As much as we view photos on screens nowadays, there really is no replacement for seeing and holding a physical representation of your work. However, printing your photos is a rather delicate process, and mistakes that cause ruined prints can be rather costly. To ensure you get things right the first time, check out this helpful video tutorial that features an experienced landscape photographer discussing five common photo-printing mistakes and what you can do to fix them.

Coming to you from Nigel Danson, this great video tutorial discusses five common mistakes photographers make when printing their photos and how to fix them. Perhaps the most common mistake I see is simply editing one’s images in an incorrect environment or with an improperly calibrated monitor. A lot of printing services do a great job of correcting minor errors that result from these sorts of issues, but if you are printing at home, there are few things more frustrating than realizing you just wasted paper and ink on a print because your monitor had an uncorrected color cast or some similar issue. A lot of printing is simply about controlling every step of the pipeline as precisely as possible. Check out the video above for the full rundown from Danson.

The Royal Photographic Society (RPS) surveyed its members about their views on generative artificial intelligence (AI), how these AI models are trained, and how AI affects the value of photography.

Over 400 members of the RPS responded to the survey request, presenting what the RPS calls a “pretty good — albeit self-selecting – response.”

Among the most interesting questions the RPS asked its members is whether traditional photography is still needed. To the question, “Do we need traditional photography if images created by AI are better and quicker to create than photographs taken by people?” 95% of respondents say “yes,” while 2% and 3%, respectively, answer “no” and “maybe.”

As for the issue concerning whether images created by AI are “real photography,” 81% of respondents say “no.” Of the remaining 19%, 16% say “maybe,” while just 3% answer “yes.”

A hot-button issue with the creation of generative AI models is that many of them, like Midjourney, are trained using stolen images. Understandably, this is a big deal to photographers, who are rightfully bothered that a company could have stolen their work create a product and generate revenue. It is worth noting that not all AI models are built with stolen content. Nonetheless, some are, and it bothers photographers.

Of the more than 400 respondents to RPS’ survey, 85% say it is unfair for “AI algorithms to be trained using images without permission or payment for the original creator.” 10% respond “maybe” and the remaining roughly 5% say that it is acceptable for companies to steal content to train their AI algorithms and models.

The waters surrounding whether content created using AI models can be copyrighted, in large part because much of the content is built on the backs of stolen art. The issue is also complex because it is unclear who actually makes the content.

There are also fears that AI image generation may lead to an increase in “fake news” and misleading content. Deceptive images can have a real-world impact on people’s safety and even the stock markets. 95% of RPS survey respondents believe AI “could lead to a rise in fake news and lying.” The other 5% reply “maybe.”

Rounding out the five-question survey is a more open-ended query. “Which of the following best describes your view of AI for photography (up to two responses)?” The most popular response is “cautious,” with 40% of respondents selecting this option. 24% of RPS members claim that AI photography presents them with “an opportunity.” Rounding out the five responses in terms of popularity are dangerous (19%), fearful (12%), and excited (5%).

AI is a big deal in the photography industry right now. The Royal Photographic Society is hosting an AI and Photography Conference on October 9th and 10th. The conference will also be shared online, alongside the in-person event in Bristol, England. The RPS has been a leading authority on photography for over 170 years, and its members are longstanding, influential members of the industry.

“As AI continues to evolve in the world of photography, the concerns of our members demonstrate the pressing need for all of us to strike a balance between embracing technological progress, safeguarding the work of creators, and maintaining the integrity of visual storytelling in this digital era, all subjects we will be covering in the Conference,” says Dan Jones, CEO of the RPS.

Running a photography business is not as easy as you would like to think it is. A very common misconception starting in this industry would be thinking that you will be successful if you are good at taking photographs. While it was probably true decades ago, the steep competition and the change of industry landscape these days pushes the difficulty to the next level. In this article, we will be discussing an ongoing issue about client ghosting that has become increasingly common and continues to bug the industry as a whole.

Understanding Client Ghosting

Client ghosting as the name suggests refers to the situation where a potential client or existing client suddenly stops responding to communication attempts from a business or service provider, effectively disappearing without providing any explanation or feedback. In the context of photography, client ghosting typically occurs after initial interaction with a potential client, after which they stop responding. It can happen at any stage, such as after receiving a quote, discussing project details, asking for proposals and ideas, or worse case, after the photoshoot. This seemingly small issue can have a detrimental effect on the photographer or any form of business when the stakes are high.

Ghosting can also happen in various forms, including not replying to emails, not returning phone calls, or suddenly stopping communicating altogether. As a business owner, it is extremely important to know the reason behind client ghosting so that we can handle them professionally and also prevent potential damages that might affect our business. Reasons for ghosting can vary from budget constraints, where clients might look for a more affordable option, to a simple change of plans. Some clients might also lose interest midway through the discussions. It’s important to remember that sometimes, the fault might also come from our side for not truly understanding the client’s needs.

Impact of Client Ghosting

Client ghosting can have significant effects on a photographer’s business. Understanding these effects and addressing them early is important to prevent serious harm to the business. One major impact is the loss of potential bookings. Depending on the situation, this loss could affect business growth and revenue generation due to the loss of opportunity to build a loyal client base.

Time and resource wastage is another consequence of client ghosting. Contrary to popular belief, communicating with potential clients takes time and effort. The time spent on quotes, meetings, and planning projects that eventually lead to ghosting could have been used more productively to work on creative projects that have an added value to the business.

The photographer’s reputation could also be at risk, as negative word of mouth and false claims might stop future potential clients from even considering our service. This tarnishes our reputation as a professional photographer.

How to Mitigate Client Ghosting

Now that we’ve identified the impact of client ghosting, let’s discuss some strategies that photographers can use to handle this issue and build better client relationships:

Firstly, photographers can try to reduce client ghosting by adopting a proactive and personalized approach of communication. Responding promptly to inquiries can make clients feel valued and heard throughout the engaging process will greatly reduce the chances of potential ghosting. It is also important to proactively reach out to clients to follow up within an agreed timeframe to constantly keep clients engaged in the conversation and address their concerns.

Photographers could also request deposit payments to indicate client’s commitment before engaging in any meetings or offering any project proposal. This strategy will not only filter out disinterested clients, but it also shows our professionalism by valuing our own time and expertise. Lastly, if all else fails, photographers might also consider blacklisting clients based on their past actions. If ghosting is a repeated behavior coming from them, do consider avoiding any future communications coming from them to protect your own resources. But this should only be taken as a last resort after weighing all the possible pros and cons, as you do not want to burn bridges and make enemies along the way in your business.

Conclusion

For photographers grappling with the challenge of client ghosting, remember that you’re not alone, as this phenomenon has unfortunately become more common these days. However, there are ways to navigate this with professionalism while still continuing to grow your business. Strong client relationships are built on trust and respect. By implementing the strategies mentioned above, you can hopefully reduce ghosting, enhance your reputation, and create a healthier business environment that nurtures long-lasting partnerships with clients. Lastly, feel free to also share the strategy that you have implemented to tackle this issue, so we can all learn together.

by Billy Spotz and KVAL.com Staff

Fri, September 15th 2023, 10:15 PM UTC

220714-N-TP544-1122 ATLANTIC OCEAN (July 14, 2022) Aviation Boatswain’s Mate (Handling) 3rd Class Ronald Saunders prepares to direct an AH-1Z Viper helicopter, attached to the 22nd Marine Expeditionary Unit, on the flight deck of the Wasp-class amphibious assault ship USS Kearsarge (LHD 3) during night flight operations July 14, 2022. The Kearsarge Amphibious Ready Group and embarked 22nd Marine Expeditionary Unit, under the command and control of Task Force 61/2, is on a scheduled deployment in the U.S. Naval Forces Europe area of operations, employed by U.S. Sixth Fleet to defend U.S., allied and partner interests. (U.S. Navy photo by Mass Communication Specialist 3rd Class Taylor Parker)

Photography is a very popular business to get into, but a very difficult one in which to make a stable, successful living. Why is that? What does it take to be a successful professional? This insightful video essay features a seasoned pro discussing what it takes to find success in 2023. 

Coming to you from Scott Choucino of Tin House Studio, this important video essay discusses the difficulties that come with trying to be a modern professional photographer. Of all the great points, I think one of the most important and easily overlooked is that finding success in the field often takes personal sacrifices, some of which might be significant. The beauty of many traditional jobs is that you have a set and predictable structure, and outside the temporal boundaries of the job, you are free to do what you want. That is not the case with running your own business, though. You will find the hours often far less predictable and far more demanding. This means that you have to really ask yourself if you have enough passion to maintain the drive needed to find success. The truth is that if you can see yourself doing anything else, you should probably do that other thing instead. Check out the video above for the full rundown from Choucino. 

Posted: 15th September, 2023 by The Editor

Inside of my first car, I kept two CD’s – Hum’s You’d Prefer an Astronaut and Death Cab for Cutie’s Transatlanticism. The cigarette lighter stereo adapter never worked as intended, so I needed two options when it failed. Transatlanticism was an album that no change in job, school, partners, or other force of nature could take from me – 45 minutes that resonated deeply in mine and many others’ core. 

Admittedly, The Postal Service has become a favorite of mine over the last decade, and wasn’t as fundamental to my youth as Transatlanticism was. When “Such Great Heights” was on the radio, everyone I was involved with was “too cool for pop and electronic music”. However, as an adult, that style of music became one of my favorites and by the time I had grown to appreciate the album, the band ceased to exist. 

Luckily, that is no longer the case. Jumping forward to 2023, Death Cab for Cutie and The Postal Service are celebrating their two magnum opus’ by playing both records in full. Tickets for this tour sold out instantly and additional nights announced in the same city followed suit as well. For two nights, we got to celebrate 20 years of both records in Boston at MGM Music Hall connected to Fenway Park. On top of this, both nights coincided with the Red Sox playing a home game versus the Yankees – there was a lot of commotion on Lansdowne Street. 

Everyone piled into MGM, lining the staircase for merch and packing into the crowd to see Lauren Mayberry (of CHVRCHES) open the night. Lauren has previously collaborated with Death Cab for Cutie in live settings by frequently coming out to play “Brothers on a Hotel Bed” together, so it felt right for her to make her solo debut on this tour. With limited solo music out currently, Lauren joked with the crowd that “no one besides her and her mom knows these songs” but assured us they will be released soon. She will also be making rounds across the country on her own headliner this fall when it officially releases!

Right as Death Cab for Cutie took the stage and let the opening chords to “The New Year” ring, fans rushed out of the merch line and into the stadium, finally giving us a sense of how big the sold out crowd really was. The benefit of Transatlanticism being played before Give Up is that we all got to stand calmly and fully take in the slower parts of the album as they bled into one another. Not that anyone should be in the pit for Death Cab for Cutie, but 5,000 of us standing shoulder to shoulder and quietly singing along to “Lightness”, “Passenger Seat”, and “A Lack of Color” brought everyone together. That’s not to say there wasn’t excitement during “The Sound of Settling”, “Expo 86”, and “We Looked Like Giants”! As the album wrapped up, Ben announced they’d be back in 15 minutes to play Give Up.

After changing attire from all black to all white, The Postal Service took the stage right at 10pm and immediately jumped into the opening synth lead of “The District Sleeps Alone Tonight”. A roaring cheer immersed from the crowd as the lights came up on Jenny Lewis when she began singing her backing vocals. During “Such Great Heights”, Ben Gibbard was seen smiling ear to ear and it’s clear that these songs still still bring him joy 20 years later. Before jumping into “Recycled Air”, Ben pointed out an audience member’s Taylor Swift shirt before joking that this was the “budget eras tour… the era tour, just one era”. While his main skill set is vocals and lead guitar, Ben did showcase his old talent for drumming by playing the outro to “Clark Gable”, “This Place is a Prison”, and “Brand New Colony”. Everyone got to dance along to Jimmy Tamborello’s electronic backing tracks throughout the playthrough of Give Up before we all came back into focus to hear the album’s closer “Natural Anthem”. While we did not see the bonus tracks “Turn Around” and “A Tattered Line of String” played for an encore, we did hear an acoustic rendition of Such Great Heights before the remaining members of Death Cab for Cutie and The Postal Service returned to the stage to cover “Enjoy the Silence” by Depeche Mode.

This tour is one of those “if you don’t go and see this, you never will” – at least for another ten years. Death Cab for Cutie extensively tours the world and while they regularly pull out songs from Transatlanticism, it will not be played in full. On top of that, The Postal Service only returns to the stage on decade anniversaries of Give Up and a 30 year reunion isn’t guaranteed. Both albums truly transcend the time period they were released in while simultaneously pulling you back to the simpler times of 2003 and hearing both live is a reminder that we have all made it this far and will continue to be ok. 

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Kyle Musser//

Award-winning photographer, Tony Reed, has been diving since 2009 and into the photography side of diving since 2011. He concentrates mainly on compact cameras and has won many awards over the past few years using the OM Systems (Formerly Olympus) TG series of cameras.

Tony’s most recent win was earlier this year (2023) when he took first and third places in the British Waters Compact category in the Underwater Photographer of the Year (UPY) competition. Two months later he won the annual BSAC Splash In competition in the compact category.

‘I am 44 years old and work in engineering mainly but also restore classic cars,’ he says. ‘For most of my weekends I try to get in the sea anywhere I can as diving and underwater photography is my passion.

‘I am lucky to live in Devon, which has the most beautiful coastline for all kinds of sea life. I do also travel across the UK exploring new sites capturing all the beautiful sea creatures it has to offer.

I learned to dive in the UK but have also done several courses worldwide; after working for a while as a guide in Dubai, I came home and concentrated on colours and composition and experimenting with all kinds of lights and equipment.

‘My ethos is simple and easy photography, and if I can help anyone else on their photography journey I usually jump at the chance, as I enjoy seeing others progress.’

Sea horse found on the south coast of Devon, taken with Olympus TG4 on macro setting using a light and motion Gobe 850 wide video light

Discodoris rosa nudibranch found at Porthkerris in Cornwall on a bed of star ascidians, taken with Olympus TG4 in macro mode using a light and motion Gobe 850 wide video light

A scallop side-on from Beacon Cove in Devon. Olympus TG4 in macro mode using a light and motion Gobe 850 wide video light

Anemone shrimp found at Babbacombe, Devon. Olympus TG4 in macro mode using a light and motion Gobe 850 wide video light

Thurlestone Rock, taken with Olympus TG4 using a light and motion Gobe 850 wide video light and the Weefine WFL-02 Wide lens

The resident octopus at Porthkerris in Cornwall, taken with Olympus TG4 in macro mode using a light and motion Gobe 850 wide video light 

Buddy at hope Cove in Devon with Olympus TG4 using a light and motion Gobe 850 wide video light and the Weefine WFL-02 Wide lens

Buddy with a jelly fish at Hope Cove in Devon using Olympus TG4,a light and motion Gobe 850 wide video light and a Weefin WFL-02 Wide lens

Compass jelly fish reflection taken with Olympus TG4,a light and motion Gobe 850 wide video light and a Weefin WFL-02 Wide lens

Buddy in the blue at Porthkerris, Cornwall. Olympus TG4 and a Weefin WFL-02 Wide lens using natural light.

Evening split shot using Olympus TG4, a Light & Motion Gobe 850 wide video light and a Weefine WFL-02 Wide lens

Sea Hare on kelp using Olympus TG4 in macro mode and a light and motion Gobe 850 wide video.

Tompot Benny shot with Olympus TG4 in macro mode using a light and motion Gobe 850 wide video light.

Octopus eye using Olympus TG4 in macro mode with a light and motion Gobe 850 wide video light.

Nudibranch on a weedy rock shot with Olympus TG4 in macro mode using a light and motion Gobe 850 wide video light.

Bobtail squid shot with Olympus TG4 in macro mode using a light and motion Gobe 850 wide video light.

Babbacombe Cuttlefish shot with Olympus TG4 in macro mode using a light and motion Gobe 850 wide video.

Octopus at home shot with Olympus TG4 in macro mode using a light and motion Gobe 850 wide video light.

Jewel anemone from Babbacombe, Devon shot with Olympus TG4 in macro mode using a light and motion Gobe 850 wide video light.

Tompot Blenny portrait using Olympus TG4 in macro mode with a light and motion Gobe 850 wide video light.

You can find more fantastic photos showcasing the best of British diving from Tony on Instagram @tony_reed_underwater

If you’d like to see your underwater photography published on these pages and shared across our social media feed and weekly newsletter, why not drop us a line at info@divemagazine.com.

A photograph of a huge plasma arc next to the Andromeda Galaxy, the closest large spiral galaxy to the Milky Way, has won the 2023 Astronomy Photographer of the Year competition for a team of amateur astronomers.

The giant arc captured by the team led by Marcel Drechsler, Xavier Strottner and Yann Sainty, in the image titled “Andromeda, Unexpected,” was a “surprising discovery” and could be the largest structure of its kind near to us in the universe, London’s Royal Observatory Greenwich, which hosts the competition, said in a statement Tuesday.

Typically, an image of a new discovery is mostly a blurry black and white image with an incomprehensible and almost invisible faint dot or spectrum, according to judge and astrophotographer László Francsics.

However, this “astrophoto is as spectacular as (it is) valuable. It not only presents Andromeda in a new way, but also raises the quality of astrophotography to a higher level,” he said in the statement.

Scientists are now investigating the large object, which is in the immediate vicinity of the Andromeda Galaxy, in a transnational collaboration, according to the observatory.

Another discovery was made by a team of amateur astronomers led by Marcel Drechsler and Xavier Strottner, whose image of an ultra-deep stellar remnant in a previously unknown galactic nebula—a giant cloud of dust and gas where stars form—topped the Stars & Nebula category.

‘Strikingly beautiful’

An image of the Running Chicken Nebula—so called because it looks like a giant chicken running across the sky, according to NASA’s website—won the Young Astronomy Photographer of the Year award for two 14-year-old boys from China, Runwei Xu and Binyu Wang.

The nebula is located in the Centaurus constellation, about 6,000 lights year away from Earth, according to the release.

Judge and professional astronomer Yuri Beletsky described the image as “strikingly beautiful,” adding: “The photographers have managed to capture the vibrant colours of the nebula as well as the embedded star cluster.”

“This cluster contains several hot, young stars whose intense radiation causes the surrounding nebula to glow,” he continued.

Other winners included Monika Deviat in the Aurorae category for her abstract image of an aurora in the shape of a brushstroke; Ethan Chappel in the Our Moon category for capturing the moon passing in front of Mars; Eduardo Schaberger Poupeau in the Our Sun category for snapping the sun with a huge solar filament in the shape of a question mark; and Angel An in the Skyscapes category for capturing the extremely rare phenomenon of Sprites, in which atmospheric luminescence appears like fireworks.

The innovation prize was awarded to John White for uniquely capturing the sound of the black hole at the center of the Perseus Galaxy using audio source material from NASA’s Chandra Sonification Project—which he played through a speaker with a petri dish attached to it.

Katherine Gazzard, Curator of Art (post-1800) at Royal Museums Greenwich, said in the release that this was her first time judging the competition and that “the winning images are absolutely stunning. It has made me look at the night sky in a new light.”

The winning images will be on display in an exhibition opening at London’s National Maritime Museum on Saturday.