The Canon EOS R was cause for some internal controversy here at Kolari Vision. After all, we’re in the middle of The Great Mirrorless Camera War. Tensions are bound to rise, turning brother against brother, camera tech against camera tech, and photographer against photographer. Despite this, I will do my best to describe the form factor and internal construction of the EOS R in a fair and unbiased manner.
When Conny told me about the brand new Retouching Toolkit 3.0, it almost felt too good to be true. Can you imagine having a more modular version of Photoshop? I wish it was like this out of the box. Since it isn’t, Conny had to go and make it and thank goodness he did.
It’s a software that allows you to make your own modular panels so that they can be used in Photoshop! It allows you to modify and combine your favorite actions, scripts, PS tools, shortcuts, and menu options in any way that is best for your own workflow. It’s future proof as it will begin to include future modules, updates, and it already has the ability to save and share setups from other users. So now you can combine different tools for different jobs in the most concise way possible. That is the premise of the new Retouching Toolkit.
Well executed travel photography can definitely be exhilarating, but it is not as leisurely as most people imagine. Here are some suggestions that should help maximize results.
First and foremost is research; do plenty of it beforehand. Trying to find that little-known road or hike while already on location will cut into valuable shooting time. Lack of research will also increase the chances of one just driving by a turnoff that could have yielded amazing vistas.
With image making tech advancing rapidly and high-res devices becoming increasingly affordable, the distinguishing features between amateur and professional photography are not always easy to discern. However, one element which I found that distinguishes the two is what I have come to refer to as VC. It is the stand out feature between the raws coming out of the image making devices of a pro and an amateur, even if both use the the exact same gear.
Taking portraits in bright sunlight has been a bit of a no-no for a long time but the truth is that you can actually get stunning results if you use a fill flash. The results look awesome and give a high-end feel to any outdoor portrait and the best thing is that it’s really not too difficult. You just need to understand how to use a fill flash.
I have no idea where I first heard this, but it’s extremely true: “the main difference between painting and photography is that the painters need to work hard to put things into their images, whereas photographers have to work hard to take things out of their images.” Painters start with a blank canvas, and every single thing that ends up in the final piece of art is a result of careful craftsmanship, years of hard-earned skill, and raw intention. The photographer’s canvas, on the other hand, is all of the world’s visual chaos, and he or she must deploy an equivalent amount of craftsmanship, skill, and intention to weed out all the fluff.
Before shooting this series, I saw a documentary about how different groceries are made. Big factories with endless assembly lines and hundreds of machines handling the products from start to end. It was quite interesting to watch how the products change their appearance completely from start to finish. An idea was born to create alternative ways of making these same groceries. And when you add just a drop of humanity to it, I think that’s a story.
Groceries are food (really??). They have no persona (you sure??). How do you create a story around them that creates a character to these lifeless pieces of healthy little things? These were thoughts in my head when I opened my refrigerator when brainstorming themes for my upcoming project… so I picked corns, cucumbers, tomatoes etc. and started sketching.
Like most photographers who have been working for many years, I have my favorite, go-to lights. These include the Broncolor Para 88, 133, and 222; the Broncolor ‘pre-2006 style’ Flooters; the Elinchrom Zoom Spots; and Elinchrom Litemotiv Indirect.
I have adapted all of these modifiers within the last year to fit the Flashpoint 1200H remote heads, as well as the 600Pro (AKA Godox AD600 Pro) and 600H Pro, as I prefer these mobile, lightweight, HSS capable flashes for the flexibility they provide over any other current brands or models.
As a landscape photographer, I travel a fair amount. As a human being, I travel quite a bit. Travel is a passion in my family. Whenever we get the opportunity, we love to visit new places or revisit old ones. Family vacations aren’t photo trips though. Sure, photos are taken – lots of them. However, these photos are mainly to capture the memories of our travels. And rightfully so. Family trips are first and foremost to spend time together, relax, and experience new places together.
I have to keep my inner photographer in check. Many times we are visiting beautiful places with iconic shots.
Over many trips and travels, I’ve found a pretty good balance that allows me to capture photos without annoying the heck out of the non-photographers in my family (which is pretty much everyone else!).
If I look back at how I learned to take pictures, the path isn’t straight at all. But this isn’t necessarily just because I took wrong turns (yes including selective colour, and cheap tripod). It’s also down to my goals changing. Constantly. One of the things that has changed significantly over the years are my goals for light.
I remember when I first saw someone take pictures of a model, he was using a big soft-box and was really impressed by the technical quality of the result – pin sharp due to a very small aperture, which in turn was made possible by tonnes of light. The light was also big so the result was perfectly even but directional light with soft shadow transitions.