Nineteen Eighty-Three. That is probably the first time I picked up a camera. I say ‘probably’ because I was born not long before that, and I can only assume that it took me a couple of years before I was able to crawl into my father’s brown and tan camera bag to explore the Canon A1 he purchased the week before I was born. He bought the camera to take photos of me, his first child. For someone who neither makes a living as a photographer nor takes all that many photos these days, I sure did write a lot of books about photography.
The story of the iconic Copa long shot from Goodfellas as told by the man who shot it
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It’s the most iconic scene from what is arguably the most legendary gangster movie of all time. Yes, that’s right, I’m talking about that 1990 classic, Goodfellas. And more specifically, I’m talking about that three minutes and twelve seconds long take where Henry brings Karen into his world. It’s a fantastic piece of storytelling, but it’s not something for which Scorsese alone can really take credit.
The whole process of walking from Henry’s car on the street to sitting in front of the stage three minutes later and how it appeared on screen was largely down to Steadicam operator, Larry McConkey. And not just because he shot it, but because he provided so much creative input into how it was shot and transitioned from place to place. This video from CineFix walks us through the story of its creation, as told by Larry McConkey himself.
Documentary film makers find themselves in unique vantage point to capture erupting volcano
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We’ve been mesmerised for a while now by images and footage of the erupting Fagradalsfjall volcano in Iceland. But just this last week, The Cumbre Volcano in La Palma in the Canary Islands decided to join the action. The documentary video and photography team I Love the World happened to find themselves in the right place at the right time, with drones and a helicopter no less. They have been busy capturing the event and here we can share some impressive examples of what they have been witnessing.
Alfonso Escalero who owns the production company explained to Spanish news channel RTVE that they had been excited to be in La Palma initially to film a documentary about the beauty of the Canary Islands. However, on arrival, they “met hell” with some of the scenes of destruction from the volcano.
Shooting high end food photography on wet plate large format looks amazing
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Everybody knows that I work exclusively on collodion wet plate portraits. So what’s the reason for food photography now? Let me try to explain. Many of you guys will remember that I bought a Cambo studio stand some while ago. A little bit later I bought a used tray for it on eBay. The seller was very friendly and somehow we started to talk about photography
Long story short, a month later we decided to do a project together. After months of planning, Hans Gerlach (a well-known food photographer and columnist) drove over to my studio and brought his tools and some delicious food with him.
This is the most difficult shot in movie history and here’s why it matters
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Movie and shot breakdowns are always a lot of fun to watch. Even breakdowns for bad movies are often quite interesting. That’s the case here, as film boffin Patrick Willems describes in this particular video. It describes a particularly bad movie (The Bonfire of the Vanities) by a particularly good director (Brian De Palma).
It was widely regarded as a pretty bad movie when it was released and it still is today. But there are elements of it that are quite exceptional. Such as one particular shot that De Palma said he’d never include in a movie. And that’s one of a plane landing – to signify that one of the characters has just travelled somewhere.
This crazy light painted silhouette was shot in just a single long exposure
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Sometimes you’re scrolling on social media and an image just makes you stop and go back to have another look. You scratch your head, trying to figure out how they shot it. Must be Photoshop magic you think. You read the caption “taken in one exposure” and think ‘wait, what?’ That’s exactly what happened when we saw this incredible image titled WAKE UP by a group of light painting photographers who call themselves Sketchlight.
French astronaut captures stunning images of Southern Lights from the International Space Station
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Usually, when it comes to bright lights in the night sky, all we hear about from photographers is “Aurora Borealis!”, also known as the Northern Lights. But there are also the Southern Lights, which goes by the name Aurora Australis. They’re much less photographed because most photographers live in the northern hemisphere and they’re generally much easier to see. But from the ISS, there are great views of both.
French astronaut and aerospace engineer Thomas Pesquet managed to grab these images from aboard the International Space Station that shows a breathtaking sight. And it seems to be a somewhat rare event that shows the normally green Southern Lights with red & purple fringes turn more towards blue.
How to shoot stylized beauty portraits with just one light and a reflector
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Keeping the amount of kit you use at a low level can sometimes be down to simply a lack of availability. But it could also be that you’re simply limited in what you’re able to carry with you to shoot at a client’s location. Or, maybe you just want to bring things right back down to the bare minimum to really understand light and how your gear works.
Whatever the reason, Lindsay Adler is here to help. Using just a single strobe with a big softbox and a big reflector (in this case, a white v-flat) she creates a very effective and dramatic portrait. That’s the key word here, though. Big. Big light sources produce beautiful light for portraits as Lindsay demonstrates in this shot breakdown.
This landscape photography shootout sees 24mm and 200mm lenses go head-to-head
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We often see lenses described as being for a particular type of photography. Anything in the 50-135mm range is for portraits, anything 150 and up is for wildlife or sports and anything 28mm or less is generally regarded as a “landscape lens”. Wide angle lenses just typically seem to be designated to that genre.
It’s all nonsense, of course, you can shoot whatever you want with whatever focal length you like. And that’s put to the test in this landscape photography challenge between landscape photographers Nigel Danson and James Popsys. One is only allowed to shoot with a 24mm while the other has to shoot 200mm.
Striking photo series of cricket hunt in Uganda wins 2021 Fritz Pölking Prize
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Fritz Pölking Prize is a special prize of the European Wildlife Photographer of the Year, awarded annually for extraordinary work in the field of wildlife photography. Its 2021 winners have just been announced, and the first prize was awarded to Jasper Doest from the Netherlands. His photo series Nsenene shows cricket hunt in Uganda, and it’s a series of photos that are as striking as the story they tell.
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