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Thursday 30 November 2017

A.I. Will Transform the Economy. But How Much, and How Soon?


By STEVE LOHR from NYT Technology http://ift.tt/2j6fkM7
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December 01, 2017 at 05:02AM
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BBCTech : Tesla mega-battery in Australia activated https://t.co/pCXlbcWcpY (via Twitter https://t.co/JA1bV1MEuS) https://t.co/oRk6lPAWbx


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December 01, 2017 at 03:03AM
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Tesla mega-battery in Australia activated

The world's biggest lithium ion battery was installed to help solve electricity problems.

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December 01, 2017 at 02:46AM
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BBCTech : Powering up https://t.co/xF7dxVNyoZ (via Twitter https://t.co/vmKiw6mLjM) https://t.co/axUtwsUoQn


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December 01, 2017 at 12:17AM
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New video by Tech Insider on YouTube

Neil deGrasse Tyson Talks Future Of Museums & Skinning A Wolf With The Brain Scoop Host
Neil deGrasse Tyson talks to Emily Graslie, the host of the YouTube channel "The Brain Scoop." Neil talks with Emily about everything from what it's like to host a YouTube show at Chicago's renowned Field Museum to how she disarticulated and fed a roadkill wolf to a colony of flesh-eating beetles. "Rising Stars" is a one-on-one interview series hosted by Neil deGrasse Tyson. The renowned astrophysicist and host of StarTalk Radio talks with the next generation of leaders in innovation and tech. Graslie started The Brain Scoop while attending the University of Montana and credits her famous roadkill wolf episode as being the reason she is now the chief curiosity correspondent at The Field Museum. Interestingly, Graslie attended the University of Montana to major in art. She and Neil talk about how artists and scientists and naturalists used to work hand-in-hand to document new findings. Graslie also talks about the importance of museums as examples of time machines and as the only place people can see things for themselves. Therefore, she argues YouTube and technologies won’t replace science education, but, hopefully, only stimulate people to go to a museum in real life. Read more: http://ift.tt/fxZ2E2 FACEBOOK: http://ift.tt/1fEbtRI TWITTER: https://twitter.com/techinsider INSTAGRAM: http://ift.tt/1S8jzxH


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SAIGON SATCHEL: The Perfect Camera Bag For Street Photographers

Photographers: Your Labor is Not Free.

5 Tips How to Become Fearless in Street Photography

Shoot For Yourself

New video by Tech Insider on YouTube

Snapchat Is Going Through A Huge Change — Nick Bell explains
During an interview at Business Insider's IGNITION conference in New York, Snapchat's VP of Content, Nick Bell, walked through all the changes coming up in the app's biggest redesign. Following is a transcript of the video. Nick Bell: What we’ve really done here is double down on what has made Snapchat great today but simplified it. And I think, you know, you look at it now, there are three screens. As Evan said, you open up the camera, we think that really aids self-expression and it's the kind of blinking cursor of the new mobile age. On the left-hand side, you have the friend feed and I think what's key here is that the conversation with your best friend was happening on the left-hand side anyway. It’s where you were chatting with your friends but it was slightly awkward because the stories from your friends were appearing on the other side of the camera and therefore you were occasionally missing some of those stories from your best friends. So by creating one page where all of that lives together simplifies it and we think is going to really aid that conversation and the relationship with your friends. Then on the right-hand side, we now have much more prominent, much more real estate for premium content from our publishers and media partners, which I think is going to be really exciting and is going to aid the discovery of new content for people. The other thing that it’s done is allowed us to, as Evan said, separate the social from the media because we know the relationship that you have with your friends is very different to the relationship you have with content. And I think what’s happened traditionally with news feeds is those two have been blurred together and the signals that were indicating this content you were seeing was based on your friends. But what's actually kind of interesting is that although I’ve got great relationships with my friends, my interests are personal to me and not personal to my friend. So just because my friends like skateboarding doesn't mean I like skateboarding. So here, by separating these two aspects out, we think it's a much cleaner solution and we think that actually what's going to happen is we're going to be able to optimize the two experiences. One to focus on relationships and one to focus on interest.   Read more: http://ift.tt/fxZ2E2 FACEBOOK: http://ift.tt/1fEbtRI TWITTER: https://twitter.com/techinsider INSTAGRAM: http://ift.tt/1S8jzxH


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Only 30 Days Left For Early-Bird Discount: London Conquer Your Fears in Street Photography Workshop

5 Practical Photography Career Tips and Advice

The Best Ways to Share Your Smartphone Photos This Holiday


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How to use Off-Camera Flash to Create Dramatic Images with Cross Lighting

Learning to use off-camera flash allows you to create and shape light, giving you plenty of new opportunities for dramatic photography.

But for many photographers, starting up with flash can be intimidating. It’s not just a matter of aiming a flash at your subject and hoping for the best. Choosing the wrong angle or positioning for your flash can have a negative effect, casting unflattering or irregular shadows.

A tennis player lit by off-camera flash cross lighting

A tennis player lit by off-camera flash cross lighting

I remember when I was starting out with off-camera flash I would sometimes get images where the light simply didn’t look right. But when it’s used effectively, flash adds to an image – it shouldn’t make the lighting seem unnatural or otherworldly (unless, of course, that’s the effect you’re going for – to each their own!).

But where’s a good place to start? Where should you put your flash in order to get good light? This article will show you one method you can use called cross lighting that you can use to create dramatic images with off-camera flash.

What is cross lighting?

For both beginners and pros alike, cross lighting is a very quick and simple setup that results in a dramatic, well-lit shot.

Like the name implies, this setup features two light sources on opposite sides of the subject. Hitting your subject from both sides adds a sense of depth to the image, while still producing natural-looking light.

An example showing an off-camera flash cross lighting setup for a portrait of a tennis player.

An example showing an off-camera flash cross lighting setup for a portrait of a tennis player.

The key or main light

Typically you want your light that will provide the most illumination, also know as the key light, placed in front of the subject and a bit to one side. For portraits, you will typically want to use a modifier on your light, such as a softbox or umbrella. This isn’t a requirement – but it will help soften the shadows and create more flattering light on the subject.

The purpose of this key flash is to light up the subject’s features and put a sparkle of catch light in their eyes.

A demonstration of the key light only in a cross lighting setup - How to do Cross Lighting to Create Dramatic Off-Camera Flash Images

We convinced this model to act as our stand-in for a few quick portrait shots. Here is an image with only the key light, an off-camera flash positioned to the right of the camera.

Add a second flash as a rim or separation light

The second light is placed behind the subject on the opposite side as the first one. The purpose of this light is to create an “edge” of light around your subject. This is traditionally called a “rim light” or a “separation light” since it helps to separate the subject from the background.

Demonstration of cross lighting on a subject

By adding a second light to the left of the camera and behind our model, we’ve created a rim of light that separates him from the background for a much more pleasing and dynamic image. Notice the highlight on his hat and hand on the left side.

Voila! This quick setup is an easy way to get started and start exploring the creative potential of a shoot. As you begin to snap pictures, you may find something about your setup that you want to change, but the cross lighting gives you a solid foundation from which to build.

An alternate setup of the previous cross lighting example with the off- camera flash locations reversed

We’ve flipped the orientation of the lights for this shot – while keeping the same cross-lighting style. Now our key light is on the left, and the rim light is provided from the right.

Quick to set up

One of the reasons I love using this setup for off-camera flash is that it takes away the guesswork and provides a solid foundation of light that you can then begin to work with and modify.

And also that it takes only moments to set up! When you start lugging around multiple flash units, light stands, and modifiers, it’s nice to have a consistent starting position that provides even lighting.

An example image showing the setup of flash units for cross lighting - How to do Cross Lighting to Create Dramatic Off-Camera Flash Images

An overview of our setup, with the flashes oriented for cross-lighting and our subject right in between.

The final image of a carpenter, photographed using cross lighting - How to do Cross Lighting to Create Dramatic Off-Camera Flash Images

The final shot, where the light has given a sense of depth to make the subject stand out from the clutter behind him.

It’s a good idea to get the correct flash power for your key light dialed in before adding your second flash. Trying to figure out the correct outputs for two lights at the same time and adjusting in your camera on the fly is a recipe for a headache.

Cross lighting with a single flash

One of the reasons this setup is so easy and versatile is because you don’t necessarily need to use two flash units – the sun can step in as either your key or secondary light.

This approach is particularly effective at golden hour. As evening falls and soft, warm light floods across the fields, you have a ready-made separation light. Many natural light photographers are already familiar with this and use this rim light in their shots.

Example of a portrait shot with cross lighting using a single off-camera flash as a key light and the sun as a secondary light

The key light here is an off-camera flash fired into an umbrella just outside the left edge of the image. The sun, coming from the right, acts as the secondary light. The key here is in balancing the flash with the natural light.

The benefit of adding an off-camera flash as a key light is that you can create a much more dramatic image with dark, rich colors. Colors lose their vibrancy as they get brighter. By keeping the exposure low and using your off-camera flash to light up your subject, your background can be full of vivid contrast and color.

Using the sun as your key light

The sun doesn’t always have to play second fiddle to your flash. You can create the same effect by using the sun as your key light – coming in at your subject from a slight angle – and then using your off-camera flash as the rim or separation light.

The biggest drawback here is that you can’t adjust the power of the sun quite as easily as you can on the back of your flash! However, taking the time to learn how your camera settings can make a picture darker or lighter, and how you can use this skills in conjunction with your off-camera flash, will give you allow you to build the shot you want.

Cross lighting with a flash and a reflector

Here’s the last variation of this setup. By setting up your off-camera flash on one side of the subject and angling a reflector just right on the other, you can mimic the effect of two light sources. This approach might take a bit of practice and a steady hand, but it’s a fun way to learn what you can accomplish as you learn how to control light.

An example of a portrait using a reflector and sunlight to create cross light

Here we used a reflector to provide the key light from the left side of the shot, while the sun comes from the back right.

Give it a shot

Learning to maneuver and shape light is a fun challenge. Being able to quickly and reliably get top-notch results with flash is an important aspect of photography – especially if your model or clients are waiting impatiently for you to get your lighting figured out.

By starting with cross lighting and working from there, you have a reliable method for nailing some great shots. Please share your comments, questions and cross lighting images in the comments section below.

The post How to use Off-Camera Flash to Create Dramatic Images with Cross Lighting by Frank Myrland appeared first on Digital Photography School.



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Forever Be an Amateur

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November 30, 2017 at 05:02PM
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New video by Tech Insider on YouTube

What is a Supermoon?
The only supermoon of 2017 is rising on December 3. But what is a supermoon? And why do we only see one or two a year? Supermoons are a rare type of full moon. They appear up to 14% bigger and 30% brighter than normal. While the full moon rises about once per month, supermoons can only occur a few times per year — max. That's because the timing has to be just right. The Moon takes about 27.32 days to orbit Earth. During its orbit, the moon passes through two points: Perigee and apogee. Perigee is about 30,000 miles closer to Earth than apogee. A supermoon can only occur at perigee-syzygy, when the moon is full and at perigee simultaneously. This is rare because as the Earth revolves around the sun. the moon's orientation to Earth stays mostly the same. This changes where the Moon is in orbit during each full moon. But supermoons would even more rare if the moon didn't precess. Over many years, the moon's precession changes its orientation slightly. It's often hard to differentiate a supermoon and a regular full moon. The best time to watch a supermoon is when it's low, near the horizon. So you can fully appreciate this rare moment in space and time. Read more: http://ift.tt/fxZ2E2 FACEBOOK: http://ift.tt/1fEbtRI TWITTER: https://twitter.com/techinsider INSTAGRAM: http://ift.tt/1S8jzxH


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New video by UrAvgConsumer on YouTube

My Favorite Tech of the Month - November!
The month of November is now over but here are some of my most used and favorite tech during the month! My Massive Tech Unboxing 8.0! - Biggest YET! - https://www.youtube.com/watch?v=izWC2Sf9rLk&index=2&t=2s&list=PLllvXU2Kt6Mfyhfz1MHJAs5Ct8hJJWe1r Top 5 Awesome Tech Under $50! - https://www.youtube.com/watch?v=ISnddueZMas&index=1&t=215s&list=PLllvXU2Kt6Mfyhfz1MHJAs5Ct8hJJWe1r Find everything here: iPhone X -- http://ift.tt/2f2Zym7 Razer Phone - http://amzn.to/2AmNVfW mophie Power Capsule - http://amzn.to/2AmdduR Anker PowerPort+ - http://amzn.to/2ka1Vpv Surface Book 2 - https://bhpho.to/2ApPHjb Social Networks: Twitter: http://bit.ly/1ItDLeU Instagram: http://bit.ly/1Q7GoH4 Facebook: http://bit.ly/22zYfsO Snapchat: uacreviews UrAvgGF - Twitter: http://bit.ly/2g9x89W Instagram: http://bit.ly/2fq9Ngf Snapchat: uravggf For business inquires email: UrAvgConsumer@gmail.com


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The Colorful Soviet Mosaics Decorating Ukraine's Streets

Life in Soviet Ukraine wasn’t pretty. But the propaganda sure was.

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BBCTech : Drones to deliver rural broadband... huh? https://t.co/2v9BDogRNh (via Twitter https://t.co/YLotVcsC6i) https://t.co/PpjKFzGoPb


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November 30, 2017 at 02:21PM
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How 41 People in Lithuania Took Over Your Facebook Feed


By KEVIN ROOSE from NYT Technology http://ift.tt/2AlWnfN
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BBCTech : Cable-laying drone wires up remote Welsh village https://t.co/QaCoFWwvvZ (via Twitter https://t.co/t8JbqB3zi4) https://t.co/FrxdsR6iKu


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November 30, 2017 at 02:06PM
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Cable-laying drone wires up remote Welsh village

A remote Welsh village has superfast broadband after a drone was used to install fibre cables.

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Lightroom Mobile – The Secret to Shooting and Editing on Your Smartphone

Why use Lightroom Mobile

Many people don’t realize the benefits of using Lightroom Mobile with your Adobe Lightroom Subscription. When you subscribe to Adobe’s Photographer’s plan, not only will you receive Adobe Lightroom Classic, but you also get access to Lightroom Mobile.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Lightroom Mobile is a cloud-based program which originates from your Lightroom Classic desktop. It’s easy to set up, and Adobe’s help desk is there to quickly assist if you have any questions. You not only have the ability to share your images across multiple devices, but you can also shoot and edit quality RAW images right from your phone or tablet.

 Setting up Lightroom Mobile

The first thing you need to do is enable Lightroom Mobile from within your desktop version of Lightroom. This will signal Lightroom to sync the files that you select. Below is a screenshot of Lightroom’s Activity Screen that shows the status of Lightroom mobile. The activity screen is located in the upper left-hand corner of your Lightroom desktop page.
Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Creating Collections

The secret to working with Lightroom Mobile is to create collections within your Lightroom desktop version that you want to sync with Mobile. It will not automatically sync everything in your Lightroom catalog, you have to tell it which images you want to show on your devices and this is done through collections. I wouldn’t recommend syncing all your images to Lightroom Mobile. Leave this for special collections and your portfolio.

Select a group of images you would like to include in a collection and navigate to the collection module on the left panel of the Lightroom desktop app. Click the + sign in the collections pane to create a new collection.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Create a new collection.

Once you have created the collections and added images to them, you need to be sure that these collections will sync. When you first create them, there is a box to tick to enable Lightroom Mobile and syncing between devices – make sure that is checked off.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Enable Lightroom Mobile

If you don’t enable Lightroom Mobile upon import or when you create a new collection, you can always enable it after the fact by making sure the firebolt is enabled located to the left of the collection name. Just tick the box next to the collection you want to sync and the firebolt will show.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Firebolt Icon is Located to the Left of the Collection Title

To stop a Collection from syncing with your device, do one of the following in the Collections panel:

  • Click the firebolt sync icon next to the name of the Collection to turn it off.
  • Right-click a Collection and deselect Sync With Lightroom Mobile from the sync menu.

Viewing Images on Your Device

If your Lightroom Mobile is enabled correctly, you will need to sign into the Adobe Creative Cloud with your password. The mobile version should start filling up with the collections you enabled on your Lightroom desktop. You can also enable Lightroom Mobile to automatically pull images that you take from your Mobile device. Make sure you create a special collection of those images only.

Creating Images with Lightroom Mobile

With the current version of Lightroom mobile, you can create images on your Smartphone with the app. It gives you the option of either shooting in JPG or DNG. You can also shoot in automatic or professional mode and use a variety of presets. I prefer to shoot an image without any preset adjustments made to it and apply any edits afterward. That way you will always have the un-retouched original image.

The automatic shooting mode on Lightroom mobile works really well. It gives you separate focus and exposure points as well as overexposure indicators that show up as a series of parallel lines indicating highlight clipping. These three tools are the keys to getting a good shot on your mobile device. If you scrub left or right on the screen, the highlight clipping indicators will go away when the exposure becomes balanced. If portions of the image are overexposed, it will show up as you see in the image of my white dog below.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Automatic Shooting Mode with Over Exposure Highlights

The beauty of using Lightroom Mobile is you can edit images on your Mobile device or from your main computer. They can be located in a collection taken with your DSLR, or they can be images taken with your cell phone and located in your Lightroom Mobil collection.

Note: if you have your monitor calibrated, the colors may come out differently on your pad or phone if you decide to edit from there. No editing is permanent within Lightroom, so it’s an easy fix if it doesn’t look right on your main desktop computer.

One of the keys to success in mobile photography is to get it right in the camera just like a DSLR. Using these tools with this intuitive mobile app will help you accomplish that goal.

Please keep in mind, your phone or tablet is not a DSLR, so know that the images will not be of the same quality as a high megapixel DSLR. However, the Lightroom Mobile camera app gives you some great tools to create some really nice Smartphone images.

Editing in Lightroom Mobile

Once you have created your images and imported them to Lightroom Mobile (either from your desktop or from your smartphone), you have almost as many options for editing on your device as you do on your desktop.

If you tap on the edit screen in the top left corner, it will open up a menu of several different editing options.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Select the Edit Tool

On the edit screen, you can choose to edit the image globally or choose selections and edit specific areas individually. This is how to start a post-processing workflow, whether you’re using Lightroom Classic CC desktop version or Lightroom Mobile.

Then you can go through the different options for post-processing, starting with light, color, effects and finishing off with detail. You can also make a selection in your image and go through all of those same adjustments, just affecting the selected areas.

Local Adjustments

By tapping on the selective icon on the bottom left, it will bring up a menu with a paintbrush. Tap on the brush, and then select the middle brush size and paint with your finger over the area you would like to edit. If you overdo it, you can use the eraser tool to clean up your selection. After you make the selection, then you can make any number of adjustments on just that area. Once you have made all the necessary adjustments, save your edits.

Lightroom Mobile - The Secret to Shooting and Editing on Your Smartphone

Using this technique will give you the most interesting effects by truly painting with light and not just adding random light adjustments for the whole image.

Give Lightroom Mobile a try and make it a part of your everyday photo organizing and editing. Give some of these selective tools a try and let me know how it goes in the comments area below.

The post Lightroom Mobile – The Secret to Shooting and Editing on Your Smartphone by Holly Higbee-Jansen appeared first on Digital Photography School.



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Buy Yourself Experiences, Not Stuff

BBCTech : Facebook disables ethnicity advert targeting system https://t.co/X76Vl5zaE1 (via Twitter https://t.co/SezZY0n6Bo) https://t.co/xTiiMiMsBK


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November 30, 2017 at 01:02PM
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Facebook disables ethnicity advert targeting system

The social network is looking into how its targeting systems can be abused to exclude some ethnicities.

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BBCTech : Elon Musk bids to build Chicago travel pods https://t.co/ex2T0Tk7MS (via Twitter https://t.co/9xmaq37ui6) https://t.co/9oVtliFRKq


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November 30, 2017 at 12:36PM
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Elon Musk bids to build Chicago travel pods

The entrepreneur will compete to build a futuristic transport link to the city's airport.

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BBCTech : Gamblers spend £4.7bn online as watchdog warns of harm https://t.co/E755Se2pEZ (via Twitter https://t.co/EbuxIdYSI1) https://t.co/WeuBkTcizM


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November 30, 2017 at 12:11PM
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Hey #9: SanDisk Extreme 64GB microSDXC Memory Card + SD Adapter up to 100MB/s, Class 10, U3, V30 A1 - FFP https://t.co/KMGE1W3PtX via @juko101 | 🚀 by https://t.co/j3T1LCc3Qe


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November 30, 2017 at 11:02AM
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BBCTech : Terrorists 'certain' to get killer robots, says defence giant https://t.co/QRTjcahY65 (via Twitter https://t.co/DoiOvDFOoT) https://t.co/4t0nthJn9t


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November 30, 2017 at 10:17AM
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Terrorists 'certain' to get killer robots, says defence giant

Swarming drones and other AI-enabled weapons will soon fall into the wrong hands, Lords are told.

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BBCTech : Robot automation will 'take 800 million jobs by 2030' - report https://t.co/QtUvXToX6Z (via Twitter https://t.co/UTlTUDRqeS) https://t.co/yNGGBFzOKE


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November 30, 2017 at 08:26AM
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BBCTech : Bank deputy warns of Bitcoin bubble risks https://t.co/bK8glAFLqI (via Twitter https://t.co/17mMfQVOLc) https://t.co/LeZlrRZKKD


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November 30, 2017 at 08:26AM
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Bank deputy warns of Bitcoin bubble risks

Investors should "do their homework", says Bank of England official, as Bitcoin passes $11,000.

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Robot automation will 'take 800 million jobs by 2030' - report

Up to one fifth of the global work force will be affected by global automation, says McKinsey.

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Wednesday 29 November 2017

Amazon Trumpets Its Cloud Lead With N.F.L. and Other Deals


By NICK WINGFIELD from NYT Technology http://ift.tt/2jvMa8m
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Why Old-Fashioned Tools Remain Key for Reporting


By EMILY STEEL from NYT Technology http://ift.tt/2BzE32L
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Drone Maker D.J.I. May Be Sending Data to China, U.S. Officials Say


By PAUL MOZUR from NYT Technology http://ift.tt/2AoximA
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Hey #10: Ledger Nano S Cryptocurrency Hardware Wallet https://t.co/Yng6GI5o3P via @juko101 | 🚀 by https://t.co/j3T1LCc3Qe


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November 30, 2017 at 05:02AM
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#10: Bosch X-Line Accessory Set, 50 Pieces https://t.co/CoXMogirQL https://t.co/dT5UWewgBF


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November 30, 2017 at 03:22AM
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Andy Rubin, Android Creator, Steps Away From Firm Amid Misconduct Report


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BBCTech : Google faces mass legal action in UK over data snooping https://t.co/gZ5YVgSe9F (via Twitter https://t.co/r7fylsmdh7) https://t.co/FMOUqLddDE


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November 30, 2017 at 12:16AM
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Google faces mass legal action in UK over data snooping

Search giant is accused of unlawfully harvesting the personal information of millions of UK iPhone users.

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New video by Tech Insider on YouTube

Why Snapchat Looks Terrible On Android Phones
Android phones often have similar or better cameras than iPhones. But on Snapchat, it’s not even close.  Snapchats from Androids are much worse than from iPhones. That’s because it’s way easier to develop an app for iPhone. Developers only have to consider a few Apple devices. But for Android, there are hundreds of different phones — all with different screen sizes, running different versions of Android software. Snapchat found a way around developing too many different versions of their Android app. Instead of taking an actual photo with your actual camera, the app just takes a screengrab of your camera view. This way, one image capture method works on most Android phones, even if the picture is worse for it. There are a few Android devices, like the Google Pixel 2, that actually use the camera on Snapchat. But next time you see a bad photo from your friend on Android, you know why...it's probably just a screengrab. On a Q3 earnings call, Snapchat suggested they would be making some improvements to their Android app. CEO Evan Spiegel said, "Given the sheer volume of different Android handsets used to access Snapchat, we have had to establish new processes to ensure that our quality efforts can be maintained. This will be an ongoing investment." Read more: http://ift.tt/fxZ2E2 FACEBOOK: http://ift.tt/1fEbtRI TWITTER: https://twitter.com/techinsider INSTAGRAM: http://ift.tt/1S8jzxH


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The dPS Ultimate Guide to Fine Art Photography

Daring to be Different

One of the contentious topics in the world of photography these days seems to be what exactly is fine art photography. Ultimately it is what the photographer deems it to be, but in the world of art, there is a lot more to it. If you want to get recognition as an artist that uses the medium of photography, then there are certain expectations of what your body of work should be like and how you go about executing it.

Galleries and collectors are not going to collect work or invest in art when there isn’t a lot of consistency within that body of work. One fine art image is not enough to make you a fine art photographer. The work needs to be done with intention, with a direction, and have a consistency over all the images. A style is developed that is recognizable in all the images.

It is important to look at other famous artists, not just photographers, but painters and sculptures, to see how their work has evolved. See how you can do something similar with your photography. Photography is no different to those other mediums and the same definitions that apply to them are also applicable to fine art photography.

Who can be a fine art photographer?

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A long exposure that was taken during the day, but the light in the image has been manipulated to make it look like it was taken at a different time.

Anyone can be a fine art photographer; there are no hard and fast rules about it. Though it does demand a fair amount of dedication. There are no rules or special qualifications that a person needs to follow or have before they call themselves a fine art photographer.

Some of the things that help define a fine art photographer

Perhaps the best way to describe how you can be a fine art photographer is to look at how they work. There is a lot more to it than simply creating beautiful images. We can all do that, but an artist works towards something. Their work is done with intention, and they have a direction they are following. Finally, there is a consistency to their work. Let’s take a look at each of these points individually.

Intention

Often when you go out to take photos, you pick a place because you think you might get nice images at that location. That is most likely never going to be a problem for you. But if you want to be considered more of a fine art photographer then you need to go to places that you know will help you create images that will further your work, and build your portfolio. There has to be some intention behind why you photograph things.

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The cityscape that has some differences, but it is quite effective and if I was short of images for an exhibition this one would be included.

For example, a fine art portrait photographer who does images of people in certain scenes, like dark moody beach scenes, is not going to go and take photos of a baby in a park. Well, they might for a friend, but they wouldn’t include that work in their portfolio.

Artists are always trying to take photos that work with what they already have. They go out with the intention of photographing subjects that follow the direction of their work.

Direction

This is a lot like intention, but it means the photographer has direction. If they are taking photos somewhere, they are being directed by their previous work. This helps them to get images that will continue to follow that style.

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Before processing.

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After processing to give it my signature style.

Consistency

For the same reasons as intention, that same portrait photographer is not going to photograph a baby because it won’t give their workflow any consistency. For a fine art photographer, you need to have work that is fairly consistent and looks like it all belongs together.

That doesn’t mean it has to be the same subject all the time, it can also be a similar processing style. All the images are processed in a similar way so they look consistent when a gallery or investor is looking at the portfolio.

The more consistent you are the more galleries and investors will be interested in your work.

Consistency is important and making sure the images all have the same feel and look is important in creating a body of work.

This is definitely the case. I asked the curator for Stills Gallery in Sydney, Josephine Skinner, about how important it is that there be consistency in a body of work. This is what she had to say:

It’s very important. If an artist were contacting us, I would hope to view a resolved body of work, both conceptually and materially. Of course, we’re used to working with artists as they develop new work for an exhibition, but a cold submission won’t pique my interest unless you establish your capacity to deliver.

What is a body of work and how do you create it?

A body of work is where you have several pieces that show the consistency and intention that was spoken about earlier. When you have a body of work it should have a similar style and look as though one person created it all.

The subject matter should be all the same or very similar. There needs to be a number of images in the body of work so you can have an exhibition. The actual amount will depend on where you are exhibiting and how many are needed.

This is a selection of my work, notice the similar processing style, subject matter, and mood across all the images.

Contact sheet 02

Contact sheet 01

Artist Statement

Whether you want to believe it or not, an artist statement is very important. It doesn’t have to be an essay, but putting what you are trying to achieve with your photography down on paper is a great way to help with those areas that we just discussed; intention, direction, and consistency.

When writing one you want to be clear about why you are doing what you are doing. What is important about it and why you have chosen the medium of photography?

Here is what Josephine had to say about artist statements:

An artist statement is helpful: be brief, clear and use accessible language.

Some statements can waffle on and not make much sense. It is good to sound professional, but it should be concise and leave the audience of your work with a very clear understanding of what you are trying to achieve.

This image was taken with the intention of being able to change the mood and make it look different.

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The final image. Many aspects were changed so this image would look like it was taken at night with just one light shining.

Look at some fine art photographers that are practicing now

Have you ever been told that if you want to be a good writer that you should study and read the writing of those in the same field? The same can be said for fine art.

If you want to be an artist then you should study and look at the work of other great artists, in this case, fine art photographers. Though, you should include a wide range of artists as photographers can also learn a lot from painters, drawers, printmakers, and sculptors.

08 leannecole fine art photography

This image of the 12 Apostles doesn’t really belong with most of the work, but it still has the same. The light has been manipulated, so it almost belongs. But, the different subject matter would make mean it would probably not be included in an exhibition.

You really need to look at what your work is and find similar photographers. There is such a large number of photographers working at the moment, that it’s hard for me to tell you who to study. But here is a list of a few fine art photographers to give you a starting point.

What is an Artist CV?

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A cityscape image before processing.

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The final image showing how the light has been changed to create this look.

This is very similar to a work CV (curriculum vitae) or resume. But instead of listing all the jobs you have had, you list everything that galleries and other people in the art world might want to know about you.

They usually start with your education, where you have studied and when. Then you list what solo exhibitions you have had if you have had any. The goal is to end up with a massive list of those. Then you follow those with the group exhibitions in which you have been involved. Then you might add what prizes you have won.

Finally, comes a list of places where your work has been published. For example, if you have had work published in a magazine. You can also include collections and in this section, you will mention if you have sold work to important places like a major public gallery, for instance.

09 leannecole fine art photography

Another image that has the same look and processing, but doesn’t belong. It does belong more than the image of the 12 Apostles though.

Every time you approach a gallery you will be asked for your Artist’s CV. If you don’t have one, it is time to start working on it. They are usually one page.

Here is a link to my CV as an example.

Do you need to study Fine Art at a Tertiary Level?

The simple answer to this is no, you don’t have to study at a tertiary level to be a fine art photographer. But the long answer is that if you do, you will gain a greater understanding of the many aspects of being an artist. The really good places also give you studio space and impose the need to work in that space like a professional artist would.

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Another one of the power stations, that could work, but wouldn’t be included in an exhibition.

There are so many other things you learn as well, for example, how to develop your style or your body of work. Or, how to create the consistency we talked about earlier. You begin to understand how the gallery system operates and how to approach them. Often you are given opportunities to exhibit your work so you can get an idea of what it is like. These can help you to get a start on your artist’s CV.

The lecturers are usually artists themselves, so they can guide and mentor you. They understand what you are going through and their advice can be invaluable.

Getting a Bachelor of Fine Art is never a bad thing. Many other artists and galleries will take you more seriously because you have shown a commitment to your practice.

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This one is a little different, but it still fits the artist statement.

Where to study it if you so choose

There are places all around the world and where you study will depend on where you live, the cost, and if you are accepted. Look at other artists and see where they studied. Do your research to find out what is available near you. Find out how many graduates of that institution have had successful careers when they finished.

Not all art schools are equal. Some have very good reputations, while others will get you the degree, but not necessarily the prestige. For example, in Melbourne, you can get a Fine Arts Degree from many places, but two are more sought after, University of Melbourne, Faculty VCA, and RMIT University. People take more notice if you have attended and graduated from those schools.

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This image appears as though it would work, but since the rest of the images are more cityscapes and not close-ups of anything, it would not be included. If more similar images were made, I may have to reconsider that decision.

Keep in mind that this type of degree will not lead to a paying job, and you are being trained to be an artist. It is expected that you will work at it full-time when you finish. Of course, most artists end up doing other jobs to supplement their income until they are making enough from their art. Though this appears to only happen for a few. Nearly all teach or have other jobs to pay the bills.

I had a lecturer once that told us if we were still doing art and exhibiting our work 10 years after graduation we would make money from it. Unknown if this is true, but it is a nice sentiment.

Visit galleries and see what others exhibit

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This was taken near a marina, but it is too different and I couldn’t make it look like the other images, so it would never be included in an exhibition.

To get a great understanding of what fine art photography is one of the best things you can do is visit art galleries, both public and commercial. You can see how the artist works, look at the consistency and also how the work all looks when it’s put together in an exhibition.

Look for commercial galleries that are exhibiting photography works, or better still find ones that specialize in fine art photography. If you can’t visit them in person, then look on the internet. They all have websites and usually show the works of the artists they represent.

Study the work and the artist. If you find some whose work you really like, pay a lot more attention to them. Find out what motivates the artist, look at their artist CV, and see if you can find an artist statement. That will really help you to understand their intention, direction, and the consistency.

Public galleries often have some of their collection online, but you are usually required to go and look. Don’t be disappointed if the photography section if very small, other artworks often get more wall space. You can look for galleries that specialize in photography, for example in Victoria, Australia there is a place called Centre for Contemporary Photography and that is all they show. It’s a great way to see what other photographers are doing.

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Like the ocean image, this has the same look and feel, but the subject matter doesn’t match.

Here are a few others:

Study about all art, its history and what is happening now

Part of being an artist is keeping yourself informed. As previously stated, you should be going to galleries and seeing other exhibitions. It is so important to read and study other artists. It can help you understand what their lives were like and what drove them to create their art.

It is also good to keep up to date with what is happening in the world of art. Who is winning awards, what work is really popular right now, and how you could fit in. Look at who is being exhibited and which galleries are showing their work.

Look at painters, sculptures, and other mediums

Don’t limit your photography study to just photographers. You should also look at painters, sculptures, printmakers, and drawers. You can learn a lot from them as well.

Rembrandt lighting is a type of lighting pattern that portrait photographers strive to create. It involves a triangular spot of light on the cheek of the portrait subject. Photographers have been trying to replicate that style for years, but it came from a painter – Rembrandt.

13 leannecole fine art photography

The image is similar, but it probably wouldn’t be included in an exhibition. It doesn’t quite fit.

In some ways, painters were our earliest photographers as they tried to paint what they saw. Looking at their work is very important. You can learn a lot about subject-matter and more importantly, about composition. For those artists, the composition was key and they would have spent a great deal of time working on that element of their craft. Study how they put their paintings together and learn.

Sculptors create compositions and often work conceptually. If you are interested in conceptual photography then looking at how these artists work can help you find direction. See what lengths they go to in creating their sculptures.

Living an artist’s life and what that means

There is a myth that many creatives were “suffering artists”. That to be an artist you had to be in some kind of struggle. The other myth is about being the “starving artist”, so if you are going to be an artist you have to also be very poor.

An image that would be part of the body of work. It follows the theme of the rest of the images.

The first is a myth, you don’t have to be on some internal struggle to be an artist. It has been said that you have to go through disasters in your own life in order to help you create masterpieces. It isn’t true, of course. Very normal people create the most amazing artworks. There is a lot more to it than some emotional suffering.

In the past, many artists were starving. Even in today’s world, making money as an artist is incredibly hard. There are more people wanting to be artists than there are people wanting to buy the work. The reference to starving was more to do with making no money and not having enough to buy food.

The reality is that most artists live very normal lives. They often work part-time jobs to survive and live in ordinary houses. They are often very normal people. There are some eccentric artists, but they are more the exception to the rule. Many have studios and workspaces, and every free moment they get, they work in their art practice.

11 leannecole fine art photography

A cityscape that would work in an exhibition, it has the same feeling as the others.

Exhibiting your work

There are various different kinds of galleries and if you want to exhibit your work then you need to start studying them. Find out which ones are the best for you to approach first of the several different types (large public and private).
First, you need to find out what the galleries are looking for. Once again, Josephine has some advice for those wanting to approach galleries:

The first piece of advice I would have is to do proper research into which galleries you approach and be selective with those you do. We get submissions from painters, for instance, who haven’t even looked on our website to find out we exhibit photomedia and video. In the process of narrowing it down, bear in mind that if a gallery has an emphasis on photomedia that doesn’t mean that all forms of photography will fit with their broader aesthetic and focus. Also, be conscious that each artist brings something unique to a gallery so diversity is desired – they probably won’t want someone whose practice mirrors an existing represented artist. Lastly, each gallery has a different policy for receiving submissions, so a good idea is to call and ask what they prefer. Don’t just show up and expect to sit down with the Director!

17 leannecole fine art photography

A cityscape taken from an observation deck. While it is a cityscape it also would not be included. It really does not have the same look at the others.

That is great advice and a good idea for all artists. Do your research and study the galleries you are interested in to see if they are a good fit for you. You can also ask questions to see what they have to say. They will often be more than happy to talk to you about what type of work they are looking for, and how to submit your work.

Josephine has provided some information on how they find new artists:

Our focus is contemporary photomedia and video, so we tend to look at art prizes that are often interdisciplinary, such as the Hatched Graduate exhibition at PICA, and keep an eye on what’s happening in ARI (Artist Run Initiatives) spaces. These platforms provide an initial filter because the work has already undergone a process of competitive selection. Galleries with a more traditional or commercial aesthetic would probably look elsewhere.

Most galleries will have information and guidelines about how to send in proposals for exhibitions; you need to follow those closely. They get a lot of submissions and if you don’t do what they ask then you could be eliminated straight away. Do everything you can to get them to look at your artwork.

Preparing your work to exhibit

2320 leannecole fine art photography

The subject matter fits with much of what the fine art work is about, but it’s the wrong colors and sends a different message than the others.

Having an exhibition of their work is the ultimate goal for most artists. It is where they develop a name and reputation. If you want that too, then you have to make sure your work is good enough to show.

There are so many decisions to be made before you do a show. You have to decide who will print your work and how it will be printed. Part of the reason for exhibiting is to sell your work and if it doesn’t look good then people won’t buy it.

Before the work is sent to be printed you need to make sure that there aren’t any defects in the images. When they are blown up, sensor spots or other unwanted items in your scenes will be enlarged as well. They could end up standing out so much that they take over the image. Magnify the image on your computer (view at 100% or 1:1 size) and look very closely for any mistakes or faults.

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Work in an exhibition.

19 leannecole fine art photography

Work that is packaged and ready to be sent to an exhibition.

Find a professional printer who will work with you. Look for one that you can rely on, and who knows their business. They should be able to help you figure out the best way to present your work. There are so many options for photographs these days. You can do canvas prints, put images on fine art paper, and even have them on metal, which is very popular right now.
Then you are faced with the option of framing or not. Most galleries will answer that question for you.

Read my article: How to Prepare a Photography Exhibit of Your Work for more on this topic.

Editioning your work

This is not compulsory, but one thing that many photographers do is edition their work. This means they will only sell a certain number of that image or a limited edition. The artist sets the edition to what they think they might sell.

2520 leannecole fine art photography

A cityscape that is very similar to many I do, but I wouldn’t include this image as it doesn’t have the impact that many of the others do.

For many artists starting out, the number of editions is usually small, around 10 or 20. The more successful an artist becomes, the more expensive the images get, and often the edition number increases as. Some will do editions of up to 200 photos.

For most of us though, especially starting out, it isn’t necessary to do editions. You may only sell one or two copies of an image. As sales pick up and you begin to make a name for yourself it is good to consider putting out editions of your work.

If you die your work will double in price

This is probably the biggest myth out there about fine art photography and art in general. While it is true that when some artists die their work becomes a lot more valuable, it isn’t the same for everyone. If the artist had a successful career and was being collected by a lot of people then there is some truth in this.

2120 leannecole fine art photography

Image with similar colors and a long exposure, but it is not an image I would include in an exhibition.

When they die their work gains in value because it becomes rare. As no new work will be produced, all of their previous work becomes more valuable. That’s all there is, a finite amount, so it will increase in value.

For most artists, our death will only matter to those around us and our artwork will only increase in sentimental value. It’s sad, but you dying likely isn’t going to cause an increase in the value of your work.

Being a fine art photographer

There are many steps you can take that will make you a fine art photographer. There are many different paths and it is up to you to decide which ones you will take. In the end, being an artist is about doing work with intention, having a direction and working consistently.

2620 leannecole fine art photography

This would very definitely be included. The light has been changed and it works with the artist statement.

Artists usually exhibit their work with the idea of gaining a reputation so collectors will purchase it. This, in turn, leads to their work increasing in value and they can sell more. Being an artist is a noble profession and one that dates back hundreds of years, who doesn’t want to belong to that group?

The post The dPS Ultimate Guide to Fine Art Photography by Leanne Cole appeared first on Digital Photography School.



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