Posts Tagged ‘Utah’

Long Lens Morning: Cascade Peak & Middle Provo River

Thursday, December 1st, 2011

Winter image of Cascade Peak and Middle Provo River by AdamBarkerPhotography

Banger morning. Middle Provo River. Cascade Peak.

The quick and dirty:
Perfect comp for a long lens shot with engaging elements from front to back of the frame. Think of your photographic frame in three-dimensional terms as a loaf of bread. Long lenses squish that loaf of bread, putting the back slice right up against the front slice. Additionally, this was shot at exactly 90 degrees to the sun, allowing me to utilize the Singh-Ray Filters LB warming polarizing filter to the fullest, deepening the sky, and giving the snowy peaks extra pop.

The What/When/Why/How: Question 4

Thursday, November 24th, 2011

Osguthorpe Barn in Early Winter, Park City, UT

I recently answered several interview questions for a photography student and one of their projects. Thought it might interest some of you readers out there. I’ll post several of these questions/answers in coming weeks. See previous interview questions here and here.

How do you see the market changing, in the past 5 years, as well as the upcoming 10 years?

This is a tough question to answer. I began my career in the digital era. I learned how to shoot on film, but really, the entirety of my experience as a business person in the photo industry has been in this digital era. I wasn’t around for the “golden days” of the photography industry where $30K creative fees weren’t uncommon for deep pocketed commercial clients and five-star imagery wasn’t a green box auto-mode click away.

It’s tough to predict what will occur in the next 10 years, but as we’ve already seen, I think multi-media will continue to play a larger role in making a living as a professional photographer. Competition will likely continue to increase, but an understanding of how to consistently product exceptional, unique imagery and how to do this in a way that is both attractive and affordable to clients will remain key.

As much as things change (and they certainly will continue to evolve in this industry), many things do stay the same. The small things will continue to make a big difference. Things like timely email/phone/image request response, personal outreach to existing and potential clients, timely updates on one’s latest and greatest work and an upbeat and likeable disposition will still be the one last pebble that tips the scales in your direction when it comes down to you and the next guy with equally appealing imagery.

One thing is always for sure with this industry—if you’re not moving forward, you are moving backwards. There is no neutral. You must be aware of what’s going, and you must adapt. There are so many photographers that have said this industry is dead, and that it will become harder and harder to make a living as a photographer. I disagree with this entirely. It may or may not become more difficult, but more than anything else, it will become different. Like I said, adapt, or fail.

Slalom Storytelling

Monday, September 12th, 2011

A collection of waterskiing images from AdamBarkerPhotography

Photographers (myself included) talk a lot about visual storytelling. Like it or not, with a camera in your hand, you are an author. The question is, what story are you telling?

Personal projects make for fantastic opportunities to work on any number of things from a photographic standpoint. I recently joined some friends at a private lake for a little slalom course action. Being an avid skier myself, I’ve had countless waterski shots floating around in my head for years. All I needed was some water to myself and a couple of skiers skilled enough to leave with me with juuuust enough confidence to shadow a buoy with them screaming by just feet from my head at 34 mph.

Ideally, your visual story will connect with those both familiar and unfamiliar with the subject matter. Those familiar might connect with it on an emotional level, and those unfamiliar with it might connect on a photographic level. The sign of a well told visual story is when one entirely unfamiliar with the subject matter walks away with a FEELING of familiarity. You give them all the pieces to the puzzle, and they put it together. If that doesn’t make sense, read it again. If it still doesn’t make sense, I’m either that brilliant, or that ignorant (very possible the latter!)

Does this smattering of images move you in any way? Is it because you love water skiing, or do you connect with it for some other reason? Or…do you not connect with it at all? Would love to hear from the collective.

Image Breakdown: Mountain Biking for Commercial Client

Tuesday, September 6th, 2011

Image breakdown of mountain biker at Deer Valley Resort, UT

Happy Tuesday! Perfect day for an image breakdown if I do say so myself. This image was shot during a commissioned shoot for Deer Valley Resort several weeks ago and serves as a pretty good template for a standard action/active lifestyle image designed for client promotional/collateral use. Sit back and have a read…

1. Focus! Focus in an image like this should always be on the eyes of the athlete. Tack sharp is key here in order give proper separation from the background. On this shot, I pre-selected my focus zone in camera and began tracking the athlete about 2 seconds before actually clicking the first frame, thus allowing my camera to grab proper focus before the athlete hit the sweet spot.

2. Blurred foreground serves two purposes– a) takes the viewer directly to the subject with the soft/sharp contrast and b) provides usable negative space for the client for copy, logos, etc.

3. More negative space for the client to work with. When shooting imagery for marketing collateral, it’s important to think beyond simple image dynamics. You have to keep client needs in mind. This is a frame filling image without filling every part of the frame.

4. Direction. The athlete is moving IN to the frame, keeping the viewer IN the frame. Were the athlete moving out of the frame, it would, in fact, take the viewer out of the frame. That’s the kind of tension we don’t want. We want people hanging out at our party. Keep them in the frame.

5. Blurred background. This helps to further draw the eye to the subject of the image and give that separation between subject and background (refer back to #1). This is achieved by shooting at a moderate focal length, coupled with a large aperture of f3.5. Additionally, note that we’ve given adequate space above the subject for logos, masthead or anything else the client sees fit to throw up there.

6. Fill light. It’s important to see faces in these images. Fill light can be achieved with flash or reflectors. I’m not much of flash guy, especially when moving light and fast. Given the light source (behind and to the right of the athlete), fill was crucial to capturing a complete image. This was accomplished with my assistant holding a reflector and following the athlete as he came around the banked corner. Requires a skilled assistant (thanks Nate!)


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