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If you don’t remember, check your files. And you chose the photo, too.

Maybe this will be a book you’ll keep for 50 years. The cover will be all yours.

OK, here’s how it will happen:

Years back there was a series of books called “Day in The Life ofâ€:â€:.Australia
America, Canada, Spain and lots of different countries. “
What happened was that in one 24 period, photographer journalists all over the specified country, covered life as they saw it . They shots were complied into one great book which gave you a portrait of that country though many eye. It all began in 1981.

The brains behind all of that Rick Smolan kept on going and shifted his interests to what was known as “cyberspace” in 1996. I think we call it daily life now.

But he’s back between the hardcovers. Along with his partner Jennifer Erwitt, they own a company called Against All Odds, which has produced this new book of photographs”
“America At Home”

And the best part?
They’ve invited you to take center stage with one of your photographs. Continue Reading »

I love candy. Yep, love it like crazy. And sometimes, although we also crave the tools discussed here, (we all need them, to do what we love) sometimes the gear check is like candy. Love the stuff.

That is why I always need to balance the indulgence of those things with the point to it all: the photographs.
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This month, one of the classic books of photographs will be republished by Steidl.
It’s the 50th anniversary of the first printing of The Americans by Swiss photographer, Robert Frank.
Sitting down this evening to take a gear break, I pulled an old copy of this from the shelf.

When a book has a forward by an American icon like Jack Kerouac, it makes you read it. When the photographs are of an America emerging from 2 wars, it make you look at them. And the brilliance of Robert Frank telling the visual tale of the US, in this book first published in France in 1958, has a sense of the Beat generations‘ views and of a country segregated, separated and steeped in its cultural differences brought together in a cross country, black and white portrait that still holds up today. Continue Reading »

It’s not Grand Theft Auto, but you should be aware of all things around you when you’re shooting on the street. No need to advertise that you have thousands of dollars worth of gear hanging on your shoulder. Of course your camera may give it away, but if want to be a little less conspicuous, and keep your stuff protected, this week we have a pretty great camera bag for you from the folks at ThinkTank Photo. This is the Urban Disguise 40.
Discreet, black, and the design keeps it stealth..

This will hold more gear than you ever imagined, such as a wide angle lens with a hood attached, a 24-70 2.8 with the hood, a 70 -200 2.8 with the hood reversed, AND two pro-size SLR’s in the expandable front pockets (without the lenses attached). A regular size SLR with a lens attached can also be put straight down inside of the bag. Strobes fit into the side stretch pockets, as well. [photopress:UD40_1.jpg,full,centered]
(Cameras NOT included)
2 SLR w/ lens attached straight down2 PRO SLR (BODY ONLY) in front pocket
OR 3 – 6 LENSES SUCH AS:
16-35 2.8 hood EXTENDED (Canon)
17-35 2.8 hood EXTENDED (Nikon)
24-70 2.8 hood EXTENDED (Canon)
28-70 2.8 hood EXTENDED (Nikon)
70-200 2.8 hood REVERSED

INTERNAL DIMENSIONS
13.25” L x 10.25” H x 4.25” D
34 x 26 x 10.5 cm
EXTERNAL DIMENSIONS
14” L x 11” H x 4.375” D
35.5 x 28 x 11 cm

This is how to be eligible get one of these for free:
First of all you MUST be signed up for the NEWSLETTER. then Continue Reading »

Prime lenses were the way to go for years. The thought used to be that a zoom lens was cheating a bit, or using a piece of glass that wasn’t quite up to snuff.
Sure, there were a few lenses that were in consideration like the 80-200 2.8 lens first introduced in 1978. Not a lot were made.
But you always carried the primes, meaning the dedicated, single focal length lenses.
Those lenses had enough glass and design to ensure the best image possible. No worries that there would be falloff at a zoomed focal length. Even if it wasn’t a professional, fast lens, stopped down it would be tack sharp.

Why am I talking about this history? Because right now, I’m sure most of you are carrying around a variety of zoom lenses, covering a range from 12-200 mm, with the only primes being perhaps a 300mmm or a 400mmm, if you’re shooting sports.

What the heck happened? Yes, lens technology has made leaps and bounds in through the years. The zoom lenses that are the staple of every starter kit take care of a lot of photo taking needs.

Doesn’t anybody want to commit anymore? And I’m talking focal length here.

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To test the metal, as it were, I recently used an 85mm 1.8 lens from Nikon. there were some portraits to do so, it was a good choice.

The first thing to hit, was the heft. This is a solid lens. As my fingers wandered about unconsciously feeling for the extra zoom ring, they were left without a target.
My feet were to become the zoom.
This was a good feeling. My mindset was just walk into the shot, frame it, and move on. The split second of extra choice was gone. Oh, yeah it was an odd felling at first. Stopped me cold for a second. But then the feet got moving. And then settled into a zone.
Commitment. Felt real good.

OK, that was the feel. Then there was the classic framing, with the focal depth that didn’t distort .

Here is an example.

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Now this was also shot using a Nikon SB-800 Flash in wireless mode, bounced into a reflector. The location was a doorway with a slightly stained stucco wall, behind the model, which was blown out with a balanced exposure between the flash and the afternoon light.
The shutter speed was 1/160, f/3.2, ISO 200 using a D300.
The results had an extra crispness and a natural contrast that added to the shot, thanks to the lens.
Plus the photo was worked on in Photoshop Elements and using a bit of a Wacom Bamboo tablet, both mainly for workflow and slight enhancements.

But more of that later this week.

We’ll get into an easy lighting setup and workflow arrangement and tools that will get you into the right systems, but using less dough for now.
The skills you learn will carry you to the next level of all of these tools, when you are ready. Or need it.

OK, where was I………..?

Oh right. Prime lenses. Using this single focal length lens was the right exercise that made me commit in the shot. I moved around more, but once the sweet spots were found it became two shooting points: head and shoulders and more full length.

The first camera I owned came with a 50mm lens. Worked that puppy till I couldn’t figure out anymore angles or exposure combos.
Then moved to multiple lenses and bodies. All using primes.
I can move fast enough with the zoom, but unless I’m using a f 2.8 or better zoom, I pay in quality. Not that a lot of folks may notice or need.
For instance, love the 18-200 Nikon lens. Carry it all over the world. But I know what it’s good for and what it’s not good for.
Is it the sharpest lens in the bag?
Nope.
Is it the right choice for travel and limited space?
Yep. Excellent Range. Vibration reduction . And incredible close-up capabilities.
Like we always say: right tool for the right job.

So the final point is this; treat yourself to a high quality, prime lens. Think about what you mainly shoot and choose wisely.
Or, if you are near a rental house do a weekend rental to check it out.
(Whoops…commitment issues again.)
Get one though, If you don’t already have one.

It’ll make you appreciate the choices you make.

[photopress:rodcarewprintx.jpg,full,centered] © Deborah Zeitman

As a youth I was bold and brave, fearless in a way only innocence can allow. At nineteen-years-old, I eagerly walked into the Los Angeles Bureau of the Associated Press with a meager portfolio of black and whites and asked to work as a freelance photographer for the summer. The Bureau Chief looked me over and reached for my portfolio, an ugly fake wood-grain file held shut by an elastic band. He pulled the 8×10 glossies from the enclosure and rifled through them as I saw my life’s moments whiz by.

“The pros are much faster than college,” he said, dismissively tossing down the highlights of a year’s work upon his desk.

“I know,” I said, reaching to gather my photos of college baseball and beyond. “But how can I prove I can do it if you don’t give me a chance?” Our eyes met and right then I knew I had won, my spirit more important than my expertise.

That night as I climbed down the stairs of Dodger Stadium, the fans screaming with enthusiasm, the artificial lights more jarring than daylight ever could be, I felt myself trembling. Weighed down by three cameras and my fear, I moved onto the field to the stares of the crowd and fellow photographers. At nineteen and a wisp of a girl, I couldn’t have looked more out of place or felt more disoriented.

But the crack of ball hitting bat sparked instinct. I focused and clicked and missed every important image.

The next day I dragged myself before the Bureau Chief, embarrassed, guilty, like a dog who’d misbehaved.

“How’d ya do?” he asked.

“Terrible. I was really nervous.” I could barely look up. “I need another chance.”

And I got it. And I shined, compelling the staff photographer accompanying me to submit my photo over his, and getting published across the nation in assorted papers.

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The rest of that summer I shot for AP in L.A., and when the time came to return to college for my sophomore year, I started working for the bureau near my university thanks to the recommendation of the L.A. Bureau Chief.

This could be my tale of courage and perseverance, but really, it is my tale of luck. When I walked into AP that day, I arrived with the perfect balance of innocence and guts and stumbled upon a willing recipient of my style. I never sought advice as to how to land a photojournalist job, but perhaps my spirit is what gave me my first big shot.

To contact Ms. Zeitman email her at :wavewatcher@verizon.net

(Here is an article form one of our readers. Thanks to everyone for a great response to the call for writers.)