One of my favorite lighting accessoris that I use on almost everyone shoot, is simple piece of white foam board. You can get them at an art supply store or even the dollar store sometimes.. So a 30 x 40 inch white board can cost between a $1 and $5 depending on where you shop. Not a bad deal for all you can do with it. Whenever I can bounce light vs. setting up a fill light, I’ll always use that option.. it adds nice fill light without being “sourcey”
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Imagine taking a road trip from Montréal to Nevada and trying to capture that experience in a non trivial way.
That is what Eric Pare did in his WindScale project. Eric and his travel companion Marie-Line drove from Eric’s home in Montreal, Canada to burning man in Nevada. The trip (a 4,200 km straight line) ended up being about 13,000 kilometers there and back.
It has been said many times before, the eyes are one of the key elements that photographers try and capture.
Here is a little video showing a technique that I picked up from Scott Kelby. The book was called Professional Portrait Retouching.
If you want to follow along. I have have made a few little notes.
As photographers, we often spend a lot of time and effort chasing that next portfolio shot. But, we’re also the designated family photographers. As the saying goes: “A cobbler’s children have no shoes”…well if you’re like me you could also say “A photographer’s children have no photos.”
Admitting that you have a problem is supposedly the first step in solving a problem – so here are my top five personal photography resolutions for 2014.
Did I take a D800 in a huge waterproof housing down a giant waterslide with my daughter, despite the half hearted objections of the teenage lifeguards? Yes I did.
Have you ever asked yourself what youtube us dong to your video files when you upload them? If nothing else, youtube has to convert your video to a format that it later streams online.
Chicago based Musician and Video Artist, Patrick Liddell, actually went through this experiment. He discovered that as with all conversions, some data is lost. at about 10 iterations there is a noticeable distortion, and at 50 iterations, the video and voice looks like a bad photoshop filter.
On the last day of the PhotoPlus Expo I finally got why the camera industry has hit the wall and may never come back again in the same way. The folks who love cameras for the sake of cameras, and all the nostalgic feelings they evoke of Life Magazine, National Geographic, 1980’s fashion and 1990’s celebrity portraiture, and other iconic showcases that made us sit up and really look at photography, are graying, getting old and steadily shrinking in numbers.
I can profile the average camera buyer in the U.S. right now without looking at the numbers. The people driving the market are predominately over 50 years old and at least 90% of them are men. We’re the ones who are driving the romantic re-entanglement with faux rangefinder styles. We’re the ones at whom the retro design of the OMD series camera are aimed. We’re the ones who remember when battleship Nikons and Canons were actually needed to get great shots and we’re the ones who believe in the primacy of the still image as a wonderful means of communication and even art. But we’re a small part of the consumer economy now and we’re walking one path while the generations that are coming behind us are walking another path. And it’s one we’re willfully trying not to understand because we never want to admit that what we thought of as the “golden age of photography” is coming to an end as surely as the kingdom of Middle Earth fades away in the last book of the Lord of the Rings trilogy.
A viral video titled ‘How not to be a photographer at a gig’ has been circulating lately showing photographer Aelle Lucà in a concert wildly waving his camera at the band on stage.
The movie uploaded by one of the audience shows their uncomfortableness with the situation, and what apparently seemed weird (or unfamiliar at least) form of photography.
Today we are interviewing Fine art photographer Steve Richard. He is an amazing photographer who has supreme understanding of light. Some of the photography below is NSFW. (They are top notch fine art, but skin is showing…)
DIYP: Hi Steve, can you tell us a little bit about yourself and your relations with photography?
SR: I have been involved with photography off and on for most of my life. I was interested in both music and photography relatively early on; I began playing guitar and had my first manual camera both around the age of 13. Though I was initially more interested in music in my youth I have always been intrigued with capturing images. Over the past 40 years I have had the opportunity to work within almost every category of photography you can imagine (landscape, portraiture, commercial, wedding, product, etc). I even did some time working in a commercial colour lab in the late 70’s, which I think was the reason I actually gave up photography for a while. In addition to my obsession with photography, over the past 11 years I have also become very passionate with cinematography. I think this has also broadened my perspective on taking still images and given me a much better insight into the art and importance of lighting to tell a story.
A little while back I read a great ebook called Time-lapse Photography: A Complete Introduction to Shooting, Processing and Rendering Time-lapse Movies with a DSLR Camera by Ryan Chylinski (long name, I know….). One of the chapters dealt with the issue of mechanical induced flicker which I thought was a great nugget for any one doing timelapses. I asked Ryan if I could share the info with our readers and he gladly agreed. If you like what you read, consider buying the full book.
You’ve driven across the state. You’ve hiked the distance. You’ve shot in full manual mode, kept a wide aperture and even remembered a slow shutter speed to create some nice motion blur. You get home, render, and hit play.
There it is: Darker frames, lighter frames, darker frames again…
“Luck is what happens when preparation meets opportunity.” – Lucius Annaeus Seneca.
When you direct or plan a photograph it seems that you control each and every aspect of that photo.
In street photography you try and capture a decisive moment, which is completely out of your control. In a stage shoot, however, you can try and create a reality from scratch. The more you put into planning and preparations, the more you can get closer to that perfect image you conceived in your head.
I have given this a lot of thought when I started working on our last photograph in the song series. The ambitious idea was to shoot a staged photograph with multiple models tens of meters into the sea while everyone is standing on rocks. It quickly became obvious that there are many technical challenges to such photoshoot and I will talk about a few of them in this post.