Normally, Glyn Dewis is behind a computer, showing us photographers how to get the job done. However, for one of his latest video, he puts himself behind the camera, where he shows us one of the most common lighting techniques out there – Rembrandt lighting. [Read more…]
If you are doing projects that require traveling with gear, props or costumes you know that a major risk is getting your gear inspected and messed up by the TSA. Especially the gear that goes in the belly of the plane, where you can’t explain first handed what it is.
Most “regular” bag content can take a bit of rough search, what’s the worst that can happen? A wrinkled Hawaiian t-shirt? Delicate gear and costumes, however, deserve a more delicate treatment. Kat Gray of Valkyrie Studios shared a very insightful tip on how to let the TSA know that they should be careful. Kat places a note telling the TSA what are the weird things in the bag and how they should be treated. She is also very precise when describing the box content, and highlighting the fact that it took a lot of work to create the things inside the box. All that while showing nothing but respect to the TSA team doing their jobs.
Taking a time-lapse is a complex task. Unlike a photo, which you can chimp and (usually) retake, retaking a time-lapse is not as trivial. This is why understanding how time-lapses work and how to take them is crucial before going out on the field.
This tutorial by Mark Gee (previously) is a full crash course on time-lapses taking you from planning through setting up, doing the actual capture, post processing and exporting. Mark is using Photopills for planning and a Syrp Ginie + Magic Carpet for moving the camera, but the principles apply to time-lapses taken using any gear. Hit the jump for a full video and clickable TOC.
This article will take you through a journey to the perfect tethering solution. It is a curvy path, but the end is very fine tuned.
Before we even start, I would like to stress out three things:
- The camera screen is scrap
- Memory cards are prone to errors
- This article only contains information, no colorful photos
So, you want to connect the camera to a computer and view the photos directly on a (hopefully calibrated) screen. This is called tethering or tethered shooting.
Portrait photography is a lie. At best you could call it partial truth.
It’s all about showing what we want to show in a person and hiding what we don’t.
So do I think this is a bad thing? Not at all, which is why I’m sharing with you Peter Hurley’s latest tutorial video on how to get your female models looking slimmer and the men jacked.
Not only will you get better looking portraits, but if you take this advise literally you will also have a giant sandwich to eat after the shoot.
Taking portraits is something I really love. When there is a model available, you get a lot of freedom regarding the pose, expressions and styling. However, during my travels when I want to portray people in their authentic environment, I usually don’t get to choose a model, because it is about the people who are really living there.
Often I find it fairly difficult when I am somewhere for a few days to make a connection with the local people and portray them in a way that I want. I am sure there are more people that think the same way and are having troubles with approaching people and getting the most out of these situations. Of course you can take photos in a street photography kind of way and capture the moments just as they happen, which I love to do as well. Besides that, I really like it to have some kind of influence on the shot and the pose. This is the reason for me to challenge myself and go on a 4 days trip to Morocco.
How do you go about shooting a portrait of a woman trapped in ice? Of course I could not actually sink a model under a frozen lake, so we took a short cut. I shot my model in a kiddie pool and applied an ice texture from the Image Manipulation Store. Hit the jump to see the full tutorial.
Being a pretty diverse tool, Photoshop suggests many ways to accomplish each task. And each has its pros and cons. One of the more powerful tools in photoshop is masks. It is probably also one of the more complex tools. We are going to tackle making today, and hopefully making them a bit less complex.
As a professional photographer, Tim Kemple believes it’s his job to capture situations and perspectives that few people would ever see, let alone be able to capture themselves. “In my mind, the best photographs happen in environments and locations where other people would normally want to be inside by a fireplace, or in a warm bed,” says Tim, who recently traveled with SmugMug to Iceland to explore the ice-climbing opportunities on, and inside, Europe’s biggest glacier. “Shooting outside in the cold is a perfect opportunity to capture a time and place that a lot of people aren’t comfortable in.”
As a long time reader of the blog, you probably already know that not all LED are made equal. One of the prime parameter indicating the quality of light that an LED panel gives out is its CRI (Color Rendering Index) rating. The higher the CRI, the more colors that light is able to render, giving a more precise image for the camera to capture.
If you heard about the green tint or the purple hue LED horror stories, those are both a result (or the cause) for a low CRI rating.
The folks at Videomaker put a colorful object under 4 types of light: tungsten (very close to CRI of 100), and three LED lights: a 77 CRI light, a 99 CRI light and a light with a unknown CRI (which probably means very low) and compared the results.