It’s a story as old as time itself. Client orders prints. Client picks up prints. Client wants to know why the 5×7 doesn’t look like the 8×12 or why the 8×12 doesn’t look like the 11×14. I can even see it coming, as they look back and forth from one to the other, as if the sheer force of will can make the two match up exactly. When supernatural forces don’t resolve the problem for them, they all ask some variation of the same question– “Why are they cropped differently?” And thus begins yet another explanation of aspect ratio. Forget that we had this conversation when they ordered their prints. Forget that I pulled out a set of sample photos I keep on hand for just such a conversation. Forget that I showed them with these very same photos on the monitor when they ordered. Forget everything that happened before the moment they laid eyes on their own prints for the first time. All they know is that the different sizes don’t match up exactly and they want to know why.
I had been fiddling with creating these 2.5D parallax animated photos for quite a few years now, but there had recently been a neat post by Joe Fellows that brought it into the light again.
The reason I had originally played with the idea is part of a long, sad story involving my wedding and an out-of-focus camcorder that resulted in my not having any usable video of my wedding (in 2008). I did have all of the photographs, though. So as a present to my wife, I was going to re-create the wedding with these animated photos (I’m 99% sure she doesn’t ever read my blog – so if anyone knows her don’t say anything! I can still make it a surprise!). [Read more...]
Hi, Ilko Allexandroff here, in this post I’m happy to share the behind the scenes for one of my favorite shoots that was shot in the rain. Conditions were far from trivial and I’ll share some of my secrets as well as information about my location choice, lighting and how I usually shoot in rain. [Read more...]
Looking on the back of the camera to see if you got a shot properly exposed can be misleading. The LCD may not be calibrated showing a too dark or a too light image. Or the sun hitting the LCD can be laying tricks on you.
Yet there is a tool, that is often ignored that can give you a very quick and good indication if you exposed correctly – The Histogram.
In a nut shell, the histogram is a graph that show how many pixels of each brightness level are present in a frame. John Greengo of CreativeLive give a full back to basics course on photography, in this installation he discusses the Histogram in very easy to understand manner.
Generally, John mentions that you would want a histogram that looks like a mountain with a strong peak in the middle and a slope that goes out to either end. While specific captures may be unique, (such a capturing snow, or night shots), a strong peak on the right may indicate an over exposed image, while a strong peak on the left may indicate an under exposed image.
It is no secret that we love reflectors here on DIYP, and we’ve shared quite a few reflector tips before. This one from The Slanted Lens is kinda different though, as it does not show you how to actually use a reflector but it shows you what to do when there is no line of sight between the light source and the reflector.
Sometimes, the set dictates that light should be reflected from a certain location,. Mostly when you are using the sun light to light interior locations, like when you are deciphering hieroglyphs in a pyramid. But if that location has no light, you need to figure out a way to get light into there. This is where double reflection comes in.
The solution that TSL suggests is quite simple – Double Reflect. Set a soft reflector where you want the light on the subject to be coming from, then set a second, hard reflector, where the sun is. Use the hard reflector as the light source and use the soft reflector as, well…, a reflector.
While Double Reflection does require two reflectors, as the name suggests, it is a great way to get natural light to places that are hard to reach. And while JP uses high production bug reflectors, even a set of two small 5in1 reflectors @$20 each can do the job.
[Using Double Reflectors to Light a Cave | The Slanted Lens]
I’ve been spending a lot of my time lately on portraits, food, and event photography, so I got pretty excited recently when testing a new camera bag forced me to lace up the boots and hit the trails. The new Loka UL from F-stop Gear is a pretty awesome bag, but this article isn’t really about the bag. It’s about the overall nature photography experience. It’s one thing to be the master of your surroundings in the studio, but it’s quite another when your photographic adventure takes you off the beaten path into the trails, woods, mountains, or waters of Mother Nature’s studio. Being a responsible photographer on those journeys is about so much more than just getting The Shot. While I believe we all have a responsibility to our art, we can’t let ourselves lose sight of our responsibility to the environment and the world around us. [Read more...]
There’s resources available online that can teach you almost anything you want to know. It’s funny how at this point in time, we can learn almost everything college has to offer; unfortunately, the only thing we can’t get is an actual degree. But either way, for those of us who are always hungry to acquire a new skill, there’s always a way to do so. For those of you that are filmmakers and videographers, here’s a video that introduces you to the basics of cinematography within the span of about forty minutes.
There are so much possibilities when mixing flash and light painting together, and so many great photographers out there that have done amazing things with this technique, so here is a basic photography tutorial on how to mix flash and light painting in one exposure.
It was a very exciting competition, and a lot of fun to photograph some of the worlds top sport climbers.
In this article, I will explain my strobe lighting setup for photographing the action, and my remote camera setup as well.
Out of everything I’ve got on my camera’s bucket list, the night sky is what’s always intimidated me the most. I look at so many amazing photos of the Milky Way, or of billions of stars with absolutely no light pollution at all, and I find myself saying it’d be impossible for me to take something like that. If you’ve ever considered trying to get into night photography, you know how overwhelming it can feel at first. Mark Gee will be the first person out of any to tell you that going into it will require some serious patience. But like anything, if you put in the right amount of effort with the right amount of heart, that patience will ultimately pay off. To help out on getting started with astrophotography, Mark Gee wrote a tutorial that goes over almost everything we need to know.