Show Us Your SmugMug Smile at Photoshop World 2015

Join SmugMug for three days of creative adventures at KelbyOne’s Photoshop World Conference and Expo, the world’s largest Photoshop, Lightroom, and Photography conference of the year, August 11–13, 2015, at Mandalay Bay in Las Vegas, Nevada.  Come out and be inspired by world-class educators, network with your fellow photographers, and show off your smile in the SmugMug booth for a special gift!

Take our class

Be sure to add SmugMug’s platform class, “Showcase, Share, and Backup: Why Your Photos Need a Website,” to your itinerary. Learn everything there is to know about building a beautiful photography website from award-winning landscape photographer Aaron Meyers.  Aaron is an expert at creating stunning photographs and, as a SmugMug Product Manager, beautiful websites to display them. He’s a former aerospace engineer but now limits his explorations to chasing light in remote locations on planet Earth. Join us August 12 at 9:30 a.m. in Tradewinds C/D. Don’t have your Photoshop World ticket yet? Grab a full conference pass here.

Visit our booth

You’ll find us at booth 217 in the expo hall.

Drop by for one of our SmugMug demonstrations or to talk with Nick (Beardly), Seth, Ann, and Aaron to find the answers to all your burning SmugMug questions.

Get cool stuff

We’ll have some special show swag for any visitor that shows us their “Smuggy.” Take a selfie with Smuggy, our logo, post it to Facebook, Instagram, or Twitter with the hashtag #SmuggyPSW, and then bring that selfie to our booth. We’ll reward you! If you’d like to visit the expo only, please do so on SmugMug. Just print this expo pass and present it at the door. Need more convincing? Watch our SmugMug Film on our friend Scott Kelby, the man behind KelbyOne and Photoshop World, to see why he’s an inspiration to photographers everywhere.

See you there!

How to Find Your Next Photography Adventure

Candles at Petra Jordan by Michael Bonocore

Photos by Michael Bonocore Photography

As we approach the high point of the summer season, we hope that all of you out there are making the most of the long hours and the beautiful light!

But the idea of “traveling with camera” falls somewhere between throwing a point-and-shoot into your suitcase and being hired to cover the Four Seasons’ grand opening. So how do you pack without going overboard, or avoid leaving critical stuff at home?

Travel Podcast with Michael Bonocore

Since so many of us live to take photos, we thought it’d be a good time to sit down and talk with one of our most exuberant and well-journeyed friends, Michael Bonocore, about the art of travel. You’ve probably already seen him on Google+, our forums or at a live event, but he also spends his time around the world guiding others to better photos and better giving through The Giving Lens.

In our podcast, he tells us more about his travels and how to balance being on the road with having the gear you need. Learn about:

  • What specific things should photographers think about when planning their next adventure?
  • Do you really need insurance?
  • Is it terrible to put your camera in checked baggage?
  • Besides the camera, what is the most important thing you should take?
  • What are the best ways to keep photos organized while you’re not at home?

Have a listen now on iTunes and start preparing for your next adventure. Safe travels, and don’t forget to capture and share your summer memories!

Children by temple by Michael Bonofore

How Gary Arndt Does Everything, Everywhere

If you’re a longtime follower of our blog, the name Gary Arndt may ring a bell. We featured him in 2010 and  he inspired many of us to follow our dreams, explore the horizon and take more photos. Gary’s still traveling the world and taking photos from all corners of the planet. As you’re dreaming of faraway lands and maybe even planning your annual vacation, here are a few tips Gary shared about how to efficiently pack, travel and share all the photos you take when you’re not at home.

Photos by Everything, Everywhere

How did you get your start as a full-time travel blogger? 

I made the decision to travel around the world in October 2005 and began my blog one year later in October 2006. I sold my home in March 2007 and have been traveling around the world ever since.

My blog began as a way to document my trip for my friends and family and sort of just grew into something more over time. I made a decision in late 2007 to take it seriously and to see if I could turn it into a business, which I now have.

How many places do you visit in an average year?

The number of places I’ll visit in an average year can vary and it also depends on how you define a place. 2013 has been very busy for me. So far this year I’ve been to 17 countries and I’ll probably be in around 35 by the time the year is over. I’m currently at the beginning of a 3-month trip to visit all the countries and territories in the Lesser Antilles.

This is a dream most of us consider at some point in our lives, but you’ve found success. How did you do it?

I promote my site whatever way I can. I do many interviews online and off. I’ve had my work appear online on sites like, The Today Show and Mostly people discover me via social media channels like Twitter and Facebook.

Most people are fascinated by my lifestyle before they ever see one of my images or read one of my articles. Simply having traveled for so long and having been to so many places is the biggest hook for people.

As far as recognition, I’ve won many mainstream travel journalism awards for my photography and for blogging. I won a Lowell Thomas Award last year for Photo Illustration of Travel (placing behind the New York Times), a Northern Lights Award for Photography of Canada (placing behind National Geographic) as well as many North American Travel Journalist Association awards and recently a SMITTY Award for my use of social media by Travel + Leisure Magazine.

Tip time: What’s in the travel blogger’s survival kit?

The bare minimum for me is my SRL, laptop and an iPhone. The iPhone gives me the ability to post images while I’m out and about. The SLR and laptop should be pretty obvious.

I also have an iPad, Kindle Paperwhite, and 2 USB hard drives. Over the last 6 years it has actually gotten easier from a technical standpoint. Many of the devices I used to carry with me have all been condensed into my iPhone ( GPS, video camera, point and shoot camera, wifi detector, audio recorder, microphone, etc)

How do you manage files on the road? For example, what storage systems/archiving tools do you use ?

People often assume that I back everything up in the cloud. This isn’t true. I can easily shoot several gigabytes of images a day and uploading that much data from remote places around the world is next to impossible. It is difficult to do even when I’m in the US. I have almost 2TB of images now and I’m not in one place long enough to do that sort of upload.

I have 2, 2TB USB hard drives that I carry with me. I keep them in two separate bags in case one should get lost or stolen. I keep a copy of everything on each drive.

I also have several hard drives at my mothers house. When I visit her, which I do about 2-3 times per year, I copy everything to those drives as well so I have copies in at least 2 locations.

By the time I outgrow my 2TB drives, there should be portable 3, 4 or 5 TB drives available. I upload only my edited jpegs to SmugMug. Those I consider my finished product. I obviously worry about my original RAW images, but so long as my finished jpegs are there, the world won’t come to an end.

I don’t think my system is fool proof or the best possible, but it has worked for me so far. I hope the day isn’t too far away when global bandwidth is big enough and cloud storage is cheap enough that it would be viable for what I do.

Do you shoot at the full resolution of your camera or do you use one of the lower ones to save space? Do you take your photos with the intent to sell big prints?

I shoot everything in RAW. When I began traveling I shot in jpeg and it was a horrible decision. Storage has gotten so cheap that I can not see the point in shooting in anything less than full resolution. I don’t shoot with the intent of selling prints, but I do always have that option by shooting in RAW.

Have you lost any images over the years?

Amazingly enough, I don’t know of any images that I’ve lost. I’ve been very careful about my data storage. When I started traveling, I was backing up my photos to DVD and an old iPod that I had. It was a horrible solution. I remember spending 2 days in Melbourne burning dozens of DVD’s and having to send them back to the US in a big box. I am amazed I haven’t lost anything from my early travels.

How do you deal with needing internet access in remote locations?

I seldom have a problem finding internet. As I am writing this, I’m on one of the lesser populated outer islands in the Bahamas, and the bandwidth here is fine. I’ve spent thousands of nights in hotels now and I’ve become an expert in maximizing my connection. Where in the room I can get the best signal, when to go down to the lobby or when I have to head to Starbucks or McDonald’s. I also have a global Boingo account which lets me log on to wifi hotspots all around the world.

What are your essential photo editing tools? 

I currently have a 15″ MacBook Pro Retina and use Lightroom 5.0, and occasionally Photoshop CS6. I also sometimes use SilverFX Pro and Photomatix.

Since you’ve been on the road for 6 years, has your camera changed much?

I began with a Nikon D200 and a 18-200mm lens. Today I use the exact same lens and have upgraded the body to a Nikon D300s.

The Nikon 18-200mm VR lens is far and away the most versatile lens on the market. I can take it out for the day without knowing what I’ll be shooting and be reasonably covered for both wide angle and close-up shots. It isn’t the ‘best’ lens on the market, but it is usually the only thing I need when I leave my hotel room.

I’ve stuck with a crop sensor camera for reasons of weight. The crop sensor lenses are smaller and lighter than full frame lenses. Size and weight is very important to me as I have to carry all my equipment with me all the time.

In addition to the 18-200mm lens, I also carry a 12-24mm lens and a 50mm f/1.4. I probably use those lenses for less than 5% of my shots. I have also rented lenses on occasions. During my trip to South Georgia Island and Antarctica last year, I rented a 500mm lens which was a fantastic decision.

I also have a lightweight carbon fiber tripod from Oben and my camera bag is from Timbuk2. I also use a BlackRapid shoulder strap.

Does your safety (or safety of equipment) ever affect your workflow, what you bring, or how you work?

Not really. I have never had anything stolen and I don’t worry too much about theft. I take common sense precautions and usually never leave anything expensive in my room when I am not around. I keep a minimal amount of gear with me, so I’m not as worried as some people might be if they were on a big photo shoot. I have older camera bodies, lenses and laptops at my mother’s house should I ever need a backup.

So, tell us Can you outline your workflow, start to finish?

1) I take the image.
2) Copy images from the camera to my laptop.
3) Copy images from laptop to my 2 backup hard drives.
4) Edit the images on my laptop.
5) Upload the edited images to SmugMug.
6) Delete edited images on laptop.

That last step is sort of controversial. Basically, images on my laptop are my to do list. As I finish images, I remove them to clear up space. I don’t have a permanent catalog for Lightroom like some people do. This system I developed years ago when my laptop hard drive space was scarce. I also don’t want to have to bring my USB hard drive out every single time I edit photos, as I often do it when I can find time in cafes or on airplanes.

Again, I’m not saying this is the best system, but it is the one that I use.

We hope that all of you – everywhere, anywhere – find a little inspiration to capture and share the moments of your life. Safe travels, and don’t forget to check out the rest of our Photography Perspectives series!

Photography Perspectives: Underwater Wildlife with Scubazoo

We’re halfway through this orbit around the sun and to those of us in the northern hemisphere, that  means it’s time to grab your towel and hit the beach. In the spirit of the ocean, we browsed through Scubazoo‘s incredible collection of underwater photos and videos and were taken aback by the magical beauty of life beneath the waves. How does Scubazoo do it, and what kind of gear does it take? What’s the market for underwater photography? Scubazoo photographer Jason Isley graciously shared a look at how they get that incredible footage. 

All photos by Scubazoo

So, who and what exactly is Scubazoo?

Scubazoo is a video production, location management and publication company based in Borneo. Over the past 15 years Scubazoo has managed locations for more than 125 hours of programming within SE Asia for international broadcast. Scubazoo’s cameramen have filmed on upwards of 150 programs from natural history blockbusters such as BBC’s LIFE and Human Planet to hit reality shows like Survivor & The Amazing Race. The Publication department has a number of world class photographers working on various assignments throughout the year and a great editorial team in the office. Scubazoo have provided images to hundreds of magazines and books and have also published several high-quality coffee table books, selling over 200,000 copies internationally.

School of red fish in a blue sea by Scubazoo

As a serious photographer as well as a serious diver, what’s in your kit bag? What does a professional setup for underwater photography look like?

It’s not advisable to try and change lenses underwater so, in order to handle macro and wide angle subjects I might encounter, I usually take two setups down with me. For the macro setup I use a Nikon D700 with an AF-Micro Nikkor 60mm f2.8 or an AF Micro-Nikkor 105mm f/2.8D. The wide angle kit consists of a Nikon D800 DSLR with a Nikkor 17-35mm f/2.8 and a Nikon AF 16mm f/2.8 D Fisheye. Both cameras are housed in Nauticam underwater housings. These give me access to every control on the camera and are rated to 100m. Each housing will have two strobes connected by a fibre optic cable and attached with ultralight arms. I use the Inon Z-240’s as they are light and extremely portable and I also usually carry lots of other gadgets like snoots, flourescent filters, wet diopters etc. If I can, I’ll employ a local dive guide to help spot critters and carry the extra setup.

All the usual scuba gear is used – a tank, weight belt, buoyancy compensation device (BCD) and regulator and also wetsuits to extend my bottom time. Even in tropical waters it can get a little chilly!

Underwater diving photographer and gear

What has been your most frightening underwater encounter?

During my filming days I filmed the sardine run in South Africa which is basically a massive feeding frenzy including dolphins, sharks, seals etc and that was a certainly a little hairy. However, the most frightening encounter must be the one with a 4.5m salt water crocodile that literally walked all over me underwater.

Underwater shark photos by Scubazoo

Which came first, diving or photography?

I didn’t start diving until I was 25 so the photography certainly came first. When I was 15 I use to play with my father’s camera kit and tried to photograph birds in the garden.

Blue fish face lips by Scubazoo

Are there any other underwater projects you’ve worked on?

I have worked on many assignments shooting amazing creatures in different exotic locations, however the project that seems to have gained the largest following must be the miniature people series I started back in 2011. The project is based on a futuristic scenario where the planet is completely underwater and the people are living and breathing underwater, I use miniature people to create scenes with the marine life.

Underwater miniatures with snake eel by Scubazoo

Underwater miniatures with cuttlefish eggs by Scubazoo

Out of all the places you’ve been, what wins the prize as your most exotic locale?

I’m based in SE Asia which is about as exotic as it gets, however I have certainly been based in some extremely remote locations for long periods of time which can definitely effect your sanity. Myself and one of my colleagues lived in a remote village in Indonesia and spent everyday sat opposite each other under the beating sun in a tiny dug-out canoe for three weeks tracking leatherback turtles.

The coldest location was Newfoundland and Hudson Bay in Canada looking for Beluga whales, that trip really confirmed I am not a big fan of cold water diving!

High five with whale by Scubazoo

There’s a ton of life under the seas. What is your favorite subject?

Sharks are definitely high up on the list, however you certainly get more of an encounter with dolphins and whales as they appear to be interested in you sometimes. I don’t have a specific favourite subject as I like diversity and think it improves your photography to change subjects and try different styles.

Sea turtle underwater photo by Scubazoo

Who are Scubazoo’s customers?

Scubazoo have two large online libraries, one for video and one for photography and we also have regular agents that we provide our images to. I also write articles for dive, adventure and travel magazines but we are really trying to expand our publications department and publish a couple of books each year. One of the books currently in production is for a large resort company and we are shooting all the wildlife and landscapes around their resorts throughout South East Asia.

Pink coral with yellow and blue fish by Scubazoo

What kind of equipment, training, workshops, locations, etc., would you recommend to people looking to test the waters, so to speak, in underwater photography?

I would strongly suggest a course with one of the leading underwater photographers that operate locally wherever you’re based. It will rapidly improve your technique. Underwater photography equipment can be quite expensive because you need all the extras to house the camera and underwater strobes, etc. You may want to consider looking for a 2nd hand set-up to start with. There are some great underwater photography sites with plenty of people giving advice and also selling old kits that you can use to get started.

Floating underwater octopus by Scubazoo


With that, we hope that all of you get your opportunity to take great photos wherever you end up on holiday. Stay safe in the waves, and check out our Photography Perspectives series if you’re looking for some light beach reading! 🙂

Quit Your Job and Run For the Hills: Ron Coscorrosa Speaks Out

The open road, sweet mountain air, and being alone in nature. As photographers, don’t we all dream about living the nomad’s life? If you’re like us, the thought probably pops up every now and then but most of us don’t actually take the leap and do it. One of our long time friends and Digital Grin veterans, Ron Coscorrosa, has been a subject of extensive envy for the past 2 years. He traded his tech job and high-rise apartment to live a life of sunlight, pixels, and sleeping in his car. So we asked him to give us the skinny on what it’s really like to put life aside and put photography first.

Botany Bay sunrise blue clouds by Ron Coscorrosa

Photos by Ron Coscorrosa

I was born and raised in the Pacific Northwest, but despite being near some of the most spectacular scenery in the American West didn’t pick up a dSLR until 2005, when I was tired of crappy image quality of my point and shoot digital camera (I don’t remember, but I’m pretty sure it had a floppy drive and a resolution of 6×4 pixels). It turned out that buying a better camera only made the bad photos larger, not better. Deterred by this sad realization, the camera and some expensive lenses sat unused in my closet until finally overwhelming guilt forced me to start using them more (this process took years). Eventually photography and traveling to beautiful places became a passion, to the point where I quit my software development job in the summer of 2011 in order to travel and photograph full time for approximately two years, without any distractions and without trying to generate an income. During my travels I met my girlfriend and gifted nature photographer Sarah Marino and moved from Seattle to Denver to be with her, and since then we have spent the last eighteen months traveling and photographing together extensively.

You’ve done something extraordinarily brave, something many of us wish we had the gumption to do: Quitting your day job to spend two years doing photography. Was that a hard decision to make? Did you agonize for a long time, or was it spontaneous and immediate? 

It wasn’t a hard decision to make, nor particularly brave (at least to me). The hard part was in coming to the realization that there was actually a decision to make, that I didn’t have to live the normal life of working nearly fifty years straight until retirement when at last I would be liberated from the shackles of employment and free to enjoy life fully (assuming I was still alive and still healthy). After thinking about it for a few days, it no longer made any sense for me to continue the path I was on, and I was fortunate to have the financial flexibility to quit my job and be on the road within a few weeks of making the decision to leave.

By that point in my life I was heavily into photography yet not particularly good. I wanted to be able to dedicate myself to photography and pursue it absolutely free of distractions to see where I would end up. So having an alternative to work (in my case travel and photography) was definitely crucial to making the decision. I also didn’t want to be distracted by earning an income or trying to generate money via photography, I just wanted to do it for the sake of doing it itself.

What gear do you need to get the shots that you take? Do you pack differently if you’re traveling domestically vs internationally?

My preferred subjects are natural landscapes, both large and small (including macro and abstract subjects). I used to photograph wildlife, cityscapes, and some other subjects as well but felt I needed to narrow my focus to try and be good at something rather than mediocre at everything.

Currently I’m using a Canon 6D as my primary camera, with a series of rotating lenses (all Canon) including a 14 prime, 17-40, 24-70, 70-200 f/4, 100 macro, and 100-400, all subject to change pending future insurance claims.

I don’t distinguish between foreign and domestic travel as much as traveling by car or traveling by plane. If by car (my preferred choice, though it doesn’t work so well over oceans or apparently on I-5 over the Skagit river in Washington state) then everything will come. If traveling by plane, I typically won’t bring things like backpacking packs, extra food (unless it’s Iceland, where $3 gas station hot dogs get old after a few weeks when nothing else is open in winter), extra boots, etc. For both types of travel I will bring backup camera bodies and tripods, as inevitably something will fail on a trip and securing a replacement is a hassle that has potential to interrupt photography.

Selfoss Iceland black white and blue by Ron Coscorrosa

How has your gear held up to your adventure?  Is it true that you buy tripods in bulk?

My gear hasn’t held up at all, which is typical for landscape photographers who are in the elements (salt water, sand of various types, fresh water, waterfall spray, rain, and extreme temperature variances). I’ve had more experiences with Canon’s repair department than I care to recount. I’m on my third camera in two years. I have three tripods and none of them are fully functional (though I haven’t bought any in three years, it’s now getting to the point of ridiculousness and I may have to buy one soon). The only pieces of gear I can actually recommend are my RRS plates and ballheads.

Most of my gear failures are from gradual wear and tear in the elements rather than single dramatic incidents. One exception would be one of my aforementioned tripods which had a leg severed by an incoming iceberg on a beach in Iceland. Fortunately my own legs are of higher quality than my tripod’s legs and I remained unscathed.

If you consider your car gear, and I do, it’s held up fairly well despite 80,000 miles in two years and continual driving on roads that it is ill suited for, including numerous drives to the Racetrack in Death Valley, sliding down wet clay roads in the San Juan mountains in Colorado after a thunderstorm, going high speed over a rock disguised as sagebrush at Toroweap in the Grand Canyon and impaling the gas tank, driving twenty miles in slick mud near Escalante, Utah after an afternoon snow melt, navigating down steep rock shelves at Marlboro Point in the Canyonlands, and, the most expensive, getting stuck in deep mud on a remote desert playa two and a half hours from the nearest towing company.

You’ve spent the last two years doing crazy things like living out of your car so you can be in the right place for a sunrise shoot. What’s the best thing to come of it? What’s the worst aspect of it? Would you keep doing so if you could afford to, indefinitely?

For some reason, sleeping in a car brings much more scrutiny than sleeping in a tent (a more societally accepted form of cheap lodging), but to me, car sleeping is clearly superior in every way (save for backpacking, where sleeping in the car is not an option for obvious reasons).

It is more comfortable (especially with a twin foam mattress in the back), takes less time to set up and disassemble (in that it doesn’t take any time), can be used in noisy and windy environments, and comes with a full heating and cooling system. It is also more flexible, given there are always more roads than there are camping areas and none of them require a reservation in advance. It also allows me to be nearer to where I want to photograph for sunrise, letting me sleep longer.

There are some downsides, including questionable legality in certain places (though it rarely is an issue if you’re in after sunset and out before sunrise), occasional lack of public restrooms, and lack of showers. If the choice is between showers and photography, photography always wins. If it’s between showers and sleep, sleep usually wins. Apologies to any member of the general public that we may have came across while in the midst of a long photography trip…

If I had infinite resources I would still travel and sleep in the car because the main motivating factor is convenience and not to save money, though I’m sure the car would be a lot better!

Ibex dunes rainbow and sunset by Ron Coscorrosa

You don’t sell your work. In fact, you don’t take measures to protect it – it’s out there for all to see, enjoy and use. What’s your philosophy about that? What is your philosophy about taking photos in general and sharing them on the web?

Actually that’s not entirely true, all my work is copyrighted and can only be legally used with my permission. It is true that I do not watermark images and would never consider doing so. There are so many elements that go into making a compelling photograph that ruining it with an excessive or distracting watermark seems to undo the entire point of taking the photo to begin with. Measures such as right-click protecting images will only deter the lazy, as those with even limited technical savvy can download any image that is displayed in a web browser.

I do not sell my images or prints not because I’m against doing so in principle, but because I would currently rather spend my time on photography and travel. Sarah and I are writing a few location guide e-books that should be out by mid summer, but other than that I don’t have any immediate plans to sell my work or make money from my photography.

As for sharing images online, I do it all the time, mainly to tell stories of the places I’ve been and show people what I’m photographing. I’m not a big fan of the quid-pro-quo culture of many online photo-sharing or social media sites where the goal seems to be to solicit praise or get attention rather than engage in any meaningful dialog (some of which may be critical of the image being shared). I have met a lot of photographers online who have since become friends in real life, and that wouldn’t have been possible before, though I do wish there was less ego-stroking and more thoughtful discussion in general.

If you could sustain your lifestyle through photography sales and keep doing what you’re doing, would that change your perspective on image protection/pricing?

I don’t actually believe I can sustain my lifestyle through photography sales, as my lifestyle currently doesn’t involve spending any time marketing or selling photos. There may come a time when I believe that spending a little time on marketing and selling, or conducting photo workshops, would be worth the larger payoff of being able to do photography full time (which would be a different but possibly acceptable lifestyle), but right now I’m enjoying the flexibility and freedom of being able to photograph whatever I want, whenever I want.

Roaring Fork cataract green forest by Ron Coscorrosa

After completely submerging yourself in photography, are you ‘photo-ed out’ or are you still passionate? Are you planning on going back to work?

I am definitely still passionate but my priorities have shifted since I began. I no longer feel any pressure to come away from an outing or a trip with something to show for it or feel like I’m missing out on photo or travel opportunities. I am more able to take risks and be comfortable if they don’t pan out because I still have a gigantic and overwhelming backlog of photos I’ve barely even looked at. I’m much more interested in coming away with a unique or personal take than nailing an icon shot at peak conditions (though I still photograph icons occasionally because they’re iconic for a reason – they’re inspiring beautiful places). While I am not where I want to be as a photographer (and probably never will be, and this is good!) I believe I am finally on the right path and have a vision about what I want to accomplish with my photography.

I will be going back to work before the end of the year, and plan to use that time away from extensive traveling to process more photos and possibly dust the cobwebs off of my blog or at the very least create some new cobwebs.

How far in advance do you plan your travels? Do you plan for major meteorological or astronomical events?

For domestic trips, we usually plan a few weeks in advance (though a trip to the Colorado Plateau can just as easily become a trip to Death Valley if the conditions aren’t good). For international trips usually a month or more in advance. The only trip we planned for meteorological events was a March trip to Iceland in order to see the aurora (which we were able to witness several times and it is an amazing spectacle that deserves to be seen in person) Once we are on a trip, we go wherever we feel like going. There are so many random variables that one cannot plan for (weather, clouds, foliage, general conditions) so I feel it is better to be flexible and react to what’s there rather than follow a strict itinerary.

Mono Lake pink and blue sunrise by Ron Coscorrosa

You’ve got a dedicated group of friends in your social circles, but what’s your philosophy about shooting or traveling in groups?

I am lucky that I found a partner in Sarah who is equally passionate about photography and likes to photograph the same subject matter as I do. Photographing together enhances our individual experiences and there is almost zero conflict or friction (and though we are often at the same location our photos are always quite a bit different). Once you start photographing with more than three people I personally believe that you are compromising on photography in favor of being social (which is fine, if that’s what you are trying to do). Some areas and locations are just not conducive to small groups let alone large ones (and large photo workshops in these areas are annoying and in my opinion irresponsible). The idea of a “photo walk” is absurd to me. It’s a social outing; it has nothing to do with photography. So I prefer to photograph with Sarah and occasionally with one or two more people, but beyond that it’s too crowded. Photography to me is personal, not social.

What countries/areas are next on your hit list?

For foreign locations, Norway, Scotland, New Zealand, and Patagonia are near the top, but I’m just as happy in re-visiting old locations with a new eye or with different conditions or seasons. One could spend their entire lifetime in, say, Death Valley, and still only scratch the surface of what’s there. I’m not really in favor of hitting the landscape photography destination circuit like I was a few years ago. There’s plenty to photograph almost everywhere.

If you’ve enjoyed this guest post, don’t forget about the other posts in our Photography Perspectives series! We love hearing from photographers from all walks of life, and hope you do, too.

How to Succeed at Being a World Traveler (and other useful tricks you’ll learn at a SMUG)

You may already be off on your winter vacation, but we thought it was well worth sharing this amazing presentation at Austin, TX’s SmugMug User Group: John Langford and his two-year, completely solo, around-the-world Rompin’ Stompin’ Circus of Love Extended World Tour.

James captivated his way-larger-than-expected audience with his beautiful photos, engaging stories and his advice on how to live in the moment when on your own soul-searching trek.

Check out the latest on our SMUGs blog and be sure to get the most out of your next adventure, whether you find yourself in New York or New Delhi.

(And don’t forget to sign up for our virtual SMUGs for webinars, tips and more!)

The SMUGS Blog

The Austin SMUG welcomed John Langford, a successful commercial, advertising, and editorial photographer, to their SMUG.  Two years ago he decided he wanted to travel the world with a camera.  He sold everything he owned and embarked on a journey around the globe that he dubbed “The Rompin’ Stompin’ Circus of Love Extended World Tour.”  His travels have taken through over 20 countries, and the Austin SMUG was lucky enough to have him speak during a brief layover in Austin before he heads out for another year of world travel.  There was so much interest in this SMUG event that our meeting had to be moved to a larger facility.  Even then, it was almost standing room only at the First Universalist Unitarian Church in Austin with over 225 people in attendance.

What a great turnout!

John’s story is intriguing and exciting.  He literally sold all of his possessions and was down to…

View original post 604 more words

SmugMug Success Stories: Awais Yaqub Photographic

The Globalist: Promoting Cultural Understanding in Living Color

Name: Awais Yaqub
Position/Title: Owner/Principal
Name of Company: Awais Yaqub | Photographic
Location: Islamabad, Pakistan
Market: Fine Art, Landscape, Travel
Bragworthy Factoid: Winning CIO’s 2010 Best Photo Blog Award
SmugMugger Since: 2005

Career Highlights…

  • Getting his first camera, a Sony Cybershot, in 2004
  • Accepting his first pro assignments in 2007
  • Seeing his work featured in galleries around the world

Fave Features…

He means business

Yaqub may be the most visually driven MBA on earth. Obsessed with beautiful magazine and book images from childhood, he eventually co-opted his father’s ancient SLR, using it even without film (he shares a laugh over the dead bug they were never able to remove from the viewfinder). While continuing his education in Islamabad, he formally began his photography career in 2004 with a small Sony Cybershot. “There were no photo communities or schools in my city where I could learn, so the Internet became my source,” he says. “My learning curve was steep as I never went to art school.” That didn’t stop this determined shutterbug, who began taking product photos professionally in 2007 with a DSLR. Finding the pro route and its adherence to client tastes repressive, he began choosing assignments selectively, focusing instead on building his gear arsenal and experience as an amateur. The move back to amateur status ensured that “photography remains my love,” he says.

SmugMug brings his world closer

Yaqub first joined SmugMug after mentors suggested it on, both to showcase his work and provide safe back-up. Calling Dgrin “one of the best photography forums on the Internet,” Yaqub looks to the online community for passion and great customer support. “I can get any sort of photography advice, difficult technical info or SmugMug customization tips there,” he says. “SmugMug communities drive more traffic to my photo galleries and make it easy to find SmugMug photographers with similar interests.” Yaqub appreciates that he can now sell and ship to an international market with ease. Beyond that, he says becoming part of the community has helped him explore the business side of photography and improved his craft, educating him on print quality and online distribution issues. “Now I try to capture each frame with a printed end product in mind,” he says. “Dgrin is a platform of serious pros and learners, where I get instant technical help and inspiration.

Paying it forward in pictures

For Yaqub, photography is ultimately about sharing—sharing images, sharing views, sharing knowledge. SmugMug’s one-click sharing to social media sites like Facebook and Twitter helps him fulfill that mission. “For me, there is absolutely no reason to create a photograph and keep it in cold storage. What good it would do if it was not able to spread the message, inspire someone or help someone in their learning process?” he points out. “For instance, if you look at photos of historic events, they add another dimension to perspective.” In the future, Yaqub looks forward to traveling more, finding inspiring stories to document. He aims to focus on “spectacular natural and human wonders that really lift the spirit.” His partner for the journey? SmugMug. “Sharing these stories with the world requires a great platform with great security, display and printing.” (Yes, we’re excited, too.)

Beauty is as beauty does

SmugMug’s customizability has allowed Yaqub to bring the powerful esthetic seen in his work to his galleries. “SmugMug customization is this magical tool that transforms the basic look of a portfolio into something totally different, depending on the desired output,” he says. Along with SmugMug’s photo display and big, beautiful gallery styles, Yaqub endorses the “stretch” feature that lets galleries scale to available display size, optimizing the gallery for full-screen slideshows, which he terms “a breathtaking experience.” Other feature faves: the ability to retouch photos after orders are placed and creating effects with PicMonkey when he isn’t working in Photoshop. The tools SmugMug provides to safeguard his work are also important. “I can create as many watermarks as I want,” he says. “I have made quite a few for different purposes.” He also uses print marks to keep his work safe from alteration.

An eye for culture

Galleries in countries as diverse as Malaysia, India, the UK and the US have featured Yaqub’s work. International fans tell him they appreciate the glimpses he offers into the lives of typical Pakistanis. He has developed a singular perspective, using his camera to take viewers closer to spectacular human and natural wonders—or, as he calls them, “beautiful creatures that are impossible to see with the naked eye.” Yaqub points to his tendency to look at ordinary things differently as the reason his shots are memorable to admirers. “Culture is as diverse as nature,” he says. “It makes our world so beautiful and lively and charming to shoot.”

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