PhotoGuru Sean Arbabi

My image on the cover of "Running on Empty"

2012-01-26T15:29:00.000-08:00

Finally received my copy of Running On Empty by ultramarathoner Marshall Ulrich- can't wait to read it.

For the cover, they used an image I captured of Marshall running in Death Valley National Park- a slow exposure with flash at dusk as the full moon rose over the sweltering California desert in mid July, temperatures well over 115°F. When I shot this image, Marshall was roughly 20-25 miles into his epic record-setting pace of running 151 miles in 33 hours.

I photographed Marshall three times running in the Badwater 146, an amazing ultramarathon race from the lowest point in the 48 states (-282 feet below sea level, Badwater, Death Valley National Park) to the highest point in the lower 48 (14,505 feet above sea level, Mt Whitney, Sequoia National Park). The race is run in mid-July when temperatures are at their hottest - the three years I covered the event, at 6pm, the start of the race, temperatures were recorded at 118°F, 121°F, and 126°F (note- temperatures are measured in shade or underground). I didn't think the human body was capable of completing a race like this, but a few dozen men and women proved it was possible.

The year I shot this image, Marshall had a near death experience mid way through the race, and in talking to him as we hiked up the last 12 mile section toward the summit of Mt. Whitney, he described some of the hallucinations he was having as in came in and out of reality. Most people think these athletes are out to kill themselves, but that is far from their goal - from my understanding, it's about pushing their own limits, and finding a peace in that challenge.

I got to know Marshall over the years, covering him again in a few adventure races such as the Eco-Challenge. I can truly say he's a kind, caring, humble person who's performed some of the most amazing feats of running by any human being - someone who should be a household name but isn't - at least not yet. This book covers the 52 days he ran across the United States - over 3000 miles, at the age of 57 - 52 days in a row that is- unbelievable.

Marshall live in Colorado and continues to run at the age of 62. If you are into running or just looking for a good read, check his book out: http://marshallulrich.com/runningonempty.htm

On a side note, another great running book to consider is Martin Dugard's To Be a Runner: http://www.martindugard.com/. I traveled with Marty around the world a number of times covering some adventure races- he wrote about the events and I photographed them. Another good guy as well as an experienced author.

Engadget Primed Article #2

2011-12-30T21:22:00.000-08:00

Just wrote another feature article for Engadget Primed entitled "What is Aperture and How Does it Affect My Photos?":

http://www.engadget.com/2011/12/27/engadget-primed-what-is-aperture-and-how-does-it-affect-my-pho/#disqus_thread

Check it out- lots of solid info, links, diagrams, photos, and more - covers apertures, depth-of-field, hyper focal distance, how it relates to exposure, and so on. Now I'm working on my third piece for Engadget- one of many to come.

Happy Shooting!

My article for Engadget Primed

2011-12-16T17:09:00.000-08:00

Check out my 1st feature article on image sensors for Engadget Primed: http://www.engadget.com/2011/12/16/engadget-primed-why-your-cameras-sensor-size-matters/

Tons of info on the history of an image sensor, what it is, how cameras have evolved, and where they are today. You'll be an expert by the time you're done reading the piece. :)

I'll be writing more big pieces for Engadget- it's a great web magazine/ tech blog that receives anywhere from a million to ten million hits a day. I'm glad to be a part of their team!

My new book, The Complete Guide to Nature Photography

2011-12-06T01:34:00.000-08:00

My latest book came out today - online and in US bookstores.

The Complete Guide to Nature Photography: Professional Techniques for Capturing Digital Images of Nature and Wildlife

It's available in paperback (10.8 x 8.5 inches) and electronic versions (iPad, Kindle, Nook, ebook, iPhone). It will be in many countries as early as February 2012 as well- China, Denmark, France, Russia, the UK, and so on.

Published by Amphoto/ Crown Publishing, a division of Random House, the book is 240 pages long (~50,000 words), packed with roughly 240 images in 10 chapters covering the gamut of nature and outdoor photography. As I did with my last book, The BetterPhoto Guide to Exposure, I followed a step-by-step approach to the art in order to help readers move easily through the process, with a lot of freedom to create. I have also included an 'assignment' in each chapter to give readers a task to follow, helping them improve through the book.

I am very proud of the book and feel there's a ton of content, ideas, tips, and tricks on how to improve your nature, landscape, wildlife, outdoor photography. You can't go wrong picking up a copy. My last book received five star reviews on Amazon, as well as many great reviews on photo blogs, magazines, etc. Many use it as a reference for exposure, and with this new book, it's a great reference for nature photography- for preparation, exposure, composition, lighting, macro, wildlife, creative techniques, and more.

No book signings are set up at the moment- the industry is changing and it seems like bookstores aren't as interested (of course unless you are J.K. Rowling, James Patternson, or Stephen King - and I ain't there yet!). Lots of interviews however and solid press - a New York Times interview, promotion on Red Room, interview on Scott Kelby's iPad magazine Light It, Think Tank Photo, Nik software, and more- good stuff.

Thanks!

Sean

SIGNED COPIES: Call us at nine-two-five-855-8060, or email: studio(at)seanarbabi(dot)com

FACEBOOK: "Like" our Facebook page for this book: https://www.facebook.com/pages/The-Complete-Guide-to-Nature-Photography/187535604629404

GOOGLE+: Join me: https://plus.google.com/116536901759330052053/posts

WHERE TO BUY

ISBN-10: 0817400109 ISBN-13: 978-0817400101

Amazon (USA): http://www.amazon.com/Complete-Guide-Nature-Photography-Professional/dp/0817400109

Barnes & Noble: http://search.barnesandnoble.com/The-Complete-Guide-to-Nature-Photography/Sean-Arbabi/e/9780817400101

Random House: http://www.randomhouse.com/book/205038/the-complete-guide-to-nature-photography-by-sean-arbabi/9780817400101

Walmart: http://www.walmart.com/ip/16344511

Google eBook (for iPad, Android, iPhone, Nook, Sony, etc): http://books.google.com/ebooks?id=fHY6-tgeey0C&source=productsearch

Kindle version (Amazon): http://www.amazon.com/Complete-Guide-Nature-Photography-ebook/dp/B004SOQ0MQ

Amazon (UK): http://www.amazon.co.uk/Complete-Guide-Nature-Photography-Arbabi/dp/0817400109

Amazon (Japan): http://www.amazon.co.jp/Complete-Guide-Nature-Photography-Professional/dp/0817400109

Amazon (China): http://www.amazon.cn/The-Complete-Guide-to-Nature-Photography-Professional-Techniques-for-Capturing-Digital-Images-of-Nature-and-Wildlife-Arbabi-Sean/dp/0817400109

Amazon (France): http://www.amazon.fr/Complete-Guide-Nature-Photography-Professional/dp/0817400109

Powell's Books: http://www.powells.com/biblio/9780817400101?campaign=RandomHouseOBL&PID=32442

Books a Million: http://www.booksamillion.com/p/Complete-Guide-Nature-Photography/Sean-Arbabi/9780817400101

uRead.com: http://www.uread.com/book/complete-guide-nature-photography-sean/9780817400101

Telegraph (UK): http://books.telegraph.co.uk/BerteShopWeb/viewProduct.do?ISBN=9780817400101

Fall Outdoor Photography Tips

2011-10-14T15:19:00.000-07:00

I just loaded this tip on the Perfect Picture School of Photography (PPSOP), and wanted to share it with all of you as well...enjoy!

FALL OUTDOOR PHOTO TIPS

As we move through October, depending on where you live, the weather has begun to cool and dry out, leaves are slowing drifting off the trees, and the colors are changing into wonderful hues of yellow, orange, and red - whether in pumpkins or maple leaves- fall is everywhere. Here are a few tips toward better autumn photography:

#1) Easier or quicker usually doesn't mean better

When you happen upon a nice fall landscape, don't just settle for a photo from the spot you first noticed it. Move around to find a great foreground, search for that best angle, locate that optimal place to set your tripod down, wait for better light - as we say in the industry, work the scene. Subtle changes with light and location in your colorful compositions can make a huge difference.

#2) Exposure and Flash creates saturated color

If you underexpose red, it will become a deep maroon red - overexpose red and it will become pink. The same goes for colors like orange and yellow. If you don't understand your meter and miss exposures on these colors, you will lose a big part of your autumn scene. Learn how to expose scenes like this and your autumn landscapes will improve. Another trick is using your strobe in shady situations. Light adds color, so if you capture wonderful warm autumn hues in the cool light of shade, these colors tend to cancel each other out - add flash to these scenes and the direct specular light brings that color back. My book, The BetterPhoto Guide to Exposure can help with this tip: http://www.amazon.com/dp/0817435549

without flash (above)

with flash (above)

#3) Make those colors pop

If you've ever seen a color wheel, you begin to understand the relationship of various hues and why they may or may not pop off an image. Red is close to being the opposite of green, yellow is the opposite of blue, and orange sits somewhere between - closer to cyan. If you are able to find subject matter to emphasize these differences, you can produce a fall image where the color jumps off the screen - it's why a red tree among a row of evergreens, or a mix of fall colored-leaves lying in a puddle with the reflection of the blue sky has so much impact.

#4) Use the weather and the season to your advantage

When the season changes, so does the weather, and consequently the environment as well. As leaves fall from trees, they begin to thin out and new views emerge, nonexistent when the tree was full during summer months. New scenery opening up like this can create window-light framing for backgrounds. If the wrong weather rolls in covering a blue sky, consider shooting scenes that don't include it. Snow-fed rivers once raging during spring and early summer months have less water passing through them, allowing you to capture still water moments or crisp reflections. When working with translucent subjects like leaves, consider backlighting them in order for the light to shine through - this brings out those wonderful tones and intricate shapes and details.

But the best tip I could give is to simply make the effort to get out there with your camera - the beauty of nature is powerful, and the changing of a season is magical.

PLEASE NOTE:

My new book, The Complete Guide to Nature Photography, comes out in less than two months (December 6th)- I received an advance copy last week and it looks amazing. Pre-orders are available online at a number of stores including Amazon: http://www.amazon.com/Complete-Guide-Nature-Photography-Professional/dp/0817400109

If you are interested in taking an online workshop with me, you can be anywhere in the world, read the lessons at your leisure, shoot what you want when you want, and receive solid feedback. Join me on PPSOP sometime for four weeks of fun! Nature and Landscape Photography online course: http://www.ppsop.net/land.aspx

Aperture vs. Lightroom - a quick response

2011-07-22T12:08:00.000-07:00

Had a friend ask me today about Lightroom vs. Aperture- here was my response:

When it comes to digital workflow, you can't go wrong with either.

Apple makes a solid program that works great, and as they are with everything, Aperture will continue to be integrated into more and more of their products most likely (not that you need it, but it's nice to know).

Lightroom is fantastic. Having both programs, I probably use it more because of the seamless flow with Photoshop. I say that, but Aperture has enough plug-ins (i.e. Nik software, Photomatix, etc) and menus, and can link up to Photoshop if necessary (you just have to set that up in Preferences with Aperture, choosing your external editing program like Photoshop).

Again, oranges vs oranges. Lay outs are a bit different, but both are extremely user friendly- I tend to jump between the two depending on the project I'm working on. Both have tons of menus, sliders, etc. to correct color shifts, adjust a number of images through batch processing, fix exposure, contrast, saturation, etc.

If possible, download both trail versions (not sure if Aperture has one) and test 'em to see what you like- if Apple doesn't have one, I'm sure you can review it at a store.

Here's two screenshots of both programs in one of my Facebook albums (similar to the ones I loaded in this blog): https://www.facebook.com/media/set/?set=a.220105390806.143046.122003760806&type=1

BTW, I should have a Digital Workflow workshop coming up sometime later this year where I cover both of these programs, and how I handle my image workflow and cataloging- I'll update you all when that happens (whether at Camera West, Calumet, Point Reyes, online with PPSOP.com, or another workshop company).

Wish I could answer everyone's personal email questions, but this might be an easier way to spread the word.

Have a great weekend all!

Contracts, ugh....I miss the days of hand shakes

2011-05-25T17:29:00.000-07:00

After reviewing a very cool photo contest (sponsored by a leading camera company and a top producer/director), I was disappointed to see a statement in their rules - one I've seen so many times in client contracts and contest rules:

"...grant of permission to Sponsor and its parent companies, affiliates, subsidiaries, promotional partners, contractors, agents, .... to use the entrant’s name, likeness, voice and biographical information, and the Photograph submitted ... for purposes of trade, publicity or promotion and any other purpose, in all media and formats whether now known or later developed, throughout the world in perpetuity, without any notice, permission or compensation".

So they can use your photograph in any way, as many times as they wish, now and in the future, forever and forever (throughout the world in perpetuity) without paying you in any way - well, maybe you'll get a prize valued worth a few hundred bucks. Unfortunately this personifies some much of art in the past, present, and maybe the future- and that is that others make more money off of the art than the artist does.

All I can say is contracts should be beneficial for both sides. Don't sign one if you don't think you are getting a fair shake. I know it's hard to do, it's just as tough for me, but I try to cross out as much as I can get away with, use my contracts (which are fair and easy to understand), and educate my clients (and their counsel) about the contracts they are presenting. Stand strong and value your work and others will too.

And btw, these type of contract rules are why I rarely enter a contest.

The History of Photography - How 180 years shaped the ways of image-making

2011-03-04T17:21:00.000-08:00

I wrote this article a few years ago, never posted it on my blog, but it's the history of, so it's still current....if that makes sense :)

I have always felt if you want to accomplish true greatness in any field or endeavor you cannot do so without understanding and appreciating the history of it. With that said, knowledge of how photography evolved over its history can add yet another brick toward building a house of photographic experience.

Many are not aware the first temporary images were created over a thousand years ago by Ibn al-Haytham, a Muslim Persian scientist born in southern Iraq in 965. Al-Haytham invented the camera obscura, also known as the pinhole camera, where inverted images were cast onto a dark wall through a small opening. Even though the recordings could not be archived until certain chemical processes and technologies were later invented, it was the first known method of photography.

Described in the 19th century as ‘mirrors with a memory’, the original definition of “photography” comes from the French word photographie, the combined Greek words of phos (“light”) and graphis (“stylus” or “paintbrush”)- also defined as “drawing with light”. The camera’s ‘memory’ may have progressed from film to digital image sensors, with technology and the vernacular of the art changing rapidly, but the basic concept of photography remains much the same today.

By the mid 1820s a French man by the name of Nicéphore Niépce captured an eight-hour exposure, View from the Window at Le Gras, with a rudimentary yet remarkably innovative set up resembling a pinhole camera, using chemicals to process the image permanently. The world was visually changed from that moment on (although there has been some recent dispute with a claim Thomas Wedgewood captured the first photo in around 1809- another states Niépce produced an image of his son one year before his Le Gras image).

In 1832 Hércules Florence a French-Brazilian inventor and painter created a process for permanently fixing camera obscura images onto silver nitrate and named it Photographie or Photographia. William Fox Talbot, an early photographic pioneer, also discovered other means to fix a silver process image but kept his process secret. In 1839 Louis Daguerre, who collaborating with Niépce before he died, continued his work and subsequently created the daguerreotype, a new process where a negative image was exposed directly onto a mirror-polished surface, reversing it to a positive image when held in certain light. This process not only had a luminous quality to it, it also resulted in shorter exposure times. After reading about Daguerre's invention, Talbot refined his process cutting exposure times as well, giving it the ability to take photographs of people (long exposure times were often the cause of blank facial expressions in 19th century portraits). By 1840 he invented negatives through process called calotype. John Herschel also made many contributions to the new methods thus inventing the cyanotype process, otherwise known as the "blueprint". He was the first to use the terms "photography", "negative" and "positive". Herschel informed Talbot and Daguerre of his discovery in 1839, that it could be used to "fix" pictures and make them permanent, then produced the first glass negative later that same year.

The first permanent color photo was captured by James Maxwell in 1861, and the next major step forward came ten years later when Dr. Richard Maddox discovered a way of using Gelatin (a material recently discovered) instead of glass as a basis for the photographic plate. This led to the creation of the dry plate process marking a turning point in the industry. Dry plates had a variety of advantages including quicker development, the possibility of being mass-produced, were less cumbersome with less knowledge required.

Although there was a mix of inventions and inspiration throughout the 19th century, the dry plate process, in combination with John Carbutt’s idea of adding thin celluloid as a backing for sensitive material, lead to several revolutionary changes. Soon after George Eastman introduced flexible film in 1884, as well as the Kodak box camera in 1888 and now photography could reach the masses (Kodak, by the way, was a name created by Eastman and his mother, and not the name of a supposed partner).

As manufacturers like Kodak began to build smaller cameras (such as the Kodak Brownie in 1901) along with higher quality film at affordable prices, the mobile aspect of photography changed the way families documented their lives, yet part of the art was also lost in the transfer (the digital age has repeated this). In fact one of Kodak’s slogan’s “You press the button, we do the rest" doesn’t seem so far off the “fix it in Photoshop” phrase we all hear today. People assumed their techniques combined with the quality of the new product would match the processes and talent of the photographers they were use to, but this wasn’t the case. Even though the process of photography evolved through various inventors over its history, the progression of the medium was just as affected, influenced, and changed directly by the artists. So many paved the way for how photography is used and perceived today, and being unaware of these people means missing a huge part of the art.

Some of the original pioneers of photography were first commissioned to the battlefields, whether by publishers or their government, as a way of documenting war. Roger Fenton (1819-1869) is known as the first war photographer recording the Crimea in the 1850s. Timothy O’Sullivan (1840-1882), a protégée of Matthew Brady, became famous for his stark depictions of the Civil War as well as his grand landscapes of the American West, using the wet plate process of the mid 1800s.

In the 1880s, Eadweard Muybridge (1830-1904) was the first to use his camera to study motion too fast for the naked eye to see- motion pictures became a by product of this exercise. Gaspard-Félix Tournachon, aka Nadar (1820-1910), was mostly known for his portraits including people such as Victor Hugo, Jules Vern, and Sarah Bernhardt, although he was also the first to take aerial photographs using a hot air balloon.

Just after the turn of the 20th century, although color photographic processes began being mass-produced, black and white image-makers such as Alfred Stieglitz (1864-1946) and Edward Steichen (1879-1973) came to be widely known as fine-art photographers. Largely affected by European modern art, Steichen slowly moved toward fashion and advertising photography, while Stieglitz (who married Georgia O'Keeffe) stuck to a more photojournalistic and fine art approach. In 2008, Steichen’s The Pond-Moonlight captured in 1904 sold for $2.9 million, the highest price ever paid for a photo at auction. Edward Weston (1886-1958) came on the scene soon after, known for is fine art images of the human figure, shells, vegetables, and landscapes often documented with an 8x10 view camera. As Weston was realist in his works, Man Ray (1890-1976) used imagination and surrealism for his photographic canvas.

In 1935, Kodachrome was introduced and became the standard in color photography- probably the most successful and well-known film still on the market today. Regardless, the 30s and 40s still ushered in the black-and-white masters in the likes of Ansel Adams (1902-1984) and Brett Weston (1911-1993), who not only perfected their skills through methods such as the Zone System, but also advanced in the perception of photography as an art.

On the opposite end of the spectrum, photographers like Henri Cartier-Bresson (1908-2004) and Walker Evans (1903-1975) cared more about capturing moments in their cameras instead of what they were able to produce in the darkroom printing process. Small town life and city scenes fascinated both although Cartier-Bresson’s style was through a sense of shapes, lines, and spatial relationships, while Evans took a more straightforward literal approach.

In the 1940s, 50s, and 60s story tellers like Robert Capa, W. Eugene Smith, and Diane Arbus emerged, all with their own documentary style whether through graphic images of war or an intimate look into the American family. Photography was becoming more instant with the introduction of Edwin Land’s Polaroid camera in 1948. In fact the first digital image ever produced by a computer occurred nine years after in 1957; a 5x5 centimeter grainy image of a baby scanned in by computer pioneer Russell Kirsch at the U.S. National Bureau of Standards. By 1963, Kodak unveiled their Instamatic camera, launching an age of more affordable ways to capture life.

The 1970s and 80s took a mix of past and present through the appreciation of works from artists such as Josef Koudelka’s images of Exile, Robert Mapplethorpe’s controversial and sexually explicit imagery, and Irving Penn’s high-end portrait and fashion work. In 1981 the Mavica made by Sony was the first consumer camera to use CCD (charge-coupled device) eliminating the need for film, and nine years later, Kodak produced the DCS 100, a 1.3 Megapixel digital camera back that would attach to a Nikon F3 body.

Through the 2005 bankruptcy of Agfa Photo and 2006 discontinuation of Polaroid instant film, the digital age may have closed a few doors, yet it opened many more creative ones with the advent of Photoshop, RAW image files, as well as new functions such as White Balance and High Dynamic Range imagery. I used my first digital SLR in 1995 when Nikon introduced their E2s, loaning me the camera to test out on an adventure race. To capture filmless images and transmit the files over phone lines only to see them appear on the cover of the Salt Lake City Tribune was truly a wild concept – and this was only 13 years ago. Nowadays, technology has gone upward of 111 Megapixel systems, well beyond film, yet commercial digital systems are still in their infancy albeit advancing at a rapid pace.

After 180 years of photography, many of our world views and personal memories are often connected to images from the past, whether being Yosuf Karsh’s portrait of Winston Churchill, Kim Phuc’s image of the napalm bombing in Vietnam, or the eyes of the Afghan girl documented by Steve McCurry. Besides the wonderful image-makers we have at BetterPhoto.com (not only online photo instructors - like myself- but many who are well-known in the photo community), there are too many current working photographers to mention in a short article - Sebastiao Salgado, Richard Avedon, James Nawchwhey, Annie Lebowitz, and Art Wolfe. But research or Google them and you may find great inspiration in a photographer’s work for which you never knew existed.

The medium may have changed from a dark wall to film to a digital file, but the need for a visual eye and an ability to capture fleeting moments with beauty and style will always remain.

(copyrighted Ansel Adams portrait courtesy of Jim Alinder, all other historic photos are public domain)

Nature tip: Removing Flare from your outdoor shots

2011-03-01T15:00:00.000-08:00

As I get my new online workshop class started this Friday, March 4th, through PPSOP.com (Perfect Picture School of Photography), I wanted to add a nice outdoor tip for everyone.

I often have people ask about how my photographs come out so crisp, so colorful, so clear, and often it's from simply doing one thing; keeping flare out of my lens.

Flare is when the Sun, or any other light source, creeps into your camera through the front element of your lens, usually when you are pointing toward the light. I can happen with any lens although wide-angles can be more susceptible since they cover a wider field of view. We see flare in still images and video, digital or film-based. The visible artifacts from flare can cause your images to look hazy, lose color and contrast, or add hexagon or octagon-shaped rings resulting in a less than desirable outdoor photograph.

How do you know if you have flare? On occasion, you can see it through your camera's viewfinder, easiest by toggling your hand in front of the Sun, then out, then blocking it again, to see if you notice a change in the scene. However, the best or most accurate way to see if you are you getting flare is to mount your camera on a tripod, then walk around the front to see if you notice the reflection of the Sun in the front of your lens. If you see the bright white specular source shining in your lens, you have some type of flare.

Can you simply shoot away from the Sun to avoid flare? You can, but it's not always the best alternative to create a great shot. Here is a list of five ways to shoot toward the light while keeping flare out of your shots:

1) Don your Lens Hoods: Use your lens hoods whenever possible; I leave mine on most of my lenses almost permanently. This adds some protection to the front of the lens, shading it from the Sun.

2) Be Handy: One of the best methods of blocking any light from hitting the front element of your lens is your hand. Yes, you have to be careful from having it show up in your shots (one great way is to preview the photo on your back LCD screen after you capture it), but it can be highly effective. In fact, for some scenes where I'm shooting almost straight into the Sun, a long lens hood (such as the one I have on my 300mm lens) still doesn't block the Sun; but extend my arm out and shade the lens with my hand and the color and contrast noticeably increases when looking through the viewfinder.

3) Take advantage of natural gobos: A gobo (as they are often referred to in most studio photography) is any object a photographer may use to block a light source from causing flare. I use black cards in the studio, but in the outdoors I will use a tree, a branch, a flower, a mountain, a rock, a cloud, a hiker, anything I can to block a large portion of the Sun. Another way to insure this is to make sure your camera is placed in the shadow of an object.
4) Avoid too many filters: The more external glass (filters) you add to your lens, the more chance you have of degradation or flare to your images. Filters can also stick out farther causing the lens hood to be less effective.
5) Purchase high-quality glass: This is a bit tougher since it truly deals with buying high-quality lenses, which in turn usually means a big dent in your wallet. But it's true- the finer the glass, the less flare your will obtain. Sometimes, depending on the final scene you desire, they may be no way to avoid flare, for example, in the case where you may want the Sun in your composition. With some top-notch lenses, you can shoot straight into the Sun without hardly noticing flare, but those are rare and expensive pieces of gear.

Finally let me say sometimes deliberate use of flare can be okay. It takes some time and experience knowing when to leave it in and when to remove it, but flare can create a mood and a feel, so a potential mistake can be a welcome addition to a scene!

Join me for my new 4-week course on PPSOP.com called "Nature and Landscape photography": http://www.ppsop.net/land.aspx
- 4 weeks
- 4 lessons
- 4 assignments
- 4 critiques
- along with Q&A, all leading to producing better nature and landscape images!

Happy shooting! Sean

My Facebook fan page

2011-01-29T03:52:00.001-08:00

Hey everyone- after writing 60,000 words for my second book last year (The Complete Guide to Nature Photography - coming out this fall), as well as a few articles (Outdoor Photographer - November 2010 - on Point Reyes), and typing many many paragraphs for online critiques, I haven't been able to blog much.

But I always add my photos, happenings, fun photo links, etc to my Facebook fan page. Check it out - "like" it - invite your photo friends!

http://www.facebook.com/pages/Arbabi-Imagery-Sean-Arbabi-photography/122003760806

Happy Shooting!

Join me on a nature shoot- December in the Sierras

2010-11-15T15:54:00.000-08:00

For anyone interested, I'm planning to capture winter scenes in Yosemite National Park, the Alabama Hills (outside of Lone Pine) and in Death Valley sometime in December - creating new images and research for a few upcoming books and workshops.

If you are interested in joining me for three days of shooting, sunrises and sunsets, for a small fee ($250/person - 10 person limit) contact me via email.

This isn't a planned event or workshop with a specific agenda. I'll simply share my thoughts on photographing the outdoors while we shoot, talk about equipment tips, and so on. We'll capture images together, you can watch how I work if you wish, see the gear I carry, and talk all about photography. I'll also sign my Exposure book (if you bought one of my books, bring it along & I'll sign it- and I'll have copies with me).

We'll have a great time in some beautiful locations.

This is something I did last January. I invited a group to join me in Yosemite to photograph for a day while I captured images for my new book on nature photography. They paid a $100 fee to join me that day, I had eight people, and they all loved the experience (thankfully)- said it was well worth it. I shared a ton on photography, but it's a bit different since I'm shooting images (instead of a workshop where I would focus more on students and their equipment and needs).

So here's the plan this time around. I envisioned a 3-day road trip photo shoot - first in Yosemite, then off to Lone Pine (Alabama Hills), then finally in Death Valley - one day in each (and some travel of course between locations). We could all shoot together and learn from me, just as long as the group knows I'll be shooting as well most of the time (I reiterate this only because some think I'm solely there for them). It's actually a great way to learn, and a way preferred by many, but again different from my normal workshops.

SCHEDULE (somewhat flexible depending on weather & how tired we all might be)

Day 1: We'd meet in Yosemite on the first day at sunrise, shoot all day 'til sunset, have dinner together & spend the night, then head off to Lone Pine (probably the next morning).

Day 2: Shoot sunrise again, drive to Lone Pine/ Alabama Hills, shoot sunset in Lone Pine/ Alabama Hills, spend the night.

Day 3: Shoot sunrise in Lone Pine/ Alabama Hills, then head off to Death Valley, shoot sunset

Day 4: Shoot sunrise, drive home

COST:

$250 per person (not including travel/ gas/ food/ car, etc) and I'd need a group of at least eight, ideally ten.

DATES:

Haven't decided on specific dates yet, but thinking sometime around December 15th. I'm flexible - if dates worked for the majority of the group, then I'd try to work around that.

If you're interested, contact me at:

workshops@seanarbabi.com

Thank you and Happy early Thanksgiving!

A veteran I met in my travels

2010-11-11T13:53:00.000-08:00

A few years ago while on assignment in Southwest Florida, I wandered around Sanibel Island and J. N. "Ding" Darling National Wildlife Refuge one morning, in search of some images, and met an older gentlemen fishing. I thought he might make a nice subject fishing in the mangrove-lined refuge, and approached him.

Lee McMichen was in his early eighties, open to chat since he had been fishing for three days, casting his net without a catch. We talked a bit as I tried to figure out how I could capture a decent photograph in the harsh mid-day light. My first thoughts were all about creating an image, but as we spoke more, he shared a few stories of his life, and it became more about our personal interaction instead of producing an environmental portrait.

Sometimes, even when I'm on assignment, I stop, put down the camera, and listen. Although I might not create photos at those moments, and maybe miss memorable scenes, I believe this process brings me closer to the area I'm documenting, and in an indirect way helps me produce better overall images.

As we continued our conversation, he began to tell me about his experiences in war, and his time stationed in Pearl Harbor. You see he was on one of the four battleships bombed that morning, Lee deep in the hull when the explosions crippled the ships and the alarms to abandon ship sounded. He described his rush to escape from down below, only to have the main hatch be closed off in front of him and three others. Panic ensued as all four seamen realized the fate had been sealed, yet only seconds after the hatch closed, it reopened, and they were able to get out before the ship sunk.

After sharing this information, he didn't talk of the joy he had at that moment, his life saved. He only spoke of all the others who weren't able to get out. Yet because of the few seconds in his life where one sailor saved four others, he was given over sixty more years on this earth.

As we stood along Wildlife Drive, me fumbling through my camera bag, I heard him yell out - he had caught a large mullet, the first of his trip. "Looks like you are my good luck charm young man", he said to me. I smiled, yet could only think of who his real good luck charm had been years before. You see, it's not always the locations you dream of visiting, the adventures you hope to take, or even the images you produce as a travel photographer - it's really about the people you meet.

Here's to the men and women who served our country in all of our wars on Veteran's Day. Although I prefer to follow the anti-war beliefs of many leaders such as the Daila Lama or Mahatma Gandhi, I will always honor and support our troops - those who do a job where so many lives are lost. To those who weren't able to be saved, rest in peace, and thank you for your ultimate sacrifice.

Books in the works....

2010-05-08T12:17:00.001-07:00

The past few months I've been working on my second book - due out in the summer/fall of 2011, it will be based on nature photography- one of my first photographic loves. I thoroughly enjoy the process of writing a book because it brings out so much of what you do subconsciously, and reminds you of the many steps you take to capture a great photo.

I've also had the chance to capture new images without the limitations of a specific assignment- something I haven't done much of for years.

Another book is also in the works, completely different from anything I've done so far- I'll share more as it develops.

So over the next month or so, I may be absent on the blogasphere, but check me out on my Facebook fan page, where I try to pop in a number of times a week: http://www.facebook.com/pages/Arbabi-Imagery-Sean-Arbabi-photography/122003760806

I'm a Flickr nut too: http://www.flickr.com/photos/arbabi/

During the summer I'll run a few workshops in the Bay Area and a few online (in between assignments), while planning a very exciting one I hope to make happen during the fall. Then in 2011, I may have an international workshop is an amazing location- more info to come.

Even with all of this activity, I continue to push forth my tv show on photography with my partner - we passionately believe in the project and hope to find a champion for it. More promotion as well as another tv spot also in the works.

Last bit a news- I was stoked to see my first book, The BetterPhoto Guide to Exposure, hit #10 on Amazon's Photo How-to section today- it continues to sell well, get great reviews, and I have signed copies available for anyone interested- check it out on Amazon: http://www.amazon.com/dp/0817435549

Or on my site (with links to bookstores around the world): http://www.seanarbabi.com/book_exposure.html

Thanks for lettin' me spread the news & promote- when you put your blood, sweat, and tears into projects, half of the excitement is sharing it with others.

Apple's iPhoto '09 cool news features

2010-03-30T10:50:00.000-07:00

I know it's 2010, but I started writing this blog about iPhoto '09 a few months back, never finishing it.

There are a mix of new features in iPhoto (part of Apple's media program called iLife), and I just wanted to share them (if you weren't up-to-date). The program offers some great innovative ways to organize your photos, and some of these features have transferred into the latest version of Aperture (Aperture 3.01). And btw, I don't get paid by Apple (at least not yet) - I just love their products and have used them for over 20 years (including iLife and iPhoto ever since they came out)- I have over 20,500 photos currently in my iPhoto '09 database.

Check out some of the cool new features:

The Who-When-Where:

WHO: Now with a section called "Faces", you can find the people you've photographed much easier and faster, through facial recognition software. They use "cork board" backgrounds to view snapshots of your friends, and allow you to skim across them polaroid-looking shot to see all of images of them. How to you get iPhoto to recognize a friend or family member? Simply click on the "name" icon, then add a missing face to any particular photo, and the software begins to learn those facial features- and, it gets better as you add more of their photos- it's pretty cool! You can even confirm or reject photos if they don't match, and create "Smart Albums" with a group of people (as I did with photos of only my family members).

WHEN: "Events" has been part of iPhoto for a generation or two (I believe it came out in iLife '08). It basically separates your photos into events- that is when you took your photos (by date or event if you decide to create one). Again, you can skim across the event to see all the shots in that group. You can even merge events by dragging and dropping them into one another (as I did with a Christmas vacation that lasted a few days).

WHERE: With "Places", you have a Map view and a List view of the locations where your images were captured- you can manually place locations, use reverse GEO Coding (on devices such as the iPhone or any camera with GPS, basically recording the coordinates of where your image was captured on the Earth). You can also create personal locations such as "Our Home" or "At work".

CALENDARS:

One big aspect of iLife I love is I can utilize my images- and with "Calendars" I can make an album, select all the photos I want to add to it, then click the Calendar icon at the bottom to make a year-long calendar. I created one late last year, showed it on a few tv shows (The View from the Bay on ABC in San Francisco, and on Bay Area Focus on CBS/ CW 12) - then I gave one copy to my parents, one to my Mother-in-law, and kept one which we are using for 2010. I also put photos on specific dates in the year, using photos of family members on their specific birthday dates- each calendar only cost me $19.99 plus shipping- pretty good for a year-long gift.

BOOKS: Similar to calendars (and cards), you can create great books / photo albums using nice new themes. You can add a travel-map page, create a photo wrapped cover that matches the dust jacket, and the printing looks great as well as the professional binding often seen in high-quality books. Then, Apple ships it in a protective sleeve. You can make books in a few sizes, include a small "brag" book, and the prices are great (the small book going for 3 for $12).

SLIDESHOWS: I've always used this feature but now you can add Videos and Stills together to create slideshows. I've made iPhoto slide shows in my photo workshops for years- simple, easy, can add music, Ken Burns effects, and so on- all creating nice clean presentations.

And BTW, you can share all your images with one click through iPhoto to many social sites including Facebook and Flickr - here are my Facebook and Flickr pages:

Facebook fan page: http://www.facebook.com/pages/Arbabi-Imagery-Sean-Arbabi-photography/122003760806

Flickr: http://www.flickr.com/photos/41655671@N00/

Check it all out - Apple's iLife goes for $79 - that's right, under $100 bucks- and I didn't even mention all the other programs included, such as iWeb, iDVD, iMovie, and Garage Band.

BetterPhoto's worldwide reach

2010-03-12T19:19:00.000-08:00

I recently finished my 39th online photo workshop course on BetterPhoto, and currently teaching my 40th - I started teaching with them in late 2006, and mainly teach an exposure course entitled "Better Exposure- How to Meter Light". BetterPhoto.com a great online photo community, free to the public, with 4-week and 8-week photo courses ranging from $198 to $348, as well as websites you are purchase for your own photography.

But I don't want this to sound like an ad for the online workshop company or my classes there. I mainly wanted to mention how amazing it's been teaching people around the world - the wide reach of this online company that started in 1996 in Redmond, Washington.

When I first started with BP, I first wondered if I'd be able to teach as well online compared to what I do in live field courses. If my personality could come through in the four weeks I spent with my students (four lessons, four assignments, four critiques, with a Q&A section in our Campus Square site). And luckily it has. People get that I'm an easy-going guy that likes to make others laugh, as well as pack them with tons of good info. And although we can't all shoot together in the field, the course offers a chance for people to learn on their own time and schedule, while capturing the subject they're most interested in.

To date, I've taught photo enthusiasts in 43 US States and 37 countries - wild - countries including America Samoa, Aruba, Australia, Bahamas, Belgium, Bermuda, Canada, Cayman Islands, Ecuador, El Salvador, England, Finland, Hong Kong, India, Iceland, Italy, Japan, Macedonia, Mexico, Namibia, New Zealand, the Netherlands (Holland), Oman, Panama, Puerto Rico, Romania, Saudi Arabia, Scotland, South Africa, Spain, Switzerland, Trinidad & Tobago, and the United Arab Emirates.

I recently had my first student from Paris France, as well as Vietnam, and this month have a gentleman from Istanbul Turkey. All walks of life, from at-home Moms to traveling businessmen, retired grandfathers to college-bound teenagers excited about a new hobby.

It's wonderful to know so many appreciate the art of photography, and have such a passion and love for it. And I truly enjoy giving these great folks some of the tools to help improve their photographic skills. Of course I'll always have the passion to produce my own images I found interesting, to capture assignments for publications or produce shoots for ad and corporate clients- but to know I've had the chance to connect with so many in this amazing online medium is truly a joy.

Check 'em out if you get a chance- all kinds of courses for beginners to advanced, exposure to photoshop:

BetterPhoto.com

Injuries & illness- the norm for a nature/travel photographer

2010-03-05T11:59:00.000-08:00

As I type, I refrain from itching my right shin - what I thought was a small scrape from hiking through some bushes on a recent assignment in Monterey,might be a small case of poison oak. It reminded me of all the injuries and illnesses I've had while on the road, capturing images for my clients - nothing compares to what some photographers have experienced - cerebral malaria, acute mountain sickness, gun shot wounds, and even death - but here's my small list of some of the memorable ones...

Attacked by wasps, Mendocino Coast: This, by far, was the worst experience in nature I've ever had. While on assignment for Sunset magazine, I was capturing a mountain biking guided ride. The guide and I went ahead of the group to scout for shots, and when I found a place, I laid my bike down - unfortunately on a wasp nest (burrowed under the leaf-covered forest floor). By the time I knew it, I was stung multiple times as the guide and I ran, dropping all my gear. We had to go back for our bikes and gear and was stung numerous times- in total, I was bit 25 times and the guide about 15. For the next 4-5 hours a weird rush of adrenaline flowed through my body every 10-15 minutes. All in all, I completed the day of shooting, but in some good pain, with scars lasting a few month.

Food poisoning, Acapulco: On a magazine shoot in '03, I drove from Mexico City to Acapulco, on my way up the coast to Mazatlan stopping at many cruise ports. My Acapulco hotel was renovating their first floor, including their restaurant, so our room service was Hooters- that's right, Hooters. I only had one dinner (delivered by a man may I say), but the next day I couldn't eat without it coming back up. Another day later, the heat was sweltering as I went to photograph the famous cliff divers, forgetting my water in the car. And although I was carrying a lot of gear (a 35mm backpack, large tripod, and a very heavy medium format case), I assumed I wouldn't need much water - sure I was walking down a few hundred steps to find the angle I wanted, but my car was right there at the top, in the parking lot. Unfortunately I was wrong. After a day of not eating, the heat, and the exertion, I was soaked in sweat and very tired. I shot images for a hour or two, but as I headed back up the stone steps, I was exhausted and baking hot- my body screaming out for water. I knew as was in the first stages of heat stroke. It took me 45 minutes to hike my heavy gear to my car and as I arrived at the top, I was pale and a wreck. I tried to eat some watermelon but that too decided it didn't want to stay in my body. Although I rested with my head between my knees for 45 minutes, I knew I couldn't rest much more- I had to check out of my hotel and drive 7 hours to Ixtapa for my next stop.

Montezuma's revenge in Borneo: Traveling through Sarawak for three weeks was an amazing experience- and luckily I avoided any food-borne illnesses - that was until I arrived at the coastal town of Miri, on my way back home. A day away from my flight home, my stomach began to rumble as I walked the markets looking for a few trinkets. I won't go into much detail, but the next day was spent very close to my hotel room and the bathroom- too much information? :)

Headaches atop Whitney: Backpacking to the top of Mount Whitney's 14,500 foot peak was a wonderful experience with a few friends, a 300mm lens, and my tripod. But as the highest point in the lower 48 US States, I knew we would be tested with altitude sickness, especially coming from sea level the day before - nothing compared to what Everest climbers go through of course, but enough to become serious if not monitored. Although I made it up and back, the headache I had on the summit was excruciating and that night of sleep was a rough one.

Swollen leg in Sarawak: Wasp sting: While I hiked, 4-wheel drove, and helicoptered through the jungles of Borneo, I saw many large insects and bizarre wildlife. I had cut my knee the day before my trip (broken Snapple bottle), requiring stitches (along I never got 'em). My fear was the large gouge on my knee would get infected by jungle parasites, but luckily that never happened. One day however, while in the Penan village of Patik, I was stung on my calf by a wasp- hurt like hell. Over the next few days, my lower leg got larger, began to tighten up, and was covered by a rash- I had no idea why, nor did the doctor who traveled with our group of photographers and journalists. It took a week or so to go completely away, and although it was painful, it didn't compare to the bizarre feeling a got from taking Larium (anti-malaria medication)- that's a whole other story.

Air cast while covering the Eco-Challenge British Columbia: A few days before covering an adventure race assignment in Canada, I torn my ankle apart and had to wear an air cast. I still traveled to Whistler BC, covered the event for about a week even though my ankle was a mess. By the end of each day it would swell up and couldn't fit in my boot. On the second night, the whole thing was turning blue and purple, from my toes to my upper ankle, but I toughed it out - not enjoyable but that's part of the job.

Houseboat fall, Lake Shasta CA: If there's one thing I've learned with photography is that the more you get into it, the stupider the things you do. On one Sunset magazine assignment while on the third deck of a houseboat, looking through my 24mm lens and walking at the same time (I know, not smart) I stepped into the hole that was the ladder down to the first floor. Luckily I caught myself albeit half way in the hole, smashed my back, and had a nice welt for a few weeks.

Face plant in Montana: I had a mix of magazine assignment's once in Western Montana, spread out over a 10-day road trip. Of course dealing with weather and planning each shoot meant keeping up with a tight well-organized schedule. So on this particular day near Seeley Lake, I was due to capture sunrise, meet a few people to canoe down a stretch of river, mountain bike up to a waterfall (to save time), and connect with a group for some horseback riding shots before rounding out the day at sunset. The first part of day went off without a hitch. I rented a mountain bike and rode up a narrow technical single-track trail to the waterfall, got the images I needed, and as I headed back I silently was patting myself on the back- not only for being able to make each shoot happen in that day, but also how I was handling the tough trail with my photo backpack. Spoke (or thought) too soon. A 1/2 mile from my car I hit a tree root in the trail and took a nice face plant- broke my watch and sunglasses, and although I wore a helmet, scratched up my forehead nicely, not to mention my arm as well. The bike was in worse shape forcing me to carry it back to the car. That was the end of my day.

Back spasms in St Croix: I learned in my early 20s I was born with a small case of Spina bifida - my first lumbar never forming completely leaving a large gap. In high school I injured my back and ever since then I would have my back go out from time to time. With workouts and proper posture, I've been able to fend off back spasms over the year, but once in the US Virgin Islands, upon arriving for a two week photo shoot, my back gave out- most likely due to carrying so many heavy bags of gear. Models were on the way as well as my client, and luckily after a day of rest, Daypro and Soma, I was able to release the spasm and get back to my job.

Homesickness in Buenos Aires: I know, not really a legitimate injury, but it does come with the territory. Three weeks after being married, I was on the road, traveling to Argentina to capture an adventure race in Northern Patagonia. Once I arrived in Buenos Aires, I felt the overwhelming feeling of being homesick. "What am I doing here" I asked myself as I tried to communicate with the little Spanish I knew. Nevertheless I was aware that I had no other choice but to find a hotel, catch my Andes-bound flight the next day and to tough it out- I needed to be responsible and knew I'd regret it if I turned back. When I was younger I thought homesickness would go away with age and wisdom, but it doesn't - Steinbeck proved that in Travels with Charley.

Although I still get homeisck when on assignment, it's a little easier to deal with since with age comes the awareness of simply putting one foot in front of the other- just as long as it's not into a hole I might fall through.

iPhone 3G (the G stands for gouged and gashed)

2010-02-24T20:01:00.000-08:00

I love my iPhone- had the first one, and now own a 3G.

I've used it to the nth degree- have thousands of photos on it (in a mix of albums), tons of music (love my tunes), have many apps as well- one that controls my computer like a remote, another that tells me when the moon will rise, or one app that gives me low tide times. I love Google maps (use it for my business and travels ALL the time), have some fun photo apps (PS Mobile, Gorlliacam), and have over 1000 contacts and my daily schedule- amazing device.

So when I saw my brother's iPhone, I figured it was trashed. Just looking at it, I assumed it wasn't working- smashed, gouged and bashed from a series of falls). Then he dropped it again....this time actually taking a chunk of glass out of it (see bottom right). I think his 3G stands of three times gashed.

When I showed it to Apple (send them an email with a photo of it), they recommended not using it since the glass my cut him- but he doesn't care, and he still uses it- AND yes, he's cut his thumb while sliding it on the screen.

But guess what? It still works. In fact the last time he dropped it, the main button stopped working - then self-healed itself a week later and works perfectly fine. Too funny.

And yes, the camera on it still works too. By the way, it looks worse in person (I shot these photos with my iPhone cam).

So the next time someone tells you the iPhone is fragile, or how they don't like typing using the keyboard on the screen, tell 'em my brother uses this one just fine. Take that Blackberry. :)

Working on my second book

2010-02-18T14:41:00.001-08:00

Just wanted to let everyone know I've been working on my second book - I'll be done with the 45,000 word manuscript in June, it will hold over 200 images, and will be published with a division of Random House on the summer/fall of 2011 to be sold around the world.

It's another photography how-to, deals with the outdoors, and I'm very excited about it - brings me back to some of my roots in photography, as well as one of my big loves. Recently I captured a few winter images in Yosemite National Park for potential book shots, and had a great time with a small group of photo friends.

I'll keep you updated on it went it hits bookstores, and hope everyone grabs a copy! (I'll have signed copies available too at that time).

Thanks!

My Via magazine cover

2010-01-08T14:25:00.000-08:00

A few months ago I headed down to Monterey on assignment, to capture a cover for Via magazine (AAA's travel publication). Millions will see the image on the cover of their January/February 2010 issue (their circulation being one of the largest of any travel magazine in the US), and most won't bat an eye at how I came to capture the image.

Which is fine. That's my job as a photographer. And just as we past hundreds of buildings everyday, most don't think about all that went into erecting that structure. I know, I said erecting. I digress....into an 11-year old boy.

But seriously, if you're curious how I came to capture the shot, here are some of the details. I was first hired in September to go down to the Monterey area, to come back with a mix of images for an article on Moss Landing and the Elkhorn Slough- from antique shops in the small town, to a famous seafood dish at Phil's Fish Market, to a mix of wildlife and scenes in the largest tract of tidal salt marsh in California outside of San Francisco Bay. I went down a bit early on a Friday (set to shoot Saturday and Sunday) and found beautiful sunset light with a group of 250 sea lions who had taken over a local pier- captured some fantastic shots. But with the weekend came the fog and overcast that didn't let up. So I photographed as well as I could (although my editors were hoping for blue skies) and came back with a variety of images, albeit in soft white light.

I wasn't sure I'd be given a second chance with the weather, but a month later my editors asked me to return searching for clear skies and a clear cover choice. On a beautiful blue sky Sunday morning, the day after Halloween, a warm-streak came through Northern California, normally reserved for the indian summers of early October - yet this one was spilling over into November- a rare occurrence only Al Gore could explain. As I drove back to the Elkhorn Slough, I prepped the day in my mind - half of it spent hiking the eastern side of the slough capturing birds and wildlife, the other half in a small boat on the water. I clicked off a mix of scenes creating natural blinds to hide and document bird life in the area.

Around 2pm, I headed to meet a very nice gentleman who agreed to take me into the slough on a 1950s russian rescue boat - a local kayak company owner. I only had a couple of hours left of light (due to the early late fall days) and hoped to find a sunset scene with a person and the surrounding worthy for the cover. It was a wonderful few hours photographing sea otters resting in kelp beds, the Elkhorn Slough Safari taking visitors through the area, Pelicans silhouetted by the sunset, as well as the full moon rising as kayakers headed out for a nighttime paddle. But I wasn't sure if I had the cover.

About 45 minutes before the sun set, we headed up a small inlet hoping to find still waters and a nice scene to frame. We came to an old pier and a bend in the waterway, and I knew we had something. I stepped off the boat and had my new friend navigate the small vessel up and down the way as I fired shot after shot. It was a peaceful serene scene that felt right.

Hopefully many will like the shot, maybe it will inspire some, and thankfully my editors were pleased with the image choices from the shoot - which is always my first goal when I'm on assignment. You rarely have a scene you feel should be the cover, actually become the cover - but this time the weather, my boat captain, my eye and my editors all came in line.

Join me on a nature shoot- January in Yosemite

2009-12-19T19:52:00.000-08:00

For anyone interested, I'm planning to capture winter scenes in Yosemite National Park sometime in January- new images and research for my the book I'm currently writing.

Join me for a day of shooting, sunrise to sunset, for a small fee ($100/person - 10 person limit).

This isn't a planned event or workshop with a specific agenda. I'll simply share my thoughts on photographing nature while we shoot, talk about equipment tips, and so on. We'll capture images together, you can watch how I work if you wish, see the gear I carry, I'll sign your Exposure book (if you bought one of my books), and we'll have a blast.

If you're interested, contact me at:

workshops@seanarbabi.com

Thank you and Happy Holidays!

46 seconds about my book, The BetterPhoto Guide to Exposure

2009-12-16T10:47:00.000-08:00

Just a quick video message from about me and my exposure book - if you're looking for a book to improve your photography, check it out!

To buy the book or get more info, go to: http://www.seanarbabi.com/book_exposure.html

To buy it on Amazon.com: http://www.amazon.com/BetterPhoto-Guide-Exposure/dp/0817435549

Happy Holidays everyone!

Building my own career

2009-11-17T00:43:00.000-08:00

I had a professional issue a few months back that took me back some. Sure it was upsetting but didn't shake me - I know who I am and what my intentions are as a person and as a pro photographer. I don't live in the past, as although you remind yourself not to take things personally, how can you not- especially when you have a passion in what you do, and work tirelessly to make it happen.

I use Facebook, enjoy connecting with friends, sharing images, posting various happenings. One day last year I posted a Sierra workshop in the events section. As a big fan of Galen Rowell's work (great outdoor shooter and mountaineer who past away with his wife in a plane crash in '02 - a young 62), I had joined a fan site of his on Facebook and decided to let others know of the workshop through a small message and link - Galen was big on the Sierras, spent many days and nights capturing images and climbing mountains there as I have - in fact John Muir's book "The Yosemite" was re-printed using Galen's images back in 2001. The fan site was not run by Galen's company, yet by a fan, so I figured like-minded Sierra-lovin' folk might be interested in a photo class.

I discovered Galen's work when I was 17. We lived in the same Bay Area town and although I came to know him over the years, I couldn't call him a friend. To me he was truly a kindred spirit (as he signed to me in one of his books). He was much like a mentor without the actual mentoring. I admired his work, attending a few of his lectures, but never inquired about how to run a photo business or get started in the industry. Out of respect, I felt that was my homework to do- my dues to pay.

My Facebook post went unnoticed - no one ever contacted me about our Sierra workshop through the site, until I received an email from someone who worked at Galen's offices (who no longer works there). This person basically accused me of using Galen's name, riding on his coattails to benefit my own career- truly laughable since nothing could be farther from the truth. Coming to know Galen's staff over the years, I never once asked him for advice or for industry info, nor did I ever receive Galen's help to get published, create a workshop, sell a gallery print, or make a stock sale. I know Galen admired me for this since so many did try to use his connections to benefit themselves. The ironic thing is when he passed, I was contacted by his office for advice on how to deal with a mutual client, which I gladly assisted with.

And of course to date I've been published around the world, shot hundreds of assignments, taught workshops for over 10 years, made thousands of stock sales, and sold numerous gallery prints. Although I've been lucky to have many wonderful people (clients, workshop students, editors) help make my dream of being a photographer come true, I didn't get to the place I'm at by using others- I built my career through tons of hard work, late nights, sacrifice and perseverance. No one dragged my butt out of my tent to capture dawn, no one wrote my letters or emails to land jobs, no one did my research and planned my shoots but me.

So to get a message like this was not only insulting, but ridiculous. Nevertheless I followed up with a reply explaining my intentions, which were never to attach myself to Galen in any way. But what can you do. It doesn't matter how you run your life or what your true intentions are, when someone opens their mouth without any forethought or research, you simply have to disregard their comments and move forward.

Although Galen's presence was a source of great inspiration as I built a career in the industry, I rarely thought of him as I traveled the world on assignment. But when he past, he came to mind often. I remember in '04 while on a job in St. Croix, overlooking the Caribbean sea while photographing at sunrise, I remember thinking "Aw Galen, you should be here to see this". I wish he was.

My Hoodman gear

2009-11-11T21:56:00.000-08:00

Just tweeted about some Hoodman gear I picked up last week. One of the reasons for doing my tv show is to talk about a mix of photo gear, and one of the reasons for my blogs (and tweets) is to mention the products I use and believe in- I like finding great gear, and my simple test is if I use it for years then I know it's good.

Love Hoodman. I first picked up their loupe a few years back for my Nikon D200 and on every workshop I did, my students realized they were missing out - to review your LCD screen without any outdoor light was just fantastic- and besides that, the product is well made, tough, durable, and sharp.

I also use their UDMA RAW memory cards (fast speed memory cards), Right-angle viewfinder (great for macro work), eye cups (great to shoot with, to block out side light when you're looking through your viewfinder, and LCD Safe Cleaners.

I recently picked up their new loupe (the Hoodman 3.0 Glare Free LCD Viewing Loupe - Model H-LPP3) last week - used it on assignment and I dig it! Covers the whole 3" LCD screen, sharp as can be blocking out 99% of the light, allowing me to review my images fast without the influence of the ambient light. I also grabbed a MacBook Laptop hood (I should be using on photo shoots, with and without clients, on my MacBook Pro, allowing us both the ability to see the screen better in bright light), and a few LCD screen cleaners.

Anyway, that's my gear of the week- and no, they don't pay me to say this (at least not yet!). Check 'em out- solidly-made gear, quality, at a decent price, made by good people: http://hoodmanusa.com/

My upcoming ABC television segment

2009-11-06T08:20:00.000-08:00

Thursday, December 3rd, I'll be on The View From The Bay (my third time this year) doing a Photoguru segment on cool fun affordable gifts for your photo enthusiasts- perfect timing for the holiday season.

Come to the taping and watch it live, check it out on your boob tube, DVR it, Tivo it, VCR it (if you live in the 80s), or look for it on their website after Dec 3rd (if you don't live in the area).

To check out the other two segments I did this year, go to:
http://abclocal.go.com/kgo/story?section=view_from_the_bay/consumer_finance&id=6914730

http://abclocal.go.com/kgo/story?section=view_from_the_bay/everything_else&id=6674127

IF YOU WANT FREE TICKETS to the taping, go on their site or review the info below:

The View From The Bay | ABC KGO-TV, Channel 7
900 Front Street, San Francisco
Thursday, December 3rd, 2009, 3-4pm

http://abclocal.go.com/kgo/channel?section=view_from_the_bay&id=5755208

Here's the info from ABC KGO-TV:

I would like to extend a special invitation to Sean Arbabi's friends, family and colleagues to be in our studio audience the day that he will be appearing on “The View From The Bay” Thursday Dec. 3rd, 2009.

Meet Spencer Christian and Janelle Wang and get a chance to see the behind the scenes of a live television broadcast. Tickets for the show must be reserved in advance. Audience doors open at 2:15pm with a cut-off time of 2:30pm, the show is live from 3-4pm.

To reserve your seats please call the ticket request line at (415)954-7733 or visit www.viewfromthebay.com and click on “be in our audience” and fill out a ticket request form. Or click on the link below to go to our online ticket request form. Simply fill out your information and press submit.

http://abclocal.go.com/kgo/feature?section=view_from_the_bay&id=6337461

Please be sure to note under “comments” if you are requesting a specific date to support someone scheduled to be on the show. We strongly encourage you to post this invitation and its contents on any blog or webpage that you host or participate in. Please pass this email on to any friends, family or colleagues who may be interested in being in our studio audience. You can also post an announcement on your webpage!

*Please note that all seats must be reserved in advance. Tickets that have been requested will be sent via an email confirmation with detailed instruction on where and when to arrive at the ABC studio. Also note that audience members come in a separate entrance and time than guests appearing on the show. If you are a guest on the show and you will be bringing your guests with you they will need to check in with me (Rachel Wyatt) by 2:30pm to be seated in the audience.

Rachel Wyatt/ Audience Coordinator: Rachel.Wyatt@abc.com

Hope to see you all there- thanks!

A long ride with a small camera

2009-10-29T19:51:00.000-07:00

Last week I went for a long ride, from my home in Danville, CA to my brother's home in Pittsburg, CA - it's about 25 miles as the crow flies, but I took the undulating route on the back streets, roads and trails, over a number of hills - a tough long ride.

I had my GoPro Helmet Hero Wide with me- a great little 5 megapixel point-of-view camera with an ultra-wide lens and a mix of attachments - to attach to your helmet, around your chest (their chest mount harness), a suction cup mount for moving vehicles or boats- all kinds of ways to attach it to anything you wish. It's small (probably half the size of a regular point-and-shoot) takes an SDHC memory card, runs on batteries, and fits into a waterproof housing - all with an affordable price tag of $189.

I rode for about an hour in the late afternoon, up a big hill into open space on the flanks of Mount Diablo, entered the trails and turned my camera on (in the auto mode to take a still photo every two seconds). Over the next hour of so, my camera captured approximately 1400 images as I headed off the trails, onto the roads of Walnut Creek, through the city of Concord, before the memory card filled up cutting off the camera at dusk as I approached Pittsburg. I had another 45 minutes left to ride (over the last grueling hill in the dark), but I figured my GoPro captured enough images to check out later that evening.

When I returned home, I loaded the images into my MacBook Pro using iMovie, found the right timing per slide to make it flow well, added some copyright free classical music, and created this fun little movie.

So here's my ride October 22nd, 2009 - an hour portion of a 2.5 hour ride from Danville to Pittsburg, California - 1462 still images, broken down into a 3:38 minute segment, edited in iMovie (part of Apple's iLife '09). Enjoy- I hope to do more- maybe an all-trail version, or attaching it to a boat, kayak, or vehicle.

See it in HD on YouTube: http://www.youtube.com/watch?v=dz7oQoHFtek&feature=autofb

Go Pro Camera: http://www.goprocamera.com /

Apple's iMovie: http://www.apple.com/ilife /imovie/

My segment on The View From the Bay (ABC KGO-TV 7, San Francisco) featuring the GoPro camera: http://abclocal.go.com/kgo/story?section=view_from_the_bay/consumer_finance&id=6914730

Discounts on photo gear, free shipping, and more

2009-10-25T12:57:00.000-07:00

When you follow my blog, take a workshop, buy my book and write a positive review on Amazon, you get perks- that's right, I throw DOWN for my students and fans! :)

FREE SHIPPING on HOODMAN LOUPES:

Ordering a Hoodman loupe and want free shipping? Go to Hunt's Photo and Video and when you add the loupe to your cart, at checkout type in "SArbabi" to the coupon field - that equals free shipping!

http://www.huntsphotoandvideo.com

FREE GIFT WHEN YOU BUY A CAMERA BAG/ CASE:

Go to Think Tank Photo and use this link below:

http://www.thinktankphoto.com/affiliates.aspx?code=WS-142

When you do, if you buy a camera bag/case over $50, you get a choice of one free item valued around $20-30 (three to choose from). Great cases- I have four of them and love 'em- best camera bags made out there.

$20 OFF OF YOUR NEXT ONLINE WORKSHOP:

I teach online workshops with BetterPhoto.com - the past three years to students in 30 counties and 43 US States - come and take a course online, on exposure (my course) or many others including photoshop, composition, lighting, and more- tell 'em I sent you and you'll get $20 off of your next course: http://www.betterphoto.com/courseOverview.asp?cspID=144

ALL OTHER CAMERA COMPANIES / STORES / MANUFACTURERS:

If you read about them here, and I recommended them, tell 'em I sent you (Sean Arbabi - The Photoguru) and you just might get free shipping or a discount. More discounts to come in the near future!

Photographs aren't free

2009-10-12T19:49:00.000-07:00

I recently received an email from someone claiming to be a writer for a how-to website. This person stated they wrote articles for the search site and wanted to use one of my images for their article (originally used from one of my Via magazine assignments).

This is normal in the photography industry, and a big reason why I own all of my images (and do not do "Work for Hire" jobs which transfer all image rights to your clients). I grant first-time publishing rights, and once my photos are used by my client, they are part of my image collection, available to license through my company or my stock agency. Some clients think licensing our images is 'extra money' but it's not- it's simply part of our income as freelance photographers - photographers with no guaranteed source of income, no benefits, no 401K or pension plans.

Getting back to the request, after doing a little research on my own, I come to find out this person was not a writer for the website, nor employee as a writer anywhere else. Instead the site relies on people for their content - it's like saying you're a writer for Wikipedia. And not to bash this person since most people aren't aware of copyright laws, or the licensing fees for a photograph, or the proper way to go about obtaining images - shoot, I've had some editors and clients in the past who didn't necessarily follow the proper way being in the business of licensing images - but pleading ignorance doesn't necessarily get you off scot-free either.

Then as I researched the how-to site a bit more I learned that my image was ALREADY on the site - with the credit listed as the magazine I originally shot it for! They basically took the image from Via's website and pasted it into their article.

At this point I had a few options - I could:

1) Contact my copyright lawyer and sue (which is the last thing I would do since mistakes do occur, and I'm not one to stick it to people that way)

2) Send them a bill for licensing, charging them a penalty for illegally using my image (this is more in line with the norm, and completely appropriate since the image was up for at least a week or two).

3) Notify the "writer" and the website were infringing on my copyright with the unauthorized use of my image and to remove it immediately or face a possible lawsuit and licensing fees (which is what I did).

The site removed the image that day, and at first the "writer" was a bit rude but after explaining the law, she relented and apologized. If they made me an offer to pay for the use, I would have looked up the licensing fee in my price guides, and charged them appropriately including the time they had already used it for. If she didn't apologize, she would have been dealing with my lawyer. The site also tried to claim that they didn't have control of what members uploaded- wrong- if it's their site, they SHOULD have control - or they might get sued.

Moral of the story- your photos are exactly that- yours. If you are a professional photographer with your own business, they are not just sitting in your files or computer, they are part of your inventory. I can't just go and take something off of the shelf at Target, walk out with it, and claim "it was just sitting on your shelf". A lot of money, time, effort, experience, knowledge, and equipment goes into all of the images I produce- as with any business that has a product to sell. Control your photos - do your homework - purchase pricing guides and/or software like Fotoquote or Jim Pickerell's stock guide, and prepare yourself for the day when a client wants to buy one of your images- or one uses an image without asking for permission. And if someone tried to abuse your copyright, find a lawyer.

Irregardless of royalty free photos, royalty free art, royalty free graphics, and all the accessible work on the internet, my photos aren't free.

9/11 plus 8

2009-09-12T01:22:00.000-07:00

Today, on the eighth anniversary of 9/11, many channels ran specials, some of which I DVR'ed. After watching one tonight, taped in 2002, interviewing photographers who captured images that day, watching unbelievable images documented that day, I felt compelled to write something - if not to honor the people who suffered and died on that day (and in the subsequent years in Iraq, Afghanistan, and Pakistan),but at least to share what it's reminded me of.

As so many of us were, the attacks, chaos, and destruction that ensued from that day impacted my life profoundly. Although I was back in the Bay Area from a recent trip, I found myself depressed for weeks and months by all the events that occurred- it was weird since I'd never experienced that- to be moved and affected by something that happened 3000 miles away.

I look at America eight years later and wonder if we've changed for the better. Politically in many ways we have, but in other ways with the infighting, greed, the lack of finding common ground, the pursuit of arguing to win instead of fighting for what's wrong or right, and the push to merge church and state by some shows me that we haven't. And although massive greed almost killed the economic machine that allows us to live so freely and comfortably as compared to other countries, even that didn't stop business-as-usual for the ones who feel their place in this world is based on their bank balance instead of their character. Even Plato understood this when he wrote "All the gold which under or upon the Earth is not enough to give in exchange for virtue", and he lived almost 2500 years ago.

To top it off, we still seem to care about crazy reality couples who've become famous by having too many children, and buy the ridiculous magazines to read the gossip and support this behavior, instead of finding medical care for so many underprivileged children in this Nation. In this still rich Nation.

So these were the things I was reminded of today as a photographer who has traveled the world. September 11th, 2009 gave me the chance again to honor the fallen Americans, but also reminded me that this Nation was formed, compiled, created by people of all nations - and that all nationalities were changed, were moved, were killed.

On September 7th, 2001, I took the NY Subway to the World Trade Center and walked through the lobby for the first time; an Iranian-American with my Italian-Beliguim journalist friend ending our week of work in NYC. Four days later the world changed for so many lives. Eight years later it continues to affect Americans - Americans who came together from every corner of the world.

Time flies & love blooms when you haven't blogged

2009-09-10T14:32:00.000-07:00

Seconds turned into days turned into weeks- I haven't blogged for almost a month- crazy.

The past month I shot a few assignments (built an on-location studio for a company in the North Bay of the San Francisco Bay Area, capturing 40 food & wine displays), taught an exposure course with a book signing at Book Passage in Corte Madera (a great bookstore in the Marin/ Mill Valley area), licensed some images to a few magazines and clients (a nice double-page spread of a Half Dome image which you'll see in a few months), worked on two new books which I'm very excited about (out in 2010-2011), and sold five 30x50 prints to recruiting company. All while my girls started school- a busy August.

But what I wanted to write about was something I found out while lecturing at Book Passage. Two past workshop students came to take the class, told me they met at my weekend workshop two years earlier at Pt Reyes, and ended up falling in love- now married- they said, I could add 'match-maker' to my list of accomplishments. I was tickled pink (when was the last time you heard that term?!). Actually, it really was a cool thing to hear. As we all go through our daily grinds, move through our busy lives, setting up events, meetings, goals, we rarely consider how it might affect other lives.

When I plan my workshop presentations, I think of all the experience and knowledge I've gained through my 19-year career, and how I can add specific images and information into my lectures and field notes to help photographic enthusiasts improve their skills - to help them learn how to communicate with their cameras better. But I don't think I ever imagined two people meeting at one of my events and deciding to spend the rest of their lives together. It doesn't seem far fetched, but I just never thought of it.

So here's to photography bringing more love to the world - in the day and age of glorifying ridiculous rude behavior on tv, where wars continue to tear lives apart, where corporate greed runs rampant, and where a wealthy country like the US can't find a way to take care of its own, I seems like we could use a bit more love.

eHarmony, eat your heart out.

My Photo of the Month

2009-08-13T22:11:00.000-07:00

Just wanted to share an image I recently shot while on assignment. I was hired to capture an image of Lombard Street in San Francisco - best known for its one-way section on Russian Hill (between Hyde & Leavenworth Streets)- eight sharp turns (or switchbacks) that have earned Lombard the distinction of being "the crookedest street in world (part of The Presidio and Cow Hollow neighborhoods).

I traveled to the city one day after scouting some locations on Google Earth (that's right, sign of the modern age) and spent an afternoon picking the best spot to shoot from. Knowing the light could look nice at sunrise yet most likely devoid of vehicles, I choose to shoot in the late afternoon - not only to catch the hill in shade, slightly backlit, but also hoping the sun would reflect off of the street to help it stand out.

I shot from a few locations, one close to the actual street, others miles away. Using a 300mm lens with a 1.4 teleconverter and my digital 35mm SLR, I was able to crop the street nicely from one of my vantage points on Telegraph Hill. Although I mounted my lens on a large Gitzo tripod, I still set the mirror lock feature and shutter timer to keep the camera as steady as possible - afternoon winds blowing atop the hill made me worry about camera shake.

I shot all the way until twilight, finally documenting this scene below - the perfect time to capture a long exposure of the moving cars combined with the waning light of the day - which turned out to be my favorite. No filter was used and the final exposure turned out to be: f/11 @ 30 seconds using ISO 100

The magazine didn't end up using this image, and picked another I photographed during the afternoon. Although I'm partial to this capture, an old editor of mine sent me an email after seeing my image in the magazine - he wrote: "Your picture of Lombard St in VIA is probably the best I’ve seen. It’s so difficult to make a different shot of a famous place, and yours gave a new perspective. I can’t imagine how you got it without cars, and of course a nice touch with the cable car at the top."

Once again proving photography, as all art, is subjective.

Taking a break from photography

2009-07-29T21:08:00.001-07:00

As I was on a run this evening listening to John Mayer's "Into Your Atmosphere", I thought I'd write to all of you to talk a bit about taking a break from photography. This may mean a few days to some, it may mean a few months to others- it all depends on your personality and what's going on in your life. Sometimes this simple act can work as a catalyst helping you push forward into projects you've been holding off on, or help you create new images you might not have thought of in the past.

As a person who's captured images since I picked up my first camera at the age of 11 (now 41), I've been deeply engulfed in photography in every way possible - from planning and shooting my assignments around the world, to holding gallery shows displaying my fine art prints - writing a 50,000 word book on exposure, to organizing industry events for ASMP - dealing with all that goes into a photo business, to all the self-educating needed to keep up with the latest and greatest in gear and software - and now attempting to create tv show and be the Photoguru to the general public - it's a lot to do on a regular basis.

And even though I love my career, a few years ago I began to burn out on it a bit. I was always aware of this happening and knew to get away and take breaks from it when I had to, but at that point I realized I needed to slow down on my shooting to find that hunger again. Photography tends to ground me from time to time and has brought a lot of peace to my life, but doing it as a full-time job is whole other ball of wax.

People often think having a career as a photographer is this great job where you travel and get paid for a living - piece of cake right? Far from it. Capturing great shots is a blast, but working on deadline, tight budgets, lots of pressure sometimes, all kinds of weather issues, as well as all the other major and minor details that goes into every shoot is tough. When I get just a one-day assignment, I have to plan that day out, make sure I produce the work needed within the budget allocated, and although some think "hey, if you don't get the shot, you can always go back the next day", that just ain't the case. Your profits drop, expenses increase, and it ends up being an expensive hobby and not your main source of income.

After a few year of shooting less (finding bigger clients, more commercial jobs, and diversifying my business some to maintain the level of income I was earning) my excitement for photography came back 100%. I never stopped shooting, but I definitely cut back on the frequency. I've never been one to take a camera everywhere I go, and that too I feel has helped me stay fresh in my outlook of the art, carrying that jubilation of capturing a great shot whenever I do so.

And whether it's jammin' to Kanye while ridin' my mountain bike, or leaving my cameras at home while visiting Lake Tahoe for the weekend, I believe these mental breaks have played just as big of a role in my photography as did the times where I had all my gear- where I may have worked 20 hours in a day to complete a job, or been two weeks away from home on assignment. Photography may be my job, and yes I love making images, but it doesn't rule my life- the constant search for happiness - contentment - peace - laughter - that does.

So if you take a deep breath or sigh when you pick up your camera, find yourself getting extra frustrated when you miss a shot, or think you've reached a plateau in the images you're creating, consider the option of back burnering your photography. Go for a ride, get back into running, or wait a while until a little dust collects on your camera. You might be thinking "What Sean? Stop shooting photos? Didn't think that would come from you." To quote Chris Rock in his last HBO special "That's right, I SAID it! And I'm looking straight at cha!" :)

Remember, you're not alone in feeling that way, and your passion for the medium will never go away. Happy humpday photo-geeks and geekettes.

How to Survive the Credit Crunch

2009-07-16T12:34:00.000-07:00

This economic year is affecting everyone, not only in the U.S. and U.K., but as well around the globe. Budgets are tighter for companies small and large, resulting in less advertising, affecting ad agencies and magazines - this trickles down to photographers through fewer assignments, smaller stock sales, and less work. As for the public market, individuals are just as concerned and have less disposable income, resulting in fewer purchases of books, fine art prints, lower workshop numbers, as well as tighter budgets for wedding and family portraits.

So what to do? How do you keep your business going during these times? Here are a few ways to keep the ball rolling - some are tangible steps, and others can't be measured - but they’ve worked for me the past 20 years as a full-time pro.

1) Keep yourself busy, very busy - although it's not a tangible thing you can keep track of, I believe the more energy you put out there, the more comes your way. I’ve noticed when I’m busy, I’m not all that motivated to get to extra work since my schedule is packed and free time is limited. It’s not the best way to run your business since you should always be marketing, but it’s reality. Yet when times are slow, it's easy to get depressed and lose confidence. So instead, use that hunger to motivate you.

By keeping yourself busy and always have things to work on, whether capturing new images for your portfolio, cataloging your work, taking advantage of the time to connect with new clients, or starting new projects you’ve had on the back burner, time will pass and opportunities will arise from the positive effort.

2) Partner up with others. I also believe in synergy. I'm not big on trades since they don't pay the bills, but if you need a designer for some promotional materials, and a designer needs a photographer for their specific need, making a trade can save both sides money – and the collaboration of creative people can often lead to new opportunities.

3) Reorganize: Take time to reorganize your business and hone your skills- we rarely have time to do this, so no better time than the slow present. Whether captioning and organizing your images, cleaning out your computer, or re-packing your photo bags- when I’m swamped I rarely have time to do any of this, so I use my slower times for these tasks. I call it investment toward future earnings. How so? I’ll give you an example. When a request comes across my desk for Yellowstone images and my client needs to review some asap, I’m able to build a lightbox immediately and throw it up on the web due to captioning them a year earlier during a slow week. That quick response, in turn, leads to more sales.

4) Cut your overhead: Whether you have to rent a smaller office space or studio, or simply not purchase that new laptop or 35mm dSLR you’ve wanted, one way most companies survive the tough times is by cutting costs. It’s hard to do, but sometimes you have to rent out your studio, sell some gear you rarely use, or cut out services you don’t need. Less overhead means less pressure to make ends meet.

5) School yourself: Brush up on all the new software you may have in your computer - whether being Photoshop CS4, Lightroom, Aperture, or even Excel and Word hone your skills to tighten your workflow. A few years ago when I had a slow month, I transferred all my presentations from Powerpoint to Keynote, learned the application well, and when the next workshop date arrived, I was ready with a solid lecture.

6) Diversify: Diversifying your business is important in general, but critical during these times. When I started my business, I landed a stock agency and a job capturing production photography three days a week in a studio. As my business grew, I added editorial assignments, then workshops, more ad and corporate work, and slowly expanded my photo business. By putting “20 eggs in the basket”, and hoping a few came through, I was able to always have a check coming from somewhere.

7) Work on personal projects. Personal projects can not only be rewarding, but often bring new assignments – all the while allowing you to shoot exactly what you are most interested in. I’m currently working on two new projects – a book I hope to publish, and another a studio project capturing a subject I’ve been interested in for years- both of which I can do from my home or office.

8) Delve into the realm of social sites and email marketing. When you market your photography through emails, costs can be drastically lower than snail mail, and you can hit thousands of clients on a tight budget. Just remember though, respect client requested to be removed from lists, and be considerate of no-email requests.

New media sources such Facebook, Twitter, Linkedin, Word Press, MySpace, RedRoom, as well as blogging can also expand your web coverage and bring new business. These websites are the rage with many photographers jumping in, but if you haven’t, consider these social sites as potential marketing tools. After my first book came out, I joined a site where people can connect with authors and over a period of a few months, had roughly 2000 people visit my pages. By marketing my book through these sites, I believe I was able to keep it in the top 50 photo books for the first six months of 2009, an incredibly difficult year where sales are down- my publisher was very happy with the numbers, which hopefully will lead to more distribution and sales, as well as future book projects.

Just remember, you want to be unique, a bit different from the other million photographers doing the same thing – so pick an agenda or a style and run with it. Blogging about random thoughts not related to photography probably won’t get you new work. I personally have a page on Twitter, Facebook, Flickr, MySpace, and YouTube, and my blog appears on all the top blog sites - which has lead to thousands of hits for my business.

Sure it takes some work to keep these up-to-date, but it pays off in both tangible and intangible ways. This year I sold two gallery prints, made a stock sale, sold a number of copies my exposure book, had a few people sign up for my workshops, did a consultation for a photographer, and landed a big corporate shoot – all through my presence on these sites.

9) Create a dream client list: One way to market yourself is to go after a certain type of client you are most interested in, and one that fits the type of work you like to capture. Whether you obtain your list through a mailing list company (Ad Base, Fresh Lists, etc), or simply locate the information online, this exercise can not only help you focus on the type of imagery you want to market, and the type of work you want to do, but could also help you land that dream client you always wanted. I always said, someone has to shoot for the National Geographic- why can’t it be me? By focusing on that top 10 list of clients, you pay more attention to them, may get to know the principals, and since it often about who you know instead of what you can do, you may just land that client.

10) Brainstorm: Often during hard times, people come up with new ways to promote or sell a product or service- this usually occurs simply through brainstorming for better ideas. I’ve been a photographer more than half my life, but it doesn’t mean I’ve thought of everything- in fact quite the opposite. So remember, you may come up with an idea that saves your business – one that’s not even on this list.

Good luck and happy shooting!

Fuji's 3D camera coming soon

2009-07-13T19:41:00.000-07:00

Too busy to write much this week, but do check out Fuji's potential 3D camera to launch this September - story on Engadget.com (a great tech blog I love to read): http://www.engadget.com/2009/07/12/fuljfilms-finepix-real-3d-camera-to-launch-in-september-cost-a/

Full article in Time's online magazine: http://www.time.com/time/magazine/article/0,9171,1909457,00.html?CNN=YES

My 2nd segment on The View From the Bay coming this July 14th

2009-07-07T08:35:00.000-07:00

Next Tuesday I'll be back on The View From the Bay, a great afternoon lifestyle show on ABC Channel 7 KGO-TV in the San Francisco Bay Area. I'm looking forward to seeing Janelle Wang and Spencer Christian again, the two great hosts, as well as the whole production staff.

Continuing my goal to be the Photoguru, a commercial pro and photo expert with my own tv show, I'll be going on to promote my book and talk about five cool compact cameras to check out for the summer season. No side-by-side comparison deal- just cameras that are different in the features they have, price points, and functionality.

The five point-and-shoots I'm testing out and reviewing are:

GoPro's Helmet HERO Wide: I've had a blast with this 5 mega-pixel "point of view" camera, attaching it to my bicycle helmet, my bike, strapping it around my waist, and even on my car for great shots you couldn't otherwise get in a system under $200.

Leica's high end D-Lux 4:

If you looking for top quality and price isn't an issue, this compact comes with the Leica name and quality (their lenses are known as the best in the biz-nas), full control of functions, and made for the serious amateur interested in creating high-quality shots in an easy-to-carry system.

Nikon's Coolpix S60: A 10 mega-pixel p&s offers a great touch screen, - I went with Arctic White, the color of my old '86 VW Golf (see it at the start of this blog)

Panasonic Lumix DMC-FX 150: A great compact has the highest mega-pixels in the group at 14.7 million, with manual functions and a Leica lens packed into a sleek body. I personally own this model.

FujiFilm Z33WP: A great 10 mega-pixel waterproof compact camera with a flash, LCD screen, and a cool strap that floats. I've enjoyed using it in the swimming pool with my daughters as well at in a river in the Sierras. Fuji sent me the bright pink model- that's right, I'm Mr. Fancy Pants.

I'll also show off Joby's line of cool bendable tripods- fun, functional, and they come in cool colors like blue, green, and pink! Use it for self-portaits, attach it to a tree branch or a pole, and pack it anywhere in your suitcase.

Canon never sent me a camera to review and I was a bit disappointed since they own the point-and-shoot market and have a great line of small digital cameras. But the ones I have are top-notch and would rate high in any comparison so I'm good to go.

So tune in Tuesday, July 14th, from 3-4pm for my segment- it will be fun, informative, and entertaining! And if you're not in the area, the segment will post on the web at KGO's site (as did my February spot on Great Family Vacation Photos): http://abclocal.go.com/kgo/story?section=view_from_the_bay/everything_else&id=6674127

You say Lacie, I say Lacie......rocks!

2009-07-03T13:45:00.001-07:00

People often ask me what type of gear I use - whether in the field or at my desk. Today, with digital dominating the photo industry, I'm often asked how I back up or store the hundreds of thousands of photos I've acquired and store in my image collection.

Besides backing up a number of images on gold archival DVDs, I currently have seven Lacie hard drives - a 2TB, 1.5TB, 1TB, two 500GB, 250GB desktop, and a 250GB mobile HD (to backup memory cards while on shoots). I love Lacie, they have been fast and reliable for me ever since I started buying external hard drives, they work on Mac or PC easily, and their customer service is good- that's hard to say in the days of crappy customer service.

So when Lacie came along and asked if I'd join there website as a pro who could recommend their drives, I said 'you bet'. They provided me with a number of questions, and I've listed some of my answers below.

Provide a quote:
Being a photographer doesn't mean just taking good photographs- you need to be a well-organized, reliable, likable person who connects well with others- and one who can be uniquely creative in a moment's notice.

Which LaCie products you are currently using:
250GB Rugged,250GB d2, 500GB d2 (2), 1TB Big Disk Extreme, 1.5TB Big Disk Extreme, 2TB 2Big Quadra

How did you your start as a commercial photography?

I picked up a camera at 11, always knew I' be a photographer. Received a "F" in photography in high school, but didn't let it deter me. In 1988 I enrolled at Brooks Institute of Photography where I received my Bachelor of Arts in Commercial photography in 1991. That summer I sent out 150 resumés with no job offers, so I started my own business combining outdoor, on-location, & studio photography- 19 years later, I've traveled the world capturing images for hundreds of clients, published thousands of times in numerous countries.

What have been some of your favorite events to photograph?
I enjoy a mix of subjects, all challenging in unique ways - from adventure sports to environmental portraits, from culture to landscapes, from wildlife to studio still lifes. One of the most amazing experiences I had was traveling through Borneo photographing an adventure race and subsequently capturing images of the Penan and jungles of Sarawak.

How has LaCie made your life as a photographer easier?
I always know my digital images and business files are backed up on fast reliable drive, easily accessible. Plus, I can get to large files quickly on any computer I own, as well as set up new hard LaCie drives easily.

Where have you been with your LaCie drives?
I travel with my LaCie rugged 250GB hard drive everywhere my photo assignments take me - from Los Angeles to Chicago, Seattle to Las Vegas - anywhere I go on assignment today, my LaCie portable drives goes with me. If I have a one-day shoot with a budget of $15,000, I must back up my images.

How do you see the world of digital storage developing and how will it make your job easier?

If Hard Drives last longer with more storage space - that is having a longer life (more than 3-5 years), allowing you to store more images (as it has over the past 10 years going from 160MBs to 2TB as digital files get larger and larger) safely.

How long have you been a user of LaCie products?
I picked up my first LaCie HD, 200GB model a number of years ago from the Apple Store (after reading a number of reviews about the best hard drive). I've bought and own 7-8 since.

Describe an experience with your LaCie drive where our product greatly enabled your workflow:

Hard to describe one- my LaCie drives help my workflow everyday, accessing files from Adobe Photoshop and Bridge, adding images to my Extensis Portfolio database to track and reference thousands of images, and open original files hundreds of megabytes large straight from the drives. Backing them up is also very easy and simple, whether using software or dragging and dropping folders into a backup disk.

As the Photoguru, I want to recommend products I use and believe in - Lacie HDs are one of those products. I'll soon add an article to Photoguru.tv as well reviewing my Lacie rugged portable hard drive. Happy Summer folks- use sunblock & wear a hat.

Signed copies of my book, The BetterPhoto Guide to Exposure

2009-05-27T15:20:00.001-07:00

For anyone interested in improving their photographic skill and learning more about exposure, you can order a signed copy of my book directly through us by going to this link:

A great deal for Photoshop lite

2009-05-20T00:23:00.000-07:00

Love me some Costco - great deals, yummy food, quality products. While shopping there with my daughters last weekend, I couldn't help but notice the great deal Costco has for Adobe's Photoshop Elements.

Most list the product for $139 (including Adobe), maybe as low as $99, but Costco has it for $79.99.

They only have it for Windows (didn't see a Mac version there), but so many of you are on PCs, and it's a great program to own. A must have piece of software for many photo enthusiasts wanting to get into Photoshop, but not interested in shelling out a ton for the full CS4 version -a version where they may only use a small percentage of the amazing functions available.

Click this link to see the software on Costco's site: Costco-Adobe PS Elements

Enjoy Photogurus and Photoguruesses....

Stick to acting Ashton

2009-05-12T21:26:00.000-07:00

Let me start off by saying, I like Ashton Kutcher- enjoy 'Punked', like many of the movies he does, and think it's impressive to have the resumé he does at his age - nothing personal toward him.

And maybe he's making a lot of money for Nikon, but come on- what's with all the camera ads done by an actor who knows very little about photography? It would be like a fake doctor telling you what drugs to take. Or a lizard telling you what insurance to order, while tens of thousands of lizards sadly die every year, all without insurance.... a horrible but true fact.

I mean come on - all the women are following you 'cause you have that cool point-and-shoot? Yeah, right. I wish. If that was the case I would have been beatin' 'em off with a stick over the years (actually I got a pretty hot one for my wife, holding on to her for 16 years so maybe Ashton has a point). Hotties everywhere would have been chasing my rear all around Yosemite, the Grand Canyon, Southeast Asia, or Mexico.

"Hey Sean, whatcha got there? Ouuuu that's a big lens - do you know how to use it?" Yeah, I know how to use it- thanks for the compliments too- would you like me to teach you how to take great photos? Wait WAIT! What am I doing?! Back off before my wife opens a can of whoop-ass. Sorry, temporary man disease.

When it comes to lookin' pretty and acting, maybe you've got one on me Kutch. But when it comes to apertures and shutter speeds, flash and natural light, and just plain ol' having a killer eye to capture great shots, Ashton, you are out of your league my friend.

Sound like a jealous photographer? Not at all. He got where he got with hard work, and probably signed a lucrative contract to promote a product. I would have done the same thing. It's typical of Nikon to do this- to place no trust in their pros being able to sell their product, and instead grab a hip celeb and make some flashy ads. Shoot, I've used their gear since I was 11, believe in the product, been on the cover of the calendars, in their product guides (this year again), Nikon World magazine, their trade shows, and so on, but they've never been nothing but rude and condescending to me. It's why I dropped my NPS membership (Nikon Professional Services) after 17 years - nothing but arrogant people who don't want to help their pros- all of this while Canon pros go on and on about how great Canon treats them and takes care of their needs. Hmmm, I've always liked Canon gear.

As I said I would have done the same thing as A.K., but with a small difference. I've been published all over the world, captured images for hundreds of clients ranging from National Geographic to Timex, and proud to bring a solid portfolio to the table - a collection of images at 40 years young I challenge any photographer to rival.

So here's my pitch to all the companies out there directly and indirectly involved in photography. Apple, Canon, Epson, Fuji, Kodak, Nikon, Minolta, Olympus, Promaster, Sigma, Tamron, and many many more - if you want a spokeman to promote your gear, if I were you I'd picked me, the Photoguru- but hell, don't even pick me - just pick someone with genuine clout in the industry.

Someone the pubic can say "Wow, that photographer knows how a capture amazing images - maybe they DO know something I don't". And Ashton, I ain't got nuthin' but love for yah baby - and if you need to brush up on your photo-knowledge, I offer workshops every month.

The White Whale

2009-05-08T10:04:00.000-07:00

Although I've never had the chance to own a German-made rangefinder Leica camera (always wanted to - one of my dream cameras), I just wanted to share this dope Special Edition All-White Leica M8.

Sure it's around $8500 (ouch), the black and silver versions listing around $6500 (what a deal!) and the Safari camouflage version at ten grand, but at least you can tip your nose up as other peasant photographers capture images around you with their American and Japanese counterparts.

In all seriousness, Leica makes an amazing product, simple, clean, durable, and unassuming (I know, that's a bit ironic with the price tag, but most who aren't into photography don't realize the price or quality of it).

Made famous by photographers such as Henri Cartier Bresson and Diane Arbus, their lenses have been top-notch for years, and past models dating back to the 50s are always in demand (just type in Leica on eBay and see for yourself).

If you just received your bail-out check or play shortstop for the Yankees, you can call Leica at 800-222-0118 in inquire about adding this cool 10.3 megapixel gem for your collection. Don't forget to go back to Congress when you need to buy a few lenses for it.

And when Leica sends me a free one, I'll test it out and add more info. :)

Where should I buy photo gear?

2009-04-29T09:20:00.001-07:00

As more and more camera stores close with the onslaught of web-based photo distributors, I often hear the question "Where should I buy my photo gear Sean?".

There are mix of places I've used over my career, from local Bay Area stores (Northern California) like South Bay's Keeble & Shuchat, San Francisco locations like Calumet (based in Chicago with an e-store as well) or Pro Camera, and East Bay stores such as the Looking Glass and Sarber's, open since 1961- and then Reed's in Walnut Creek (the closest to my home) that closed in '07 after 50 years in business.

Then when I'm on the road and need quick gear or rental equipment, I use Samy's Cameras in Los Angeles CA (a few locations and where the pros go) or Glazer’s Camera Supply in Seattle WA (around since 1935).

Where to go online? Besides B&H Photo and Calumet, I love working with the people at Hunt's Photo & Video- an east coast-based store (online, as well as physical locations in Massachusetts, New Hampshire, Rhode Island, and Maine).

Hunt's rocks- not only have they been around since 1889 (that's right, 120 years), they are personable, don't try to sell you gear you don't want or need, and I've had direct connection with the owner (Gary) for years.

I also feel if we, as photographers, don't support companies like Hunt's, we'll end up falling into the mix of large companies with horrible customer service reps that know nothing about gear and only want to "make their numbers" in sales. You know these companies - the ones that transfer you six times to different departments, screw up your bill or order, and waste your time for an hour and what could have been a 5 minute call (rhymes with ShmAy-Tee-&-Tee). Where's the invention that will allow me to grab someone's neck through phone lines? A fiber-optic vulcan grip of sorts.

I have certain criteria when I use these stores, and if they don't follow them, I don't get them my business:

- Reps that are awake, alert, happy and helpful

- Good competitive prices (but I'll pay a few bucks more for prompt service and accurate details from knowledgeable reps)

- My gear arrives on time, or they follow up with me on my order

- Mistakes happen, just admit it (instead of trying to cover it with a bunch of baloney)

- Don't try to sell me something I don't need (no, that $300 camera strap made of Carbon-fiber isn't necessary dude)

- Help me when I'm in a jam (don't place a 10 grand hold on my card for rental gear, when 5 grand will do the job and save me some space to use the card on my job)

There ya go- now go out and spend, spend, spend. Just kidding. But if you do, and don't get the treatment you expect, let 'em you'll take your business elsewhere, tell 'em I sent you, and go somewhere else if they don't get it.

Happy shooting....I mean shopping. :)