THOUGHTS // For Work Or Art?

For the over 4½ years since I picked up a camera for real, I've struggled with the notion of going professional with photography. It's not the struggle to get started or know where to look for help, but simply to drop the freedom of casual, personal photography and create other people's photos instead of creating for myself.

And yet, to other people, it makes perfect sense and they wouldn't give up that kind of life. The notion of taking photos as your career, with varying work times, different locations, and the fact that you'll meet a tremendous amount of people along way is enticing, but it's not enough for me to pull the trigger.

Leica M9-P + 35mm Summicron

Leica M9-P + 35mm Summicron

Granted, I'm a terrible business person. I'm the kind of person who only likes to do work I'm interested in, coupled with the fact that I am truly horrible at managing anything beyond my own personal projects, means that it would be probably be difficult to get going, or even get going at all. Tyler said so, and I totally agree with him.

Priorities are vastly different for everyone. I actually still do a lot of photography at work. Product photography being the primary genre. I can include one of my major passions in my daily work without any stress, and it's different enough to my own photography that I don't get burnt out.

And that's where I think I draw the line. My work includes photography, pays me very well for the work I do, and at the end of the day I'm able to wander around the city on the weekends and do exactly what I want with my own photography without worrying about making rent.

Fujifilm X100s (23mm)

Fujifilm X100s (23mm)

I wonder though, will I ever be able to make the transition? I've been pushing back for the last 2-3 years, even while doing commissioned work here and there. Maybe photography is just too personal.

What are your thoughts on the matter? Is it your career, and would rather it wasn't, or do you love every second of it? Leave a comment.

Aperture Priority vs. Shutter Priority vs. Manual Mode | Which is Best?

We're going to take a closer look at the four main modes available on most cameras and discuss scenarios where each mode makes the most sense. Ready? Let's dive in!

You may have heard it from a friend, from a popular photographer on the social media outlet of your choice, or read it on a blog somewhere. Maybe it resonated with you and you found yourself rotating that dial on your camera or diving into your camera’s menu to switch things around. Maybe it scared you, confused you, and left you in the barren wastelands of photographic information overload. We’ve all been there…


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GEAR NEWS // CamsFormer Next Gen DSLR Tether,High Speed Trigger,PTZ

CamsFormer is the Next Generation of Wireless DSLR Camera Tethering, with High Speed Triggering, built in sensors, and Pan/Tilt/Zoom, in one.

By plugging CamsFormer into the USB port of your DSLR camera, you will be able to control your camera remotely using your smart phone, tablet, or computer.

Smartphone software control

Smartphone software control

CamsFormer gives a remote real-time live-view of a cameras view-finder, the ability to change the cameras settings, upload pictures from the camera, change focus, timelapse, bulb ramping, pan, tilt, or zoom the camera, all wirelessly from an app.

Its high speed triggering system uses the built in sensors to detect changes in light, laser, lightning, sound, or motion, to automatically trigger your camera within microseconds, helping to capture pictures that are almost impossible using your human reflexes.

Its the only photography device with a scripting language that lets you program it to do tasks on its own. For example program it to take 10 pictures, then pan the camera, change camera ISO to 200, take 5 more pictures, change shutter speed to 1/2 second, wait for evening, if light intensity is more than 128 then change shutter speed to 1/32, then take 7 pictures etc.


If you would like to know more get on over to their KICKSTARTER page HERE There is only about 9 Days to go.

EXHIBITION // Richard Avedon People National Portrait Gallery of Australia

Saturday 6 Dec 2014 to Sunday 15 Mar 2015

American photographer Richard Avedon (1923–2004) produced portrait photographs that defined the twentieth century. Richard Avedon People explores his iconic portrait making practice, which was distinctive for its honesty, candour and frankness.

image Charmaine Miller

image Charmaine Miller

One of the world’s great photographers, Avedon is best known for transforming fashion photography from the late 1940s onwards. The full breadth of Avedon’s renowned work is revealed in this stunning exhibition of 80 black and white photographs dating from 1949 to 2002. Avedon’s instantly recognisable iconic portraits of artists, celebrities, and countercultural leaders feature alongside his less familiar portraiture works that capture ordinary New Yorkers going about their daily lives, and the people of America’s West. With uncompromising rawness and tenderness, Avedon’s photographs capture the character of individuals extraordinary in their uniqueness and united in their shared experience of humanity. 

Richard Avedon People pays close attention to the dynamic relationship between the photographer and his sitters and focuses on Avedon’s portraits across social strata, particularly his interest in counter-culture. At the core of his artistic work was a profound concern with the emotional and social freedom of the individual in society. The exhibition reveals Avedon’s sensitivity of observation, empathy of identification and clear vision that characterise these portraits.

This exhibition is presented in partnership with The Richard Avedon Foundation, New York, and The National Portrait Gallery, Canberra.

Curated by Christopher Chapman

Souce (image Gene by Charmain Miller)(

INTERVIEW // Ed Templeton’s Wayward Cognitions.

Ed Templeton has a new book out. It’s called ‘Wayward Cognitions’ and it contains a selection of work carefully curated from his extensive, spiderweb-wreathed image archive. Ed doesn’t have Skype, so we rang him up on a real telephone and asked some questions about the new book, death, and Skype sex.

Hi Ed. How are you?

I’m feeling OK. The overbearing fear that I’m 42 and there’s not enough time left in my life to do what I want to do is pretty low today. I’m happy and a bit stressed, but that’s been my general state for most of my life. I think everyone I know is in that state too, so probably everybody is constantly stressed. That’s what happens when the gadgets invented to make our lives easier in fact allow us to pile more things onto our plate. I’m fine.

Your new book, Wayward Cognitions, must have been a bitch to put together. How long did it take to choose what you wanted to go in it, and how did you make those choices?

It wasn’t too bad of a bitch. The pain in the ass part was combing through the parts of my archive that aren’t digitally archived. But I didn’t have to comb too hard because I quickly filled the general page count I was shooting for, and after that it was just a matter of arrangement and sequencing. Some images were pushed out and others needed to be found and put in. It would have been nice and leisurely if Thomas Campbell the owner of Um Yeah Arts hadn’t submitted to the book to the distributor, DAP. Suddenly a deadline was placed on me, and I had to kick it into high gear. My June and July of 2014 was spent printing everything for the book, then scanning it and cleaning it, and laying it out. Soul crushing hours clicking away until your wrist is buzzing. I had been looking and playing with ideas for most of 2014, but the deadline really made me decide finally whet was in or out, because I barely had time to get all the practical work done before the deadline. As far as choosing went, I had a very loose idea of what I wanted, in my head I was looking for “weird” photos that were total misfits as to what I do with them. It would have probably have been a lot stranger if I stuck to that 100%, but I ended up putting some more conventional street photos in as well as the story I was telling developed.


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