Last week I made an article about How To Create the Perfect Outdoor Milk Splash, so this is the Part 2 of that article and how to do it indoors or inside the studio using a flash.
Laya Gerlock is a portrait photographer based in the Philippines. You can follow his work on his web page, follow him on Flickr and if you happen to come by Cubao Quezon, (To Manila, Philippines) he gives a great workshop!
I have been writing for DIYP for over a year now, and I can’t believe I haven’t written an article on how to create milk splash shots. It is, after all, one of my favorite things to do (and it is amazingly easy). So, here it is. This will be a two part article. In this article we will be doing it outdoors using only ambient light and reflectors and next week we will bring it indoors using strobes.
One of the things I used to hate when perusing my path as a photographer is when I reached a point where I was uninspired to shoot, or I’d reach a point where I’d feel that my best work is behind me and there is nothing new I can do. These creative dry spells used to happen to me from time to time and I know it happens to everyone so I want to share what I personally do to overcome this feeling.
Usually, I prefer to get stuff in camera (even if it means light painting my subject). But sometimes Lighting or space limitations will make getting the picture in-camera hard or simply not worth the effort. When such situation strikes go for a composite. If you only have little gear, this technique will also help you get a more professional look in your images.
I live in the Philippines. Not everyone here can afford going to school, let alone having a decent graduation portrait. Last month a friend contacted me and told me she was looking for a photographer for her project – free graduation pictures to the less fortunate.
When I heard about this Project I immediately contacted a photographer friend, Jay De Guzman, and my girlfriend, Jubcy Sebastian to also help out with the project.
Sometimes having a messy studio can inspire you to shoot. I have all sorts of boxes and plastics lying around my studio because I only clean it when I have a client coming. This it inspired me to do a shoot using things that are scattered around. So, this is a quick article on shooting with just one Speedlight and recyclable stuff.
Last year I made an article about getting good gradient reflections on surfaces, but after a while of using this that I’ve come to realize that I actually get slightly better (and easier) results with a different technique.
You can consider this as he second part of the How To Get Gradient Reflection On Surfaces tutorial.
My first ever off-camera flash was a Nikon sb-24 speedlight (1988), which I got. After a while I bought my first ever Nikon speedlight an sb-600 (it was around $250 back then). I was very happy with it until I wanted to get a studio strobe. There weren’t many choices to pick from here in the Philippines; it’s either you get one that cost around $300 per strobe or you can buy a “kit” with 3 off brand studio lights, light stands and softboxes for around $220. I got the latter.
(As a reference, a 400WS Broncolor Siros 400 which is one fine branded strobe – yet one of the cheaper branded strobes – will set you back $1000. A Cowboystudio 400WS strobe will only cost $150. A Square Perfect 400W/S strobe will only set you back a $100 or so. Those 3 are obviously not comparable strobe)
CHEAP doesn’t always mean bad, I have used these lights for more than 6 years now, and I want to share with you the pros and cons of using cheap off brand lights.
Last week I did an article on how to capture steam in food photography right in camera. You can’t always have hot boiling water in every shoot or have really hot food (or frankly, sometimes it is just easier to do in post), yet there are times when you need to have steam. This is when you’ll add the steam in post production. Here is a step by step tutorial on how to add steam in photoshop.
Below, you will find two photoshop techniques for adding steam in photoshop.
JP Danko is a commercial photographer based in Toronto, Canada. JP
can change a lens mid-rappel, swap a memory card while treading water, or use a camel as a light stand.
JP’s photography is available for licensing at Stocksy United.