Ok, so, the title says “any location shot”, but it’s probably more like any outdoor location shot, when you think about things practically. Sure, you could use these tips indoors, too, although they wouldn’t make a whole lot of sense. But Ted at Indy Mogul talks to Phil Rhodes, writer at American Cinematographer in this video, to chat about water and how it can make a big difference to your shot.
Gaffer is one of those titles that unless you actually become part of the photo or film industry, you’re not really sure what it is. It’s just one of those jobs that scrolls up the titles at the end of a movie along with countless others. But they play a vital role on a film set. They’re the guys who make the light look the way the director or DP wants it while still making it look natural.
In this video from Vanity Fair, gaffer Andy Day, who’s worked on movies such as Creed II, The Bourne Legacy and Salt, shows us what happens when you shoot a scene without having a gaffer on set. And while the video is geared specifically towards the movies, the same holds true of photography.
We appear to have another casualty in the increasingly competitive strobe market. According to ProfiFoto, The District Court of Würzburg has ordered the provisional insolvency administration of the assets of German lighting manufacturer Hensel-Visit GmbH & Co. KG (Hensel). This isn’t bankruptcy or the end of the business, yet, although the company does have a significant challenge on its hands.
Being able to look at an image and understand the lighting within it is not crucial to becoming a great photographer. But having the ability to look at another image you love and recognise the qualities that stand out to you will undoubtedly help you to become a better photographer far faster.
Last week we looked at how important being able to understand light can be and I also highlighted where many self-taught photographers struggle with this in today’s industry. If you missed last weeks article then I recommend you take a look to see some of the pitfalls self-taught photographers can struggle with as today’s article leads on from that.[Read More…]
This article aims to look at how we as photographers ‘understand’ light. It may seem obvious to many of you, but to a vast majority of us, it’s simply not quite that easy. But what does it truly mean to understand light? Do we really need to understand light to take great photos? The simple answer is no…. but I guarantee it will help.
A little while ago I was teaching one of my lighting workshops and one of the attendees was looking to implement some of the set-ups I was sharing into his workflow. Seems simple enough right? Well it turns out this photographer was a Formula 1 trackside shooter that needed to get portraits of drivers and crew. As you may well imagine, there is limited time to setup a photoshoot in a busy pit-lane on race-day, so he was after lighting modifiers that would be suitable for his slightly more ‘run-and-gun’ portraits.
Creating a dramatic portrait, moody ,emotional, edgy, dark, the subject/model, scene and clothing help portray all of those but one ingredient that remains constant to help achieve the drama is light, shadow and highlight, in this blog post I cover how I lit this image I will show you the position of the lights and what modifiers were used.
If you want to jump straight to the video explaining it all here you go.
My name is Andrea Belluso and I used to define myself as a fashion and beauty photographer.
To be great at lighting in photography is much e¬asier than you might think. I see most photographers making things way too complicated and spending way too much time thinking through their lighting and trying to achieve the perfect picture.
All this eventually leads to frustration, irritated clients, and eventually considering photography a job like any other. In order for you to maintain fun and pleasure in your photography and being as excited with every single picture you take as you were when you took your first picture, it is vital to have the element of freedom and adventure with every single shot.
So, how do you do that? Simple, it’s all in your approach to lighting.
Lighting is not a technical thing, it is a way of creating feelings, emotions, and moods. The technique and technical equipment are just there to help us. Just like brushes and paint are not what creates how a painting makes you feel, they are simply tools that used in one way or another will change your mood once you look at the painting.
So here are 6 tips on getting better at lighting and having more fun and ease with it.
Have you ever found yourself looking at your children’s toys and thought to yourself man that would look great in an image? Well I have, I do and I love creating images this way, trying to create a realistic/surreal image which tells a story from using nothing more than a piece of plastic.
Oftentimes, it’s only a small trick and a discreet detail that can make a significant difference to a photo. Food photographer Joanie Simon of The Bite Shot has two lighting tricks that will add a new dimension to your food images. They are simple to pull off, yet they’re effective and can really make a difference. Check them out in the video below.