Max Riché, a commercial photographer based out of Paris recently shot a huge project for the Red Bull Media House using the same concept as his "Becoming and Athlete in One Photo" series. Shooting trail-biker Petr Kraus against a black backdrop and using light painting techniques, some strobes and then later bringing all of the images into Photoshop he created these awesome fluid-movement series of photos.
As a wedding photographer, the engagement session is probably one of the best ways to get to know your clients before spending 8 or more hours with them on their wedding day. These sessions are about the two of them as a couple and how they fell in love. Most of my sessions are held about 2 hours before the sun sets, but what about when you have a couple that wants to shoot at sunrise? I have to admit, I hardly ever get up any earlier than 9 AM most days, so the thought of being functional at 6 AM was terrifying. But the results? The light was beautiful and completely worth it.
Guest writer, Corey Rich is primarily an outdoor/adventure photographer, but last winter he decided to do something totally different and shoot CrossFit—the masochistic athletic craze sweeping the nation. More than anything, he was keen to experiment with heavy-duty artificial lighting in an indoor environment–not exactly what he's known for. His goals were simply to elevate his lighting skills, unlock his creativity in different ways, learn some new things, and have fun in the process.
A small team based in Melbourne, Australia wants to change how you view your studio lights. They say their new invention, the LED Light cube, offers answers to age-old problems. Their Cube has no recycle time, better control over light output and no external battery packs. Due to The LED Light Cube using an LED model rather than a filament, the Cube can just as easily double as a video light as well as a flash. Sounds cool right?
When Falken Tire decided they were going to run an all Honda ad on the back cover of Honda Tuning Magazine, their creative department, headed by James Yim, knew it had to make a statement. Their solution was to include a lot of cars...45 to be exact. Here's how they did it.
This is the second part of the article on how to learn to "read" lighting in photography. If you haven't read the first part yet, please start here: How To "Read" Light In Photography - Part 1.
And for those of you who have been waiting for the second part, let's jump right back in and see what other cues we can use to breakdown lighting in other photographers' work.
Just recently Zach posted a guest article on 3 Nightmare Lighting Environments and How to Photograph Them with tips from top shooters Lindsay Adler and Erik Valind. This simple behind the scenes video takes a look at some amazing tips not only covered in the article, but in their book, Shooting in Sh*tty Light. You can catch their creativeLIVE workshop starting tomorrow.
One of the first very important skills I acquired in my Australian Photography course was the ability to breakdown lighting and determine approximate camera settings in images taken by other photographers. If you understand how the direction of light and its degree of diffusion are controlled and how they affect images, it should be easy for you to train yourself to "read" lighting in the images you see in magazines, on billboards and in your favorite photographers’ portfolios.
Yesterday, I showed you the process of pre-producing a successful photoshoot and used a recent session as an example on all the steps it takes to put together a successful session with a large team. Today, I put together a breakdown of the entire production and post production process on creating a successful portrait session and a behind the scenes look into what all goes into it.
When we talk about on-location mixed lighting we usually mean shooting with light sources of different nature, such as natural ambient light and artificial, or shooting with lights of different color temperatures (tungsten, fluorescent, flash, etc.).
There are dozens of cool effects that one can achieve when mixing ambient light with controlled lighting, but today I would like to talk about mixing lights in studio - impulse (i.e. strobe or flash) and continuous. I love this technique and hope my article inspires you to try it out too.
There are times when I find myself shooting the same stuff or using the same lighting setup over and over again. Repetition helps to improve and fine-tune my skills, but sometimes it just feels boring and degrading, let alone useless for my portfolio.
But as much as I dislike feeling stuck and repeating myself, I now realize how such times in fact help me to become a better artist and shooter. It's usually the desire to entertain myself and experiment that leads me to new personal artistic discoveries. It's when I'm bored and want to "spice it up", I start searching for new lighting ideas, tricks and techniques.
This week the ever talented Benjamin Von Wong has taken a particularly difficult challenge of shooting not only a cover album for classical artists, Homzy/Kesler Duo, but their music video for their latest single, 'Curiosity', on the same day. In the behind the scenes video Benjamin walks you through the lighting he used for the photography portion of the shoot.
I have started to see a trend with using projectors to add some flair to photos. However most portable projectors do not pump out the brightest light and cannot run off batteries alone. Meet the Light Blaster. A new tool that uses your speed light and lens to project slides in your photos, from backgrounds, special effects, and anything else you can dream up.
Día de Muertos or Day of the Dead is a Mexican holiday that has seen a spike in exposure in the United States the past few years making it a perfect subject for a photoshoot. Follow Jay P. from The Slanted Lens as he takes you behind the scenes of his latest shoot featuring a model dressed up as a Calavera (sugar skull) posing in an eerie cemetery backdrop.