In an era where technological advancements have revolutionized the way we capture and manipulate images, the question of the histogram’s relevance in today’s photography is a pertinent one.

The histogram, a graphical representation of the tonal distribution in an image, has been a fundamental tool for photographers for decades. It offers insight into the exposure, contrast, and overall quality of an image. However, with the advent of sophisticated digital cameras and post-processing software, some argue that the histogram’s significance has diminished. In this article, we will explore the role of the histogram in contemporary photography and discuss whether it still holds a vital place in the photographer’s toolkit.

The Fundamentals of the Histogram

Before we delve into the debate over the histogram’s relevance, let’s establish a foundational understanding of what a histogram is and how it functions.

A histogram is a graphical representation of the distribution of tones in an image, from shadows (blacks) to highlights (whites). It displays the brightness levels of individual pixels, with the horizontal axis representing the range of tonal values from dark to light, and the vertical axis indicating the number of pixels with those specific tonal values. In essence, the histogram provides a visual summary of the image’s exposure and tonal distribution.

A typical histogram features three key sections:

1. Shadows: The leftmost section of the histogram represents the darkest parts of the image, including deep shadows and black areas.

2. Midtones: The central section signifies the mid-range tones, which include various shades of gray.

3. Highlights: The rightmost section corresponds to the brightest parts of the image, including highlights and white areas.

By examining the histogram, photographers can evaluate the exposure of an image. Ideally, a well-exposed image should have a histogram that spreads across the entire tonal range without any clipping (i.e., data touching the far left or far right edges of the histogram), ensuring that no details are lost in the shadows or highlights.

The Historical Significance of the Histogram

The histogram’s history in photography dates back to the days of film, when photographers had no immediate feedback on their shots as they do today. Analog cameras lacked the instantaneous review screen that modern digital cameras provide, leaving photographers to rely on their technical knowledge and tools like the histogram to assess exposure. In about 1939, Ansel Adams and Fred Archer formulated a technique for determining optimal film exposure and development. They called this technique the “Zone System.”

During film photography, this was a crucial tool in achieving the right exposure, ensuring that highlights were not blown out and shadows retained detail. Without the ability to see the image until it was developed, photographers depended on histograms to avoid overexposed or underexposed shots. This historical significance of the histogram in ensuring proper exposure was, and still is, invaluable.

The Digital Age and Evolving Technology

In the digital age, technology has drastically transformed photography. Digital cameras offer immediate image previews, autofocus, and automatic exposure settings, simplifying the process of capturing images. Moreover, post-processing software like Adobe Lightroom and Photoshop have made it easier to correct exposure and tone after a shot is taken.

With the convenience of digital photography and post-processing, some photographers argue that the histogram’s relevance has diminished. They contend that, with the ability to review images instantly and make adjustments on the fly, there’s less reliance on the histogram as a guide for exposure. Furthermore, automatic exposure settings in modern cameras have become highly accurate, making it less likely for images to be severely overexposed or underexposed. ( Not that we would ever use auto, of course) 

While these arguments are valid to some extent, the histogram remains a valuable tool in contemporary photography for several reasons.

Beyond its role in exposure, the histogram serves as a powerful creative tool. It provides insights into the image’s tonal distribution, allowing photographers to intentionally create images with specific moods and aesthetics. By manipulating the histogram, photographers can control the contrast, brightness, and overall tonal balance of their photographs.

1. Contrast Control: A histogram can help photographers fine-tune the contrast of their images. For instance, by stretching the histogram to the edges, you can achieve a high-contrast look with deep blacks and bright whites. Conversely, pulling the histogram towards the center can create a softer, low-contrast appearance. ( Particularly true when it comes to editing ) 

2. Tonal Balance: Achieving the right tonal balance is crucial in photography. The histogram can guide photographers in ensuring that the distribution of tones is harmonious with the desired aesthetic. Whether you’re going for a moody, shadow-dominant composition or a bright and airy scene, the histogram aids in achieving these goals.

3. Exposure Correction: In challenging lighting situations, such as high-contrast scenes, the histogram can help identify areas that are overexposed or underexposed. By adjusting exposure settings or using techniques like bracketing, photographers can use the histogram to ensure critical details are preserved.

A word of caution is needed here however, as the histogram can be fooled when you have a scene that is primarily dark with a bright sky above it, and example of this would be a cliff face, which would have a lot of dark pixels and less bright pixels, as a result, the histogram can tell you that you are ok, however, you still need to be mindful of those highlights. 

Histograms in Post-Processing

Even in the post-processing phase, histograms play a significant role. When editing images in software like Lightroom or Photoshop, the histogram acts as a reference for making adjustments to exposure, contrast, and color balance. Photographers can use the histogram to fine-tune these parameters and ensure the final image aligns with their creative vision.

For example, when manipulating curves or levels in post-processing, the histogram dynamically updates, giving instant feedback on the impact of your adjustments. It allows for precise control over the image’s tonal distribution, ensuring that no detail is lost, and the desired mood is conveyed. 

Histograms for Technical Accuracy

While digital cameras have advanced automatic exposure settings, we shouldn’t be using auto anyway, as most situations require manual control. The histogram serves as a dependable tool for photographers who prefer full manual control over their camera settings.

1. Difficult Lighting Conditions: In scenarios where the lighting is tricky, such as backlit subjects or scenes with mixed lighting sources, automatic settings may not produce the desired results. Photographers can use the histogram to ensure that the image is correctly exposed, even in challenging lighting conditions.

2. Long Exposures: When capturing long-exposure photographs, where exposure settings can’t be determined automatically, the histogram helps ensure that the exposure is spot on, preventing overexposure or underexposure during extended shutter times.

3. Bracketing: Histograms are essential for bracketing, a technique where multiple shots are taken at different exposure levels. The photographer uses the histogram to review the exposures and select the best one, ensuring optimal detail and tone in the final image.

Mirrorless cameras now also off the ability to have the histogram visible in the EVF, which can be very helpful when shooting in the field and helps avoid chimping.

The Histogram and HDR Photography

High Dynamic Range (HDR) photography is another domain where the histogram is instrumental. While very popular in the early 2000’s it does seem to be making a comeback of sorts and we see Adobe now adding features directly in Lightroom and Camera RAW specifically for HDR. HDR involves combining multiple exposures of the same scene to capture a broader range of tonal values than a single shot can achieve. Here, the histogram is used to assess the exposure of each bracketed shot and ensure that the final HDR image encompasses a wide spectrum of tones.

Moreover, software designed for creating HDR images often includes histogram tools to assist photographers in achieving the desired tonal balance across the merged exposures. The histogram, in this context, helps photographers create images that closely resemble what the human eye perceives in high-contrast scenes.

The Histogram in Video Production

While we’ve primarily discussed still photography, the histogram is also highly relevant in video production. Filmmakers and videographers rely on histograms to maintain consistent exposure and achieve a cinematic look.

In video, the histogram helps ensure that no part of the frame is overexposed or underexposed. It plays a critical role in avoiding the loss of highlight or shadow detail, which is especially crucial in post-production color grading.

The histogram is not only a practical tool for experienced photographers but also an invaluable educational aid for beginners. It provides a visual representation of the relationship between camera settings and the resulting image. Novice photographers can use the histogram to understand how adjustments to aperture, shutter speed, and ISO impact exposure. I have found myself asking my clients to turn it on as they had it turned off as it ” got in the way” 

Aspiring photographers can learn to interpret the histogram and make informed decisions about exposure, ultimately leading to better image quality. Many other photography instructors use histograms as teaching aids to explain the concept of exposure and tonal balance to their students just like I have, and as a tool, it is something that I still use to this day.

The Future of the Histogram

As technology continues to advance, there is no doubt that the role of the histogram in photography will evolve. Cameras and software will likely become even more sophisticated, making it easier to achieve technically accurate exposures without the need for manual adjustments. However, the creative and educational aspects of the histogram will remain significant.

The histogram will continue to be a tool for photographers to shape the mood and aesthetics of their images. It will help ensure the technical accuracy of shots, particularly in challenging conditions or specialized photography genres. Moreover, the histogram’s role in post-processing and video production will persist, allowing photographers and videographers to refine their work.

In the future, we may even see innovations in how histograms are displayed and interacted with in-camera interfaces and editing software. Such advancements could make histograms even more accessible and useful for photographers of all skill levels. But in principle, a histogram will still be a histogram, it may evolve into a 3D graph on screen or may even change design but the fundamentals and principles should remain the same. 

Conclusion

The histogram, a tool deeply rooted in the history of photography, remains relevant and valuable in today’s photographic landscape. While technological advancements have automated many aspects of exposure control, the histogram continues to serve as a creative tool, a reference for technical accuracy, and an educational aid for photographers of all levels.

In a world where the line between photography and digital art blurs, the histogram provides a bridge between technical precision and artistic expression. It enables photographers to make conscious decisions about exposure and tonal distribution to create images that convey their unique vision.

As technology continues to advance, the histogram’s role may change, but its significance in the world of photography endures. It remains a trusted companion for photographers, helping them to capture and craft images that are both technically sound and artistically compelling. So, while the tools of photography evolve, the histogram’s relevance persists, proving that some aspects of the art are timeless and irreplaceable.

RTK

TOPEKA — Winners have been announced for the 12th annual Ranchland Trust of Kansas (RTK) photography contest, including a Brownell resident. Photographers of all ages submitted photos that showcase the mission of RTK, “To preserve Kansas’ ranching heritage and open spaces for future generations through the conservation of working landscapes.”

Scott Bean of Manhattan was the grand prize winner in this year’s contest. His photo titled “On The Hillside” was taken in the Flint Hills near Manhattan. The image is a great representation of Kansas landscapes, livestock and agriculture.

“The evening light was perfect for showing the shapes of the Flint Hills and I really liked the depth of the view and how you could see a long way across the prairie here,” said Bean.

Conservation is important to Bean as he supports the RTK mission by donating prints for auction fundraisers.

“Having this photo selected for the grand prize was a surprise, there is so much great photography entered into the RTK contest each year, which is a testament to all the talented photographers around the state, the beauty of our landscapes and the compelling scenes of ranch life and agriculture,” he said.

Haven Johnson of Assaria won the Fan Favorite category by receiving the most votes on RTK’s Facebook page. Her photo was taken in Ottawa County.

“It means a lot to win this award because of my passion for the outdoors and livestock. Thank you to all who voted and thank you for the opportunity.” Johnson said.

Winning images were selected by a panel of RTK and Kansas Livestock Association representatives, along with special guest judge and professional photographer Jim Richardson. Richardson is a Kansas native and has traveled the world as a National Geographic photographer for over 35 years. He also speaks nationally and internationally.

Category winners include: Landscape – Callahan McIver, Council Grove; Livestock – Crystal Socha, Augusta; People – Justine Henderson, Minneapolis; Sunrise or Sunset – Lauren Fischer, Wright; Wildflower or Wildlife – Loree Krier, Ashland; KLA Member – Ashley Fischer, Dodge City; Youth – Kaycee Gross, Brownell; and Honorable Mention – Lacey Jones, Wilmore.

L’image is the exclusive sponsor of contest. The locally owned photo printing and picture framing store in Wichita has been in business for more than 25 years, specializing in their ready-to-hang plaque mount. Prizes are awarded to the top 10 winning photographers. All winning entries can be viewed on RTK’s Facebook page or website, located at www.ranchlandtrustofkansas.org.

RTK is an agricultural land trust affiliate of the Kansas Livestock Association, with a mission to preserve Kansas’ ranching heritage and open spaces for future generations through the conservation of working landscapes.

Portrait photography is a popular but challenging genre, as it requires good technical skills with your camera and lighting, the ability to pose people and make them feel comfortable, and solid capabilities when it comes time to edit the image. If you are new to the genre and looking to improve, check out this helpful video tutorial that offers seven tips sure to put you on the right track. 

Coming to you from Koldunov Brothers, this great video tutorial offers seven tips for getting started as a portrait photographer. If I could give one piece of advice to new portrait photographers, it would be to err on the side of doing less when it comes time to edit. It is extremely common for new photographers to have too heavy a hand when editing their images, and when it comes to portraits, this can result in your subjects looking unnatural or even plastic. As you continue to practice, you will build up a finer sense of how far to push edits. Check out the video above for the full rundown. 

If you would like to continue learning about the art of portraiture, be sure to check out our range of tutorials on the subject in the Fstoppers store.

While Adobe is bringing generative AI models to professional photographers and designers, another company is working to make easy-to-use generative AI tools available to a wider range of photographers, including hobbyists. Starting today, Luminar Neo, the photo-editing software from Skylum (formerly Macphun), is rolling out a set of generative AI features to its desktop apps for Mac and Windows that will allow users to remove unwanted objects from their images, expand a canvas, or replace and add specific elements into a photo.

The tools are similar in some ways to Google Photos’ Magic Editor and Magic Eraser or Adobe’s own Generative Fill tool. The difference between Adobe’s Generative Fill is that Luminar Neo offers two tools, GenErase and GenSwap, instead of one. It also doesn’t require the use of a text prompt field. Instead, the user selects an area on the image to remove and clicks “Erase.” But unlike Adobe’s Generative Fill, it doesn’t offer result options to choose from — the user would have to click the “Erase” button again to get a different outcome.

Founded in 2008 as Macphun by game developers and amateur photographers Paul Muzok and Dima Sytnik, the company now known as Skylum originally focused on iOS applications, like Vintage Video Maker, which Apple recognized among the best apps of the year in 2009.

The team then proceeded to develop around 60 other iOS apps over the years that followed, but were always drawn to photography. That eventually led the team to launch their first Mac app, FX Photo Studio Pro in 2010, which topped 50 million downloads. On Mac, they also launched other image editing apps like Snapheal, Intensify, Tonality, Noiseless, Auora HDR, then later merged several apps together to make Creative Kit. Photo editing software Luminar came about in 2016.  And in 2018, when they also rebranded as Skylum, the team began to focus only on their Luminar project.

Image Credits: Skylum

The idea with Luminar was to create photo editing software for desktop users that lets you perform complex tasks in simple ways. The latest version of this app was launched in 2022 as Luminar Neo, and its user base is primarily hobbyist photographers. But a handful of professionals use the app, as well, the company says. For example, some commercial photographers tend to use Luminar Neo more as a plugin for Lightroom or Photoshop, they note.

With the rise of generative AI models for image editing, the team knew they wanted to incorporate this functionality into the product to make editing photos even easier. The plan is to release one generative AI tool each month through the end of 2023, starting with GenErase on October 26.

GenSwap (to replace elements) and GenExpand (to expand the canvas) will arrive on November 16 and December 14, respectively.

Image Credits: Skylum

“All three generative features that will be released this year are based on the same technology, but combining and changing the parameters gives us different results and covers different use cases for the end user, which is why we decided to have three separate features,” explains Ivan Kutanin, the Ukraine-based CEO of Skylum, in an email interview with TechCrunch.

The models are based on Stable Diffusion, but Kutanin says the company also uses its own Upscale AI model and others in a single pipeline, which allows the software to increase the resolution and quality of the generated images. Currently, it offers up to 1536×1536 in image resolution, he says. For comparison, Photoshop currently offers a
resolution of 1024×1024.

The processing itself takes place in the cloud, so the app requires an internet connection to work. However, the company doesn’t store either the input or output images to protect customer privacy.

The ease of use is what the company hopes will set its software apart from others that offer similar generative AI tools.

Image Credits: Skylum

“Luminar Neo is the latest-generation photo editing software and has around 40 complex AI models as part of its architecture, which makes it truly powerful. What we’re best known for is the ease of use and how effortless it is to start out if you’re a complete beginner,” says Kutanin. “Since a huge part of our user base are photography enthusiasts, we really focused on the user interface and making it as pleasant and fresh as possible,” he adds.

The software is offered at multiple pricing tiers for both new and existing users. After Oct. 28, it’s either $14.95 per month, $119 per year, or $179 for 2 years. A lifetime pass is available for $299, which comes with a “Creative Journey Pass” that has time limits on the new generative AI features through August 16, 2024. After that point, they need to purchase a new Creative Journey Pass or switch to a subscription.

For current users, the upgrade is slightly less expensive with the 1-year plan starting at $79 for year 1, then $99 per year going forward, also after Oct. 28. There are other discounts available if bought prior to Oct. 28.

The company has never raised outside funding and has been profitable for a few years now, employing a team of over 120.

Leica has launched a new version of the M11 rangefinder camera that’s designed to help photographers “create a seamless chain of authenticity, from capturing to publication” by applying a secure digital label to images.

“Leica cameras have always stood witness to iconic moments in world history,” said Dr. Andreas Kaufmann, Chairman of the Supervisory Board of Leica Camera AG. “However, determining the authenticity of visual content has become increasingly difficult and important in the age of digital photography. Now with the ability to provide this proof, we are once again strengthening trust in digital content and re-establishing Leica cameras as authoritative tools in the documentation of world events.”

When a user captures an image using the M11-P, a digital label can be applied that includes information entered into a Content Credentials menu on the camera – such as the name of the photographer and any copyright information. Each image is given a unique digital signature that’s compliant with the Content Authority Initiative open-source standard.

Leica

And any changes made after capture will be recorded in secure metadata, and authenticating images can be undertaken at any point using freely available, open-source tools or by checking in online at Content Credentials.

“We’re thrilled to see Leica pioneering the integration of Content Credentials into their flagship M11-P camera,” said Santiago Lyon from Adobe, one of the companies spearheading the Coalition for Content Provenance and Authenticity. “This is a significant milestone for the Content Authenticity Initiative (CAI) and the future of photojournalism: It will usher in a powerful new way for photojournalists and creatives to assert their digital rights, combat misinformation and bring authenticity to their work and consumers, while promoting widespread adoption of Content Credentials.”

Leica

Elsewhere, the M11-P follows a similar design story to the M11 before it, but the iconic Leica dot is missing from the body and replaced by a more discreet engraving on the top plate. The internal memory also gets a boost to 256 GB.

It features the same 60-megapixel back-illuminated CMOS sensor, Triple Resolution Technology and Maestro III processing engine. Light sensitivity comes in at ISO64 to 50,000, there’s a built-in flash, a “large, bright-line rangefinder with automatic parallax compensation” and a 2.95-inch touch panel topped by sapphire glass.

The M11-P is available now for US$9,195.

Product page: Leica M11-P

“I haven’t been as excited and as terrified about a new software feature since… literally forever. It’s 1 AM right now, and I’m on my fifth 15-minute long YouTube video about Adobe’s generative AI”.

This short paragraph is from a story I never finished – I wrote it down after first discovering Adobe’s Generative Fill feature (now part of Photoshop). After seeing what the generative AI can do with photos, I loaded some of my old pictures into Photoshop and started to add, remove, or expand content in the images with simple text prompts powered by Adobe’s mind-blowing generative AI. I might or might not have asked the AI to give me blonde hair.As a bit of a tech nerd, I was seriously impressed with what generative AI can do, but I was also having real fun involving a computer for the first time in ages (I stopped gaming a long time ago).

At the same time, I kept doing research on the topic. Video after video and article after article… It began looking like Adobe’s mind-blowing AI features might be “too good”. Some photographers reviewing the generative AI in Photoshop were expressing serious concerns over losing their jobs. The same is true for designers, hairstylists and pretty much every person involved in the visual/creative medium.

But once you start playing around with the generative AI and let the Magic Editor’s “imagination” run wild, things start to get… scary.

The above samples come from Ben Sin, and as you can see selecting the busy background in a photo now doesn’t just let you remove people and objects but replace the background altogether. The cutout of the lady in the first photo looks pretty spectacular and makes for a totally different picture than the original.

The photo of the street musician is where the Pixel 8’s true AI power comes into play, as the Magic Editor has managed to recreate the guitarist’s legs, which aren’t visible in the original image. Ben says it took several attempts to achieve this result, but again – it looks pretty convincing (if you don’t look closely). The photo of the dog is similarly brilliant at recreating what you couldn’t see in the original photo.

How is Google Magic Editor generative AI different from Adobe’s Generative Fill?

Google’s AI photo editing is easy to use but it often misses the mark. Adobe’s Generative Fill seems like a pro-grade tool.

Without a doubt, the most impressive part about the Magic Editor generative AI feature on Pixel 8 and Pixel 8 Pro is how simple and easy it is to use. However, there are some notable differences compared to Adobe’s super-powerful Generative Fill:

• Unlike Adobe’s Generative Fill, the Pixel 8’s Magic Editor doesn’t need a written prompt to work, because it can’t create/add specific images based on your input – you simply circle the object you want to be removed/replaced, and you get what you get; that’s why the Pixel’s Magic Editor can sometimes take several attempts before giving you the desired outcome

• Adobe’s Generative Fill can do some mind-blowing things like alter reflections, add specific objects that weren’t part of the photo before, change your clothing, your face – you name; on the other hand, the Pixel 8’s Magic Editor’s main use cases are resizing, removing objects/people from the photo, and replacing certain parts of the image with what the AI thinks should/should be in that spot (it can also completely change the appearance of the sky and a body of water)

• It seems that in its current iteration, Google’s generative AI doesn’t always get it right from the first try; however, it’s important to note that even Adobe’s supercharged gen AI can produce some hilarious results – for example, I’ve seen it add cartoonish clouds to a photograph set in the real world

Pixel 8 does need to back up to Google Photos before it lets you access the Magic Editor, so it seems like it may be (processing images) through the cloud.

The revolutionary generative AI in Google’s Pixel 8 lets you turn your photos into paintings, but you decide if you want an authentic photograph or a digital painting

Original photo on the left. Edited on Pixel 8 Pro. Courtesy of Max Weinback.

With great (AI) power comes great responsibility, which makes it interesting to see how companies like Google and Adobe will handle the ethical side of generative AI photography.

For example, Adobe sends warnings when you are about to add something like blood to an image, and Google shows this message: “Magic Editor is unable to show results that might violate our Gen AI terms.” when the phone thinks you’re about to edit out a logo from an image.

Soon, we might not be able to tell authentic photos apart from generated images. What about influencers who upload photos of themselves in rented sports cars to convince you they are rich and successful so you can buy into their life coaching advice? Now, all they need in order to maintain their “fancy lifestyle” is a laptop with Photoshop, or (soon) just a smartphone?

And what about “authentic” photography? Sure, every photographer applies some editing to their photos (some more than others), but are “photos” becoming “paintings” now? Well, guess what – smartphone cameras already make photos seem more appealing by boosting their vibrancy and sharpness without giving you much of a choice (Samsung is quite famous for doing this but Apple and Google use just as much computational photography).

That being said, by far the biggest negative side effect of the whole generative AI thing will be how many jobs will (inevitably) be put in danger. I was watching this video of a professional photographer reviewing Photoshop’s generative AI features, and he seemed genuinely blown away by what the AI can do, but also, concerned.

This is something that the special effects artist wouldn’t and couldn’t have been able to do at the time (when he hired her to work on the model). 

Photographer talks about the incredible power of Adobe’s Generative AI

If Photoshop, and eventually your phone can edit photos (and videos) to/beyond a professional level, why would you need a photographer/editor in the first place? In fact, Adobe is now making its generative AI features commercial, which means they can be used to create content (like ads). You can also get paid to contribute original images to the AI database.

This means, you can become a social media model without moving a finger. You don’t need to go to a place, get your hair and makeup done, or even be photographed. You can sell your image and be a model from the comfort of your couch.

Professionals voice their opinion on the use of powerful generative AI features in photo/video editing – some don’t feel threatened by AI

Photography is now more like painting than ever before. Creating the changes is not “fake / false” but merely allowing photographers to become creative painters. This is beyond impressive and opens massive improvement potential for any “creator.” Thanks for your video.

YouTube comment

I love it. Our design team does as well. We’re always asked for extracurricular things to spice up images in post, or remove very difficult things like cranes, forklifts, woodpiles and tricky licence plates. This has greatly sped up mock-ups and workflows. It’s light years better than the content aware algorithm and this is still in its infancy, let’s see how accurate it gets 2-5 years from now.

YouTube comment

We can’t trust photographic evidence of ANYTHING anymore. These are so good! As a retired, old-school designer (who taught PS 3.0), you’ve blown my mind about what can be done now with a few loose strokes and a descriptive vocabulary. I love your teaching style — clear, concise and quick.

YouTube comment

I love the creative opportunities and the ability to enhance one’s own original work. The main thing that concerns me though (with AI generation generally, not just Adobe’s Generative Fill) is where the replacement / additional elements are being harvested from other photographers’ work. For instance, were all the hair options for the viking created from scratch by Photoshop? Far more likely they were derived at least in part from the work of another unknown, unpaid photographer. Next time it may be your work making-up someone else’s photo. Is that saleable as an original work? Is it copyrightable? What happens when the client spots that ‘copy’ in another work, when they think they have an original work with exclusive rights?

YouTube comment

Regardless, both photographers and regular people can benefit from the Pixel 8’s Magic Editor, which can help you fix ruined photos, or make them more Instagram-ready. Am I a fan of this style of editing? Not really. But that’s just me. Other people literally give themselves bunny ears and use this photo on social media because they like it.

In my view, Google is really up to something here. Apple and Samsung will likely follow in the Pixel’s footsteps sooner or later. So, don’t be surprised if the iPhone and Galaxy get their own “magical photo editors” at some point.

AI is powerful, and (ironically) it’s up to the people in power to harvest the power of AI. That being said, I hope I’m not going to lose my job because of a robot who does what I do.

Photoshop remains the gold standard for advanced landscape photo edits, and in recent iterations, we have seen some remarkable steps forward, with some features giving photographers the ability to make drastic edits with just the click of a button. If you are ready to update your toolkit, check out this fantastic video tutorial that explores some of the newest features and shows you how to leverage them in a landscape image edit. 

Coming to you from Serge Ramelli Photography, this great video tutorial will walk you through some of Photoshop’s newest features and how they can be used on landscape images. Generative Fill is perhaps the most exciting of these, as it allows you to more easily work with locations in which you might not be able to get around unwanted distractions in the frame like tourists. Just like any editing, though, and in particular when we are talking about such powerful tools, be sure to err on the side of doing less to keep things realistic and reasonable. Check out the video above for the full rundown from Ramelli. 

And if you really want to dive into landscape photography, check out our latest tutorial, “Photographing the World: Japan With Elia Locardi!” 

Obituary for Gerald C. Vigansky

September 21, 1932 – October 23, 2023

Gerald C. Vigansky, “Jerry,” 91, of Kenosha, passed away on Monday, Oct. 23, 2023. Jerry was a lifelong resident of Kenosha, born on Sept. 21, 1932, to Paul and Agnes (Koehler) Vigansky.

Gerald C. Vigansky
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He attended St. Luke’s Lutheran School and was a graduate of Mary D. Bradford High School. He enlisted in the U.S Navy and was discharged as an Aerographer’s Mate 3rd Class.

He returned to Kenosha to work in the family business, Vigansky’s TV and Appliance, for almost four decades. He operated the business with his father and younger brothers Gregg and Franz, who preceded him in death. In his semi-retirement, he continued to operate his own appliance repair business.

Most important to him was his Christian faith. Throughout his life, he was actively involved in his WELS church community at St. Luke’s, Friedens, and most recently New Life (Bethany).

Jerry was an avid fisherman. Excelling in both Lake Michigan and inland lakes, he enjoyed sharing his love of the sport with friends, family, children and grandchildren. He received multiple Kenosha Sportfishing and Conservation Association Master Angler awards.

His love of photography took him and his wife, Helen, on many trips across the U.S. He especially enjoyed photographing lighthouses. His photos have been used on various book covers as well as for the enjoyment of his friends and family.

Jerry is survived by his loving wife of 21 years, Helen; his children, Robert (Susan), Carol, and Sally (Scott); grandchildren; sisters-in-law, Joyce and Diane; niece and nephews; and his first wife and mother of his children, Edith.

Services

A visitation will be held from 10 to 11:30 a.m. on Oct. 27 at New Life Lutheran Church in Somers. A memorial service will follow at 11:30 a.m.

Obituary and photo of Gerald C. Vigansky courtesy of Draeger-Langendorf Funeral Home.

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Pets are often considered part of the family, so it’s no surprise that there’s a strong market for and need for professional pet photography. And given the ongoing rise in pet ownership, the pet photography market will continue to grow. People love their pets, and they will appreciate the services of a professional pet photographer who can capture their spirit and personality.

The Pet Photography Business

Pet photography occupies a unique niche within the professional photography industry. It focuses on capturing the personalities and moments of pets, often in collaboration with their owners. This goes beyond just having pet business ideas.

This niche allows photographers to combine their love for animals with their photography skills, creating a specialized market segment. Their market is pet owners who are emotionally connected to their animals and place great value on professional photos of them.

Essential Skills and Equipment for Pet Photographers

Essential skills and techniques for a pet photographer include:

• Patience and understanding of animal behavior.
• The ability to create a comfortable and safe environment for pets during sessions.
• Knowledge of photography fundamentals such as composition, lighting, and post-processing.
• Familiarity with pet handling and posing techniques.
• Strong interpersonal and communication skills to work with pet owners.

Mastering the Pet Photography Skills

Professional photographers are skilled at using the proper gear and lighting to get the best images. But what is marketing in the context of pet photography? It’s about understanding how to promote your unique skill set.

A great pet photographer has the ability to connect with the animal, and understand how to bring out its personality in a photo. They may interact with the pet and its owner or owners before taking any photos, which will help the pet relax and become interested in its surroundings, instead of fearful.

The photographer may get down on the same level of the animal, using treats or toys to get its attention. Once the pet is relaxed and interested, it will be easier to get good photographs.

Gear Recommendations for a Professional Pet Photographer

Recommended gear includes a DSLR or mirrorless camera with a variety of lenses, including a portrait lens (e.g., 50mm or 85mm), wide-angle lens, and telephoto lens.

You’ll also need a sturdy tripod and external flash. Reflectors can also be beneficial.

Props such as toys and pet-friendly accessories can enhance your shots.

Starting Your Own Pet Photography Business-Step by Step

Creating Your Pet Photography Business Plan

A business plan for a pet photography business should include:

• Business goals and objectives.
• Target market and customer personas.
• Pricing structure and packages.
• Marketing and branding strategies.
• Financial projections and budgeting, which should include small business insurance.
• A timeline for launching and growing the business.
• Understanding common business structures can help you navigate the complexities of running a pet photography business.

Market Research and Identifying Your Target Audience

If you’re wondering how to start a business in pet photography, market research is crucial. You need to understand your competition and the demand in your area.

Factors to consider in market research and determining your target audience include:

• Identifying your competition and their strengths/weaknesses.
• Understanding the demand for pet photography in your area.
• Defining your ideal client demographics and psychographics.
• Identifying trends and preferences within your target market.
• If there are other pet photographers in your market, how can you distinguish your business? Take photographs in clients’ homes? Use extravagant backdrops? Make sure you research what the competition is doing, or not doing.

Pricing, Profitability, and Packages

When setting prices, consider factors such as your costs, market demand, and perceived value. Offer a range of packages to cater to different budgets. Ensure your pricing covers your expenses while providing room for profit. You can refer to a business startup checklist to ensure you’re covering all bases.

Research what area photographers are charging for standard photo packages, such as graduation pictures or baby pictures. Remember that clients who want professional pictures of their pets most likely consider the pet to be part of the family.

Marketing and Branding Your Pet Photography Business

• Build a strong online presence through a professional website and social media. Make sure to include client testimonials. A website startup guide can be invaluable in this phase.
• Showcasing your unique style and love for pets in your branding, to attract potential clients.
• Utilizing SEO techniques as you build your webside, to improve online visibility.
• Networking with local pet-related businesses.
• Offering promotions or referral programs to attract initial clients.

Building an Impressive Pet Photography Portfolio

Start by offering discounted or even free sessions to build your initial portfolio.

Showcase a variety of pet subjects, styles, and settings. As you gain experience and clients, update your portfolio with your best work.

Your most common assignment will be dog photos. Will you also photograph other pets, such as cats, horses, pot-bellied pigs, chickens, ferrets, birds and others?

Networking with Other Pet Professionals

Definitely network with pet related businesses such as pet stores, groomers and veterinarians.

You may also network with an animal shelter or pet rescue to provide photos of available pets. You most likely won’t be paid for such work, but when your business name is associated with the photos, that is very good public relations work.

Where to Offer Your Pet Photographer Services

If you have a studio, of course, use that for your pet photography. But don’t be afraid to take the show on the road:

High-end pet stores

Set up a photo shoot area for shoppers who bring their pets to the store. You can set this up with a seasonal theme, such as a holiday.

Dog-friendly cafes

Dog friendly establishments are also great opportunities for partnering. Take photos of pets and patrons enjoying some leisure time, and post them to both your own and the cafe’s website. Of course, images are available for purchase.

Pet Expos

Pet Expos and similar events are great places to show off your portfolio and meet potential clients.

Collaborations with Local Businesses

With so many people being pet owners, it’s not just pet related businesses who are best for networking. You can find ways to collaborate with local business owners. Join your local Chamber of Commerce or business association group, where you can meet business owners and brainstorm on how to combine your efforts.

Challenges and Opportunities in Pet Photography

No new business is without challenges. When you overcome those challenges, you’ll increase your opportunity to grow your business, and your bottom line.

Carving Out Your Niche in Pet and Dog Photography

The standard pet photography request if for dog photos. That’s going to be the mainstay of a pet photography business.

You can branch out from that by focusing on other pets, such as cats or exotic pets.

Another focus can be on action shots. For example, there are many dog sports, to include tests of hunting skills, navigation of obstacle courses, dock diving, lure coursing (chasing an object through a field), barn hunting and more. For a list of events in your area, check the American Kennel Club website and search under Events, using your state or area.

Each event will have a secretary, who is responsible for taking entries. That’s the person you’ll contact to see if you’ll be allowed to take photos at the event. You can download the photos (watermarked and protected from reproduction) to a website or dropbox, and use software to allow the pet owners to order the photos.

Navigating Common Challenges

Pets don’t always behave or follow instructions. They may be uncomfortable and even fearful when a large camera is pointed their way. As we previously discussed, taking time to let the pet relax and get to know the photographer, as well as the immediate area, can make the actual photo taking much easier.

Some animals are challenging to photograph due to their appearance. For example, a dark-eyed black Labrador Retriever may need the photographer to use special lighting techniques and reflectors to bring out the definition of its eyes and face.

Pet photography can also be seasonal. For example, business may be strongest before the holidays, as families hope to create the perfect holiday card, including their pet. To adjust to seasonal business fluctuations, keep your business thriving by using other holidays or special events to interest clients.

FAQs: How to Start a Pet Photography Business

What should a pet owner look for in a pet photographer?

Pet owners are looking for a photographer who is not only very skilled, but very good at interacting with pets. The best photos will be of a relaxed, happy pet.

Is photographing dogs harder than photographing other pets?

There are a lot of factors to consider when answering this question. Some dogs are quite photogenic, in fact, seem to understand that it’s an important occassion and enjoy the process. Others just want “whatever this is” to end. And the difficulty of getting a good photograph of a dog is also related to its level of training – for example, will it sit or lie down on command? Stay?

The answer is similar with cats. Some may be accustomed to carrier travel and be relaxed enough for a photo. Others may prefer to hide under the furniture.

Image: Envato Elements