Richard Tuschman is a fine art photographer, whose works has appeared on a number of book covers. His latest project, Hopper Meditations, has him recreating famous Edward Hopper paintings in an unconventional way.
When I first saw his images, I was struck by the quality in them. They appear to be a composites, but it also looks like he may have been using a tilt-shift lens. Even if they were composites, I was fascinated by how he found locations that perfectly mirrored the original paintings. Tushcman’s secret? Dioramas. [more]
Photographer Kenneth Cappello is known for his celebrity portraiture, his advertising work for Nike and Puma as well as his flashy editorial work for Nylon, GQ, Fader and Vibe. Cappello shot musician/DJ DeadMau5 this past month for Vibe Magazine, and, lucky for us, also shot a little BTSV to give us a peek at his process. [more]
Over the last couple of years I have received more than a few inquiries about how I use Lightroom to edit my photos. The embedded video is a screen recording of my entire workflow, from import to export. It’s sped up for the sake of time, so if there is any part that isn’t clear, feel free to ask questions in the comments. So without further ado, here is my Lightroom workflow. [more]
Sight. It is everything for a photographer. We nitpick over which camera body or lens is the best tool for the job, but no lens or camera sensor has yet to come close to what the human eye is capable of.
What so many of us take for granted, fine art photographer Julia Fullerton-Batten has chosen to focus on in her new project, “Blind”. Her subjects ranged from those who were born blind to those who went blind later in life. [more]
Video portraits, or long portraits, are just what they sound like- a subject sitting in front of a camera for several minutes. I first came across video portraits about 3-4 years ago when I saw Clayton Cubitt‘s long portrait of photographer Noah Kalina. Cubitt is best known for his NSFW, in-your-face fashion photography. And while lot of the work in his portfolio has an immediacy and titillating flashiness, what caught my attention in his video portraits is the extreme patience and restraint they possess. [more]
A couple weeks ago I was fortunate to work with Tina Hughes, a talented local clothing designer. Her latest collection blends vintage and modern elements. I thought that my friend’s modernist house would be the perfect location for the shoot. We were limited to doing the shoot during the (bright and sunny) day so I used speedlites, a polarizing filter and orange gels to add a moodiness to the images. [more]
You have likely seen Italian photographer Gabriele Galimberti‘s photos floating around the internet lately. His latest series, “Toy Stories” is the result of an 18-month project documenting children from around the world with their favorite toys. Many of the portraits were taken in the kids’ rooms. We see a range of living conditions from sparse to affluent. The concept is so simple yet so brilliant. It doesn’t hurt that the photographs were also expertly executed. [more]
Chelsea Wolfe recently did a collaboration with Converse for Decibel magazine. They worked with director/photographer Charlene Bagcal to create a moody and beautiful video piece. We were fortunate enough to get an inside peek.
Bagcal and director of photography Brian Sowell shot with a RED One MX, using Zeiss lenses. They stuck with primes, using 16mm, 24mm, 35mm, 50mm, 85mm and 100mm lenses. [more]
The best part about learning rules is breaking them. For example, most of the time, blur in a photograph is a faux pas. But there are ways you can use blur to add energy and emotion to your images. In this lighting diagram, we will explore how to introduce blurring to your images with the use of an on-camera flash.
Before you start experimenting with this technique, make sure to go to you menu in your camera and set it to “rear curtain sync”. [more]
A couple weeks ago I posted a lighting diagram showing how you can emulate Martin Schoeller’s lighting by using gaffers tape and foam core. One reader commented that the catch-light makes the subject’s eyes look like a cat. This got me thinking about what would happen if I were to change the pattern of the tape into various shapes. Here’s what I discovered. [more]
I know the title of this article is a bit wordy, but I didn’t know how to describe this beast of a lighting system in fewer words. 1/25,000th of a second! As you can see in the video, the new Profoto Pro-b4 1000 Air turns water into glass. It negates gravity. There is nothing you can’t shoot with this rig. Plus it’s field-ready, running off of a fast-recharging battery pack. It’s almost enough to get this speedlite-only shooter to convert completely. If I could only scrape up the $10k that I would need.
In order to turn a typical sunset into an extraordinary sunset, you are going to do the opposite of counteracting your available light. You do this by picking the colored gel that is the opposite color of the color you want to highlight. Though it may seem like an odd idea, it’s actually just simple color theory. The opposite color of magenta is green. By placing a light to medium green gel on your strobe and setting your camera’s white balance (WB) to fluorescent, anything that is magenta (such as a sunset) will be pushed even more vibrant. [more]
I have always wanted to shoot editorial work. Getting my work in print has always been my number one goal. In my opinion, it is the mark of having “made it” as a photographer. The problem was that I never knew how to get my work in front of the right people to even be considered for an assignment. I had read articles in industry photo magazines about how to make brilliant and eye-catching marketing materials to nab that client that you are after. [more]
Last week I tried my hand at emulating Martin Schoeller’s portrait lighting with a single bare-bulb speedlite. Though the experiment was technically a failure, it still produced a nice portrait. Since then, I have tried two more lighting scenarios before finally nailing it on the fourth (please excuse my OCD tendancies) and final attempt. [more]
I am the type of photographer that doesn’t stay up to date on the latest gear. Instead, I find what works for me and I use it until I hear about something that works better. This is why it was so hard for me to hand in my Pocketwizard Plus II‘s for the Radiopopper PX system. But boy am I glad that I did.
Plus II’s are tanks. They are virtually indestructible. I used them for years with nary a misfire. But there was one thing they couldn’t do. High speed sync. [more]
