Apr 07, 2011 — 5 comments
The still life is a genre that has endured over many centuries, from ancient Egyptian tomb paintings and Mediterranean mosaics, to Rennaissance and Impressionist oil paintings, to high-tech digital photography.
I’ve explained this so many times over, and every time it’s for the same reason: people dive into technical stuff way too early on and get confused to the point of quitting. It’s hard for somebody who doesn’t do well with electronics to understand sensor sensitivity or how the lens opening affects the depth of field. That is understandable because most of us are artists not professors in physics, after all.
Photographer Jeffrey Salter loves two things: his motorcycle and photography. Why? Because both activities cause him to experience wind-in-his-hair freedom. Photography, in particular, gives Salter the opportunity to relate to many different types of people and to creatively express his soul and the souls of his subjects in new and compelling ways—but for a vast majority of professional photographers, the craft is anything but seamless.
We all know that photography is all about the light. But not just the shape of the light, but the amount of it as well. Most of us photographers strive for faster and faster lens, mostly in order to have cleaner images. Faster lens also means more bokeh. And I don’t know a portrait photographer who doesn’t love bokeh.
“The Farmers” started out as a simple vision for a fine art portrait series featuring agriculturalists. Stableford imagined producing large format canvas prints and holding a gallery opening bash, inviting all those who helped him along the way, as well as their friends, families, and neighbors. However, over the course of the four months that it took Stableford and his team to craft 45 amazing images for the gallery showing, Stableford began to see the larger picture.
It’s a rat race for the world’s top camera brands to hold the title of “best camera.” But what is sometimes considered the “best” is based on personal bias—like sentiments for a brand or general lack of knowledge about another competitor. Or, we may succumb to the cliché that bigger is better, which in the camera world, usually means a price tag with an extra zero or two tacked onto the end.
There are many elements of composition that form the building blocks of photography: lines, shape, form, texture, pattern, and the rule of thirds, just to name a few. Each of these elements plays a role in drawing the viewer’s eye into the photo.
If you’ve always hated the fact that you have only one speedlight, since that pretty much leaves you under-powered when compared to protogs, think again. You have all the light in the world to make stunning images. You can use just that one speedlight to flash paint a subject, and laugh all the way to the bank.
How many times have you heard the proverbial quote, “the best part of a camera is the 12 inches behind it”? I bet not enough. If you’ve been complaining that your APS-C camera doesn’t shoot that well and you might need to upgrade to a full-frame, or that your smart phone isn’t a serious camera and you should at least purchase a DSLR, think again.
Digital photography has done us all a great disservice. Yes, digital has certainly made the craft more accessible to artists of all experience levels and it has birthed technological advancements that the old masters probably never even dreamed of—but it has also arguably made photography too “easy.”
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