Category Archives Guest Blogger

1Indrani Bowie
Photo by Jimmy King

On Being Discovered / Mentored by Icons
When I was a student, David Bowie phoned up, out of the blue. I’d just arrived back in NYC, exhausted from my commute from Princeton, in time to hear, “Some guy on the phone says he’s David Bowie.” A prank call, no doubt. Then, David’s charming voice: “I’ve been following your work for several years and I’m a fan.” I was shocked. Though I’d passionately pursued my photography for years, it was mainly published in underground magazines and I was majoring in cultural anthropology, uncertain of my direction in life.

Bowie became my mentor, launching both my careers: first as a photographer, with the album cover for “Heathen,” then a dozen years later, as a director for my first major music video for his “Valentine’s Day.”

Was it luck, divine intervention? Of course—as is every breath, every being we meet. It was also, without doubt, the result of years of experimentation, creating work that though overlooked by many, was worthy of being ‘discovered’ by an icon.

Indeed, my career was built on intensive collaborations and being discovered – not just by Bowie, but by fashion svengali Isabella Blow, who commissioned my first major fashion magazine covers; by mogul Iman who gave me my first book cover and ad campaigns; by Andy Warhol’s Interview editor Ingrid Sischy, who encouraged my digital experimentation. Later, as a director, I was discovered by fashion icon Daphne Guinness, who starred in my first short film, and by Hollywood producer Rick Schwartz (Black Swan, Gangs of New York) who produced my short film that won Best Film at the International Fashion Film Festival, among others.

These icons worked with the world’s most famous artists—why choose me, a shy, Indian, publicity-adverse nerd (early on) working with a former classical harpist Markus Klinko? It soon became clear that opportunities come with challenges that the usual experts can’t resolve.

Bowie’s first most daunting request: create a cover of the book he was art directing, “I am Iman.” You may ask, what could be easier than shooting Iman, a most extraordinary supermodel? Indeed, problem was, the book was a collection of the most stunning images taken over 3 decades by the world’s most famous photographers – and Bowie had rejected them all. For the cover, he wanted something stronger, more true to the incredible character and brilliance of his wife.

I turned to a discovery of my own: young stylist GK Reid, whose futuristic ideas, global explorations and original approaches inspired me. Together we raided comics, films and fashion archives, and studied Iman, creating a concept of part amazon warrior, part goddess, all woman. Working with Markus we created the images we dreamed of.

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Photo by Markus Klinko and Indrani Pal-Chaudhuri, creative direction by GK Reid

Pleased with the results, Bowie said we’d talk soon about his album. A year passed. Then a second unexpected call: David invited us to his studio and immersed us in his music. I was enthralled hearing him sing and being asked my thoughts as he was recording. Post-9/11 the mood was dark, we discussed ideas and his developing lyrics, and intriguing, layered views on the state of the world. Likewise, he studied the details of my images and my cutting-edge digital processes. Now he had a new challenge: “I love what you’re doing with these hyper-real colors and digital effects on these women. I’d like to see what you’d do with the opposite, black and white 20’s darkroom effects, on a man–on me.”

In our many discussions, life and death were always close at hand. Before the “Heathen” shoot, David referenced philosophers and artists from Neitzsche to Man Ray, relating to the fear of the death of God and of society as we knew it after 9/11. The character he portrayed was blind.

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Photo by Markus Klinko and Indrani Pal-Chaudhuri, creative direction by GK Reid

To me, a truly great portrait is an image that captures a glimpse of the divine spark that animates its subject. An artist, like a shaman, shares a slice of the connection they felt with the subject, a sliver of both souls, as it were. That’s why discovering and mentoring collaborators is key, to kindle new combinations of energies to inspire each other to creatively thrive.

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Photo by Markus Klinko and Indrani Pal-Chaudhuri, creative direction by GK Reid

A dozen years later, when I was a fledgling director wracked with doubt about whether to take time off from photography to fulfill my great passion for film, I was again at a pivotal juncture, when David called: “I’m sorry it’s been longer than I expected. I’ve been waiting for the right moment.” My short films had just begun winning awards. “I’d like you to direct my video, for my favorite song on the new album.” Markus and I again collaborated, GK creative directed.

Though Bowie wanted a stripped-down, simple video, to contrast all his previous works, for weeks we discussed ideas and experimented conceptually together. Our connection was more charged than before with a powerful intensity, exciting, awkward, playful, yet always channeled into the work. David was reserved yet caring, profoundly encouraging yet eager to push beyond my artistic comfort zone. And he let me push him, to perform with a fierce intensity, bringing to life a character so alien yet influentially traumatizing to our society today, from whose point of view he wrote the song: a mall shooter / terrorist / psychopath. He wanted us to try to understand the mind of such a man, to find solutions.

http://youtu.be/S4R8HTIgHUU

After that shoot, David and I had many discussions of future projects, game-changing disruptive ideas we developed together that would have blown everyone’s minds. But he kept postponing scheduling, saying he’d get back to me soon, when he would have more time.

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Photo by Markus Klinko and Indrani Pal-Chaudhuri, creative direction by GK Reid

The afternoon of his death, I was giving a lecture to a large audience at Photo16 in Zurich. As I shared my work and stories, I found myself strangely lingering on David and his incredible importance to my life. Each time we worked together, we pushed each other beyond our comfort zones, to take our ideas to their extremes, to challenge ourselves and everyone else to their maximum and beyond. I will miss so much the excitement of knowing he was always working away at thrilling new projects, that he would call me about when I’d least expect it. I will miss dropping everything to rush to work with him for days or weeks to develop together new visions. And I will be forever grateful for his encouragement of my creativity and belief in my potential, at critical junctures of my life when I was uncertain of my way.

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Photo by Markus Klinko and Indrani Pal-Chaudhuri, creative direction by GK Reid

You can see more of Indrani’s work at Indrani.com, and follow her on FacebookTwitter, LinkedIn, and Instagram.

me_seanberry

http://vimeo.com/152717969
Video by Matthew Rojas

My first week as the photographer for the Dallas Stars was one of the craziest weeks in my professional career. In the span of 5 days, I became a new photographer.

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This starts many weeks before the shoots with creative meetings. We were trying to figure out the new direction for the Dallas Stars for both the calendar which they hadn’t released the last couple of seasons because of lack of sales, and the media day photoshoot which they use for everything from billboards to programs to the commercial breaks during the broadcast of the games.

My creative direction for the calendar was easy. I knew exactly who the key demographic of this young and, according to my fiancee, “hot” team was. I had to make this team look sexy. The obvious answer there is something GQ. Let’s put these players in suits and the calendars will sell themselves. On top of that I had always wanted to do a Behind the Scenes of a movie set look. I pitched this idea to the Dallas Stars Foundation and they loved it immediately.

Over the next couple of weeks I built a set and gathered props to create the look for the calendar. In retrospect I wish I had hired a set designer because of the amount of time I put into building this set. Me being the hard headed control freak I am, I wanted full control of how this was going to look and I didn’t want any outside input.

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Sunday is day one of two for the calendar shoot for the Stars. For the calendar, each month would be either an individual or duo from the team and then the cover was to be a shot of the crowd favorites. The only problem with that was that these players were split up over the two days. I think no problem, I’ll just set up a monopod and lock it down so we can composite each player together into the one image.

This wouldn’t have been a problem, but the next day we were shooting the calendar was three days later on Wednesday. Somewhere in that time, someone came into the studio and moved parts of the set. I don’t work out of a typical studio. I share a studio space with 60 other creatives in Dallas called WELD. I love this place, it is amazing. But this is where communal studio space becomes a problem!

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Anyway, day one was a HUGE success and I couldn’t have been happier with how everything had gone. We had to wrap the shoot by 4pm because my crew and I had to be on a plane to Chicago for a two day photo shoot with Topgolf. We got into Chicago by midnight and into the hotel room by 1am, got a few hours of sleep and shot long, full days. That’s another story for another blog post though.

We flew back Wednesday morning at 6am to get back to the studio at 10am and started shooting the remainder of the calendar at 11am. THANK GOD we had everything set up and ready to go, because when we got back to the studio I think we all took a quick 30 minute power nap.

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The second day of the calendar shoot went by without a hitch (other than the moved set). I chose to not let it bother me and just suck it up and accept the fact that I would have a little bit more post ahead of me. We wrapped around 4pm and immediately had to break everything down and get it loaded up into the van for the media day shoot the next morning – at 5am. Ouch!

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My crew and I got up to the Dallas Stars training facility at 5am to start setting up. By this point, we had everything nailed down from multiple test shoots at the facility. I had everything mapped out, powers dialed in and we knocked out the set up in about an hour. The fun thing about media day is that I get roughly 5 minutes with each player in which I have to get 4-5 different looks.

I had three stations set up in which I would get at least two separate looks at each station by getting the player to face different directions and toggling lights on and off to give it a new look. The last station was the “action” station in which I would have the player skate at full speed and do a few different variations of shooting, stopping and skating.

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INSERT HUGE PROBLEM. With all of the tests I had done, I had never had a problem with my lens fogging over. And wouldn’t you know it, the first player skates up to have his picture taken and my lens is completely fogged over. AHHHHHHHHHHH!!!! DEAR GOD WHY!? Growing up in Texas, I have never had much experience with my lenses fogging over due to cold weather, so the first thing I do is stick the camera in my jacket to warm it up. This fixes it momentarily, but keeps fogging up every couple of minutes.

It ended up working out and I got images that myself and the Dallas Stars were both proud of. I know I wouldn’t have been able to knock out these shoots without the help and support of my amazing crew that week, and of course my fiancee who kept me from breaking out into tears on multiple occasions.

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You can see more of Sean’s work at SeanBerryPhotography.com, and follow him on Facebook, Twitter, and Instagram.

Meagan V Blazier

8 Tips For Getting The Most Out Of A Point And Shoot Camera

1. Read The Manual
This seems obvious, but the best way to get the most out of your point & shoot is to just READ THE MANUAL. This is the quickest way to get a general idea of all of your camera’s features and get familiar with settings and menu options.

Nowadays, with all the information on the Internet, it’s also likely there are some video tutorials on using your specific camera that I am certain would be useful.

2. Not All Point & Shoots Shoot Raw
Some models will shoot RAW. If yours does then without a doubt, shoot in RAW. Shooting in RAW will capture all the visual data (unlike a compressed JPG) and allow you far more control when it comes to post-processing.

If your camera does not shoot in RAW, then shoot in the highest quality JPG possible. Keep in mind that, when it comes time to do your post-processing work, JPGs cannot be pushed nearly as much as RAW images.

Pretty Winter-Meagan V Blazier

3. Get Familiar with the Settings
If you are new to photography, chances are you’re not familiar with the different shooting modes. Here’s an exercise you should do right away: take a series of shots of the same subject using the different modes and adjust the settings between shots.

For example, in aperture priority mode, change the aperture between shots so that you can see what difference the aperture can make on a shot with regarding the depth of field. Then learn how to use exposure compensation to underexpose or overexpose a shot, and take a series of shots adjusting this.

It’s often easier to understand the difference these settings make when you can actually see that difference.

You’ll learn many lessons this way. For example: because it can be difficult to get a narrow depth of field with a point & shoot camera, you’ll find it helps to use a long focal length, get close to your subject, AND use a large aperture.

Also, get familiar with some of the additional features such as the macro setting. I have found this setting to be very useful when shooting portraits close-ups.

Don’t limit yourself. The best way to get familiar with the camera is to try each setting and get a feel for how it works. This will help you get comfortable with the camera and help you to develop your own unique shooting style.

4. White Balance
Your camera’s white balance settings will affect the overall color tint of your images. If your camera has white balance settings, it will probably let you shift between daylight, shade, cloudy, tungsten, fluorescent, auto, and custom.

Either set your white balance to auto or to the correct lighting that you are shooting in so that your images don’t end up too yellow or blue. If, however, you inadvertently change the white balance to the wrong setting, don’t panic. It can be corrected in post-processing, especially if you’re shooting RAW.

Empty Shell- Meagan V Blazier

5. Learn the Basic Rules of Photography
Sure, rules are meant to be broken, but one that you can’t get away from is composition- learn it! Whether you are using an expensive DSLR or a simple point & shoot, practice composition. Get familiar with where to place subjects and how to fill the frame. Study the rule of thirds, leading lines, symmetry, repetition etc.

6. When to Use Your Flash
Most point & shoots have an on-camera flash that is pretty convenient, but knowing when to use it is crucial.

Generally, most would tell you never to use your pop-up flash and opt for natural lighting—and for the most part I cannot argue that theory. The problem with pop-up flashes (even on DSLRs) is that they can be harsh and unflattering. This is because they are pointed directly at your subject and on the same plane as the lens, providing harsh light.

On the other hand, there are some good uses for flash, such as using it as a fill light. If a scene has a high dynamic range with really bright areas and darker spots, then one of two things can happen 1) Either your highlights will be blown out and your shadows will be exposed correctly or 2) Your highlights will be exposed correctly and your shadows will be black.

Using your flash can help balance the light in the scene and give a more even exposure throughout. By exposing for the highlights, you can ensure that they will not be blown out. You can then use your flash as a “fill” to provide additional light and exposure the darker areas of the scene correctly.

I often make use of this technique when shooting property interiors to ensure windows are not blown out and the interior has a nice even exposure with no shadows—this gives me a good, even exposure of the complete scene.

Home Alone- Meagan V Blazier

7. Avoiding Flash When Natural Light Is Limited
Indirect, softer lighting is always better than harsh, direct lighting. When shooting an indoor portrait, try placing your subject near a window and use all the available natural, softer light that you can.

When natural light is limited, desk lamps, LED lights etc. make a great alternative. Just place them away from the camera and not too close to the subject for softer, more flattering light. You can also soften the light more by holding a white plastic bag in front of the light to diffuse it.

Winter on the farm-Meagan V Blazier

8. Zoom, Zoom, Zoom
The best thing about many point & shoot cameras is the zoom capability without needing additional lenses. The Canon PowerShot I use boasts 35x optical zoom. With patience and a steady hand, you can get some really awesome shots:

Don’t be afraid to experiment with the zoom. Go wide angle and low down for a more dramatic feel, put your camera on a tripod, use a slow shutter speed, and zoom the lens as you take the shot.

You can see more of Meagan’s work at MeaganVBlazier.com, and follow her on 500px, Instagram, Facebook, Twitter, and Pinterest.

   This article originally appeared as part of the 500px ISO blog.

titze
My name is Chris Titze and I’m a digital artist based in Fort Worth. I’m a mix between CGI artist and photographer. My background however is in retouching. I’ve also been honored as one of Lüerzer’s Archive’s “200 Best Digital Artist worldwide 2015/2016.

An Ode to Self-Initiated Work! (Or how I got to learn to love extra work)
I want to make my case on why Self-Initiated projects are important and why you need to start one today if you haven’t before.

This is especially true if you feel stuck in your line of photography or your book/portfolio feels dated, or you are totally burned out. A Self-Initiated project may just be what the doctor ordered. Every successful photographer I have met does one thing that the unsuccessful ones don’t. When they get into a rut, they start their own creative project. This is their cheat code to staying relevant.

Just to show that I’m acting on what I preach, below is my latest work-in-progress Self-Initiated project.
Having a Self-Initiated project in between paid work was a habit even before I became a freelancer. Even back when I was working full time at Crispin Porter + Bogusky, I had a project at hand to teach me a skill.

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As of now there is a lot work that needs to be done. The swarm of drones look menacing but the people still need to look more realistic, especially the clothing. I’m anticipating I should have this image done within a few weeks depending on client work. The goal is to blanket the sky with thousands of drones, which would be something that would not be feasible in real life. I was tempted to photograph the couple using photography but decided not to. Keeping it fully 3D has its advantages. I want to try turn this image into a stereo 3D image, so that way you can see this image in real 3D using either a VR headset or one of those cheap red/blue 3d glasses.

So why should you invest as a photographer the time and effort on Self-Initiated projects?

Let me outline 3 reasons why self initial projects are essential to your brand.

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I’ve been meaning to work on a race car image but wanted to introduce a little odd spin. The 3D mesh for the VW Bus has been provided by Jay Hardy who is a fantastic Blender artist.

1.) It shows your capabilities and shapes your direction
A client will only hire you for the work they believe you are capable of. In other words, if they don’t believe you can do it, they won’t hire you. The lack in your portfolio is validation that you can’t do it. Only a really gullible art buyer would gamble their career hiring someone that has no track record. Stop fooling yourself if you believe that your client is responsible for your artistic career direction. (Hint: they are not)

Only you are responsible for the direction in which your creative career goes.

So you think it’s a catch-22. You can’t get the work you want because no one hires you for that work you want. And since no one hires you for the work you want, you can’t get the work you want. The work you get from your clients begets more work, effectively cementing your direction in photography. For example, the person that shoots a lot of senior pictures will shoot more senior pictures since they become known for it. Even though they are dying to do some car photography. Self-Initiated projects allow you to break free from the cycle. Since you direct yourself, you are your own boss. The only catch is that you may have to sacrifice your time to make it happen.

I once had a chat with a photographer who was asking for marketing connecting to car brands despite not having a single car piece in their portfolio. It was self serving, since it came from a “Me First” mentality. I told him pretty much that no art buyer would gamble on a unproven photographer with no car experience. Their job is to find the best available photographer within their budget. In fact, their entire job function entails on filtering out misfit photographers.

I encouraged him instead to start with spec work or Self-Initiated work to get a body of work going before seeking out car brand. Unfortunately as with most advice, it went one ear in and the other ear out. Keep in mind, I’m not a cynic and I do believe in dreaming big. But you do need to take the dream and work towards it. After all, step by step gets you ahead.

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I created this image within days when Google Glass was announced. I think it’s still a very charming image.

2.) It sharpens your skills and future proofs you
As the former governor Arnold Schwarzenegger says, it takes “reps reps reps.” Meaning that only perfect practice will make the job easy. That way you have a good understanding of what the job entails, for example how to charge a project. Let’s say you are hired to photograph a bird’s eye view of a city. How do you know what to charge if you haven’t done a practice run? Do you know where to rent a helicopter and how much they charge? Do you know how much time the project would take in post? Self-Initiated projects helps you figure out the details.

If you get a job and you haven’t done it at least once, every minor mistake will trip you. Doing it for practice will help you. Do the hard things when they are easy, when nothing is on the line. The experience you gain through Self-Initiated projects carry over to your commercial projects.

With Self-Initiated projects, you can target the skills you want to learn for yourself. If you want to learn about drones, you can rent a drone and learn the ins and outs by using it. It will come in handy in that example above. Maybe a drone is all you need.

When Chase Jarvis went from waiting tables to becoming a sports photography giant, it was the “Create, share, sustain” mantra that took him there. Joel Grimes is a big believer in Self-Initiated work; that’s how he developed the Joel Grimes look. Austin Mann, a friend of mine, developed his initial travel photography portfolio while he was on mission trips. Which also teaches us that when you find a competitive advantage, you need to exploit it. Double down on the things that work.

Also, Self-Initiated work can future proof you. Do you really think a camera 20 years from now will look anything like they do now? Do you shoot photography the same you did five or ten years ago? The look of a DSLR is an anachronism of an old school film camera. There is a good reason why phones for example are not banana shaped anymore. Photography will become only weirder and muddier as times moves on, you will be doing stuff as a photographer that is technically not “photography.”

By doing Self-Initiated work, you can do projects today that the clients will request next year. For example, how much more successful would you be if you embraced Instagram when it just came out? How about Google+? Trey Ratcliff accelerated his photography career by embracing Google+. He dominated it when it came out. Do you embrace new social media? Are you on Periscope or Meerkat?

Don’t be the guy that claims to have 20 years of photography experience when in actuality they only have 1 year of experience repeated 20 times. You know that person that has been in business for decades but you can shoot circles around them. Instead be the guy who is touch with the ever moving world of photography.

Creating Self-Initiated projects allow you to be on the cutting edge.

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This image has been published in Luerzer’s Archive’s “200 Best Digital Artists Worldwide” and has been shared around the internet. It originated as a collaboration between Austin Mann and I. Playing with a welding gun is always really fun and really dangerous. It was awesome to see all the sparks flying. We even shot a behind-the-scenes video.

3.) Cool projects are great marketing tools

There is so many marketing opportunities when it comes to Self-Initiated work. You are essentially creating your own advertising for you own brand.

Creating your own brand as a photographer is important. You want to avoid to be seen as a technician, a button pusher. The more you are a technician, the more you are a commodity. Which is a service just like any other which can be substituted for a lower price. That’s why you want to build a brand. Being a technician is a race to the bottom since you are competing on price.

So how do you build a brand? This is a huge topic by itself but, Self-Initiated projects can help build your brand. If you want to build a brand I can recommend a few resources such Erik Almas’ “On aspects of image making,” or Joel Grimes’ “Becoming a Marketing Genius.”

Since you decide what to shoot, you have a chance to work with sexier topics whether they be better models or products. Let’s face it, working on a pharmaceutical product is not sexy, but working on Nike is. It’s not against the law to use Nike products for a Self-Initiated work as long you don’t claim you work for Nike. You just need to be honest on the scope of the work.

In other words you are only limited by your own imagination (and pocketbook).

Once you’ve created your passion projects, they are great fodder to feed the Marketing beast. Post it on Social Media, Create a post card campaign, create a signed poster for your prospects. There are so many ways use this content.

Here are some inspirations on how other photographers broke through by doing this. Some of them got millions of impressions, some of them launched carriers. Some even used it to sell themselves as product.

Here are a few of my favorite ways photographers used passion projects to enhance their brand.

  • Josh Rossi launched his career by asking influential Youtubers to join in their shenanigans in exchange of free photography. This gamble paid off in amazing work and large money offers.
  • Austin Mann used his spare time from mission work to build his travel portfolio. He is now very renowned for his travel photography work and iPhone photography.
  • Tim Tadder and Mike Campau DOMINATE Behance.net through their smart collaboration.
  • Chase Jarvis started out shooting photos of skiers as a hobby. He went from waiting tables to a sports photography powerhouse through his practice.

I could go on and on. There are sooo many examples.

So what are your thoughts? Did I inspire you to start a new passion project? Am I full of crap? You decide.

I’d love to hear from you. Also feel free to keep in touch.

You can see more of Chris’ work at ChrisTitzeImaging.com, and follow him on Facebook, Twitter, and Instagram.

bestof2015

Yesterday, we looked at our readers Top Five most-commented on guest blog posts. Today we’re going to celebrate 5 Guest Blog posts that totally rocked (and were totally under-rated), but didn’t get the comments (but they’re so good I felt they deserved special recognition). Here we go (in no particular order):

Corey Lack

If you ever felt that what was keeping you from making great images was equipment (or the lack thereof), you’ll definitely want to read Corey’s take on this. It’s a frank, refreshing look at a topic that a lot of folks struggle with. Very well written (and lots of great images). Here’s the link to his Guest Post.

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Courtney Dailey

Besides some wonderful images, Courtney delivered some straight up great business advice about licensing your images, and her no-nonsence advice on the business side of photography should be required reading for every new pro (or anybody who wants to go pro). Here’s the link to her Guest Post.

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Jacob Slaton

I love posts that challenge you, inspire you, push you, inform you, and still find a way to share some great images, and that’s why I love Jacob’s Guest Post. Really well done, and if you take the time to read it, you’ll be glad you did. Here’s the link to his post.

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Stacy Pearsall

Stacy is one of the most inspiring photographers out there today — not just because of her wonderful images, but her personal story, and the stories of the people’s lives she captured are both very special. Her project will tug at your heart strings, but it’s worth it. Here’s the link to her Guest Post.

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Leo Trevino!

It’s kind of a sad story, but it’s one that every photographer should read, for more reasons than one. He shared his heartbreaking story to help us, and how they persevered from a really bad situation is actually very inspiring. Make sure you read to the end – there’s some very good hard-earned advice there we all need to hear. Here’s a link to his Guest Post.

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My thanks to all my guest bloggers, and a special thanks to these five unsung heroes. I hope you’ll give them a look.

More to come on Friday in our “Best of the Blog in 2015.” :)

Best,

-Scott

bestof2015

Hi Gang: it’s my annual tradition to kick off the New Year with a quick look back at the most popular, and most commented-upon posts of 2015 here on my blog, and some of the fun stuff we shared during the past year.

This year, I’m doing it a little bit differently, and breaking it into categories (so it’s more than just a long list — but something you can explore), so let’s kick it off with the top 5 GUEST BLOGS of 2015.

Holding a sign.

NOTE: These were chosen based on the total number of comments garnered by their posts.

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Kevin Mullins

Kevin’s post was the #1 most commented-on guest post of the year, and when you read it (and see the images), you’ll know why. It’s the story of how he quit his job to become a wedding photographer, and a darn amazing one he is at that (he did the right thing). Very well written — beautiful images — and you’ll learn a lot from it. It has everything that makes a guest blog post great. You owe it to yourself to read it, even if you don’t shoot weddings.  Here’s the link to Kevin’s guest post.

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Kaylee Greer

Kaylee’s post about becoming a Dog Photographer, and how she works with dogs (I swear, she’s a dog whisperer), really enchanted readers (she had over 100 comments!), and people just love her (heck, we love her — you’ll be seeing a lot more of Kaylee at KelbyOne in 2016). Here’s the link to her guest post.

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Nick Fancher

With nearly 100 comments, Nick really resonated with the community here. He had such clever hot shoe flash techniques that we asked him back to expand on some of them. This is really useful, real world stuff, and he did a great job of showing you what he did, and how easy it was to pull off. Very useful, fun, and interesting. You’ll want to check it out. Here’s the link to his Guest Blog.

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Regina Pagles

I’ve been a fan of Regina’s work for years, and she’s been a guest blogger here before sharing her work, and this time she shared the entire process, including post production, for creating her amazing portraits. Of course, what makes Regina special as a photographer is more than just where she puts the light or how she does her post processing, but I think it’s awesome that she was willing to share those with us. Here’s the link to Regina’s Guest Post.

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David Molnar

David’s post is a bold, revealing, honest, intriguing, and just wonderful piece of work. There is so much to learn from his story. You’ll be shocked. Inspired. Motivated. Stunning. And it holds the power to change how you think about you, your career, and where you are on your photography journey. I’m so impressed with what David did. You will be, too. Here’s the link to David’s post.

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This is really good stuff
I hope today, at some point, you take the time to give these few articles a read. They are so good. Each one has it’s own bent, but they will make motivate you, make you laugh, inspire you, inform you, make you cry, make you rethink thinks, teach you new things, and I promise they will be worth your time.

Also, I want to thank these photographers, and all the Guest Bloggers who share their time and techniques here each year. It’s a lot of work, and they take it very seriously, and it shows. I’m very grateful (and I know my readers are, too).

Tomorrow, has some good stuff, too!
Today’s picks were based on how many commented. For Tomorrow’s “Best of the Blog” I’m picking five Guest Blog Posts that were underrated — great posts that, for whatever reason, didn’t get that many comments. If you got a lot out of these posts today, you’ll definitely want to check them out tomorrow.

Thanks for stopping today. :)

Best,

-Scott

 

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