tim_gruber
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Posts posted by tim_gruber
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Bill are we looking at the same images?!?!
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Hmm not sure If I agree with him on his notion that the only difference between fine art and photojournalism lies in composition? Photojournalism is strongly moment based something we don't see in his work. We get a sense of the destruction, but no emotional connection to the people who lost all they had.
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Without a Home<div>
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WWII Vet<div></div>
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Don't worry about your equipment. Know it well enough to the point you don't need to think about it and from there focus telling stories with images. Watch and anticipate for those moments that'll help you tell the story.
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Well first it doesn't start with your camera. Sure taking pictures everyday is exciting, but if you don't have a sincere interest in people and the curiousity of a child you're better off keeping photography as a hobby.
Secondly working part-time and freelance will leave you working hours that you'd normally be spending with friends and family. So consider that toll also.
Eventually you'll need a strong body of work. So look for events or people that interest you and go share their story. Building a strong body of work takes a lot of time so don't expect to shoot an event or two and have a portfolio. I'm still working on developing mine myself. Only show your best work. If you only have 8 really strong images so be it. Don't dilute things. Don't be tempted to include landscape type shots either. It's one of the most common mistakes hobbyists make trying to break into this field. Tailor your portfolio to the publication you're submitting it to and in the case of newspaper keep it human interest driven.
Then there's otherwise expenses like equipment. Are you able to transmit on location? A light kit? The list goes on and on.
Having said all that though it is one of most rewarding experiences to be a photojournalist. Your camera introduces you to worlds and people you otherwise would of never met and you have the honor of sharing their story with many others. Waking up in the morning and knowing you're going to spend the day doing what you love is amazing.<div>
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Two 1 series bodies. A 16-35 on one with a 580 attached just in case, but generally I like to work the avaliable light and a 70-200 on the other. Battery in my back pocket with a notepad and pen and I'm good to go. Some assignments I may wear a belt pack, but generally I like to only have on me what I absolutely need. So that usually means the bag and beltpack are back in the car.
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Mostly I use them during the ceremony. Most weddings here are catholic and very conservative. Having a photographer right at the front of the church snapping away would be in great distaste. A 70-200 also works nicely for portraits of the couple as a way to clean up otherwise cluttered backgrounds. I agree though if you want intimate work get in close. Once they notice that you're not looking for photos of them cheesing up for the camera they'll soon forget about you and you can go about the matter at hand.<div></div>
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I'm afraid trying to overpower sunlight with a battery operated flash or two won't have the power to achieve what you're hoping to do. You'll have to look at monolights for that kind of power. Alien Bees and White Lightings are probably the cheapest of the pack, while still getting you the results you're after. I use Alien Bees myself and use them for everything from strobing sports to on-location portraits. It's not the greatest build quality, but they get the job done and they're compact and light, which when you're always shooting in different locations you really being to value. Plus they're cheap enough that if I do ever break or drop one it doesn't take a whole lot to replace it.
Paul you may be interest in the Vagabond by Alien Bees. I use it for all my on location stuff and it's a true sine inverter.
Hope that helps.<div>
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Yep don't forget equipment replacement and rental costs into that forumla. And digital images really aren't cheaper. It's nothing more than a myth. For a good briefing on the subject feel free to devour this article:
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Jeff, you don't know any photographers who work that way?
Access is everything in photoj and documentary work. Without access you have nothing. Your subjects agree to let you into their lives. They give you a chance to share their story and give them a voice. Hence you're given the opportunity.
"It's unethical to ask them to do it again.
Why? What makes it unethical?"
It seems based on your question that it's not unethical to ask them to do it again? Am I correct in assuming that in the way you posed your question?
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Jeff it seems you may work under a different foundation of ethical standards than I.
Sure during the age of Rolleiflexes and the FSA work malipulation was almost a given. But as others have pointed out this is a new era where the press is looked at under an even closer scope. How many times do you hear people say you can't believe what you read in newspapers?
Remember it's their story not yours. You don't take photos you're given photos. Trust goes along way with both your subjects and your readers.
I attended the Missouri Photo Workshop this fall, which included a faculty made of a pulitzer winners, National Geographic photographers and editors and so on. The workshop is strongly rooted in documentary photography. No flash, etc. They preached strongly on only taking what you were given. If you miss it prepare yourself next time. Using shady ethics in today's age is a sure fire way to have a very short career. Do as you like, but I know it's a line I won't cross.
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If you miss it. That moment is forever gone. It's unethical to ask them to do it again. Spend more time with them and be prepared next time.
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Just a thing on the dust issue. I think it's overhyped by a lot of people. Can dust be a problem? Sure, but so can a slew of things. I'm also not shooting skies at f/22 looking for little specks to show up. My cameras frequent far dustier enviroments than a wedding. Think of documenting a fall grain harvest for a week and the dust my camera consumed. Did it survie? Yep. Have I cleaned my sensor since? Nope? In fact I haven't cleaned my sensor once. My point? Don't base your buying decisions on a what to me is a mute point. Look to the bigger picture.
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As metioned Alex from Magnum uses one, but it's not a Nikon it's an Olympus C-5050 Zoom. You can see the work here:
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Astronomy Night<div></div>
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Don't worry about being shy. The camera is a wonderful tool and allows you to meet people you otherwise probably would never come across. There's no secret or easy way to approach people just be yourself and be sincere. That resonates more strongly than anything and who knows you may walk home with a nice photo and maybe even a new friend.
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An interesting article and without a doubt some nice PR work by Kodak. Calling the 14n a street photographer's dream machine is a bit of a stretch. I'm not even sure if a studio photographer would call it his/her dream camera and that's where it seems more pratical. But the camera is only a tool after all and if it's working for him great.
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Hi Ralph,
To me I find five and six to be most photoj in nature. The others to me feel more like street work. You bring up an interesting point though about shooting in small towns. I live in a town with a population of 554. Very small, but when I go out to photograph I get litte resistance and everyone is great about it. In contrast when I go photograph on the streets of Minneapolis people seem more distant. I'm not sure if it's just cause people in a big enviroment become more leery of those in surrounding? Or is it just that I'm more comfortable working in my own enviroment? I'm not sure myself, but come to believe it's a little of both.
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Thanks for the feedback Allen. To just keep shooting and not worry about editing is probably the best thing. If I had the will power it'd be fun to not even edit the stuff for a good month or two after shooting. For me though that'd be like asking a fish to live without water.
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I'm in the process of trying to get my numerous piles of clutter in
order, which is a never ending battle for me. But anyways in the
process of organizing I've been going through my old photos. It's
both scary and thought provoking. In the process I've also found
images that spark my interest whereas in my first edit I passed them
by. I don't know what to make of it either, but it leaves me feeling
a little uneasy about how I'm going to view the stuff I'm shooting
today a few years from now. Is it normal to be embarressed by your
older work? Do any of you go back and look at your old work and ask
yourself what the hell was I thinking? I thought I was ok at editing
my stuff, but now I have my doubts. Any pointers on how I can make my
edits more tight and precise? Or is it just a case of waiting on time
and experience?
If you're interested this is the stuff that grabbed my eye tonight,
but who knows how long that will last.
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As others have already metioned skip Navy Pier unless you like that tourist trap thing. For a decent skyline shot head out to the Alder just beyond the Shedd. The view is great. I'm also not a fan of the Mag. Mile. Not much character and far to touristy for me. I had a much better time on the other side of the Chi River with the El running above the streets. Everything had a lot more character and not the sea of people you find walking down the mile. If it were me I'd just start walking. It's a great city to get lost in.
If you'd like you can see some of the stuff I shot there on my two visits at:
http://photo.timgruber.com/images/chinov/index.htm
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What stikes me the most is how the couch looks in almost perfect condition. It's as if this man has found a safe haven amongst a sea of choas. Despite all the devastation the photo has a calming effect on me.
Need professional/retired PJ help
in Street & Documentary
Posted
If you're going to give up after one simple reply than yes you're probably better off not
applying. The field is extremely competetive and like all of us you'll probably face recjection
somwhere along the way. It'll also take far more than 2-3 months to build a portfolio. I've
been working on it now for roughly 2 years and still consider my portfolio to be rather weak.
Good luck.