The June/July issue is on newssstands, and it’s great! There’s an article about the benefits of being a generalist, as well as one on collaborative photography projects. You’ll be challenged to reflect on how the way we view images has changed over the years. There are interviews with Finbarr O’Reilly and Émilie Régnier, plus a review of ON1 Photo Raw 2018.1. In addition, you’ll get a behind-the-scenes look at the annual Technical Image Press Association (TIPA) meeting and a guide to using the iPad as a working photographer. Should we mention the monkey story? Let’s just say….you won’t want to miss this issue! Thank you to everyone who contributed: Dave Brosha, Laurence Butet-Roch, David DuChemin, Jean-François Landry, Guy Langevin, Marius Masalar, Nicolas Gouin, Ella Cooper, Jeff Bierk, Erika Jensen-Mann, Pat Kane Photo, Chad Barry, Manu Keggenhoff, Viktoria Gridley-Haack and Michael Ernest Sweet!
Here’s an excerpt from Dave Brosha’s “In Defence of the Generalists: Not Everyone Wants a Niche” to whet your appetite!
“Being a generalist has not only let me stay happy within photography, I think despite the advice that you can’t really learn photography without specializing—it has immensely helped my craft. I’ve brought my love of landscape photography into my portrait photography, and merged the two: environmental, outdoor portraits are now one of my most-loved things to photograph. Bringing a history of hundreds of family portrait shoots into an industrial location has allowed me to be far more effective photographing sometimes rough-and-tumble workers who want nothing to do with getting their photos taken. Hey, if I can get a stubborn two year-old to laugh, I’m not going to let a serious-minded underground miner get in the way of a great expression. My experience looking for lines and contrast and perfection in nature has helped me see architectural photography in a new light; my experience in lighting for my creative portraiture has allowed me to be way more comfortable in using light fast and effectively in weddings. Becoming a stronger photographer, to me, is about trying your best not to be stumped in any given situation and to muster up a creative, unique take on a subject: having a multitude of tools in your tool-belt to call upon can only be a good thing. The lessons I’ve learned in my various genres has allowed me to me more creative across-the-board.”
And if you want to subscribe and receive the issue before it goes on newsstands (and with savings on the newsstand price), there is more information here as well as a free sample issue to download!