Light is something that all photographers and filmmakers need to master if they want to become good at their craft. The problem is, our eyes don’t see light the same way that our cameras do. Infrared is outside of the human spectrum of vision, but it’s not necessarily outside of your camera’s, and it can cause all kinds of problems with the colour of your footage.
Search Results for: natural light
Light – the most important thing in photography. Without it, we have nothing but darkness. Some of us like to capture and bend the natural light to our needs. While others love to craft a scene with artificial lights.
If you love adding in your own light then its a nice time to be a photographer. Lights are getting smaller, more complex and often include their own power. Freeing us from wires and bringing more creative freedom.
My second RGB capable LED was the INSSTRO C1, and this is what I’ll talk about today.
If you’re new to portrait photography, basic lighting patterns are a very useful thing to master. But if you want to use them efficiently, it’s not just about knowing how to create them, but also why. In this video from Adorama, Pye Jirsa explains primary key light patterns: how to create them, but also the purpose behind each of them. They work for studio light as well as natural light, so I believe many of you will find this video useful.
A few years back we tested the original Lume Cube vs the Litra torch. We were pretty aggressive and we threw the lights, froze them, and dunked them in water. Since then, Litra advanced to Litra Torch 2.0, and Lume Cube recently released the Lume Cube 2.0. We wanted to revisit our review and see how the two new Action Lights compare. This time though, no lights were hurt during the shooting.
Every now and then I am contacted by my friends at East Dunbartonshire Leisure and Culture. I help them to document events or artwork installations as part of the Trails + Tales Project. This particular art installation by Toby Paterson, where he placed stained glass windows into the watchtower of Cadder Church, has its own set of unique challenges for me to overcome which I would like to talk about.
Nature Photographer of the Year has just announced its 2019 winners. The judges selected some of the finest images that had been submitted for the contest, and they will remind you just how magical our nature is and why you need to be kind to it.
I guess it’s a sign of the times, but I get sent far more LED lights to test than any other light…. even though I never personally use LEDs.
When I say I don’t use LED lights, it’s not because I have a dislike for them, but for me, they have limitations that I struggle to deal with when I shoot what I shoot. If you’re after some affordable continuous light for video work that looks natural and emulates everyday lighting, then LEDs are your first and smartest choice. But for what I do, which is often very controlled and saturated colour work that is anything but natural, I’m going to stick to the control and power of flash for now.
Hoya has today launched two new filters. Well, to be correct, one new filter and one new filter set. The single filter is the Hoya Starscape filter, which cuts through light pollution when shooting astrophotography. The set is the new Hoya ProND Filter Kit, comprised of 3, 6 and 10 stops neutral density filters, designed for both photography and filmmakers.
Even though speedlights are incredibly useful for macro photography, they’re light does not always look flattering. Harsh shadows in unwanted places, blown-out highlights and strong aberrations are common issues. And even though strong, directed light can look good in many cases, diffused light looks more natural and generally more pleasing to the eye too.
The two following photos illustrate that effect:
In 2009, underwater photographer and (at the time) Nauticam USA Sales Manager Chris Parsons planted an idea in my head. It was the concept of using filters with artificial lighting when shooting photos underwater. Up until then, I had always thought that tinted filters on your camera in conjunction with strobes were a big no-no. My own personal experience had shown, that with a filter applied to your camera, any artificial light would appear very red, and ruin your image.
Chris patiently explained to me that instead of a singular filter on your lens, a set of them – a red filter for the camera lens, and a blue filter for your strobe lights – would complement each other, and the results could be spectacular.