Being a photographer in the Bay Area, it was hard to not hear the news about the sophisticated break in last week at Mac House Productions. Not once, but twice in the same night, two buglers broke into the Mac House warehouse building, making off with over $150,000 worth of equipment. Now, as the dust begins to settle, it turns out Mac House wasn't the only local business targeted. And a haul worth ten times as much was just around the corner.
Ah, gifs. The internet's favorite way to share emotions and short clips. They've seen a considerable boost in popularity in recent years, especially on Reddit. Imgur, the major Reddit image sharing choice, hosts a majority of those gifs. Apparently they've been working on a way to make the experience better, because today they unveiled Project GIFV, an initiative to bring the iconic looping video of the GIF into the modern web and dramatically improving their quality.
Color management in photography and videography extends well beyond display calibration – it includes color control from beginning to end, from capture to final output. In this article, we’ll explore a new tool that helps you ensure that your image capture is well controlled and that your capture device delivers vibrant accurate color – whether you’re using, for example, one camera on set, different cameras in different lighting conditions, or multiple cameras on set at the same time.
Blackmagic Camera 1.9.7 update is available now free of charge from the Blackmagic Design website. The biggest feature? The long-awaited format disk option! The new disk formatting feature allows you to format SSD’s and SD cards in camera so they don’t need to use a computer to prepare disks for recording. This new disk formatting feature is unique because unlike computers that format disks for general storage use, the Blackmagic Cinema Camera and Pocket Cinema Camera can format disks optimized for high performance video use.
If you've never seen the Milky Way in the skies in any rural part of the world, you have been robbed of one of the most magnificent visions on this planet. I grew up in the southern part of Israel, which is a desert called The Negev. All the kids from my block would gather every summer night, lie down on the ground and just stare at the skies for hours on end. I didn't realize how lucky I was to grow up in that desert.
The On Roof Top boys are at it again, this time "stealing" a digital sign high above the streets of Hong Kong in this sick behind-the-scenes video on how they did it all. Shockingly these guys are rarely caught, given the nature of the city and its crowded streets its almost impossible to catch everything that happens. We do have to thank them for risking their lives and pushing the limits of photography by doing what they do.
Next up on our Tog Tools Jess and Stephen interview our very own Clay Cook on how he got his start in photography and how he's built an incredible fashion/ editorial photography business. Having first seen Clay's work right here on Fstoppers I was astonished by his clean, sharp style using seemingly basic lighting setups.
Last night we were treated to an annual event where Adobe encourages their developers to think differently and solve problems they perceive and present them to the world. This event takes place every year at Adobe MAX and is called "Sneaks." Sneaks has led to innovations like Content Aware Fill and Shake Reduction, but not everything revlealed at Sneaks is guaranteed to make it to a final consumer release. But what we saw looked pretty amazing.
One year ago we all started hearing the buzz about MagMod after they launched a Kickstarter campaign that ended successfully. They then went on to be one of the hottest booths on the tradeshow floor at WPPI. Rather then sit content with their success the team at MagMod has been making improvements to their system and just released version 2 making their popular Speedlight light modifier better than ever.
This is something that I am proud to hear being said, and I genuinely hope it continues to be said. When I saw this article making the rounds online, I knew I had to help spread its message, not just because it is important in my industry, but also in my personal life. Sexual harassment of any kind is unacceptable, and I will always fight against it. Awareness is step one, speaking out is step two.
I have seen absolutely beautiful things happen in the photo industry. I've seen strangers become best friends, I've seen grand ideas being brought to life, and I've seen photographers grow from beginners to mentors. I've seen so many things that make me proud to be a part of such an amazing community. The sad news is that I've also seen the uglier side of it. I've seen jealousy turn into bad-mouthing, I've seen photographers knowingly leave out key techniques from classes or talks, and I've seen new photographers become discouraged and disheartened by the cold shoulders of the more popular photographers in the industry.
Dan Saelinger is a Portland, OR based conceptual photographer with a signature, meticulously clean and refined, style with a flare for simple, graphic-based images. Dan's work has appeared in Newsweek, IEEE, Popular Science, Field & Stream, and Reader's Digest, his advertising portfolio includes work for SKYY Vodka, Nike, and Google. In this interview Dan takes us back to his time as an undergrad photography student, his journey through his MFA, his career in high-end conceptual photography, and the role personal work has played through out it all.
Though it’s easy to think Adobe, being the giant company that they are, doesn’t pay attention to the opinions of the average layperson, it has been my experience that the opposite is true. At the very least, the developers and project managers at Adobe indeed read Fstoppers, so this is your chance to tell them: is their direction the right one for photographers and filmmakers?
Tokyo-based photographer Uma Kinoshita’s series “Lost in Fukushima” documents Fukushima a year after the 2011 disasters had displaced more than 100,000 people over radiation concerns alone. Focusing on absolute loneliness and loss, Kinoshita captured these “places where no one could or should be.”
We’ve all been there, stuck with bad light and fresh out of ideas. I may spend up to an hour pre-lighting before a model or subject steps onto set, I work out the kinks and make sure everything is how it should be. But, despite my best efforts to make it right, every now and then I run out of time and have to wing it. We all have our “go to” lighting scenarios, but when you’re standing in unknown territory, keep the following tips in mind and you just might make it through the storm.