bence8810
Well-known
Thanks for that, I'll try it out once back home. I had my site built by someone from freelancer.com, it was a quick job but I liked the theme.
Yes, what I meant is that I rent a server space at a host / server farm and installed Wordpress myself on it. It isn't with Wordpress- the company - itself.
Ben
mdarnton
Well-known
I've always grown by imitating. First, what comes out isn't really imitation because I'm not the person I'm copying, and then it morphs further into something that's even more mine. I go on imitational binges when I see something I like, and then that eventually gets integrated into what already was mine, in its own way, and the total of all those accumulated styles mix up into something that is my style.
Juan Valdenebro
Truth is beauty
Since I learnt to shoot without metering, I have felt I can quickly consider the relevant things, and act a lot faster. Technique is very important IMO, because when it "disappears" from our mind, there are a lot more chances to express visually.
Apart from that, being able to decide if we want an image with huge depth of field or with selective focus, allows us to create what we feel more appropriate, instead of making "the only image that can be done with this lens and this ISO", and that ability depends on how fast our technique is and what gear we have ready for shooting. Usually a couple of cameras with a 28/35 and a 50 make it possible.
Cheers,
Juan
Apart from that, being able to decide if we want an image with huge depth of field or with selective focus, allows us to create what we feel more appropriate, instead of making "the only image that can be done with this lens and this ISO", and that ability depends on how fast our technique is and what gear we have ready for shooting. Usually a couple of cameras with a 28/35 and a 50 make it possible.
Cheers,
Juan
jschrader
Well-known
This is maybe too technical but still maybe it is relevant:
I feel I improved my pictures much after I changed the DSLR for a b&w film RF with a single lens. This gave me much to think about - why it improves the photos if you have less options (because the DSLR is obviously superior, high ISO, more lenses, built-in flash, AF .......)
I believe what you can do is this: find out which kind of pictures you like most; and then restrict you equipment to the minimum you need. Definitively you will be unable to take some pictures you would have liked to take, but it will allow to focus on scenes that somehow match your taste.
And then, it is maybe not necessary to take much photos; you need to work a lot on them. With film it is obvious, but even if you work digital, it may help to avoid mediocre shots. The option to delete them later may defocus you, so avoid the "well maybe this is something, we will see in PS"
I feel I improved my pictures much after I changed the DSLR for a b&w film RF with a single lens. This gave me much to think about - why it improves the photos if you have less options (because the DSLR is obviously superior, high ISO, more lenses, built-in flash, AF .......)
I believe what you can do is this: find out which kind of pictures you like most; and then restrict you equipment to the minimum you need. Definitively you will be unable to take some pictures you would have liked to take, but it will allow to focus on scenes that somehow match your taste.
And then, it is maybe not necessary to take much photos; you need to work a lot on them. With film it is obvious, but even if you work digital, it may help to avoid mediocre shots. The option to delete them later may defocus you, so avoid the "well maybe this is something, we will see in PS"
pvdhaar
Peter
Wow.. that's an impressive collection of fine portraits! And of course it's got to be if you show them to the world.. I haven't got nearly the hit rate of keepers that you have.
Talking about showing images to the world, when starting out with my PAW, I also shared my images for a while. But after about a year, I decided to stop that and take them down again. For me the PAW was intended as a learning tool, and the responses I got (favorable as well as not-so) started to affect my shooting; it's very easy to fall into the trap of repetition after receiving praise.. while pursuing in the direction of failures is much more interesting.
Turtle
Veteran
What Lynn said, but with one addition: solicit constructive criticism from a wide diversity of accomplished photographers, wherever possible. Internet feedback can be useful, but as often as not it will lead you in the wrong direction. Now onto that direction >>
Consider what sort of photographer you want to be. This is crucial. I wrote a piece about developing a personal style and you may find it useful: http://thephotofundamentalist.com/?p=450
If you want to produce what I call hobby/generic/diverse photography, you will be going down a completely different path to documentary photography or fine art still life. Most importantly, the people providing feedback from one domain have little to zero relevance with regard to your endeavours in another.
Consider what sort of photographer you want to be. This is crucial. I wrote a piece about developing a personal style and you may find it useful: http://thephotofundamentalist.com/?p=450
If you want to produce what I call hobby/generic/diverse photography, you will be going down a completely different path to documentary photography or fine art still life. Most importantly, the people providing feedback from one domain have little to zero relevance with regard to your endeavours in another.
Alberti
Well-known
Gorgeous thinking/doing. I LOVE the fountainhead series.
Who's going to STOP him with his Brownie?
Rikard
Established
Make mistakes and shoot differently from what you think is the best approach. Learn which "mistakes" produce interesting images and consciously incorporate them into your repertoire. This is very hard, but I've found it's the only way to surprise myself and to find new ways artistically.
If you photograph people and portraits. Stop thinking about poses, and instead focus on which emotion you want your portraits to convey. Then figure out how you can make the model feel that emotion by using eye contact, body language, tone of voice etc.
And last but not least, shoot film
If you photograph people and portraits. Stop thinking about poses, and instead focus on which emotion you want your portraits to convey. Then figure out how you can make the model feel that emotion by using eye contact, body language, tone of voice etc.
And last but not least, shoot film
jschrader
Well-known
I recently found something strage:
I typically need some time, when I am out with the camera, to "switch on my photo-mode" - to be able to find things that might be worth trying a photo. When I took some shots, it gets easier and when I took a lot, I get into a kind of euphoric mood and probably shoot to much.
Now I saw that only working with photos - in this case in photoshop, cleaning some older scanned films - helps.
So the basic thing is maybe just to see much photos - your own, exibitions, books and whatever
I typically need some time, when I am out with the camera, to "switch on my photo-mode" - to be able to find things that might be worth trying a photo. When I took some shots, it gets easier and when I took a lot, I get into a kind of euphoric mood and probably shoot to much.
Now I saw that only working with photos - in this case in photoshop, cleaning some older scanned films - helps.
So the basic thing is maybe just to see much photos - your own, exibitions, books and whatever
Alberti
Well-known
One thing I noticed is that my best photo's have not been "composed" and "studied" but take a life of their own after the shot: when observing the outcome, even without post processing. I find out something hidden.
Something - an expression or impression - I could never have seen. Some Gestalt. :angel:
Something - an expression or impression - I could never have seen. Some Gestalt. :angel:
I just shoot a lot and try to expose myself to great art and photography to keep me inspired.
It boils down to this...
"If you're out there shooting, things will happen for you. If your not out there, you'll only hear about them." Jay Maisel
mdarnton
Well-known
The best thing I've found for me to do is constantly look at pictures, from any source at all. I'll sit in the doctor's office and flip through womens' magazines. I'll look at ads, fashion magazines, anything. I decide if I like what I see, or if I don't, and try to figure out why. Then I try to bring that into my own work. I've gone through periods of imitating photographers I liked, then moving onto others.
Currently I'm into large formal portraits, and paging through Kodak's Studio Light magazine from 1909 onwards (on archive.org), looking for lighting and posing to steal. I've also gone through HCB and W Eugene Smith phases.
Currently I'm into large formal portraits, and paging through Kodak's Studio Light magazine from 1909 onwards (on archive.org), looking for lighting and posing to steal. I've also gone through HCB and W Eugene Smith phases.
Ricoh
Well-known
I know it’s an old thread but nothing changes, most of us want to improve. Unfortunately this link no longer works http://www.photographyblackwhite.com/finding-vision/
Is there an update?
Is there an update?
lynnb
Veteran
That was a long time ago! I did a search and this is probably what I linked.. at least, I know I've read it before and I'm fairly sure this is it:
“Finding Your Own Vision” by Arno Rafael Minkkinen
Cheers,
Lynn
Ricoh
Well-known
Thanks Lynn. Had a quick read of this, thinking it’s quite a deep article with lots of metaphors - takes some thinking. I’ll re-read it later.
Two thoughts stick with me from Ralph Gibson:
i) A quote by Dorothea Lange along the lines of always having a point of departure;
ii) Don’t copy other photographers, don’t even copy yourself.
Two thoughts stick with me from Ralph Gibson:
i) A quote by Dorothea Lange along the lines of always having a point of departure;
ii) Don’t copy other photographers, don’t even copy yourself.
Darthfeeble
But you can call me Steve
The most difficult thing for me to grasp and put into my pictures is to keep from being subject centric and look for lines and shapes and relationships. Black and White has helped with that but I'm still working on it.
Ricoh
Well-known
Yes, looking at lots of picture and, instead of clicking or flicking to the next, linger on the ones that resonate with you to work out what it is about the picture that appeals. Equally thinking about those that don’t appeal and why.
davidnewtonguitars
Family Snaps
I have set limits on my photography, and within those limits I try to have fun taking pictures. The limits are: one camera, B&W 35mm only, processed at home, scanned and printed on a simple ink-jet. I roll my own, and want to use, but have not yet, one bulk brand of film and one developer. It should be apparent that the limits are economic.
Within the limits I shoot as much as I can, but keep the time spent to "hobby" priority.
To improve, I try to think more than shoot, to look more, and to see more. I don't care much if the pictures are improving, but I do care that my seeing is improving.
Within the limits I shoot as much as I can, but keep the time spent to "hobby" priority.
To improve, I try to think more than shoot, to look more, and to see more. I don't care much if the pictures are improving, but I do care that my seeing is improving.
Damaso
Photojournalist
The first step is being able to honestly assess your images. What works and what does not. It never hurts to study photographs by photographers you admire and try to better understand what you like about their images.
David Hughes
David Hughes
It's also important to realise that what you see in books and on the internet has been very carefully selected, often by the photographer and a picture editor and enhanced by the printer and so on. There's an awful lot of photo's all around the world that the French call "cinquante-cinquante" which sounds a lot better thatn so-so... And there's worse that people love with little merit to them.
Regards, David
Regards, David