>>4507850 >>4507853 >Why are you a photographer? I got into it as a hobby after covid. It was between that and buying an FPV drone. I didn't really intend on making a business out of it but I currently have a small side gig doing stuff for friends and family or references. Weddings, engagements, bands, running races, etc. I'm shooting a wedding in the mountains of west Canada soon and really looking forward to content I'll get from it. I've almost made my money back from the gear I've bought over a few years. People are easily one of my favourite things to capture moments of. I really enjoy candid moments with any of the occasions I shoot as I'm able to capture the most raw human emotion in any situation without it feeling forced. Thanks for reading my blog
>Why are you a photographer? A friend bought a camera for taking pics of his car and then I did the same, but to also take pics of friends in general too. Then over time everyone faded away and now it's just me and my camera, nobody sees my photos but /p/ as this place is my sole place for interacting with other people. I feel lonely and hopeless these days.
Anyway, pic is one of my latest and I thought it had a PS1 game feel to it.
>>4507853 Very kino use of reflections and a strongly colored subject.
>>4507850 >Why are you a photographer? Because I have a camera... but everyone has a camera these days. Is everyone a photographer? I suppose so... although maybe simply having a camera is not enough to be a photographer. Does the average person think of themselves as a photographer when they hold up their phone to take a group picture of their friends? I doubt it. They're thinking of their friends, maybe reading the notification that's popped up and, sure, making sure everybody is in frame. The act of photography is so broad, taking place in so many different contexts (some even automated) that the term's significance is seemingly diluted. >Did you read the question correctly? Why are YOU a photographer? Stop answering a question that wasn't asked. Right, of course. Well, I got a little compact camera for Christmas in 2006 and it was brilliant for taking photos of my dog and all our adventures. I watched a lot of "films" in High School and in Year 11 I enrolled in the Visual Arts class at the Public High School I attended where there was still an old darkroom. I made some pinhole cameras and played around with developing film (on reflection, I WOEFULLY underutilized that opportunity). I wanted to leave school before getting my school certificate so I could enroll in the community college's media course and fast-track my way into "showbiz."
It was during that course I first had to use a "camera" camera, so I borrowed my brother's Canon DSLR. After completing that course, though, I started working and went to study other subjects at university and my interest in photography waned. During my time at university, though, I met a girl and I definitely leaned on being a "photographer" to seem more attractive. She ended up giving me her Uncle's old camera, a K10D. This was a milestone. I experimented a lot with that camera. It felt very addicting to be the "composer" of images. I could reference compositions I'd seen in movies or just make up my own. I did a lot of experimentation with intentional camera movement and slow shutter speed photography.
Since then, photography has been one of my hobbies, a creative outlet for my energies and an almost-endless source of fascination, entertainment and learning, from its history to the science that underpins its technology, the theory of its craft, its multiple applications and its legal ramifications.
Or; TL;DR: I'm a photographer because being a painter, while significantly more prestigious, requires much more skill and effort, and I prefer the path of least resistance.
>TQ 20-ish years ago, I was interested in making videos with the hopes of eventually making my own movie - but I moved away from my friends and lost my motivation to try it again. Though it ended up being a fun hobby that also gave me an excuse to build up equipment.
>>4508317 It got removed when the big hack happened about a year ago. The opinion on /g/ is that it either presented a further security issue or the new site devs have no idea how to fix it. The removal ended up being apocalyptic for gearfags since they can't bitch in /rpt/ anymore.
>>4508338 I honestly couldn't say, I'm not a web dev guy. But from what I understand, the entire site had been running on an extremely outdated version for a long time and it was only a matter of time before some exploit was used.
>>4508338 I think the exif thing was supposed to be temporary just in case there was a vector, the actual exploit for the hack was the PDF upload functionality on /tg/.
>>4508319 I used to like it to help get a better understanding of stuff like focal length, camera differences, exposure settings for a given scene, etc I've been very surprised how rarely I ever see anyone ask for information or details about a shot
>>4507850 I'm a photographer because about two years ago my mom called me and said "anon your dad and I are doing our swedish death cleaning!" and after me going wtf mom are you dying?? she explained they were getting rid of their old stuff now instead of waiting until they died and making me and my sister go through it all. so we had a nice phone chat where she asked me about stuff as she was going through it and she and my dad had a couple of camera bodies and few lenses from the 70s-80s. I said sure why not and got hooked even before my first roll when I realized one of the cameras still had film in it. went and got it developed and got back some photos my dad took maybe 5 or 6 years before I was born. been shooting ever since. part of it is the film aspect, part of it is the family aspect, part of it is that I realized after getting the cameras that there's a decade of my life where I have basically no pictures of me or anything I did or anyone I knew.
>>4508363 It's because there's been enough trolling and console war-tier arguments over it here that people tend to avoid it on instinct now. I'll still share mine whenever asked.
>>4507850 >Why are you a photographer? I always loved looking at things zoomed in and out. Got into photography from seeing other people's razor sharp pictures even when zoomed in and pixel peeping. That was what inspired me. Recently, I had developed an itch for vintage and retro feel photographs from watching Cowbow Bebop for some reason.
>>4508363 Same, I used it as a guide of what settings would work in certain situations. The negative side though was all the bitching about what camera you used.
>>4508385 Based, I'm the same. Nobody has asked as of yet though but maybe that's also because I haven't done anything really interesting that people can't already figure out.
>>4508393 >how did you get suhc a ghastly texture? She has goosebumps because she can feel anon's creeping eyes upon her, but he captured it with a Leica M P model (the P in IMGP0263) and a Leica lens so the sharpness shows the bumps
>>4507902 Thanks, man. I like the colors of your pic, too. Regarding your response to OP, the soul feeds on morale. When starved, despair follows. But when fed, you can feel it coursing in your blood, in your heart. Perhaps life would be easier with a heart of iron, but pain and struggle are what maketh man human. And I have seen that these things are worth the price. I pray you see the same.
>>4508374 I shot my first roll of film today with the Nikon my sister-in-law lent me while she's overseas. I went around town in the evening shooting street lights and such at f/1.4. It's a Nikon FM and it has a battery-powered meter, honestly pretty cool experience compared to shooting digital. >>4508514 Seems really interesting to me because of the abundance of rectangles. >>4508519 What's the history of this object?
>>4508656 I like the idea but not the execution, should've taken more time to think about it, your subject loses presence because of the tree behind it, maybe having the cart on more of an angle would've helped?
>>4508666 It was across a busy road and I wanted to show it in it's odd setting. I also liked the colour contrast between the red and green. Still, I appreciate the comment.
>>4508522 Thanks friend. I'm working on getting better by going to the gym, getting closer with co-workers and eventually getting back into dating once I'm over a disastrous relationship from last year (but I'm probably still months away from being ready, I still feel like shit).
That picture of the oil well is badass, I love it. Got an IG? I'll follow you if I'm not already.
>>4508585 >These I like it but I don't know about the crop. I was pretty limited by the focal and wall at my back, so it's the best I could do unfortunately. Sometimes the vibe is what matters most, as I'd rather get the photo than not at all.
>>4508738 Idk… I think I just cherry pick a couple of photos from a immense pack of photos that I’ve took. Every day I’ve took about 300 photos and ended up with about 7-10 that I’ve liked. From that, only one or two that I’ve really liked. Even so, it’s really far from photos that I admire from photographers.
>>4508740 I meant more about the overall look. I can do the composition, but my shadows always look ass. I think I just have no idea how to make shadows darker without them being overly crushed looking.
>>4508741 Lately, I’ve trying to expose in the camera for my highlights. I guess it’s the ETTR exposing technique or something like that. In the post production, I’ve turn the highlights almost all way down and the shadows all way up. Create a faded curve with contrast in the darker parts. In the color profile, I use the Modern 08, it gives a little more faded effect.
>>4508743 > I’ve trying to expose in the camera for my highlights. Same. Strange how despite using RAW, pulling down the shadows makes them look shit, but getting it right in camera at the time doesn't.
>>4508744 I normally adjust the dark tone in the exposure and bring the shadows almost all way up to get more information in the shadows. I think this way gets a little more moody and fluid, with a “washed away” vibe.
>>4508745 I'll try that out. Though to be specific, are you using shadows under the Tone Curve section like darks or are you adjusting shadows under the exposure section that is just above "blacks"? Assuming you're using Lightroom of course.
>>4508763 Im using shadows under the exposure, tha shadows slider.
>>4508758 Being honest, most of my images are 70/80% dark areas, so I don’t give so much attention to the highlights/whites. I just don’t like the pure white in some of them, so I turn down a bit. If there is a lighter area that is important, I adjust a little in the curves.
>>4508728 >I was pretty limited by the focal and wall at my back, so it's the best I could do unfortunately. Sometimes the vibe is what matters most, as I'd rather get the photo than not at all. Ah that's not what I meant, by all means take the photo. I like the vibe but I don't mind missing the asphalt in front or the black area above the building.
>>4508773 I see. I'm trying to get more comfortable with regular aspect ratios instead of cropping with social media in mind. Thanks for the example, it looks nice in 1:1
>>4508548 >What's the history of this object? It's a generic (though lovely) silver ounce round from Germania mint. The first of the three fates in Norse mythology. This is the second.
>>4509242 In this audaciously post-consumerist tableau, the abandoned shopping cart emerges not merely as an object, but as a trembling existential confession cast against the indifferent enormity of the sea. The violently artificial green of the cart performs a dialectical confrontation with the serene cerulean horizon, interrogating late-capitalist anxieties through the language of suburban decay. One cannot ignore the cart’s precarious diagonal posture—half entombed within the jagged limestone, half yearning toward the aquatic sublime—which evokes the eternal tension between commerce and oblivion. The artist’s fearless inclusion of the cracked seawall introduces a devastating meditation on the fragility of civic infrastructure, while the faint ripples in the water whisper of humanity’s futile attempt to impose order upon entropy itself. Particularly transcendent is the handle’s banal advertisement panel, whose garish mundanity functions as a neo-Duchampian assault on traditional notions of beauty. Altogether, the composition achieves an almost unbearable profundity, transforming what lesser minds might dismiss as “a cart someone threw near the ocean” into a haunting elegy for modern alienation, salted gently by irony and the faint scent of algae.