Faux vs. Pro and What You Know

Here is a simple test to determine how obsessed you are with photography!  I am always so aware of all-things photography and I just love being able to talk the talk now amongst professionals and even about myself as an emerging photographer building a career plan, submitting contributor queries to publications.  Photography has consumed me, how 'bout you?

Read over this list and see how many indicate your obsession:

Top 10 Signs You're Obsessed With Photography

10. You actively look and can actually tell what kind of camera someone is using from over 30 feet away.

9. You have explained “Photoshop” as a medical expense because it’s good therapy.

8. When planning a vacation, your concerned about finding a hotel with wifi so you’ll be able to upload your photos to the web.

7. You own more than one camera bag even though you only have one camera, and, strangely, if you have 2 cameras you still have 3 or more bags...

6. You find yourself calculating exposure settings when you're out 'n about, and you don't even have your camera.

5. You admire at least one of the historic processes, or, have at least tried to pronounce "Daguerreotype"out loud.  (Relax, there's several ways: \də-ˈge-rō-ˌtīp, -rə-; -ˈger-ō-, -ə- also də-ˈge-rē-ō-ˌtīp, -ˈger-ē-) (merriam-webster)

4. When attending a wedding or other celebrations, you are more interested in what the photographer is doing than the event itself.

3. When you see a photo of a model, you find yourself more interested in what lighting was used and what kind of processing may have been done.

2. You understand that 22 is actually smaller than 5.6


1. When admiring a beautiful landscape you think to yourself, “Now that's lovely, but imagine what it will look like when I bump up the contrast and sharpness and clone out that spot there!”

Well, how did you do?  Are you pretty obsessed?  Hold your head high as this mentality separates you from fauxtographers.

We operate in a pretty crowded market and it feels futile to differentiate yourself, but there are actually fewer true professionals than you know.  Fauxtographers have no idea how to actually offer a professional service or market themselves properly.  They cramp our style but you have to stay dedicated to your calling and embrace the crazy obsession you have with photography.

Do you have any signs to add to the list?  I can't be the only one......can I??  Leave me some feedback in the comments!

Thanks for reading!

Works Cited

Anderson, Mark. "photographer-many-cameras." Photograph. markforminneapolis. Mark Anderson Wedding Photography, 5 March 2014. Web. 29 Sept. 2014. <http://www.markforminneapolis.com/>

"Daguerreotype." merriam-webster. Merriam-Webster, Incorporated, n.d. Web. 29 Sept. 2014. <http://www.merriam-webster.com/dictionary/daguerreotype>

"[exposure meter view]" Photograph. nikonmag. Nikon Corp, 14 Feb. 2014. Web. 29 Sept. 2014. <http://nikonmag.com/talk/dx/how-to-see-the-exposure-meter-on-the-nikon-d5100-in.html>

Lourens, Nolte. "tongue-twister." Photograph. comtranslations. ComTranslations,  26 Oct. 2013. Web. 29 Sept. 2014. <http://www.comtranslations.com/translation-blog/improve-your-english-with-these-diction-exercises/>

"Top 10 Signs You Are Obsessed With Photography." photographybb. PhotographyBB,  <http://www.photographybb.com/camera-and-gear/top-10-signs-addicted-to-photography/ >

Blogging when Busy - recent work and the importance of SEO

It's so important to try to blog regularly for your business to bring in traffic from the type of clients you're looking to book. Search Engine Optimization (SEO) is something you'll learn about in various classes, and blogging with posts of at least a couple hundred words and relevant tags will help your web presence thrive. For a decent breakdown of SEO, check out this article from TechRepublic. If you have SEO resources you look to for advice, share them below!

Wedding season has been busier than ever, and my business blog has suffered because of how much work I have. Finally I found a few free minutes to gather images and get a special post published! Today I want to share a recent wedding with you that meant a great deal to me. The flowers at Friendship Park Conservatory in Des Plaines made such a gorgeous backdrop for the very first same-sex wedding I had the privilege of photographing.

Happy Friday, and happy shooting!

-Friday Ambassador

Work Cited:

Matteson, Scott. "SEO 101: How Search Engine Optimization Really Works." TechRepublic. CBS Interactive, 18 Dec. 2013. Web. 26 Sept. 2014

Much Ado About Lenses

We need it, we are always wanting more, we sometimes drool over the big fancy ones, and sometimes we can be jealous at what other's are carrying around.  Let's face it, it's not about the size of the lens but how you use it.

Today I am going to provide a detailed brief about all of the important things you need to know about lenses: the basic differences, how to choose the right one, and why you might have to sell a kidney to afford some.  

Many of us have that "dream lens" but another equal portion have no idea what's so special about the seemingly infinite number of lenses out there and how to pick one to upgrade to.  (Don't worry, it wasn't that long ago when I had no idea what an article meant when they were discussing "glass.")  "Kit" lenses, the ones that typically come with your DSLR, will get the job done and you may feel that those are really the only lenses you'll ever need, but prepare yourself for: life after the kit lens.

Sure, the old adage about it's not the camera, it's the photographer is true to an extent, but the lens will "control the image that's projected onto your imaging sensor, and ultimately what photos you are taking home. As such, many photographers would prefer to shoot with an okay camera and a great lens, than a great camera with ho-hum glass attached."  So, what is a great lens? 

First, you need to understand how these different lenses might improve your current photos and finally allow you to take ones that you currently can't.  There are three main categories of lenses: normal (50mm-range), wide-angle/short, (10-35mm), and telephoto/long (55+) and all of those have confusing letters and numbers that provide detailed information such as:

Focal length - expressed in "mm", smaller numbers are wider angles and higher numbers are bigger zooms.  (Reference, the human eye has a focal length equivalent to 30-50mm.)  If the lens has a set of focal length numbers, such as 18-135, that means that it can zoom in and out between those focal angles.  If there is one number, such as 50mm, then this is called a prime lens and it will force you to stop being lazy because your feet will be what zooms it in and out; it forces you to think more about composition and perspective.

Maximum aperture - The lens aperture is shown in several ways, but "whether it's f/2.8, F2.8, or 1:2.8, it all means the same thing and refers to the the maximum amount of light which the lens can gather" at its widest maximum aperture.  You will see lenses with very small numbers such as 1.8, 1.4, and I have even seen 1.2, and this just means it is capable of letting in a huge amount of light through the camera aperture so you will likely have to work with a very fast, maximum shutter speeds to get a good exposure when using it.  They differ in low-light capture abilities, weight, size, close-focusing range, and price and give you that incredible selective focus with shallow depth of field called bokeh.  

There is also a variable maximum aperture meaning that it changes depending on the focal length.  Take, for example, an 18-200mm f/3.5-5.6 lens.  It would have a maximum aperture of f/3.5 when it is at 18 mm and would be maxed at f/5.6 when zoomed out to 200mm; as you zoom in, less light gets to the sensor.  Variable-aperture zoom lenses lose their ability to transmit a constant volume of light as the lens zooms in and out, which is why a zoom starts off wide at f/3.5, but will max out at f/5.6 as the widest aperture.

Constant-aperture lenses, which maintain a consistent maximum aperture, regardless of the focal length, tend to have the wider maximum apertures.  Constant-aperture zooms lenses also tend to be larger, heavier, and typically more expensive.

Lens mount type - Plain and simple, you can't mount a Canon lens on a Nikon camera and vice versa.  This is because of their mount type.  Yes, you can buy adapters, but for now let's just stick to the basics.  An example of the common lens mount types for DSLRs are the Nikon F-mount, Canon's EF or EF-S, the Pentax K, and the Sony Alpha (A) mount.  This is your camera's special receiving end for the lens you will mount to it.  

Format type - (This is where it tends to get complicated so hang on!)  There are about seven different formats but I will cover the most common two: full frame and crop sensor format types.

Canon:  EF lenses cover both full frame and APS-C sensor DSLRs and EF-S lenses are specifically for APS-C "crop" sensor DLSRs such as the 70D, Rebel 2Ti.  

Nikon:  FX lenses cover the full frame sensor in full frame DSLRs like the D610, D810 and DX lenses cover the APS-C "crop" sensors in DSLRs such as the D90, D3200.  The sensor/format difference can be seen in the image below.

Lens manufactures give a 35 mm-format equivalent on lenses designed for cameras with smaller sensors, therefore, if your camera has that smaller APS-C (DX) sensor, you will need to consider the following calculation when deciding which lens you need:

"If you're using a full frame camera there's no calculation needed, a lens will give you the field of view you'd expect from its number. If your camera has an APS-C sensor it has a crop factor of 1.5 - meaning you multiply the lens focal length by 1.5 to get its equivalent 35 mm-format focal length. For Canon APS-C cameras that number is 1.6." (Wilkinson)

Ok, so how do you choose what's right for you?  Ultimately you need to consider how set you are on your current DSLR.  If you plan to upgrade from an APS-C to a full frame camera body sometime soon you should consider upgrading to a lens that's meant for a full frame camera.  Allan Weitz sums up the difference between choosing a prime and variable lens:

"The down side of fixed focal length lenses is that they are not as versatile when shooting subjects that move quickly toward or away from your camera position . . . When shooting with zoom lenses, it's easy to get lazy. When shooting with a fixed focal length lens, you have to physically approach your subject in order to frame the picture properly. With a zoom lens you see something and you zoom in on it. And while there's nothing wrong about shooting that way, one of the benefits of a zoom lens is that it makes it extremely easy to photograph a subject from a variety of vantage points, distances, and focal lengths without having to pause and switch lenses . . . If there were a downside to shooting with zoom lenses, it would have to be that none of them opens up wider than f/2.8, and if they did, they would be quite hefty."

        

For casual photographers, the slower, least expensive 50mm f/1.8 is sufficient for almost every need. For others, including pros who require even better low-light shooting capabilities, the f/1.4, which is a 1/3-stop faster, may be preferable and even still affordable.  That 85mm f/1.4 seems to be high on the dream-list of "portrait" lenses but it comes with a hefty price tag.  It is the Goldilocks of prime portraits lenses; not too wide, not too long - you don't have to be uncomfortably close to your subject, and it won't compress the depth and make your image look flat.  

"Wide angles lenses should be used when prominent foreground objects are present. The primary mistake made by new photographers is to use wide angles incorrectly - by not being close enough, having no interest in the foreground, or by trying to include too much in the scene. Wide angles are also handy in tight areas, like small rooms, cars, caves, etc. They can give volume to the small area. Wide angles have the potential to drastically change your photography." (Berk)

Standard zoom lenses work well as “walk around” lenses.  They offer versatility between wide or zooming, landscapes and portraits.  These are generally your "kit" lenses: 18-55mm, 18-135mm, 24-105mm for example.  Zooms/telephoto lenses allow you to stand back a little like when the subject is not exactly approachable.  These can also be useful for portraiture, but keep in mind Robert Capa’s words, “If your pictures aren’t good enough, you’re not close enough,” as it is easy to get lazy and let the lens do all the work.  These are also excellent for sports, nature, and wildlife.  With sports though, you need to be able to freeze action sharply which requires a fast shutter speed and faster (larger maximum aperture) zoom lenses are required.  "If sports is one of your primary subjects, a telephoto zoom such as a 70-200 f/2.8 is an excellent choice.  If you really want to shoot like the pros, you’ll want a 300mm f/4, or 300mm f/2.8 or 400mm f/2.8. " (Berk)

Long, even extreme focal lengths and large maximum apertures mean bigger and heavier lenses,

which, along with the bigger price tags, is why they are typically used by professionals who can ultimately justify purchasing them.  Build up to these lenses as you grow as a professional so you don't have to sell an organ on the black market just to add one to your collection.  If you think it is a necessary business expense then that is always a justification too.

This post just covers the basics; I could go on for days about lenses.  There are a variety of other special lenses on the market like a macro lens if you like shooting tiny things or a tilt-shift or perspective correction lens for architecture.  There is a lens to suit every purpose so I hope I have been able to provide some good direction when contemplating purchasing a new tool for your photography endeavors.

Works Cited

"85mm Portrait Philosophy." photo. NameMedia, Inc., 21 May 2011. Web. 23 Sept. 2014. <http://photo.net/nikon-camera-forum/00YlSn>

 Berk, Rick. "Choosing Lenses: When to Use Which Lens and Why." digital-photography-school. Digital Photography School, n.d. Web. 23 Sept. 2014. <http://digital-photography-school.com/choosing-lenses-when-to-use-which-lens-and-why/ >

"Black Market." Photograph. Encyclopædia Britannica ImageQuest. Web. 23 Sep 2014. 

<http://quest.eb.com/#/search/115_2729832/1/115_2729832/cite>

"Hispanic boy thinking at school desk." Photograph. Encyclopædia Britannica ImageQuest. Web. 23 Sep 2014. 

http://quest.eb.com/#/search/154_2899196/1/154_2899196/cite

"Hungary, Budapest, Jealousy, 1892." Photopgraph. Encyclopædia Britannica ImageQuest. Web. 23 Sep 2014. <http://quest.eb.com/#/search/126_3739316/1/126_3739316/cite>

"Monarch Butterfly." Photograph. Encyclopædia Britannica ImageQuest. Web. 23 Sep 2014. 

http://quest.eb.com/#/search/149_2081893/1/149_2081893/cite

Weitz, Allan. "The Canon Lens Experience: Everything You Need to Know about Canon Lenses." bhphotovideo.  B & H Foto & Electronics Corp., Aug, 2014. Web. 23 Sept. 2014. <http://www.bhphotovideo.com/explora/photography/tips-and-solution/canon-lens-experience-everything-you-need-know-about-canon-lenses>

Wilkinson, David. "The DX/FX distinction." Photograph. switchbacktravel. Switchback Travel, n.d. Web. 23 Sept. 2014. <http://www.switchbacktravel.com/camera>

Why shouldn’t I shoot my family and friends for class?

Just finishing up my Portraiture class and I must say its been the toughest one yet. Not tough because the assignments where hard but tough in the fact that each assignment required a new person. In total I needed to photograph 25 different people in 6 weeks. It was hard to find all these different people and keep them to your schedule. Everyone has family they could always use but the problem with that is your family wont end up as a paying customer later on.  They will always expect you to shoot them for free. It seems pretty sad but that is the way it works.

In all of my assignment this past 6 weeks the hardest was to find 8 people to photograph together. To accomplish this I put some feelers out weeks in advanced but most of those options fell through. My last and final option was to ask a friend if she knew of anyone that I could get to photograph. I figured since she has 3 kids and herself that would kill off half of my requirements right there. However this particular week none of her kids could show up for the event. I was lucky though because she know a lot of other people and found me the 8 I needed in the nick of time. By the end of my shooting I had people asking for a card, wondering if I could shoot an up coming event.

I was grateful that these people who I didn’t know was asking me if could do other work and that they would be contacting me in the future. Without shooting these strangers I would have never got my name or my information out there like I did. I learned the in the end it might pay off to shoot people you don’t know because they may want your services in the future. The event that I was asked about is for the republicans in town so they will probably want a hand out, however it might be one of those handouts that gets your name out there for paying work. These politicians might need head shots or things like that. While doing the event for free might make them think you will do everything for free, you can quickly let them know what you charge for those types of services.

So I recommend getting yourself out there and looking for ways to network and find potential future clients. You obviously wont get paid to shoot them for your class assignments but if they can see the quality of work you can provide them, then you might very well have made a connection to turn them into a client.

Here is my funny face shot of my 8 people. In the end this probably was my best assignment. 

TBT

Thursday Ambassador

Photography is Killing You: Bad Habits to Fix Now

We all tend to pick up bad habits over time whether it be technical or physical.  Oftentimes, after a long day of shooting, you may feel wiped out and maybe even a little brain-fried being on-point for so long, but there are likely several other reasons why you're ready to collapse at the end of your work day.  You, your camera bag, and your gear might not be working together effectively.

"Slipped discs, muscle spasms, rotator cuff syndrome, tendinitis and carpal tunnel are just a few of the occupational hazards that can come from lugging around a heavy bag of gear and turning yourself into a human tripod for a living." (Moses)

Now is the time to re-evaluate your shooting habits because you might be one assignment away from a serious injury.  Here is some expert advice on staying pain- and injury-free.


You might select your camera bag based on style or efficiency, maybe even cost, but you also need to consider what's really right for you.  Dr. Gerard Varlotta warns photographers about carrying any bag with an asymmetrical design such as over-the-shoulder and messenger bags.  This causes unbalance, twisting, and tilting.  Backpacks are not necessarily the better choice here either if you pack it with one side heavier than the other.  So, don't overload your bag either.  This, again, will end up causing some asymmetry in how you carry it.  It is recommended that you carry no more than 10% of your body weight in your bag.

The fit of the bag is also very important.  Dr. Varlotta says, “The closer to the body the better.”  Dr. Karen Erickson, DC, another expert, recommends wearing your backpack like this:

• "The backpack should end near your ribs, with the weight being distributed between your shoulder blades.  If the backpack hangs too low on your body you can put a lot of tension on your low back."
• "Look for straps that are wide and padded.  The straps should be snug enough to bring the material of the bag close to your body."
• "A backpack with a waistband that sits on the hips can take stress off the shoulders, neck and low back."

You might also be at a greater risk of potential injuries and ailments if you have bad physical habits such as poor posture, being overweight/not exercising, and smoking.  Here are a few more tips to reduce the development of pains and strains:

• Use rolling bags when possible
• Limit the equipment that you carry around your neck
• Use a monopod with heavier outfits (such as a heavy lens and/or speedlight)
• Wrap your camera strap around your wrist to carry
• Avoid dehydration

"Photographers are just like athletes who need great physical demands and fitness to carry out their job tasks.  They should be fit and healthy in order to prevent/reduce injuries and disability that can limit or end their shooting careers." (Loon)

Sundial Clinics recommends doing a number of stretches either before, during, and/or after your shoot to help reduce the accumulation of muscle tension and fatigue.  These basic stretches are listed below and can be found in detail here.

Neck

• Upper trapezius stretch
• Shoulder stretch
• Chest stretch
• Thoracic stretch                 

Lower Back

• Trunk rotation
• Toe touches
• Wall Roll
• Lateral flexion
• Standing cat stretch

I'm not here to give you a lecture on taking care of your physical health but I do hope that you can take away a few tips to keep yourself safe from long-term injury.  I find it inspiring to think of myself as an athlete with a camera!  To be the best athlete, um, photographer that you can be it is important to do it all right.  Right?  Have you been injured or almost injured taking photos?  Tell me about it in the comments.  

Those crazy positions we get ourselves into and hunching over for long periods of time can take its toll.  Please take care of yourself like you do your equipment (if you're like me).

Works Cited

"A photographer carrying a tripod in silhouette at twilight." Photograph. Encyclopedia Britannica ImageQuest. Web. 15 Sep 2014.
<http://quest.eb.com/#/search/137_3089694/1/137_3089694/cite>

"Back Pain Woman." Photograph. Encyclopedia Britannica ImageQuest. Web. 15 Sep 2014.
<http://quest.eb.com/#/search/300_346940/1/300_346940/cite>

Loon, Teong Kar. "Common Injuries in Phootographers and How to Prevent Them." ntuchealth. NTUC Health Co-operative Ltd., n.d. Web. 15 Sept. 2014. <http://www.ntuchealth.com.sg/health_info/common_ailments/common_injuries_in_photographers.php>

Moses, Jeanette D. "Photography is Killing You: Health Tips For Photographers." popphoto. Bonnier Corp., 10 June 2014. Web. 15 Sept. 2014. <http://www.popphoto.com/gear/2014/06/photography-killing-you-health-tips-photographers>

"Mount Assiniboine Provincial Park, British Columbia, Canada." Photograph. Encyclopedia Britannica ImageQuest. Web. 15 Sep 2014.
<http://quest.eb.com/#/search/137_3122378/1/137_3122378/cite>

"Tips to prevent back and shoulder pains in photographers." sundialclinics. Sundial Clinics, 11 Oct. 2010. Web. 15 Sept. 2014. <http://sundialclinics.co.uk/conditions/backpain/tips-to-prevent-back-and-shoulder-pains-in-photographers/ >

"Young woman stretching in field." Photograph. Encyclopedia Britannica ImageQuest. Web. 15 Sep 2014.
<http://quest.eb.com/#/search/154_2894530/1/154_2894530/cite>

“The photographer who works with leftovers!”

In one of my recent classes, I told my instructor that I was like a “chef who works with leftovers.” What I meant was that I frequently go back to my old work and pull something from that image to make one outstanding image. I have tons of old photos that I never gave a second thought about and more importantly, never was going to use again. Now in my final class here, I found myself settling into being a conceptual photographer. This style of photography allows me to compose an image with tons of layers all combined into one. My concept is not hard, I just think of unconventional ways to express myself as a photographer. I like clean lines, but at times a bit of chaos within the image. The image below is made up of 8 different images all shot at different times and different locations.

Quiana P Jackson. Untitled, 2014

As a student I have learned my camera in and out, new techniques and different genres, but while working as a photographer in my personal life, I struggled to find what made me feel most creative. I spoke before about the Creative Process in a previous blog post, but now I needed to explore my visual creative process to be where I am today.  Every day I am learning something new with conceptual photography. Every day I am finding out something new with my own photography. Every day I am getting one step closer to being the photographer that I know resides in me.

Quiana P Jackson. Untitled, 2014

Full-scale Detail: Let the Little Things Shine

Weddings offer a smorgasbord of photojournalistic opportunities. From emotional moments to minute details, to capture an event like a wedding means your eyes always have to be open and searching! So often wedding photographers share the emotional, documentary moments or romantic posed portraits. Today, I want to share how much the details can say about the event without even including the bride and groom.

Following is a collage I put together of images including the aisle decor, bridesmaid bouquet, cake toppers, and groomsman's bow tie from a single wedding. Shown together, these tell the story of the day and give an idea of the sweetness that surrounded this particular celebration. From soft blues and sea foam greens to baby's breath in painted vases, these details were all carefully thought of by the couple. It is images like these that provide context for an album, both online and in print.

Are you a fan of detail shots? You can practice your compositional techniques and play with different types of lenses at relaxed events like birthday parties and holiday gatherings. If you love the idea of shooting a wedding, get in touch with pro photographers in your area to see if you can assist or even second shoot with them (make sure you have portfolio-worthy examples of event shots first so they can see your style). When I use a second shooter, I look for someone who can take care of many of these detail shots while I interact with the couple and guests. In fact, the examples here were taken while I was the second shooter, seeking out the elements that set this wedding apart to remind the couple of all the decisions that came together on their wedding day.

Happy shooting, and don't forget the details!

-Friday Ambassador

Make Your Movie-Night Inspiring!

The relentless schedule of courses and homework can often make you feel burnt out on studying photography, but I have a list of five movies and a television series for you to catch that might help you feel a little more inspired as a professional as opposed to student in your downtime.

1. "Capture With Mark Seliger"

I have this show set to record on my DVR.  It airs on the Ovation channel (on DirecTV for me) on Sundays at 4:00 and 4:30 p.m.  Seliger, the host, has some very famous guest photographers come talk about their experiences and he also has some famous actors who might surprise you as being photographers and enthusiasts!  They discuss iconic photos as well as have a Q&A at the end.  I highly recommend checking into this series.

2.  "'Fur' – An Imaginary Portrait of Diane Arbus"

Starring Nicole Kidman and Robert Downey Jr., this movie does not portray completely accurate truths about the life of Arbus, but it does tell the story of her transformation from lonely housewife to iconic photographer.  This would be a nice drama to watch for some much-needed downtime while staying sharp on all-things photography.

3.  "Annie Leibovitz 'Life Through A Lens'"

I have seen this movie before and I think it's great to learn about the experiences of such an esteemed, highly-sought-after portrait photographer and listen to the testimonies of those who have had a chance to work with her.  

4.  "Henri Cartier-Bresson 'The Impassioned Eye'"

Another big name in photography, Cartier Bresson's life and career are illustrated in this movie.  

5.  “Guest of Cindy Sherman”

A truthful depiction of Sherman's creative mind and artistic process.  "She made her debut in the art world with “Filmstills” – 69 black and white images that show Sherman herself in different situations that resemble scenes from famous movies." (Behrmann)   Intrigued?  Check it out!

Tuesday's Personal Pick:  "The Bridges of Madison County"

I know, I know, I'm a sucker for romance and dramatic cinema, so it should be no surprise that I would feel compelled to sneak in one of my personal favorites...  "What does this movie have to do with the list," you might be wondering?  Well, Clint Eastwood plays Robert Kincaid, a National Geographic photographer on assignment in Iowa to document the covered bridges.  (I bet it makes sense now why I put it on the list. *wink*)  It is not as educational as some of the documentaries here but it doesn't stray from the central theme of all-things photography.  

There are many, many movies out there about photography and famous photographers, but I thought I would keep the list short and sweet.  Do you have any recommendations on movies or television shows that discuss our central theme?  Please list them below in the comments!  Thanks for reading today!

Works Cited

Behrmann, Kai. "The 10 Best Photography Movies." topphotographyfilms. Top Photography Films, Inc., 18 July 2013. Web. 8 Sept. 2014. <http://topphotographyfilms.com/videos/the-10-best-photography-movies/ >

"Capture With Mark Seliger." ovation. Ovation, n.d. Web. 8 Sept. 2014. <http://www.ovationtv.com/series/capture-with-mark-seliger/ >

"'Fur'--An Imaginary Portrait of Diane Arbus." Photograph. topphotographyfilms. Top Photography Films, Inc., 18 July 2013. Web. 8 Sept. 2014. <http://topphotographyfilms.com/videos/the-10-best-photography-movies/ >

"Guest of Cindy Sherman." Photograph. topphotographyfilms. Top Photography Films, Inc., 18 July 2013. Web. 8 Sept. 2014. <http://topphotographyfilms.com/videos/the-10-best-photography-movies/>

"Henri Cartier-Bresson 'The Impassioned Eye.'" Photograph. topphotographyfilms. Top Photography Films, Inc., 18 July 2013. Web. 8 Sept. 2014. <http://topphotographyfilms.com/videos/the-10-best-photography-movies/ >

"Life Through A Lens." Photograph. topphotographyfilms. Top Photography Films, Inc., 18 July 2013. Web. 8 Sept. 2014. <http://topphotographyfilms.com/videos/the-10-best-photography-movies/>

"The Bridges of Madison County." Photograph. rottentomatoes, Flixster, Inc., n.d. Web. 8 Sept. 2014. <http://www.rottentomatoes.com/m/bridges_of_madison_county/ >