I was recently interviewed by Juan Pons for the podcasts with Rick Sammon, The Digital Photo Experience. This time I got to be on the receiving end of the Q&A and I discuss my own podcast, The Candid Frame. I talk about how taking risks and working with mirror-less camera has impacted my photography.
If you have not listened to this show, you should as it's one of the best resources for the technical side of photography as well as same wonderful interviews with photographers. Check them out at the link below.
I invited two of my friends and fellow street photographers, Dana Barsuhn and Valerie Jardin to join me in a Google+ Hangout where we talked about some of our favorite photographs and why we love street photography. It's an experiment for me, but something that I may do again. I look forward to hearing what you think.
In this episode of The Candid Frame, Ibarionex shares some insights he's learned from the many interviews that he's conducted for the podcast, books and magazine articles. He shares how he's come to see his own creativity through the practices of some of the world's best photographers.
He discusses the idea how he has come to face fear, anxiety and self-doubt when it comes to taking on new projects.
Discover the work of 30 great photographer's in Ibarionex's latest book,
Ibarionex and Jerod Foster took the stage at the Peachpit Booth at Photoshop World 2012 in Las Vegas. During this presentation, they discussed their unique approaches to photography inspired by choosing their favorite of the other photographer's images. The discussion which was recorded live provides an insight into how each photographer uses light, story telling, gesture and more to make effective and strong photographs.
Jerod Foster was recently interviewed for an episode of The Candid Frame. You can listen to it by clicking here. You can discover more of his work by visiting his website and blog.
The images below are shown in the order in which they were discussed during the presentation.
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You can also subscribe to the show via iTunes by clicking here.
Or you can directly download the MP3 file by clicking here.
We'll be back this weekend with a new episode for the show, but in the meantime, we wanted to share an exciting change to the program, a new logo.
We've been meaning to make an update to the look of the show for a while, especially as we expand to provide a variety of new content and services to the photographic community. As a result, we wanted a logo/icon which really captures the range of things that we are doing from podcasting, workshops, video tutorials and more. We think that this logo captures that merging of the audio and the photographic in a beautiful and stylish way.
Designed by my friend, Miguel Duran, the new logo and collateral material provides a distinctive look that not only stands out, but will help to differentiate TCF from its competitors.
We are looking forward seeing what more we can make happen with TCF in the months and the years to come.
In this video, I demonstrate how I use keywords to organize my catalog of images. I share how I apply keywords during important and then again after making my initial selects from a shoot. This can greatly help you to be more efficient in organizing and searching for your images.
I was talking to a friend yesterday who mentioned something that he heard the photographer, Vincent Laforet said.
"Look for pictures that other people don't make."
It's a simple statement, but one that is full of insight.
I was thinking just along these lines when during this past weekend I had some students in my Digital SLR Bootcamp make pictures of a bandshell in the park where I teach the workshop. I encouraged them to not only make photographs from eye level, but to really play around and try different perspectives, focal lengths and compositions. I asked them not to settle for just one or two photographs, but to fully exhaust all the possibilities.
Some of the resulting photographs really surprised me. I saw in their pictures perspectives and points of view that I had never seen myself, even though it's a location that I have visited countless numbers of times. In their photographs, these students were really revealing to me the limits of my own vision.
I know what makes a good photograph or at least I think I know most of the time. So, when I photograph a scene or a subject, it's easy to compose a shot thinking that this is the definitive interpretation of it. But is that really the only possibility?
I saw photographers taking risks, making choices that they were not sure would work or not, but still committing to making the photograph. Yes, there was a risk that the image might not work, but that didn't deter them from trying it out and seeing what could happen. They weren't editing themselves and judging the picture before they made it. Instead, they practiced photography and played and discovered what worked and what didn't and in several cases, revealed exciting and beautiful surprises.
Ask 10 photographers to photograph a car and likely 9 out of 10 of them will deliver just that. They will make a picture of a car. It results in a photograph that is nothing more than a document. Then there is the one photographer who makes a photograph not of the car, but the qualities of the car that resonate with him or her. It could be the color, the shapes, the play off light off its surface. These photographers use the camera to create from not only what they see, but what they feel.
It's so easy to compose a photograph by following all the rules. Yes, it can produce a well-composed, well-exposed photograph, but it may not surprise me or anyone else. It may not make me feel anything. It won't reveal the world to me in a different way that's both exciting and liberating.
The best photographers do that and it begins when they make photographs that other people aren't making.
It's about photographing the world that expresses not only how I uniquely see it, but also which reveals my exploration of that world when I make non-traditional choices with the camera. When I am willing to take the risk and do something different, even though there is a possibility that it may not work, is whenI am really living in the spirit of what it means to be a photographer.
Here is a short video in which I demonstrate how I use Adobe Lightroom to edit down thousands of images from my recent vacation. Using rankings, collections and the Compare view, I demonstrate how to create a more manageable collection of images that best capture the story behind my travels.
This is a technique which I use not only for winnowing down images from my travels, but also large bodies of work including personal projects.
If you like these videos, please subscribe to the YouTube channel for future releases.
During an interview today with photographer, Brian Mattiash, we touched on the importance of photography books in developing one's eye for good photographs. We weren't talking about instructional books, but rather monographs, collections of images that represent bodies of work.
For myself, it was these books that provided me the most important part of my photo education. During college at Berkeley, I would make weekly journeys to Moe's Bookstore and others searching for deals on the photographers that truly inspired my imagination including Robert Frank, Mary Ellen Mark, Garry Winogrand, Gordon Parks, William Albert Allard, William Eggleston and many others.
I did and continue to spend time opening those books and just taking in those images, lingering on them in a way that rarely happens when viewing images on the computer screen. Today, we have conditioned ourselves to view images for just a few seconds with the only expenditure of energy being the clicking the mouse to indicate a "like" or a "+1" or some equivalent.
In my opinion, this robs a photographer of the best and greatest opportunity to learn and understand what makes a good image. Looking at a print or a monograph allows you to view great photographs at a more leisurely and relaxed pace. For myself, it allowed me to absorb and recognize a great photograph. It helped inform how I saw the world when I ventured out with my own camera.
It's with that in mind that I thought I would recommend some books and photographers that I feel are worth the investment in one of their titles. Though some of my favorite books are no longer in-print (thankfully I have my copies already), there are some close equivalents that I think are worth of a look.
Mary Ellen Mark
I own several of her early monographs including her early documentary work including Streetwise, Ward 81 and Falkland Road. Though she is likely better known for her portraiture, all of her work is influenced by an abiding respect and affection for her subjects. Her simple, straight-forward approach, primarily in black and white provides me a clear example of how beautiful and poignant a portrait can be. You look at her subjects and you immediately want to learn more about them. That's is a powerful thing that few photographers are capable of achieving.
William Albert Allard
If any photographer influenced me most, especially with respect to how I see and use color and light, it's Bill Allard. A National Geographic photographer who used Kodachrome in ways that many other photographers would think impossible, he was able to produce images that were stunning and engaging. The fact that his image could be beautiful but still meet the demands of the story is something that still amazes me. I had the pleasure to interview him several years ago and it was easily one of the highlights of my podcast career. His recent retrospective book, Five Decades provides a wonderful way to discover or discover his work and includes his personal writings on his work and career.
Gordon Parks
This man was a photographer, a writer, a composer, a director, a poet and so much more. It seemed like there was nothing that he couldn't and or didn't do. From humble and challenging beginnings in Kansas, he became one of the legendary photographers of the Farm Security Administration and Life Magazine. He also went on to direct the classic, Shaft and produce several memoirs of his amazing life. It was a life that he fictionalized in the nove, The Learning Tree, which he would eventually translate to the screen as the movie's director. He was prolific even til the end of his life and this book provide a glimpse into the endless talent that was Gordon Parks. Another title of his that I would heartily recommend is A Choice of Weapons, his classic first biography, which provide a glimpse into the man who redefined what is possible in a single life.
Sam Abell
Sam Abell is the second National Geographic photographer in this list. And though he worked along with Allard at National Geographic, the look of his images are uniquely his own. Inspired by his father's love for photography, he developed an approach that allows him to see and build photographs in a way that encourages truly seeing a subject and a scene. There is no "spray and pray" approach to be found here, but a practice of careful observation. This book is one that I re-read regularly and from which I derive a new bit of wisdom. He other title A Photographic Life is more autobiographical but provides just as much food for the eyes as this does. You can't go wrong
Bruce Davidson
A member of the Magnum Collective, Bruce Davidson is a photographer who combines the social consicous of the great documentary tradition with the instincts of a street photographer. From his work with streets gang in Brooklyn to the subway of Gotham, his work has consistently delivered. His book Subway was a marvel to me when I first picked up a copies over twenty five years ago. He revealed the underground world with an eye of beauty that most people, especially the subway's daily commuters would not have recognized. Recently re-released with additional images, Subway is a shining example of the personal project and the commitment one has to make to creating a body of work. A retrospective of his work Outside - Inside is also available, and though a bit pricey, is well worth it.
There are many other titles that I could recommend, but I'll save that for another post. If you do consider purchasing one of these books, please note that if you purchase them through by Amazon affiliate links, the show will receive a small percentage of your purchase. It provides you a great way to support the show.
But even if you choose to support your local bookstore, I hope that you find these or more of these titles helpful to your photography education.
Color accuracy is very important to digital photography and it revolves around our ability to get the white balance right. In this video, Ibarionex demonstrates how he considers white balance and how he uses Adobe Lightroom to achieve the best color accuracy.
Undoubtedly, there is a bit of satisfaction
on investing in a new bit of kit. The arrival of the FedEx van and the delivery
of the anticipated box on the doorstep feels just like Christmas, except of
course for the decorations, the excessive amount of food and a home invasion by
a bearded fat man, who might find himself facing serious labor issues revolving
around his use of elves and reindeer.
It's a wonderful feeling though, taking out the
exacto knife, cutting the tape and releasing a flow of Styrofoam packaging that
seems to linger around the house months after their initial arrival. Are we
sure those things aren't reproducing on contact with air, like some silent,
furless tribble?
Such moments create
the excitement over the potential of new creative opportunities. It
creates a wonderful swell of emotion, which we can experience repeatedly. At
least until, your bank account is overdrawn or the credit card has melted from
overuse. But before you get there, there might be other signs that may offer
fair warning before you end up at a freeway off-ramp with a sign reading,
"Will retouch images for food".
1. You have run out of space for all the original packaging
material.
The justification of course is to retain the
resale value, when something newer and shinier is calling you like the Greek sirens. But now they've displaced the clothes in the closet, which lay piled
in a heap on the lounge chair. Now, the only way to discern which clothes are
clean or not is the sniff test, which your significant other keeps insisting is
not that reliable.
2. Your spine has gone out of alignment because of the weight of
the camera bag.
That exhalation of air that you release each
time you pick up the bag may be an indication of weight being an issue. The
additional thirty pounds that I carry around my waistline is at least well
distributed, but the same might not be said for the bag or backpack that
carries equipment that you never end up using. What might have looked like a
cool walk in your twenties now looks like the initial signs of hip
displacement.
3. Your most passionate creative effort is measuring MTF curves
photographing brick walls.
Knowing that we got what we paid for is
important, especially when it comes to the sharpness and the resolution quality
of lenses. However, things may have been gone too far, when you are making
critical assessments such as whether the style of the brick wall is American or English Bond and if the gaps between bricks each measure 3/8 inches.
The fact you are using GPS data and Google maps to locate the
"perfect" wall is verging on the obsessive and is certainly making
your neighbors very nervous.
4. You become depressed and angry when the manufacturer releases a
new version.
It feels like a betrayal like in grade school
when little Debra Martinez gave Phillip Taylor the biggest cut of chocolate
cake and which you were sure Debra was going to give you because you let her
cheat off your test after she promised you were going to be her new best friend
and you believed her because she was so pretty and you already liked her and...
Well, it was wrong then and it's wrong now. Damn her.
5. You own camera bags that never carry camera
equipment.
They are there in the closet, in the garage,
piled in a heap beneath the desk, camera bags that held the promise of
perfection: the ideal shape, support strap, compartment size. They seemed
ideal, the best and final solution, a bag to rule them all. Now, they are empty
as their promise. It doesn't work now, because...there's this new lens
In each episode I utilized images submitted by members of the Chasing the Light Flickr pool to illustrate those points as well as provide an opportunity to critique the effectiveness of each image. All 10 episodes are available at the Peachpit website.
If you are in the United States, you can download the episodes via iTunes. Otherwise, look for episodes in the iTunes store in your respective country.
I plan to feature similar videos in the near future based on a series of mini-critiques of 3 images from photographers who contribute to The Candid Frame Flickr pool. So, if you want to be considered for this in the future, please sign up and join the growing community of photographers.
Let me know what you liked about these video and what you would like to see more of in the near future.
You've asked me in evaluating your work to be brutally honest. Admittedly, it's something that other photographers have asked for, but I've always been reticent about honestly fulfilling such a request. I have often perceived it as the equivalent of a wife or girlfriend asking, "Do I look fat in this?" A frank, honest answer to that question is likely not going to end well.
However, you have been insistent about receiving such concise, unrestrained and to-the-point-feedback. So, I feel inspired to share with you why your pictures suck.
1. You're Lazy
Admittedly, you talk a good game. You talk much and well about your passion for photography, deftly demonstrating both your technical knowledge and proudly showing off your latest bit of kit. You know a good amount of photographic history and you are very insightful with your comments about the craft.
But Charlie, when was the last time you actually went out and made a significant body of work for yourself? I'm not talking about that job you did for pay, or the workshop you attended or that photo walk where you spotted that cute brunette with the Leica M9. No, when did you last go out and commit to producing images that truly challenged you; images that the mere thought of creating them got you excited about getting up in the morning?
I can tell it's been a long time, because you seem to have put more effort into uploading images to Instagram, Facebook and Google Plus, obsessively returning to those posts to check to see how many people provided you a virtual pat on the head. "Great capture". Really?
2. You're Preoccupied with Gear
I get it. There's obviously something primal in both us when it comes to new kit. I have shared that same rush of endorphins on taking a deep whiff of styrofoam peanuts when opening a freshly delivered FedEx package.
But honestly, how often have you used it since you got it? Yes, the unpacking video you posted on YouTube was wonderful. (My wife, by the way, likes the new haircut). But besides that first weekend burst of temporary inspiration, what you have done with it? What have you created that you truly are proud of? And no, fondling it and firing dry frames doesn't count. It seems like you've spent more hours reading blog posts, forums and watching videos about the gear than actually shooting with it. And what's this thing with you reading reviews after you already made the purchase? Aren't your images enough to discern whether you made the right choice or not?
3. You're Sloppy
It seems like you think that "good technique" is a filter in Photoshop. And if you defined a good photographer by how fast they can fill a 32GB CF card, you might be in the running to be one of the greats, but it's hard to see anything in your final result that warrants even the battery being charged.
You seem to be completely absent when you press that shutter release, taking no ownership of what you include in the frame. Yes, the bokeh is scrumptious and creamy, but this is supposed to be a photograph not bloody creme brulee.
Whatever happened to good composition? Good light? Good taste?
And no, I don't care that there is virtually no noise at ISO 128,000, the images are still devoid of anything that would even qualify it as a snapshot.
4. Photoshopping is not Photographing
Yes, Photoshop is an important and invaluable tool. We couldn't do much of what we do without it, or its equivalent. But how long do you actually have to sit at the computer, weaving that Wacom stylus like an orchestra leader, before you admit that most of that energy is being expended on putting lipstick on a pig?
Yes, those plug-ins and actions are awesome and that compositing technique you learned from Matt Koslowski is pure genius, but I'm sorry to tell you that there is no there, there. I could wash, wax and detail that AMC Hornet I drove in college as dutifully and passionately as humanly possible, but in the end, it would still be an AMC Hornet. Those are the facts.
What ever happened to your passion for making a single good, exemplary photograph in the camera? When did everything become fodder for over-saturation, over-sharpening, over-everything?
5. You Refuse to Edit Your Own Work
Though you are asking for my feedback, you must not think much of me. If you did, why else would you inundate me a batch of good, bad and near-misses? When did it become my job to figure out what you are trying to do as a photographer?
What am I supposed t make of this mish-mash of portraits, landscapes, close-ups, abstracts and those picture of your cat (which, okay I'll admit is just adorable)? I have a hard enough time trying to edit and assess my own work, much less yours. I just needed to see 10-12 images I wasn't expecting the entire photographic catalog of the International Center of Photography. If I wanted this kind of punishment, I could just put on a pair of headphones and listen to Debbie Boone singing 'You Light Up My Life" on a continuous loop for 24 hours.
If you can't sit down and decide which of your photographs captures who you are and aspire to be as a photographer, how do you expect me to? I am challenged in just finding a pair of matching socks in the morning.
I could say more, but I think I should show a little restraint.
I know you love photography as much as I do. You couldn't spend as much time and effort, subject yourself to the occasional ego-bruising, if you weren't as in love as you obviously are with making photographs. But the reality is that becoming a good photographer, hell becoming a good anything, involves commitment, diligence and the willingness to regularly fall on one's face. You obviously have some of that in you, because you are still around making images, when everyone else has taken up golf or knitting.
I hope that what I shared is helpful to you, but if it wasn't, I completely understand.
Rinzi Ruiz is a Los Angeles-based street photographer who picked up a camera only two years ago. In that brief time, he has developed a keen eye for capturing beautiful and poignant images on the street. His rapid development as a photographer is informed from a commitment to make time for his art, as well as developing a critical eye for what works and what doesn't. Inspired by both contemporary and master photographers, his understanding of the tradition of street photography is helping him to develop a distinct voice in the genre. You can discover more about Rinzi and his work by visiting his website and his blog.
Juan Pons is a nature and wildlife photographer who was born and raised in San Juan, Puerto Rico. He is a strong supporter of wildlife and natural habitat conservation and is a member of several conservation organizations. As well as selling his prints to private collectors, he also donates his images to non-profit organizations with nature and wildlife preservation missions. He is an instructor and workshop leader as well as being the co-host along with Rick Sammon of the popular podcast, The Digital Photo Experience. You can find out more about his work by visiting his blog and gallery.
Martin Bailey is a Tokyo based nature, wildlife and portrait photographer. He is the host and producer of the Martin Bailey Photography podcast, which supports a popular blog and forum. He also conducts workshops and photographic tours in Japan and abroad.
Born in London, England he immigrated to Japan and in 2010 became a Japanese citizen.
His journey to becoming a full-time working professional photographer was chronicled through his podcast as was his recent health challenges. His professional and personal journey as well as his beautiful and stunning photographs are a source of great inspiration to photographers from all over the world. You can find out more about Martin and his work by visiting his website.
