My day off led to a 6.5 hr photo jaunt around San Francisco. I'm exhausted, but it was great to have some concentrated photo time. It's been way too long.

I would love to see something like this actually work -

I'm pretty skeptical about this specific project, although I'll be keenly keeping an eye out on it. One of these projects will end up pulling it off eventually...

I'm shooting my first project in a format different than 3:2 and man does it make a major difference. I'd definitely suggest experimenting with different formats as that small change presents brand new opportunities & challenges.

@masklayer I think the differences would be subtle but potentially noticeable.

@david I 100% think photos like that needed to be taken. I’m under no delusions that my photos are even remotely close to that level of importance.

@entuall I’m just really hesitant to go through a review process with someone who is a bad fit for whatever reason. The only thing worse than no advice is bad advice.

@entuall Yeah, time helps, but I still vacillate on older photos. I definitely think it’s time for an outside point of view. Finding that person is so difficult though. I don’t run in photography circles, so I can’t do peer review. I may reach out to some folks I respect and see if anyone is willing to work with me.

@gregcarrick Thanks for the reply - that's super interesting! And man, I haven't personally run into the situation of photographing death. That's on a whole other level.

Out of curiosity, is your decision to not photograph bodies a personal one or is it a directive? That would definitely be over my own-defined "line".

Man, evaluating your own work - especially within the context of a a project - is so tremendously difficult. I look at the same photos and come to different conclusions based on the day, the mood, etc.

The challenge never ceases to amaze/overwhelm me.

@Wraptile Example: I’ve listened to conversations where people wax about high ISO performance... When they shoot almost exclusively at 100 ISO.

@Wraptile In theory, I agree. In reality, I have observed the utmost majority that it has become a crutch.

@david Yeah, I think about that a lot. You don’t have to publish everything you photograph. But the fact of the matter is that it still exists and maybe it shouldn’t.

This seems like one of those subjects that doesn’t have a right answer. We all just need to come up with our own code that we feel comfortable with.

Also, separate subject - given today’s announcements, may I gently remind us all that the camera(s) we have are almost certainly capable of doing everything (and more) than we need of them.

We, the photographer, are the bottleneck. We may all need to remind ourselves of that.

@pjonori The dilemma I have is that a lot of great photos (the ones that gut punch you) are often great in part because they live in this ethical gray-area. They’re not the sort of thing that’s often photographed because of the social discomfort.

That in no way sways me to take those photos - we all need to have a code and be able to stand by the rationale of our output - but I’d like to peer into the decision-making process when great photographers are going put in front of that situation.

I would love, love, love to hear from documentary/journalistic/street photographers on the subject of code/ethics. I think all three would have different answers - but I’d be curious what their respective “line” is.

I run into this dilemma *at least* a couple times whenever I’m out shooting. I see something that would be a major shot and I just won’t take it due to an ambiguous “line” I’ve drawn for myself.

I meant to post this a while back, but this one of the only lucid opinions I've heard from the whole mirrorless camera reveals.

Nearly every camera on the market is remarkably great in terms of technological feat. The technology isn't limiting you. No excuses, just go out and shoot.

P.J. Onori boosted

Twelve up-and-coming photographers from Africa, Latin America and the United States are featured this month at Photoville, the temporary village of galleries in converted shipping containers underneath the Brooklyn Bridge.

One small conclusion I’ve come to as I’ve begun to write about photography:

Write in the Winter. Take advantage of the light you have in the Summer and plop yourself in front of a keyboard when the option to shoot no longer is available.

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