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Photography In View v.2
Curated news and current highlights in photography for: 22 Jun 2017
Welcome to the Crowdify photography digest, which showcases individual photographers, photojournalism collections, the latest technology developments, and more.
Ever since I decided to start learning photography, I’ve been looking for a good catalog of composition ideas. Once you figure out the mechanics of how a DSLR works, getting good at the composition of your photos seems to be the 80/20 of rapidly improving at photography.
I looked around and heard that the best book on the subject was “The Photographer’s Eye” by Michael Freeman. It’s explicitly about composition and walks through all of the elements of good composition for beginner photographers. It’s a fantastic introduction, and I highly recommend reading it.
After finishing the book, I went back and pulled out all of the compositional styles he mentioned explicitly or implicitly that I liked and thought were useful, and found a good example on Unsplash for each one. I wanted to practice recognizing them so that I could better pick them out in the wild, and incorporate them into my own photos.
Full story at http://bit.ly/2sLiH0N
The model for the cover was Margaret Zhang, a young and influential photographer, director, stylist, and writer. According to FStoppers, the photographer described the process as “liberating.” This is because he didn’t have to worry about all the gear usually necessary for a fashion photo shoot. It was just him and his iPhone.
Full story at http://bit.ly/2sLvikD
"India is a hard place to shoot. Not because there is nothing to shoot, but because there is so much to shoot. The country is filled to the brim with colorful buildings and interesting people. It can almost feel like shooting fish in a barrel. Go during the Holi festival and things get easier. The country is now engulfed with colored powder and dyed water. People fill the streets in celebration of good over evil and the coming of spring. Going into a situation like this, it can be easy to shoot at anything and everything, but I really wanted to shoot something different."
Full story at http://bit.ly/2sLsbtb
The Sony a9 is a big step forward for mirrorless technology. It betters the fastest, most expensive SLRs in capture rate, spreads its autofocus system across almost the entirety of a full-fame image sensor, and has a really fantastic EVF—one that, in many ways, is a better option for shooting action than an optical finder. It's also significantly smaller and lighter than a top-end Canon or Nikon, and less expensive—although that advantage is lessened by the need to buy some extra batteries and a charger, lenses that trend a bit higher in cost, and a lack of strong third-party lens support.
The camera's best attribute isn't its burst speed alone. The complete lack of blackout when capturing images changes the way you can capture quick-moving subjects. If a basketball player makes a sudden juke in an unexpected direction, you'll be able to better follow them with your lens. Likewise, if you're trying to grab a shot of erratic fauna, like a swallow in flight, the camera can better keep up with their movements, even when using a lens long enough to keep them tightly framed. And because the autofocus system covers so much of the image sensor area, you don't have to worry about your subject moving outside of the range of autofocus.
The a9 stands alone in its class in the mirrorless world—nothing else has as big of a sensor or shoots so quickly. If you're invested in the system and have been patiently waiting for a camera like this, your patience has been rewarded. The a9 is a reminder that mirorrless cameras have come a long way, and in some ways have moved beyond what even the highest-grade SLRs can accomplish. It may not be enough to sway Canon and Nikon owners with years of muscle memory and deep investments in hardware away from their chosen system, but it's a clear sign that Sony has every intention of remaining a very serious player in the professional photography space.
Full story at http://bit.ly/2sLtZCg
Palma’s images have a foreboding air; as viewers, we feel that we aren’t necessarily welcome in the world he has created. This melancholy has deep roots in Palma’s personal history. “I come from a Catholic education,” he says. “Even though I am not a practicing Catholic, I am aware of a tragic feeling in life, a feeling that we live in a lost paradise; that, even with everything powerful and beautiful around us, there are always cracks…something essential is always lacking.” Indeed, there are symbols in Palma’s work that suggest Catholic iconography. In one image, a drip of red marks the torso of a statue in the classical style; its placement on the figure’s chest is unquestionably an allusion to one of the Five Holy Wounds, where Jesus was pierced by the Holy Lance as he languished on the cross. Likewise, the text layered into Palma’s imagery is usually taken from books related to the Catholic religion. A kind of secular spirituality drives and directs Palma’s creations.
This spiritual mindset seemingly imbues every step of his creative process. Speaking about how he chooses his models, he notes, “I select my models in a very intuitive way; I have to recognize myself in them, in their look, in their stance towards life. Many times, they are friends; others, they are people whom I ask to pose for me.
“We talk a little about their life—their desires, their loves—but there is usually more silence than words. Then follows a whole post-production part where I choose the best way to show the emotional aspects of the process.” This intensity is palpable in the final product of Palma’s endeavors.
Full story at http://bit.ly/2sLpc3z
Christy is interested in the aesthetics of ideas and beauty, which she believes has the power to create healthy lives and thriving communities. She can be found on Instagram @exittheworld