There is a pervasive myth within the photography community: the correlation between Instagram followers and financial success. This topic is especially pertinent for emerging photographers who may fall into the trap of equating social media popularity with career achievement, overlooking the multifaceted nature of building a sustainable photography business. This fantastic and important video tackles the topic. 

Coming to you from Prince Meyson, this insightful video challenges the widespread belief that a large Instagram following is indicative of a photographer’s financial well-being. Meyson shares his personal experiences and observations, pointing out that many photographers with significant online presences are not necessarily the ones landing lucrative commercial projects. He emphasizes that some of the most financially successful photographers often have minimal social media activity, suggesting that the key to substantial earnings lies beyond the realm of likes and follows. This perspective is crucial for photographers starting out in the professional realm, urging them to consider a broader strategy for their careers that goes beyond digital popularity.

Meyson further elaborates on the importance of diversifying income streams and not relying solely on social media metrics as a measure of success. He provides examples of how photographers can monetize their audience through selling products like retouching actions and presets, while also highlighting the importance of pursuing commercial gigs that may not always come from online visibility. This advice is invaluable for anyone looking to bridge the gap between online influence and tangible financial success. Meyson’s candid discussion serves as a reminder that a successful photography career is built on more than just a digital following—it requires business acumen, networking, and a diversified approach to income. Check out the video above for the full rundown from Meyson.

On March 6, the Greenwich Historical Society will unveil a groundbreaking exhibition titled LIFE: Six Women Photographers, spotlighting the monumental contributions of six pioneering women to the realm of photojournalism through their work with LIFE magazine. These photographers include Margaret Bourke-White, Marie Hansen, Martha Holmes, Lisa Larsen, Nina Leen, and Hansel Mieth, whose lenses captured the essence of 20th-century American and global events, shaping the public’s perception of the world around them. Curated by the New York Historical Society, the exhibit not only celebrates their achievements but also delves into the intricacies of their creative processes, offering an unparalleled glimpse into the evolution of modern photojournalism.

Trailblazers Behind the Lens

The exhibition presents over 70 photographs that narrate the rich tapestry of global cultural and political events from the unique perspectives of these six remarkable women. Their work spans a diverse range of subjects, from the rise of U.S. industrial power and the evolving role of women and families in society to critical moments like World War II, race relations, labor movements, and the Cold War era. Through their cameras, these photographers not only documented history but also influenced the discourse of the times, bridging the gap between the public and the often distant or abstract events shaping their world.

The Art of Storytelling Through Photography

This exhibition does more than display iconic images; it reveals the collaborative process between photographers and LIFE magazine’s editors in crafting compelling visual narratives. Visitors will have the opportunity to explore the editing journey through a selection of published and unpublished photographs, vintage prints, copy prints, and contact sheets. Additionally, memorabilia such as memos, correspondence, and other items from the “Time Inc.” Records shed light on the meticulous process behind the magazine’s legendary photo essays. This behind-the-scenes look offers a deeper understanding of how photojournalism operates as a powerful storytelling medium.

Extending the Conversation

Complementing the visual feast, the Greenwich Historical Society has curated a series of engaging lectures, workshops, discussions, and film screenings. These events aim to foster a deeper connection between the community and the rich history of photojournalism, encouraging dialogue on its impact and evolution. The full program schedule, available online, promises to enrich the exhibition experience, offering attendees various avenues to explore the themes presented in the photographs and their relevance to contemporary media landscapes.

As this exhibition opens its doors, it not only pays homage to the influential work of these six women photographers but also invites reflection on the power of photography in shaping public perception and understanding. It reminds us of the enduring impact of visual storytelling in navigating the complexities of the world. Through the lenses of these pioneering photojournalists, we are offered a rare opportunity to revisit and reassess the pivotal moments of the 20th century, fostering an appreciation for the art and craft of photojournalism that continues to inform and inspire.

In August 1967, a 50-year-old Irving Penn rented a building in Sausalito, California—a picturesque Bay Area enclave straddling San Francisco—with north-facing windows and made it his studio. The renowned photographer—who, by that time, had already established himself as a foremost image-maker of his generation, revolutionizing fashion and portrait photography as we know it today—was on assignment for Look magazine to document S.F.’s Summer of Love. He photographed the Haight-Ashbury crowd for the job: Hells Angels (whose members rode their Harleys into the freight elevator of his Sausalito space to be shot in front of a concrete wall), hippie communes, local rock acts, and members of the San Francisco Dancers’ Workshop.

The photographs from that trip, which ended up being published in an eight-page spread in 1968’s Look, are now part of an expansive retrospective of Penn’s seven-decade oeuvre. Originally shown at The Metropolitan Museum of Art in New York, “Irving Penn” has traveled back to the Bay, landing at San Francisco’s de Young Museum from March 16 through July 21. This iteration of the exhibition features a newly enhanced section dedicated to Penn’s photographs from the 1967 Summer of Love, but that’s far from the only draw.

With more than 195 photographs mounted, the show is the most comprehensive gathering of Penn’s works to date, exploring not only his masterful photos of Marlene Dietrich, Audrey Hepburn, Issey Miyake, Truman Capote, and Joan Didion, but also his arresting still lifes, which bookend his career. Below, browse through a selection of the works on view at “Irving Penn.”

Irving Penn, Balenciaga Rose Dress, Paris, 1967.

Irving Penn. Audrey Hepburn, Paris, 1951.

Irving Penn, Still Life with Watermelon, New York, 1947.

Irving Penn, Issey Miyake, New York, May 16, 1988.

Irving Penn, Rochas Mermaid Dress (Lisa Fonssagrives-Penn), Paris, 1950.

Irving Penn, Joe Louis, February 15, 1948.

Irving Penn, Woman in Chicken Hat (Lisa Fonssagrives-Penn), New York, 1949.

Irving Penn. Rock Groups (Big Brother and the Holding Company and The Grateful Dead), San Francisco, 1967.

Irving Penn, Hells Angel (Doug), San Francisco, 1967.

Irving Penn. Hippie Family (Kelley), San Francisco, 1967.

Footage has surfaced of an angry priest yelling at a wedding photographer — as a petition, calling on clergymen to stop their “rude” and “aggressive” behavior toward snappers, was signed more than 900 times in the U.K.

Last week, over 900 people signed a petition started by photographer Rachel Roberts, declaring that “problematic” vicars are a “huge issue” in their industry and need to be more considerate.

@julieannewhytephotograph

Debated if I should put this out there, but this happens way to often to photographers & videographers, before I started recording I was only in this place for 2 minutes – he marched over to me to tell me not to take photos ect & I was explaining that I have been paid by the couple & I have to take photos – this is the responce to that, then he stands so close me trying to intimidate me. This is not even half of what he done, he was then apparently looking for me after ceremony, I was not hiding from him. Pointing fingers in my face, so many witnesses to prove I said & done nothing. Carfin Grotto – Father Grant.

♬ original sound – Diaryofaweddingphotographer ❥

The petition stated that vicars are often “rude, humiliating, aggressive, and abusive” to wedding photographers in the U.K. and make it difficult for them to take photos inside church premises.

The petition comes after a viral TikTok video, posted by wedding photographer Julieanne Whyte, shows an intimidating priest yelling at her to prevent her from taking shots.

Whyte says she initially debated posting the video, which has amassed over 2.6 million views, but knew that she had to highlight the abusive incident as “this happens way too often to photographers and videographers” in her industry.

Tension Between Wedding Photographers and Clergy

In an interview with the BBC, Roberts said she was driven to start the petition after seeing a video on social media of a wedding photographer being “spoken to really aggressively” by a vicar in front of a church full of “horrified” wedding guests.

Roberts, who has been a wedding photographer for six years, says she has had clergy members ask her to hide behind pillars or to stay at the back of the church and only take one photo.

The wedding photographer says that one vicar threatened to pause the ceremony and kick her out if she took photos at the wrong time.

Meanwhile, another vicar demanded she stay in one place and not make any noise — but allowed children to freely roam in the church and play in the aisles.

Roberts says that the tension between photographers and the clergy had been an ongoing issue in the wedding photography industry for a long time.

She started the petition in a bid to make sure something was done to reset the relationship between vicars and photographers.

Clearly, Roberts is not the only one to feel this way — as hundreds of wedding photographers reportedly signed the petition in a little over a week.

In an interview with The Times of London., former U.K. Archbishop of Canterbury Dr. Rowan Williams admitted that some vicars can be a “complete pain” and “over-controlling” with photographers. But he says it is “not unreasonable” to ask photographers to be respectful.

Back in 2013, a video from the U.S. of a minister stopping a ceremony to tell off photographers caused a stir and is well worth a rewatch.

Image credits: Julieanne Whyte.
 

Have you ever had the experience of seeing graffiti as beautiful in cities when traveling? But then in our home town, graffiti can be seen as an eyesore? When we look into the past, we’re looking into a foreign country, as the saying goes. For us, the subways of 70’s New York may well be seen as beautiful. Gordon Matta-Clark’s GRAFFITI ARCHIVE 1972/73 bring together some of the photographer’s best images from a bygone ere. Here’s more from Brooklyn Street Art:

Instead of simply documenting, [Gordon Matta-Clark] delved into the graffiti scene with an artist’s eye, capturing the raw and spontaneous energy of the city’s youth. His photographs from 1972 and 1973 reveal the early days of graffiti, where the art form was more about personal expression and claiming space in a rapidly changing city than about the notoriety it would later bring.

Roger Gastman, a key figure in the graffiti community, has played a crucial role in bringing this collection to light…. “What really resonates with me is the sense of pride I feel to be able to share these photos,” he says. It’s not just about showcasing graffiti—it’s a genuine homage to real history, a glimpse into the ‘who,’ ‘what,’ and ‘where’ of these vibrant stories etched onto walls and trains. I can’t help but feel happiness, knowing that Gordon Matta-Clark had the foresight to capture these moments and that his estate entrusted us to put this show together—it has truly felt like a collaboration,” says Gastman.

See more!

Photographers may want to prepare for California’s superbloom season — as it is expected to be “impressive” for a second year in a row.

California is known for its superbloom season, a rare phenomenon in which a burst of colourful wildflowers blanket a desert region.

Superblooms tend to occur after an unusually wet rainy season, as heavy rain transforms the sometimes desert-like terrain, resulting in an incredible floral explosion.

Last year, California’s dazzling superbloom was so extensive that it was even visible from space. And the superbloom season is predicted to be just as vibrant again in 2024.

According to the San Francisco Chronicle, wildflowers will open up into a rare kaleidoscope of color — starting in Southern California desert once the rains subside. The region’s landscapes will then be covered in densely packed blankets of purple and blue, red, and gold wildflowers.

‘Take Photos, Not Flowers’

The spectacle is expected to draw thousands of visitors, who flock to enjoy the natural spectacle.

In a statement, California state officials say they welcome photographers who want to take pictures of the Superbloom. However, they have urged visitors to stay on designated paths and trails and asked tourists not to pick flowers.

“In recent years, California has been lucky to see spectacular wildflower blooms in many public lands, including in state parks,” State Parks Director Armando Quintero says in a statement.

“We welcome all Californians and visitors from around the world to experience this fleeting natural phenomenon and ask all to keep the ‘Beauty in the Bloom’ by staying on designated trails and taking only photos, not flowers.”

San Francisco Chronicle reports that the wildflower season typically begins at the end of February and can last until early May, depending on the location and weather conditions.

According to park officials, Anza-Borrego State Park, located in San Diego County, has already begun to see some of its native wildflowers sprout, such as primrose, phacelia and wooly sunflower, at the center and southern edge of its lands.

From there the flowers will barnstorm north, park by park, to Antelope Valley California Poppy Reserve, Red Rock Canyon State Park, Chino Hills State Park and Fort Tejon State Park.

The question of whether this year’s superbloom can beat the previous season depends on the weather patterns over the coming months.

Last year, PetaPixel published tips on how photographers can truly capture the beauty of California’s superbloom.

 
Image credits: Header photo licensed via Depositphotos.
 

At the University of Arizona’s Center for Creative Photography, a unique exhibition is unfolding that delves into the artistic world of Linda McCartney, curated by her daughter Mary McCartney. This showcase, running until August 5, highlights Linda’s profound impact on photography, her distinctive approach to capturing moments, and her deep-seated love for the art form, passed down to her daughter.

Artistic Journey Through a Lens

Linda McCartney’s photographic career is celebrated through an extensive collection that spans her early experiments to her later, more refined works. Mary McCartney, in curating this exhibition, focuses on illustrating her mother’s wide-ranging interests and techniques, as well as her innate artistic sensibility. “From looking at her portraits, you can tell that people liked to be photographed by her,” Mary observed, emphasizing the ease and comfort her mother could instill in her subjects. This comfort and ease, a legacy inherited by Mary, was pivotal in her decision to follow in her mother’s footsteps.

A Personal and Professional Legacy

When considering photography as a career, Mary sought advice from her mother, leading to insightful conversations about Linda’s artistic inception in Arizona. The exhibition not only showcases Linda’s professional achievements but also offers a glimpse into the personal moments that defined her life. It features photographs of the McCartney siblings, both together and individually, highlighting the intimate familial bonds that influenced Linda’s work. A standout piece in the exhibit is a self-portrait shadow photo taken by Linda, which Mary finds particularly moving, symbolizing her mother’s enduring presence.

Exploring Light, Shadow, and Legacy

The Linda McCartney Retrospective at the Center for Creative Photography invites visitors to explore the depth of Linda’s artistic vision, marked by her fascination with light, shadow, and the essence of freedom she felt amidst the Arizona landscape. This exhibition is not only a testament to Linda McCartney’s legacy as a pioneering photographer but also a celebration of her influence on her daughter and the photography world at large. By sharing these personal and professional moments, Mary McCartney offers a unique insight into her mother’s world, inviting viewers to experience the profound emotional and artistic resonance of Linda’s work.

As the exhibition draws to a close, it becomes clear that Linda McCartney’s artistic contributions continue to inspire and captivate. Her ability to convey the essence of her subjects and her surroundings, combined with a genuine connection with her viewers, cements her place in the pantheon of great photographers. Through this retrospective, Mary McCartney has not only paid homage to her mother’s illustrious career but also highlighted the timeless nature of her work, ensuring that Linda’s artistic spirit continues to influence future generations.

At the heart of a recent online controversy is a woman who used TikTok to express her disappointment with her wedding photographer. The issue arose when the photographer edited out what the bride considered a unique wedding gift to her husband – a distinctive tan line left by a stack of jelly bracelets she had worn since she was 13. This adornment, which she never removed, was significant enough for the bride to present as a gift by cutting them off for the wedding, leaving a visible tan line as a symbol of her love and commitment.

Unconventional Gestures of Love

The bride explained that the stack of jelly bracelets was not just an accessory but a part of her identity. She met her husband while wearing them, and they had since become a vital element of their relationship’s history. The removal of these bracelets on their wedding day was meant to be a surprise for her husband, symbolizing a significant change made out of love. Despite the personal significance, the photographer deemed the resulting tan line as undesirable and edited it out of the wedding photos, misunderstanding the bride’s intentions and the couple’s unique love language.

Photographer’s Decision Sparks Debate

The decision to edit out the tan lines led to a broader discussion on the role of a wedding photographer and the extent to which they should alter the reality of the wedding day. While some online commenters sided with the photographer, believing it was a professional judgment call to enhance the photos aesthetically, others argued that the photographer should have adhered more closely to the couple’s personal story and wishes, especially when informed about the significance of the tan lines. This incident highlights the delicate balance between a photographer’s artistic discretion and a client’s personal narrative.

Reflecting on Personal Significance vs. Aesthetic Appeal

This situation raises important questions about the value of personal significance versus aesthetic appeal in wedding photography. For the bride and her husband, the tan line was a deeply meaningful symbol of their relationship’s journey, while the photographer viewed it as a flaw to be corrected for the sake of visual appeal. This discrepancy between the couple’s emotional attachment to the moment and the photographer’s professional assessment suggests a need for clearer communication and understanding between clients and photographers regarding what is truly important to be captured on one of the most significant days of their lives.

As this story circulates online, it serves as a reminder that behind every wedding photo is a story, and sometimes the imperfections or unusual choices are what make those stories uniquely beautiful. It encourages future brides, grooms, and photographers to engage in open discussions about the elements that truly matter to them, ensuring that the final photographs reflect the authenticity and essence of the couple’s love and commitment to each other.

If you’re an avid iPhone photographer feeling a little limited by your phone’s camera features, Californian lens manufacturer Sandmarc has you covered. 

Sure, the iPhone 15 Pro Max has the latest and greatest camera tech Apple has to offer, but there’s always a natural limit to the photographic potential of smartphones thanks to their compactness, which limits the size and quality of lenses. Smartphone cameras also have to be great multi-purpose cameras, meaning their lenses lack the special abilities and characteristics of, for example, Macro or Anamorphic lenses. 

By attaching one of the best iPhone lenses, you can increase the optical capabilities of your smartphone and expand your creative horizons for a fraction of the price of a full interchangeable lens mirrorless camera.

Sandmarc’s lenses are some of the best on the market, boasting stellar optical and build quality with very few drawbacks. Find out more in our full Sandmarc iPhone lenses review.

Editor’s note: we’ve currently only tested Sandmarc’s 58mm Telephoto and 25mm Macro lenses. We’ll add to this review when we’ve tested their other lenses, so make sure to stay locked to Tom’s Guide in the meantime.

Sandmarc iPhone lens review: Price & availability

Sandmarc sent us its 58mm 2x Telephoto lens ($129) and 25mm Macro lens ($99) for the iPhone 15 Pro. These are cheaper than the corresponding lenses from rival manufacturer Moment ($150 for Tele; $140 for Macro).

Sandmarc stocks a wide variety of lenses for the iPhone 15 Pro, including Wide, Anamorphic, Telephoto Macro, 6x Telephoto Ultra Zoom and Microscope. The company also stocks lenses for every iPhone model back to the iPhone 7. You can buy all its lenses directly from . Unlike Moment, these lenses will only fit iPhones.

We also tested out Sandmarc’s black iPhone 15 Pro case ($39), which features screw threads around the camera lenses to ensure easy and perfect fitment, as well as the Polarizing filter ($79).

Sandmarc iPhone lens review: Design

The Sandmarc iPhone lenses I tested were built very well, featuring metal lens housings and threads. The Telephoto lens was quite heavy, but this didn’t cause any issues when it was attached to my iPhone. The 25mm Macro lens is small by comparison, but also has a surprising weight to it given its size. Far from making the lenses cumbersome, this weight adds to their premium feel — good lenses shouldn’t feel too light.

I would definitely recommend buying one of Sandmarc’s cases alongside your lenses. Each lens comes with a clip on mount, but this gets in the way of the screen and can also slip around in use. The case holds everything firmly, exactly where it should be, which will be especially useful if using one of the bulkier telephoto models.

Each lens comes with a plastic lens and thread cap, and with its own zip-up case for secure transport. The cases are too big for pockets but each lens also comes with a smaller felt pouch for keeping in pockets. Strangely, the lens pouch for the larger tele lens was the same size as the one for the much smaller macro lens. This meant that the telephoto lens only just fit and was a pain to get in and out.

Sandmarc lens review: Telephoto lens performance

I was impressed by the performance of Sandmarc’s 58mm Telephoto lens. Firstly, thanks to its 2x magnification, it’s a great way to get extra reach optically to get closer to your subjects. In the gallery below, the first image is shot using the iPhone’s main lens at 1.5x magnification with the Sandmarc lens fitted. The second image was taken using the iPhone’s main lens at 1.5x magnification without the Sandmarc lens fitted, and is zoomed much further out.

Image 1 of 2

The benefit of using optical zoom (i.e. using lenses) instead of relying wholly on the iPhone’s digital zoom is that optical zoom results in a sharper image for the same magnification. The first image in the gallery below is the same photo as above, taken with the iPhone’s main lens at 1.5x magnification with the Sandmarc lens fitted. The second image is taken without the Sandmarc lens, this time using the iPhone’s digital zoom to match the framing. The Sandmarc photo is much sharper in the centre — especially noticeable in the detail of the black cast iron gazebo.

Image 1 of 4

When pairing the Sandmarc lens with the iPhone’s telephoto lens, things get a little less impressive, although the Sandmarc lens is still better overall. At moderate digital zooms, the iPhone tele lens actually delivers similar results to the Sandamarc lens. As you can see in this gallery below (Sandmarc image first, iPhone digital zoom second), there’s very little difference in sharpness in the center, although the Sandmarc probably comes out on top (only just), as the “Keep Dry’ writing on the cast iron gazebo is slightly more defined.

Image 1 of 2

As you increase the digital zoom on the iPhone, though, sharpness starts to drop dramatically. The Sandmarc telephoto lens allows you to use less digital zoom to achieve the same frame, meaning sharper images that retain more of the detail. In the images below, the Sandmarc image (first) is much sharper than the iPhone image (second) which is at its maximum 15x digital zoom. The decorations on the gazebo are difficult to make out on the iPhone photo, but still easily discernible on the Sandmarc image. I prefer the higher level of contrast in the iPhone photo, though.

Image 1 of 2

I also liked the characteristics of the Sandmarc lens. Demonstrated in the first image below, it generates pleasant out of focus backgrounds with round bokeh.

That said, in certain images, I noticed a fair bit of artifacting, including purple and yellow color fringing from lateral chromatic aberration. I have highlighted this in the second image below.

Image 1 of 2

It’s important to remember, though, that this is not a $2,000 lens for one of the best mirrorless cameras — iPhone lenses like this are a way to jerry rig better performance from a camera system that was never designed to use them, so you can’t expect optically perfect results.

Sandmarc lens review: Macro lens performance

The Sandmarc 25mm Macro lens is a lot of fun, although as is generally the case with wide-angle macro lenses, the use cases are fairly minimal. A wide angle macro lens demands you get so close to your subject that you often block out all the light, and that’s the case here — the Sandmarc lens will only focus when you’re around 1-2cm away from the subject, at which point you’re casting everything in shadow, even if you’re using artificial lighting.

It’s precisely for this reason that the macro lenses of choice for professionals are usually a telephoto focal length, such as 100mm. A longer focal length allows you to keep some distance from your subject so you aren’t casting it in shadow.

The depth of field using the Sandmarc macro lens is also so thin that, unless your subject is totally flat towards the lens, only a sliver of it will be in focus. Again, having to get so close means you’ll often have to tilt the iPhone slightly to let in light, meaning you can’t get much in focus. You can use the iPhone’s digital zoom to get a bit further away from the subject, but we’re talking a centimeter or two of extra space at most.

When the conditions are bright enough, though, and you can get a decent angle, the 25mm macro lens produces some cool results. I took some photos of tree bark in my local park, and of the milled metal dials on my Fujifilm X-T5, and was very happy with how they looked. They’re certainly a lot better than using the iPhone’s Macro mode.

Sandmarc didn’t send us the 100mm macro lens, but that would definitely be the one to go for instead of the 25mm, for the reasons outlined above.

Sandmarc lens review: Polarizing filter performance

The Sandmarc circular polarizing filter is a clip-on lens filter for altering the colors and impact of your shots.

It works, darkening the sky in the image below. However, the amount of polarization is relatively small and, in the image below at least, a similar effect could be achieved by using the contrast and temperature sliders in the iPhone’s photo editing tools. For a hefty $79 — or most of the price of a lens — I don’t think it’s worth it.

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The Polarizer filter is also clip-on only, and annoyingly doesn’t work in conjunction with the Sandmarc iPhone case. This means it’ll always take up some screen space, and you’ll need to remove your Sandmarc case to get it on.

Verdict

Sandmarc’s iPhone lenses performed very well in our testing and are a great way to add to your iPhone’s existing capabilities. They won’t completely revolutionize your photography like investing in a mirrorless cameras, and they aren’t perfect optically. However, they still outperform the iPhone’s standard internal lenses in most situations, are built well and won’t break the bank. Sandmarc’s iPhone lenses are definitely worth buying if you’re a keen iPhone photographer.