The Compelling Image

Capturing Interiors Like a Pro

Whether showcasing a restaurant or hotel, marketing a house or flat, photographing for an interior designer or simply taking pictures for your home decor blog, interior photography is playing an increasingly important role online and in print.  But today’s audience is sophisticated.  The bar is set high.  It takes a creative blend of camera craft, design and professionalism to catch the viewer’s eye these days.  So here are some tips on just how to do that.

Choose Your Kit:

Quick “snappies” with a smartphone just don’t cut it.  But stunning interior photography doesn’t mean an expensive “Flag Ship” camera and a multitude of lenses, either. interior photography However, you will need a few basics.  For starters, a wide angle lens in the 16mm – 24mm range will enable you to capture an expansive perspective from the corners of whatever space you’re working in. Slipping a 50mm or 55mm “Standard” lens into your bag is a good idea, too.  You’ll want to include close-ups of details in your layout, so this and even a macro lens for still finer details, will be definitely to your advantage.

Make a Plan:

Even before the camera is pulled from the bag, there are few important things to consider – like who is the client (not dismissing that it could be you, either)?  What is the end goal of the interior shoot?  What market is being aimed at? 

Keep in mind too that each client has his or her own set of requirements.  Say, for example, you’ll be photographing for an interior designer’s portfolio.  You will want to know exactly what kinds of images are needed.  Should you focus on decorative elements in the room or is it a particular ambience that is most important?  In which case “lighting” will play a major role.  You may even want to add decorative items to a room to create a certain atmosphere.  Carefully positioned cushions or a stack of magazines, for example, can bring much needed character to the overall interior scene.

Or let’s say it’s a restaurant shoot, whereby your aim would be to capture both atmosphere and decor details, along with people in the images.  The goal such approach, of course, being to entice customers to come and dine in a friendly or romantic surrounding.

Whenever appropriate too, try to tell a story through your images.  Focus on interesting details that make the place unique.  Involve people as models to create a congenial mood.  And reassess your styling.  Even the smallest of details can make a difference.

Take a Walk Around:

Now walk slowly through your project space, just to get its dimensions – its “personality” firmly in your creative mind.  Once you’ve done that, position yourself in a corner of the room, back firmly against the wall to gain the broadest perspective possible. interior photography Do the same from each corner and you’ll have a good overall feel for what the space has to offer.  Look at all the angles, the high and low vantage points to choose which will be best for the images you want to make.

Light is Everything:

As with all genres of photography, its all about light.  We’re familiar with this from outdoor scenes on a cloudy day.  They’re flat, dull and largely uninteresting.  Bring on warm afternoon sunlight and the scene is transformed.  It’s the same indoors.  In fact, it’s so important to interiors photography, that it’s almost a speciality field unto itself.

The main advice here is to always strive for soft lighting and an even balance of it – no extremely bright highlights and no deep, dark shadow areas.  Use the light available to you within the room – overhead lights, table and standing lamps, fireplaces and of course, natural window light filtering in during photography’s “golden hours” of early morning and late afternoon.  Spend time trying different combinations of lights in each area of the room to achieve the best overall effect.

Use a Tripod:

Professional interior photographers know that using a tripod is a “given.”  The result is sharp, clear and professional images – right down to the smallest detail.  One blurred photograph hurts both client and photographer.

Keeping things level is all important for impressive interior photos.  Avoid pointing the camera either up or down.  Perfectly level is just where it should be.  Once that’s done, be sure all vertical lines in your viewfinder are running straight up and down and not converging at the top and bottom of the frame.

A tripod with a spirit level will help you to keep the lines of features – doors, windows, bookcases, tables, etc. – parallel within the frame.  interior photography
If the lens is tilted slightly up or down, lines will be running diagonally, resulting in an unwanted distraction for the viewer.  That is, the interior will appear to be falling away or tipping towards the viewer, both of which will diminish the aesthetic and impact of your photo.  
A few other things to pay attention to include:

  • Ensuring that each of your interior views is set 90 degrees to the wall.
  • Your camera is at eye-level to produce more natural views.
  • Your photos maintain symmetry, which is generally more pleasing to the human eye.
  • A balance exists between the right and left sides of each frame.
  • That floors and ceilings are captured in equal proportions.
  • That head-on photographs allot equal amounts of space to each side of an interior feature (e.g. a fireplace).

Pay Attention to What’s in Focus:

Aperture is an important item in every interior photographer’s “tool kit.”  Depth-of-field can mean the difference between unwanted background clutter and an image whose background is reduced to a pleasant blur (i.e. “bokeh”).  If the background doesn’t add to an interior photo’s aesthetic, set a wide aperture (i.e.low f-stop number) to lessen its impact.  Alternatively, if you’re shooting a large space you might want a smaller aperture setting (i.e. high f-stop number) to insure that the whole scene is sharp from immediate foreground to its furtherest element.  And be sure to include thematically appropriate and sharply-in-focus foreground elements to create a sense of depth in your interior photographs.

To add a sense of “grandeur” to your interior images, try mounting a wide angle lens to your camera and photographing from a high vantage point in the corner of the room.  A staircase will work fine for this, so too will a step ladder that you’ve brought with you.  Just remember to keep your camera straight and to not crop out half the frame.

Post-Production:

Interior photography can benefit greatly from the post-production process.  Rarely is it that an interior image is captured in the exact way it was first envisioned by the photographer.  Step number one here is to make certain the composition is right to begin with, in order to eliminate the need for large amounts of vertical correction.  And, keep post-production alterations to a minimum – minimal cropping and just slight adjustments of contrast, highlights and shadows.

Interested in giving interiors photography a try – or improving what you already know of it?  Why not enroll on Joanna Maclennan’s, “Interior Photography,” four-lesson course at The Compelling Image – online school of photography.  You’ll receive excellent instruction, hands-on assignments and timely feedback from an internationally published photographer who has made interior photography here speciality.

Travel Photography Tips for Destinations Abroad

Advice for Capturing Moments that Tell YOUR Travel Story

  • Be a People Watcher  

Once you’ve developed skill to observe people, without direct stares, you’ll multiply your opportunities to capture candid moments.  Develop your ability to “people watch” by visiting popular locations, such as festivals, train stations, markets and the like.  Such places are the easiest to observe people on the move, without standing out as a voyeur.  These kinds of localities are great for getting the “hang” of people watching, without being obvious.  Travel Photography with Brenda TharpIt is here that you’ll become more focused to the nuances of gestures and body language and how they might bring “moments” and emotions to the photos you capture.

  • Become Invisible

Choose a spot and stay there.  Soon you’ll become “part of the furniture” and go unnoticed.  This is when the candid photos begin.  This technique requires time and patience for the situation to happen – and for you to capture telling and compelling photographs.  Not all locations are the same, of course.  If you’re one of three people at a sidewalk cafe, chances are your “invisibility” will take a while.  The more crowded and fluid the situation becomes, the better your chances are of capturing such images in shorter time.  Travel Photography with Brenda TharpTry to blend in with those around you.  Stay away from bright, flashy clothes and a big camera bag.  Be quiet and discreet.  One camera, one lens will do.  And be sure to have your camera / smartphone on the ready – on the chair next to you or in your hand and on your lap.  Your aim is to capture that peak “moment” of a situation you’ve had your eye on.

  • Be Focused

With camera autofocus systems being what they are today, there’s no one who can focus quicker, manually.  Let your camera doe the work and place all your attention to the scene and subject.Travel Photography with Brenda Tharp  Multi-focus points work well for capturing the subject at the peak moment of action, but if you’re using just one focal point centred in your viewfinder, don’t forget to recompose your shot before squeezing the shutter button.  Centred subjects are much less dynamic and interesting than those positioned slightly off-centre or moved to a “rule-of-thirds” location.

  • Anticipate What Will Happen Next

If you think about it, there is a range of activities wherein you can pretty much know just what will happen next.  Sporting events are like this, people shopping at an outdoor market, festival observances – just everyday life in general contains its share of interactions and unique moments of occurrence.

Travel Photography with Brenda Tharp

 

Watch carefully for a while, “learn” the game or situation and have your camera ready when the repeated action happens once again.  “Click”  You’ve captured it!

  • Divide Yourself for More

There’s a fine line between being part of a situation and simultaneously removed enough from it to anticipate moments and capture them at their peak.  If you are the centre of attention, you won’t be getting those moments.  Instead, another photographer might be capturing them of you!   So the aim is to be involved, but not to the point where all eyes are on you.  It’s a dance of sort, where you enter conversations and leave them again and where you learn just when to pull back to get the shot.  It takes practice and the more you do it, the more intuitive this “dance” becomes.

Travel Photography with Brenda Tharp

Whether you have travel plans for Europe, Asia – wherever in the world, the more comfortable and skilled you become with handling your camera and capturing “moments” with it, the more successful you will become as a “seasoned” travel photographer.  Get out and practice before you go – photographing in local parks, focusing on people talking, playing games. Go to markets and festivals where people are in a busy or festive mood. Be ready for the hand exchange of goods and payment and capture that “moment.”  The more you’ve done it on home turf, the sooner you’ll be applying your expertise with confidence – over there.

Better yet – why not enroll first on The Compelling Image online photography course – “Travel Photography with Brenda Tharp,” for a hands-on and interactive skill-building experience, before you go. The Compelling Image – the online photography school that will inspire and equip you to your very best – with a camera.

Ready for Rainy Day Photos

Rainy day walks aren’t for everyone.  Particularly if you’re a photographer, grey skies and wet, sloppy sidewalks aren’t something that spark the imagination.  Time to leave the camera at home – right?Rain_01

That’s, of course, one way to look at it.  But think back to when you were a kid.  Rainy days were full of opportunities – times for adventure and downright having fun!  So toggle back to that time again and give the creative photographer in you a wet-weather “go” at capturing something stunningly different.

There are a few precautions to be taken before splashing out, however.  Although many digital cameras these days are sealed against the elements and can withstand light amounts of moisture, they’re still not submersibles.  Some care should still be taken.  And some easy ways of doing this, include:

  • Carry an umbrella. Granted, holding something other than your camera is more of a hassle than anything else, but it’s a “basic” in terms of camera protection.  In a pinch, you’ll be happy you stuck a foldable one in a coat pocket or camera bag.

  • Rain_05Carry a raincoat. This seems obvious, but todays smaller system cameras (especially the mirrorless ones from Fuji, Sony, Olympus, etc.) stow nicely beneath the zipper.  When a photo opportunity presents itself, simply unzip and pull the raincoat a bit higher to provide a “canopy” for putting your camera to your eye and clicking off a few exposures.  A bit cumbersome, perhaps, but it’s simple and works.

  • Carry a raincoat for your camera.  There are many on the market these days, made specifically for cameras.  Camera protection is available in a variety of shapes and sizes, capable of covering not just the lens and camera, but attached flash, too.  If you don’t want to buy one, just stick a few medium-sized clear plastic bags and some large rubber bands in your bag.  Place the bag completely over your camera and secure the open end of the bag around the end of your lens with several twists of the rubber band (note that this does work best with lenses featuring internal focus).  A bit of work, of course, but you can still see and work the controls need to capture the shot you’re after.

  • Take shelter. Depending on where you are, you might be able to locate a store awning or some other overhang to stand under while you shoot.  Parking  garages work and even photographing from your parked car will give you the protection and maximum photo opportunity you need.

So now that your “covered,” what’s there to make pictures of?  Well, the possibilities are really quite endless.  Photography in the rain is a process of transformation.  Shooting in the rain produces dramatic atmospheric and softly romantic scenes.  It can render familiar landscapes completely unrecognisable, while bringing out a wide range of emotions from the people caught in it – from enthusiastic school children dashing through sidewalk puddles to pedestrians sporting exuberant smiles or even long, drippy faces.  Practically nothing remains untouched and unaffected in some way, by either a warm or not warm, rainy day.  And here are a few ideas to get you started:

  • Candids of people or animals playing in the rain or trying to protect themselves from it.

  • Reflections in puddles of water.

  • Plants and foliage adorned with beads of water.

  • The range of emotions displayed on people’s faces, in reaction to the rain.

  • Water flowing from roofs, pipes, drains.

  • People at work in the rain.

  • The rain itself on windows, car surfaces and pavements.

Rain_06

Rain_04

Fact is, rain can be surprisingly tricky to capture effectively and pleasingly in photos.  Here are some tips on just how to avoid those dull, grey rain images that so often make their appearance on your digital camera back:

  • Focal length.  Any focal length lens is appropriate for rainy day photography.  Just keep in mind that the longer your lens, the more compressed (i.e. narrower the depth-of-field) and magnified will be the effects you are attempting to capture.
  • Aperture.  Including the surrounding environment (“context”) typically enhances rainy day images.  To achieve this, choose a “standard” (i.e. 50mm lens) to wide angle focal length for a more “expansive” view of the scene.  Set your aperture at f/8 for starters, to capture the rain and its immediate surrounds, in relatively sharp focus.  Then if light level permits, stop down even further (e.g. f/11) to include greater detail from immediate foreground, clear to the furtherest horizon of your scene.
  • Shutter speed.  Shutter speed will be of major concern when photographing in the rain.  Beginning with the obvious – rain is a moving subject and it is moving much faster than it appears to be. So therein lies your creative choice.  You must decide just how you creatively with to portray it.  If you want to blur its motion in smooth, flowing style, use a slower speed.  A setting of 1/15th or 1/8th sec. will do the trick nicely, but be sure to either brace yourself firmly for the shot – or use a tripod, otherwise camera shake will result in a less than desirable capture.  If on the other hand your intent is to “freeze” rain drop action, you’ll need a fast shutter speed setting (e.g. 1/500th and higher) to create your expressive vision.
  • Backlighting.  Rain is more clearly defined when it is backlit. Try to find a suitable light source and photograph towards it.  Whether it be the sun peeking through the clouds or a streetlamp beaming down from above, such light sources enhance the action and appearance of rainfall.  Take care, however, photographing directly into such a light will cause overexposure, so the key is to move around to find the best angle to shoot from.
  • Flash.  Applying flash is often frowned on these days by photographers, but by turning down the power (e.g. by half or three-quarters) can result in a pleasant degree of “pop”and sparkle to raindrops in your scene.

 

So there you have it, a multitude of good reasons to keep your camera creatively at hand – even as the rain falls.

Want to learn more about just how good you can become as a photographer.  Why not explore with The Compelling Image, the many skills and genres that can take you there.  Stop by and check out our exciting lineup of photography classes online, taught interactively by our award-winning faculty of professional photographers and supportive, inspiring instructors.

Kennedy Space Center – In Black and White

The first time I entered NASA’s Vehicle Assembly Building at Kennedy Space Center, it was like diving down a magical rabbit hole for me. I was no less than completely star struck by it. The VAB VI The VAB, as it’s known, was cavernous – bigger than my eyes and mind could make sense of – historic, mysterious and visually very very captivating. How I came to even be at the Space Center is a story for another day’s post.

 

This starry night image of the transfer isle (below) was the first thing my mind’s eye saw as I stood in the gigantic transfer isle, awaiting our pass onward and upward to the roof over 500 feet above. The VAB VIII
I imagine the VAB to be Earth’s giant gateway to space. A bit like stepping into a time machine, entering one of the VAB’s giant doors is the pathway to escaping our earthly bonds and traveling among the stars.

The moment I first walked into the VAB, I was hooked and wanted to explore every inch of it and photograph it’s wonders. I wished to turn my lens to it and anything else that Kennedy Space Center would allow me to. I wanted to honor a place that, growing up as a child of the 60s in Florida, had been a big part of awing me with the wonders of humanity setting foot on the moon, the first views looking back at Earth from space, the wonders of our galaxy and beyond… Most of my earliest memories have to do with the space program. When I was offered an opportunity to return to Kennedy Space Center to photograph, I leapt without a moment’s hesitation. If I had stopped to think about it, I may have been wiser than to attempt what I did. When I finally realized how daunting a task I had jumped into, it was too late to stop; I was on a catwalk about 450 feet in the air trying to line up multiple angles and planes in my lens and work with completely crazy lighting.

It really was no small feat, for me anyway, to make the photographs I did in the time and circumstances I worked in. A place like Kennedy Space Center is about work, big work of overcoming laws of physics to send humans and machines into space. It’s not exactly set up to allow an artist to wander around contemplating angles, ideas, composition or waiting for the light to be right, the inspiration to strike. I had to work very quickly while my escorts kept me out of trouble spots – away from areas considered secret (that changed almost daily) – offered insect repellent for the thick clouds of giant mosquitoes, and braved the dirty depths and precarious heights of the VAB with me. I was given very generous access to the space center, by their standards, and for that I am very grateful. I did, however, have to work more like a photojournalist than a fine art photographer – in and out quickly – while trying to make fine art images. It was mind-blowing and exhausting for me much of the time, but that which does not kill us … you know how it goes. What a thrilling project and adventure I’ve had!

I’ll be working to post stories connected with and about creating the images at Kennedy Space Center over the next few weeks and months. The body of work that I’m making public right now can be seen on my main website http://www.memphisbarbree.com

If you would like to learn more about digital black and white photography, why not enroll on Memphis Barbree’s 4-lesson / 4-assignment online photography course: Digital Black and White Photography.

The Compelling Image is the internet’s premier online photography school, offering a range of online photography classes for beginners through advanced amateur photographers and aspiring pros.

In the Model’s Eye

Model and Fashion Photography.jpg

© Allana Wesley White

For writers, advice is usually to write about that which one is most familiar.  Photographers are frequently encouraged to focus on subjects they feel most passionate about.  So when The Compelling Image, amongst premier photography schools online, went in search of “That Person” to design and instruct a model and fashion photography course online, we considered all such advice and went straight to the source  – the modelling industry.  And it wasn’t long before we’d found just who we were looking for – Allana Wesley White, former top-model-turned-top-model photographer.

Allana Wesley White.jpg

Model and fashion photographer, Allana Wesley White

Canadian-born, Wesley White’s international modelling career spanned 12 years before she seriously picked up a camera and focused it on others in her field.  Based now in Miami, Florida, she uses the year-round warmth and light of this American coastal city to capture stunning fashion magazine covers and spreads, as well as exciting lifestyle images for major international magazines and advertising campaigns.

As anyone close to the business would agree, a start in modelling is more competitive today than ever before.  Not only must newcomers and mid-career models possess the current “Look” and talent, but be able to creatively present their abilities to those in a position to hire.  For this, a knock ’em dead “Book” to showcase just who they are and what they can bring to a particular fashion or advertising campaign, is vastly essential.

Allana has been there.  She knows the path to that all essential “foot in the door” with art directors, designers and busy editors-in-chiefs.  We questioned her recently on several important points crucial to the trade and this is what she said:

( TCI ) Having come yourself from a background as model, what advantages do you feel this has brought you as a photographer working with models in front of your own camera?

( AWW ) Photographers usually will not tell a model what he or she expects from the images and some don’t speak very much at all, so knowing that from my own experience, I am able to give them (aspiring models) tips and suggestions that they will use on every photo shoot.  It is worth the time to teach them these tricks and angles, as it really helps with newer models, and even more experienced models become better collaborators in creating the best images we can on the shoot.

( TCI ) What qualities / kinds of images should a model’s “Book” contain today that are in any way different from those when you were the model in pursuit of a “killer” portfolio?
model photography.jpg

© Allana Wesley White

( AWW ) I think the basic criteria for a model’s portfolio has stayed consistent, as it answers to the potential client’s needs when they are casting for the projects.  It varies by model type and market, so it is important for a model to know what they really look like and what market they are best suited for – and build their book accordingly.  As always, five strong images are better than twelve mediocre images. It is quality, not quantity.
Fashion and Modelling Photography.jpg

© Allana Wesley White

( TCI ) And finally, what advice would you offer an aspiring model wanting to present the strongest book possible?

( AWW It is so important to be yourself and not try to fit a mold or copy certain types of images.  Your first portfolio should truly represent what you look like and show your potential. Be your best self.  And tip two – be very careful about what you post on social media – it is not your portfolio and can scare away model scouts and agents if you go too far.  Just be yourself!

Amongst online photography schools, The Compelling Image is fortunate to have such a multi-perspective talent as Allana Wesley White on its international faculty of acclaimed photographers and educators.  To her online and interactive courses – Fashion and Model Photography and Photographing Children and Teens, Allana brings career-wide expertise and insight to her teaching that both equips and inspires students to produce the kinds of compelling portfolio images both models and the fashion world are eager for.

Portraits and Interiors: Vietnam – Captured by Professional Photographer and TCI Instructor Joanna Maclennan

I have recently come back from a month’s trip to Vietnam. I traveled with my husband and blog_photo01(1)3 year old daughter. I wasn’t sure how much time I would have to dedicate to my photography as I juggled between being a mother and a photographer ! As it happened my daughter with her blond curly hair opened a few doors for us and became herself a widely photographed subject !

Whilst I am travelblog_photo03(3)ing, along with shooting portraits, which we all love to do in other countries, I love to shoot Interiors, as a way of documenting every day life. There is beauty in just photographing what you see, without the need of styling. There is a certain privilege and intimacy of being allowed into people’s homes. It adds another dimension to the colourful and vibrant outside life and in this case of Vietnam.

Whilst we were trekking up and around Sa Pa and Bac Ha armed with a digital camera and my Hasselblad, the focus of this particular journey was to be able to spend some time meeting different ethnic groups and photographing the inside of their homes. In some cases, this was impossible as it was too dark, but armed with a tripod I was in many cases able to shoot, focusing on the kitchen in many instances. To me along with the portraits, again shot on film, give a little more depth to the story and lives of the Vietnamese people.blog_photo02(2)

Shooting Interiors does not always mean a well decorated house ready for a magazine but as I hope you can see from the photos, a way to document normal every day life.
To see more please feel free to visit my site : www.joannamaclennan.com

Professional photographer, Joanna Maclennan, teaches Interiors Photography online and interactively at The Compelling Image.

Hipstamatic? Just the Beginning!

Today, the brave, new digital world of iPhoneography reaches light-years beyond the first app – “Hipstamatic” – that most iPhone users have come to know. Thousands of down-loadable and affordable apps are now available to take iPhone photo-art to nearly endless levels and nuances of personal, visual expression.

image courtesy of student, Brigitte Bathgate

image courtesy of student, Brigitte Bathgate

iPhoneography: Advanced Expression is The Compelling Image’s newest course addition, designed to guide you through an amazing cornucopia of creative tools for the iPhoneographer who’s mastered the basics and is ready for more.

Join this advanced voyage with internationally-acclaimed iPhoneographer, Laura Peischl. Still places left for the November 7th maiden online and interactive start. And if you can’t make this one, new sessions of this exciting course start each and every Monday. Take your next creative step and SIGN UP NOW!

Economy Sampled – Through Portraiture

“How has the collapse of the economy affected your life?” This was the question put to passersby agreeing to sit for the camera of fine art photographer and TCI instructor, Gina Genis, at the Huntington Beach Art Center in Southern California.

Gina had each participant hand-write their personal story of financial frustration on a piece of paper and each was attached to its respective portrait, photographed against a red, white and blue background. Culmination of the project saw this collective work exhibited at the Center as an 11-foot by 19-foot (more than 3- by 9- meter) American Flag. The work recently earned Gina Orange County’s (California, U.S.A.) “Best Of” honors.

David Bathgate, TCI Founder, Off To Cover the Famine in the Horn of Africa

The goal is not to change your subjects, but for the subject to change the photographer.  ~Author Unknown

David Bathgate: Climate Change:Bangladesh

As I was preparing to wrap up our blog posts for August, I sent a few questions to David as usual. In his reply, he added a small note: “I’ll be leaving for Africa on 3 Sept. to cover the famine in the Horn of Africa for World Food Program and Doctors without Borders.”  That’s David.

His assignments have taken him all over, especially into Afghanistan, Bangladesh and a favorite of his, Istanbul.

David Bathgate: Sacred and Secular Istanbul

As David heads off to Africa, I will be heading off for an extended break to explore the world of iPhonegraphy so I thought this would be a perfect moment to publicly thank him for the opportunity it has been to work for him and his projects at TCI. David is an inspiration and mentor for many photographers. One of those, the superb GMB Akesh wrote a wonderful article about David on his blog which you can see here.

As David’s student, whenever I study his work, I am inspired by his respect and feeling for his subjects, his dedication to the art of photography and his deep passion for the craft. In short, I simply just love to look at his work.

David Bathgate: Afghanistan:Land, People

David’s respect for humanity, so clear in his images, extends to his interactions with those who work with him. No matter what I have suggested to him, David has always treated it with the utmost respect.

Surveying nearly the year spent here, I see that I have gained an immense amount of knowledge, many contacts, and a chance to write about other photographers and perhaps help to get a tad more exposure for them too. I especially want to mention Gina Genis who practically wrote two of my early posts. Thanks Gina.

On another note, as I was writing this post, I saw a new FaceBook post from Lisa Wiltse, one of TCI’s instructors stationed in New Zealand. She has posted a link to a very dramatic set of images shot for the Winter Games in NZ. I looked more closely and yep…shot with an iPhone. Amazing images.

I will be looking for news and stories from David’s assignment in Africa. Most of all I wish him safe journeys to and from Africa.

Information about all of TCI programs are found here.
Be sure to visit David Bathgate’s Website

Want Your Photography to Soar? Explore TCI Mentorships.

Sallie Kravetz: Birdmen of Mexico

What avid photographer has not had a moment when that pesky little voice inside says: “You know you’re well on your way, but you’ve got some questions, doubts, fears. Why not spend some time with someone who has already been there, done that. Wow! What could you accomplish then?”

Perhaps you want to know more about organizing that massive collection of images, exhibiting, marketing, entering and winning competitions, taking your fieldwork up a level or two, incorporating multimedia into your repertoire or working out details for a specific project. Whatever it might be, you have come to the right place. TCI is proud to announce the launch of our Mentorship Program in Photography .

David Bathgate / Corbis Images

According to David Bathgate, TCI’s Founder and Director, “The program is designed for keen amateurs and aspiring professionals who are passionate about their image-making and want to hone their craft and expand their vision. Whether the aim is publication, preparation for an exhibition, establishing that long-dreamed-of career or building a stronger, more impressive portfolio of work, mentorship can be an invaluable experience.”

The TCI plan follows in the ancient time-honored tradition of mentorship, but today all you have to do is activate the magic of the Internet, go to the TCI sign in and choose from a fine selection of photographers. Our mentors work throughout the world from Bangladesh, Rome, Lebanon, New Zealand, Germany, Washington D.C., Chicago, and California among others.  No problem. Now through Skype calls and the web, they all live wherever you do.

At your fingertips, you have access to their combined knowledge covering everything from fine art exhibiting to creating award-winning photojournalism stories, to photographing fashion, sports, adventure, as well as incorporating multimedia, video and more.  The common denominator for all of these seasoned professionals is experience, especially the experience of living and working as a photographer.

GMB Akesh

Your first step, before registering is to know your goals. What do you hope to accomplish for the duration of your tuition? What time frame do you need: 1, 3, or 6 months to accomplish it? Which of our photographers would most closely match your vision? Read their profiles and websites to get a sense of who they are and what their work is like.

Once selected, you and your mentor will establish a mentorship path during a Skype call. All then that will be left to do is to perform agreed upon assignments, receive feedback and critiques and keep on going.

Again from David: “For students wanting to work on particular projects, while having a professional guiding them as they go, this program is then the perfect choice.  It’s flexible, it’s one-on-one and provides a platform whereby students don’t need to feel ‘isolated’ in their venture and development as a photographer or video artist.”

A more in-depth description of the program is available here.
Mentorships start any time you and your mentor agree upon.

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