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They're, like, all calm, man...

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If you’ve been reading Photocritic for a while, you’ll have seen my post on how to make a killing jar (and the dozens of comments to the effect that it was mean to kill insects) and the backlash which was ‘why kill ‘em, when taking live photos of insects is far better?’

With that, I expected it all to be over and done with, but I did get a comment which I think deserves a post all of its own. You’ll never guess how this reader suggests to stun insects before photographing them…  

 

Eh check it out i know of a way to put insects into an almost comatose like state that would allow you to manipulate them touch move and almost damn near do anything you want to them…

This is going to sound strange and maybe even harsh but believe when i say through extensive research and study it does work and the insects depending on the extreme may or may not survive…you ready MARIJUANA…YES I HAVE DONE THIS MYSELF AND KNOW IT WORKS!

Ok you have a blunt joint or what ever you rolled it up to smoke with hell even a bong would work… you take a regular jar or cup preferably a mason jar with a lid to trap the insect.

Once trapped on the jar you dont kill it: light the blunt and either hit it or turn it around for a shotgun. crack the jar and blow the smoke in be careful not to let the bug out but fill the jar with smoke FILL IT all the way up… Let it sit until you see the wasp drop they will be very high and it will be evident they will still move and be alive…

Remove the top and turn jar over to drop the bug out of the smoke… You will only have a short time for the insects senses come back and it starts moving and walking around shortly after they will try to take flight but will only be able to fly in circles for a short time.

NOTE… remember it is weed and they are high they can overdose and die the longer submerged in the smoke or even if you recapture and try again a little while later they might die immediately. Like i said wasps work better they seem to withstand the THC a little better… Flies die immediately… Bees are kind of funny they die easily but if done repeatedly to a number of bees it seems they like it and come back for more EVERY TIME IF IM LYIN IM DYIN….BUT that takes a while and require a different method.

(I know all of this because I had a beehive behind my house that i baked out with a bunch of times and the bees became very tame and easily handled they had no interest in stinging anything and always came out when i smoked in my backyard)


This tip was sent by an anonymous submitter – if you’re out there, drop me an e-mail and let me know who I should attribute this to!

Also, while this post is true to the spirit of the tip, I’ve tidied it up a little: It was littered with spelling, typing, and grammatical errors. I fear perhaps the commenter had taken a little too much of his own medicine before clicking the ‘send’ button. Thanks muchly, though – it might just be the golden middle way between photographing live and dead insect… They might just be slightly mashed, though. Man.


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Cameras of the future

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I’ve done a lot of thinking recently, about what’s next for photography.

Think about it – while the manufacturers launch new cameras every couple of months, there hasn’t been a single fundamental change in the art of photography since the mid-1960s, when through-the-lens lightmetering on SLR cameras meant that you didn’t have to have a separate light meter anymore.

So, I wonder, what’s next? 

 

A lot of other things have happened since then, of course – flashguns have become more advanced, lenses have become sharper, and there’s that little thing called Digital. But ultimately – it’s all progression from old technology: Better flashguns are merely flashguns that have more functions and are more intelligent than old flash guns. Sharper lenses are simply, er, sharper.

Digital might be the biggest change, in that you can store hundreds – even thousands – of photos in your camera, rather than the 24 or 36 you were limited to before that, but the digital medium itself is really just a progression from capturing light on silver halide, just like we did in the days of film.

The next 50 years

If there have been no big changes in the past 50 years, then what does the next 50 hold for us photographers?

The evolution – rather than revolution – is benefiting everybody who is passionate about photography: More and better cameras are available, more cheaply than ever, and the Internet is helping photographers of all ages and skill levels to improve (through feedback sites like PhotoSIG and Deviant Art) and sell (through companies like PhotoStock Plus) their photography.

The big question in my mind – what is the next big change in photography? Gadget magazine T3 claims that the future is panoramic photography (disclaimer: I work for T3), which I can kind of see – while panoramic photography in itself isn’t anything new, next-generation technologies can make panorama taking a lot easier – and now that we have ways of showing off panoramic images in a sensible way (through, say, CleVR), perhaps that’s where the next big development will come from.

No new technology in sight

On the other hand, panoramas are just another development (and a rather small, niche subject in the world of photography) in the grander photographic world. You could argue that ‘new’ genres of photography are progress (say, the rekindled interest for macro photography and smoke photography), but ultimately, it’s just other ways of using photographic techniques that have been around for scores of years.

hdr.jpgThe only genuinely new addition to photography itself is strictly part of post-production, but high dynamic range imaging (HDR photography – read more on Wikipedia) deserves a special mention, because it uses digital darkroom techniques in combination with a novel way of using current photographic techiques to create an entirely new genre.

What do you think?

I guess I don’t have any answers – what do you think might be the future of photography? What is about to be invented, or make it mainstream, that will revolutionise photography, technically?

Or perhaps we don’t actually need any new technology: Is it time that we started getting more creative with the tech we already have available to us?

What is the future of photography?

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The photo of the Nikon camera is from T3.co.uk (here). The HDR image is by webmonkie (here). Please visit them both to see the images in their full sizes!


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Going to the Moo-vies

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There are dozens of ways of presenting your photographs, but ultimately, we all want to distribute our photos in as classy a way as possible. Moo is an unusual printing company that might just be able to help.

It’s very easy to explain what Moo is – it’s web 2.0 meets photography meets printing. What isn’t as easy to explain, however, is why people go completely bonkers about Moo’s products. It helps that it’s great quality at bargain-basement prices, of course, but there’s also other things at play – a little something that the Big Brother generation would call the X Factor…

minicards.jpgThe simplest product Moo does is Moo minicards. It’s like business cards, but with a difference: Upload up to 100 pictures, or let Moo take the photos directly from your Flickr stream, and you get up to 100 different mini business cards.

Whatever you choose to have printed on the back stays the same across the range of cards, of course, but if you want, you can have 100 different fronts: Perfect for a photographer who wants to stand out from a crowd, or if you want to give cards to your friends. At only £10 for 100 cards, they’re so cheap that you can print them on a whim. Print your birthday invitations, your web site address, or anything you’d like to spread out there.

notecards1.jpgAnd that’s where the greatness of Moo cards come in. The first time someone gets a Moo minicard in their hands, the response is, invariably, Ooh, wow, that’s superb! Then, they usually run off to get their own Moo cards printed. Then, something fun happens: The second time someone gets a Moo card, they smile conspiratorially, and nod. And that’s where the fraternity of Moo begins.

In addition to the fabulous Moo cards, you can get Moo Notecards, which is like postcards, but cooler, and Moo Stickers, which gives you a sticker-book of 100 small square stickers – a perfect way to cheer up your envelopes with your own photographs. Or – seeing as you can, of course, add text in your images – have a guerilla art project. Tip: Print up 100 stickers with ‘have you smiled yet today’, and sticker them everywhere in your school or office building. Your janitor will hate you, but people will be smiling in a bemused kind of way for weeks, while the more obscurely hidden stickers are found, over time.

stickerbook1.jpgStill not convinced?

Step 1) Try searching for Moocards on Flickr
Step 2) Check out the Moo site!

Moo?

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And no, I know what you’re thinking – I’m not being paid to write this. Although hey, if they want to let me print up some sticker books so I can make the world around me smile, I wouldn’t turn them down!


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Taking photos through windows

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When you’re inside a city, getting high up is easy, but you do have to suffer taking photos through windows. It isn’t that difficult, but you do have to do it right.

Your biggest enemy when trying to catch photographs through windows is reflections, but if you know how to get rid of them, you’re laughing.

With a bit of practice, you can make your cityscapes look as if they’ve been taken from a helicopter – like the photograph to the right, which is an impressive city-scape of Chicago!

Check out this article for the full low-down and 5 valuable tips.

the photo on this article was purchased from iStockPhoto


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How a polarizer filter works

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The two best things about summer are clear blue skies and beautiful sparkling oceans as far as the eye can see. Unfortunately, these are also two of the most reflective things out there.

If you’re not careful, you can wind up with summer photos that have big ugly reflections and white, blown-out skies. How can you fix it? A polarizing filter for your camera, properly used, can help enhance the deep blue colour of the sky. It will also help you minimize harsh reflections from water, making your summer photos look gorgeous!

What is a Polarizing Filter?

A ‘polarizing filter’ or polarizer is a filter for your camera that controls how much polarized light you allow to enter the lens. There are two types of polarizing filter: linear polarizers and circular polarizers.

Originally photographers used linear polarizers, which blocked the light with a series of horizontal openings like venetian blinds. Eventually, advances in the way auto-focus mechanisms worked rendered linear polarizers useless. Circular polarizers were developed, designed to work with newer auto-focusing systems. They also allow you to adjust the effect by turning the ring around the filter.

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How Polarizers Work

Light coming from a reflected surface is all the same wavelength. This allows the filter to eliminate reflected light on that specific wavelength, making the reflections fainter. This is useful if you’re taking a photo of someone wearing sunglasses or landscape photos of the ocean.

You can also apply that same effect to the sky, but it works a bit differently. Since the light is reflecting off all the moisture in the stratosphere, you make the sky appear a deeper blue. It’ll also increase your contrast between the clouds and the sky. Polarizing filters are the filters of choice for landscape photographers.

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Disadvantages of Polarizing Filters

Polarizing filters can get expensive. Where your average UV filter runs from $10-20, most polarizing filters start at $60 and go up to $150. A trick to avoid buying polarizers for each of your lenses is to buy one polarizer for the diameter of your widest lens and use cheap step-up rings for smaller lenses.

plane.jpgAnother disadvantage is that the filters are quite dark. They will force your exposure down at least one stop, making it harder for you to use a high shutter speed. This is the biggest argument against leaving them on your camera all the time.

Polarizing filters an essential tool in the landscape photographer’s toolkit. Photographers of all skill levels and fields find them useful at one time or another. In the end, it’s up to the individual photographer to decide if they want one. Just keep in mind that good use of a polarizing filter can make your summer photos really pop!

Credits

This article was written by my good friend Andrew Ferguson, who runs the Golden God blog, which is full of fabulous articles – much like Photocritic, in fact, and well worth a slot in your RSS reader. Fancy writing a guest article for Photocritic? Drop me an e-mail with an article idea!

The photo of the building is © Andrew Ferguson. The 4-up comparison of with-and-without polariser images is under creative commons, and was done by Flickr user Higashitori. All non-marked photos are © Haje Jan Kamps / Photocritic.org

Find Amazon bargains!

I just stumbled over a clever tip over at the Consumerist – Basically, there’s a clever way of searching on Amazon.com, where you can find deals on photography gear at massive discounts! Set your credit card to stun…

The trick is quite cunning – all you have to do is to hack the URL a little bit, allowing you to find deals with a certain percentage off the recommended retail price!

Collected in an useful list here:

Fabulous, yes? Of course, (forgive me for the ruthless nameplugging) you can also get my book at 35% off from Amazon :-)

Fabulous stuff. Thanks for the tip, Consumerist!


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Say 'no' to insect killing

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Dearie me, it seems as if we’ve got some truly pacifist photographers in our midst: My recent post on making a killing jar to easier be able to take macro photos of insects attracted 27 comments, largely along the lines of ‘sure, you can kill them, but where’s the challenge in that?’ – with variations, of course.

David Harper felt particularly strongly about the topic, and went to the point of sending me a series of photos taken with a Canon SD-100, and argues that if he can take photographs like this with simple equipment without killing anything, then why should you have to? The man’s got a point…  

 

paco.jpgA bit of further research shows that the vast majority of photographers shun the idea of killing insects to get photos of them – in our poll, a full 51% said that snuffing the little beasties was ‘absolutely not’ okay – and another 22% argue that, well, you can kill them if you absolutely have to. The point is, however, that it turns out that you don’t actually have to kill anything in order to photograph it.

Searching through pages and pages of amazing macro photos on Flickr is a truly humbling experience for a budding macro photographer – there are literally thousands of downright amazing photographs.

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Interestingly, none of them feature insects that have been killed. And of course, if you feel like you can’t get the photos you need, there are many ways you can simply stun insects for a limited time – Check out the many insightful comments in this thread to learn more, and perhaps to get some inspiration, too!

Photos used in this post are all under creative commons licence, and found on Flickr. Big thanks to *micky*, Paco Espinoza and Tanakawho.


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Making a killing jar

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If you want to get extremely close to insects, you may have to convince them to stop moving somehow.

Sadly I have yet to come across tranquilliser darts for bumblebees (if you know of any, post a comment!), so killing them is the only way to persuade them to sit still.

Is it OK to kill insects to photograph them?

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It sounds terribly barbaric, but it isn’t, really: If you make one of these jars correctly, you can kill insects quickly and painlessly. If you feel bad about it afterwards, you can always bury it in a tiny grave and sing it a song – make sure you get photos first, though! 

Entomologists (that’s really just a posh word for people who collect insects) have perfected the art of killing insects as humanely as possible, by using a ‘killing jar’. To make a rudimentary killing jar, use a reasonably large jar with a tightly closing lid.

Cut out a circle of an old t-shirt or other thick cotton material, and make sure it fits snugly on the bottom of the jar. You’ll want a few layers of cotton. To this jar, add enough ethyl acetate (you can buy this from lab suppliers and hobby stores – be careful not to breathe it in yourself though, it’s nasty stuff!) to saturate the cotton, but no more. Put your insects in the jar, and leave them for a few minutes to kill them.

 

Wanna learn more? Check out killing jars on Wikipedia, or this article on the University of Illinois website!

For approximately ten billion more tips (and photos!) like this, check out my book – it’s on sale in exactly a month, but you can pre-order it today!


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Red Bubble: selling stuff on-line

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By now, there are a hundred ways of displaying and selling your art on-line. We’ve looked at a few solutions in the past (Including the rather impressive one-man-band FotoViva I wrote about a while back), but I recently found a new one, Red Bubble, which seems to really resound positively with me.

Using a user interface that reminds me a little bit of JPG Magazine (i.e extremely Web 2.0: Simple but pretty and functional), Red Bubble doesn’t pitch itself initially as a photo sales site. Instead, it’s an online art gallery where you can upload – and sell – your artwork.  

 

rb-tea_tart.jpgIt’s a much simpler solution than some others out there, and it looks damn fine, too. I caught up with James Pierce, who works for Red Bubble, to find out how it all hangs together.

For a website that launches only about 4 months ago, they’ve sure grown fast, explains James: “At the end of May it has more than 3500 members and 30,000 works online.

rb-albertstone.jpg“Artists and buyers from around the world are brought together online to interact, transact and enjoy art.”, he says, and claims that the most talented photographers have been able to make a large number of sales, too.

Judging by the list of most popular photos, ‘most talented’ actually means something in this context as well, with a large number of photos that aren’t only fantastic on a technical level, but are carefully selected to be great from an artistic perspective.

Doing a quick browse-around of the site, you find artists like Melody, Paul, Joe and, of course James’ own work, showing off a tremendous breadth of art genres and photography styles.

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This photo, titled Angels of Allah was done by Anthony Begovic: an excellent example of the kind of creativity you can expect over on RB. Check out the rest of Anthony’s art, too!

Selling your art on Red Bubble

rb-stolencar2.jpgEager to give me the marketing spiel of how RB works, James explains how it all hangs together: “RedBubble is free to sign up, and takes the risk out of selling your photos on-line – RedBubble only earns money when you succeed and sell your work. The photographer sets the retail price for everything they sell by choosing their percentage mark-up above the base price set by
RedBubble. 10%, 100%, 1000%, it’s up to the photographer.”, James explains.

The thing that drew my attention, however, was how the money works: “Unlike a gallery or stock agency, RedBubble only shares in the value it creates, the base price of each item; They believe the photographer deserves to get all their markup, regardless of how big or small it may be, as that’s the value the photographer creates.”.

rb-bombo-e1.jpgWhat’s this? A honourable art gallery / picture peddler? Surely not? Well, yeah, that’s how it works! With products available spanning everything from simple flat prints (from $15) via mounted prints (from $40) to gorgeous, framed prints (from $80), there’s something for everybody!

In the future, Red Bubble are planning to do canvas prints, post cards and all that lark as well, so it’s worth staying tuned!

(photos used in this article are © their respective artists, used by permission. See (and buy, if you like ‘em) the full versions: Angels of Allah by Anthony Begovic, Tea & Tart by Naomi Mawson, Stolen Car by ARPhotography, Bombo Beach by Alex Lau, and Albert Stone by James Pierce)


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Submitting photos to magazines

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I get a lot of questions about how you should prepare your images for magazine submissions. Should you just whack all your images on a CD? Is it worth including the RAW files or should you only send JPEG files? Should you leave all the images in a folder, or should you organise them?

Obviously, things differ from magazine to magazine, and many publishers have guidelines – if they do, try to get a copy of them, and follow them. If you’re submitting unrequested material, however, there are a few things you can do to encourage the image editor / art editor to keep hold of your photos.

The most important thing you need to remember is that magazine production is hectic stuff. That means that decisions are often made quickly, and if you do your submission wrong, you may not get another shot… 

 

File formats and directory structure

When you take photos digitally, always shoot in RAW, and submit the RAW files on the DVD you are submitting. When shooting, you should probably take your photos in RAW+JPG – it doesn’t matter if the JPEG files aren’t in full resolution – they will frequently be used for composition, and replaced with optimised RAW files later on in the workflow – In effect, you’re saving the crayons (that’s magazine slang for the arts department – layout and designers) a lot of time, and you’ll be remembered with fondness.

Depending on what you’re photographing, you need to put a little bit of time into how you put the images on the DVD. If you’re doing glamour shoots, for example, having a separate folder with ‘recommended shots’ will be beneficial, and you’ll find that these are the photos that will be used most of the time. The reason for this is two-fold: As the photographer, you’re likely to know which shots worked out better than others, so your selection (of 10-12 photos or so) will probably be right on the money. Secondly, the commissioning editors often have a lot of things to do. Give them the choice of choosing from 10 or 100 photos, they’ll take the former, and everybody saves time.

If you’re photographing at a trade show or similar, it’s worth putting the photos in different folders (‘Kitchenaid stand’, ‘Sebatier stand’, ‘Bosch stand’ etc) to allow the arts people to find the photos they are looking for more quickly.

Contact sheeting

The word ‘contact sheet’ comes from the old days of darkroom photography. Instead of copying each frame individually, you’d do a contact print, which means you put your negatives on photosensitive paper, and develop that. It means you could get a load of negatives on the same sheet, look at the photos properly, before deciding which ones to invest more time into developing properly.

csheet.jpgThe digital variant of this practice is still known as a ‘contact sheet’, and is basically a load of photos printed on the same sheet of paper. This is then handed over to the writers / editors, who select which photos they want to use. This sheet is then passed to the designers, who lay out the page based on the selections.

Contact sheeting can easily be done automatically (in Photoshop, choose File – Automate – Contact sheet), but it’s a pain in the neck, because it can easily take about an hour to contact sheet a large photo shoot. This is downtime in the production, and is generally despised by arts people.

The best thing you can do, therefore, is to make their jobs easier. Run the contact sheet command, and either save the resulting files in a folder on the DVD you send in (that way, you give them the option of printing them off, or making their own contact sheets), or do that and print them off for them.

When contact sheeting, make sure that your photos are big enough to be useful, and small enough to save you from printing tons of pages – trial and error is the key.

Presentation

Presentation is incredibly important if you are submitting work unsolicited, but even if you’ve been commissioned to do photos, think about how your DVD arrives. I’ve worked with photographers who sent me a loose DVD in a brown envelope – it worked fine, but these were important photos, and I was irked at the photographer obviously not giving a damn.

cshell.jpgInstead, at the very least use a c-shell case (they are light-weight and sturdy, so they can be sent in the mail easily). Having said that, we also frequently work with a photographer who send in his DVD in a full-size DVD case (like the ones films come in) and prints off two of the best photos on the front and back cover of the DVD. It probably takes him 3 minutes – if that – but we never lose his DVDs in the mail, and it allows us to see at a glance what is inside. It sounds mundane, but we love the guy for it – why not be remembered by the arts people as someone who does everything they can to be on their side?

Cover letter

If you’re commissioned, don’t worry too much about the cover letter – a quick note is enough, and include an invoice as well, so it can go into the queue of invoices that need paying.

If you’re submitting work unsolicited, the cover letter will be far more expensive. For one thing, make sure you’ve got your contact details in the letter, but also be sure to write it on the DVD itself. Also make sure that these photos are copyrighted (a small (c) and your name on the DVD is enough), and include details on your rates in the cover letter.

Follow-up call

2-3 days after you’ve sent the DVD, give a quick follow-up call. Catch up with the people who commissioned you, make sure the DVD arrived, and find out if they have more work for you.

If you are trying to cold-sell your photos, it’s a good idea to invite the magazine to file your images away – who knows, if they suddenly decide to run a feature along the lines of what your photo shoot was about, you may end up getting paid 4 months later – always a welcome bonus!

Oh, and finally, Good luck!


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Digital SLRs drop under £300

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A couple of weeks ago, I discovered that my trusty Canon Digital Elph S500 had gone walkies. “What?” I hear you ask, “Isn’t this guy supposed to be a proper photographer? What the hell is he doing with a compact camera?”. The answer to that, really, is quite simple: I often find myself in situations where carrying a full-size camera around would be uncomfortable, unnecessary, or even downright dangerous. As such, I decided to buy the then-top-of-the-line Canon compact camera.

Interestingly enough, in this round of research, I discovered that yes, if I wanted a shit-hot digital compact, I needed to shell out some serious dosh. I ended up paying (Yes! Paying! Obviously, the camera manufacturers haven’t noticed Photocritic well enough to send me free cameras yet. The scoundrels!) £300 for what is undoubtedly the best compact camera I’ve ever used: the 10 megapixel Canon Digital Ixus 900 Ti. It’s got lots of pixels, a battery that lasts and lasts, an amazing screen, and a body of titanium, so it can take the next few years of abuse.

Imagine my surprise, then, when I discovered on the T3 website that digital SLR packages have dropped to under £300!  

 

Okay, okay, I shan’t keep you in suspense any longer. The camera in question is the Pentax K110D – I haven’t seen any reviews of this camera, and I haven’t had a chance to play around with it myself, yet, but Pentax has a long history of being a sturdy brand, and it would certainly be worth taking a closer look before you decide to splash the extra money for another dSLR! Check it out on Amazon UK or Amazon USA!


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Photographing for charities

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If you’re working as a photographer – and perhaps especially if you’re just starting out, in the hope that you can build up a bit of a portfolio – you are often asked to take on the strangest assignments. Some of them can be a lot of fun, while others… in the immortal words of Borat: Not so much.

I’ve done a fair bit of work which involves charities, and a few years back I noticed a new trend: They will want you to sign a contract as part of the photography work. You’ll want to read it carefully, because ‘charity’ isn’t automatically synonymous with ‘good people’: Some of their contracts will try and rob you of all your rights.  

 

My good friend and long-time Photocritic reader David W came across the same recently:

I friend of mine volunteered to take pictures of an event… But, to do so, she had to sign a contract saying that she would: A) Give the organization full ownership of the images (copyright, etc) B) Destroy all copies of the images, not keeping any for personal use

This seemed fairly odd to me… But, then, I do not know very much about what is to be expected when doing photography on a somewhat professional level.

Would you mind telling me a bit about what is to be expected in a professional contract?

To be fair, there are no real ‘rules’ for what a charity can and can’t ask you to sign, and as a photographer, the only rebuttal you have is to walk away from the job. I recently had a similar situation as well, where I was asked to sign what I was assured was a ‘standard contract’. The contract was drawn up for a major charity*, and demanded that I send them a DVD with all my photographs, and hand over all copyright to the charity.

In a way, I can understand that they want to do this: Having a stock library they can use for future promotional material is great. In addition to that, well, it is a charity, and as it is a charity I support, I would have been happy to give them a permanent licence to use the photos. But signing over my copyright? That’s less of a good idea.

So – what can you do?

The sad truth is that you don’t have a lot of things you can do if and when this happens to you.

You can choose not to sign the contract, and explain why you aren’t signing it. This might mean you don’t get a photo pass for the event, and if you’re covering the event for a magazine, you could run the risk of returning without images. You’d better have a damn good working relationship with your photo editor if you even consider doing this, because you could potentially put them in a lot of trouble.

You can choose not to sign the contract, and just hand it back. Hope nobody notices, and just go take the photos you wanted. It means that they have no legal power over you, but this is quite unlikely to work.

You can choose to swallow your pride (and breach what at least should be your principles), sign the contract, take the photos, and send them your images.

Of course, you could also try to sign the contract, take the photos, use the ones you need for the purpose you need them for, and then ‘lose’ the DVD where you stored the photos in the mail. If you’re particularly bastard-like here, you could just send them an empty envelope by recorded delivery, torn open, and claim that the DVD got lost in the mail, and that you’ve destroyed all other copies — as instructed.

Personally, I don’t think any of these are particularly good solutions. The thing is – I don’t think there are many organisations that do this who understand what they are doing, and why trying to steal your copyright is morally wrong. Which is ironic, because charities, especially, ought to be finely tuned-in to issues like this. The best solution, then, is to contact the people responsible for PR. Tell them that you are unhappy with the contract, because it is too restrictive on your use (at least, you’ll want portfolio use, but you should also be able to use the photos commercially if appropriate). You could offer them a counter proposal which would be to offer them a permanent licence to use the photos for PR and press use. This means that they can use it to promote events etc, but if they use it for marketing purposes (such as trying to get people to donate money), they’d have to come to you for an extended licence. At this point, you could choose to expand the licence for this use, or ask them for money.

My personal take on all of this is that, well, you give a little and you take a little: By being a little bit lenient with the charities when it comes to money, you’re helping them along. In the same way, you could expect them to do the same. Just make sure that you don’t sign away anything, or that you get tied to terms you are unhappy with: if it appears you run a risk of this happening, you should just walk away.

*) I do support this charity, and I believe that they just took dodgy advice from a law firm, and as such, I don’t think it’s in anybody’s interest to divulge their name in this article. Let’s just leave it at this: It’s an UK national charity which you will definitely have heard of, if you live in the UK.

You may also enjoy How much should I charge for a photo and Be careful what you sign.


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Mobile macro magic!

One of the advantages of having a camera with a small sensor is that it’s cheap and easy to make lenses that focus to very close distances.

Combined with the increased depth of field that the very wide lenses have (and the slower shutter speeds mean you can handhold them), the result is that that they are really good for macro-style shots. Can you think of any camera that might fit these descriptions? That’s right — webcams and mobile telephones! 

When photographing children especially, it’s a lot easier to point a mobile phone or small camera at them, rather than a digital SLR with a great big lens on the front (although most children eventually warm to the idea of having cameras pointed at them, and ultimately just grow bored with the attention, allowing you to catch some seriously lovely spontaneous portraits).

 

Anyway, this means that mobile phones, and small compact cameras are really good for close up macro style portraits (or still life, or whatever). The photo used above, for example was shot with a K800i with no flash (in fact, 1/20s, f/2.8 at ISO 200).

zetec.jpgWhat are your experiences with using mobile phones / camera phones / for photography purposes? Personally, I’ve seen some incredible shots done with mobile phones. Theederv over on DeviantArt, for example, recently posted some photos of his motor (seen to the right, check out a higher res version on DeviantArt), which look pukka, despite being with a mobile.

Is the age of mobile telephone photography upon us?

(thanks to Ed for contributing the bulk of this article!)


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The Lensbaby lens


A good while ago, I discovered the phenomenon of the lensbaby lens. Basically, it’s a bendable lens that you can use for creative effect. It means that you get what essentially is a tilt/shift lens which allows you to work with creative selective focus, extreme macro photography, and lots of creative freedom.

I recently got my grubby paws on a Lensbaby, and ever since, I’ve been a complete convert. I recently spent 4 days exploring Madrid, and despite of having a lot of expensive glass, I ended up only using the Lensbaby lens throughout the whole trip.

Using the Lensbaby 3G

lensinaction.jpgThe lens I have is the Lensbaby 3G, which is the newest and funkiest Lensbaby created to date. It’s a funky-looking little lens which has a vast range of versitility. You can use it like the original lensbaby, by just squeezing it (to focus) and bending it (for selective focus) by hand, or you can lock it off. When you lock the collar, the little sticks that stick out through the lens come to their own: They’re actually threaded, so you can twist them to fine-adjust the focus and selective focus of the lens. In addition, there’s a focussing ring you can use to get focus right, rather then compressing or stretching the whole bellow.

For something that basically started out as a toy, the Lensbaby is growing into its own shoes as a pretty damn important and impressive player in the photography scene.

magnets.jpgFor Aperture, the Lensbaby has a really clever solution, too: instead of a shutter-based aperture, the lens uses small black circular bits that are held in place in front of the lens element by magnets! It sounds completely ridiculous, but it works surprisingly well.

Getting used to the Lensbaby takes a long time, perhaps because it initially seems so damn counter-intuitive. Focussing, selective focus, and tilt/shift theory is pretty confusing stuff. But then the same happens to you as what happened to me: Suddenly, it just clicks, and the whole thing becomes a three-dimentional photography experience. You have the shutter speed, ISO, the disc-based aperture control, and the bendy-lens goodness.

How to get the best results

Especially when the lens is new to you, it’s incredibly tempting to over-do the effect. ‘look what my lens can do’ is cool for a while, but it’s kind of like the kid who discovered the cloud filter in Photoshop, and now can’t stop using it for everything (I was that kid once. Shut up.). When using the Lensbaby, it’s definitely a case of less is more, and it’s a lesson that is hard to learn.

When I was first shooting with the Lens Baby, I went to the New Forest, and ended up with this photo:

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Needless to say, it’s an excellent example of seriously overdoing the effect. Since, I’d love to think I’ve started to get the hang of it a little bit better.

What surprises me, is how versatile this seemingly simple lens can be. I’ve successfully used in portraiture, for example, a genre where I wouldn’t have thought that the Lensbaby would be able to excel. This particular photo also shows the absolutely exquisite bokeh the lens is able to produce:

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Other experiments I tried include architectural photography:

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Street photography:

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Obscure abstract photography:

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Product photography:

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Hell, with the vast amount of creative vibe I got off the lens, I even had a shot at food photography (although, generally, that’s best left to the lovely folks over at Still Life With…), although I’d be the first person to admit that I probably over-did the effect a little bit on this photograph…

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As a general tip: When you are photographing with a Lensbaby lens, make sure you put your camera into manual mode, and control everything yourself. Also, make sure you use Raw file format. Exposure can be really tricky, and you can tease some amazing colours out of Lensbaby photos, and the extra flexibility offered by the Raw file format really helps in that department.

Verdict

“So, all of this is good and well.”, I hear you say. “You’ve had the lens for a week or so, and you’ve taken some shit hot photos”, you continue. “But is it really worth it? After all, the 3G version costs a whopping $270.00, the version 2 costs $150.00, and even the original lensbaby is not exactly the cheapest gadget you can buy at $96.00!”

Well, you are right, for what it is, it is slightly on the pricey side. On the other hand, I was surprised about one particular aspect of the Lensbaby: In its simplicity, it’s actually an extremely powerful lens, which not only offers a level of artistic and photographic freedom which I haven’t experienced before or since, but it also offers a deeper level of insight into the deepest roots of photography. By instinctively starting to grasp how you can bend a lens one way for one effect, and another for another effect, you develop as a photographer: One step closer to complete photography zen, where you become one with the camera.

If the ‘photography zen’ wishy-washy stuff doesn’t do it for you, then be persuaded by the photos above. Or the photos taken with lensbabies on Flickr. Or by the excitement of using a lens that is unique, exciting, and creative in a fantastic way. Or the fact that nobody has ever asked me about any photography equipment I carried around, but despite me not speaking much Spanish, half a dozen people struck up conversations with me in Madrid because of the funny-looking lens I was using.

Is it a brilliant lens? Definitely. Is it worth the money? Well, it depends on how much money you have to spend, and how you want to develop as a photographer. If you don’t have any prime lenses, I’d say buy a 50/1.8 first. Once you’ve got one of those, build yourself a macro lens. Then, take a damn good look at the Lensbabies. I, for one, know I’ll never want to be without one of these things in my photo bag. It really is that good.


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DIY Digital Picture Frames

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Photo frames are an easy way to add some gusto to your images. The future of this particular business, of course, is digital photography frames. You just upload some of your favourite photos to the frame, and then the frame cycles through the photos for you. If the frame is cleverly enough disguised and lit, it looks like a perfectly normal frame, with the only difference that the photo changes before your very eyes!  

 

They make for great gifts, and can look pretty damn smart in various installations too. But sadly, they’re often quite expensive. Understandably, you might wish to try and make your own. I decided to start researching the topic, and was surprised to find the Laptop to Digital Picture Frame page on Likelysoft. It’s got over a hundred projects explaining how you can convert your old laptop into a gorgeous photo frame. The articles cover software, how to build the frame itself, and presentation opportunities.

With the weather being so damn lousy at the moment (hey, I live in the UK, I should be used to it by now, right?), it makes sense to have a nice little home DIY project. So dig out your old laptop and get crackin’! :)


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The rule of Thirds

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What is this rule of thirds thing anyway? Basically, it’s a rule of the thumb designed to help you compose powerful images. As with most rules in photography, it is important to learn it, understand it, and make it your friend, before you start breaking it. The biggest argument is that once you know what conventionally creates a strong photograph, you can make informed decisions as to how you can adapt and bend the rules to create even stronger compositions.

The great thing about the rule of thirds is that you can use it as little or as much as you want: It’s always there, and you use it when you need it.

Well, a long time ago, a Kodak photographer described it as “playing Tic-Tac-Toe” I think that is fairly accurate:

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Divide up the view mentally into nine equal segments – two horizontal lines dividing the plane at 1/3rd intervals and two vertical lines dividing the plane at 1/3rd intervals.

At the intersection of these lines you will have four “dots”. These foci are where you would place a point of interest for a subject.

As you compose, you would put major planes on the lines – horizons on the horizontal lines, buildings and trees on the vertical lines. Here’s an example from Yellowstone Lake:

01-thirds.jpg
Yellowstone Lake

Notice that the horizon and the trees are close to the lines. Sometimes in your viewfinder you can show guides, I tend to turn them on.

About those guides – when you have something with an edge or a line – like a horizon, you would place the horizon on one of the two horizonal 1/3rd lines. The bottom if you want to concentrate on the sky, and the top one if you want to show more of the ground.

This is not a hard and fast rule, notice that in this next example the foreground, midground, and distance are separated in general by thirds.

02-thirds.jpg
Black Canyon of the Gunnison

The intersection of the lines creates a focal point. Some photographs will draw attention to the subject by placing the object on the intersection of these lines.

This windmill in Nebraska is a good example of simple composition on the rule of thirds.

03-thirds.jpg
Nebraska Windmill

This next photograph of a tree puts a barbed wire fence and a tree covered by ice on the focal point.

04-thirds.jpg
Kansas Ice Storm

It’s all open to discussion — don’t stick to the rules religiously!

The rule of thirds is open to modification. Here is another diagram. The fourths are in blue, and the centers in yellow. I’ve found that you can play with the fourths and thirds, even connecting the edges with hard lines running at diagonals.

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Check out this photograph. The peak of the barn is on the center, but the diagonals of the roof run to the upper left one quarter, and the other side down to the lower right corner. Meanwhile, a large negative space is on the thirds. The windows are positioned on focal points.

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Miller’s Backpost Ranch

Crop to essentials. Take this flower as an example. The blossoms are on quarters and thirds.

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Prairie Spiderwort

There is a second “rule” at work here – if something is symmetric, only show enough information that is unique.

On a flower – only show 1/4 – since the rest will repeat the viewer’s mind will create the rest beyond the edge of the photograph. Pardon this example, this one is lousy, but you may get the point.

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Gerbera Daisy

You will see photos on useflim where only half the face is shown. We only need to see half of the face because we humans are symmetric.

Hey – you don’t have to use these rules all the time, nor be exact, but it is good to know why some of the photos you like “work”…

There are some times when you want to center a photograph and keep it centered. Sometimes not.

If you have a reflection, or a symmetric composition, by all means PLEASE put the composition on the center.

In this photograph, the buildings and tower are symmetric. Power of thirds on the horizon, but everything is mirrored down the center.

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Liberty Memorial, Kansas City

Another example, a literal reflection.

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Big Bend, Texas

Sometimes you can pose objects. Easier to control. I’ll end with this example, because it may lead you to start thinking about depth of field…

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Forks

Last of all:

you don’t have to be exact on the rule of thirds. It’s a guideline, more than a set of rules, and the most important thing is to try and balance the various elements of the photograph properly. You can put stuff on the 1/4 or the 1/5th or whatever as long as the “weight” of everything balances.

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Lower Falls of the Yellowstone

To see more things written by guest writers, check out the guest writer category, and if you fancy contributing something yourself, check out this article for more info.

Michael Kanemoto is a Kansas artist specializing in landscape and outdoor photography. Michael has been taking photographs since 1986, and has a BFA from the University of Michigan School of Art and Design. He is currently working in Research and Innovation at Sprint Nextel.


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In defence of the Holga

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Regular followers of Photocritic know I don’t have a lot of time for the Holga, as illustrated in this post. The response to that post was ear-deafening: The blogosphere (ick I hate that word) went mental at me in the defence of the Holga.

The other day, Robin McAulay tried to be a little bit more eloquent of the Holga. He succeeded, and offers the following guest article… 

 

holga-02.jpgAnyone buying a holga expecting hasselblad results would be foolish indeed – for many who have seen the results the urge to own and use one is the need to escape the over saturated digital market – ready made crystal clear, sharp and predictable images at a snap. Now anyone can be a technically great photographer without using so much as half an hour charging the battery for a point and shoot without any prior experience with a camera.

When two Austrian guys bought themselves a mass produced soviet lomo LCA on a break in prague, saw the strange funky results it produced and started cleverly marketing it as a modern western object of desire … no one would have guessed how popular it would become. Producing images that looked like your dad took them when you were still in nappies – blurred, light leaks from imperfect body seals and double exposed due to faulty winding mechinisms just added to the charm. It was rebellious and fun.

holga-01.jpgAnother great marketing idea.. the holga crossed over into “Lomography”. The holga carries on the tradition where the LCA left. Nothing to do with the soviet union Lomo factory (made in hong kong) it was dragged in as another lomographic gimick that produces similar but heightened results, pushed on bored lomographers as the natural step further into the cult. The lomo story was a brave one if it stayed were it was – underground. It has essentially became what it balked at from the begining and become a great money spinner.

The small group of artists who seriously use the holga for the aesthetic value of the image it produces usually cringe when stumbling on lomographer sites. Using the holga based on lomography rule of thumb has become as narrow minded as the technophile DSLR world we live in today.

things reach a state of perfection people like to revert back to the meat and two potatoes they remember with glassy eyed fondness – usually never as good as the memory.. but that’s never the the point.

The photos in this article were taken by Robin McAulay, and you can see more of his work over on his Toycamera.com profile.


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Web 2.0, meet Photoshop

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Ever find yourself on a computer without any editing software? All you want to do is to crop an image, fix the contrast, and resize it?

Well, if you’ve got a reasonably new browser, you’re saved: Enter Picnik, a brand new type of image editing software, bringing the genre well into line with all the other Web 2.0 apps out there.

In short, Picnik is to Photoshop what gmail is to e-mail, YouTube is to videos, Flickr is to pictures, Pandora is to music, and CleVR is to panoramas! 

 

I discovered it a couple of hours ago, and am already deeply in love with it. I expect the Digg crowd and Slashdot will turn their server to mush within the next, oh, 20 minutes or so, but once the storm has died down, go have a play!

pntools.jpg

So far, the Picnik service is a little bit limited — you only get rotation, cropping, exposure (brightness / contrast and, amazingly, a levels tool), colours (white balance and saturation), sharpening tools, and a couple of auto-fix tools. However, I don’t know about you, but those are my most frequently used tools anywhere. I doubt it’ll replace Photoshop anytime soon, but as far as quick hack-up image editing goes, it’s not at all badl

No doubt the MySpace crowd will love it to bits, and even seasoned photographers might find it saves them in a pinch.

In summary, Picnik is well worth adding to your bookmarks!

Via Matt of CleVR fame…


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Using adjustment layers

salmaphoto-highkey.jpg

Photo editing falls into two categories: Adjustments, which affect the whole photograph (much like our introduction to contrast, using the levels tool, from yesterday), and spot editing, which affects a smaller part of an image. Any photo editing you do with brushes, selection tools etc would be a spot edit.

While spot editing can be useful, it’s adjustment editing which is the big advantage for most photographers. Exposure a little bit off? Fix it in Photoshop. White balance problem? Photoshop. Want your picture in black and white? Photos… you get the idea.

What most photographers don’t know, however, is that you can do a wide array of adjustment editing experiments without even touching the original photograph. You can do this by adding so-called adjustment layers. This is a layer added on a photo which affects all the layers underneath. The upside of using this technique is that you can turn adjustments layers on and off, you can change their order, and their parameters. The main effect is that it is much easier to experiment with your photos, in the hunt for finding a combination of adjustments that makes your photo perfect. 

 

My old friend Matt Greer explains:

The benefit to using adjustment layers is that no edit is permanent until you flatten the image. You can even save the image with all of its adjustment layers as a Photoshop Document (.psd), and when you reopen it, all the changes you made to the adjustment layers will still be there for you to change back, remove, or alter.

If you were to, for example, edit curves without layers, then go on to change saturation, crop the image, then add vignetting, the only way to go back and change what you did to the curves would be to go back in the history, to when you changed the curve (thus losing all work done since), or start the image editing from scratch.

With adjustment layers, however, so long as that adjustment layer is still there, you can go back and alter the adjustment at any point in the editing process. It is a lossless editing process, and very handy. Sometimes one edit will effect the way another edit appears, so the first edit may need to be tweaked. This makes editing far more efficient and accurate!

The kid obviously knows what he is talking about. So — instead of trying my damndest to explain the arcane arts of adjustment layers, I’ll lett Matt do the talking, in his fabulous blog article titled Standard Photoshop Adjustment Layers.


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Renting camera equipment

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I know I keep going on about this, but there’s no denying that photography can be an insanely expensive hobby: Especially if you’re curious about why people start shelling out thousands and thousands of dollars/pounds/euros on glass with a little red L on it… Once you’ve shot a couple of hundred photos with professional equipment, it’s too easy to reach for your credit card and let ‘er rip: The sheer sharpness of the photos and the vastly superior results than you get from average-grade consumer lenses is staggering.

The solution, many people find, is renting camera equipment for a weekend or so. But how do you go about choosing what you rent? And what are the benefits of renting over buying? What are the downsides?

My good friend Andrew over at Golden God has taken a closer look, exploring the topic in greater detail in this guest writer article.  

 

cabbit-renting-01.jpgOne of the things that put a lot of people off from photography is the exorbitant cost of absolutely everything. Equipment and camera rental can be an affordable way to get the shots you want without sacrificing quality.

See, the thing is, I’m poor. Not ridiculously so, but I’ve made some mistakes and have had some misfortunes in my life, and as a result a large portion of my income is going towards paying off old credit card debts. I can’t afford fancy lenses, but I want them. In other words: renting lenses is a way for me to be able to play with fancy equipment on a limited budget.

cabbit-renting-03.jpgI currently use a local outfit here in Vancouver called Leo’s Camera Supply for all my camera rental needs. These guys are, to use the parlance of our times, mad sexy. If I were the kind of gentleman who’d attempt to court a store as if it were a lady, this would be the first place to receive chocolate, roses and an invite for a RomCom in the local cinema. I have only ever had one problem with them, and somehow, they managed to turn it around into one of my best customer service experiences ever: They accidentally double-booked a Canon EF 24-105mm F4 ‘L’ IS USM lens I wanted for a single day. I couldn’t get my lens because they technically promised it to the other guy first. I understood, but was frustrated because I still had to shoot an event that day. They set me up with a Sigma EX 24-70mm f2.8 DG Macro for three days, at no charge, and I didn’t even ask for a deal. That’s service.

Obviously, if you’re outside of Vancouver, Leo’s is a lot less helpful. If you’re in Canada, my advice is to check your local photography shops and pray for the best. If you’re in America, options expand somewhat. For one thing, there are a pair of mail-order optics rental companies: Ziplens and RentGlass. Sadly, I know nothing about either company beyond what’s in their FAQs. In addition, there’s Calumet, who have 11 stores dotted around the US, along with 14 stores in the UK, and half a dozen stores scattered around the rest of the EU. Haje tells me he’s had some experience with Calumet Liverpool and Bristol, and that he has never had anything but the highest levels of service from them.

cabbit-renting-04.jpgRenting equipment is a choice I’ve made because it works for me, for now. I know I won’t be doing it forever, and I know it’s not the best choice for everyone.

Lens Rental Pros:

  • This is an excellent way to save money on equipment costs when you’re starting out, particularly if you schedule multiple shoots during the same rental period.
  • No need to buy accessories. Most rentals come with a good UV filter, lens hood, and carrying case.
  • Let’s be honest, how often are you going to need that 400mm fixed lens? That’s what I thought.
  • Less risk of damage if you have kids/pets/roommates. It’s easy to be vigilant about a $2,000 lens when you’ve only got it for two days. It’s a lot harder when you own it.
  • Stuff always works: Lenses are checked after every rental, and if something does break, you’re not liable (you did sign up for that extra insurance that most rental shops offer, right?) for it.

cabbit-renting-02.jpgLens Rental Cons:

  • You can’t always get what you want (Hey, didn’t they write a song about that?). You are at the whim of what they have in stock, unless you reserve well in advance.
  • The cost on frequent lens or camera rental can add up fast. This will start to dig into the money you were saving to purchase equipment.
  • You can’t be as spontaneous as you’d like to be. I run into situations all the time, sometimes right after I return my rental, where that lens would be useful.
  • It’s cool to own things! There is a distinct happiness that comes from owning your own equipment.
  • Sometimes, photographic equipment has quirks and niggles: Think about your own photography equipment. That one lens that works fine as long as you do X, and the flash that works fine, if you do Y? That happens to rental equipment, too, and re-learning the strengths, weaknesses of a particular lens every time is a pain.

Ultimately, it’s up to everyone to evaluate the idea of camera equipment rental and make the decision themselves. Those of you who use special camera equipment and lenses, do you rent? Why or why not?

All text and photos by Andrew Ferguson, edited for Photocritic by Haje. If you like Andrew’s stuff, check out his photo gallery as well!


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