Learning how to light your subjects with one light is easy. Learning how to light a subject in a variety of ways using one light and one modifier requires a bit of creativity. When you're using one light, each inch you move your modifier ultimately affects your scene. Lighting at that point becomes very purposeful.
The natural beauty contained within Enrique Pacheco ’s latest time-lapse video “Reflections from Uyuni” is striking and remarkable. During South America’s rainy season, Pacheco journeyed through the Salar de Uyuni, the largest salt flat in the world, down to the Bolivian desert capturing surreal landscapes of these flooded lands. Fstoppers is happy to share the Spanish cinematographer’s insight as to what the experience was like shooting in such surreal locations.
Shooting in harsh sunlight is always a challenge. Recently I shot a test while out on a trip in Los Angeles. Due to scheduling we had to start shooting around 4 p.m., so we were dealing with hard sunlight. In this post we will look at five different setups you can use to shoot in and manipulate these less than ideal lighting conditions. In a previous post, I showed how to quickly scrim hard lighting . In this quick tutorial we will look five different ways to light while in the same environment and conditions in order to alter the look of our image.
Do you want your sensor to shift in-body to create a higher-resolution image? Want 4.5-stop image stabilization built into the body so we can benefit from its use with any lens? Want to be able to decide for every shot exactly what level of anti-aliasing you want in order to balance moiré and sharpness? It’s all possible with the new 24-megapixel, APS-C Pentax K-3 II . And, it'll likely be possible in their rumored full-frame camera. Pentax is great, but why aren’t we seeing the “bigger” brands pony up with groundbreaking features?
With budget options for aerial video becoming more affordable, while the quality and abilities of the cameras they host getting better, I knew it was only a matter or time until I got my hands on such a system. Even though I was a little skeptical from the onset, I’m pleased to say that the DJI Inspire is a phenomenal drone/quadcopter unit for adding dramatic footage to video or still projects, even for first time users.
When you are shooting for magazine publication (outside of the medium format realm), one thing you always have to consider is the aspect ratio of your images. Paper sizes, in most cases, do not match up to image size, so there are crop variables you have to constantly keep in mind -- especially for editorials where there will be titles, typography or article copy on the page as well.
A new filtered camera app that allows groups of mobile photographers to share in a timed shootout was released for iOS last week by app developer Hipstamatic . The free app, called DSPO , creates a collaboration of images via gallery or slideshow that none of the contributors can view until the session expires. But in a mobile photography world ruled by Instagram, Snapchat, and VSCO Cam, does DSPO stand a chance?
Hong Kong native turned U.S.-based portrait, fashion, and fine art photographer Gabrielle Shamon splits her time between Portland, Ore. and Columbus, Ohio where she is an industrial design student. Her series "Damages," shot in the winter of 2014, featured provocative images depicting implicit violence or harm, made all the more uncomfortable in the dearth of explanation. Shamon was kind enough to sit down for coffee to talk about the experience shooting the project and the motivation behind it. Take a look.
You have probably heard it a few times: photographers raving about how Capture One is awesome for developing portraits from raw files. However, just like when I first installed it, you might not see any advantage over the current raw processor you are using. Then I found a few functionalities that made my workflow that much quicker and my images look a tad better before even retouching them in Photoshop.
I rarely write in first person but because this is a topic I feel very strongly about, I want to tell you about my personal experience. When I was reminiscing with my wife about the one thing that changed my photography, it was the day I saw the light. Literally. The only way I was able to conceptually grasp light and the way it works was because I started retouching. There is no way to deny it, as I mastered retouching my photography was taken to the next level.
Post-Production and Retouching is just as much an integral part of creating a great image or series of images as pre-production and the actual shoot, especially when you are shooting for a client and not just for yourself. Each genre of imagery, advertising, beauty, fashion, etc. has a slightly different set of rules and parameters when it comes to retouching. In this tutorial we will look at the complete start to finish of a fashion editorial image. Last week I posted the complete gear list for this exact shoot . This week we will look at the first part of retouching, including cleaning up our white seamless and correcting distractions in our image.
There are three things in life that photographers will clear their schedules for: Apple announcements, Nikon/Canon late-night pre-orders for new flagship bodies, and Adobe product releases. So clear your schedules, guys and gals; because Adobe’s Lightroom 6 is here with more speed (FINALLY!), more features, and rich mobile integration.
Dana Pennington is a Los Angeles-based Fashion photographer . He recently moved to become a permanent resident in Los Angeles, from his home town Denver, Colorado. I had the chance to sit down with Pennington during my first trip to L.A., over the past weekend, and talk to him about his journey into the fashion photography industry.