Now that everyone has a phone with a decent camera or a little money for a DSLR with a pop-up flash, there exist an entirely new and growing population of couples who are perfectly happy employing their wedding guests as proxy paparazzi for everything from prep to ceremony to formals to cake to dance. I've shot weddings pretty much every Saturday for a decade and if there is one thing I've learned it is the bride paradox: people hate photos of themselves even if they are good, people love photos of themselves with people they love even if they are bad. We are in the age of the Facebook Wedding Album. Many times, sadly, it doesn't even matter if your photos are all that good or not. That dude that got canned from The Blade for photoshopping basketballs where there were none? He's found redemption- I remember reading an article where some editor says "oh he sends us the raw files so we know its kosher now."įucking storm chasers are the worst offenders at this shit. Some of the shit on the wire services looks exactly the same so they got jobs somewhere.
When I question anybody about this they say "oh yeah, well I didn't do anything in CS5, just the raw editor in Lightroom real quick so it's okay, it's not destructive editing, the original is still there."īut it doesn't seem like anybody cares. And yet I see portfolios and award compilations come to our desk with heavy artificial vignetting, damn-near HDR exposure masking and contrasts with blacks so deep you could hide a body inside them. Photoshopping the hell out of photos is a nono in photojournalism, we all know this. People are doing some unethical shit with RAW and nobody really understands or cares.
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True, you can't pick up a pro camera, set it to P mode and instantly turn into Ansel Adams, but if you're learning on the same pace as everyone else and you are trying to keep up because your equipment can't hack it, the difference will be stark, and frustrating.Ģ. As a consequence, he got all the primary shots he needed for an assignment in the first five plays and spent the next half-hour experimenting with cool angle choices and different techniques while you were still trying to get your 60D to lock focus quickly enough. You're both talented but we're too fucking cheap to provide equipment and so was your school. Let's face it: the asshole kid whose dad bought him a D3 and a 400mm f/2.8 is going to have a better sports portfolio than you when you apply to our paper. Nowadays, especially those of you in college, the playing field is divided between those who can buy adequate equipment to get the job done, and those who can afford fucking MAGIC.
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Talent meant not just knowing how to compose and expose a frame correctly, but also knowing how to trick your goddamn shitty equipment into doing what you want it to do. The PJ playing field was divided between those who could afford fast lenses and bodies that allowed quick film loading and those who could not. Years ago, I started with a shit film camera. It's more about equipment than we'd like to admit. I think some things need to be said out loud, for once, as least things that I've noticed:ġ. If you are a happy shutterbug who is damned good at shooting or wants to be and that's your goal, you don't need to listen to me at all. This mainly has to do with the business of photography, rather than the art of photography. This is a long goddamn thing, I need to get it all down, I physically can't sleep without saying this to somebody, even if it's just typing it for my own catharsis. This is a throwaway because I really like you guys and this post might come across the wrong way to some folks who I think are awesome.
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