So first a little bit about myself. I mean who would take advice from some random stranger on the internets. I am Dan Stein, I have been taking pics of the stars for over 8 years meow, and I love talking about astrophotography and helping others when it comes to their own star shots. I took my first nightscape back in college, and now I travel and take pics away from light pollution in my free time. This is my first time posting a guide here, so I hope you all enjoy!
Here comes a quick, easy tip on something you can try in your kitchen with a macro lens.
Yesterday as I was doing the dishes, the water stream hit an egg cup and bounced up in a concentrated jet, splashing water up all over me. We have all been there, and we all hate when it happens. But this time, the macro photography lover in me noticed that the structure of the jet that splashed up from the egg cup actually looked pretty interesting!
The Path Blur has been around in Photoshop for a few years now, but it’s not a commonly used or really understood tool. Something that is pretty common, though, at least as far as photography’s concerned, are long exposures. But it’s not always possible to get a long exposure of a scene we really want to.
In this video, Julieanne Kost from Adobe’s official Photoshop Channel shows us how the Path Blur works and how we can use it to simulate a long exposure shot from a regular static still image, for those times when we’re not able to shoot it for real in-camera.
I’ve spent most of my career working as a photojournalist and director of photography, and I’m happy to have recently started working with Wonderful Machine as a freelance photo editor and creative consultant.
As a photographer, I work from my home base in Istanbul, completing assignments for places like The New York Times. But, just like everywhere else, COVID-19 has put a damper on normal human interactions in Turkey. So, when a photo editor at The New York Times gave me the option of shooting an assignment remotely, I was intrigued. In addition to health concerns, the three subjects I needed to photograph were worried about having their location disclosed for security reasons. And though it might have been possible for me to get to them, I had never tried a remote photoshoot; with all of us looking to minimize travel, I wanted to give it a go.
I thought this was quite an interesting video. It’s an interesting take on how we light for different subject matter. It isn’t saying that one method of lighting is necessarily better or worse than the other, just that the goals of the shoot are very different, the final use for the footage is also very different and so the lighting needs to be different.
In this video, filmmaker Tyler Stalman shows us how we can light both ways using the same equipment. But as well as simply showing us, he also goes into the why of how we light these two things differently and the motivation behind it.
There are certain techniques that ubiquitous to commercials we often see on TV. But achieving some of them can be quite tricky and/or expensive to achieve. They often utilise difficult-to-master techniques or require expensive equipment like motorised camera sliders.
Well, in this video, commercial filmmaker Joris Hermans blasts through five camera and gear tricks that he uses on actual shoots. Tricks that let us get some of those shots without requiring any extra gear. Well, maybe just a little cardboard and some gaffer tape.
OK, I lied. These posing tips are relevant for posing models as well.
When you shoot “ordinary people,” they are not always aware what which post highlights their best features—things like the shape of the face, long noses, big ears, and so on. Experienced models will usually know how to pose to look at their best, but for the rest of us, here we go.
Photographer Jerry Ghionis shares a few posing tips for shooting people, focusing on non-models. Of course, we can always go into photoshop and liquify our models to perfection, but Jerry shares how to make people look goon in-camera.
Regardless of what you think b-roll is or how you might use it in your productions, b-roll has become a hot topic lately. It’s something that just about anybody who shoots video needs to incorporate if they want their work to stand out. And while exactly what b-roll is and how it should be used are discussions for another day, how you shoot it is relevant to all potential definitions.
It’s easy to get lazy with b-roll, especially if you just see it as a way to break up boring monotonous shots or a transition between sequences. But even then, it needs to tell a story or expand on what we’re hearing and seeing in other shots. And it’s easy to shoot it badly. In this video, filmmaker Thomas Alex Norman shows us how we can adjust our shooting techniques to make the best b-roll we can.
Matt Klowskowski has been a staple in the Lightroom and Photoshop worlds for years. He’s written over 20 books on the subject, was inducted into the Photoshop Hall of Fame (yup, apparently that’s a thing) and is an instructor at KelbyOne. Well, Matt also posts to Youtube. And in this video, he’s bringing us five Lightroom Classic tips that we (probably) didn’t know.
Unlike a lot of videos that just rattle off a bunch of tips without context, Matt actually takes the time to show some quick practical examples for each of these tips and why you might want to use them. He demonstrates how they can help you with your process and workflow to get better results.
I’ve been into creative and artistic hobbies ever since I can remember. About a year ago I started embroidery just out of curiosity – and I got completely hooked! Since I’ve been into photography for ages, bringing embroidery and photography together was only a matter of time. And it happened – I learned how to transfer my photos onto canvas and pimp them up with thread.
In this article, I’ll show you the interesting look of embroidered photos. I’ll teach you how to do everything, from preparing the image to decorating it. I’ll present you with only one of the techniques for transferring your photos to fabric, and more is yet to come. But today, let’s start with the one I learned first.