Articles written by Andrew Link
As a traveling photographer, I live and die by my travel gear. Certain situations call for different solutions and you just have to be prepared for all of them. My custom Pelican cases I once posted about get me just about everywhere, but those other times where I need to either be lighter on my feet or take less gear I have to look elsewhere... and that's when I found my Dakine Reload 30L .
We're all human and we all screw up. Though, as Photographers, its not always noticeable to those around us. Of course we still notice, whether at the shoot, or after while we're reviewing our images. Here I've collected a bunch of screw up stories from some friends so that maybe next time you can think of these and not feel so bad.
Years ago the only way to print a photo was to make test strips, make a test print, go back and dodge and burn details, make more test strips, another test print and so on and so on until you got the result you were after. In these photos released by Magnum Photos in New York, you can get a closer look at the process followed by their master printer, Pablo Inirio.
According to what I've been noticing in a lot of the comments posted here on Fstoppers, there seems to be plenty of photographers who absolutely hate Photoshop. So lets have a bit of a discussion.
Technology has become part of everything in our lives. Cars get better and better. Phones have become portable and are now the size of a credit card.
One of the reasons I love working for a magazine is that it forces me to be a Jack of all trades. While Automotive Photography and Portraits are my focus, Product Photography, Event Photography, Documentary Photography and any other discipline you can think up will also present itself from time to time and I'll have to adapt. The image above is the perfect example of the daily challenges I face as the Photo Director of RIDES Magazine , we needed something high speed and I had a day to teach myself how to do it. Here's how I did it.
I have a horrible habit of being really hard on myself when I hit a snag in my shooting or processing. Anytime I'm in a rut, things can go haywire. I get depressed, don't feel like working, and become pessimistic. I know it's the same for a lot of other shooters too.
One way I get over it is to go back and look at images from way back before I was shooting professionally.
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.
We've all had that moment. You're out shooting on location, the shots are looking great, the weather's perfect, and then CRASH... a rogue gust of wind tears through your set and blows over your light stand. Bummer, but there's one piece of gear you can take on a shoot to prevent this kind of catastrophe, and it's not a sandbag.
A few weeks ago, I flew to Los Angeles to shoot a commercial project for Mitsubishi. They had a custom Outlander built by RIDES Magazine and were in need of press shots. Studio shooting can be among the most challenging of all types of photography, but with a little patience and some care, its really not that difficult. Here's how we did it.
7 years of shooting Automotive Editorial Photography has taught me to streamline as much as possible. One area I've simplified to fit my needs is my lighting kit. I used to rent gear wherever I could, but after you use your own gear long enough you almost develop a relationship with it and now I definitely prefer to use my own lights.
Automotive Editorial Photography will teach you many things. Mostly though, it'll teach you how to make something out of nothing and how to operate quickly and efficiently. I can't tell you how many times I've shown up to shoot a car only to be told it can't be moved from where it sits. It's those situations that will really test your mettle as a photographer and I've actually grown to love those challenges. One challenge from last year that I really enjoyed was a RIDES Magazine cover that would require fitting and lighting 10 cars. Here's how I did it.
When people think of high end commercial automotive photography, they’ll sometimes call to mind images of cars with that distinct light streak down the side. That light streak that so many automotive photographers lust after is actually not a product of black magic, as it seems to be when you’re starting out, but actually incredibly easy to replicate with a technique called light painting.