Good turnaround time
Feb 27th, 2010 by Ken Hagler

The frame counter reset on my Leica MP recent­ly broke, so I took it to Samy’s Cam­era, the store I bought it from. I was afraid they’d tell me I had to send it back to Leica for repair (the last time I dealt with Leica it took them six months to repair a dam­aged lens), but for­tu­nate­ly they told me it could be repaired in the store. To my sur­prise, it took only four days for them to fin­ish the work!

Aperture 3 finally works
Feb 14th, 2010 by Ken Hagler

Aper­ture 3 adds Faces, Places, and improved local adjust­ment.

After a long wait, Apple has released the next major update to its pro-class pho­to work­flow appli­ca­tion, Aper­ture 3. The new ver­sion boasts over 200 new fea­tures, includ­ing the addi­tion of the suc­cess­ful facial recog­ni­tion and geo­t­ag­ging fea­tures, Faces and Places, that were intro­duced with iPho­to ’09. Ver­sion 3 also adds edge-detecting adjust­ment brush­es for non-destructive local­ized edit­ing and touch-ups. Along with numer­ous UI and per­for­mance improve­ments, Aper­ture 3 adds full 64-bit sup­port on sup­port­ed sys­tems run­ning Snow Leop­ard.

Aper­ture has always had a focus on the work­flow of pro­fes­sion­al pho­tog­ra­phers, but Apple also mar­kets it for ama­teurs that want to move beyond the sim­plic­i­ty of iPho­to. Aper­ture 3 takes that even fur­ther, seem­ing­ly meld­ing more pow­er and advanced man­age­ment with the fea­tures and ease of use of iPho­to.

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[Ars Tech­ni­ca]

I’d been inter­est­ed in Aper­ture since ver­sion two as a replace­ment for iView Medi­aPro, which was bought out and aban­doned by Microsoft years ago. How­ev­er, ear­li­er ver­sions of Aper­ture couldn’t han­dle the very large files pro­duced by scan­ning 4×5 film (a slide pro­duces a file around 1.25 GB) and would crash if you tried to add one. That prob­lem has been fixed in ver­sion three–probably due to a com­bi­na­tion of 64-bit sup­port in Snow Leop­ard, and the fact that my Pho­to­shop sys­tem has 24 GB of RAM.

Photographer pay
May 21st, 2009 by Ken Hagler

From a mail­ing list for music pho­tog­ra­phers:

What do pho­tog­ra­phers make?
*Salary data is from Salaries list­ed are for full time work­ers with 5–8 years of expe­ri­ence and include any bonus­es or prof­it shar­ing.

Free­lance pho­tog­ra­ph­er — $35,728
Pho­to­jour­nal­ist — $37,403
News pho­tog­ra­ph­er — $43,001
Fash­ion pho­tog­ra­ph­er — $48,710
Sports pho­tog­ra­ph­er — $44,686

And peo­ple ask me why I don’t want to be a pro­fes­sion­al pho­tog­ra­ph­er…

The state of concert photography
Oct 25th, 2008 by Ken Hagler

Rock Pho­tog­ra­phy Is Fad­ing Fast. What has hap­pened to great rock con­cert pho­tog­ra­phy? Is it part of a bygone era, or has the music indus­try for­gone pho­tog­ra­phers due to con­trol issues? A mix of both, says Mark Paytress in Cre­ative Review’s arti­cle “Three Songs and Yer Out! The Dying Art of Gig Pho­tog­ra­phy” (reprint­ed from a recent issue of M mag­a­zine). The “three songs” refers to an industry-wide guide­line that pho­tog­ra­phers are allowed access to the artists only for the first three songs of a per­for­mance. The prac­tice start­ed as a cour­tesy to per­form­ers to keep dis­tract­ing flash bulbs to a min­i­mum. But then it worked its way around the scene and became the rule at most venues. Artists and their man­age­ment blame the venues for enforc­ing the rule, while the venues insist they’re just doing what they’re told by the man­age­ment. [Utne Read­er]

This arti­cle doesn’t tell the whole sto­ry. Those restric­tions cer­tain­ly exist, but you only encounter them once an artist has become suc­cess­ful enough to have “peo­ple” and play at venues with “secu­ri­ty.” If you stick to small­er venues such as (in Los Ange­les) the Hotel Café, Mol­ly Malone’s, and the Trou­ba­dour, you can still shoot through the entire show. Using a flash is dis­cour­aged or even banned at some of these small­er venues, but then flash­es going off in small venues are real­ly annoy­ing to every­one, and tend to pro­duce bad pic­tures besides.

This doesn’t help peo­ple who want to make a liv­ing as con­cert pho­tog­ra­phers, because there’s no mon­ey in shoot­ing the acts who play at these small­er venues. How­ev­er, any­one doing it as a hob­by will have plen­ty of oppor­tu­ni­ties, and all of those big suc­cess­ful artists who can’t be pho­tographed start out play­ing at small venues. (Well, except for the total­ly man­u­fac­tured idol singer types, but the only rea­son to pho­to­graph them is for mon­ey.)

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