question of “originality” seems to be of great importance.

I think I ignorantly thought as a younger artist that “of course everything I create is original!” I wasn’t too concerned about it. As I continued to progress and develop my skills, I became more aware of the world around me and increasingly unsatisfied with the work that I created.

It didn’t seem original enough.

Surely, my images were not earth shattering enough for one to say that they had never seen anything similar before. That seemed to leave me with a sense that my work was nothing special.

I took a break from looking at other photographers work for awhile (especially those living in my area) and became determined to think and create on my own. I discovered some interesting things.

I still remember one particular occasion of triumph and disappointment.

As a portrait/lifestyle photographer I am constantly scouting new and interesting locations to photograph my subjects. A few weeks after moving to a new home I discovered the most amazing house a few streets away that had incredible landscaping mixed with vintage art. An old school bus, bikes, rustic wooden buildings, a chicken coup, and many more exciting treasures to be found around each corner. I resolved that I must shoot there and congratulated myself on such a unique find! Soon after, I knocked on the door to seek permission to use the owners yard for a shoot.

A beautiful woman with long silver hair answered the door and listened to my request with an almost knowing smile on her face. After I finished my elaborate compliment of her artistic yard, she nodded casually and granted permission.

“Of course you can photograph here!” She began. “We get photographers all the time who want to use our place and we’re delighted that other people can enjoy it!”.

Instead of feeling triumph in obtaining the right to shoot, I suddenly felt deflated inside. Other photographers had already discovered this place before?! I wasn’t the first one to come here?! My work would be just like all those other photographers who came here before I did?

I thanked her, and scheduled the shoot regardless.

This same type of experience has happened to me on a few other occassion’s. I think of a thrilling concept, I approach people for permission, only to discover with their gracious cooperation that others had been there before I had.

But is this really a reason to get down on myself for the quest of originality? Should I visit Grand Teton National Park and refrain from taking pictures, simply because Ansel Adams already photographed the Tetons?

I was beginning to see that chances were high that anything I wanted to create, had likely been done before in some form.

But thats the key. It was only a “form”. Sarah Ban Breathnach said, “There is no such thing as originality. Only authenticity.”

If I sought for truth, if I sought to be honest in my work, drawing from my own life experiences and perspective, my form and interpretation would be different and unique.

I began to discover that perhaps my naive young artist self hadn’t been so wrong after all. Everything I create is original in the end. Just as C.S. Lewis said,

“Even in literature and art, no man who bothers about originality will ever be original: whereas if you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it.”

In a recent interview with Tamara Lackey, photographer Scott Bourne shared this piece of advice, “Don’t worry about new, worry about you.”
The quest for new can be a misleading and disappointing road to follow, especially if that is our main intent in creating.

Seeking originality simply for the sake of originality produces work that lacks a deeper more communicative purpose.

I’ll never forget the day I sat in my graduate level music composition course listening to the new works of fellow composers. The quest for originality was more valued than authenticity among the faculty here, and as such, there were quite a few “interesting” works produced. Like the 20 minute musical work written for Clarinet and Vacuum Cleaner. Most certainly it was original! I had never in my entire life heard a piece that was written for the vacuum cleaner. Ever. And I really don’t care to hear another one. Ever.

Contrastingly, I have also heard another piece written by this same composer when he was less concerned about impressing a faculty with his originality and instead wanting to communicate something important to him.

Both pieces ended up to be original in the end. But the latter was far more profound and communicative.

I have since learned that the quest for authenticity is much more powerful and fulfilling than the quest for originality. And really, that’s what makes this whole photography experience as thrilling as it is… how can I share my perspective? How do I see the world differently than those around me? What is my story?

Trying to find our own authenticity among the abundant work that has already been created is not merely a matter of shooting something similar with a different lens, or taking a higher or lower vantage point. Its about finding the spirit of who we photograph and what we photograph. Its a moment that can sometimes be as fleeting as 1/100 of a second. But its yours. Its truth. And its original.

Advertise here via BSA

Behind the Lens is a new series that allows you to learn a bit more about your favorite FYP Writers.  While we know your enjoy their articles, sometimes you just want to know what makes them tick!  We are pleased to provide that insight for you.

Chris Gronde was born outside of Chicago and raised in Indianapolis, IN.   He spent seven and a half years serving in the US Navy including two deployments on USS Ronald Reagan (CVN-76) in the Western Pacific and a deployment as part of Counter Rocket Artillery and Mortar Team 2 in Baghdad, Iraq.   He met his wife and fellow photographer Brandy while on board USS Ronald Reagan where they traveled the world together and then when Chris discharged from the military he and Brandy got married and moved to Washington DC where she is now stationed and still on active duty.  As a well versed IT professional, Chris became a government contractor for the US Navy at the Pentagon where he now works.   He was pursuing a degree in IT, but was not very motivated about it.  Although he is good at what he does, it was just a job to him and not something he wanted to devote that much time to.  His wife and friends spent some time trying to convince and then twisted his arm and got him to change his major to Photography.

Chris, the member of the dynamic duo who contributes to FYP,  writes about the ever changing wedding photography business as well as photography education and his experiences in getting a formalized degree in photography.  If you want to shoot weddings you have to love weddings.  His wife Brandy eats sleeps, and breaths weddings.  If she’s at home on the couch, it’s because she is probably watching the wedding channel. You have to keep up with what’s trending and relevant in weddings and wedding photography.  If you don’t keep up and stay fresh in your shooting style and show off their details and their fashion in a way the bride wants they will quickly find a different photographer.  Chris tries to let you know what to look out for and the things to keep in mind if you really want to jump head first into this business.  There are a growing number of people with entry level DSLRs out there passing as wedding photographers and at one time Chris admits he was one of them, but he didn’t shoot a wedding until he was sure he was ready and he wants to make sure if our readers want to shoot weddings they are as ready or more ready than he was.

Chris describes his style is a “Naturalistic Dramatic Portraiture”.  Naturalistic meaning that although he and Brandy encourage posing, they don’t really pose.   Brandy is phenomenal at encouraging movement and placement.   Instead of placing your hands and tilting your head, she’ll just ask “can we get a kiss?”, “Hold her close”, or “Now, pretend you two love each other.” (That typical gets a nice laugh or smile).   The subject does each movement the way they naturally do it and it looks like there is no posing at all.  Dramatic means we’re telling a story, but instead of journalistically we tell the story you want to tell.  When Chris was a child, a wise man once told him, “Never let the truth get in the way of a good story!”  Also, it means that the photos are enhanced either through framing, effective lighting, or post processing to add drama and create a striking photo that is worthy of being treated as art; something worthy of being in a gallery or hanging on your wall.

Brandy and I both shoot Nikon.  Chris’ weapon of choice is the Nikon D300.  It’s a very sturdy body (He’s been known to drop cameras out of trees), shoots quickly, and has very low noise at high ISOs. Brandy’s favorite is the Nikon D7000.  It’s currently the Boss of the midrange DSLRs for Nikon. High megapixel count, dual SD card slots, and the best video Nikon provides are some of its key features, as well as being small and light enough for her to hold up for 8 hours of a wedding.  His favorite lens is probably one of their most inexpensive.  The good ol’ 50mm f/1.8. If you’re going to shoot weddings you need a quick lens for those low light situations and it has such a great bokeh.  Brandy is the details person so if it’s a Macro, it’s her favorite lens, anything to capture those remarkable ring and shoe shots the brides love so much.

Chris’ interest in photography started at a very young age.  Since his first experience with a  110 film camera he borrowed from his dad to take to the circus as a child, he had been in love with photography. It grew as a hobby and became his passion.  Ironically, while serving in the Navy, he met a woman who shared that passion!  From 110’s to her first 35mm Vivitar, Brandy has always loved capturing memories. While overseas the dynamic duos first date was spent taking pictures together at Disneyland in Hong Kong, China with the Nikon D60 that she bought Chris for his birthday. They traveled the world photographing everything they could. After Chris’ time in the Navy was up, Brandy and he got married and they were not too impressed with their experience with their wedding photographer. The pictures were decent, but they had to direct the shots and the photographer just wasn’t personal about it. It was just business.

After their own wedding experience, Chris and Brandy opened Gronde Photography in April of 2010.  They had finally found their calling.  Although Chris maintains his IT job, his career and his life is photography.  First and foremost they are wedding photographers, but they also provide family, maternity, boudoir, senior, and newborn portraits.  Occasionally when they need to feel so inspired they help young models with their portfolios or do some fashion or editorial style shoots.  Their resident makeup artist Victoria Barth is always happy and available to stand in as a model for them. As far as writing for FYP, Chris and Brandy met Patrick Onofre through Union 206 Studio of which they are all members.  Patrick offered Chris the opportunity to tell his story and share his knowledge through Fuel Your Photography.

There are many places online to view their work.  The first of which is their main client website.  You can also read Chris’ personal blog, Gronde Photography: Behind the Lens.   Some of their editorial and fashion work can be seen on 500px.  If you want to see sneak peeks of what they working on right now, please feel free to “like” them on Facebook and follow Chris on twitter @grondephoto and Brandy’s twitter @photog_princess.

Advertise here via BSA

Everglades, copyright Tito Trelles

The Everglades have always sounded exotic and alluring to me.   In my mind, “Everglades” conjured up images of green swamps, alligators, and me speeding along in an airboat wearing a pair of those fancy earmuffs.  I was always glued to those National Geographic specials on TV, and made a mental note to visit there someday.

A few years ago, when I came upon the exquisite fine art images of the Everglades by photographer Tito Trelles in his “Almost Full Moon” and “Caretakers of Paradise” series, I was inspired, absolutely sold, and immediately started planning a trip out there.  Photography can be quite persuasive…

Tree in the Everglades, copyright Tito Trelles

Kat Villari in the "Caretakers of Paradise" series, copyright Tito Trelles

Everglades National Park in Florida protects the southern 25 percent of the Everglades.  The park is comprised of wetlands that are maintained by a slow-moving river from Lake Okeechobee. (slow as in moving 0.25 miles per day!)  Hundreds of species of birds thrive in this fragile ecosystem.  Several threatened species also call the Everglades their home, including the elusive Florida panther, the American crocodile, and the West Indian manatee.  The entrance to the National Park is only about 1.5 hours drive from Miami, so it made a great, easy day trip.

Upon first glance, the Everglades was an endless sea of grass capped by a moody, cloudy sky.  On closer inspection, there was actually even more grass than I originally thought, and sometimes the occasional bush.  But on foot, camera in hand, sauntering along the well-marked walking path, I began to see a whole living world in the water and between the blades of grass that I never would have discovered by airboat or by plane.

Double-crested cormorant

Fresh catch, anhinga

I spent one afternoon in Shark Valley, wandering the paved trail with my husband.  We figured it’d be a leisurely walk, but it was much longer than we had originally anticipated.  It was actually a 15 mile long path and the sun fried us to a golden crisp.  Not a good place to forget your sunblock!  Those tan lines persisted for almost two years, no joke.  Nevertheless, there was plenty to see, alligators in every direction, turtles, and birds galore.  The next time I do this trail, I am renting a bicycle!  There was the occasional tourist and their young child getting far too close to the gators (there is nothing blocking gators from crossing the path, it’s not a zoo, folks!).  I’d suggest a good zoom lens instead of risking your hand and the resulting $20K hand surgery.  It’s a much better investment, anyway.

Gator on the trail

Florida softshell turtle

These images were taken on my second trip to the Everglades with friends and gifted photographers Bryan Benoit (who so kindly lent me the Canon 100-400mm lens and clinched my decision to buy it for wildlife photography!) and Kat Villari.  We spent the afternoon wandering along the Anhinga trail and the Gumbo Limbo trail and there was no shortage of birds, alligators, as well as photographers armed with every sort of lens you can imagine.   I found the 100-400mm to be the perfect lens for the variety of wildlife we saw there, and portable enough to walk a few miles in the heat.  I did not carry a tripod, though many photographers out there did.

Double-crested cormorant

Alligator

The busiest season tends to run from December to March (also known as the dry season), when the temperatures are more tolerable and the mosquitoes are less active.   The mosquitoes in the Everglades grow to absolutely ridiculous sizes, so they are best avoided if possible!  Water levels are also lower during the dry season, making it easier to view wildlife in more central locations.  May to November heralds the wet season, where humidity can be at 90% and storms can literally drop 10-12 inches of rain at a time, which is not great for your gear unless you shoot with a waterproof camera!

Anhinga, the namesake for the trail

Purple gallinule

A few things to never forget when photographing in the Everglades:

-       hat

-       sunblock

-       bug repellent

-       plenty of water (and make sure to stop for a cool drink at Robert Is Here nearby- really great smoothies and fresh fruit!)

Endless sea of grass

There is a great deal of ongoing preservation and restoration work constantly occurring in the Everglades.  To read more about these efforts, visit the Everglades Coalition.  Hopefully we can help preserve this marvelous World Heritage Site for generations to come.  If you’ve spent some time in the Everglades, please share your thoughts and experiences with us, because I’m sure I’ll be back again to visit soon.  ’Til then, happy travels!

Advertise here via BSA

Each Monday, we’ll highlight one indie photographer whose body of work deserves special recognition. Please enjoy their photography here, and make it a point to enjoy the rest of their work on their website.

Jim Crotty currently lives and works on Hilton Head Island, South Carolina USA but originally hails from Dayton, Ohio. His style of photography, as it relates to his work with nature and landscape subjects, has been best described as calm and peaceful. He strives to convey a sense of serenity with his nature photography through the use of subtle natural light, shallow depth of field and emphasis on texture and shape.

When it comes to equipment Jim shoots with both a Canon 1D Mark III and a Canon 5D Mark II. He is more likely to use  the 1D Mark III for his work with nature and landscapes  because he is in outdoor situations where he has to deal with the elements and most recently, sand, for which the weatherproofing of the camera make it ideal.  The speed of the the 1D Mark III is also ideal for wildlife.  Jim’s favorite lens is his Canon 17-35mm f2.8 L lens.  He loves working with dynamic skyscapes at sunrise and sunset and he finds that the Canon 17-35mm f2.8 L lens works beautifully with how he likes to capture scenes with interesting foreground elements.

Jim uses natural light exclusively when working with nature and landscapes and he shoots raw format files  at lowest possible ISO as he does a lot with HDR which necessitates multiple exposures (from three to seven frames) with changes in shutter speed for over, even and under images.  The first thing he does when back at his desktop work area is back-up all the raw files directly from the cards to archival DVDs. He then imports the raw files into his Mac Pro desktop system or MacBook Pro.  If they are for HDR he just transfers the files  to a folder on his desktop for merging and tone mapping via Photomatix Pro stand alone program. After processing in Photomatix he imports the resulting 16-bit TIFFs into Aperture for file management and further adjustments.  He also loves converting HDR to black and white using Nik’s Silver Efex Pro.

For non-HDR he imports directly to a project folder in Aperture. From there he edits and performs basic adjustments, such as dust spot removal, straightening, definition, etc. Edited images for uploading to his printing service, web site galleries, blogs, etc. will most likely go through a few more adjustments using one of the various Nik plug-ins of which his favorite is Viveza 2.

For portraits and digital art photography he uses Adobe Photoshop CS5. There are some custom actions that he prefers such as those by Formula One.

Jim loves shooting dynamic skies at dawn or dusk, he believes it is in the margins of the day when light and life merge seamlessly and it is those brief moments when we are blessed with scenes of incredible peace and beauty.  Fortunately he lives in an area where more often than not there is a dynamic and colorful sunset happening, from late summer to spring.  Hilton Head Island is on the coast of South Carolina, so you are often near water where  there is more of an opportunity for incredible light and reflections at sunrise and sunset.

As with every photographer experience and knowledge counts but a little luck never hurts.  Jim finds that it is almost always the image he is not planning for or expecting that ends-up being the keeper from a particular photo outing.  When he is out shooting he keeps himself open to all the possibilities.  For example, shooting into a beautiful sunset is what most people do.  However, what Jim likes to do is to look in the opposite direction and see what the play of light is doing to the clouds on the other end of the horizon.  Often that’s where he finds the more interesting image and pleasing light.

Jim has been working with HDR since its advent in  2007 and Photomatix Pro is his preferred program.  Viewers who dislike HDR often think of those images where the effect has been applied with a “heavy hand,” leaving the images look almost cartoonish.  Jim believes that the key is to use all of the options available within tone mapping and to not oversaturate.

Jim advises that a  pro-quality tripod makes all the difference in the world, along with a quality ball head and L-bracket. He  loves working from creative angles. Just a slight change in perspective can dramatically alter the composition.  He says that having the kind of gear that allows one to make those types of changes are a must.

When queried about two photographer’s work he really admires Jim immediately chose Art Wolfe as his first choice, because Art’s passion for his subjects is clearly evident in all of his photographs. Jim says of Art’s work “I think for Art photography is a life experienced through visual storytelling.”

For his second choice Jim said that, the best nature photographers are also outstanding teachers, and the one who had the most impact on him was David Middleton.  Jim reminisces about the  10-day program on professional nature photography taught by David in Montana, back in August of 2000. Jim learned how rewarding it can be to inspire others to pursue their passion and develop their creative vision through photography and he tries to pass that on during the workshops that he teaches now.

Jim hopes one day to try underwater photography. He is amazed by the underwater photography he has seen and considers it a must on his bucket list despite the fact that  it is much more involved than traditional nature and landscape photography.   Fortunately for Jim he already knows how to dive and he is SCUBA certified but to be able to handle pro-level gear and lights while diving will take careful combination of his photographic and diving skills.

Jim also admires those photographers who excel at photojournalistic style street portraits.  He thinks that  this genre definitely takes an extroverted personality and a good bit of courage.

Because of Jim’s background in corporate marketing and PR, he is adroit in social media marketing, you may find more of his work on his 500px, Flickr, Tumblr, Facebook or Zenfolio sites, you can also follow him on twitter @JimCrotty

Advertise here via BSA

Each Monday, we’ll highlight one indie photographer whose body of work deserves special recognition. Please enjoy their photography here, and make it a point to enjoy the rest of their work on their website.

This week Indie Spotlight puts the “diverse” in diversity.  From insects and landscapes to portraits and weddings, Wendell Reyes mostly enjoys nature photography.   Hailing from Port Of Spain Trinidad, he keeps himself busy as a Certified Systems Analyst, owner of Overclockers TT, and first photographer/owner of Stephen Jay Photography.  Traveling has allowed many photographic styles, however, Wendell is constantly pursuing experience and experimentation.

A Nikon D90 is Wendell’s camera of choice, however, he patiently waits for the release of the D800 to add to his arsenal.  Although he does not have a “favorite” lens, if he had to choose one it would be the Nikon 35mm f/1.8 DX for overall flexibility.   This lens is particularly handy when it comes to shooting wide open, and does very well in low light conditions, perfect for shooting in natural light.  Macro photography is an entirely different story. Wendell uses a Nikon AF-S Micro Nikkor 40mm f/2.8G DX for flowers, and a Nikon 70-300mm G with manual focus extension tubes and Raynox DCR250 for extreme close ups (i.e. the robber flies in the photos below are approximately 1cm in size).

For Portraits & Weddings he will switch between a Nikon 35mm f/1.8, a Nikon 50mm f/1.8, and a Tamron SP AF 70-200mm F2.8 Di LD (IF). Lastly, Wendell breaks out the Nikon 18-105mm VR for Landscapes.

Regarding workflow, Wendell will first choose the correct lens for the subject.  Next on the list is lighting.  It is important to identify the type of lighting, as well as the angle and intensity to see how it will affect the subject before shooting.  Third on the list is flash.   Wendell will decide if he needs to use fill light via a reflector or flash/strobes, or if the ambient light is at the right angle for best exposure. Lastly he will choose the best angle or perspective for framing purposes. When everything is just right, Wendell will begin his shoot.

Concerning software, Adobe Lightroom is used for initial adjustments and Adobe Photoshop CS3 to fine tune especially in terms of blending, burning and dodging and color adjustments.

Turning to the subject of tips and advice, Wendell feels that learning to see and analyze light is the key for new and upcoming photographers.  It is the “make or break” for an outstanding photograph.  Secondly, he suggests becoming intimate with the subject.   Take the time to look at the subject and study it from all angles to find the best composition and background that will compliment your subject and not distract from it.  Lastly, but certainly not least, learn and master proper techniques using the equipment that you currently own.   Get to know the pros and cons of your hardware and its limitations before deciding to upgrade to expensive equipment.  It all comes down to creativity, so don’t get comfortable – always look for ways to improve and try new and exciting things.

Turning to techniques, there is one that Wendell stumbled upon one while giving thought to his landscape photography. The technique is to to set the camera to manual focus with the aperture at f/9. Next he sets his Nikon SB600 Speedlight to the camera/full setting, and lastly is the hyperfocal distance using the 35mm f/1.8.  All that is left to do is point and shoot, no need to worry about focus.  With this technique, you can capture the moment, and everything comes out sharp. – The lighting is good to go.   As always, experiment and fine tune your settings once the focus is set. As a side note, this technique is also most useful in low light situations.

There are many places Wendell would like to visit for photographic opportunities, however, if he had to choose just one it would be a tour of Africa.  To photograph the tribes, wildlife, and pyramids would be an exhilarating experience.   He would also like to try underwater photography some day.  Lastly, I was curious who inspires him from a photographer perspective.  Wendell admires Ansel Adams for his landscape photography, and Monte Zucker for his portraiture work.

You can find Wendell Reyes on Facebook, Flickr, and 500px.

Advertise here via BSA

This month, we are interviewing travel and portrait photographer Anthony Asael.  In an incredible feat, he is one of the few that has traveled among each of the countries of the United Nations, numbering just under 200. During these journeys, he visited over 950 schools and taught photography to thousands of children. Read below to gain an insight to this photographer’s mind.

FYP: Tell us a little about yourself.

Anthony: I am an international photographer and part of Corbis agency. I am of Turkish and Italian origin. He is also the founder of the not-for-profit organization Art in All of Us.  My passion for photography began very early – at 7 years old, I was already developing my black and white work in the lab. Over the next few years, I travelled several times  with Ruggero Gabbai – a professional photographer and film director – as his personal assistant.

FYP: Have you had formal training in Photography?

Anthony: No I have not. I am self taught, at the age of seven, I was already playing in a photo lab revealing my own photos in black and white. Photography was part of my childhood

FYP: What camera and equipment do you currently use?

Anthony: Nikon D700 and about 8 different lenses. However, most of my shooting is done with a simple 50mm 1.8. For me, photography is not about equipment, but about creativity and emotions.

FYP: Where do you see yourself in five years time?

Anthony: I have no idea, and I am so happy about it…. I just follow the wind.

FYP: What is the biggest challenge you’ve had to overcome in your photographic career?

Anthony: Well most probably it is to have visited taught photography in all 193 countries of the world. The most difficult to enter was North Korea. It took me 2 and a half years of negotiation with the local government. While entering as a tourist is possible to nearly everyone with some patience, entering and work there in a public school is slightly more difficult. Even with all cultures that one can see around the world, people are very similar, children above all. Children have all the 3 same dreams: one to be loved by their parents, two to be able to play and three, unfortunately, to grow up too fast.

Picasso once said “Children are all born creative and once they are growing up , they lose their creativity”. I passionately believe in that, even if shall be the reserve. When we grow up, we shall be wiser, have access to more knowledge, more information, have a more open mind…. But it is the opposite that happens, with unconscious “brainwashing” from parents, media and education. We should try to stimulate more the creativity and curiosity of children, and that is one of my missions when I travel.

FYP: Who is your favourite artist?

Anthony: Sebastiao Salgado

FYP: Where do you find your inspiration?

Anthony: Simply by closing my eyes.

FYP: What are your favourite techniques or methods?

Anthony: I try to photograph emotions.  To do that, I have to be invisible, even if am straight in front of the model. Models have to feel at ease and not stressed by the camera. Being patient and talking with them is very very important. At the right moment, they will feel comfortable and simply forget about you, that is when I can start shooting.

FYP: How much emphasis do you put on post-production?

Anthony: Very little. I just clean up some dust spots, or add slightly more contrast when necessary. I don’t touch composition, which is also key to my photography. FYP: What genre would you most like to experiment in?

Anthony: I am not in an experimental phase at the moment. However, I have a very dreamy project for the future. Unfortunately, I cannot tell you more about it right now …. Just be patient, I’ll keep you posted on my website.

FYP: If you could photograph anyone/anywhere in the world, who/where would you photograph?

Anthony: I am now in Madagascar, my favourite spot to photograph. People are so genuine and also very positive towards cameras that I can’t be more happy. However, I would like to go back to North Korea and make a longer photographic documentary.
FYP: Have you got any hints or tips to share with aspiring photographers?

Anthony: Don’t buy expensive equipment.  It might be easier to have nice pictures with good cameras as an amateur, but if you want to be a real and good photographer, you need to be excellent at all kind of cameras. The best way to start and to learn is to have the basic of the basics. Be good at it, be excellent at it , be outstanding at it and only then get a better camera.

FYP: What is your favourite way to de-stress?

Anthony: Putting my feet into the ocean and closing my eyes.

FYP:Thank you for the interview, Anthony! Good luck with the future.

Anthony: Keep creative, and keep smiling!

Advertise here via BSA

Last month when I introduced the topic of visual branding for photography, I left things open-ended in and effort to encourage you to brainstorm ideas about visual branding as it applies to you. I asked a bunch of questions that inspired the start of a better understanding of the style and genre of photography (portraits, landscapes, weddings, etc.) that you naturally gravitate toward. In this installment I’m going to do my best to address some of the things I think you might have concluded since last time. Ready to go? Let’s get started!

There are a couple of elements of logo design that exist (color, spacing, shape) but for our purposes we are going to look at the actual typography only. Branding yourself with typography is the easiest way to visually brand yourself because it’s not something that you necessarily have to hire anyone to do. Most of us have desktop publishing and/or computer graphic software platforms that come standard on our computers or that we’ve gotten to help with our workflow in photography. Whether you are using Microsoft Office Publisher or Photoshop or Illustrator, any one of them will work for our purposes. If you don’t have any of those things? You can also draft something up in a word processing software like Microsoft Word. Our goal is to just have a venue where we can try out different types of fonts and typefaces in order to determine if they convey the best visual representation (in one shot!) to represent the whole body of our work. Remember: Your logo design needs to be something that’s all encompassing of you to include both the type of photography you like to do and your overall photography style.

Now comes one of the most challenging parts of this creative process – culling all of our ideas together and creating something tangible that is truly representative of it all. Indulge me a little in some pretending. We’re going to change hats and be Graphic Designers from here on out.  Graphic design is as much visual art as photography is so trying on this role shouldn’t be too hard for us.

As photographers, we are often asked by our clients or challenged by our peers to create visual representations that are infused with specific things, right? In any given frame, we might be aiming to create images that illustrate a feeling of timeless romance or overwhelming danger. We might also attempt to use (and manipulate) environmental elements like extremely open space or the subtle illumination that occurs from the lighting of stars in a night sky.  In so many ways, photographers have a similar job as graphic designers who are creating logos! We’ve sometimes only got one shot just like them when they are challenged to create a visual representation and illustration of a brand that is 1) universally recognizable, 2) uniquely shaped, and 3) easily understood.

Something that is a great advantage in designing visual brands with a basis in typefaces is to have a working knowledge of fonts. Now, to be fair, this isn’t something that most people have. In this day and age it’s not unusual for people to have a favorite go-to font that just feels right to them for any given purpose OR one that we can all agree is terrible for a number of reasons but going beyond that is pretty unusual for the average Joe. Lucky for you, I am one of those unusual types who falls into the category of geekery fandom of typeface design so it’s not hard for me to do things like recognize all manner of fonts AND know the name of them. (Seriously. My husband can verify this fact and also tell you how “old” it’s gotten to hear me complain about my disdain for  how often I see Papyrus font in use.) Now, despite the fact that I do have this weirdness going on about myself, my weirdness will definitely benefit you in this creative process. Allow me to walk you through the things I think about when trying to determine appropriate typefaces for some fictional visual branding clients.  Let’s pretend like we have a whole list of clients who are just begging for our expertise to help them create the best visual brand for themselves possible. Here we go!

The first client is an individual who is sharply dressed, fashion forward, and focuses their camera and body of work in a direction that can be nothing less than reminiscent of fashion photography.  They produce images with clean lines, modern silhouettes, and simply constructed color palettes. My conclusion of what they could go with? Here it is…

This font might be reminiscent of a popular brand that most of us might be all too familiar with despite the fact that it’s a company who aims their business at women. The font used above is not the exact font used by the company I noted and linked but it very much suggests (in a carefully subtle way) the market that someone might be going towards with their own photography stylings. Pretty neat, eh?  Let’s try another one in a whole different direction, shall we?

This fictional client would be one I would lean (stylistically) in this direction: film photography, a good cup of solid black coffee, paper mail correspondence, and perhaps rotary dial phones. If you feel like I’m calling out someone of the hipster stereotype, well… I guess I sort of am. (Except not in a negative way.) People who fall in this category might be those whose body or work focuses on black and white photography exclusively or even one who does wedding photography using post processes that are reminiscent of real instagram type photos or REAL dark room film development and printing that enables cross-process type color palettes. I would recommend a typewriter font for their visual brand because it is so naturally reminiscent of the analog times that they are so obviously more fond of to begin with.

How about a photographer who does work that is exclusively focused on families and children? A font that suggests that it is written by the hand of a child would be awesome for a client like that since it immediately evokes a feeling of playfulness and easy approachability.

Perhaps there is a client who is straight-forward, no nonsense and no fuss about themselves and their style and completely and totally bold in the statements that they make within their body of work. They like to focus their camera lens on subject matter that says what it means and means what it says. They don’t like to waste time beating around the bush with things. Someone like that might be best summed up with a typeface that is heavy in the weight of it’s lines and sans serif with it’s edges, points, and letter shaping.

How about if you are a photographer who as a style and body of work that is very signature to who you are. Your images are easily recognizable because you have a certain type of composition that you have nailed beautifully and are able to recreate time and time again without it getting old or boring. Perhaps you have a standard color palette that you never deviate from and that sets your work apart from everyone else in the market? Well, why not do something that is based in a handwritten font that reminds someone of an actual signature or autograph?

You can also combine handwritten/script typefaces with san serif fonts and despite the fact that mixing up the two different styles up, you can actual yield something that looks quite professional and legitimate as a well established and trusted presence in the business world.

Here is an interesting example for a client who might be the type of photographer who prefers to not call attention to themselves. The formation of the lettering comes largely from the shadows created by the three dimensions of each letter. Technically the letters are not drawn out and they are only suggested similar to the way optical illusion art works. Thus a a design like this would be completely appropriate.

Something else that is always worth trying is to use either all upper case letters or all lower case letters.

Then there are all of the typefaces that are stylized in nature. They don’t really fit into any one specific category other than the miscellaneous one that calls them completely unique in and of themselves.  For those clients that can’t easily be quantified and summed up in a clear and concise way that does justice to their body of work and overall style, a specifically stylized typeface is the only way to go because it so intentionally and obviously infuses the originality of the individual that is being illustrated in the first place.

I hope I’ve offered up some good ideas of how you can go about launching yourself into the direction of self-branding yourself. The point in this article was to further convince you the power and importance of having a visual brand that appropriately encompasses you and your body of photography work is a very essential and powerful thing. It can stand in the way of you legitimizing yourself not just as a serious entrepreneur or freelancer but as defining your artistic identity so that your unique creative voice can be heard (or rather seen) more clearly.

From here on out the best thing you can do for yourself is to start treating yourself more like the creative brand that you always have been from the get-go. Just what I did in all of the aforementioned is what you can do for yourself. Pull open some of your favorite programs that will allow you to do a little bit of typeface play and use what’s there in your font list. If you don’t like what is already installed in your font list? Check out our sister site Fuel Your Creativity and their amazingly comprehensive list of places you can find some awesome fonts that are all absolutely F-R-E-E!!! (Didn’t know we had a sister site? YEAH. Fuel Your Photography is a part of a league and wealth of knowledge that can do nothing short of launch you into serious greatness if you open yourself up to it all.) Something else you can do? How about we keep the conversation flowing in the comments section below. We’re all in this together and who better to help you navigate the waters of visual creativity better than your fellow artistic visionaries?

Advertise here via BSA

Blurb Mobile for iOS

As a documentary photographer by nature, I love to tell stories.  My iPhone is my constant companion, so it is always there as a trusted friend and tool of story-telling.  Many times I would like to share a group of photos to tell a story on social media, but I do not want to “spam” my followers with dozens of links to individual photos.  Not only does that annoy people, it is not conducive to a fluid storyline.  When I tell a story with photos, I like to be able to control the way they are displayed, the sequence, and if possible, the pace it is told.

Blurb Mobile is an app which lets the user make a short story using photos, video, and audio joined in a strip that is interactive for your viewers.  They can swipe through the strip as though it were gliding by and take the time that they want to view your photos in sequence.  The viewers can stop, listen to audio or watch video, or simply take in their favorite photos at their own speed.  There is also an option for a simple slideshow version.

Blurb Mobile home screen

When you first open the app, you are taken to the home screen.  On the home screen, there is the main menu on the left, a “Create a New Story Button” in the center, and a “Show me” button just below that takes you to tutorials.  Just a warning, however, the tutorials seem to be based on the older version and some of the items are now re-located within the app. From the menu, you can create a story, view your saved stories, review the Story Stream for inspiration, access your audio bin, or the settings menu.

Audio Bin in Blurb Mobile

Beginning with this latest version (1.6), Blurb added the Audio Bin.  The Audio Bin is a centralized location to capture audio and store it.  Later, when you are creating a story, you can pull audio from the bin and attach it to frames in your story.  This is great for capturing ambience or a speech and then adding it to your story later when you create it.  One key feature I believe it is lacking, however, is the ability to import audio from other sources.  It would be nice to import a song or a reading from a source other than recorded real-time on the iPhone’s microphone.

Blurb Mobile My Stories screen

If you select “My Stories” from the menu, you are taken to a screen with all of your stories that you have created.  Here you can view, edit, or share your stories. Tapping on a story opens it in a viewer window where you can view it, change the style from strip to slideshow, or share it with others.  If you want to edit the story, you pull the menu bar from the top of the screen to the bottom.  This is one of the interface features which I dislike.  Many items are left partially hidden for users to find as they need them.  This makes it very difficult to work quickly until you get very familiar with the app.

Blurb Mobile Story Stage screen

The edit screen, which they call the Story Stage, is where you assemble and edit your photos, videos, and audio into your story.  The Story Stage is easy to navigate.  You simply touch the photograph or video you would like to edit or move and a control box with buttons overlays your content. you can resize, move, rotate, add text or audio to your photograph. You can also make adjustments to an image with the “style” button on the menu at the bottom of the screen which opens a basic image editor.

Style adjustments in Blurb Mobile

The overall theme of the story can also be changed while on the Story Stage by clicking on the button with the fountain pen on it at the bottom menu.  Some themes change the backgrounds, some change the images as well.  The free version comes with a limited set of themes, but the “Plus” version adds more.

Create Story screen in Blurb Mobile

To begin your story, you click on the Create story button on the Home page.  This brings you to a dialogue screen where you can enter your title, description (including hashtags), the privacy settings, and geo-tagging options.  When you click continue, you are brought to a screen with two buttons.  You can either use your iPhone or iPad cameras to capture video or stills or you can select photos from your albums.  I had a few things here that I felt could be improved upon.  The only option you are presented with is to use your albums.  The camera roll and Photo Stream are both relegated to the very bottom.  If you have a long list of albums and events like I do, it took me quite a while to scroll to the bottom.  You may find it easier to put all of your photos into an album from within the Photos app before you try to make your story in blurb.  If you accidentally tap outside of the Album selector, the window closes and you have to scroll all over again and find your photos.

Once you have created your story, you can then share it via several different methods.  The sharing button is, as seems common in this app, not available when you first complete your story.  You have to close the story stage and then come back in from “My Stories” or you have to drag the menu bar from the bottom of the screen to the top.  The Share drop down menu gives you two options, to share or email your story.  You can share, by placing the story on your Story Stream on blurb’s site, tweet a link or post a link to Facebook, or you can embed the story in your tumblr blog.  Since I do a lot of sharing on my own sites, I would love an option to get an HTML snippet or an embed link like YouTube does.  I do not want to send traffic away from my site to view my work.  This is one of the biggest shortcomings of the software, in my belief.

Blurb does an excellent job of making an interface interesting and fun.  Making stories fun and interactive for your viewers is an amazing way to keep your audience captivated and involved.  I do not shoot much video, but if you do this could be a fun way to share short videos with your audience as a loose collection or add some stills and ambient audio to the mix.  If Blurb re-vamps some of the interface shortcomings, this could be a very strong way to share multimedia stories in the future.

At the very least, I recommend you try the free version of the app for fun.  The “plus” version of the software adds the ability to have up to 15 images per story, two minute audio clips, and 30 second video clips, and 8 additional themes.

Below are links to my Blurb Mobile stories.  Feel free to go have a look and see what it is all about.

** Ft Hunter Exploration

** Meandering in the Country

** Snow on the Roses

Rating:  ★★★☆☆

Blurb Mobile – Free

in iTunes store

in app upgrade: $1.99

–David Pringle

http://www.pringle-art.com

Advertise here via BSA

Each Monday, we’ll highlight one indie photographer whose body of work deserves special recognition.  Please enjoy their photography here, and make it a point to enjoy the rest of their work on their website.

With the Holiday season right around the corner, what better time to showcase photography that includes both food and people?   This week’s Indie Spotlight, Nicole Young, not only shoots the aforementioned styles, but stock photography as well.

Hailing from Seattle, Washington, Nicole’s photographic arsenal includes a Canon 5D Mark II, equipped with a 70-200mm 4/4L IS lens, which she uses for most of her work.  She likes to get in close, compressing her images, giving them a fairly shallow depth of field.  Most of her photography as of late is food, so her workflow is somewhat involved.  Since the images are shot for her stock portfolio, she must first decide on the subject what she wants to photograph.  Next on the grocery list (literally) is to purchase the ingredients, and finally cook, style, and prep the food for the shoot, which is done at her home studio. With camera and tripod ready to go, Nicole will shoot approximately 30 photographs, and take away 3-5 keepers on average.

She relies mostly on natural light for the food photography, however, the setup for photographing people is completely different.  A strobe is a must giving her subjects a “lifestyle” look, which ultimately produces a photograph that doesn’t appear to have been shot using artificial lighting.  There isn’t one particular setup or workflow when it comes to photographing people, so Nicole will work with whatever is available in terms of lighting, surroundings, and the people themselves.  It’s a very organic process, kind of a “go with the flow” type of shoot.

Concerning software, Nicole imports her photos into Adobe Lightroom using the DNG conversion feature. She has been using this process for the past year which helps her keep a good file structure without the added XMP side car files.  Next, she will select the “keepers” and apply basic adjustments like cropping, white balance, exposure, etc.  When she is happy with the basic edit in Lightroom, the next step is to export the files from Lightroom using the PSD extension so they are prepped and ready for editing in Photoshop.

After the photographs have made their way into Adobe Photoshop, Nicole uses a series of steps for final editing.   First, a new blank layer is created for cloning/healing.  Level adjustments come next using the brightness/contrast set to the luminosity blend mode.  The third step is another level adjustment layer for color adjustment using the color blend mode.   Step four, a new layer is added for color, which Nicole fondly refers to as the “color pop” effect.   Lastly, a sharpening layer is added using the high pass setting.   Other layers will find their way into the process now and again for teeth whitening or eye brightness, however, the five steps outlined above are Nicole’s normal workflow.

Nicole is currently trying to do more travel photography mostly to experience new places and culture, and build her portfolio with a different style of work. She would especially like to visit Antarctica, lured by the colors, wildlife and rarity of the adventure.   She would also like to create more “fine art” photography since most of what she shoots is commercial (lifestyle and food).    ”I don’t have many photos that I would enjoy printing and hanging on my wall.  I’m trying to make a concerted effort to create more of these, especially landscapes.”

Concerning tips and techniques, Nicole likes to use the “live view” feature of her camera when shooting with a tripod, especially food photography.   The live view allows her to zoom in on the focus spot to ensure the clarity and sharpness.    This view also allows her to adjust the props and food easily.

Nicole draws inspiration from many photographers, however, there are two that especially stand out.   The first is Gregory Crewdson, whose images are very surreal, and somewhat eerie.  He spends more than the average amount of time in post production, which Nicole translates into dedication and vision.  She is also a fan of Julianne Kost’s composite work.  Nicole describes her work as dreamlike, and especially loves the textures and colors Julianne uses.

You can Find Nicole online at her personal blog, Twitter and Google+