Frans Lanting had a large archive of film images when he made the transition to digital capture. The National Geographic photographer describes how he made that transition and how his film images continue to play a major role in his studio.
When Frans Lanting first clicked his shutter on assignment in the late 1970s, he began a prolific photographic journey that would take him around the world for more than 25 years creating hundreds of thousands of images—all on film. Read More...
Taking a long-term perspective on creating your digital archive
In all the years I was traveling and giving talks to photo groups on Adobe products and end-to-end digital workflows, the number of photographers I met who had truly developed a rational system for managing their digital library was very small. Read More...
How to evaluate and quickly set up your images for web usage
First impressions can make or break a photographer. Prospective clients and photo buyers alike who surf the web for interesting photographic work can and will pass judgment on you, for good or bad, in a matter of seconds. While many photographers become absorbed by web design, others look past the essential skill of optimizing images for web-based viewing. Central to any website or online portfolio is having sharp, lightweight and high-impact photographs. Read More...
Without color calibration, you might as well be working in the dark
I’m a photographer with a deep, dark secret: I’m color-blind. For those of you without this particular affliction, allow me to clarify something. It doesn’t mean that I see the world in black-and-white; it just means that I see things a little bit differently. I see colors, and as far as I know, I see all the colors that anybody else does. Read More...
A look at the extensive possibilities of external hard drives as a digital photo archive
The ideal goal of any image management is simple: keeping finished images at arm's length without them being in the way. The solution is a little more complex, however. There are a variety of ways to achieve this goal, but at the core, methods for image archival should offer a strategy that you're comfortable with, doesn't consume a lot of time or processing power, and makes you confident that the images you've saved will remain safely stored and accessible from start to finish.
Whether on assignment for National Geographic or managing his massive stock archives, Frans Lanting's studio is constantly adapting to handle extreme challenges in digital-asset management
Getting precious digital image files from capture to output is tricky under the best circumstances. Just imagine how difficult it gets when you're on location for National Geographic in the most remote corners of the world for weeks on end and you're bringing back 10,000 images at a time. That's exactly the situation faced by Frans Lanting and his staff.
Wedding photojournalism is a day-in and day-out, high-pressure shooting environment but if you can master this workflow, you can do anything
I was drawn to wedding photojournalism because, for me, it's the perfect combination of documentary street photography and imagery that infuses moments of humor and levity; it simply makes people feel good. On a regular basis, I'm invited into the lives of strangers, armed with the task of finding the elements that make their worlds unique. A stage has been set with characters and lush backdrops. At times, I become a director; at other times, I'm a stylist or even a therapist. In most cases, I'm a silent voyeur recording the events as they unfold.