Lighting is often a serious point of conversation; soft, hard, broad, short, high and low key etc… it can really go on extensively, so when I saw this photograph by Alexandre Watanabe I just had to get in touch to see how he did it! I mean, its just an egg, right? Yet Alexandre lit it in two very opposing ways, and did each one perfectly. Understanding both lighting setups, one of which the elusive dark field setup will probably add Lighting-skills+12 to my score.
As someone who shoots on location a lot I’m often given a choice on what I like to call “popping” or “blending” a subject into a scene, in short this really as as simple as using your main light source to either complement the direction of a natural / embedded light source in a scene (a candle, window, lights etc) or contrasting it completely so that the subject “pops” out and suspends the belief that they are illuminated within the scene naturally.
Here’s what I mean:
If Shakespeare were a photographer today, he’d have lost so many jobs to his “To tone or not to tone” predicament that in comparison you’d probably be able to catch more snowflakes in your mouth during a 20 second freak blizzard than he would have landed paid work.
Today I’m here with a video for you on that age old subject of “Colour Toning” and with a method I think most of you may find not only easy, but incredibly powerful. No, it doesn’t use curves, or levels, though it does include a lot of awesome.
Let’s crack on!
After three years with my current camera setup, I know every nook and cranny of my DSLR and accompanying lenses. Despite this, there has always been one component that took longer than I care to admit to properly understand. The diopter.
Some people prefer to use continuous light and some prefer strobes, but if you combine the two you get a certain kind of magic. The continuous light gives you the smearing effect you would get from dragging the shutter, while the strobe will freeze the action. Photographer Erik Christian used that fact to create compelling portraits for a local newspaper annual basketball all-stars piece.
I was recently at an interactive installation that had three theater lights – red green and blue shining on a white wall.
The kids were fascinated by this – especially with how the colors mixed and how they could make different colors by casting shadows on the wall.
This is a human scale representation of the red-green-blue (RGB) additive color model (the electronic screen you are looking at right now uses the exact same method to reproduce every color you’re looking at).
It also reminded me of some of the really cool applications to use photography gels to have fun with color.
You’re hitting the road and your camera is at the top of the old checklist. Your goal is to make photographs that will be memorable and bring back the feelings of being there. So how can you do that? Of course you’ll need a good photo of the Eiffel Tower or Taj Mahal. But photos of cityscapes and monuments only tell part of the story. To capture the essence of a place, you need to capture the element that makes it most unique: the people.
The idea of going to a foreign country and taking photos of strangers might at first seem daunting, difficult and frightening. It’s not. Trust me, if I can do it, you can too. To get you started in the right direction, I’d like to share some of the techniques I’ve learned while globetrotting with my camera.
Creating realistic photo composites or photo manipulation isn’t as hard as it looks. The steps you have to take to create a good composite are actually all pretty logical. I will try to explain the steps and common mistakes many people make in the following article.