When photographing toys, we often want to make them look as if they’re doing something. We want to shoot some kind of action to create a dynamic, interesting scene. But how do we do it with objects that, in reality, just stand there and not move? Four Bricks Tall will teach you how. In this video, you’ll learn how to add a sense of movement to your figurines and do it all in-camera without any special effects.
Hi, this is Jay P. Morgan. Today on The Slanted Lens I’m back out here where we photographed last week. We photographed this little pizza cart called Dracari’s Pizza. It’s a great little cart with neon lights on it. I’ve been shooting food trucks for the last little while and have really enjoyed it. I still have the Hasselblad X-1 D. So I was not happy with the image I got here last week, it looks strobe-lit. The lighting was not integrated with the scene. And I felt like it kind of missed it. So tonight, I’m going to take that same image.
The multiple versions of Lightroom have been around for a while now, but the difference between Lightroom and Lightroom Classic and which offers the best workflow still confuses some people. Both serve a different purpose and a different type of user and workflow.
In this video, Pye Jirsa walks us through his workflow using both applications so that we can see how they differ and the benefits that each offers over the other. What may as come as a surprise to some people is that the two apps are not mutually exclusive, either. It’s entirely possible (and maybe beneficial) to use both in your post-processing workflow.
Video sequences with a camera seeming to fly through tiny spaces isn’t a new idea. Certainly not when Laowa’s been using them to market its 24mm f/14 probe lens for the last several years. But do you really need to buy a $1,500 lens to get this type of shot? Well, it turns out that no, you don’t, not if you can shrink the camera itself down to the size you need, as Luke Edwin proves in this video.
Luke takes the recently released Insta360 GO 2 (review here) and attaches it to a 10ft long selfie stick, making a form of DIY slider, powered by a cordless drill (don’t worry, it all makes sense when you watch the video). The whole setup works simply because of the GO 2’s tiny size and the fact that it contains the same image sensor found in many flagship action cameras.
There are two different types of snoot out there when it comes to flashes. You’ve got your regular snoots, which essentially act like a cylindrical flag around your light that blocks off any light not travelling directly ahead. Then you’ve got optical snoots, which incorporate some kind of lens, letting you project the light.
In this video, photographer David Bergman shows off how both types of snoot work but with the main focus being on optical snoots, using the Light Blaster – a popular optical snoot designed primarily for speedlights but that can also be adapted to studio strobes.
What’s your preferred method for editing colors in Lightroom? Do you use the Calibration panel sitting at the bottom of the Develop module? I usually play around with HSL sliders, and I don’t think I’ve ever used Calibration. If you’re anything like me, you’ll want to watch this video. Mango Street’s Daniel Inskeep tells you about this powerful tool and gives you some examples of just how much you can achieve with it.
Aside from trying to stay on the bleeding edge of gaming, one thing that’s sure to chew up every resource your PC has to offer, it’s video editing. And anybody who’s used Premiere Pro for video editing has been there at some point where it just refuses to give you the performance that you need.
Well, in this video, Olufemii shows us one hundred ways to speed up Adobe Premiere Pro to make our editing workflow go more smoothly. These tips are primarily geared towards Windows users, although some of them will be useful for Mac users, too.
Studio lighting gives you almost endless possibilities. You can even recreate natural, window light with a pretty simple setup. Joanie Simon of The Bite Shot shares with you how to create a studio lighting setup that mimics window lighting, and it’s perfect for still life and food photography.
Yes, you own the actual copyright to your work when you create it, but you do not have the full protection of the law unless you register it. That one little [online form] from the copyright office will change your life.
I’d argue that nearly all of us owned a speedlight at some point before we owned a studio strobe. When we’re looking to dip our toes into supplemental lighting, strobes seem like a big investment. It just makes sense to pick up a cheap speedlight to play with right?
Like many others, I did the same thing. I bought a cheap speedlight (that was ultimately pretty crappy), then I got a proper one, but I was still unhappy, whereupon I quickly bought a strobe. I immediately wished I’d done it sooner. Here’s why.