Category Archives: Tutorials

Image Theft or: How I Learned to Stop Worrying and Love the Internet

Whenever I teach any of my photography workshops, one of the most asked question is always: “How do I keep people from stealing my images?”. And my short answer is always: “Don’t put them online”. As soon as you put your images online, you open yourself up to image theft, the question you should be asking is: “How will this inevitable image theft impact me as a photographer and how can I minimize that impact?”. This question has a much longer answer and it will really depend on what you intend to achieve out of putting your images online.
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Workflow Tutorial #3: Portfolio Management

I was going through my Flickr account last week trying to pick out a half dozen images to submit to a gallery and realized that I have over two thousand images in my library. This may not seem like a lot, I know many photographers with a ton more images online than me, but I always try to be ultra-critical with myself, only uploading what I feel are my best images. Taking a closer look, a large chunk of my shots have less than twenty views, with only 10% or so making up most of my daily hits. That’s to be expected, but what really blew my mind was that quite a few of the images that get a ton of hits are ones I would never have put money on to be popular, some I even waivered on uploading at all. So what should I take away from this data as a photographer? Is it so bad that there’re images on my Flickr that don’t get a lot of views? It’s all really going to depend on what your goal with Flickr is.

Everyone’s going to have different goals when they put images online. Assuming you’re like me, it’s to have an online portfolio of your work, a way to passively or actively advertise your skills. In that case, self-editing is a very important skill to learn. A skill that is constantly evolving as tastes and markets change. Continue reading

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Flickr Members Join the SOPA/PIPA Protest

Today many websites are joining in protest of the US Governments SOPA/PIPA bill by blacking out their content and providing links to information about the proposed bills. Among the protestors is Wikipedia which has blacked out its English language pages for the first time ever.  Flickr has also given its members a chance to join in the protest by blacking out their photos for 24hrs as you can see above.

It’s hard for me as a photographer, on one hand I’m in favour of better protection for my own IP, but the heavy handed methods and sneaky introduction of this bill worries me.  For now the bill would only affect users in the US directly, but by censoring and limiting every internet contributor in the US, we’ll all be affected.  It’s also not unforeseeable that, if passed, the US could pressure the Canadian, and in fact any other government to also enact similar laws.

I believe there should be better protection of IP on the internet, especially protection available to those who don’t have the money to bring legal action on their own, but not at the expense of unilateral government controlled censorship.  There’s plenty of ways to bring IP to the internet while minimizing your risk of piracy, Apple has proved it’s possible with iTunes.  Why should I go to the trouble of pirating music when it’s available to me at a click of a button, for a buck a track, anywhere there’s internet.  Companies like Apple and Netflicks have proven that, when offered a product at a reasonable price, people will pay rather than pirate.  The companies lobbying for this bill need to start working with the internet instead of trying to legislate it away.  Please take a second and read the Wiki article on how SOPA/PIPA will affect you, and join the protest in any way you can.

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Posted in Events, Fine Art, Gear Talk, Music, Nature, People, Places, Street Photography, Tutorials | Leave a comment

2011 Round Up: 6 Things I Learned Last Year

Last year was a banner year for me; my photography business actually started turning a profit, I started teaching photography and art related courses at a couple different venues and I learned a lot about what it takes to survive as a photographer in the digital age. I’m not saying I’ve been able to implement all the things I’ve learned over the past 365 days, but at least I’ve identified a lot of the changes I need to make if I want to complete the transition from photographer to running a photography business. Here’s a brief rundown of some of the things 2011 taught me, along with some shots from the past year I just finished developing. Continue reading

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Street Photography Tutorial #3: Visualizing The Shot

Whether you shoot from the hip or bring your camera up to eye level, being able to pre-visualize a shot is one of the most important skill every photographer should learn. Unless you’re shooting in a studio with all the time in the world to play around with lighting and focal lengths, being able to know, even roughly, what your camera’s going to see ahead of time is a must. Even in the studio, time is usually money, and being able to create a shot in your mind before you even touch a camera will save you both; if you can switch focal lengths or lighting in your head you only have to do it once physically. Continue reading

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Nightlife Photography – How To Survive Shooting After Dark

Working in the nightlife industry as a photographer can be a lot of fun, but it can also be unnecessarily stressful and difficult dealing with the business side of things. I’ve talked about the technical difficulties of shooting bars and nightclubs before but I’ve never really touched on the logistic side of things. Of all the different types of photography gigs I’ve had, dealing with bars and clubs has been my biggest challenge as a business.

A lot of this applies to any kind of event photography, but shooting clubs and bars has it’s own subset of quirks and problems. It’s chaotic, fast paced and extremely unorganized. The turnover rate on of employees from bouncers right up to management is so fast that the people you dealt with last week may not be there this week. As soon as you develop a relationship with someone it seems they’re out the door and you have to start all over.

There’s always one person you officially work for; this could be yourself as a freelancer, a 3rd party promotions magazine or website, the venue owner, the venue manager, the promoter for that nights event and possibly the manager of some performer or celebrity if there’s one attending. The easiest situation is for you to shoot as a freelancer and then sell the shots to one or all of these people. By shooting for yourself you retain the commercial rights to the shots and can sell them to whoever you want. Sounds easy enough but this could mean a lot of leg work getting invites, press-passes, photo permissions etc. and freelancers are usually on the bottom of the list when it comes to getting any of these things done. It can take a lot of time and effort to build up the reputation and connections to grease the wheels and get yourself into an event worth shooting by yourself, and afterwards you still have to worry about turning those photos into a paycheck. If an event is big enough that people want pictures they’re probably going to send their own photog instead of hoping a freelancer shows up and gets the shots they want.  Continue reading

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Street Photography Tutorial #2: Tools of the Trade

Last tutorial I talked about the two main types of street photographer: Hunter or Gatherer. This time I’m going to go into the tools of the trade. My street photography kit is very different from my working kit in many ways; my usual working kit contains everything I think I’m going to need for a job, a lot of things I’ll probably need and many things I’ll never need but feel better for bringing. My street photography kit however is usually only about half of what I would like to bring on a given day. The reason for this is simple, on a job I have to be ready for any possibility I can think of and be prepared for the fact I didn’t think of everything. Less is more however when it comes to street photography; I could be walking around for hours so the less I’m carrying the better, and the fewer lenses I bring the less I’ll be inclined to focus on lens selection instead of watching what’s going on around me. There’s many reasons to keep your street photography kit small, which I’ll get into as I go, but first things first, lets talk about the foundation of any kit: your camera and lens(es). Continue reading

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Posted in Gear Talk, Street Photography, Tutorials | 2 Comments

Hello, My Name is Jesse and I have a problem…

Hello, my name is Jesse, I suffer from GAS but it’s been over 6 months since my last purchase. It’s been a hard road, but I’m fighting, one day at a time. I know I’ll never be free of GAS, but I’m finally controlling it, instead of letting it control me.

For those of you new to the group, GAS or Gear Acquisition Syndrome, is an epidemic sweeping the photographic community, you’re not alone in this. Although it started in a very small subset of the population, mostly professionals and collectors, it has spread into the general populace at a staggering rate. Besides the fact that cameras are awesome, as electronics have become the de facto status symbols of our generation the urge to have bigger, better, more than our friends and neighbours is increasing. This creates a fertile breeding ground for GAS. GAS is highly infectious, highly contagious, expensive to treat and will lead to many hours of internet browsing. Although not sexually transmitted, it can be repellent to non-sufferers. Continue reading

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Posted in Gear Talk, Tutorials | 6 Comments

Street Photography Tutorial #1: Hunter or Gatherer?

Street photography is probably one of the most miss-understood genres, not every photo taken on a street falls into the category and not all street photography actually happens there. Street photography is just as much photojournalism as it is art, in its simplest form, the goal is to capture people being people. There’s almost as many schools of street photography as there are photographers doing it, everyone has their own methods, preferences and visions but what unites us is our passion for recording the time in which we live. This series of tutorials, tips and essays will hopefully shed some light on what I’ve learned in the years I’ve been practicing. Continue reading

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Advice From Behind The Lens: How To Look Good On Stage

I’ve been shooting bands for almost a decade now, and while looking back over thousands of performance shots last week, I realized that all the bands I’ve photographed fall into two categories: “That show was amazing” and “Wow, I don’t even remember taking these pictures”. I know that’s a pretty obvious statement; of course I’m going to remember some bands and forget others. What wasn’t obvious at first, however, was that the more I thought about the bands I had forgotten shooting, the more I realized musical ability had very little to do with whether I remembered the show or not. I had shot some amazingly talented musicians but had completely forgotten their live show, while I could remember in detail some four song sets of the smallest and off-key garage bands. When it comes down to it, the common denominator is that some bands forget that when you put out a CD you’re a musician, but as soon as you go on stage, you’re a performer. If you want to be remembered, you have to put on a show, be larger than life. Occasionally when a band asks me to come shoot their show, they’ll ask if there’s anything special I’d like them to do; well, here it is: my guide to getting the best photos you can out of your performance. Continue reading

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Posted in Music, People, Tutorials | 4 Comments