Slow motion sequences can add a lot to your videos if you know when and how to use them. Nowadays you can pull it off with almost any camera, so you may even be tempted to overuse it. In this video from Filmora, you’ll hear five do’s and don’ts of shooting in slow motion that will help you create better and more meaningful visual stories.
Photographer James Popsys puts forth an intriguing argument. That you won’t make it as a photographer. Why? Well, because it’s impossible for anybody to really make it as a photographer. What does “make it” even mean? It’s interesting to hear James talk in this video about what he thought life would be like as a successful photographer vs. the reality of actually being a photographer who makes their income from it.
American photojournalist David Douglas Duncan, best known for his combat photography, passed away on 7 June in Grasse, France. During his career, he covered various conflicts, including the Pacific War, Korean War, and the Vietnam conflict. He shot for prominent media such as the New York Times, LIFE magazine and many other publications.
Justin Rosenberg is a photographer who loves fog! But that’s not all he shoots, in his own words he says ‘In my images, I aim to convey a sense of that hope in the struggle. Much of my work focuses on a single subject relating to a seemingly harsh/sparse environment. I’m often drawn to the natural world as a setting; particularly cold, foggy, and gloomy scenes. I find there to be a beautiful vulnerability in the loneliness and isolation of a subject in a harsh/sparse spaces.
Though fog is not in all of my work (mainly due to my lack of ability to control the weather), whenever possible, I try to incorporate it. Fog forces you to be in the present moment. In any direction, you can only see for a just a little bit, so all you’re left with is exactly what is happening in that moment. You can look in front of you, but you can’t see the future. You can look behind you, and you’re not defined by the past. You’re just exactly where you are, right where you need to be, right when you need to be there.’
My family and I recently returned from a week-long early spring backcountry camping trip.
This trip involved canoeing in snow squalls and an extended portage where the lake was still frozen solid. Physically, it was a challenge, but it was also an amazing family bonding experience with my wife and our 9 and 12-year-old kids (the golden years when they are useful humans but not yet teenagers).
At the end of the trip I sat my trusty old Fuji X100 (the original model) on a post in the parking lot to snap one final family portrait in self-timer mode.
Then we drove home…
A woman from Montgomery County recently reported that a stranger was taking photos of her child at Starbucks in East Norriton Township. She spoke to a Starbucks employee who didn’t ask the man to leave, so she reported the man to the police and sparked an investigation.
Even though harsh midday sun is far from an ideal lighting situation, sometimes you’ll have no other choice. In this video, Jay P. Morgan shows you four ways to make the best of that direct sunlight and turn it into your advantage. He demonstrates three setups that only use the sunlight, and the fourth one adds a strobe to the equation. But in all cases, you’ll end up with great portraits even in the otherwise unflattering direct sunlight.
I remember having a rather extensive range of Hot Wheels cars when I was a kid. It would’ve been great to be able to strap a camera to them and get their view of the world. Unfortunately, at the time, video cameras were kinda big. The smallest weren’t that far off a mid-sized family vehicle. Ok, maybe they were a bit smaller than that but certainly too big to strap to a tiny hot wheels car.
Thanks to modern technology, we have other options. With the GoPro Hero Session or Hero5 Session being so small, the new “Zoom In” car from Hot Wheels can easily manage to hold it. It’s set to go on sale this month for only $1.09, making it the cheapest GoPro mount out there of just about any type. And this one has wheels!
Charging for video work, especially when you’re quite new to dealing with clients, can often be quite difficult. You don’t want to quote ridiculously high and scare off the potential client. But you also don’t want to quote far too low and risk not being taken seriously. Or, worse, them accepting it and you making no money for your time and effort.
So, how much should you charge? In this video, Caleb Pike chats with producer and director Corbyn Tyson about how to price up and quote for a video shoot. Now, every client’s needs will be different, and you’ll need to adapt this to your own workflow, but it should give you some idea of where to start with even modest projects.
I put the new Sony A7III mirrorless camera through its paces for the features and functions we need to shoot the night sky. Sony’s A7III camera has enjoyed rave reviews since its introduction earlier in 2018. Most tests focus on its superb auto exposure and auto focus capabilities that rival much more costly cameras, including Sony’s own A7RIII and A9.
For astrophotography, none of those auto functions are of any value. We shoot everything on manual. Indeed, the ease of manually focusing in Live View is a key function.