Introducing Gavin Gough's New eBook, The Photographer's Workflow - PhotoShelter Blog

As photographers, we’re constantly on the lookout for ways to make our daily workflows more effective and efficient. The age-old saying, “time is money,” seriously holds true in the photography industry. If your images aren’t uploaded, edited, and deliver

There are hundreds of ebooks that discuss workflow, but we haven’t found anything as comprehensive or actionable as travel photographer Gavin Gough’s The Photographers’ Workflow. It’s chock full of useful information and tips – from data management, to color profiling, to configuring Lightoom 4, and more. Plus a series of free video tutorials.

5 Common Mishaps in Product Photography Lighting - PhotoShelter Blog

We’re going to give it away right up front: lighting is probably the most important element to shooting solid product photography. When isn’t it in photography? But because getting the nitty-gritty details is often so important, there’s a lot more involve

For some product photography lighting tips and advice on getting those miraculously detailed images, we talked to product photographer Lucas Zarebinski. Lucas is routinely sought out by editorial and advertising clients for his food photography and unique concepts for fashion and electronic products

How to tune Photoshop CS6 for peak performance

We might as well admit now that photographs don’t tell stories the way words do it. Words tell stories very, very slowly. You need to read them one at a time, and the story then slowly builds. A photograph, in contrast, is not the equivalent of one word. If we stay with Soth’s phrase, a photograph is “a minute fragment of an experience, but quite a precise, detailed, and telling fragment.” Thus looking at one photograph after another would be to read a novel by somehow taking in larger chunks of pages at a time

Going Pro

this television operator caught the eye of everyone on the sideline during pregame as he slung around 20 GoPro cameras on a rig. Not only would I love to see the clip, but I want to pat him on the back for giving me something to tell everyone about. This was the ultimate hail mary.

For One Instagram Celebrity, the Secret's in the Secrecy

Sure the iPhone made everyone a photographer, but it also made everyone a spy. Just ask Richard Koci Hernandez: His Instagram stream of surreptitious black-and-white portraits has captured more than 140,000 followers and made him one of the first Instagra

The key to Richard Koci Hernandez’s work is stealth. “Everything changes when people know,” he says, so he avoids looking at his iPhone screen. Earbuds are a go-to prop as well—the perfect red herring to make it seem like he’s distracted by music when he’s really looking for muses

To Get the Shot, Nerve, Luck and Scuba Gear

Sports photographers who shoot underwater spend an extended time at the bottom of the pool, hoping to capture Olympic history.

A camera rests three meters down, its lens protected by a clear glass dome the size of mixing bowl. Al Bello, a 44-year-old Brooklyn native and an award-winning photographer for Getty Images, placed it there a week ago.

Guest post: Large format photography with Nikon D800 as a negative holder - Nikon Rumors

This guest post on using the Nikon D800 as a negative holder for a large format camera + lens setup is by Jan Håkan Dahlström: It’s really quite simple. What you need is a large format camera, a suitable lens and a digital camera body instead of a film ho

It’s really quite simple. What you need is a large format camera, a suitable lens and a digital camera body instead of a film holder. In this case it’s an Arca Swiss 4x5/9x12 rail camera, an Yamasaki Congo 180 mm/4.5 lens and a Nikon D800:

Robo-cams go for Olympic gold

Is it possible to get 11 photographers into a box and put them in a position where you could never place a photographer? Normally, it would be absolutely impossible. But nothing is impossible when it comes to the Olympic games.

At the upcoming Olympics for the first time we are using robotic cameras made specifically for the high elevated roof positions than can only be covered by a remote camera and not by a photographer.

Optically Adjusting a Lens

I write a lot about the fact that every copy of a lens is slightly different than every other copy. Now don't get me wrong: I'm talking slight differences that are barely detectable, not good or bad. Even when things appear to be in the "bad lens" area, t

If you aren’t into the mechanics of how a lens works and what might cause problems with it, you will find the section on “Optically Adjusting the Lens” incredibly boring.  You might want to just skim over that section and then read the “What’s the Point” section at the end, which covers briefly why I think this stuff is important to anyone who owns a lens. If you don’t own a lens, then you’re definitely in the wrong place and need to hit the back button on your browser a couple of times.

In Defense of Depth

From Russian Noir by Jason Eskenazi By John Kennerdell If there's a single received idea that fires up the imagination of my young photographer friends these days, it's that for "professional looking" photographs they should buy fast lenses and then...

But if the current hobbyist obsession seems to regard minimal depth of field as a hallmark of a memorable image, some of us relics from the film age might argue pretty much the opposite. The richest photos—the ones we return to again and again, seeing more each time—most often work in layers. They show more rather than less, taking in the full spatial depth of our world rather than just one razor-thin slice of it.

Clive Rose goes swimming with a Canon EOS-1D X, Olympics in mind

A few weeks ago, a great underwater picture from the Olympic Games Synchronized Swimming qualifications in London really caught our eye. Artfully composed and perfectly timed, it was shot in April by veteran Getty Images photographer Clive Rose at the London Aquatics Centre, which will be one of the main venues for the 2012 Summer Olympic Games, starting in July. When we got in touch with him, Rose agreed to give us the lowdown on how he did it.

Revisiting The Zone System… or, How I Learned To Love My Light Meter Again.

My goal for this artical is not to create yet one more tome on how digital exposure works. That’s already been done, repeatedly, and new efforts are always underway. Rather, my goal here is about two other things. First, to try and rectify a minor problem with my own technique of using an already-gamma-encoded gray scale for demonstration purposes in Lightroom—which we’ll get to later. Second, I hope to clarify a few things about the linear capture and gamma-encoding relationship, that seems to continually get muddled in the popular press.

Final Cut Pro X for news shooters: You say you want a revolution? (Or, how I learnt to stop worrying and love the X)

Every time I learnt how to do something I made a post-it note with the shortcut and stuck it on the wall above my computer. I ended up with about 50 post-its on my wall. They continue to be a handy visual reference as I use the software; the shortcuts vastly speed up your workflow and learning them from day one is definitely the way to go. Here is one of the first videos I edited using X. It is predominantly made up of time-lapses of Beijing and with most of them I re-timed them using X’s powerful re-timing tool. This is a massive advance from FCP7’s ‘change speed’ tool and one of the many reasons why I really like FCP X.

The Future of Social Media & Your Photo Business - PhotoShelter Blog

We’re in the middle of a paradigm shift in social networks. We’re moving away from text-heavy content to that which is more visually appealing – photos, graphics, videos, GIF animations, etc. This new-found focus on imagery is a unique opportunity for pho

The possibilities are endless, but to help keep you focused, here’s some insight on how to use them to build and promote your photo brand.

Is It Time To Eliminate Stills From Your Shoot? - A Photo Editor

Last summer I was having dinner with an Art Director who was fielding emails from a client who wanted to pull stills from the commercial video shoot to drop into the background of the commercial stills shoot he was on. He bemoaned the fact that he would p

The video files were amazing; a no-brainer. This is what the EPIC does best, and it didn’t disappoint. Stunning resolution, accurate color, and smooth slow motion. Watching the clips at full resolution is actually a bit mesmerizing. When it came to pulling stills, things weren’t quite as perfect