I was walking around the mall the other day and I saw the das made for Adidas, they totally blew my mind and I really wanted to try and figure out how they were made. In this tutorial I am going to take you through the process it takes to create a similar effect.
Before I started working with speedlights the first ever off-camera lighting equipment I used was a desk lamp, this was 7 years ago. So, after 7 years into photography I wanted to challenge myself to shooting portraits using nothing but desk lamps again. Here is a DIY dramatic lighting tutorial using lamps.
Cosmetic products are some of the hardest things to photograph. The combination of reflective, translucent, opaque and shiny surfaces makes it an absolute nightmare. Below you will find my quick and dirty method for dealing with those hard to shoot subjects.
Defining the problem: While shooting a portrait outdoors, I usually add a fill flash to eliminate any “racoon eyes” and dark shadows on the face. The fill flash is set set at 1.7 stops under exposed for a light touch. My setup is a Nikon D600 with Nikon SB700 flash (mounted on the camera’s hotshoe) using TTL metering at -1.7 EV. In the example the lighting on the face is good (soft & directional) but you can see a hard shadow on the right side of the subject.
We have options…
There are a few options available, and in this test case I wanted to compare them
You’ve probably heard you need to have good light for portraits. Okay great, but what does that mean exactly, and how do you find that elusive good light? In this article you’ll get some tips on how to recognize different kinds of light, and make choices based on the look you want for the final portrait. You’ll also learn about open shade, quality of light, direction of light and how to bring it all together so that you can work faster, smarter, and with less gear. Let’s begin!
It has been a year since I started writing for DIYP and it has been a wonderful experience sharing works and tutorials to the world, including getting to read comments (and the occasional troll which gives me a laugh from time to time) and for this one year anniversary post, I want to run down and make one blog about my personal and favorite tutorials.
Last week, I wrote an article about shooting a watch using only one light, and I promised to write a Part 2 of this series on how to shoot a watch using more Photoshop work. So, I was in my studio preparing to do the 2nd part of the article and I brought my iPad for pegs and music. I was getting ready to shoot but something crazy hit me, what if I shot the watch using only my iPad (like I did a year ago for other products), could be something, right?
So, here is a step by step and behind the scenes tutorial on how to photograph a watch using your iPad. So instead of 2 Parts of my How to shoot a watch, it will be a 3 Parts Series.
I did a shoot recently with a big BMW using only one speed light and I wanted to share how I made it happen. The idea is, of course to learn something new, but also to show that having little gear should not stop you from pushing yourself. Sadly I cannot use the bike photo, but I reproduced the process using a
trusted unique Kymco Like, it’s not a BMW but it will do. My original plan was to use a full blown studio setup: monoblocks, softboxes and umbrellas as diffusers for the shot. But as I was setting up I thought of a crazy idea: Light is light, so why don’t I just add the light from multiple exposures and shoot it with one small speedlight. So here is a step by step tutorial and video on how we did it.
The location for this light painting shoot is one of the most famous tourist spots in Kyoto, the Fushimi Inari Shrine. It is famous for its endless red gates, that look like tunnel! I’ve been there so many times, and always wanted to do something with this wonderful location, but this was the first time to actually take some photos!.
Getting a good corporate photos has a lot to do with lighting. What should not come as a surprise if the fact that it also has a lot to with human interaction.
J.P. Morgan and the slanted lens crew walk through the ropes of a recent corporate shoot they did, and while they do talk about lighting (as always) I love the fact that they are investing a bit more time on this video about prep-work and talent direction.
The big take for me was not the lighting setup. It was the how to make sure the talent looks good and feels good, which definitely shows on the final image. (Yes, you will need to bring a steamer).
[One Light Corporate Image | The Slanted Lens]