General information and notes from /p/
This is not a formal document and changes frequently. Think of it as a series of notes. Use Ctrl-F.

Not all images are linked into the main document: Refer to the "Photos" section for a complete list:

For an overview: expand the Contents [show] menu below.
Use ctrl-F to search for keywords of interest.

General Etiquette

Resize your images

Selection 2017-01-05--11-44-54

We don't resize for you snowflake, we resize for us.

If the poster fails to use well sized images, many users won't bother looking at them.
Ultimately, most people don't mind images that are large, pixel-wise. As long as the jpg compression keeps it's filesize reasonably small.
Yes, there will always be those who completely miss the point and bitch about anything that is larger than 1000px, regardless of having appropriate compression/filesizes.

Because /p/ is browsed from a variety of countries, on vastly differing network speeds and display sizes there is an important unwritten guideline:
smaller than 1Mb / about 1000px.
File size - is what /p/ cares about most, but because pixel count and compression level determine the filesize you will often see people only saying: "resize to 1000px".
  • This is because almost any 1000 pixel jpg will weigh in at under 1Mb. So '1000px' establishes a simple minimum standard.
    It's just a simple way to tell novices to make their filesize smaller.
    However that same uncompressed 1000px image could easily be made with a much smaller filesize through appropriate jpg compression.
    So ideally we want you to consider the filesize, but also your pixel counts to a lesser degree.
Pixels - Sure...browsers automatically scale images to fit the screen, but adjusting the image to have appropriate pixel dimensions will:
  • Display faster on a wider variety of devices and network speeds.
  • Improve the appearance of noise/grain, less than perfect focus, and the inherently blurry character of digital sensors.
Compression or Quality - jpg is the ideal format for photographs on the web, because of it's compression range. PNG is NOT.
  • jpg100 is not compressed, 100% quality, so is considered completely excessive for the web.
    If your camera is set to shoot jpg then this is probably what it produces before any editing.
    Don't post these.
  • jpg92 and above, while still fairly excessive does reduce filesize, and can be appropriate to maintain crisp red hues that can misbehave at lower quality settings (you'll know if you see it).
    Avoid jpg92 and above unless you have issues with red pixels and are too lazy to learn about Chroma Subsampling, specifically as it relates to the color red and jpeg compression.
  • jpg compression between 30 and 90 are appropriate for most photographs, and selecting the level appropriate to individual images can radically reduce it's filesize with little or no perceptible reduction in image quality.
If in doubt: try saving several copies of your file with jpg compression levels of 40, 60, 80 and check if you can distinguish between the compressed copies and your original file. Experiment a little. Check this article to familiarise yourself with what to look for:
  • Sometimes there is a legitimate need to post a high resolution panorama, a request for a large image, or discussion of some technical aspect that may require full size, and/or uncompressed images.
  • But generally: DON'T.
  • A reasonable compromise is to crop a smaller section (about 1000x1000 pixels) of a large image, and compress with a relatively high quality setting to illustrate specific points being discussed.
  • The maximum possible filesize in /p/ can change, and generally is under 5Mb. The /hr/ board is occasionally used for larger images.
  • It is always best to edit and size images with software locally on your computer, but sites exist to do this if you are completely clueless, away from tools, or in a hurry.

Pimp your photos not your site

  • If you want to start your own thread then be sure to post a number of photos.
    A thread with a single image and a link to your site is usually counterproductive.
except in:
flickr/tumblr/portfolio/500px/etc threads
Normally found on the first few pages of /p/ and are specifically for networking your web site, critique, or small numbers of photos.

JPG good PNG bad

  • JPG is the appropriate format for web presentation of photographs. PNG is not.


  • JPEG
  • Was designed to compress photographs with a very controllable loss of quality.
  • Has no transparency channel. (Photographs normally have no need for alpha channels.)
  • Can have EXIF metadata included in the file.
  • Ideally suited to: photographs.
  • PNG:
  • Was designed to compress linework and gradients losslessly.
  • Has a transparency channel.
  • Can include custom metadata chunks, but there is no standardised way to include EXIF data.
  • Ideally suited to: text, line art, graphics with sharp transitions and large areas of solid color, 100% accurate screenshots. Sending files to be printed.

When to use JPEG and PNG

EXIF or not

  • Generally /p/ prefers to see how the image was produced, so exif data is generally desirable.
  • Conversely some posters find it useful to remove some or all exif data to focus viewers attention on the image.
  • If you don't know which you prefer, just leave it in. But make sure you know what you are posting first, as it may include GPS position or your Name, which some users prefer to omit.
  • Exposure time, Aperture, Sensitivity, EV, Focal length, Camera mode are the basics of interest.

What Camera


Do some research, then discuss. But do your homework first.
  • Keep in mind that "Hurr wat camera? durr" threads are the worst form of gearfaggotry on /p/ - many users hide them immediately.
The people who do respond will generally be those who have recently researched and/or purchased a camera... But not always: some will be commenting based on outdated or inherently uninformed opinions.
It can be difficult to determine which of these made a good choice, or have any breadth of practical experience with different gear to know what they are talking about, or are enthusiastic newbies who's opinion may not be balanced, or are mindless brand-loyalty fanboys.
  • Start here:
then, when you have gained some basic technical knowledge...
and realise that snapsort is overly simplified...
and that all 'compare' tools are at least a little biased:

Or do you even need a DSLR?$100-digital-cameras/

What camera can I buy for $X?

  • Most cameras within a given price range will be functionally quite similar.
So the main questions you need to ask yourself are:
1) What do you intend to use the camera for?
2) How much are you prepared to spend?
1) What do you intend to use the camera for?
  • First: consider that the lens' focal length and aperture plays a significant role making the camera useful for a particular task.
    But remember that just because a lens is typically used for a particular task does not mean it can only be used that way.
Wildlife? Team sports? - Telephoto lens. ~200mm, 300mm, 600mm
Snapshots of your daily activities? - Wide-angle to small-telephoto zoom lens. ~15-130mm
Snowboarding? Skateboarding? Individual sports? - ultrawide lens. ~10mm, 20mm
Classic 'Street' photography? - wide angle ~28mm
Night or low light photography? - 'fast' 'normal' lens. ~50mm f/1.4
Portraiture? - fast 'normal' or small telephoto. ~50mm, 85mm, 100mm
Macro? - small telephoto with macro mode, teleconverter, bellows, extension tubes. ~100mm
etc etc
  • Similarly there are a myriad of important lens aspects.
A lens' widest aperture size.
How sharp images are when the lens aperture is used 'wide open'.
How close the lens can focus.
The kinds of visual aberrations the lens produces.
The 'character' of the out of focus image areas (boke / bokeh)
'Zooms' typically have a lower image quality and are less useful in low light situations than 'Primes', but may be more practical in a variety of every-day situations, and both can be supported with a flash in low light.
etc, etc
2) How much are you prepared to spend?
  • TL;DR:
DSLRs ~$1000+
Point and shoot (P&S) digital cameras ~$200+
Older film cameras as little as $20 +ongoing film costs.
  • Camera features change a lot, and the gear you want or need is highly individual and often fairly subjective.
But ultimately basic camera functions are very few, and cameras are essentially quite simple devices.
Paradoxically they can also be incredibly complex marvels of miniaturisation and engineering.
The key question is which combination of the two extremes you really need.
  • In the age of the Internet it has become possible to extensively research and purchase only the very best gear in the world.
That does not mean 'the best' is the most appropriate or cost effective for your purposes.
Always be aware that Corporate marketers strongly influence and artificially generate internet content and 'opinion', and usually sponsor popular review sites.
  • Almost any modern camera will suit the new photographer.
Some will suit the new owner developing basic photographic skills.
Some will have features or a design that better suits expert users who want to work a particular way.
Some will simply be designed for the majority of people who only need an automatic point and shoot camera, but want to buy a full-frame digital SLR.
Some will suit everybody from beginner to expert, but lack some bells and whistles, or some automated foolproofing.
  • Remember that you are buying a camera and at least one lens.
You could buy into a particular film/sensor size system, and then choose a camera and lenses based around that system.
You could research the camera body only, just accept whatever standard 'kit lens' comes with it, and worry about other lenses later.
Or you could deeply research lenses and camera, to get maximum benefit from both.
etc, etc
  • There are many ways to approach where to start.
But you still need to get your head around what is available, and learn some of the most basic concepts and terminology, before you can even hope to get a useful response from /p/ about what camera you should buy.

TL;DR: the current model Canon PowerShot
No but really...

  • Disregard bodies, acquire glass.
The lens is generally more important than the camera.
  • The gear doth not a pro maketh. (Your camera does not matter)
A good camera does not automatically make you a good photographer. In the right hands a crap camera can take a good photo.
Many users will never notice a lesser cameras limitations, nor fully utilise a great camera.
  • The Cake is a lie.
Some camera marketing departments try to convince us:
To 'upgrade' to a 'better' camera every few months.
That their entry level gear is related in quality and features to their professional gear.
That crippled features aren't just a means of getting you to upgrade when you realise you want that feature.
  • Consider the underdog.
Never overlook a previous generation camera or a particular brand because of opinion or marketing, they may offer a better deal for a simpler camera, better legacy lens support, less unnecessary built-in support costs, better basic features, camera controls, or build quality.

Selection 2014-01-29--15-06-24


Video is /p/ee's adopted sibling.
Use the catalog to find the /vid/ - Video General thread.

Learn to Pee

  • pee's Photo Challenge

    "/p/ Roll. You know what to do"
    A photo challenge selection sheet.


    "The /p/'s out of ideas dice game"
    A photo challenge selection sheet.


  • /p/hotographs

Learn to 4chan


Guides and Tutorials

Saved threads archive

Negative Workflow from Capture to Print - Camera Scanning
Basics of Flash Photography
Sliderule - The Best Free Online Photography Courses and Tutorials
National Geographic Photography Basics - Ultimate Field Guide to Photography
Photo Tips, Photos, Galleries, Videos, Photography - National Geographic
Strobist: Lighting 101
Digital Photography Tutorials
101 Things I Have Learned about Street Photography
Worth1000 | Photography Tutorials | Theory - Breaking the Rules - Good Times with Bad Filters
Building a DIY tilt-shift lens
Light Painting Tutorial | Shaping El Wire
How A Commonly-Used AF Technique Causes Focus Errors *also see: Petzval field curvature
Reverse-Lens Macro Photography
How to create supermacro lens
Are you ready for your embed?
Project : Ring Light
Photography Q&A
Photography Composition Articles
Digital Photography School
The Photo Argus
Making the Most of Long Exposure Handhelds
Photozone - Reviews and price comparisons
Great Compositions - Adam Marelli
Urban Exploration Resource - Forum
Bernie's Better Beginner's Guide to Photography for Computer Geeks Who Want to be Digital Artists
Worth1000 - tutorials
Light Stalking
Visual Perception and Aesthetics
100 Helpful Photography Tutorials for Beginners and Professionals
Posing and Directing Photography Tips
The Art of the Pose
Digital cameras Hacks
Open-source camera could revolutionize digital photography
Virtual Lighting Studio
Barn Door Tracker
Using a Twist Jar Opener as Follow Focus
Using Moire' Interference Patterns to Test DSLR Auto Focus
5 Reasons Why You Shouldn’t Be Sneaky When Shooting Street Photography
How to Become a Fearless Street Photographer
Digital Camera World: Photography Cheat Sheet
Digital Camera World: Beginners Guides
Digital Camera World: Tutorials
Digital Camera World: Photography Tips
250 photography tutorials
How to take a flattering portrait. - Jawline
Wild Photo Adventuures - videos
Pixel2Life Tutorials
Posing Guide: 21 Sample Poses to Get You Started with Photographing Men
Posing Guide: 21 Sample Poses to Get You Started with Photographing Women – Part II
Beginning Photography Tips: Top 10 Techniques for Better Pictures
Kodak Photo Tips
Basic Photography Techniques - Perspective
Give Yourself an Honest Portfolio Review
The Beginner’s Guide To Film Photography - I Still Shoot Film:
Free Digital Photography Courses, Photography Lessons, and Tutorials
Hacking Photography For The Love of It
A Complete Introduction to Photography (aka Reddit Photoclass)
Great Product Photos
Shooting glassware on white background: high-key in product photography
Shoot this Photo - Broncolor - sample photos and their lighting explanations
Professional Photography in Linux, Part 1
OKCupid-The 4 Big Myths of Profile Pictures
OKCupid-Don’t Be Ugly By Accident!
A Step-by-Step Beginner’s Guide to Photographing Your First Wedding


Mirror Grinding
How I make Telescope Mirror Blanks


Basic Camera Functions

The following are the primary controls on a camera that enable the user to directly control their photographic outcome.
Any decent camera will have individual controls for each. Less desirable cameras may nest one or more of these basic functions in menus or multi-function buttons. - an interactive example

Exposure Time

A.K.A. Shutterspeed
Amount of time in fractions of a second, or whole seconds, that the film or sensor is exposed to light through the lens.

Tv mode (Time variable) uses exposure time as it's main control variable.
Use fast exposure times to reduce blur due to camera shake with telephoto lenses, or motion blur on moving subjects.
Use slow exposure times for low light, when you can adequately stabilise the camera to avoid camera shake, and motion blur may be desirable.


Mechanical iris in the lens that controls the amount of light reaching the film/sensor, or the value to which it is set.

Av mode (Aperture variable) uses aperture size as it's main control variable.
Use a "Wide aperture" (see below) to blur anything not specifically in focus.
Use a "Narrow aperture" (see below) to focus as much as possible within the full depth of the scene.
The numbers used to describe aperture are a ratio of focal length/aperture diameter.
This is often counter-intuitive because a larger number like 22 is actually a narrower iris opening or a 'smaller aperture'. Conversely, a smaller number like 1.2 is a wider iris opening, a 'larger aperture'.
eg: Aperture f/22 means the hole in the iris is 22 times smaller than the lens focal length. A quite narrow iris opening.
This would result in a deep depth of focus, and require strong light and/or a long exposure.
Aperture f/1.2 means the hole in the iris is 1.2 times smaller than the lens focal length. A quite wide iris opening.
This would result in a shallow depth of focus, and could be taken in poor light and/or a fast exposure time.
Lenses are described using the ratio of their focal length and largest iris opening.
eg: A lens with a 50mm focal length, maximum aperture of f/1.2 may be described as
50mm 1:1.2
1.2 50mm
As aperture ratios get lower lenses transmit more light, become more expensive to produce, and are more difficult to accurately focus. Ratios lower than f/1.2 are uncommon. Ratios lower than f/0.9 are very uncommon. Etc.
f/8 is generally the middle point of lens aperture ranges, and is often the ratio that produces the sharpest image quality.
Theoretically, a given aperture ratio transfers the same amount of light through any lens regardless of focal length.


Film / sensor light sensitivity.

Sv mode (Sensitivity variable) uses Sensitivity as it's main control variable.
Higher numbers allow the camera to capture more light, at the expense of a more 'grainy' image.
Lower numbers need better lighting, but produce crisper image granularity.
Often just called ISO, or ASA, or DIN, despite the ambiguity of referencing the Standards Organisations rather than the specific film sensitivity Codes they establish.

Exposure Value (Compensation)

Note: Technically not one of the 3 'true' seminal camera functions, but included here because it is inherently useful on any camera that has modes in addition to Manual mode (Tv, Av, Sv, TAv, X, Program, etc).

A quick and consistent way to brighten or darken what the camera meters as 'properly' exposed.
Typically cameras desaturate and meter 18% grey (18% black:82% white) as 'correct', and this results in a well exposed photo. However it is often advisable to correct this somewhat, particularly in scenes with extremes of darkness and/or brightness, or as an Artistic License adjustment to reflect how the Photographer wants to portray the scene, and/or to more accurately reflect reality.
Negative compensation (-EV) makes the resulting image darker.
eg: Due to a large DARK background, a smaller BRIGHT subject typically gets OVER exposed.
Using the right amount of negative compensation (-EV) helps correct this.
Positive compensation (+EV) makes the resulting image brighter.
eg: Due to a large BRIGHT background, a smaller DARK subject typically gets UNDER exposed.
Using the right amount of positive compensation (+EV) helps correct this.
Exposure compensation is less useful in Spot Metering mode, and more useful in Matrix, or Center Weighted metering modes that average the entire frame to obtain 'correct' exposure.

Frequently Asked Questions

Do you even shoot

This links to a page that is an extension to this main wikia:
Photographic work by the denizens of /p/

Lens Hoods

Why use a lens hood?

They reduce the amount of light entering the lens from sources that are not part of the image, but which are still entering and illuminating the lens barrel, dust on internal lenses, and outside edges of optical elements. This can interfere with correct metering, or cause flaring, haze, or ghosting in the image. Therefore using a lens hood usually increases image contrast and reduces some undesirable effects from incidental lighting.
They offer the front element protection from fingerprints, bumps, and some protection from rain, and to a lesser degree from flying debris.

UV Filters

Why use a U.V. (Ultraviolet) filter?

Historically some film stock was susceptible to the effects of the UltraViolet part of the light spectrum, UV filters were used to eliminate the hazing effect ths may have had on the film negative.
Modern Sensors and film are significantly less effected by UV light, so the contemporary UV filter is commonly used simply to protect the front element of the lens against airborne grit, or corrosives such as salt spray. But because they also filter out Ultra-Violet light you may find that a UV filter helps cut down on haze in telephoto or shots of the extreme distance.
They are easier to clean and less important than the front element of your lens, and assuming the UV filter is of a reasonable quality, it will generally have little if any effect on image quality. However: Long exposures, shooting in low light, or otherwise any strong differences in light values may cause unwanted reflections inside the lens elements. This can be made worse by front element filters.
  • Regular glass absorbs UV light.
  • As far as a modern DSLR is concerned, a UV filter is basically just a sheet of glass to protect the lens.
  • A 'good' filter simply absorbs more UV while blocking or distorting visible light as little as possible.
  • If you choose to use a UV filter: a good quality filter will best serve a good quality lens/sensor to preserve optimum I.Q, but you may not even notice any negative effects from inferior UV filters.
  • Filters - UV or not UV?
  • - Good Times with Bad Filters
  • If you are exposing a lens to strong sunlight or UV light in order to kill fungus, always remove the UV filter.

Topic Status: Oh, THIS thread again.
Ayya !!GhEG2I2GWZy 01/25/15(Sun)17:16:13 No.2507961▶
We have this thread once a week and there's nothing more to discuss

Raw vs Jpeg

Should I shoot in raw or jpg?

Short answer:
Raw = Extensibility
Jpg = Convenience.

Raw: Extensibility.

If you want maximum flexibility and have time to process (but not necessarily *edit*) everything: use Raw.
Raw is sensor data written losslessly (no loss of color bit-depth or pixel precision) in the same file as, but separate from any in-camera image processing metadata such as color profiles or white balance etc.
Files are often approximately twice the file size of an equivalent Jpg.
The additional bit-depth used to store color data allows significant leeway for editing, particularly for recovering poor exposure or color imbalance.
Generally after post-processing the image is saved to an additional file format such as jpg (etc) for internet publication, or Tiff (etc) for compatibility with physical document printing houses.
Various proprietary formats of raw exist, most of their features are similar.
Raw is vaguely analogous to a film negative: It requires further processing.
Raw can to be infinitely, non-destructively edited, ignoring or including it's original integral metadata, and with any additional modification data stored separately in text based 'sidecar' metadata files. This allows the master file to remain in its original state while any edits can be reloaded from relatively small text files, used to overlay the original raw data and re-edited at will.
Additional Notes:
Raw vs. DNG
Raw image format

Jpg: Convenience.

If you do not require best quality, nor the ability to recover errors, and need the image immediately: use Jpg.
Jpg data is permanently combined with any in-camera processing and destructively compressed (at the expense of color bit-depth and pixel precision) before being written to file.
Files are often approximately half the file size of an equivalent raw.
Various forms of jpg exist, most of the features relevant to photographs are similar.
Jpg is vaguely analogous to a polaroid photo: It is not intended to be edited.
Jpg images can of course be post-processed, but doing so is far less desirable because each time the file is written to jpg pixels may be moved due to compression, and the shallower color depth significantly limits editing possibilities.

Scratched optics

Do scratched optics effect image quality?

While this article does not consider internal, or rear element damage and obstructions, nor telephoto focal lengths, it is an interesting reference.

Full Frame or Crop

“Full Frame Equivalence” and Why It Doesn’t Matter

Anonymous No.2087505
Bullshit reasons for FF.
  • Higher resolution - not true except for the D800.
  • Sharper - this is only true out of camera with default parameters. Bump up the sharpening a bit on crop and there's no difference.
  • Color rendition - with the exception of high ISO, pretty much all FF, crop, and 4/3 sensors are the same here. Your choices with camera settings and/or RAW conversion make the difference.
  • DoF "control" - FF gives more shallow DoF, but this doesn't equate to better or "more control." Crop gives more DoF for a given aperture, which means you can more easily shoot wide open for the light gathering or for blur in the background. (Blur near the plane of focus is determined by DoF. Blur well behind the plane of focus is determined by physical aperture size and is the same regardless of format. If you want a model's entire face to be sharp but the background to be smooth, it's easier to achieve on crop.)
I find fast primes to be too shallow on full frame, and always end up stopping down thereby losing light and some background blur (unless the model is very near the background).
Real reasons for FF.
  • If you need to shoot above 6400, FF kicks ass over crop.
  • There are some fast, wide primes and T/S lenses with no real equivalents (for the FoV) on crop.
  • If you can't afford MF but want the highest possible resolution, the choice right now is a FF body (D800).
  • FF does yield about a stop more DR.
  • The very best pro sports bodies are FF, though the crop 7D is quite frankly up to the task of pro sports, at least in decent light.

Some people assume that covering a camera's logo may actually prevent, or is intended to prevent theft, but this is most likely a misconception spawned from people applying tape all over, thus making the entire camera look tatty and broken and not worth stealing. Covering just the logos almost certainly has no theft preventative value whatsoever.
Also logos are often covered because some are retro-reflective. Meaning that if someone takes a flash photo with your camera in it then the logo will easily be the brightest thing in the scene. This looks bad in a similar way that redeye looks bad, can adversely effect exposure, and generally results in an ugly blown highlight.
Similarly: professionals don't want logos in their images, because of legal copyright issues. So if everyone tapes theirs: no such problems exist.
Some people simply don't like logos. By prominently labelling your equipment with their logo a Company is effectively using you for free advertising.
Others may tape the camera in general simply to prevent bumps and scratches, or to provide additional grip or a preferred texture.

Photographic Principles


Lens - Optics
The Pursuit of the Ideal Lens

Depth of Field/Focus

Depth Perception

Circle of confusion

Lens diffraction-airy circle

Field Of View


Focal Length



Normal lens

Image Histogram

Droste effect

Zone System

Crop factor

Color theory profiles and gamut

The Dimensions of Color

Working Space Comparison: sRGB vs. Adobe RGB 1998

The Great sRGB Versus Adobe RGB Debate

Color Theory

Color Management Overview | dpBestflow

12bit vs 14bit RAW and compressed vs uncompressed… Does it matter?

JPEG Sub-sampling

How Colors Got Their Symbolic Meanings

This Is Not Yellow

If Its Purple Someones Gonna Die - The Power of Color in Visual Storytelling

How well do you see color?

25% of the people have a 4th coneand see colors as they are
Actually this is bullshit:

Can You Actually See All The Colors


Expose To The Right - ETTR

Maximizing S/N Ratio in Digital Photography
(apparently luminous landscape is now pay for view - so here is an archive)

Optimizing Exposure

Why Do Camera Makers Give Us 19th Century Exposures With Our 21st Century Cameras?

Understanding What is stored in a Canon RAW .CR2 file

TIFF information

Vertigo or Dolly Zoom

Fibonacci Flim-Flam


Photoshop (occasional resident /p/ro)

Technical Definitions


Catadioptric, mirror, reflex lenses

I.C.C. Profiles


MTF (modulation transfer function) - How good is this lens?

Petzval field curvature - Why focus and recompose sucks

Modern lenses typically have a 'flat' plane of focus, not a spherical one.
By using 'focus & recompose' with a flat focal plane you are effectively shifting the focal plane behind the subject when you recompose.



Image Quality Factors for Cameras and Lenses

Shutter Actuation Count

Parallax Scrolling

Test Charts

Lens Test Charts
Nikon D70 Focus test chart
Chart Actual:

Old Manuals

Zenit SLR Camera Manuals

Old Gear

Matt's Classic Camera Collection
Classic Camera Profiles

Comparison Tools

Broadly speaking these comparison tools are good references, and an excellent way to directly compare one camera to another side by side, but all have some bias or omission of data.
Before you decide how to interpret the data and opinions they present you should learn to think critically about what data this type of site may include or exclude, and exactly how their rating system forms a 'score'.
Also consider how much someone may be over-generalizing, or splitting hairs when they dispute or support a sites' comparison data.


Camera comparison
Lens comparison
Imaging Resource Comparometer Digital Camera Image Comparison Page:
Camera Comparison
Lens Comparison
Snapsort - Camera comparison


Nikon DX vs Canon APS-C: Dynamic Range


Exposure Aperture Sensitivity

Range Guides - flash strobe speedlite speedlight

User customised: not standard guides.
Values are standard.
Presentation is not.

Yongnuo YN560 IV

RangeGuide YongnuoYN560IV
RangeGuide-metric YongnuoYN560IV
RangeGuide@50mm YongnuoYN560IV

Pentax AF160FC ring flash

Pentax AF160FC ringFlash-rangeGuides


DOF and Hyperfocal calculator

Lens Magnification and Depth of Field Calculator

Macros - The Math

Close Up Exposure / Magnification Tables

Focal Length and Magnification

Calculate magnification ratio of reversed lens

Ask neural network if your photo is good or not

Astronomical forecast

The Clear Sky Chart

Light Pollution Map

Depth of Field Simulator

Interactive DOF Chart

Interactive DOF Graphic

Lighting simulators

Virtual Lighting Studio

Strobox - search

Professional Resources

Art Business: Appraisal, Appraiser, Advisor, Consultant, Broker, News, Marketing
Frequently asked questions about releases | American Society of Media Photographers


Stock Photo Price Calculator
EP Resources - The Value of Photography
The Complete Guide To Setting And Negotiating Freelance Rates
How To Price Your Photos - A Guide On How To Price Photography
How Much Does an Image Cost?
Photographers Direct | professional stock photography images | buy photo stock images
Various pay calculators
The Beginner’s Guide to Pricing Your Photography

Photo Market

The Freelance Photographer's Market Handbook 2013

Gorkana - the media database and portal for PRs and journalists

Photo Archive News

Editorial Photographers (EP)

Splash News

National Press Photographers Association

X17 Agency

The Network for Freelance Photojournalists

The Home of Freelance Photography



Sample agreements/contracts

Open Legal Documents



Photo Books

  • Professionally printed books, ordered online and sent via postal service, can be individual copies or large runs, containing selections of photos as chosen and laid out by the buyer.
ArtisanState - Little Black Book
ETC - add me.....


Markus Keinath - Photographic camera DIY repair and modification
The Classic Camera Repair Forum
Good books on lens design for photographers
Manual Focus Lenses - forum
Operation manuals
Re-cementing lens elements with Canadian balsam
Fun with Acetone
The Bonding of Optical Elements - Techniques and Troubleshooting
Sensor cleaning with sensor film - commercial product
Opteka SSC-20 Pre-Moistened CCD/CMOS Sensor Cleaning Swabs for SLR Cameras (20 Pack)
Manual Focus Forums
The Classic Camera Repair Forum - Maintenance & Repair
Cutting focusing screens
Antique & Classic Cameras - Vade Mecum
Rick's page
Cleaning Digital Sensors
Cleaning Optics

File Recovery

Accidentally deleted, or discovered your camera's memory card is corrupted?
Stop shooting immediately and remove the card. Writing anything else to it will probably overwrite your damaged/deleted data.
Then try using a data recovery program on your memory card.

Google it first
PhotoRec - Digital Picture and File Recovery
Available for all major OS
Trivial on linux:
sudo apt-get install disktools
Piriform - Recuva - Undelete, Unerase, File and Disk Recovery
Stellar Phoenix Photo Recovery
Find and Mount


Conversion of a manual PK lens
Ricoh (KR) Aperture coupling pin removal for safe fitting to Pentax (KA) mount.
When f/1.0 Just Isn’t Fast Enough
Camera remote release pinout list

Free Software

CHDK - firmware enhancement for Canon Cameras.
Geeqie - image viewer
RawTherapee - image manager
DarkTable - image manager
Hugin - Panorama photo stitcher
Exiftool - exif data manipulator
Luminance HDR - aka Qtpfsgui: an Open Source Workflow for HDR Imaging

Lens Information

Identification and General Data

SLR Lens Mount Identification Guide
Photodo Camera Lens Search
Camera Mounts Sorted by Register
How Dust and Damage on Lenses Affect Image Quality
Front Element Scratches
Russian lens markings
Why Russian Optics Are So Good
Camera Mounts Sorted by Register

Universal Mount

Tamron Adaptall lenses


M42 lens mount

Pentax K mount

List of Lenses with any K-Mount Variant
Bojidar Dimitrov's Pentax K-Mount Page
Pentax Lens Reviews | Third-Party Lens Reviews | Accessory Reviews | Pentax Camera Reviews
Pentax Lens Compatibility Chart
Takumar and friends, in order by focal lengths on Pentax

Canon FD and EF mount


Nikon mount

KenRockwell - Nikon F-mount Variations and Lens Technology

KenRockwell - Nikon Lens Compatibility


Minolta Sony A and E mount


Leica M39 mount




Not really the right section for this

Famous Photographers

W. Eugene Smith
Lewis Hine
Paul Strand
James Nachtwey
Ansel Adams
Bryan Schutmaat
Henri Cartier-Bresson
William Eggleston
Yousuf Karsh
Vivian Maier
Andreas Gursky
Bruce Gilden
Alec Soth
George Hunter
Leni Riefenstahl
Myron Barnstone
Rene Maltet
The Robert Frank Collection
  • To DO: remove duplication and link
Eugene Atget
Gabriele Basilico
Gianni Berengo Gardin
Henri Cartier-Bresson (c'mon...)
Giovanni Chiaramonte
Mario Cresci
Robert Doisneau
Walker Evans
Franco Fontana
Luigi Ghirri
Mario Giacomelli
Guido Guidi
Andre Kertesz
Josef Koudelka
Mimmo Jodice
Dorothea Lange
Armin Linke
Joel Meyerowitz
Tina Modotti
Paolo Monti
Ugo Mulas
Man Ray
Edward Steichen
Alfred Stieglitz
Edward Weston
Minor White

Contemporary Photographers

This links to a page that is an extension to this main wikia:


100 Techniques for Professional Wedding Photographers
2010 Photographer's Market
500 Poses for Photographing Brides
A Chronology by Diane Arbus
A.D. Coleman
Ansel Adams' Basic Techniques of Photography, Book 1 by John P. Schaefer
Ansel Adams' Basic Techniques of Photography, Book 2 by John P. Schaefer
Basic Photography by Michael Langford
Best Business Practices for Photographers by John Harrington
Black and White Photography by Henry Horenstein
Close-up and Macro Photography
Communication Arts (magazine)
Creative Composition - Digital Photography Tips & Techniques
Creative Pricing for Photographers by Lawrence Chan
Creative Shutter Speed - Master the art of Motion Capture
Criticizing Photographs by Terry Barrett
Days with my father by Phillip Toledano.
Dressed Nudes by Dahmane
E-myth Revisited by Michael E. Gerber
Extreme Makeover Techniques for Digital Glamour Photographers
Financial Peace by Dave Ramsey
Five Thousand Days: Press Photography in a Changing World by British Press Photographers Association
Friedlander - The Museum of Modern Art by Peter Galassi, Richard Benson, Lee Friedlander
Fundamentals of Photography by Tom Ang
Getting Things Done by David Allen
Good to Great by Jim Collins
Guerrilla Marketing by Jay Levinson
Helmut Newton/Alice Springs - Us And Them
History of 18th Century Female Photographers
How to Master the Art of Selling by Tom Hopkins
How to Succeed in Commercial Photography: Insights from a Leading Consultant by Selina Maitreya
Kamaitachi by Eikoh Hosoe
Lighting and the Dramatic Portrait by Michael Grecco
Light - Science & Magic by Hunter, Biver and Fuqua
Light Years by Morley Baer
Mastering Digital Wedding Photography
Matters of Light & Depth by Ross Lowell
Minimalism: Minimalist by Sofia Cheviakoff
Minimalist Lighting: Professional Techniques for Location Photography by Kirk Tuck
No Plastic Sleeves: The Complete Portfolio Guide for Photographers and Designers by Larry Volk and Danielle Currier
Nude Photography: The Art and the Craft
One Light Field Manual by Zack Arias
On Photography by Susan Sontag
Photographer's Market Guide to Building Your Photography Business by Vik Orenstein
Photography by Barbara London Upton with John Upton
Portfolios That Sell: Professional Techniques for Presenting and Marketing Your Photographs by Selina Oppenheim
Portrait Lighting for Digital Photographers - Basics and Beyond
Portrait Photography Handbook by Monte Zucker
Professional Commercial Photography
Revelations, the catalogue of a Diane Arbus exhibition
Self, Life, Death by Nobuyoshi Araki
Self-Promotion for the Creative Person by Lee Silber
Skin of the Nation by Shomei Tomatsu
Social Media Marketing Tips for Digital Photographers by Lawrence Chan
Speedlighter's Handbook by Syl Arena
Speedlights & Speedlites - Creative Flash Photography at the Speed of Light
Start Your Own Photography Business by Charlene Davis
Successful Self Promotion for Photographers by Elyse Weissburg
Taschen Polaroid book
The Art of Photography by Barnbaum
The Camera by Ansel Adams
The Digital Photography Book by Scott Kelby
The Education of a Photographer by Charles H. Traub.
The genius of photography
The Genius Of Photography by Gerry Badger
The Mind's Eye by Henri Cartier Bresson
The Moment it Clicks by Joe McNally
The Nature of Photographs by Stephen Shore
The Negative by Ansel Adams
The Passionate Photographer by Steve Simon
The Photographer's Eye
The Photographic Life by Sam Abell
The Photography Book by Phaidon Editors
The Polaroid Book: Selections from the Polaroid Collections of Photography
The Print by Ansel Adams
The Question Behind the Question by John Miller
The Zeltsman Approach to Traditional Classic Portraiture by Joe Zeltsman
Understanding Exposure by Bryan Peterson
Vitamin Ph
Vitamin P: New Perspectives in Painting by Barry Schwabsky
Within the Frame
Zebrato by Michael Levin
Point and Line To Plane by Wassily Kandinsky
Creative Illustration by Andrew Loomis


Paul Caponigro, Extended Interview
John Szarkowski — Introduction to the Photographer's Eye
Paul Strand — The Art Motive in Photography
Edward Weston — Photography, Not Pictorial
Alfred Steiglitz — How I Came to Photograph Clouds
Eugene Smith — Photojournalism
Robert Frank — A Statement
Minor White — Equivalence, The Perennial Trend
Interview with Garry Winogrand


The American Society of Cinematographers

Video Channels
TED Conference re photography

Free Photography Tips



Short Videos

F*ck You. Pay Me. – A guide for professionals to get paid.
17 People All DSLR Video Beginners Should be Following
Silver and Light
Ball Of Light
TimeScapes 4K
The Aurora
School Portrait (2011)
Camera Obscura
Night Photography: Finding your way in the dark
JR's TED Prize wish: Use art to turn the world inside out
TheChapel. A short film by Patryk Kizny. (HDR timelapse)
Jonathan Harris : Today
Artists Wanted | In Focus : Pete Eckert
Death Valley 2012: Day 6
Lighting Setup for Posh Sculptural Full Lenght Photos
Intel Visual Life - The Sartorialist
Jeff Mermelstein (Media Matters) Part 2
Daido Moriyama: Memories of a Dog
W. Eugene Smith: Photography Made Difficult (1/9)
Richard Avedon: Darkness and Light (1/9)
Photographer - Henri Cartier - Bresson Just Plain Love (otar ioseliani)
Leica & Magnum: Constantine Manos - Personal Documentary
Bresson interview
The 5 F's Street photography tips. John Free
Street Shots Bruce Gilden
Flying Elephants Presents Part I
War Photographer - A Film By Christian Frei
Mickey Smith - Dark Side of the Lens
TED - 14 Powerful TED Talks by Photographers
The Art Behind The Headshot - It's all about the Jaw!
Kubrick // One-Point Perspective
American Tintype
Trent Parke - Dreamlives (2002) - Australian Story
Daido Moriyama: In Pictures
Henri Cartier-Bresson - The Decisive Moment
Steve McCurryy photography presentation
How it goes when it comes to paying the photographer
Photography Phone Call: Are Snapshots Dead?
The Pursuit of the Ideal Lens
Practice no Tension Street Photography tips John Free
7 Great Photography Tips by Reuters Photojournalist Damir Sagolj

Feature Length Films

This links to a page that is an extension to this main wikia:
Large list - not directly related to still-photography - split to new page.


War Photographer (James Nachtwey).
Strand, Under the Dark Cloth (John Walker).
The September issue (RJ Cutler).
The Death of Kevin Carter: Casualty of the Bang Bang Club (Dan Kraus).
The Bang Bang Club (Steven Silver).
La vida loca (Christian Poveda).
Contacts, Vol. 1: The Great Tradition of Photojournalism (Various)
Contacts, Vol. 2: The Renewal of Contemporary Photography (Various)
Contacts, Vol. 3: Conceptual Photography (Various)
American masters. Annie Leibovitz: Life through a lens.
Robert Capa: in love an war (Anne Makepeace) .
Henri Cartier-Bresson: The Impassioned Eye (Heinz Butler).
Paisajes transformados (Jennifer Baichwal).
The genius of Photography.
La ciudad de los fotagrafos (Sebastián Moreno).
Stranger with a camera (Elizabeth Barret).
An unlikely weapon - The Eddie Adams Story (Susan Morgan Cooper) -
William Eggleston in the Real World (Michael Almereyda).
Imagine | The Colourful Mr Eggleston -
An American Journey: In Robert Frank's Footsteps.
The Photographers Series: Debbie Fleming Caffery.
Berenice Abbott: A View of the 20th Century.
Tierney Gearon: The Mother Project.
The Decisive Moment (Henri Cartier-Bresson).
Pictures from a Revolution (Susan Meiselas).
Helmut Newton: Frames from the Edge.
Toward the Margin of Life (Cornell Capa).
The Adventure of Photography (Various).
Aaron Siskind.
What Remains: The Life and Work of Sally Mann.
American Masters Richard Avedon: Darkness and Light.
Masters of Photography Diane Arbus.
Photographer: Alfred Eisenstaedt.
Masters of Photography Andre Kertesz.
W. Eugene Smith: Photography Made Difficult.
Masters of Photography Edward Steichen.
American Masters Alfred Stieglitz: The Eloquent Eye.
John Szarkowski: A Life in Photography.
Peter Beard: Scrapbooks From Africa & Beyond.
American Photography (Various). Half Past Autumn The Life and Works of Gordon Parks.
National Geographica's The Photographers (Various).
Ansel Adams A Documentary Film.
Ansel Adams, Photographer (1958) narrated by Beaumont Newhall -
Born into brothels -
Vivian Maier Who Took Nanny's Pictures -
Blood River - Robert King.
The Many Lives of William Klein (2012) -
Film - Episode 1: History of Imaging -
Gursky, Fotograf - Dokumentarfilm (In German) -
Near Equal - Moriyama Daido -
The adventure of photography
The Precursors -
The Surrealists -
War Photography -
Portraitists -
The Photoreporters -
Fashion Photography -
Nudes -
Photography and Science -
Amateur Photography -
The Photographic Market -
Jodorowsky's Dune (2013 documentary)


130 Stunning Examples of Bird's Eye View Photography
Inside Out Project:
Edits Quarterly x Ian Coyle
Russia in color, a century ago
Amazing old pictures in color
Ant Stories - Andrey Pavlov
Why This Photograph is Worth $578,500
chronoscapes and lightscapes
MicroObservatory Robotic Telescope Network
Microscope Photography Galleries

Sites-Oh wow

How you should not shoot a wedding
Jim Lego Photographe
Russian Wedding Photoshop Disasters
Photos - Plus
You Are Not a Photographer
Pseudo strip camera self portraits
If you like photography and babies
SurveillantCameraMan (YouTube)

Famous Quotes

Great Photography Quotes

There are no rules for good photographs, there are only good photographs.
Ansel Adams

Most people don't take snapshots of the little things. The used Band-Aid, the guy at the gas station, the wasp on the Jell-O. But these are the things that make up the true picture of our lives. People don't take pictures of these things.
Sy Parrish - One Hour Photo

My approach is very simple--there is no artistry, I just shoot freely....For me, photography is not about an attempt to create a two-dimensional work of art, but by taking photo after photo, I come closer to truth and reality at the very intersection of the fragmentary nature of the world and my own personal sense of time.
Daido Moriyama

"Less art and more truth."
I remember that motto scrawled across a wall in the Robert Frank retrospective at the Whitney Museum in 1995-96
Daido Moriyama

With digital there's no need to trust what's there.
It's an open invitation to manipulation.
Everything becomes random, muddled, helter-skelter. You lose...
The Essence.
And you.
You lost it quite often Finn.
You're afraid of the existing world.
Of real light.
Of real darkness.
You oversee it.
You wanna embellish it.
Or worse; You try to re-create it.
That is the fear of death.
The fear of life, is the fear, of death.
Dennis Hopper as Death - Palermo Shooting @ ~91min

I photograph to find out what something will look like photographed.
Garry Winogrand

An art is definable only in its own terms; it is as difficult to write about photography as it is about music, especially from a personal viewpoint. I feel that as one grows older his credo becomes simpler and more direct. Penetrating the smoke screens of equipment and techniques, glamor, ideology, and simple achievement of motive, the art of photography appears as strong and vital – and purposeful – as any other creative medium, and stands cleanly on its own feet. We are confronted today with a dichotomy; as our equipment and materials constantly grow in scope and quality the creative and technical standards appear to be diminishing; there is a near-cult of photographers who seem to intentionally avoid the beautiful and precise image, concentrating only on subject and obvious function. My personal reaction to this attitude is a determination to go as far in the opposite direction as possible. I believe in the most beautiful and appropriate prints, and the most clarifying and revealing approach of mind, heart, and craft. I believe that firm objectives in this direction can fulfill the promise of photography as one of the great visual arts. However, we must always be logical in our critical estimates; most of photography is not intended as art and should ot be judges as such. But if art is intended, compromise must not be tolerated.
Ansel Adams - The Best of Popular Photography by Harvey V. Fondiller , ISBN: 0871650371 , Page: 92-93

In many ways, the work of the critic is easy. We risk very little, yet enjoy a position of those who offer up their their work to ourselves and our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth us critics must face is that, in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic actually risks something, and that is the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends.
Anton Ego - Ratatouille The Movie, 2007

Giving critique isn't easy. It's hard and leaves you vulnerable. You must muster you knowledge and skillful eye and articulate your thoughts carefully. If you don't clad your critique in armour, so to speak, it will eagerly be torn to shreds. As a critic (at least one who isn't recycling someone else's thoughts) even if you aren't being negative, you are creating new readings and discourses about the work, and so your own creativity is at stake. You need to demonstrate that you understand it and that you understand your situation in relation to it. No one takes criticism seriously if you don't clearly show your own theoretical and historical perspective.
Of course /p/ doesn't have these problems since we don't actually give critique and we are usually anonymous
junk !!281YB8Oy2bZ 12/02/12

The average photographer, pointing the camera straight ahead, shoots outdoor subjects at midday in bright sunshine, indoor subjects with flash. Obviously, unusual pictures are produced by a different approach. However, under no circumstances should a novel approach be employed for novelty's sake alone because the resultant photograph would merely be 'arty.' The approach should always be determined by the characteristics of the subject and the purpose of the picture.
Andreas Feininger on photos with stopping power

Why did I come here one-eye?
Why did I have to go through this?
Tell me.
A Christian Viking - Valhalla Rising ~1:15:30

I am afraid that there are more people than I can imagine who can go no further than appreciating a picture that is a rectangle with an object in the middle of it, which they can identify. They don't care what is around the object as long as nothing interferes with the object itself, right in the centre. Even after the lessons of Winogrand and Friedlander, they don't get it. They respect their work because they are told by respectable institutions that they are important artists, but what they really want to see is a picture with a figure or an object in the middle of it. They want something obvious. The blindness is apparent when someone lets slip the word 'snapshot'. Ignorance can always be covered by 'snapshot'. The word has never had any meaning. I am at war with the obvious.
William Eggleston - From a conversation with Mark Holborn, Greenwood, Mississippi, February 1988



Fanboyism and Brand Loyalty
Choice-supportive bias
Post-purchase rationalization


Thematic Apperception


This section attempts to provide a practical knowledge of the legal rights of Photographers and their Subjects.

General - interpretation by a non-lawyer. Worded for and by the average person.
Legal - links or quotes from actual Legal documentation. Could be used in a Court of Law.
Other - More general interpretation by external sources. Miscellaneous information.


Photography and the law
Photographers Rights - text summary (seems generally applicable to .uk, .us, .au)
Freedom of panorama

Common breaches of the Law perpetrated against Photographers
Included here because people who hassle photographers almost always commit one or more of these crimes.
Causing a victim to fear violence.
Intentional physical contact with another person without their consent
Forcing another party to behave in an involuntary manner (whether through action or inaction) by use of threats or intimidation or some other form of pressure or force.
Malicious Damage:
The unlawful damage or destruction of another persons' property.
Deprivation of liberty:
The unlawful confinement or detaining of another in any place against the other person's will, or otherwise unlawful deprivation of a person's personal liberty.


Australia - The general idea

Public places

The Photographer can legally photograph anything they want with some exceptions:
  • No places where people have a 'reasonable expectation of privacy' (Public toilets, changing rooms, etc) and have not explicitly authorised the photographer to photograph them, and/or are not aware they are being photographed.
  • No specific photography of genitals: "Upskirt", "Downblouse", etc
  • No harassment/stalking: where the photographer intentionally follows a subject for an extended period after being directed to cease.

NOT public places

The photographer may be asked to cease taking photographs by signage, or written condition of ticketed entry, and/or leave by verbal directive from an authorised controller of that space: manager, staff, caretaker, tenant, owner, security, etc
  • If directed to leave or cease, always request the name of the person directing you to do so, and what authority they believe empowers them to legally do so. ie: what is their relationship to the property, who is their employer. Basically establish if they do even have the right to direct you to cease or leave.
  • The photographer has no legal obligation to show images, surrender equipment, or respond to interrogation.

Grey areas

The Beach
Generally but not always a public place. Public beaches may be leased out by Local Council to commercial events, and are effectively private property and/or ticketed entry at such times.
  • Official Lifeguards have the right to direct persons obstructing their professional functions to move along.
  • Some Australian States have bought charges against 'lewd photography' on public beaches, so the stigma of a camera on the beach can be extreme, particularly when high concentrations of interstate visitors are present (who may have a different or no understanding of a persons legal rights in your current location). Therefore public and official understanding of Photographers' rights under the law can be quite poor.
Brisbane South Bank, Sydney Foreshore, etc
Many places that would otherwise appear to be public places, are in fact private commercial property, and regulate photography at the discretion of the Owners.
  • If in doubt just assume public space and take your photos, but expect to be challenged.
  • If you are male expect challengers to assume you are the worst kind of deviant.
  • If asked to leave, check the authority of the person giving you the directive and if necessary leave. Trespass charges may be bought against you for failure to obey a directive from someone legally authorised. The catch here of course, is that the person directing you to leave may not want to identify themselves in order to allow the photographer to determine their authority.

Being challenged

The general public will often want to know what you are doing.
  • It's important to give the impression of legitimacy. So BE legitimate.
  • Sometimes joe-public will have already decided that you are an evil-doer and up to no good, regardless of reality. Similar to when dealing with Police: the most useful approach is to know your rights, and know that what you are doing is in no way improper. Remain calm and avoid doing or saying anything unreasonable.
  • You can try to calmly refute their accusations or inferences of wrongdoing, but generally if they perceive you as a bad person, that attitude may persist no matter what you say, so sometimes simply stating your business and then ignoring them is enough to make them desist. Alternately you can attempt to disarm their hostility and treat them like you would a friendly person: offer to show them your photos, give them a card, strike up a conversation, etc.
  • People suffering from mental health issues are frequently not cognisant of their condition, can be completely unpredictable, and (in this authors experience) almost always the only people who get upset by photographers. Neurotypical ("normal") people are more likely to use a non-aggressive and more passive or friendly approach to asking what you are doing.
  • Keep in mind that as a photographer, you are probably a little bit psychologically odd too, as are jealous boyfriends, vain women, over-protective parents, etc. If they seem odd to you, then you probably seem odd to them. So thanks to fear-media and internet horror stories you can expect some people to perceive you as some variant of axe-murdering tentacle-rape fetishist with a taste for scat and a camera that sees through walls, clothes, and reality.
  • Naturally some people will challenge any response you give, and it is not uncommon to receive threats and be coerced. Both of which are, of course, illegal. It may or may not be useful to point this out to the offender as each offence is committed.
  • Statements like : "You'd better not.." and "you'd better delete that photo" etc are coercion
  • Any kind of believable threat made against your person or property is assault, and often also coercion. For example:
  • "You'd better not take photos of me..." - is Coercion.
  • "...I'll smash that camera over your head" - is Assault, and the threat of malicious property damage.
  • But by telling verbal-assailants that threats of violence is equivalent to assault may blur the line enough to escalate some people to actually physically assault you.
  • It is illegal to interfere with or attempt to prevent someone from contacting the police, and you should strongly recommend that people please DO SO if they "threaten" you with "calling the police", often it will cause them to re-assess your perceived guilt if you encourage them to call police, and you should almost certainly call police if you feel genuinely threatened.

If questioned by Police or similar legal Authority a person should be able to reasonably account for their actions/presence in a place.
  • Police are dispatched similar to couriers. Their information is transcribed and repeated several times between the receipt of an incident report, and the officer actually being dispatched to investigate the information/report. So you can expect a vast variety of approaches from them. Some very reasonable to deal with, and some extremely hostile and intimidating.
  • Failure to supply a reasonable account may result in the escalation of Police suspicion and response.
    Responses as simple as: "I am an amateur photographer. I am photographing people/architecture/cracks in the footpath/everything" are generally reasonable responses to Police demands to account for your use of a camera.
  • Police powers to search your person and/or seize your property, or even demand ID are limited to instances where they reasonably believe you are carrying a weapon, have been or intend to be involved in a serious crime or vehicular accident, or are arresting you.
  • Police will often demand/ask to see your photos, in the hope that you don't know that they legally require a warrant to make such demands.
  • A warrant is also required to view images even if they have grounds to seize equipment or arrest you.
  • Of course it is often to your advantage to remind them that they need a warrant, but show them a few images anyway, just to demonstrate that you aren't shooting anything that is actually illegal.
  • Photographers sometimes report that police instruct/force them to delete images. This should never happen.
  • If an officer believes the images are valid evidence then wilfully allowing them to be destroyed would constitute a serious offense for the officer.
  • If an officer does not believe the images are valid evidence and acts to destroy them, then the officer is probably allowing their personal opinions to interfere with their duty as a professional police officer. At the very least they are wilfully destroying someone else's property. Proving that they did so would be the hard part unless another witnessing officer reported such misconduct.
  • If an officer strongly suggests or instructs the Photographer to delete images that they do not believe are evidence then they are simply hoping you will actually do it. Again, this probably reflects a lack of professionalism and the influence of their personal opinions and attitude to the individual photographer.
  • It serves no purpose other than to eliminate the possibility of images that may show the officer in a negative way.
  • Or to prevent possible conflict with the subject of your photos, who may or may not have a criminal history.
  • "...forced me to..." implies that someone coerced (see loose definition above) you to do so against your will, which would also be a criminal offence, particularly for an Officer of The Law.
  • So when Photographers say that "the cop made me delete my images" they really mean "the cop implied I'd be better off if I deleted the images, but I could have just ignored their suggestion/non-legal directive".

Teachers and legal guardians may have a legal obligation to ask why or if you are photographing a minor under their protection, but the Photographer is under no obligation to show, surrender, or cease.
  • While there are some situations where a person would be specifically forbidden from photographing such subjects, they would be made aware of this by Court Order. For anybody else there is no restriction.

Australia - Legal references

A person, in our society, does not have a right not to be photographed.
...generally, the community are subject to being photographed at any time.
In Australia, there is no common law right to privacy. This was demonstrated in Victoria Park Racing and Recreation Grounds Co Ltd v Taylor where the High Court held that the act of overlooking someone's racecourse and broadcasting the results of the race did not constitute an infringement of legal rights. Presumably, the same result would have been reached had the races been photographed.
The lack of such a right heightens the role of s 35(5) of the Copyright Act 1968 (Cth) insofar as it applies to private and domestic photographs. Yet its limited application means that it does not adequately fill the privacy 'gap'. For example, it only applies to a commissioner of photographs. So if a mere passerby were to take a photograph, that person would be free to publish that photograph, or sell it for publication, despite having received no authorisation to do so from the subject. Further, in order to own copyright pursuant to s 35(5), the subject must have paid 'valuable consideration' to the photographer, a requirement that has led to some controversial findings.
The Visual Artists Rights Act (VARA)
Arts Law Centre of Australia : Street photographer's rights:
Photographers Rights, General Privacy, and Copyright in Australia - OCAU Wiki,_General_Privacy,_and_Copyright_in_Australia
Queensland Consolidated Acts - POLICE POWERS AND RESPONSIBILITIES ACT 2000 - Index
Part 2--Searching persons, vehicles and places without warrant
Part 4--Power to require name, address or age
Part 5--Directions to move on
Australian Government - Commonwealth Law - Criminal Code Act 1995
General principles of criminal responsibility under laws of the Commonwealth.
Unauthorised photographs on the internet and ancillary privacy issues (PDF)
Privacy in photographic images
United Australia Criminal Code
Australasian Legal Information Institute
Police powers & your rights in Victoria
New South Wales Consolidated Acts - DEFAMATION ACT 2005

Australia - Other References

The Sydney Morning Herald - Photography Is Not A Crime
Australian street photography legal issues


Russia - General Interpretation

You are allowed to shoot anything except:
Anything that make up federal secret (must be marked accordingly)
commercial secrets (must be marked accordingly)
Anything private (there's not much legally private here in Russia. For example, the stores and shops take the fact that they are public when they get their license)
The art objects the way they are the main subject of photography
There are some restrictions about shooting with hidden cameras.
Any other exceptions should be introduced by federal law and they does not include underground train system, Kremlin and other often called 'strategic objects'.
You should inform police before shooting it's representatives.

Russia - Legal References


Russia - Other References

Collection of frequently asked questions about the right to take photographs
English translation:
Printed booklet:


Germany - General Interpretation

Legal quagmire. Call it "Art" or Acquire written consent.

Germany - Legal References

Act concerning the copyright on works of fine arts and photography
English translation:

Germany - Other References

Portrait rights - Legal situation in Germany
English translation:


Finland - General Interpretation


Finland - Legal References


Finland - Other References

Näissä paikoissa... - Journalisti
English google translation


Hungary - General Interpretation


Hungary - Legal References


Hungary - Other References

Hungary law requires photographers to ask permission to take pictures


Italy - General Interpretation


Italy - Legal References


Italy - Other References

Italy, Street-Photography and the Law


Norway - General Interpretation

Photography depicting a person cannot be published or be shown publicly without consent, except if:
a: The depiction is of relevance or public interest. ie: newsworthy, public figure, etc.
b: The depiction of the person in the photo is not the main subject.
c: The photo consists of a large amount of people in public, or events of public interest.
This interpretation seems to be common in countries where "Portrait Rights" or "Personality Rights" are a prominent legal concept.
Countries such as ?France?, ?Switzerland?, ?Austria?, The Netherlands, Germany, Finland and Norway seem to share similar legislation.
Any further information regarding which countries support this ideology and specific links to their legal documents and interpretations will help improve and better unify this wikia document.
"Passing Off"
"Personality Rights"
TO DO: Combine, relate and compare similar legislative concepts/regions.

Norway - Legal References

EDITORS NOTE: This documentation seems to be less about Photography and more about security surveillance.

Lov om behandling av personopplysninger (personopplysningsloven).
Kapittel VII. Kameraovervåking
English Translation:
Act on Processing of Personal Data (Personal Data Act).
Chapter VII. Camera surveillance

Lov om behandling av personopplysninger (personopplysningsloven).
English translation:
Act on Processing of Personal Data (Personal Data Act).
Almindelig borgerlig Straffelov (Straffeloven).
English translation:
General Civil Penal Code (Penal Code).

Norway - Other References


Legal-United Kingdom

UK - General Interpretation


UK - Legal References

The Metropolitan Police Service’s Photography advice
Copyright, Designs and Patents Act 1988

UK - Other References

The UK Photographers's Rights Guide
Stand Your Ground - London Street Photography Festival 2011

Legal-New Zealand

NZ - General Interpretation


NZ - Legal References

New Zealand Police - What are the rules around taking photos or filming in a public place?
Photography Law in New Zealand - The Clendons Guide to NZ Law Relating to Photography
Unlawful Photography in Public Places: the New Zealand Position
Photography in Public Places and the Privacy of the Individual - Elspeth Knewstubb

NZ - Other References


Legal-United States of America

USA - General Interpretation

Potentially legally messy. Advisable to acquire written consent for display or publication.
Countries that have older legal systems tend to also have more legislation, and this counter-intuitively often means the system is less clear and more open to unusual interpretation.
The 'winner' of a case may simply be the person with the best/most expensive lawyer.
Because of this: only 'The Fourth Amendment' is listed below as a legal reference, because ultimately a photographer is free to photograph in public, but depending how the image is displayed there is always a possibility a subject may sue successfully because 'mah freedums!' and 'mah privacy!'.

USA - Legal References

Katz v. United States the Supreme Court
"the Fourth Amendment protects people, not places. What a person knowingly exposes to the public, even in his own home or office, is not a subject of Fourth Amendment protection. But what he seeks to preserve as private, even in an area accessible to the public, may be constitutionally protected."
Nussenzweig v. DiCorcia

USA - Other References

The Photographer’s Right - A Downloadable Flyer Explaining Your Rights When Stopped or Confronted for Photography
Photographer's Rights - United States of America
Restrictions on state action in public spaces in the United States
Product - Photographers Rights Gray Card Set
Photography and the Right to Privacy
Yet Another Court Says Illinois 'Eavesdropping' Law That Criminalizes Recording Police Is Unconstitutional
Illinois Prosecutors Planning To Appeal Ruling That Said Recording Police Is Protected By The First Amendment
Appeals Court: Arresting Guy For Filming Cops Was A Clear Violation Of Both 1st & 4th Amendments
New Hampshire Police Charge Man With 'Wiretapping' Because He Made A Phone Call During Traffic Stop
The Photographers Right
Legal Rights of Photographers
Know Your Rights: Photographers | American Civil Liberties Union
Case Law for Photography - Some notable U.S. court cases for photographers


The Photographer litigation against SyFy/NBC
PINAC Photography Is Not A Crime
Officer Is Indicted on Charges of Lying About Photographer’s Arrest

Said in /p/

You have your way, I have my way, we all have our own way. This is the beauty of photography: there are no wrong answers.


decent human being vs beta faggot

Anonymous 12/24/12(Mon)08:37:05 UTC+10 No.1815508
I just wish the OP was "nicer" because he doesn't seem to understand the difference between being a decent human being and being a 'beta faggot' but oh well.

Burned them

Anonymous 06/29/12(Fri)15:40 No.1658181
Hi /p/
I need some photo albums, and scoured the local shops. They only had crappy ones with plastic pockets. So I guess I need to order them online. Do you have any hints on what I should be looking at when shopping? Any good brands or something?

Anonymous 06/29/12(Fri)16:02 No.1658192
I remember when I was about 10 I found a bunch of books like this with really old pics like 1920's n shit...
Because I never understood, I burned them as I was more fascinated with fire than with photography.
What a stupid little cunt I was!

quote me again faggot

Anonymous 07/27/12(Fri)17:59 No.1680333
You fucking piece of dog shit.
I'm >>1680302 I never said I liked your photo. I said it's not as vomit-inducing as the rest of the HDR in this thread, but
>still shitty photo
Don't you ever quote me again faggot. I don’t give a fuck who you are or where you live. You can count on me to be there to bring your fucking life to a hellish end. I’ll put you in so much fucking pain that it’ll make Jesus being nailed to a cross in the desert look like a fucking back massage on a tropical island. I don’t give a fuck how many reps you have or how tough you are IRL, how well you can fight, or how many fucking guns you own to protect yourself. I’ll fucking show up at your house when you aren’t home. I’ll turn all the lights on in your house, leave all the water running, open your fridge door and not close it, and turn your gas stove burners on and let them waste gas. You’re going to start stressing the fuck out, your blood pressure will triple, and you’ll have a fucking heart attack. You’ll go to the hospital for a heart operation, and the last thing you’ll see when you’re being put under in the operating room is me hovering above you, dressed like a doctor. When you wake up after being operated on, wondering what ticking time bomb is in your chest waiting to go off. You’ll recover fully from your heart surgery. And when you walk out the front door of the hospital to go home I’ll run you over with my fucking car out of no where and kill you. I just want you to know how easily I could fucking destroy your pathetic excuse of a life, but how I’d rather go to a great fuckng length to make sure your last remaining days are spent in a living, breathing fucking hell. It’s too late to save yourself, but don’t bother committing suicide either… I’ll fucking resuscitate you and kill you again myself you bitch-faced phaggot. Welcome to hell, population: you

chickenshit boring faggots on /p/

Anonymous 07/08/12(Sun)21:25 No.1665293
this stuff, is great. /p/ is so full faggots scared of anything different. i fucking hate you aspie fuckers with your perfectly focused and composed shots. Half you niggers criticzing are to scared to even post your own work anywhere. Yall are chicken shit aspi faggots who take boring pictures. 15 yo girls take more compelling pictures with there iphones than you do. These people are out there taking pictures they like and make them happy, Look at you faggots on the internet, jerking off together talking about gear and ratios ,whatever the fuck it is . Your shit ain't got no soul faggots
tl:dr chickenshit boring faggots on /p/

hollow shitposting

Anonymous 12/21/12/(Fri)13:39:17 UTC+10 No.1812803
your 'critique' is nothing more than hollow shitposting purely for the purpose of being a vicious twat. you have said nothing constructive and your only purpose here seems to be to listen yourself talk and fill some void in your presumably pathetic life. until you find the balls to post your own work to back up your bullshit remarks then be a pal and kindly go fuck yourself.

stop caring

Sugar !hmqM.1woic 01/05/13(Sat)17:35:06 UTC+10 No.1830985
From this post forward, I propose a /p/ rule where if someone blows up a FirstnameLastname Photography page OP gets a week vacation.
Seriously these topics come up daily in here, we know FNLN photographers usually are crap, get over yourselves. Bunch of god-damned prima donnas
mind your own god damned business, leave your basement actually go outside and take pictures. stop caring about what other people shoot or what gear they have
No one here gives a shit.
Not even Mr.Sage
>inb4 lolsugar


a really horrible place

Anonymous 12/25/13(Wed)06:54 UTC+10 No.2201646
/p/ is a really horrible place with no community, talent, or kindness. It's not a good place to be, especially for someone who's starting out


Fuck consensus

Anonymous 08/27/13(Tue)13:46 UTC+10 No.2092685
Fuck consensus, fashion and the cultural elite, they are only interested in making a quick buck. I decide what's good.
You are free to agree or disagree, but only when you free yourself from consensus, fashion and the cultural elite

the key to surviving here

Anonymous 05/08/13(Wed)23:14:03 UTC+10 No.1979312
>I'm new to /p/ and photography in general but i've seen how easy things on this board can turn into a shit slinging contest.

Yup. That pretty much sums up this board. Honestly, the key to surviving here and enjoying your time is learning to ignore the vile trolls who hate everything and seek to derail every single thread.


Anonymous 03/24/12(Sat)20:38 No.1565851
Welcome to /p/, please leave immediately. The native creatures to this forum will harass you no matter what you do. Go become a great photographer by reading up on how light and cameras work, learn the correlation of Shutter Speed, Aperture, and Iso;, learn to compose your shot so that it's pleasing to the eye, and never stop snapping photos. Staying here will only ruin you and your life. But if you choose to stay, please resize your photos to 1000px on the longest side. The creatures here complain about bandwidth.
Let the photos come to you

Let the photos come to you

Anonymous 04/11/12(Wed)23:54 No.1585830
"Let the photos come to you. By that, I mean just take your camera with you when you go out and only use it when you feel compelled to take a photo, to freeze a memory or a view that you love, that you want to have forever.
Every amateur goes out ‘looking’ for photos, which is why we get so many flower macro photos, or photos of things laying around the house."

Take pictures, evolve, learn, don't emulate

People will probably point you to books, webpages and videos and what not, no, you are a photographer, not a librarian. Set the camera to M and use the built in light meter. Read the instruction manual for the camera. Be aware of your shutter seed which, after focus, will probably be what ruins your pictures 99% of the time, if you have properly exposed the picture.
If you really want to read books other than the manual, get photo books, not instructional ones that blind you with figuring out this and or that, making you forget content.
Proficiency at using the camera will exponentially grow with the number of frames you shoot.
tl:dr: Take pictures, evolve, learn, don't emulate some strobist or writer.


I feel like this is a gray area here. On one hand, in the situation he put you in (basically calling you out) you can't win. Even if you're a really great photographer he will nitpick the shit out of you to make himself feel better.
On the other hand, he has a point. While anyone is able to give critique here, not everyone's critique will be relevant to the photographer's interests. Most of the people that post here are not good photographers, and even the ones that are like to shoot vastly different things.
For instance, If you're a documentary photographer and your work isn't very technical in nature, but more artistic and focused on portraying intangible subjects to the discerning viewer, your average /p/ citizen will only be able to see the technical aspects of your image and will discount your work as pointless snapshots. If you're a landscape photographer, you will give much more credence to the opinions of other landscape photographers. If I was a large format landscape photographer and I got positive advice from a similarly-experienced shooter and negative advice from someone who spends all their time shooting cat and flower pics with a rebel, it would be in my best interest to discount the advice from the latter.
If a photographer were to follow every piece of 'advice' given to them in a critique thread here, their work would end up being a pile of generic, watered-down dog crap. Being selective with whose opinions you take to heart is an important aspect of the critiquing process.

artists tale

Anonymous 03/21/12(Wed)19:26 No.1562626
Be famous artist
Show photographs in exhibitions in international museum shows
Hate the art world because it's fake
Move to a small country where nobody knows me
Disown all acquaintances from the old country
Live in peace and quiet in a nice house and talking shit on /p/ daily while making tons of money selling prints through my galleries.
>true story

angry little souls

Anonymous 04/06/12(Fri)13:14 No.1579103
Do you people just sit there and watch other photographers and let every little thing they do silently add to the pile of rage within your angry little souls? Do you invent fake arguments in your head that you pretend to have with other people about your choice of gear because you're so insecure? I seriously don't get it. Why would you spend even the smallest fraction of a second worrying about what somebody else is doing if it doesn't affect you in any way? If someone is doing something wrong and it's bothering you for whatever reason, you'd rather sit there and judge them, then write about it later on /p/ than help them and offer advice? You people are pathetic.

Sometimes I feel like you all just desperately want to be annoyed or something. I mean, I shoot a lot, and maybe I'm just not easily annoyed but no other photographer has ever bothered me in real life, whether through their actions or their conversation. The only time, literally only time anyone has ever said anything about my camera since I've started shooting is when I'd go out with my Leica M6. In the 2 years I owned that camera I had maybe 3 people mention something about it, and they all asked me if it was an M9. 2 of them were old men that were just curious and went on their way after a quick, friendly conversation, and the other was a smoking hot Asian chick working the counter at some art museum.

I've been out shooting with a huge variety of gear, from $20 film rangefinders, $2000 film rangefinders, Rebels with kit lenses and $4000 FF digital with L glass setups. Never once has anyone ever come up to me and tried to start some sort of Canon vs Nikon, film vs digital, hipster vs pro, or prime vs zoom debate with me. To be honest, I'd love it if one of you did though, just so I could laugh in your face and read about it on /p/ later.

it's the way you shoot it

Anonymous 04/17/12(Tue)20:04 No.1593210
"It's not what you're shooting, it's the way you shoot it," - my professor. He explained that it doesn't really matter if you are taking a photo that everyone else has taken a picture of (e.g; grand canyon) because every picture is different. Maybe you catch the light coming in through the clouds, or you find an interesting perspective, or there is a massive storm in the background. So I guess my advice would be: Don't pass up on something that you like because you think that it's cliche, because your picture is still your picture.

Dunning–Kruger effect

Anonymous 04/29/12(Sun)19:54 No.1605530
Firstname Lastname Photography is often associated with egomaniac amateurs with delusions of grandeur. Watermarked snapshots, fake digital borders, boring cliché pictures, beginner level post processing -- overall bad photography. I think this psychological phenomena explains it:

Editor's note: this Nobel Prize winning papers' title describes it concisely: "Unskilled and Unaware of It: How Difficulties in Recognizing One's Own Incompetence Lead to Inflated Self-Assessments"


Anonymous 04/29/12(Sun)19:54 No.1605530
I use my real name on sites other than 4chan too though. Criticizing others while remaining anonymous feels cowardly. : And I think using my real name has maybe improved the quality of the stuff i put out too. I'm trying harder, and being more critical, because it's my reputation. More quality assurance or something.

street is very complex

pechi 02/27/12(Mon)21:38 No.1538828
I think street is very complex.
You have to make photos of people, doing their everyday things, and capture their emotions, but you also have to make it aesthetically pleasing through composition, exposure, and all that shit. You need to include context on the photo, as well as the feelings of the people in your shot. If you take too much time framing your shot, you will miss the action, but if you snap away you might lose some vital information about the place. You have to be fast on capturing, but you also have to think about what you are capturing... Art, and documentary, a mix of both.
Can you be an art? Can you be an documentary? Can you be both?
Making photos of people walking on the street is not really street photography... and not all street needs to be black and white.

Take pictures for you

Anonymous 05/18/12(Fri)07:32 No.1623434
Take pictures for you. Not for us.
We give ourselves a lot of shit here but there's massive value in it from a critical standpoint.
You start to be able to discern actual criticism from baseless attacks (being called a hipster faggot for example might be baseless, while someone saying you've got bad shadows on a portrait might be legit).
When you get more serious and you start to show your stuff to people and your name is attached, you're going to get baseless attacks as well. Haters gonna hate, etc. But it's much easier to filter the signal from the noise if you can recognize cheap shots at your work right away. Spending time here has really helped me with that.
Anyway back to the original point; take pictures for you. Don't overtly try and please us for example by not doing anything you consider "hipstery". Don't let the presumed opinion of someone else stop you from taking a picture you might like.

Fail Boldly

Anonymous 11/15/12/(Thu)12:27:52 UTC+10 No.1777992
Screw the haters, OP.
Fail Boldly.
Have great ideas and attempt great things whether you succeed or not. Fail spectacularly at least attempting spectacular things. Even NASA has had spaceships blow up.
To achieve greatness you must risk big.
When you risk big you may fail big. I mean that. You may fail. I'm giving you permission. Fail. A critic is a man who's cowardice has kept him from creating anything on his own and whose shame makes him bitter to ones who do. So fail, or succeed trying.

standing on your own two feet

Anonymous 12/03/12/(Mon)05:48:17 UTC+10 No.1793967
Listen, part of being a fucking artist means standing on your own two feet and deciding on your own what makes sense and what doesn't.
If somebody says "that picture sucks, the blacks are crushed" (too black, no detail) and you decide 'well, I think that actually works here, and adds to the scene, then you know that. An artist never includes anything in his work that does not have a purpose. But you have to KNOW that you crushed the blacks for a reason. If it's clear you were just snapshitting and try to defend your art when people point out legitimate things that make it bad -- like crushed blacks that show not an artistic vision, but a lack of discipline in post processing -- then that's a whole other monster.
You'll never produce a perfect picture. It doesn't exist. There will always be something 'wrong' with every photograph, depending on who you talk to. But the thing is, there's a difference between subjective criticisms (I like this, but I would've cropped it this way, because my style is different) and objective criticisms (the crop is bad, the person you were photographing had their hands cut off).
Remember that the point of criticism is not to TELL YOU WHAT TO DO. It's to assist people who are actually interested in improving and being led in the right direction. Nobody can MAKE you a better photographer. They can help you improve your technique, but they can't make your shots better if all you do is act whiny when people point out that your work is bad, and get lazy and only listen to the advice that you think is easy.
I'll admit, there's a lot of knee-jerk reactions on here that go unwarranted and responses like "it's shit" doesn't help at all, really. But what makes the difference is whether or not you feel discouraged by a harsh critic, or if it motivates you to do better, and prove them wrong.
You've just got to bite the bullet and do it.

Hating people is bad

nanael <3 5ever !!+KVn84YfWw+ 01/16/13(Wed)02:55:07 UTC+10 No.1843907
>what exactly is bad about hating people who can get away with acting like dicks?
Hating people is bad. Doesn't matter who they're, it just bad for you. Don't hate, anon. Hate is a very strong word. Don't fill your soul with negative thoughts. If that dickhead can get away by acting like a dick well good for him. You should not give a fuck about him and focus on your photography and enjoy your time.

Studying Photography-should you do it

sol !!AS787Hm5LDG 05/25/16(Wed)06:22:17 No.2846879
Studying photography, should you do it?
I’ve seen a lot of people looking asking fellow Anons for their opinions on a photography degree on here. The reactions are always the same
>waste of time
>worthless degree
>you can learn everything on YouTube
yet none of these people actually studied photography or even know people that did. For that reason I’m going to try my best you give you a honest experience report of my time as a photography student.
>who are you?
I decided to quit my 9-5 office job in my early twenties to study photography. I’m in my 2nd year now and will receive my bachelor of arts in photography in one and a half years, if everything goes as planned. I don’t plan on getting a masters degree afterwards at the moment.
Before my photography student I was an amateur with only a few months of photography practice. I fell in love with it very quickly, was a very fast learner and noticed that I was pretty good at it.
Quitting my job that early for something that I wasn’t really sure of at the time was a big risk but prevented me from killing myself or living a depressed office life. I applied for only one University, which is something I wouldn’t recommend at all, got accepted, left my family and friends and moved all over the country to start a new life.
I’m sharing this to give people in a similar situation a little hope, sometimes taking these risks is worth it.
That’s about it for personal stuff. I won’t share the name of me or my University since this is not about me. For comparability reasons: the University I visit is one of the most prestigious and well known photography Universities in Europe. I will tripfag for this thread in case anyone has questions.
>I’m interested in studying, what level of experience should I have?
Keep in mind that all of this only be applied to the University I go to. The procedures or experiences may vary a lot in the university you apply.
Photography experience is certainly expected. Studying photography is no evening class on how to operate a camera. So you need to know how to work with a digital and analog camera (35mm).
You also need to be able to take meaningful and well composed pictures. Most of the stuff in the RPT would’t make the cut, your holiday pictures won’t make the cut and your cat pictures won’t make it either. It is expected that you know now to work in a series, single pictures rarely work (this is something /p/ is particularly bad in).
>which University should I choose?
I don’t know, do your research and do a lot of it. The bad name studying photography came from bad places and bad people. Art school is always greeted with smiles because everything calls itself art school to get as much money from hipsters as possible.
Find out the big names in your country and don’t settle with less. If you are afraid that you aren’t good enough for that place, you probably aren’t so go out and practice.
A degree from an obscure place won’t gain you anything. Do it right and choose the best.
Getting in contact with people that study there is a great way if you can get over your social anxiety. You can also take a look at the bachelor works of the universities. If you only see shit then don’t apply. Look for graduates and follow their work, if you notice that a lot of successful guys studied at a certain university, you should take a look at that place. Go though the list of teaching staff and look at their work. Stay away if they are on evening class level shooting weddings and look for the ones with renowned professionals.
You can also look out for the events on campus. I’ve seen universities that don’t support their students at all, others give them time and resources to exhibit their work and push them. They invite famos photographers for lectures and workshops, portfolio reviews or exhibitions on campus.
Another pro tip is to look for a university with other creative study paths. You don’t want to be surrounded by business and law people all day. More of that later ..
>What’s the application process like?
To ensure a particular level of skill and experience you have to apply with pictures rather than grades. You have to have a portfolio of around 20-25 pictures, so around 5 series. In addition to that you will get a homework from most of the universities I know. You’ll get one word and have to bring a series in your application based around that word (for example: the word was „home“ for me. Now you don’t necessarily have to take pictures of your home, but work around the word and create something that makes sense).
If you have your portfolio and homework printed, that is professionally printed, you write a short explanation for each of your series and think of a name and then you can go to the university on the day they told you after you applied.
You’ll spend all day sitting there with your competition until you are up for review. You’ll hand your stuff in and the photography staff will have a look at it, eventually ask you some questions about you and your work and then it’s waiting time again.
The next part differs a lot from place to place, I know of three types in my country:
>you pack your stuff and leave
That’s it. You can go home and wait weeks for the results, you’ll receive a letter with your grade and can enter round 2.
>You’re in round 2
A preselection of people make it to round 2 on the next day. Get a place to stay and start scouting the area if you are unfamiliar with it. On the next day you get another word to make a series out of. If you forgot your camera you might have a problem. You have around 3 hours to bring a series of pictures back, printed of course.
The results are analyzed once again and some people make the final cut
>You’re in round 2, but you chose to apply for sadistic university
You guessed it, that’s what I went though and I wasn’t prepared at all.
Imagine the same procedure as above, you get one word and have to make a series of pictures in a short amount of time. But I didn’t get to use my old camera. The university handed out some analog 35mm camera (forgot which one) to everyone with 6 pictures left on the film. The objective was to bring a series of at least 5 pictures. The word was „backgorund“ and we had 3 hours as well.
Back in the university the film got developed and reviewed, that decided who got to stay and who had to leave.
Find out how your place handles this, get in contact with students that made it and gather tips. I wasn’t prepared at all and was pretty lucky I made it. With a little more preparation such as a light meter or basic knowledge of the town I was in I could have saved a lot of time and nerves.
>I made it, what now?
Congratulations, I hope you chose the right university because what I’m about to tell you know is only true for mine. I’m expecting other places on the same or higher level to give you similar experiences. Don’t get mad at me if you chose a shithole that doesn’t offer you the same experiance.
>first semester and second
>basic training
Where everyone is put on the same basic level. You have all types of photographers around you. Fashion people, portrait people, street people. Some only shoot digital, others solely work analog medium format. There are young talents and experienced photographers. So the first semester is all about getting used to your new situation and putting everyone on the same level.
Your photography isn’t the most important thing here and that is a little strange at first.
You’ll learn a lot about technical aspects you didn’t know mattered at all and have to soak in as much as you can because these are your basics and what puts you apart from all the amateurs out there. From light waves to sensitometry and the silver on your film, you’ll learn more about your camera than you could even imagine reading up on the internet because you thought most of it wouldn't matter.
Studying the masters of photography is just as important. Everything has been done before, so get your inspiration from legends and learn the historic backgrounds of the photographic eras. Learn the principles of composition in these pictures and apply them to your own work, start to develop a taste for stuff you haven’t even heard about.
>the gear
Play around with gear you would usually need to sell your house for and have people with countless years of experience tell you the tricks. From small to medium to large format, you’ll work with it all. Need a Hasselblad for a shooting? Ever wanted to do street with a Leica? Want to check out some pores by shooting a PhaseOne? No problem, you can rent everything there for free. And if you don’t want to leave the house you can always stay in the ridiculously equipped university studio, it’s the size of a school gym at my university, full Broncolor flash setups on each workplace. Gearfags paradise.
When you finish your rolls of film you can obviously develop them in your University, black and white as well as color. After that you can make prints of them in the room next to it, black and white as well as color, professional equipment for everything of course. If you want to scan your film you can do so on the drum scanners.
If you are the digital guy your University should have a smilier printer lineup as mine, with hand calibrated printer for prints up to 2x5m.
If all of that doesn’t bring a tear to your gear eye I don’t know what will. So once again, choose the right University and you’ll don’t have to worry about anything at all for the next years .. and probably fall in a deep void when it’s over.
The only thing lacking in your first semester will be your photography. Your work will consist of finger exercises similar to your homework in the beginning. You are assigned with a lot of small series and have to power though. The time to get real creative will follow later on.
>the people
There is nothing more wonderful than surrounding yourself with similar minded people. That’s why you are on /p/ right now. Now imagine everyone on /p/ being a skilled photographer and your friend. Now imagine the RPT:
Instead of getting only one reply to your picture „>shit, kill ur self“, you have a buch of people to talk to for hours. Your fellow students and the exchange you have with them is the most important part of studying photography and it is the part everyone from the outside doesn’t understand.
Getting lot and lots of different viewpoints on your work is the best way of improving. They open your mind up to stuff you haven’t though of yet, give you examples of other photographers work similar to yours that you didn’t know of. They enrich you as a person and you as a photographer.
If you make friends with them you’ll have friends in the business for a lifetime. Sure, not all are going to make it, but some do and they’ll remember all the drunk nights and deep talks you had when you where young. Who will they call if the can’t take a job because of scheduling reasons? You of course.
I know working photographers all over the world because of this. Networking is the most essential part of this. If you don’t think you can do that, don’t study photography.
>the staff
Get to know them. All of them. These are experts (If you made the right university decision) in their field and if they know you and like you you’ll have friends getting you jobs and opportunities later on. I spoke to a lot of graduates and plenty of them told me that they got their first job as an assistant because of one of our professors. I don’t go near the gear thread on /p/ or watch videos of idiots on the internet if I have gear related questions, I just go to the cafeteria and have lunch with the guy that runs the studio, the guy that is responsible for all the gear purchases and the guy teaching me the technical aspects of photography. After 10 minutes and some tasty tasty cafeteria food I know everything I need to know about all the aspects of my intended purchase.
Regular people don’t come in such situations, cherish them as long as you have access.
>thrid semester and upwards
One year later, you made it though the boring part. In this first year you advanced quicker as a photographer as before. No matter who I talked to, nobody learned that much about our craft that fast. Even the guys that were working photographers before made a huge leap towards becoming a real photographer .. and now you are getting started.
From now on your projects won’t consist of small stuff anymore. You’ll be working on one or two big projects in a semester, usually working towards a book or an exhibition. You can finally take your time and work on a project for half a year, with guidance from your professors and fellow students along the way. Projects take shape and grow, evolve and get you invested. You are no longer taking snapshots, you developed a sense for pictures and work towards a bigger goal.
My university spends a lot of time on excursions and if you chose the right one, yours will too. Are you into photojournalism? Well why don’t you go to a foreign country with the photojournalism professor, learning about that work right where you belong? Scout a project beforehand and have somebody with years of experience help you every day for two weeks. Or join the phonebook bootcamp, where your goal is it to scout a project, take the pictures, find the layout and print a book in one week, no matter where you are. Fashion people go to the fashion week, commercial people get taken to big studios, photo editors get to see agencies.
In the following semesters you are able to specialize yourself, while learning as much new stuff about yourself, as you do about the type of business you are about to enter. Besides your photography you will be reached in art and design history, learn about important laws and self employment, contracts and copyright. You get courses in self marketing and social media as well as holding presentations or writing essays. You don’t just learn how to take pictures, you learn how to be a competent photographer that can leave the place knowing how to make a living.
>tl;dr / summary
Studying photography is a fine line. It’s not essential, but it takes you places. It’s not important for your clients, but it gets you contacts. It’s not for everybody, but everybody that was willing to learn, learned a lot. But most importantly: It’s not the same everywhere you look. I can’t emphasize this enough: Choose the place where you want to study correctly, or you won’t share the same experiences that I did and won’t get as much out of it.
If you chose correctly and manage to get through you will grow into a photographer and won’t have any problems working in the field of your dreams. But don’t get the illusion that you will suddenly be in the promised land. You still have to work very hard, be excellent and promoting yourself and still have to stand out from the crowd of photographers. Nobody out there is waiting for you, there are countless other people that can do the job as as well as you can, for less money. Nobody will care about your degree, only about your portfolio. This study path can simply show you the way and push you out of the door, it’s your job to be good.
The main thing you’ll get out of this are the people and experiences, you’ll find very good friends working in the same field as you do. You’ll share jobs and recommend each other. If you manage to impress the professors you have the easiest foot in the door you can get, have a better time finding a job as an assistant as anyone else, get to know people that are usually way out of your reach. Studying photography can be a beautiful thing and the best time of your life, it can be a constant state of creativity, productivity and joy, shared with some of the best people you will get to know in life.
I’m sure I forgot quite a lot, just ask if anything is unclear.


general tips

When shooting handheld make sure your shutter speed is at least the same as the focal lenght to avoid blur. For example on 50mm use shutter speed of atleast 1/50
Allways shoot in RAW and learn how to edit raw pictures. Just trust me on this one.
Avoid built in flash.
Do NOT use image stabilization when shooting from a tripod.
Allways use the lowest ISO when shooting from a tripod unless you need a fast shutter speed to freeze motion.
When shooting distant, hard-to-focus-on objects such as stars, set the focus manyally to inifinity. (∞ symbol)
Avoid full auto modes. Play with the manual ones to learn how your camera works.
Lower aperture NUMBER lets more light to the sensor, thus making your pictures brighter.
Generally higer aperture NUMBER gives you sharper images.
Higer ISO makes sensor more sensitive for light but also increases noise. Try use as low ISO as possible. Increase it only when necessary
Doubling the ISO reading allows you to decrease the shutter speed by half without changing the brightness of the photo. For example: ISO 100 and shutter speed of 1/20 gives you same results as ISO 200 1/10
Decreasing aperture NUMBER by one stop allows you to increase shutter speed by one stop without changing the brightness of your photo.
Heres some basic info I wrote because I was bored. I could just go on and on with this list but I listed most of the main things here, I think..

nude tips

5hoe !idbqkIQrjY 02/16/12(Thu)03:34 No.1525677
Before you shoot nudes, make sure you are comfortable shooting someone fully dressed first.
You should be confident in your abilities to light skin without the photo looking like shit. Only THEN should you even consider shooting MORE skin (i.e. nudes).
1. You have to be comfortable or she won't be.
2. You have to focus on taking the picture - don't get all pumped up that you're getting a girl naked. You're supposed to be working.
3. Don't try and sneak inappropriate shots - a LOT of nude models complain about creeper-photographers doing this. In other words, your model should know what you're shooting while you're shooting it.
4. Don't try anything too dramatic or edgy for your first go around. Try and take a passable picture before you try and revolutionize "nude art."
5. Don't let your model bend or contort in a way that makes her look pudgy, wrinkled, flabby, etc.
6. Don't let your model make "sexy faces" because she'll end up looking dumb.
7. Make damn sure you can photoshop like a boss. Cleaning up skin is even more important when you're shooting nudes.
8. Be conscious of your light - does it make her abs look flat, does it make her collar bones glisten, does it make her ass look pleasant, etc.
9. Don't shoot in a bed or use any sort of fabric for a backdrop - it just looks like sleazy porn if you do.
10. Find nude photography you like and try to emulate it - don't use porn unless it's something like HEGRE or MET - and even then you're getting off track.

animecon tips

Anonymous 03/15/12(Thu)00:22 No.1556004
Hey /p/ can you give me some tips for taking photos at an anime convention? I don't know, do I need to set my camera at auto? flash? some specific zoom? any help is appreciated.
pechita 03/15/12(Thu)00:30 No.1556010
Ask your model to pose according to the character.
Background is important, check that there are not distracting objects.
On-camera Flash should be fine, just use diffuser.
80 to 135mm should be good focal length for portrait.
35mm for group or full body shots.
I'm not familiar with the environment, but these suggestions for portraits should work.
What camera are you going to be using?
Anonymous 03/15/12(Thu)00:43 No.1556017
With cons, you have three main approaches in terms of background:
1) stalk the floor and take photos of cosplayers you come across. your background will be random people and stalls. use a large aperture to render them less distracting. ask for permission, but other than that it's like street, so look at something like a 20-50mm range (full frame).
2) camp at a place with a suitably non-distracting background. pull people in to shoot. lenses, you can do whatever you want. Just don't get to far away or you'll lose the connection.
3) stalk the floor, look for cosplayers, then persuade them to come with you to a suitable background and take photos of them.
The rationale behind each of the approaches:
1) "It's a con, not a photoshoot. I'm documenting this."
2 and 3) "It's a con and I don't get to go shooting much so I must make this into a mini photoshoot!"
Both rationales are OK. The problem with 3), even though it's a hybrid approach, is that it's much slower, and it's likely the cosplayer will be intercepted by fans a number of times before you finally make it to your chosen location.
Lighting: on-camera flash cuz you're going to be jostled around. bounce that shit. It don't matter if you're bouncing it off passing people's faces, just juice it up and go for it.
4) find a place you can swing permission to set up some lighting (usually stupidly easy), then watch the cosplayers come pouring over begging you to shoot them.
it doesn't take much. a couple hundred in lighting gear will do. a couple tripods, a couple speedlights with remote triggers, and a couple cheap shoot-through and/or reflector umbrellas from ebay. add a cheap old non-ttl flash on a trigger pointed straight up, and maybe a reversible reflector for someone to hold and you are golden. i like the reflector because then someone gets to be an 'assistant'. people eat that shit right up.
tl,dr; build it and they will come to you
OiD !c4MhzmU2ao 03/15/12(Thu)01:11 No.1556045
Get details/full body shots, try and avoid closeups with wide angles. Set you camera on P if you don't have a clue. Else choose Aperture or Shutter priority.
Listen to what >>1556010 and >>1556017 say.
But most of all be happy and enjoy what you are doing. If you get bored do something else or you'll put zero effort into the pictures.
Anonymous 03/15/12(Thu)01:50 No.1556081
Not OP but thanks for the tips guys. I recently started bringing my camera to conventions and I think I found a good balance.
I walk around with my camera and just take pictures as I come across good cosplays, just for documentation. I'm not really into photoshoots just because I'm not fully comfortable with my skills as a photographer yet to get into that. Especially with strangers at a conventions when most of them are awkward and annoying. I do shoot my girlfriends cosplays though.
Anyway, I found that my Tamron 17-50 f/2.8 and an external flash w/ a lightsphere works fantastically. I use the lightsphere with the cloudy dome pointed towards my subject for just 1-2 people anywhere between 30-50mm and for groups I just pop the dome off, point it up and zoom out as wide as 17mm.
Seems to cover pretty much everything very well.
Anonymous 03/16/12(Fri)19:45 No.1557746
Not OP, done some Con shooting. Will echo that 008 and 010 at the top give good advice.
Mechanics: Make sure you have a fast lens on hand, 2.8 or faster. Hotel lighting sucks in terms of quantity, quality, and temperature. Expect 30-80mm full-frame range. Use manual mode if your camera acts dumb, program or aperture mode otherwise.
Philosophies differ on flash or no flash. If you use flash, don't do direct undiffused flashes. Ceiling bounce, go off-camera with a cable or slave, and use a diffuser, like a gong 'lightglobe'.
On the floor: You'll get four kinds of shots: snipes, walk-bys, already-happening photo ops, and direct inquiries. If you're not creepy, try "That' s a great costume, do you have time for a photo?" They get dressed up to show of their costume or their figure, so this'll get good results.
HAVE SOME BASIC BUSINESS CARDS. Name, "Photographer", email, pn#, flickr/facebook/picassa/whatever. There WILL be people who you'll want to take to more controlled settings AND will be local to you. A simple business card also goes a long way for appearing more serious than you may actually be. If you promise prints (up to US$0.15 for a 4x6 online, with shipping), this helps them get in touch with you, but you should get their info, not vice versa. Which leads me to-
Bring some index cards. They work as fill cards, for white balance, and for writing notes. If you take shots at an event, scribble down who did it.
AFTERWARDS: These people aren't paying for your time, so don't waste too much time in PP.
Post links to the galleries on the Con website/FB, as well as to those who performed. It's great traffic, and they'll be interested in how they look when doing their thing.
Anonymous 03/16/12(Fri)19:58 No.1557751
Read this guy's posts on cosplay photography. READ'EM! :D

how I should look after my camera

Anonymous 08/26/12(Sun)13:25 No.1705397
I am a starter in DSLR's, I was wondering how I should look after my camera and lens properly, and just generally if you have any tips regarding it.
Anonymous 08/26/12(Sun)13:38 No.1705400
  • don't touch anything in the mirror box
  • change lenses with the body facing down, as fast as possible and in a dust-free environment
  • if you want a protection(uv)filter on your lens make sure it's a good one (Hoya, b+w), cheap ones fuck up the image
  • if you don't have a filter on just pop the lens hood on to keep the front element of the lens to bump into things
  • watch your screen(s) on the camera, stick protectors on if you have to
  • don't drop your stuff, especially not lenses
  • don't clean stuff that doesn't really need cleaning, little dust on the front element has no impact on the picture
  • if you have to clean stuff use a blower. Only if needed microfiber cloth and alcohol
That's pretty much it. No need to thread a camera like a baby - it's just a tool. But with precision mechanics

how to expose night-time street

Anonymous 12/02/12/(Sun)17:15:08 UTC+10 No.1793487
Expose to the right, but preserve hi-lights. Lern2ZoneSystem and Histogram.
Spot meter on the brightest part of the image, then open up the exposure by 4 or so stops. This is bright but also preserves the highlights, and the higher key exposure allows for more shadow detail and less visible noise. If the image ends u too bright, pull it down during conversion. Pulling always looks better than pushing.
You may encounter some problems if the brightest and darkest part of the image are too far apart.
Don't be afraid to high ISO. A little grain is always better than blur

trying to get into street photography

Anonymous 03/27/13(Wed)09:39:21 UTC+10 No.1933689
So I'm trying to get into street photography.
Over the past month or so, These are the shots I've taken, I feel like for some reason they are all missing something. I just can't seem to make them "good"
Why am I so terrible, /p/?
Anonymous 03/27/13(Wed)09:41:23 UTC+10 No.1933692
watch this guy and it will all be cool
Anonymous 03/27/13(Wed)10:02:41 UTC+10 No.1933708
its because youre not shooting with a leica.
no but really, its because your subjects are centered, isolated and not doing anything interesting. theyre not interacting with people or their environment in an interesting way, theres no juxtaposition or irony, theres no conflict, no story, no real means of engaging the viewer. >>1933698 comes close, and the first one has decent composition, but they both ultimately fall flat because theyre too one dimensional.
This is the thing about street photography. its one of the easiest forms of photography to do, but one of the hardest to do right. its not just 'pictures of people on the street', which is what people tend to think it is because thats what 99.999% of street photography ends up being. its the .001% that successfully tells a story and engages the viewer that makes up what is traditionally thought of as 'real' street photography.
try to look for better interactions with your subjects, whether its things, people or yourself theyre interacting with. they need to be doing something that makes people want to look at them. work on your compositions as well. it doesnt seem like any real attention was paid to the backgrounds in these (again, besides the first one). it looks like you just saw an old person, pointed your camera at them and pressed the button.
also a 50mm lens on a crop camera is a short tele. the resulting perspective in your photos makes the subject seem distant and less engaging. toss on your kit lens and shoot it at 18mm. this will cause you to have to get a lot closer to your subjects, and the resulting perspective will help to draw the viewer into your images. again, traditionally, street photography was done with wide lenses, from 24-35. the longest anyone really went was 50mm. over that and youre essentially doing street portraits.
lastly, look for more interesting lighting. if youre shooting in black and white, lighting, shadows, tones and contrast are very important.
industar !9kbJjvwmwE 03/27/13(Wed)10:20:32 UTC+10 No.1933722
Well, one can do a whole lot with little means, usual dodging and burning would work wonders on many of your pictures. Do watch the movie linked earlier, theories regarding form are incredibly important in pretty much any kind of photography.
Also, one can do street just fine with a 50mm on crop, it only depends on what you want to achieve. Sure, a whole of of street photographers use wide angles but, it's not written in stone. Use what you feel comfortable with, and try to challenge yourself every once in a while.
Anonymous 03/27/13(Wed)15:22:34 UTC+10 No.1933943
Your photos seem lifeless and dull. Think of street photography as a documentation of the relationship between people and between objects and people. These are dynamic relationships. A good example of street photography should capture something essential to these relationships. It should seem like a spontaneous capture.
You're working with digital and don't have the shooting limitations of film. Shoot a lot. Be mindful of composition but don't let it hold you back. Most of these pictures seem to be at eye level. Learn to move yourself and your camera into different, more active positions. Framing from different angles can instill some life into your shots.
Before even holding a camera, did you enjoy just observing people? Would you go out on walks, sit down on city and park benches and smirk to yourself about the strange march of man across city?
Street photography should capture this sort of vision. Develop your eye and your observation skills without even touching your camera. Try to stick to one or two focal lengths. Learn to know how your composition is gonna look before looking through a viewfinder.
Above all, enjoy it. It should be fun, it should be invigorating. If you're not constantly on the move, analyzing your surroundings and sleuthing in and out of moments and enjoying the hell out of it, then you are doing it wrong.
This is doing it right:

the Sticky photograph

TheStickyPhotograph B&amp;W-seedlings 250px

/p/ sticky photograph 2012

BurtGummer !!1cdp+8vuoOY 12/23/12/(Sun)09:39:32 UTC+10 No.1814636
the Sticky photograph (2012) subscribes to the idea of "Illustrationism" (as dictated by the Futurists in 1915)...
Essentially, the futurists say that you can be a painter, but not an Artist. You can communicate none of your self, none of your opinion, none of your style and none of your story in your painting. You are an Illustrator, and you are restricted.
This applies to the Sticky photograph. No style, no story, no communication, just an accurate depiction of a pot plant. It is the furthest you can reach from being "Artistic" in the realm of photography.

get into C-41

Anonymous 01/18/13(Fri)03:58:48 UTC+10 No.1846999
Hey, 4x5 guy here.
You can get into C-41 for as little as $20! The Tetenal Press Kit, Powder, to make 1L of chemicals is what you need. If you get into it more, get the 5L kit for only $80 or so at Freestyle, which is way more economical.
It has a developer and a blix (bleach/fix combo), as well as a stabilizer for the final rinse. Now what I do for 4x5 is different, but for roll films the simplest way without extra gear is this:
Heat up a water bath to around 102F. Run hot water over your chemistry bottles until they are at the same, or microwave them. Load your film in the reels in the dark, and close it up. Put some hot water in their to pre-wash and bring the film up to temperature. Then, dump it out, turn out the lights, and start a timer. In the dark, take the top off of the tank, and quickly dump the proper amount of developer in (this makes the tank fill way quicker than filling normally). Quickly op the top back on, turn on the lights, agitate for about 15s, and then set the tank in the water bath. Agitate every 30s. The total time for the developer is 3:30. Dump it out like normal, and then immediately dump in the blix. Blix for 6:30 or so, wash, use the stabilizer, and you're done! It's super-easy. Only the developer step is really important, so figure out your process and get consistent and you should be good. I've developed like 60 rolls and a hundred sheets this way with no problems. Make sure you store your chemicals though in air-tight, full containers!

Go Pro

Here's how I did it

Anonymous 03/14/12(Wed)22:52 No.1555936
Here's how I did it. Now, this was 20 years ago, when you didn't need a masters degree in optics to get a job with the networks (I did TV.)
1. Be a competent photographer/videographer
2. Go to third world country with moderate to low newsworthiness.
3. Hang out with photographers from BBC, CBC, Reuters. Call yourself freelance. Let them know you're looking for work.
4. Shoot some spec. photo essays about economic development or some shit. Don't try to do any hard investigative stuff. Just some coverage the wires might want to pick up.
5. Get paid a little something and keep on until somebody picks you up either full or part time.
Sound too good to be true? Not really. Journalism has always been a place where a ne'er do well could do pretty good. Most guys are in it for the giggles, and they're almost all pretty decent and accepting. Have fun.
And if you do start having a decent career, never, NEVER, let anyone convince you to give it up for a desk job. I sure regret it.

so I want to become a photojournalist

Anonymous 03/14/12(Wed)11:08 No.1555380 [Reply][Quick Reply]
Sup /p/, so I want to become a photojournalist. Not just a photojournalist, but a photojournalist who actually is sent overseas to cover history. Doesn't have to be wars, but I am not completely averse to it. I am 20 years old, have a fairly good, technical knowledge and foreign experience in hobby-esque photojournalism. What should I do in order to become a photojournalist? How important is a portfolio? How important is academic training?
Photojournalists, is there are any out there, report in. Share opinions, give advice to a newbie.
>>Fair enough. To clarify a possible question: My dream is to become a photojournalist for a magazine, therefore do photo stories.
tldr: The job you want doesn't exist anymore.
I might be able to add some info on this, as I am an editor for a regional magazine. Arts, entertainment, lifestyle, so I'm assuming that I put together something that you envision that you could contribute to...
So, my magazine is owned by a company that owns several magazines, newspapers, and other quarterly publications.
So, we only have one dedicated PJ on staff, and when he retires, he won't be replaced. He has been shooting for oen of the newspapers for more than 20 years. Typically, when I run a story that has pictures that run with it, one of three things happens. Either, the writer that is writing the story also takes the photos, or I take the photos, or we get a freelancer (we call them stringers, because we pretty much use the same people) to do it, or the subject of the article has their own publicity photos that we use. Sometimes, if the publicity photos aren't good enough, or the writer doesn't deliver high enough quality photos, a stringer will be called in. In fact, lots of new bands get their band photos done by their friend, and those images aren't high enough quality for print, and I will just spring a shoot on them during the interview. If they have a press agent, they normally have good enough press images. Recently, a writer did a series of articles on the ski-season, and all the images came back underexposed and muddy, so we split the cost of sending an editorial photographer to shoot images with the public relations agency for one of the ski resorts that was featured.
>> Anonymous 03/15/12(Thu)01:30 No.1556061
>>Samefagging, field too long
All this to say, maybe you should consider becoming an editorial photographer instead of a PJ, and you will end up with lots of the same jobs that PJs used to do, because while the newspapers and magazines have slowed down on covering these sorts of things, the PR flacks still want the images and are starting to pick up the tab.
Check out the "stuck in customs" blog, because he is an embedded photographer, and he is currently doing what you want to do.
This should also be relevant to your interests.

Can you write?

Anonymous 05/04/12(Fri)00:05 No.1610106
The first question is, Can you write?
I mean, write well researched articles about local non-profits, cats stuck in trees and random vandalism that happens in and around small towns.
In today's day and age, the reason why small-town paper photos are 'embarrassingly bad' is because all the reporters shoot their own photos so that the paper only has to send one person to cover a story, rather than two, cutting their costs in half.
I work for a paper, (am an editor) and while I did photography for more than a decade, I wouldn't have got the job were it not for the fact that I could write. I do a lot of photography, but I do more writing and editing than photography by far. We do have a single dedicated photographer and a stringer for when our sports reporters are double-booked, but the stringer has to write summaries of the events, and once our dedicated photographer retires, he will not be replaced.
A writer that can provide good photo/video content to suppliment their story is great to have on staff. A photographer that can't write is a waste of money.

going rate for band promo pics

Anonymous 08/21/12(Tue)23:29 No.1701913
My "going rate" for band promo pics is $250 for a 1-hour sitting, then $50 per photo (pic relevant) that they'd like to license for commercial use. Folks usually select 2 or 3. If they're going to make money off your photography, make sure you make money off it too. Don't sell yourself short, always charge more for commercial photos than regular portraits and stuff.
When I was just starting though (with worse, cheaper equiptment) I charged 150 flat rate and gave em 5 pics. Wasn't the wisest thing financially but it helped with word of mouth, so maybe not bad in the long run

Tech tips

boke pronounciation spelling and origin

Boke -
The term comes from the Japanese word boke (暈け or ボケ), which means "blur" or "haze"
The spelling "bokeh" (with an 'h' on the end) was popularized in 1997 in Photo Techniques magazine, when Mike Johnston, the editor at the time, commissioned three papers on the topic for the March/April 1997 issue; he altered the spelling to suggest the correct pronunciation to American English speakers.
b: buy, cab
o: lot, pod, song, doll (Better approximated by using a Boston Accent for Americans)
k: sky, crack
e: dress, bed, fell, men

or 'boh' as in the word 'botanical' and 'ke' as in 'ken rockwell'
Anonymous 01/01/15(Thu)04:01:44 No.2492799

good or bad boke

giannis 02/15/13(Fri)22:35:18 UTC+10 No.1884801
As a general rule, "good" bokeh is considered the one where the out of focus balls are brighter in the middle, and fade away as you move toward the edges, with the edges being soft and indiscernible.
"Neutral" bokeh is the one that the balls retain the same luminosity in the edges as in the centre.
And the bokeh is "bad" when the edges are hard, and brighter than the centre of the oof balls.
Aside from that, it's what you prefer yourself. There's no "good" and "bad", just renderings you like and some that you don't.

light area

Take a 50mm lens With a maximum aperture of f/1.4
50mm / 1.4 = 35.714mm
The f-number describes the diameter of the aperture.
We can then use the Pi*r^2 rule to calculate the area of the aperture. 3.1416*17.85mm^2 = ~1002mm^2
do the same calculations for f/2 and we end up with ~490,87mm^2
Stopping down one f-stop halved the area of the aperture and as such halved the incoming light, in order to compensate :you would have to expose for twice as long of double the sensitivity.

cleaning sensors

For 'welded on' dust (deposits that involve moisture cementing the crud onto the sensor/low pass filter surface) Anonymous' advice (below), plus finishing off with a sticky-tipped-stick type product is probably most effective.
Using a sticky-tipped-stick alone is probably the best method for the typical relatively clean sensor.
Eyelead SCK-1 Sensor Cleaning Kit
Pentax Image sensor cleaning kit O-ICK1
DUST-AID Platinum
There are other manufacturers of this kind of product, but I have not found a useful keyword to use. So search for 'sensor cleaning kit' and look for any that are not obviously a swab type.
Cleaning Digital Sensors
Opteka SSC-20 Pre-Moistened CCD/CMOS Sensor Cleaning Swabs for SLR Cameras (20 Pack)
Sensor cleaning with sensor film - commercial product
How to Cheaply and Safely Clean Your Camera’s DSLR Sensor

To photograph what is on your sensor, so you can show /p/:
Put the longest focal length lens you have on the camera
Manually focus to infinity
Set the aperture to f/22 or smaller
Set ISO at 100
Take a shot of a bright cloudless spot of sky.
Camera shake is irrelevant, so just expose a frame. However you may want to disable any sensor based shake reduction.
This should cast a relatively unblurred image of your sensor crud onto the image.

Here's some serious advice:
1. I made the same mistake as you last year using microfiber cleaning cloth on a paddle. :The sensor seemed "fine" until some stopped down F/11 and beyond shots showed scratches on the lowpass filter covering the sensor. Some $200+ at canon factory repair and I have a new low-pass filter.
2. I recommend you stop down a picture of the sky and make sure you're completely fucked at this point. When I wiped my sensor with a cloth, stopped down pictures of the wall, desk, ceiling, whatever seemed fine. you can't be sure unless you use a pure light source.
If you insist on DIY, get these swabs: follow the instructions and they will not let you down.
(instructions: 1. wipe across once while bending the paddle all the way into the corner. 2. wipe back in the opposite direction. 3. THROW THE PADDLE AWAY. 2a If you're eccentric or feel you'll have dust on the back edge from step 1, skip step 2 and religiously proceed to step three.
Whatever you do, do NOT get the "sensor swabs" pre-moistened with eclipse solution (set of 3 or 4 in a red/blue box.) They have linty cloth paddles that put frustrating amounts of lint in the sensor corners and you'll be inclined to reuse them just to pick up the specks you added. In fact, these POS swabs ultimately drove me to improvise no thanks to their uselessness.
tl;dr. have a pro do it or learn to do it at risk of it costing you more.

Anonymous 05/14/12(Mon)09:39 No.1620103
I used to work as a camera tech, I quit because the job sucked ass.
Here -
Buy the premade swabs.. All the camera techs I know (including Nikon and Canon service centre techs) all use eclipse + pec pads buying them separately saves money but for general purpose the premade ones are the best option..
Use an air blower first to get s much shit off as possible, avoid swabbing alltogether if you can (depending on how dirty the sensor is using the air blower might be good enough 0 like if you have 1 or 2 spots if you're lucky you could possibly blow them off).. Otherwise you caan swab after you use the air, do it at your OWN RISK tho it requires some practice and you can possibly scratch your sensor (even swabbing with dust or grit on the sensor can scratch it)
The only downside with the premade swabs is that they cut the pec pads to fit and since they cut them it's possible to get fibres off the pec pad can fall off.......... Generally you woulld wrap the pec pad if you buy everything separately.. It's not a huge deal but it can happen where a fibre or two will fall off due to the cut of the cloth, they blow out easily tho.

Rule of 600

Hafenmeister !l582Vln9EE 02/19/12(Sun)15:08 No.1529302
The best way to find out the best exposure time for your set up is this formular:
600 / (your current focal length) = exposure time in seconds at maximum open aperture and ISO 100
So if you're using a 50mm f/1.4 the calculation would be:
600/50=12sec exposure at f/1.4 ISO 100
To find the nearest field of stars try the opensource program called Stellarium.
Remember, crop users, that equation figures on the 35mm equivalent focal length.


If your's photo width is 4400 you should be able to print at 200dpi (quite reasonable quality for big prints) up to 55cm (22") wide.

scanning old negs

BJDrew !!LkyLqEm9G0v 02/19/12(Sun)12:11 No.1529173
special anti static negative cleaning solution and disposable wipes along with white lint free gloves does an amazing job prepping negs
1. Dust with bulb blower, both sides
2. Wipe with antistat cleaner
3. Let dry few seconds
4. Careful clean with cloth if needed
5. Blow off dust again and scan


Anonymous 02/24/12(Fri)16:19 No.1535364
>Are the Canon/Nikon ones that much better?
No, they aren't. In fact, the kit lens on the Pentax is actually one of the better ones. The cheaper consumer lenses you will be buying are pretty much in the same boat regardless of brand.
You got thrown a red herring, though a technically true one. pay attention to exact wording;
>If you care about performance lens choice
This is true. both canon and nikon have expensive professional level high performance lenses costing thousands, sometimes upwards of even $5000. pentax doesn't have them. at all. they don't try, they only market cameras to consumers, where canon and nikon have dual markets. see what i mean about red herring?
So, as i am assuming you are a consumer buying consumer level lenses, professional lenses are largely if not entirely irrelevant. the answer for you as a consumer is that they are all pretty much the same, pentax even arguably having a slight edge.
Also, you can use manual focus lenses as you have discovered, and also there are a lot more of them and they are cheaper. those were also world class lenses. if you get a canon you will be using pentax manual focus glass on them anyway, and nikon entry dslr's won't work with anyones manual focus glass, even nikons own.

lens or body

A lot of people research camera bodies, then once they settle on one, they go and pick up whatever lenses they need that fit that body. There's nothing wrong with this per se, but I do the exact opposite. I heard this quote once, and it's very true: "The lenses are for the images, and the body is for the photographer." Since it's the lenses that end up dictating how your images will look, I research old lenses that I'd like to use, then once I find something that I fall in love with I pick up a body to use it with.
Most bodies will cost under $100, and you can get some top-of-the-line-in-their-day bodies for around the $200 mark that will be a dream to use. This leaves you with $3-400 for lenses.
You could spend that all on one lens a la a 50 1.2 or something, or you could spend most of it on one lens, then the little bit left over on some cheap lenses with complimentary focal lengths, like a 50 1.4 with a 28 2.8 and a 135 3.5. Or you could just buy all slow, cheap lenses, one for every focal length and have a shmorgasboard (sp?) of lenses to play with.
And if you go with any pretty much system besides Canon FL/FD and Minolta MC/MD, you will be able to adapt the lens(es) you buy onto a Canon DSLR, so you get even more bang for your buck if you have one of those.

why whitebalance

Anonymous 05/01/12(Tue)04:19 No.1607054
ISO 3200 (even 6400) on a 5D2 is good, but only under the following conditions:
- You expose it properly (maybe 1/3 stop over).
- You shoot raw and apply mild noise reduction in the shadows.
- You shoot it in light with a color temperature of between ~4500K and 6500K.

This last bit is not too widely known, but if you have only tungsten light (color temp 2500K - 3200K or so), you are almost always blowing the red channel. The Canon sensor is made out of a bayer mosaic of 2 parts green, 1 part blue and 1 part red. If you're shooting in tungsten (lamp light), you have predominantly red light, and you'll see a hell of a lot of noise if you change set color temperature to match that, since the camera will boost the other two color channels and you'll get a shitload of noise in the green and blue channel. There's also the issue of clipping the reds more easily.

>> Anonymous 05/01/12(Tue)04:50 No.1607070
>you'll see a hell of a lot of noise if you change set color temperature to match that, since the camera will boost the :other two color channels and you'll get a shitload of noise in the green and blue channel

is that really true? I've never been bothered by the noise at iso 3200 so I haven't really done the research and pixel peeped. in my experience, setting the white balance correctly in camera gets you a better exposure from the meter because the camera sees the red channel correctly.


Anonymous 03/16/12(Fri)14:11 No.1557482
Guys I have a problem here regarding printing.

I just got in photography some six months ago, I'm doing my pp in Lr3 and then maybe I use gimp (my trial Ps ended) for some things.

:Yesterday I went to print a couple of photos and what I found was than when they showed me the images in the lab they looked darker than in my computer and of course the print was darker too.

Those were jpgs, when I edit RAW the things get worse. The exported jpg doesn't look like the image I see on Lr even in my own computer, BUT those print more like how I see them on Lr but darker.

This is very confusing, Am I doing sometihing wrong? Is it my screen? Is it the lab's equippment? What can I do for prevent this to happen? Should I just give up and make all my images lighter guessing for the print?

>> Anonymous 03/16/12(Fri)14:26 No.1557492
Hold the lab print up to the same photo on your monitor. Adjust the settings on your monitor until it matches the print. That should take care of your problem from there on.
>> Anonymous 03/16/12(Fri)14:28 No.1557493
monitor calibration

>> Anonymous 03/16/12(Fri)14:28 No.1557494
you need to get into CMYK vs. RGB.
but seriously OP, your image just cracks me up and i don't know why. saved.
>> Anonymous 03/16/12(Fri)14:29 No.1557497
Get a Datacolor Spyder.
>> Anonymous 03/16/12(Fri)14:36 No.1557503

Monitor calibration won't do a thing (except make the colors on your monitor LOOK "right" to you, whether they really are or not.. Also, ask for a 5x7 proof and pay for it if you have to, it's worth it. I always get 5x7s of anything I'm going to print larger.
>> Anonymous 03/16/12(Fri)14:38 No.1557505
Is is a good shot. I like the split. Cracked me up too.

>> M 03/16/12(Fri)14:40 No.1557510
Not only that.
Sometime the lab where you take the photo takes it through a fast postprocessing before printing it.
I discovered that when I purposely over or underexposed the picture, it was all for nothing because they thought it needed to be fixed and did what they want.
Since then I always make sure to ask them not to edit before printing and I have never had any more problems.
Before spending tons in monitor calibrating tools check this with the lab, the problem may lay there.

>> Anonymous 03/16/12(Fri)14:53 No.1557528
OP, *calibrating your monitor won't help you get good prints from the lab*!
It will help you have a monitor with a nice color profile that will try to show you the colors you want to see.
That's it.

>> Anonymous 03/16/12(Fri)14:58 No.1557534

  • adjust my monitor to my prints, sounds logical.


  • CMYK instead of rgb. Do I do this at the very end? when exporting the jpg for printing?


  • A small trial print, I thought that too late I have already paid.

I ask them to print the photos as they are, when they see you are not convinced then they ask if you want some changes.
I will take all this in mind
Could it be the way I export the images from Lr too?

>> M 03/16/12(Fri)15:04 No.1557538
1. Calibrating your monitor is a good first step. Once you have your bearings and you work with a specific lab you will begin to know how to adjust things for that lab.
2. Get color proofs. Make corrects based on the color casts and curves that you see in your prints. I use a Kodax print filter kit. You can nab them off Ebay for cheap.
3. Do you know what paper the lab is using? This is one of the most important first steps. Ever paper will have it's own color profile. Use it.
General points:
- Switching from RBG to CYMK isn't necessary. Perhaps you will feel more comfortable in that color space but personally I find that there's hardly a reason to get out of RBG for color correction.
- Monitors are backlit, prints are not. Keep that in mind when setting highlights and shadows. Nothing worse than a neg with great shadow detail that gets lost in the print.
I appreciate the flattery of using my sig.

>> M 03/16/12(Fri)15:10 No.1557542
I posted and then saw that you posted this. Let me make a few suggestions that you may feel free to use.
1. Firstly, I would highly suggest not adjusting your monitor to your prints. Your monitor should be properly calibrated. Adjust your prints to your monitor. Most places will do test prints for free. You will never have a good workflow if every time you go to print you are fucking with your monitor. This is standard.
2. CMYK I do not prefer over RGB. But a bigger issue, you should not be printing in JPG. Flatten your image and print it as a TIF. If you print in JPG you will compress your tones and end up with a hot mess. Take raw, process as TIF, flatten and print as tif. A photographer has no use for JPG other than uploading it to the web.
3. Test print test print test print. Seriously.

>> MG 03/16/12(Fri)15:38 No.1557560
absolutely never ever calibrate your monitor to anything other than what is considered to be properly calibrated!
when correcting an image you want it to look as good as it can/should, the only way to do that is to have your monitor properly calibrated.
Once your monitor is properly calibrated, then go ahead and correct your image as best you can.
Once your image has been properly corrected, then you want to load your printer and papers color profile loaded in photoshop using color profile preview. This will allow you to see as best possible what your image will look like on paper from that printer.
NOTE! When making corrections to your images, use ADJUSTMENT LAYERS, do not use the commands from the image drop down. Those are destructive changes which don't allow you to adjust them later. With adjustment layers, you can easily turn adjustments off, or re-tweak them without making any changes to the original image
With the color profile loaded, add new adjustment layers that will be the corrections for the printer. Adjust the image to look good with the color profile preview.
Once adjusted, turn the color profile preview off, YOUR IMAGE WILL LOOK WRONG on your computer screen, this is ok. Save a copy of your photo as a "Tiff" file, name it something like, [Name of Photo] - Print.tiff. This is the highest quality compression you can get. On some printers you can send a PSD file to the printer, but there's no reason to, the file is way too big because it has data that the printer doesn't need, and the printer will get overloaded and print slow.
do a test print, print a small portion of your photo, a part that represents the color range of your photo. Print that, based on what it looks like, make adjustments, or go ahead and print the full image. If it's too yellow, add blue, too green, add magenta, etc.
Hope this helps.

>> Anonymous 03/16/12(Fri)15:40 No.1557564
Make sure you're using the correct paper profile. Otherwise, you could do everything else and it will still look different than the monitor.

>> Anonymous 03/16/12(Fri)15:48 No.1557567
Just watch this
Yes, a calibrated monitor is a good start.

>> Anonymous 03/16/12(Fri)15:51 No.1557568
Your printer has a color profile, your paper has a color profile... How do I combine color profiles, if you get what I mean. e.g. HP printer profile ---> Fuji paper profile.

>> Anonymous 03/16/12(Fri)15:55 No.1557573
>>the only way to do that is to have your monitor properly calibrated
No way. Color balance numerically using the info panel. You can never color balance exact by eye. No one can.
Get a color card! Can you count to 255?

>> MG 03/16/12(Fri)16:05 No.1557582
ummm...don't wanna be a dick...but the best way to properly calibrate a monitor is using something like the i1 monitor calibrators
but calibrating through your systems color calibrator is a semi decent second option. Otherwise, film and video people have been color calibrating using colorbars for years.
unless you were talking about color balancing an image numerically, you're definitely correct. I like to set an eye dropper point on my darkest spot, and an eye dropper point on my brightest point.
add a levels adjustment layer, set my black and white points using my eye dropper points (it's even better if you've shot with a gray card and you can set your mid levels too.
Then i adjust my RGB settings based on what my eyedropper readouts give me. For blacks, you want to adjust your RGBs to the lowest number, and for highlights you want to set your RGBs to the highest number. For mids, you would set your RGBs to the average number.
After you're image is "technically" color corrected, then you can use curves and such to adjust the image the way you want it to look.

>> M 03/16/12(Fri)16:12 No.1557590
I'm very happy that some of the more outlandish theories on color correcting and printing have been corrected by other members of /p/ as this conversation has progressed.
I am not sure where you have been trained or why you hold this beliefe, but this is incorrect. X-rite is going to be your best bet.

>> Anonymous 03/16/12(Fri)16:13 No.1557592
That's ok. Calibrating a monitor is one thing, but I was referring to images. So I think we agree.
Lots of ways, yours works too. I set a color marker on my high and low points (put a threshold layer on first to find them) and then go through each channel in the curves adjustment layer and balance to....well, if not workign with a card I put my high point at 245 (255 if I'm hitting a specular highlight but usually nothing is as white as 255) and 20-25 for my low point, sicne blocked up blacks look lousy and usually things aren't *that* black.
Love this stuff but my work day is over and I'm hitting the weekend. Glad to hear someone else isn't focused on the monitor being the final say in what you're looking at.

>> Anonymous 03/16/12(Fri)16:20 No.1557597
Didn't I just say "get a card"?
XRite is good but I use The Golden Thread by Image Science Associates. Of course they use XRite chips but there are some other calibration marks that help

>> MG 03/16/12(Fri)16:20 No.1557600
that's in so many ways what i do.

>> Anonymous 03/16/12(Fri)16:48 No.1557629
Thanks a lot, I see now how I was doing wrong a lot of things. Of course I'm just starting, but you give me a good guide for my future work.
I have to go now, I will check the thread latter. Thanks

>> Anonymous 03/16/12(Fri)17:53 No.1557660
Good info. Thanks.

>> Anonymous 03/16/12(Fri)18:25 No.1557680

>> Anonymous 03/16/12(Fri)18:34 No.1557684
OP if you are printing from some high schoolers running a photo lab at walgreens its still gonna look like shit. Get some tracing paper and markers. Hold it up to the screen and voila!

>> Mik 03/16/12(Fri)19:00 No.1557703
A lot of interesting information in this thread.
I was not using your signature.
I used to use it a long time ago. It's the first time I come back on /p/ after more than one year, and didn't know someone else used it in the mean time.
Didn't want to pretend to be someone else.

>> Anonymous 03/16/12(Fri)20:30 No.1557791
It is supossed to be a prolab, dedicated to photography and nothing else, not a costco nor something like that. I don't think the result is shit, It is just that darkness problem, I'm satisfied with everything else.
Now I can see I can improve the way I print, so maybe I will be more satisfied.
This thread is very helpful for me. thanks again everyone

focus stacking software

Anonymous 05/28/12(Mon)05:03 No.1630978
What is /p/'s recommendation for focus stacking software?
Anonymous 05/28/12(Mon)08:29 No.1631039
ImageJ for alignment and Enfuse for the DoF stacking.
ImageJ or FIJI, which has tons of plugins bundled in:
Anonymous 05/28/12(Mon)09:14 No.1631054
I've only used CombineZ. It works pretty well.

does film have more personality than digital?

Warren !!JDYDmjbSK8K 09/06/12/(Fri)10:53:21 UTC+10 No.1714447
In a raw state, a film shot will tend to have more character than a digital shot, all other factors being equal. This is due to response curves, development, etc. This can be good or it can be bad. With either, most of us have the desire to take what we start with and develop it further and make adjustments as we see fit. Many of us find that film gives us a starting point closer to the final product we desire. On the other hand, something shot on digital is a more flexible thing in that one can basically make it whatever the hell one wants, and one does not start with the bias of the character that would otherwise be provided by film.

Sensor size has no effect on DOF

Anonymous 10/10/12/(Wed)06:57:04 UTC+10 No.1743921
Here we go again. Sensor size has no effect on DOF. If you took a picture with the same focal length, distance to subject, and aperture, one with a full frame and the other with a crop, DOF would be the same. The discrepancy is caused by the fact that to get the same image as the full frame with the crop, you would either have to adjust distance to subject or change focal length, both of which have an effect on DOF.
editors note: also see 'circle of confusion' for each sensor.

decent hosting

Anonymous 01/04/13(Fri)17:23:59 UTC+10 No.1829512
>>1828268 (OP)
Get 'free' out of your head.
Sign up for $9.99/yr GoDaddy domain.
Sign up for $6/mo Hostgator acct.
Follow super easy instructions on adding nameservers from Hostgator to GoDaddy.
Follow super easy Fantastico Deluxe in Hostgator to create Wordpress site.
Search Google for hundreds of thousands of amazing free photo themes (or pirate paid favorites).
Seriously, you can sign up for Flickr, 500px, all these other sites, but your SEO and ranking is going to go to shit, not to mention you'll just be another one of these fags on one of these sites.
Getting your own actual site instead of following the masses is going to professionally make you stand out 100x more.
It doesn't take much cost (two coffees a year and a coffee and a half a month in most places) to get it up and running, and Wordpress uses themes with the simplest of coding so even if you wanted to manipulate the shit you could learn how to in an afternoon if you've never seen code before.
>internet marketer, rank sites in Google for a living

rumor has it

Anonymous 01/15/13(Tue)15:15:35 UTC+10 No.1843291
rumor has it that B&W is best suited for emphasis of texture and shape, sepia is best suited for emphasis of lighting/shadow contrast and color is best for... well, whatever is made interesting by the presence of said colors. obviously they're not RULES, but generally followable guidelines at least.

Community content is available under CC-BY-SA unless otherwise noted.