“Everybody makes awful photos. Editing is just as important, if not more important than the process of shooting. When you shoot, you should take risks, remain open to new experiences, and try new techniques. And when you edit, you must look at what worked and what failed, eliminate redundant photos and adjust your approach for next time. Only by consciously recognizing both your successes and your failures can you grow as a photographer. It’s always hard to toss out 95% of your work, but you have to cut out the junk so that the rest can shine.”—Guest Blog: Poor Editing is Ruining Concert Photography - The Photoletariat
Gotta agree with this chap. I find that unless it’s a festival with loads of variety, you only need a handful of complementary photos to best document a concert.
This is very true. “Minimum photo” counts set by online editors are often behind pushing this too, however I find festivals to be the worst offenders for failure to cull. A website I worked for recently ran nearly 400 photos from one festival, which amounted to 16 pages of thumbnails. I looked at that figure alone and closed my browser.
“But isn’t part of photography about realizing the exotic within your own life and landscape, and recognizing the power and importance of it? When I get stuck, I tell myself, ‘Relax. It’s everywhere and everything. It’s all around you, and you just have to let it speak to you.’ It’s not about having to cross the great American West, or the deserts of China. You don’t have to do that. It’s right in front of your face; all you have to do is relax and breathe it in. Having said that, I have travelled quite a bit.”—SEESAW MAGAZINE: The Knights Move - In Conversation with Paul Graham (via lapuravidagallery)
“Extreme Focus (driven by Peter): Peter required that everyone be tasked with exactly one priority. He would refuse to discuss virtually anything else with you except what was currently assigned as your #1 initiative. Even our annual review forms in 2001 required each employee to identify their single most valuable contribution to the company.” (by Keith Rabois, former Executive Vice President of Paypal)”—Why did so many successful entrepreneurs and startups come out of PayPal? Answered by Insiders
“If anything is to be learnt from this movie, it’s that simplicity is beautiful, Sweden is beautiful, youth is beautiful, and that we can accomplish anything. But accomplishing stuff is much easier when you look good while riding your moped.”—See Like Me - A Swedish Love Story
“Here’s a random plug: I have the world’s nicest and most expensive point-and-shoot camera. It is a D700 with a lovely lens that I can’t describe because I don’t know anything about cameras. It says 1:1.8G on it, is that a thing? When my husband the camera hobbyist had cancer, towards the end, he realized that whatever camera he left me with for taking pics of our toddler was going to be the camera I used for the next 20 years or so. So he quietly upgraded the D70 for a D700, and set it up for me. I haven’t changed a single setting in nine months, and I take tons of truly gorgeous pictures, inside, outside, low light, sunlight, action, still, whatever. It doesn’t zoom but that hasn’t been a problem. I have no training or knowledge whatsoever, and I take amazing, artist-quality pictures. Seriously. I don’t even post-process. They magically come out looking like that.”—The Online Photographer: P.S., but not to “George”
“First, it is an invitation for unacquainted artists to directly engage this digital system of distribution instead of waiting for a stranger to appropriate their work into it with a cell phone.”—JOGGING (via Instapaper)
“In most elevators, at least in any built or installed since the early nineties, the door-close button doesn’t work. It is there mainly to make you think it works. (It does work if, say, a fireman needs to take control. But you need a key, and a fire, to do that.) Once you know this, it can be illuminating to watch people compulsively press the door-close button. That the door eventually closes reinforces their belief in the button’s power. It’s a little like prayer. Elevator design is rooted in deception—to disguise not only the bare fact of the box hanging by ropes but also the tethering of tenants to a system over which they have no command.”—Nick Paumgarten: Up and Then Down. (Told you so, everyone who has tried to convince me that our elevators’ door-close buttons did anything.) (via marco)
“We have to stop championing each ridiculous feat of overengineering and call it what it is. It’s not ‘future-proof’, because we can’t see the future. It’s not robust, it’s hard to read. Applying a generic solution to a single case isn’t good programming, it’s criminal overengineering because like it or not somebody, somewhere will pay for it.”—“Criminal Overengineering” (via cubicle17)
“In the 1960s and 1970s, the cinema kept up a steady supply of man-sized heroes: Paul Newman, Robert Redford, Steve McQueen, Sean Connery, Clint Eastwood, Jack Nicholson. In the 1980s, it provided human cartoons like Stallone and Schwarzenegger, and likeable everymen like Harrison Ford and Bruce Willis. Since the 1990s, it has favoured pretty boys (Brad Pitt, Johnny Depp, Leonardo DiCaprio), smiling scientologists (Tom Cruise) and more everymen (Tom Hanks, Denzel Washington). With the odd exception like George Clooney, the leading men are not pitched at grown-ups.”—HOW DID SPORT GET SO BIG? (via Instapaper)
“There needs to be originality. There needs to be pioneers. There needs to be something more than beautiful shots. There needs to be a human element. There needs to be a story.”—ross:ching » Running on Empty (via linasjustice)