Category Archives Travel Photography

It’s #TravelTuesday, and I’m back again! Dave Williams here, and today, I’m going to summarise the implications of the biggest news worldwide right now, and the effect it’s having on travel and photography. It’s not exactly a fun topic, but it’s one we need to be aware of.

First, though, I implore the Americans reading to take heed of what DJI has recently released, relating to the news that the FAA has plans to require drones to have the equivalent of a transponder. You can read about it here and sign against the requirement here.

So, Coronavirus! If you hadn’t already done the background reading, it’s a virus not dissimilar to MERS and SARS. It can cause illnesses ranging from a mild cold to a severe, acute respiratory difficulty. It’s been causing problems since its discovery by doctors in December 2019 of the strain COVID-19. Now, on March 3rd, there are more than 87,000 confirmed cases worldwide.

It’s having an effect on our industry, with Peak Design sending out an e-mail just a couple of days ago warning of delays in shipping of their new travel tripod.

Let’s start with Apple. Issues with production caused by Coronavirus have led to Apple releasing a statement about this quarter’s revenue, with warnings suggesting a low. Manufacturing throughout China, which accounts for some 28% of global manufacturing output, has also hit a record low.

Over to Fujifilm, who closed production for a period. They are unable to confirm when they will be able to begin shipping the new X-T4, and are experiencing delays in the production of the X-T3 and X-T30 due to operating at a reduced level since re-opening.

Canon has announced that they are closing (or have closed) five factories because the supply chain has been so disrupted they simply don’t have the components available.

Nikon and Sony are also feeling the effects, along with everyone else who manufacturers in China. Despite many of these companies being Japanese, they outsource production to China for the vast majority of their ranges, aside from the exception of Sigma who are the only notable photographic company to manufacturer their entire range inside Japan.

Unfortunately, we don’t know what happens next. The re-opening of factories and restarting of production depends entirely on what happens with regard to containing COVID-19.

In terms of travel, that also depends on containment. I have plans to travel, but I’m watching very closely to see whether I actually can. We need to be aware of this—just aware, not in fear. Precautions are necessary to ensure our health, and to support the industry we love so dearly. We know there’s a lot of support for our industry and it demonstrates great resilience when it needs to, so let’s hope it gets to nothing more than a few late orders.

Much love
Dave

Hi folks! Dave Williams here, fresh from moving house for you on #TravelTuesday. A little advice before I go on…don’t move house! It’s so much hassle! I had no idea I own a whole holdall worth of tripods and more photography gear than I think I’ll ever need.

The whole move has put me out of action for about a week, with very minimal access to my laptop and camera, while I deal with packing, moving, and unpacking. It has put me in a strange position because this hasn’t happened for a long time, and now I’m finding myself wondering which project to pick back up or what new project to start. It’s from that thought that I lay down these words for you today.

Like any other professional industry, photography constantly demands that we demonstrate our A-game, and constantly evolve to meet the flux of the battlefield we work in. However, unlike any other professional industry, photography is also an art. As artists, we combine this with constant learning and development. This learning is the key to growth as a photographer.

To this end, not only should we constantly be furthering our skillset through personal projects, but also through education. This means we should be setting ourselves goals and attaining them. The end goal should be big, but the steps should be little. Here’s why: –

If we want to get from A to Z, we pass B, C, D, E, F, G, etc., all the way to Z. If we liken this to our goals, we should have an end goal of Z and many smaller goals all along the way. Every time we meet an objective, we feel the success and we’re fuelled from it to drive us onto the next one. It gives us many successes all the way through to our goal, and it also gives us the opportunity to re-evaluate the goals as we’re moving. The other huge positive is, counterintuitively, in the negatives. If we fall, we only fall back one step rather than falling the whole way back to point A, so it’s far easier to pick ourselves up, dust ourselves off, and push forward again.

Easy, right? So get your end goal in sight, plot your course, and meet your goals!

Much love
Dave

This is your invitation to grab one of the last two spots to join me and KelbyOne Instructor Mimo Meidany for an unforgettable four-day travel photography workshop — “Picture Perfect Prague.” Its old-world charm, architecture, soaring spires, and beautiful bridges make it a photographer’s paradise! First, watch this short video (below):

Tickets & Details

What: My “Picture Perfect Prague” Travel Photography Workshop
Instructors: Scott Kelby and Mimo Meidany
When: May 21-24, 2020
Where: The Hilton Prague Old Town
Price: $4,950 Per Person (includes 4 nights accommodations, breakfast each day, the night before dinner, parting luncheon, transportation to and from the daily location shoots, and the workshop itself).
Tickets: More details and tickets here (limited to 12 participants maximum — there are only two spots left!)

Don’t Miss Out!

All of my travel workshops have sold out in advance, and as of this morning, there’s only 2-spots left for this one. I hope one of those will be yours. Reserve your spot now, and we’ll see you in Prague this May.

Head to scottkelbyworkshops.com for tickets and lots more info.

Have a great weekend everybody!

I hope I run into you next week out in Vegas at the WPPI (Wedding and Portrait) show. I’ll be doing a book signing at the Rocky Nook booth on Thursday. Come on by and say hi.

Scott

Hi all! Dave Williams here on #TravelTuesday with a little insight for you, as usual. This week, I’ll take a little dive into stock photography.

There have been lots of reports lately, which is of no exception as these reports frequently come up, stating that photographers make very little from stock photography. Headlines quoting earnings as low as $0.01 are usually what hooks the readers in. But, is there actually money in it for us?

The simple answer is: yes. But, obviously, if we shoot and sell through an agency, such as Adobe Stock, Getty Images, Shutterstock etc., we give them their share. Or rather, they take their share!

A wreckage of a DC3 Dakota Skytrain of the US Navy, crashed on 24th November 1973 at Solheimasandur black sand beach in Iceland when it ran out of fuel, lying peacefully on the ice

The key to selling is to be found. I explain fully how to keyword an image in one of my KelbyOne classes, but doing this right and writing an appropriate caption will boost your sales and get you off to a good start.

When thinking about how much money we’ll make in stock photography, it’s important also to consider that once a photo is out there, it’s earning. It could be earning one $1,000 sale or 100 $10 sales, but in either case, it’s putting cash in our wallets.

What about all the negative press surrounding stock photography? The L.A. Times, for instance, reported this week that one photographer has sued Getty Images to the tune of $1,000,000,000.00 having been charged for use of her own photo, to which she, of course, retains copyright. The headline isn’t entirely accurate, as always, but the story remains similar. This is an extreme case, but not one that should perturb someone wishing to make some cash from their photography.

Let’s put it this way: –

If you’ve taken a photo and it has no exclusive usage rights attached, from a commissioned shoot for example, then why not get it on stock earning some money? Whatever amount it makes is more money than you had before you put it up there.

To make a living from stock photography, there’s a different approach. A library of thousands of relevant images needs to be available, which means scouring trending topics and working out what the market is missing, then going out and shooting to fill that gap. Daily! But, should all these bad press examples that float around the internet be putting us off? Really? No, I don’t think they should.

What are your thoughts? Do you shoot stock? Would you like to, but there’s maybe something holding you back?

Whatever the reason, it’s worth a dive into the deep end to see the reality for yourself. Go sign up with an agency and see what residual income your photos can generate for you!

Much love

Dave

I’m Dave Williams, here for #TravelTuesday at ScottKelby.com as always, and let me start by saying that right now I have zero trips booked! Zero! This is unusual for me, but I’ve got a lot going on with a new writing gig over at DIYPhotography, and I’m moving house this month. This is not good for me—I’m feeling very apprehensive and need to get a trip booked soon, so if anyone has any ideas of where I should go next, drop it in the comments!

This week, I want to address a subject which is very important in making our images stand out, and one which unfortunately seems to take a back seat. Depth! Giving our images the third dimension is very beneficial in keeping the viewer’s eyes on our image just a little longer. Considering a foreground, middle ground, and background is the simplest way to bring the third dimension to life, but there are some techniques that can help us do this. Lucky for you, I’ve slimmed it down into five steps! Let’s go!

Use Perspective

If we have different elements of a scene that provide perspective, we create a sense of depth. Converging lines do this very well. Converging lines draw our eyes through a subject, perhaps to another subject, and eventually end at the horizon.

The lines of the roofs and floors of the cabins in the foreground, on either side, extend to the background and converge. They converge on the centre cabin, but could just as easily converge on the horizon and do the same job.

Use Leading Lines

Similarly to using converging lines, we can use leading lines to convey depth in a scene with fantastic results. A simple way to do this is to use a wide-angle lens, but any lens will work fine if we’re considerate about what we’re doing. The lines don’t even need to be obvious—they can be subliminal or subconscious and work great.

Everything in this shot leads the eye to the jagged stack in the sea—all the lines, the clouds, and even my gaze. Yes, it’s a selfie.

Go Aerial

Aerial shots add depth through both perspective and atmosphere. Incorporating atmospheric conditions into our shot helps convey a sense of depth and dimension.

If we reinforce our aerial perspective through the use of another one or more techniques from this list, we are onto a winner.

Shoot Through Something

By literally adding another layer to our image we add a sense of depth. We can do this by using a part of the environment as a frame, or by selecting something like a plant to shoot through, focussing on either element to create the depth.

Consideration should be given to which element deserves focus. As you can see here, when I shot this grass on top of a Norwegian fjord, I decided it deserved the attention whilst the enormous depth of the background adds an enigmatic quality.

Isolate the Subject

By using depth of field to isolate our subject, we inherently create depth through bokeh. The blurred background helps to separate the subject from the background.

This Hairy Highland Cow was shot at f/2.8, which is a decent, wide aperture and lends itself to this kind of bokehed background.

How’s that for quick-fire education on a Tuesday!? I hope something in there was useful for you. But, seriously, I don’t have any trips booked! If you think of something, shout at me on my Insta. I’m feeling very tripophobic right now.

Define: Tripophobia [ trip-uhfoh-bee-uh ]

  1. (n) The fear of not having any trips booked.

Much Love
Dave

Hi all, Dave here, and if you didn’t notice already, it’s #TravelTuesday! And, that means I’m here for the weekly takeover on ScottKelby.com.

Today, I wanted to share an update with you from the world of mirrorless, and it was prompted by this: –

CIPA (Camera & Imaging Products Association) reported 2019 to be the worst year of the past decade for camera sales and shipping. Japanese camera companies reported 24% fewer cameras sold versus 2018. An interesting part of the report is this: –

DSLR sales dropped 33.6%, with a loss in value of 27.5%, whereas mirrorless sales only dropped 10%, with an increase in value of 5.6%.

The key point is that mirrorless cameras made the manufacturers, as a whole, an extra 5.6%. Plenty of camera and tech blogs have reported on mirrorless, with a huge range of views being put out there. Some say DSLR is here to stay, and others report that mirrorless is the future. But why are sales at a 10-year low? Are we just not sure where to put our money right now? And, if not, why not?

This video is my favourite explanation of the DSLR versus mirrorless situation, put out in September by Jared Polin. In it Jared, AKA FroKnowsPhoto, makes a comparison of what happened to film cameras when DSLR launched, and predicts the same in this case. But what is actually happening with mirrorless now that it has settled down?

All the big players, namely Canon, Nikon, and Sony, have released pro and consumer versions of their first mirrorless cameras now, and the market has had a while to get used to the idea of what’s happening. Lens companies, such as Tamron, Sigma, and Zeiss have been able to properly assess the lens mounts on these new cameras.

One thing mirrorless makes easier for us all is the ability to switch. The Nikon vs Canon vs Sony warriors are out there, true to their brand, but let me very quickly explain my take on this. Basically, your allegiance lies with the brand you first chose to invest in. Rarely do people switch brands and the reason is simple: it’s too expensive! If the first camera you invested in was Canon, you’re likely to stick with Canon because you invested in glass that goes on a Canon camera. The camera itself can be upgraded once in a while, but nobody can really afford to switch their camera and their lenses to another brand, and therefore we join in the argument of “my Sony is better than your Nikon,” simply because that’s the camera we own. Get it? So, back on point. When we switch from DSLR to mirrorless we are now looking at news lenses to work natively with the new camera, unless we’re happy to have an adaptor until the end of time to retrofit our DLSR lenses. Upgrading to mirrorless is an opportunity to explore other brands, seeing as we’ll end up having to spend that cash anyway. But who’s out there and what are they doing?

Just a mirrorless camera doing its thing…

Leaks are doing the rounds right now that Canon will be launching the EOS R5/R6/RX/RS, Nikon will be launching the Z8 and Z9, Sony will be launching the A5 and A7S III, and Fuji, Olympus, and Panasonic all also have new gear coming for us to get our mitts on. With having their other products out in the real world for some time now, let’s hope we’ll see some real advances in tech, as well as simply uprated megapixels.

Personally, I just hope Nikon has addressed the issue of having a sensor bare and exposed to the elements when chaining lenses, or I’ll be switching brands for sure. I have my eye on Sony right now, and I know Glyn Dewis made a successful switch to Sony already.

Conversely to expectations, and perhaps to hold a little nostalgia for now, there are leaked reports of a new Nikon DSLR to hit the market—the D6. Perhaps it’s a clue to the future of DSLR, though. The Nikon F6 is the last film SLR made (which is still in production), so will the D6 be the last DSLR off the line? We’ll see—that’s pure speculation on my part based on the model number!

With mirrorless clearly being marked up as the future of our industry, we just need to get ourselves used to electronic viewfinders and we’re more or less onto a winner.

Feel free to throw your thoughts into the comments here, or reach out to me if you still just don’t know!

Much love
Dave

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