Hacking Photography - one Picture at a time
Using fans to blow hair is one of the most effective ways to add a little life to a portrait or headshot. But it’s not easy. It’s not as simple as just throwing a fan, ramping up the power and hoping for the best – although that’s the method that seems to be most commonly used.
There are potential issues with blowing air at your subject’s head, though. In this video from photographer Joe Edelman, we learn what some of those problems are, and how we can get around them.
If you post your photos on social media and critique groups asking for opinions: well, you should stop doing that if you want to improve. This is what Joe Edelman argues in his latest video, so let’s see how the opinion of others can slow your progress down instead of improving it.
Originally made to help Joe McNally solve problems that would occasionally pop up on shoots, the Justin Clamp has become a popular addition to many photographer kit bags. It was created by Bogen/Manfrotto employee Justin Stailey from some standard off the shelf components. It served its function perfectly, so it became known as the Justin Clamp we still have today.
While excellent, they’re not exactly cheap. A handful of these in your bag can set you back a couple of hundred bucks. Another Joe, photographer Joe Edelman, has different solution, though. A DIY option that costs about half of the original Manfrotto (less if you shop around), and it seems to be a very good substitute.
Coming up with unique and interesting backgrounds can be a challenge, especially in the studio. But it can be easier than you think. All it takes is a little light in the darkness. Light painting is typically seen out on location. The wonderful work of photographers like Eric Pare and Zach Smidt shows that off amazingly well. You can use it in the studio, too, though.
In this video, Joe Edelman shows us how we can use light painting to create some pretty cool unique backgrounds in the studio. Joe shoots Olympus cameras, which offer an advantage over other brands when it comes to this kind of thing with the Live Composite feature. It’s not essential to the technique, but it definitely makes life easier.
I used to clean my lenses religiously. Every time before I left the house with the camera, and again when I got back home. These days, my attitude towards it is a little more relaxed. I don’t worry about dust anywhere near as much as I used to. But I still try to avoid cleaning them the wrong way. And yes, there are some wrong ways.
If you struggle to keep your lenses clean or want to minimise the risk of damaging your lens while cleaning them take some pointers from Joe Edelman. In this video, he shows a couple of ways to absolutely not clean your lenses and talks about why. But he also demonstrates his method for cleaning his own lenses safely and effectively.
I’m not a massive fan of faking optical characteristics in post. I prefer to shoot it the way I’d like in the first place. But sometimes it’s not always possible. Sometimes you don’t realise until after you’ve got the image up on the computer that something is a little more in focus than you’d have liked.
Shooting in the studio, for example, you’re often around f/8, to allow your subject some freedom of movement. With a solid background it doesn’t matter if it’s not blurred out. But it can often cause shoulders or other body parts to be a little sharper than you’d hoped. In this video, Joe Edelman walks us through a simple technique to help soften those areas in Photoshop and simulate them being out of focus.
Not too long ago, switching brands seemed a silly expense. Bouncing back and forth between Nikon and Canon was just far more cost and hassle than it was worth. Some photographers simply bought into both brands (it worked out cheaper than swapping every couple of years). Others stuck with their brand through thick and thin.
Joe Edelman is one such photographer and stuck with Nikon for 42 years. But as technology developed and more manufacturers came back into the fray, Joe’s needs changed. So, he started playing the field to see what the others had to offer. Now, he’s finally made the switch to Olympus, and in this video, he explains why.
There are many situations where it’s hardly imaginable to take photos without a tripod. But there are several types of them, and you may find it hard to choose the one that best suits your needs. Or you’ve already bought it only to realize it isn’t really ideal for you. This is why photographer Joe Edelman breaks down the types of tripods and their uses, which should make it easier for you to make the decision. He also shares some useful tricks for using them, which will further help you get the best out of your photos.
These days, social media is a huge part of one’s branding. It needs to represent who you are as a person and a company. There needs to be consistency between Facebook, Instagram, YouTube. It needs to convey who you are, either as an individual or as a company, and your personality.
Photographer and YouTuber, Joe Edelman recently had to update his social media profile photos after acquiring a new pair of glasses. Joe treats this task as he would any headshot shoot for a commercial client. Because that’s essentially what he is. His own commercial portrait client. In this video, Joe walks us through his process, with some great tips, whether you’re shooting for yourself or somebody else.
Spekular is spectacular! Hmmm – a little over the top? Not really. I recently had the opportunity to put this new LED lighting system from Spiffy Gear to the test. Spiffy Gear are the folks that brought us the Light Blaster (buy link).
Spekular is a modular lighting system that can take on all kinds of shapes depending on your needs and this can save you money and the time needed to pack and set-up light modifiers especially when you are working on location. Spekular comes as a kit of 4 LED sections. Each section is built with aluminum and ABS plastic. The sections can be configured using the included hinged connectors or with the accessory extension kit.
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