When you think group shots, what lens immediately comes to your mind? Often, the initial reaction to a “group picture” is to reach for the widest lens in your bag. It’s a safe option that makes sure you’ll fit everyone in the frame. It could be said group shots are more about accounting for everyone who was present rather than being a work of art. However, if you care about the quality of images you’re creating, maybe your widest option shouldn’t be your default. [more]
Aaron Nace at PHLEARN teamed up with professional product photographer Rob Grimm to demonstrate how a super high-end watch shoot would be put together. Check out how Grimm takes numerous shots and combines them into one advertising-quality image. [more]
This is one of the most interesting, and almost bizarre behind the scenes video I’ve seen. Musical artist Jack Conte came up with an idea for a video to go along with a music track he created called “Pedals”, and through building his own spaceship set, using real working robots, and even getting Jeff Orlowski to shoot it, everything came together for an inventive final product. [more]
Olaf Heine is one of the world’s most acclaimed music photographers and has photographed music icons such as Iggy Pop, Sting and Jon Bon Jovi. In this interview from H&M Life, Olaf talks about what it’s like to work with these musicians and how best to convey your portrait ideas so they are well received. Obviously this is a good skill to have when trying to get someone on board with a more “off the wall” portrait concept…like tying Sting up and throwing him in a pool with his mouth taped up. [more]
Canon has recently come out with their short film, “Rhythm of Life’ showcasing their new line of cine lenses. Shot with the Canon C500 director, Dean Hargrove and cinematographer, Steven Poster ASC, explain how the different cine lenses affect the footage and change the color and feel of your shots. The BTS video was shot with the Canon C300. [more]
Plus three gorgeous Brazilian triplets. But that’s not the point here.
Seriously though, I’ve seen a lot of crazy things done with the Red Epic, but I’ve never seen it shot without it’s IR pass filter. The results are the definition of ethereal. The biggest shocker to me though was that none of these shots, which included a very complicated Handheld to Rope to Handheld shot that looked like a crane shot, were all done without any post-stabilization or complicated steadicam rigs. All of the shots were done using the Movi stabilization system.
Have you ever wondered how different diffusing fabrics affect the quality of light that you shoot with? Jay P. Morgan from the Slanted Lens walks you through the different diffusion materials by Rosco. He explains how the different fabrics can lessen the stops of light and how it can affect your color temperatures and look of your shoot. [more]
Benjamin Von Wong has finally wrapped up his long and productive European tour, Von Wong Does Europe. The very first shoot that he was able to do was also ironically the last to be published and for good reason. It will blow you away. Taking over 60 hours to retouch Ben collaborated with talented retouching guru, Chester van Bommel. [more]
Behind the scenes videos are some of the best ways to learn our craft, especially when it comes to setting up lighting. It takes quite a bit of courage though to put yourself out there online and share a video with our industry. Arizona based photographer, Lear Miller, took the leap and put together his first BTS video of a fitness shoot that I thought deserved a shout out here on Fstoppers. [more]
The US Government has recently been caught unlawfully monitoring the Associated Press. From what I can gather, the government was looking for the contact that leaked some information regarding a cyber-attack. Read more about that political stuff here. So what can you do to prevent this from happening to you as a photo journalist? Well don’t do something stupid, but if needed here is a list of some undercover software to keep your work under wraps.
Anyone who has tried can tell you that lighting cars well is a difficult thing to do. The size of them, the lack of flat surfaces, how reflective they are, and the variety of different materials all make for one of the most trying photographic challenges out there. In this video, renowned automotive photographer Tim Wallace talks with us about the methods that have helped him to become so successful. [more]
This might be an extreme take on the all-too-common client request of “get it done quickly,” but it serves as an excellent benchmark of what can be done in a short amount of time. Odds are, you won’t ever be asked to do a full post-production retouch in such a short amount of time, but the idea behind what Aaron Nace of PHLEARN is showing here is solid: with the right tools and knowledge you can streamline your workflow with extreme effectiveness. [more]
Food styling can take place in the production kitchen and in front of the camera. How do you know when and where to style your food? The answer will depend on what food you are shooting. For food with long shelf lives, like cupcakes, the dish will generally be camera ready when it leaves the kitchen. If the dish involves a sauce and a variety of garnishes, the styling will occur both in the kitchen and in front of the camera. Here is a behind the scenes look at a dish that involves styling in both locations: The Meatball Sandwich.
I find athletic themed shoots to be especially interesting considering the amount of effort and expertise that goes pulling off that one perfect shot. Follow James Quantz Jr in this behind the scenes video as he takes on the challenge of shooting the South Carolina Gamecocks. [more]
Bulb ramping is a technique used by time lapse photographers to adjust the shutter speed throughout the time lapse to compensate for natural changes in exposure. If you’re looking to shoot timelapses of sunrises, sunsets or any change from day to night, this technique is critical. In his latest tutorial video, BC based photographer Joel Schat takes us through the steps needed in order to create a bulb ramping time lapse with ease. [more]