Last year my friend Marsha invited me to this crazy Victorian mansion along with a small handful of awesome photographers and models to hang out and make some art … Obviously I said, “heck yesss.” The house was a gold mine of strange colorful rooms full of interesting wall paper, decorative trimmings, and some gorgeous natural light.
It’s amazing how many people never look up. The skies can be many things to a photographer – a backdrop, a light source, a diffuser. Sometimes just a nice source of teal for your orange foreground. When you decide to use the skies for your subject, especially the night skies, the very first thing you are going to notice is the moon.
There are some very beautiful objects in the night sky, and the thrill of using the camera to see what your eyes can’t see is enormously rewarding. The trouble is that the stars, planets and nebulae that fill the night sky are very dim and very, very far away.
If, like me, you want to get great looking photos of the night sky, but can’t afford the gear required to capture some of the deep sky objects, you’re left with night landscapes, and the moon. So here’s some tips for shooting the moon. [Read more…]
One of the highlights of my Sunday is reading Jay Rayner’s restaurant review in The Observer. I have to say that the photography that illustrates the articles isn’t always fantastic, but that’s not what I’m interested in. In fact, I barely look at it. But Sunday 6 November’s review of Jaya in Llandudno, the photography generated quite a few reader comments. You see, the restaurant was outstanding, but because most of the food was brown, the photos didn’t do it any favours what so ever.
Brown food is notoriously difficult to photograph. It’s dull and comes across as unappetising. Consequently, many people recommend avoiding taking pictures of it at all. But, brown food is a reality and that means there will need to be photos of it. The good news is that all is not lost. It can be done, and done well.
The secret to photographing brown foods is very much in the styling. Yes, there are some photographic tips to be implemented, too, but before you get to your light and your lenses, it’s all about how the food is presented.
It began in October, the numbness. The sick feeling and lack of appreciation for my photography. For all photography. I couldn’t stand looking at my social media threads. If I saw one more photograph of a pretty girl, in a fluffy dress, standing in an abandoned house, I was going to vomit. Nothing I made was right, or alive. My work felt like a boring rerun.
I was in a rut. Unfinished projects were going to stay unfinished. Unreliable models had made me question the worth of my ideas. And then my mom came to visit.
We went for a walk in the forest. She showed me what you can find in deep, dark, self-loathing rut. Fungus! Beautiful, ugly, tiny, slimy, spongy, fungus. She stopped every few feet to photograph a new one and I thought okay let me try. Click.
The total excitement I experienced photographing fungus in the woods with my mom was so unexpected and so very needed. I found a palate cleanser. Dust off those fluffy dresses, sorry if I was harsh earlier. I feel better again.
Happy creating you crazy animals.
I recently got my hands on a Light blaster. The Light Blaster Is a strobe-based image projector. Basically it’s a slide projector. You can select and project still images onto any physical space. They claim “unlimited possibilities for creative freedom“, so I thought I’d take it for a spin. It is seriously one cool piece of kit to experiment with. I mostly do cinematic portraits and it fits very well with my kit. Keep reading to watch a speed edit of the Photoshop editing process.
Hi photo lovers, In the past two months, I’ve been doing a market research for my project, Photolemur. I looked for different tools in the area of photo enhancement and photo editing. I spent quite a lot of time on research and gathered quite a lot of feedback from the community on my initial findings.
I decided to share my huge list of photography tools and apps with the hopes that all these services might be useful for anyone involved with photography. Let me just put this here….
I think in street photography, there are many different “sub-genres.” For example, you have the traditional candid street photography, you have “street portraits” (taking photos of strangers, primarily of their faces), you have photos of urban landscapes, and of just random stuff you might find on the streets.
Candid street photography is one of the trickiest. You need to be fast, you don’t want to disturb the scene, and you want to have courage. Here are some candid techniques, insights, and tips which I hope will help you:
Here is a fun little trick that photographer Andrew Tihi (facebook) sent us. If you are looking for a pure white backdrop, why not walk down the street till you stumble upon a bus stop. The light coming from the illuminated sign is (almost) perfect for a quick portrait.
The secret is over exposing the sign, until it turns 100% white. In this case it was [email protected]/4 and 1/50.
A good silhouette can be an amazing picture. Without seeing any actual real detail of our subject other than the outline, they can suggest all kinds of mood and emotion in an image. Silhouettes can be both scary and romantic depending on the form of the figure, or figures. They can tell a story, simply by the environment behind them. They can also tell us a lot about the person, beyond what they look like.
One generally hears “how do I shoot a silhouette?” far more often than actually seeing good silhouettes, though. I’ve lost track of the number of times I’ve heard the question asked. But, they’re actually really easy to do. In this video from The Slanted Lens, Jay P Morgan walks us through the process of creating a silhouettes.
Using flash on location is one of the best things you can to really push your outdoor portraits. Often, the natural light might give you exactly what you want, but often it does not. The sun might be in slightly the wrong position to give you the background you want. Or a lack of cloud cover might make it not as soft as you’d like. Too much cloud cover could make it too soft. And sometimes, you just want to get creative.
This video from Mark Cleghorn for Elinchrom shows us several ways to utilise flash on location. There’s a lot of information packed into this 4 minute video. It’s a lot like working with flash in the studio, except you have to take the ambient light into account, too. You may want to use it as a gentle fill, or you may want to try to overpower it completely. But without flash, your options are often limited.