I get it: sometimes it's cool to have lights showing in a photo. It adds a kind of "Hollywood" effect to an image, and can make a subject look like a star. I think that is what the Expendables 3 promotion team was going for, but they added lights that not only aren't doing anything to a photo, but straight up don't make any sense.
Tis the season, a new senior class will emerge this spring. Thus, for high school senior photographers, a new class to educate about your business. As a senior photographer, I have already chosen and photographed my 2015 models/representatives, but it isn't too late to get started.
Here at Fstoppers, our goal is to hire some of the very best photographers and educators in the industry to provide some insight on how they work, and what they've learned within the industry they're a part of. Recent Fstoppers Writer and Lifestyle Photographer John Schell recently met with Framed Network to show them, and us, what it's like to work on one of his photo shoots.
Danny Santos II, portrait and editorial freelance photographer, recently published an awesome blog post where he pushed his new Nikon Df to the limit, taking portraits in low light at crazy high ISOs. You won't believe the image quality he gets out of the Df at up to ISO 4,500. While in the past we've railed on the Df here, here, and here for it's "hipster-esque" aesthetic, there's no denying that it contains one of the best sensors on the market today.
Irish photographer Kevin Griffin’s series “Omey Island: ‘Last Man Standing’” captures the calm, solitary life of former daredevil stuntman Pascal Whelan. The series is intimate and honest, capturing the everyday existence of a man who, after the tragic loss of a colleague and the end of his career, chose to return to his childhood home in Ireland.
Bokehliscious photos. That is the ultimate goal for any photographer no matter the experience level. When "bokeh" is mentioned, the first thing that comes to mind is the lens and the aperture. Although both play vital roles in bokeh, there are a few key elements that play an even more important role in achieving the finest milkyness in a photo. These requisites aren’t often discussed or even seen as necessary.
I've been there, standing in the middle of a field on a hot day with a scorching sun, mulling back and forth on how to capture a quality shot. In the back of my mind, I'm wishing for some cloud cover or an overcast sky to magically move in. A commercial client or art director doesn't care what time it is, they just want the right image. It’s up to you to capture that image with the weather Mother Nature has dealt.
By now, we’ve all seen the gigapixel landscape shots over the years, but I’m pretty sure never seen anything like the 900 gigapixel portrait series Swiss photographer Daniel Borschung has undertaken. I’m not much of a numbers guy, but when you have a robot arm taking 600 pictures of your subject with a macro lens, the results are a tiny bit mind blowing.
About 5 years ago, when I was still in my Photography college in Australia, our teachers would regularly introduce us to the new and noteworthy Australian photographers' and digital artists' work. Among others there was one artist, whose work really grabbed my attention and I have been watching her growth and success ever since.
Pepper Yandell is a talented young photographer out of Texas who shoots some of the coolest cars in the world. He recently was given an awesome opportunity to photograph a couple of supercars in a hanger with really expensive jets - the kind of shoot car photographers dream about. Pepper was nice enough to share with me about how he put this shoot together.
I'm guilty. As a commercial and fashion editorial photographer as well as a writer for Fstoppers, I love lighting, bokeh, rigging, and all technicalities involved with cinematography and photography. For many months, content fell second to setup. From my experience, there are three types of photographers: those that confide in instinct and sunlight, those that rely on post processing, and those that excel at artificial lighting and formalities.
There is an old quote that says, “If you want to shoot fashion, shoot in color, but if you want to shoot emotion, shoot in black and white.” I don’t know who said it, but I tend to agree. I do love myself a good black and white portrait. There is something special about black and white imagery which has the ability to cut through all the baggage and display both the inner beauty and turmoil which can be so easily hidden away by color photography.
The first time I saw a levitation shot, I stared at it for 15 minutes in astonishment. I could not conceive how the image was captured; I was captivated by the story it conveyed, it was surreal, magical and awe-inspiring. Conceptualizing the image and executing it can prove to be rather difficult and meticulous. Thankfully, photographers who have mastered the techniques involved in levitating have decided to share their secrets with us.
The Democratic Republic of Congo, often referred to simply as “DRC”, is a country steeped in reports of extreme violence, corruption and unrest. Citing ethnic conflict and the pursuit of control over abundant mineral resources, The New York Times referred to the country as “one of the biggest battlefields in Africa’s history.”