Images to be remembered for

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Name any one of the most famous and prolific photographers, and chances are you can probably remember only a small handful of their images. Even more surprisingly, if you spend a bit of time digging into their published collections, you’ll find that there are dozens more that you probably like better than their famous ones; photography is, after all, personal and subjective. But think about this for a moment: assuming that what you see is only what they choose to show you (being the effect of conscious exclusion at work again) – it makes you wonder exactly what didn’t make the cut.

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Defining the shooting envelope

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The latent consultant in me emerges.

I’ve gotten a number of emails recently asking for me to define the meaning of ‘shooting envelope’ – it’s a term which I use quite a lot in my articles and reviews, and it appears I’ve been rather remiss in explaining exactly what I mean by it. We’ll remedy that today, and explain why it matters.

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Achieving visual consistency

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One of the questions I’m asked also (unsurprisingly) happens to be one of the biggest challenges for a lot of people: how to achieve visual consistency across multiple systems/ cameras/ media, and across multiple subjects. Though the latter is really getting into the question of what constitutes style and how can one consistently apply it, there are still things you can do to ensure that you are in control of the final presentation: not your camera. I certainly cannot tell a client ‘sorry, it looks different because I used two different cameras.’

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The limitations of language

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Cloud I.

I have a bit of a problem. In fact, it’s becoming an increasingly large one. Put simply, I’m running out of words to describe the things I’m seeing and the visual concepts I’m trying to explain; and I don’t know if the vernacular even exists. I suspect it doesn’t, but then again, I’m sure there are English speakers with greater vocabulary than me for whom it does. A large portion of you probably think this is stating the obvious; it is. But we reach a point beyond which it becomes impossible to progress further without some sort of common baseline accurately and consistently describe what it is we’re intending to convey; or more specifically, to ensure that what I’m saying and imagining are the same things as what you’re hearing and seeing in your own mind.

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Mobile photography, the future, and the masses: part II

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Imaginary visitor

In the previous part of this essay, we discussed how diversification of media and bringing control to the masses changed the face of photography; today we’re going to continue with some thoughts on the current standard-bearer for that camp, and some concluding thoughts on what it means for everybody else.

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Mobile photography, the future, and the masses: part I

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Sleeping dogs and all that.

Having been on Instagram for a few months now, and having to consciously separate out mobile photography as something that’s done independently from my ‘more serious’ work – I’ve had some time to rationalise my thoughts around them whole sub-medium. What I’ve found is that having a dedicated output channel for the results not just makes you look more actively for opportunities to use it, but also adds a layer of confusion: how do you decide when do you use what?

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Illusion vs delusion vs reality: commercial photography today

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Perhaps one of the most difficult objects I’ve ever had to light – directionality is needed to show finishing textures, but at the same time, diffusion for the polished surfaces. Reflections are controlled by carefully constructing the ambient environment and positioning of the lights and watch. This is a single image, not a composite.

This article is almost certainly going to not just going to make me unpopular with other photographers, but my clients, too. But it has to be said: I’m crying myself hoarse but nobody seems to be listening. There is a growing disconnect between physical reality and commercial ‘reality’. And if those people bridging the gap don’t say or do something about it – where does it end? As they say, the truth hurts. Read on if you’re masochist.

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Beyond the numbers: what’s next?

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An illogical, whimsical image shot with an enjoyable camera to use. There is a reason why I chose this image as the header for the article – read on and all shall be revealed…

Since the beginning of the medium – supposedly the view from Niepce’s window in 1826 or thereabouts – we have been chasing more. More is supposedly better. More of what? More of everything: resolution, clarity, size, maximum aperture, focal length, width…anything that can be quantised. It is arguable that the sufficiency was achieved for the capable photographer quite some time ago; what’s more interesting is that sufficiency has also been met and far exceeded within the reach of the typical consumer, too. And I think finally, several years afterwards, people are beginning to realise it, too. So: where does photography go from here?

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Quality control, sample variation and what it means for photographers

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Perhaps the most problematic series of lenses I’ve ever owned. Like the fable, when they’re good – they’re really good; when they’re bad, they’re horrible.

An increasingly heard phrase amongst photographers and gear collectors is “it’s a good copy” or “it’s a bad copy”: today’s article explores what this actually means, as well as how it is relevant in real terms.

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Thoughts on stock photography

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This is obviously not the kind of thing I usually shoot. But it does have stock value, so I go out of my way: why?

I’ve long been in two minds about the whole stock photography business, for many reasons. Today I’d like to explore some thoughts around the whole ecosystem. One thing’s for sure, though: the market for photographers is getting worse.

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