Lenses (of knowledge? jk)

That "amazing thing" about dSLRs that sets them apart from your point-and-shoot cameras is the fact that they use interchangable lenses. Photography is basically the science of optics, and thus, a good lens on a semi-decent camera can take a better picture than a horrible lens on an amazing camera. 


However, as I experienced first-hand, the type of lens on the camera is rather important... :P

Taken from my cell phone, macro setting

Taken from a Nikon D300 with an 18-135mm lens

Lens info: http://gizmodo.com/#!5331109/the-3-dslr-lenses-you-need-and-2-more-youll-crave

Moolah

My mentor Eric highly emphasized the business aspect of photography. Likewise, through various blog posts, photojournalist Mark M. Hancock (.blogspot.com) again emphasizes the important of business skills, as well as discusses the logistics of a photojournalist's income.

Articles: Negotiate A Good Staff Deal - Fixed Costs, Negotiate A Good Staff Deal - Variable Costs, Transition from Staff to Freelance

Hancock reminds his blog visitors that photojournalism is not a well-paying field. Photojournalists choose this job to follow their passion, their art, and they (should) find joy in their work, despite the income. Thus, Hancock offers his description and advice on how to secure enough money to get by.


One thing I can't stop thinking about is just how... expensive photography can be. Buying equipment, updating equipment, it's almost cruel -- a photographer practically has to shell out so much cash to work. While photographers do get to use company equipment, Hancock emphasizes the importance of one's own tools that one can carry and add to throughout life. Thus, Hancock says that even early on, when photographer does happen to have a staff job at a corporation, it's fundamental to save up money for equipment. It almost feels counter-intuitive to me, yet the logic makes sense. 


Photojournalists basically have two career variations: steady-income jobs with a business, or freelance work. Another interesting tidbit is that Hancock urges photojournalists to negotiate for contracts with good benefits and if necessary, lower income than a contract with a higher income without benefits. Meanwhile, even at staff jobs, photojournalists still rack up bills for their work, such as travel fees, repairs, etc. and those costs come out of their own pocket. 


It's daunting for me to imagine willingly subjecting myself to a life without stability -- what can I say, I'm a control freak. Yet to me, if someone feels so much passion about something that they're willing to, that's the bravest and more admirable thing in the world.

Aperture, Shutter Speed, Exposure

So I played with my camera today! Exposure is defined as "the total amount of light allowed to fall on a photographic medium during the process of taking a photograph." My mentor, Eric, had previously instructed me about how three characteristics combine to create light effects. I set the ISO, the measurement of the camera's sensitivity to light, on auto and messed around with aperture, the amount of light through the lens (aka how wide the lens opens) and with the shutter speed (how quickly the lens opens and closes). 

low shutter speed + high aperture = underexposure

balanced aperture and shutter speed

high shutter speed + high aperture = overexposure

insanely low shutter speed + high aperture = underexposure

low shutter speed + insanely high aperture = overexposure

 With a constant ISO, the effects of aperture and shutter speed on exposure depended on their relative degrees. The main difference between aperture and shutter speed, which would be the function of shutter speed to capture movement is not necessarily related to exposure: it's another effect and consideration. However, for my purposes, I was not working with motion shots.