Vincent Laforet’s Directing Motion workshop has done what every workshop should do – it’s challenged my current way of working and given me clarity on how I can improve my work. Less than 24 hours after the workshop, I was working differently, shooting differently and thinking differently. This might just be the best workshop for those shooting (or with an interest in shooting) motion work, ever.
During an initial meeting with local publication NFocus Magazine, the Editor-In-Chief asked for a unique aesthetic on Louisville's theater and arts community and wanted a massive group shot, but not your traditional group shot. I threw out the idea to shoot actors and their "characters" from directly overhead on a theater floor, as if they were action figures laid out and organized. Two seconds after I uttered the idea, I realized I had no clue how I would pull it all off.
When you combine an amazing landscape photographer, a stunningly beautiful location, the brilliance of a strong team of film makers and a luxury brand that is synonymous with craftsmanship and excellence, magic does indeed happen. Welcome to the ‘Defining Moment’ by Audemars Piguet - and a redefining of what it means to "shoot a “commercial".
This truly incredible image was produced by Lightfarm Studios and was composited over a 5 week period "by seamlessly matte painting over 100 aerial pictures of giant proportions." This original artwork piece was inspired by the book “Rendezvous with Rama” by Arthur C. Clarke and the end product is nothing short of a masterpiece.
I always tether. Whether it's for a client or fashion editorial, the CamRanger has played a very important role in capturing rock solid images. But, before the wonderful technology of wireless tethering came into the picture, I always tethered to a workstation. However, that came with the annoyance of a long tether cable dangling off your camera. I always felt the sense of being trapped or held back from moving freely, I was always concerned and it was always a distraction.
About four years ago - or about a month or so after I picked up a camera and decided I was a photographer - I thought it would be in my best interest to start up a Facebook Fan Page (as they were called back then). I assumed that because a few friends were liking the random collection of photos that I was posting to my personal Facebook page, strangers - and eventually clients - would find my Fan Page, like it, and then money and fame would come rolling in.
Every photographer, at some point in their career, will have an internal debate to accept or decline a job because they may feel insecure about having the right skill sets or gear to complete the job. Personally, I have found myself accepting certain jobs and a few hours later, I wonder if I made a mistake in accepting the job since I may muck up a huge opportunity. A few days ago, I was offered a job that, at first, I did not think I could execute. Luckily though, I talked myself down the ledge and remembered I was in fact prepared for it.
I’m a bit of a dreamer. I’m also a huge aviation geek, and I often catch myself browsing the web at 2am looking up articles on aviation and aviation history. So when I found Anthony Toth and learned more about his life’s work, I knew that I had my next personal photography project in mind. As I'm mostly an architectural photographer, I got bored of waiting around for an airline to hire me to photograph their next ad campaign, so I decided to hire myself into my dream gig.
Brandon Cawood, from Dalton GA, has taken appreciating first responders to the next level. What began as a personal project to photograph local EMS personnel, soon blew up and went viral. Cawood captures priceless moments in the daily lives of firefighters, police and other public safety personnel. He has a movie poster style and pulls it off in a flawless manner.
Zoom, focus, spray and pray. That seems to be the M.O. of many photographers who shoot runway. I admit, I was one of those photographers. The one who scours through thousands of images at the end of the night, wishing they had shot more strategically. And, after two hours of culling, flagging three images per look, they’d be lucky if only one was tack sharp. After many shows, I’d criticize my every move and would long for a time machine to do it all over again.
Yes, you did read the title correctly, Pixels.com has launched a new image licensing marketplace, and you're in control. Pixels.com is an online image licensing marketplace that enables artists and photographers to self-manage their images, prices and licenses. Take a look at how Pixels.com is structured, works, and proves to be a major game-changer for our entire industry.
A while ago I wrote an article summarizing some of the key tools which are required when shooting apparel for commercial clients. That article served it's purpose to demonstrate the vast number of supporting tools we use on a daily basis, but the magic really happens when we roll out the lights. Today I would like to show you some of the considerations you need to take when lighting clothing for your clients.
Photographing large groups and make the photos look good is always a hard task. Any group of over 7-10 people can look awkward and the photos are usually not very appealing. But what if the group is not of 7 people, but of 1,500-2,000 people. If any of us will get the task of shooting 2,000 people we'll probably think it's a prank. But for photographer Chaim Perl it is part of his daily routine. Check out the in-depth BTS video and images of how he creates these huge group shots.
Getting it right in camera is one of the most important steps to achieving a great photograph, but color grading is what can really take your work to entirely new level. It has taken me nearly 2 years to find the right process and perfect combination to obtain the right look. And, over the course of my time writing for Fstoppers, I've been asked dozens of times about the coloring and process behind my imagery. Well, I've finally broken it all down in one quick tutorial.
As a photographer, I'm always looking to capture something in a unique way. This is the craziest landscape photoshoot I have ever done. By taping a tiny Nikon Flash to my DJI Phantom II Drone, I was able to fly my remote helicopter up the side of a lighthouse and light the entire thing with flash. Creating this photograph was one of the trickest shoots I've ever done, and this is how I made it happen.