Photocritic photography blog

I’ve been a fan of Renoux on DeviantArt for a long time: His style of strongly emotive nude photography always appealed to me strongly. Playful, and with levels of nudity ranging from regular portraits to borderline pornography, he manages to capture the essence of the human body in a way that is quite unlike any other photographer I have come across.

Photocritic had a chat with Pascal Renoux, to find out what drives him…

Depending on your work, this article might not be safe for work. Read the rest of the article »

You’re a keen photographer, and you find yourself in a city where the world’s biggest art festival sneaks up on you. It’d be rude not to do anything, really… But what?

Katie Cooke, a long-term friend of mine, who might be more known in the photography world as the queen of pinhole photography, decided to set up a little market stall in the middle of the mayhem, and take photos of people who felt like being photographed. Using a classic Toyp 45CF field camera loaded with Ilford HP5+, she decided to show the Fringe from an unusual angle… We’ve caught up with her to find out how and why. Read the rest of the article »

I was recently asked to be one of the judges in a photography contest run by Crestock. (more about the competition in one of my previous posts). It’s a pretty high-profile affair: The prizes are very good, and there’s a lot of judges on the panel, including some esteemed bloggers, experienced writers, and successful stock photographers.

When it comes to this competition, it works like this: As one of the judges, I choose the 10 photographs I like best. For round 1, that meant choosing 10 out of 491 photographs. In other words, for every 50 photos, I can only choose one. Words can’t describe quite how difficult that is: A lot of talent and creativity goes into competition entries, and a lot can be said about.

I won’t lie to you - while I am a moderately successful blogger (hey, you’re reading my blog right now, aren’t you?), a soon-to-be-published author (my book goes on sale in about a month and a half) and a washed-up freelance / stock photographer who decided that I could only do photography as a hobby, because doing it for the money was soul-destroying - I have never actually judged a competition before. While the guys at Crestock were quite helpful in offering guidelines and ideas as to what I should be looking for, it got me a-thinking: What can you, as a photographer, do to maximise your chances in the battle of shutter times and lighting, against the rest of the pack? Read the rest of the article »

Movie audiences of the world are vastly and completely amazed by the beauty of the new movie 300. With its extremely distinctive style, quick-moving plot and — like Sin City, another of my favourites — relatively closely based on one of Frank Miller’s graphical novels, it’s got it goin’ on.

If you’ve seen the film, you can’t have failed to notice the amazing quality of the artwork involved: The CGI is amazing, of course, but even the live-action bits of the film is nothing short of stunning. So, how, exactly, can you recreate the effects? We interviewed graphic artist Jason Niedle to find out more… Read the rest of the article »

On Photocritic, I don’t generally bother talking too much about equipment, unless I’m particularly excited about something. My approach towards photography is that a good photographer can take good pictures with bad equipment. A bad photographer can only take mediocre photos with good equipment. In other words: If your technical skills and photographic insight aren’t up to scratch, you’ve already lost the game: No amount of equipment can save you.

Nevertheless, I often get comments and e-mails asking about what type of equipment I use. It’s an interesting question, but asked wrongly. My equipment list is boring. The argumentation for choosing each of these pieces of equipment is what is interesting, because it might help you pick which lens or gadget you buy next! Read the rest of the article »

So, you’ve got a SLR, do you? Smashing. You might have a kit lens, a tele-zoom, and a couple of flashes by now, and you’re feeling pretty hot about yourself and your camera gear, are you?

Well, good on you. But until you’ve got a decent prime lens, you haven’t really lived. And I’m here to tell you why.

Back in the infancy of photography, we never had anything but prime lenses. When you bought a camera body, you first of all buy a camera lens to go with it. A 50mm f/1.8 was pretty much the slowest lens you could buy as a starter kit. Read the rest of the article »

We’ve talked about how photo licencing works before, but it seems as if people are just not learning their lessons. So, as the newest instalment in our Photography Business article series, an important reminder…

The newest horror story comes from a website called UK Expert. If you sign up to their website, and click ‘ok’ on the terms as conditions (Let’s face it - when did you last read the terms and conditions to anything), they are trying to get you to sign over the copyright to your photos. Yikes!

The lesson today? Read the terms and conditions before you upload any photos. Seriously. Read the rest of the article »

I’ve spent a lot of my days critiqueing stuff. Back in the days, when I did a lot of writing, I went to Folkehøgskole. (kind of like an artistic boarding school where you faff about for a year while you decide what to do with your life. As far as I know, it’s a Scandiwegian concept — I’ve written more about the folkehøgskole over on Everything2.com). Part of the school idea was to give each other feed-back on writings done in class.

Giving feed-back on something is really easy. Giving useful feedback on a subjective matter — such as photography — is, in fact, extremely difficult. That’s why I’ve created sort of a check-list with some tips as to how I like to do critiques. Read the rest of the article »

In our newest instalment of the photo critique series, I’m taking a look at a series of black and white photographs taken by Kevin Bost. In the process, I’ll be exploring why Black and White photography still has a valid place in today’s colourful society… Read the rest of the article »

A good while ago (see this post), 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. Read the rest of the article »