Domenico Sellaro is a rising talent! A young Digital Artist who specializes in Creative Retouching, and Matte Painting. He began to teach himself Photoshop in 2008, but has since taught himself how to use 3D programs like Sculptris and Blender too. During these years he has been selected for international exhibitions, become featured in the Wacom gallery online, and received features in international Photoshop magazines. He is now Founder and CEO at The Creative Dot and he’s working as Freelance Digital Artist for some clients from Europe and other countries.
The series is joint venture between National Geographic and Canon.
Season 1 (six half hour long episodes – available on Netflix worldwide) follows five photographers around the world documenting their approach to photography and story telling.
Continue reading to watch the trailer for both Season 1 and Season 2…
We are big fans or Eric Pare and Kim Henry, the photographer/dancer duo has created some epic art over the years. Now, they are coming back with a new technique that involves fog machine, a projector and some copper lights. The shooting was done to celebrate Eric’s new light painting studio, and a celebration they had.
Eric explains how the photos were created:
For American rock band OK Go, boundary pushing music videos have become the standard. They’ve done the long one-shot takes with crazy optical illusions, shot with a massively co-ordinated cast of dancers, and they’ve even levitated in zero G. Now, they’ve done it again with their latest music video for new song, The One Moment.
The entire video, again, is shot as a single take. The main action in the video took only took 4.2 seconds in real time. After that, it bounces back and forth between real time for a few seconds, and then back to super slow motion with people flying through the air over fountains of paint. It’s a ridiculous video, and the amount of planning that must’ve gone into it to get it right first time just doesn’t bear thinking about.
The photography of Mexico based Felix Hernández is nothing short of remarkable. Felix specialises in turning dreams into reality, at least, photographically, and he does it in some absolutely amazing ways. Utilising an array of techniques including miniatures, dry ice and even cigarette smoke, his work shows some elaborate thinking.
In this video, we get see some of that process, and a look behind the scenes on how the image “Inner Trip” was made. Felix describes this image as “a journey to my inner self”, bringing yet another dreamy vision to life. Utilising miniature models, long exposure photography and some light painting, he sure seems to have had been on a great ride.
Flash modifier comparisons can be extremely useful things. Without having to get up out of the comfort of our chair, we can very quickly and easily see how different shapes and sizes of modifier affect how light falls on our subject. Here’s one we discovered by photographer Michael Quack and the team at Visual Pursuit comparing a very wide array of Hensel modifiers.
Hensel modifiers aren’t exactly inexpensive, but if you want the best quality, you generally have to pay the highest prices. While you may not be specifically looking at buying Hensel gear, it’s still a useful comparison. With the subject, lights and photographer remaining the same for each shot, you can quickly get a feel for the differences that modifier design can make in your image.
I have the distinct privilege of working with some of the most talented cosplayers on the planet. Several times a year, we assemble a group of these amazingly creative people for a day-long studio shoot for compositing purposes. We meet in studio with a gray seamless backdrop and let the creative juices flow.
I’ve been able to work with a couple awesome Batman cosplayers over the years. One thing that has always frustrated me is capes. No matter how cool they look in real life, they’re difficult to control in a way that gives them that flowing, majestic shape we love in the comics (or the CGI versions we see in the movies). Recently, The RAWexchange came to the rescue with the Fabric collection. Finally! A way to create capes that look like the images I have in my head!
For many photographers, there are shots you see in your head that you one day hope to have the opportunity to create. Those visions can live there for years, just waiting to exist in the real world. For Phillipines based photographer Jiggie Alejandrino, the image above was one such photograph.
When I first saw this photograph, I was immediately drawn in. I wanted to find out more about it, so DIYP got in touch with Jiggie to get some background on the inspiration and how it was made.
I feel that there’s a word missing from our vocabulary, and this essay is the culmination of an effort to find such a word, to define it usefully, and to work through some of what it might mean.
When Nikon put a couple of SB-5000 speedlights on a drone for their launch of the D500, I was pretty impressed. I was also a little jealous. It was something I’d wanted to try myself, but didn’t have access to the kind of drones I’d need to lift them. Now, photographer David Robinson has upped the stakes by strapping an Elinchrom ELB 400 strobe to an octocopter.
Such a rig has the inherent advantage of being far higher than light stands could ever go. It’s probably the most reliable method of trying to simulate bright daylight with hard edged parallel shadows. Being a drone, it also has the advantage of being able to follow a moving subject. In this case, that moving subject is pro mountain biker Matt Jones.