Here is one thing you don’t want happening to you if you are covering the Hockey Stanley Cup Finals. One of the journalists covering the event dropped his lens onto the ice in the early stage of the game. I mean, forget the fact that this lens can easily cost a grand or two (anyone identifies the lens? hit us in the comments.); forget the fact that you are now one lens short for shooting the game; forget the fact that you placed a foreign object on the ice. Focus on what the poor guy must have felt when he saw his lens used as a puck for a few seconds until the players figured out what’s going on.
Reaching into five counties, and seeing more than 10 million visitors each year, the Peak District offers some of the most amazing views of the English countryside. So, with around 27,000 people a day visiting the area it’s no surprise that some will occasionally become lost.
After wandering from the footpath to explore areas less trodden, the couple who are believed to be in their early 20s, climbed a steep bank near the top of Winnats Pass in Derbyshire.
I know how hard it is to find a good set of backplates for your composites. If you don’t travel the world, your options are kinda limited. Well, we got someone to travel the world for you. And she travels with an 80 mega pixels Mamia Cred medium format camera. Rebecca Bathory travels to exotic locations (and some exotic if you know where to look) location to capture stunning backplates.
Before going into the individual packages, we really wanted to pack those (already awesome) packages with value, so if you get of of the City packages (London aside), you will also get a set movie looks that you can apply to your photos for free. Those looks are actually powerful LUT files to match several very popular film looks (like horror, fantasy, 80’s stock and so on). Those are usually $10 a pack, but if you buy a City Series package we are throwing that in too.
Oh, we are also running a huge 30% discount on all City Series and Looks packages. It’s a rare number, I know, but we think that experimenting with those 80MP rare backplates can really take your work to the next level so we are making it easy to try.
I’d love nothing more than to be able to slap a digital sensor into my old mechanical film bodies and wander off doing some street photography. So, I’m trying really really hard to get excited about this one, but the lessons of the past have taught us to not get our hopes up.
The PSEUDO Film Canister plans to succeed where the previous attempts have failed and finally allow us to shoot digitally with our 35mm film bodies.
Do you like lens flares? And I don’t mean those CGI flares. No sirs! We are talking about real lens flares made with real vintage lenses. Are you sharp enough to match the lens to the flare?
We know that it’s not easy because we made a lens flare package with real lenses and real flares for composites and adding a punch to photos. But even after playing with those lenses for a few days it was not easy to match a flare to a lens.
Hit the jump to test your flare to lens matching powers.
There’s a lot more to shutter speed than simply filling in a part of the exposure triangle. The creative choices when it comes to shutter speed are just as important as the technical.
In this video from PhotoRec TV, Toby Gelston tells us all about shutter speed, the issues that can arise from having one that’s too fast or too slow, how to fix them. He also talks about how we can use shutter speed creatively to give you the images you really want.
Whenever you use the words “concert” and “photography” in the same sentence, emotions often tend to start flying. Whether you’re a professional trying to earn a living, being crippled by ridiculous contracts, or a fan who prefers to view through an LCD rather than with your eyes, there’s always some controversy.
This time, it’s Adele, stopping a concert and calling out a fan for not only filming, but setting up a tripod in order to do it!
As a lot of you may know, I like to use the occasional gel in my shots to add a bit of interest. Sometimes these gels are rich and vibrant colours that drench an image in saturation and other times I just want to add a little something extra colour-wise without overpowering the whole image with a synthesised coloured look.
For a more subtle colour look you’ll want to use tones that our eyes are more accustomed to seeing, for example orange and blue tones are heavily present in our daily visual journeys already. Orange tones are found in sunrises and sunsets and blueish tones are often found in twilight and overcast days. These are what I call ‘natural’ colours compared to the rich pinks and purples or reds, these are great for adding effect but can sometimes overpower an image quite quickly. The ‘natural’ tones that I am referring to are measured in Kelvin and we use this value to adjust the white balance of our shots in our cameras.
So to add a more natural colour effect to your shots what better place to start than by looking at the tones already found in the Kelvin values in your camera via the the white balance. I’m sure we all know we can add a little extra warmth to a shot simply by increasing the Kelvin via the white balance and conversely we can cool down an image be decreasing the Kelvin value.
In an April 2016 interview, Mark Zuckerberg told Buzzfeed News, “I wouldn’t be surprised if you fast-forward five years and most of the content that people see on Facebook and are sharing on a day-to-day basis is video.” Given the proliferation of video features available on millions of smartphones – from image stabilization to incredible 240fps slow mo – it’s no surprise that more and more people and brands are experimenting with moving pictures. Even the venerable portrait is moving away from being strictly medium into something more dynamic.