Way back in January, before Covid-19 was part of our lives, (remember that? It was before we knew that furlough was a real word, before we knew what WFH stood for, and before we put anti-bac on everything), I wrote a little blog about what it’s actually like to be a photographer. If you haven’t read it, you can find it here. Lockdown has given me a fair bit of time to think (but surprisingly little time to do – has anyone else found that?!) and following on from that blog, I’ve realised a few things about what takes a family photographer to the next level. They’re things I try and practice myself, or things I admire about photographers that are way further down the road than I am.
Let me ask you a question. Is this photo REAL or FAKE?
This might be a difficult question, because the answer depends on what you define as real or fake.[Read More…]
In case you missed it recently, Google Photos has decided to end their free unlimited photo hosting service. Beginning in June of next year users will be limited to 15GB of space before being asked to pay for more storage. How much you’ll have to pay will depend on how much storage you use. Unfortunately for me, I have more photos than fit their top tier $100/year plan, so even if I wanted to pay I’d be capped out of the service.
Want to create perfectly focused and sharp macro and landscape images?
Here is a step-by-step guide on focus stacking, it will help you create perfectly sharp images.
The steps described in the article will help you to photograph images for focus stacking. It will also help you to apply focus stacking using adobe Photoshop.
So, let’s dive right in.
This is not about a technical perfect wet plate. This is about building connections from thousand miles away. Overcoming obstacles and being there for each other.
This 5-minute exposure captured more than just an image, it’s a short movie where the plate captured our thoughts and movements. Thanks to Shane Balkowitsch to be a part of it.
Photography is close to impossible to do without a camera, so why do so many of us both love and hate the equipment side of things? For me the hate comes down to distraction – and a little bit of the love as well.
I currently have a paired back collection of cameras and lenses – but anytime I dual-wield, or really carry anything other than one camera with one lens, distraction creeps in.
I start to question what I am going to use for the shot, rather than adapting to the situation. I’ll frame with a 50mm, then maybe try a 35mm, maybe even regret not having a 90mm – by the time I have done that, I’ve missed the shot.
I saw a post from a fellow light painter that grabbed my attention. It implanted itself into my brain and I haven’t been able to let go of it. He pondered “We know that by looking at painters brush strokes how they were feeling at a certain time. In light painting, we “paint” with light. I would be curious to see if emotion could be shown in the brush strokes of light painting too.”
My response was that I don’t think you could necessarily capture individual strokes of light and not that much detail from the light itself. But from someone with experience with Light Painting, you can most definitely factor in different variations of speed used and flow for sure, from one’s understanding about light painting just from looking at an image.
What even is a ‘studio shooter’ today? Years ago it was a little easier to define, but due to us having tons of heavy, cumbersome lighting and cameras, we were all pretty grounded in the actual home-base of a studio. Today though, the vast majority of my own jobs are not shot in my own space. I shoot wherever I’m needed and whether that be in a home, an office, hair salon or even another hired studio, I’m always on the move.
The clamps and brackets I’m about to run though in this article are great for all types of studio shooters, and although they will be ideal for those of you who may never shoot outside of your own controlled space, many of these items will be invaluable to those of you, who like me, need to carry, assemble and breakdown their studio setups regularly in a multitude of spaces.
Each print that I create is a composite of hundreds (sometimes thousands) of individual photos digitally stitched together. Using a method of macro photography called “photo stacking” it’s possible to create images with an incredible amount of detail, even when printed at a very large scale.
To show you the amount of work involved—often reaching 10 to 20 hours per image or more—I’ll walk you through my process using a giant stag beetle (Cyclommattus metallifer finae) from Indonesia. It is time-intensive and tedious, but worth it. Let’s get to it.