Wednesday, June 30, 2010

Photojournalism at the Getty in Los Angeles

-One excellent photographer from the conflicts in the Mideast, Stefan Zaklin, left his old career and got an MBA, partly because he was not certain he could support a budding family, given journalism's shaky moorings. He starts in a couple of weeks with John Deere, the farm equipment maker.

Zaklin also worries about how his old compatriots will find an audience for their work — noting the irony that the greatest vehicle for information distribution in history hasn't provided a clear solution.

"In 1998 or '99 we thought the Internet would be the answer," said Zaklin, 36. "We wouldn't need print. We could reach people in our own way on the Web. What we failed to take into account was the massive amount of work on the Internet and how people would be able to find our work. -The Los Angeles Times
























"The Sacrifice," James Nachtwey’s massive photo collage (shown in detail) of images from medical field hospitals in Iraq, is part of a new exhibit at the Getty. (James Nachtwey / June 29, 2010)

"Apple of My Eye" - an iPhone 4 film -

It is amazing what can creative people can do with a telephone!

Tuesday, June 29, 2010

Shooting with the Panasonic Lumix GF1 -Update

I am using both the Panasonic Lumix GF1 and GH1 almost all the time since purchasing them a few months ago. I favor the GF1 for most street style shooting but it works well for almost anything. I'd say the one weakness in both cameras is the electronic viewfinder which makes action shooting almost impossible. Also, the smaller MicroFourThirds sensor does seem to perform that well in low light.

I've been using the Zeiss 85mm f/1.4, the manual focus Nikkor 105mm f2.5, and the Super Takumar 55mm with great results. I also use all the Panasonic Micro 4/3rds lenses with the 7-14mm and 20mm being my favorites.

Here is an updated gallery shot with the GF1:

Panasonic Lumix DMC LX3 replacement to be LX4 or LX5?

According to 4/3 Rumors, Panasonic will announce a successor to the wonderful Lumix LX3 this July. It is said to have the larger MicroFourThirds sensor, 3X zoom, and Leica style optical viewfinder.

However, there may by some difficulty keeping the lens small and fast since it will have to cover the larger sensor. The Leica 24mm f2 lens and it's close up ability is one of the best things about the Lumix LX3.

Here is a galley of LX3 photography:

Monday, June 28, 2010

Documentary photography--an endangered art - The Los Angeles Times

The 10 photographers in “Engaged Observers,” opening June 29 at the Getty Museum, are at once storytellers, witnesses, advocates for justice, investigative journalists, consciousness raisers, evidence gatherers and educators. They’re also something of an endangered species, threatened by the destruction of their professional habitat. Magazines that used to commission such photographers to create in-depth chronicles of social phenomena, cultural conflict and struggle and change within communities have either gone out of print (the most legendary, Life, died as a weekly in 1972 and as a monthly in 2000) or are operating on scarcer and scarcer resources.- The LA Times


Photos taken last weekend during the Santa Barbara Summer Street Solstice. By Keith Skelton


Tuesday, June 22, 2010

Exactly How Many Images Are Available Online?

Exactly How Many Images Are Available Online?
By Jim Pickerell via Black Star Rising


What does the competition look like in terms of the number of images available online?

Among photo-sharing sites, ImageShack had 20 billion images and Facebook had about 15 billion as of last year. In February 2010, Facebook was reportedly adding more than 2.5 billion photos each month. News Corp.’s Photobucket currently has more than 8.2 billion photos, and Yahoo!-owned Flickr is in fourth place with over 3.4 billion.

Photo-Sharing Sites Still Little Threat to Pros

About 135 million Flickr-hosted images are available for free use under Creative Commons licenses. Of this number, use of approximately 35 million is restricted to non-commercial uses, leaving only 100 million that are available for unlimited free uses.

Despite these numbers, most professional photographers are not overly concerned about these image sources, because most of the images available on photo-sharing sites have been shot by amateurs and are, for the most part, of only personal interest to a given user’s family and friends. In addition, the lack of targeted keywords makes it very difficult for a potential buyer to find anything useful.

In fact, the very volume tends to work against trying to find images on photo-sharing sites, because it takes so much sifting to locate ones that might be of use.

Microstock Continues Growth

On the other hand, the millions of images on professionally oriented sites are an area of concern. These images have been keyworded, model-released and mostly edited for duplicates and substandard technical quality.

The four major microstock agencies reported these inventories in May 2010:
Dreamstime – 8,556,710;
Fotolia – 9,056,403;
iStockphoto – 6,837,000; and
Shutterstock – 11,332,581.

In many cases, the same images are on all four microstock sites, so a total of these numbers is not an accurate indicator of the overall image quantity, but 20 million unique images is a reasonable estimate.

Also interesting is that there are 230,299 photographers and graphic artists contributing to Shutterstock alone. There are likely more than 300,000 photographers constantly adding images to these four sites.

In the case of iStock, about 8 percent of the images in the collection belong to the top 200 producers of more than 80,000. The images from these 200 generated more than 27 percent of total revenue in the first quarter of 2010.

The Rest of the Market

What about the rest of the market? The inventories — some reported and some estimated — of the larger collections total more than 130 million images, including:
Alamy – 18,960,000;
AP – 6,000,000;
Bloomberg – 290,000;
Corbis – 4,000,000 (est. 1,000,000 creative and 3,000,000 editorial);
DPA – 7,500,000;
Getty Images – 8,500,000 (est. 2,500,000 creative and 6,000,000 editorial);
Microstock – 20,000,000;
Newscom – 40,000,000+; and
Reuters – 25,000,000.

All the smaller collections not distributed by one or more of these large distributors must also be considered. That number is hard to estimate, but an additional 30 million to 50 million unique images is probably in the ballpark.

Then and Now

An interesting historical sidelight is that back in the early 2000s, after Getty and Corbis had made a series of major acquisitions, both companies claimed to have 70 million images in their respective collections.

The major difference is that at that time these were mostly film-based images, not scanned, and in many cases, not very tightly edited. The only way to locate an image among these 140 million images was through laborious manual research. The vast majority of these images were never scanned, and it would be impossible to find most of them today — only a very small percentage are available digitally.

In contrast, the 130+ million images itemized above are digital files available in online databases for immediate research, download and use by potential customers.

Friday, June 18, 2010

“Request to License” via Getty Images is here and Flickr hammers another nail into the heart of professional photographers

..

"Another nail has been hammered into the coffin of professional photography by the announcement by Getty Images that they are to extend their deal to include members of Flickr.com.

Flickr is an online social media site for images, with 40 million registered users. For the last year, Getty Images has tapped into more than 100,000 photos taken by professional and semi-pro photographers who post on the site. Now Getty is to access Flickr’s library of 4 billion pictures.

“Flickr users are the eyes of the world,” Douglas Alexander, Flickr’s general manager, told BBC news.

I actually like, and use, Flickr a lot, but this move will surely only drive down further the fees paid to those of us who try to make photography our profession." -Sports Journalists' Association

Wednesday, June 16, 2010

The Eastern Sierra by Keith Skelton

Olancha Cowboys



We stopped in Olancha for lunch on the way to Lee Vining for the Eastern Sierra Photo Workshop. When we were leaving the cafe I noticed horses and other activity happening directly across hiway 395. We crossed the road and I discovered that the owner of the ranch, his family, friends, and ranch hands were branding and castrating young calfs. We all know that young calfs are castrated so they don't become bulls.

The ranch people very friendly and acting as were wen't even there. It was quite the scene with the ranch hands lassoing calfs and the children helping with the branding.
The son of the owner is pictured holding the testicles of the calf. There was a bucket full of them.
These beef are the grass fed variety and cared for by a ranch family. I was reminded of the violence that is involved in the raising of farm animals.
Olancha sits at the south end of the former Owens Lake which was drained by the Los Angeles Water & Power in the 1920s.

Sunday, June 6, 2010

Patterns and Textures

Using patterns and textures are two of some of the most obvious but useful techniques in photography. Both long lenses and closeup lenses can be useful in isolating subjects. Sometimes simple patterns by themselves can be graphic but lack of a good subject matter and/or a center of interest.

The photo of the rooftop certainly shows texture and pattern, but that is about it. Maybe if a cat was walking across the roof, or a chimney, would be enough to make for a more interesting picture.
























This photo of the vineyard in Santa Barbara County has a little more going for it than the roof top because the curving lines and color add more visual interest. Still, something to break up the patterns might make a better picture.




















The photo of the cracking paint and sign is a texture photo and the subject matter adds meaning to the image.
























The strength is the parking lot photo lies in the strong complementary colors and the yellow post breaking up the diagonal white lines.























In this bottom photo the yellow wall and blue shutter could make for an interesting photo of texture by themselves, but the photo becomes much more dynamic with the girl running through the frame.


All photos copyright by Keith Skelton

Friday, June 4, 2010

New tools in Photoshop CS5

I am a self taught Photoshop user, wasting many hours trying to figure out a new technique when I could just look at a guide book to get the answers. Regardless, I've learned enough to make decent corrections and manipulations.

CS5 and Camera RAW 6.1 have a couple of new tools that are quite useful. One is the HDR Toning Tool under the Image menu and the other is the Lens Correction Tool in Camera RAW 6.1.

The HDR Toning Tool can create an HDR image from one frame, drastically bringing up shadows and toning down highlights. The default settings are usually way over the top.























The Lens Correction Tool works similar to the Transform Tool. It is very useful when needing to correct for lens aberations and distortions.





















Here are before and after examples using the HDR to bring up the shadows and the Lens Correction Tool to give the buildings a more natural look.


























How to Get Your Camera Back When You Lose It

How to Get Your Camera Back When You Lose It.  From Digital Photography School and Andrew McDonald.
Hello1.jpg

Wednesday, June 2, 2010

Autochromes


Autochrome is a process developed in 1903 by the Lumière brothers in which glass plates were coated with a layer of potato starch mixed with color dyes that filtered light before it reached the emulsion. It yielded a grainy, positive image of muted pastels on a glass plate: a stained-glass window of the recent past. Link HERE for a NYT portfolio.

Hacking a Canon A570 Powershot at 87,000 feet

Photo by Pete Lilja

Pete Lilja rigs his Canon A570 to weather ballons to capture pictures at 87,000 feet.  -The New York Times. Here is a link to unleashing the Canon Powershot including motion control and other professional features.

Tuesday, June 1, 2010

Advertising Photographers of America (APA) Adopts New Name - American Photographic Artists

The Advertising Photographers of America (APA), has today announced its new name, American Photographic Artists (APA) (www.apanational.com) to reflect its growing need for a moniker that more accurately represents its current and future membership. APA’s new tagline, “An Alliance of Advertising & Media Professionals” is an embracing definition of its membership that welcomes a wide range of creative photographic professionals.

“The advertising photographer is now someone who might have crossed over from the fine art, editorial, catalog, or music industries,” notes Stephen Best, APA National CEO. “To meet that evolving world, APA felt it needed to broaden its appeal by removing the current hurdles that are traditionally associated with advertising.”