Photo walks have grown exponentially in the last few years serving a growing international collective of photographers who are looking to meet other like minded souls and shoot together. Next month sees the second 500px annual Global Photo Walk taking place on September 6th, promising to be the biggest photo walk of all time.
Articles written by David Geffin
Our DSLRs have confused us. We obssess over the wrong things. Sharpness at 400%; bokeh characteristics of lenses produced from what-must-surely-be prancing magical unicorns; high speed burst frame rates that make cameras sound like gatling guns; 4k resolution to shoot better cat videos; 100 auto focus points that still won’t focus on what we need them to; and noise performance at 400,000 ISO. Absolutely none of these will make your photographs better. Shooting film will though, here's why.
The premise for the Cutting Edge Tour headed up by Adam Epstein, five year veteran video editor and post production guru for Saturday Night Live, was a tricky one. I know because I spent a few days bouncing ideas around with him and looking at how to structure the thing. This review will set out specifically what you will (and won’t) find in the workshop.
I recently noticed that a handful of photographers were producing images that had a look as if they were stills captured from films. A couple of the most well known photographers of this genre are based here in New York so I got them together and challenged them to not only come up with a dynamic personal project on the fly incorporating this cinematic look, but to share with us how it is achieved. Read on to find out how it all went down...
There is one thing we all share in common, regardless of what we shoot or what gear we use. When we raise the viewfinder to our eye, we take it for granted that we can actually see what we are photographing. Brenden Borrellini is completely blind, but that does not stop him making photographs and loving every moment of it. This is the fascinating story of the blind photographer.
Most of us love natural light and feel comfortable shooting with it – but how well do you really know how to utilize it effectively and to control it with precision? I just spent the day with Erik Valind, a New York City-based lifestyle photographer in his 'Controling Natural Light' workshop. Here are 17 simple ways to help get great results from better understanding and utliizing natural light.
Miss Aniela creates photographic magic. She inhabits a dream world and uses her photographs as a visual means to realize the whimsical, highly creative visions that she dreams up. Her new commissions for Nikon’s D810 flagship launch blur the boundaries between fantasy and reality even more than usual as none of them utilize Photoshop, only relying on some technical post work in Nikon’s NX-D RAW image software.
Stijn Verlinde is boarding a flight home to Belgium from a shoot in Las Vegas. “The one piece of advice I would give to anyone starting out is 'be dedicated'.” Stijn, who started out a few years ago with some basic gear has lived by that advice. He is constantly working and is revolutionizing dance music festival videos across the globe. His success is not elusive or down to luck – it’s the result of three very clear factors we can all apply.
David Bailey is a master of portrait photography. His four month gallery exhibition “Stardust” just closed in London. It took 3 years of planning to put it together, and looked at his 50+ years as a photographer and artist. I got to see it before it closed, but if you didn’t get a chance to go, don’t worry – here are five things that I think made Bailey the success we celebrate today, and what we can learn from him.
There is one thing that constantly keeps cropping up in both my own work, and in the work of others I see around me. I've worked with more and more photographers and videographers lately who just shoot with a single zoom for most of what they do. So many people I see seem to be producing strong work with one decent zoom. This post asks a very simple question that keeps bouncing around in my head. "Just how many lenses do we actually need?".
I just got off a plane from a job in London a few days ago. It necessitated bringing some gear, and while I made every effort to travel light, it still felt like a huge amount of weight to carry. As soon as I saw these vintage photographer photos, however, I realized I had almost no grounds to complain about the imposition of the size or weight of my gear ever again.
Ever wanted to read about an innovative commercial production involving bullet time innovation, mobile photography, the use of camera motion in sequenced stills, and a guy called Jesus who is an Evangelist and a literal savior? If so, look no further, your prayers have been answered, because this post covers all of these bases and more.
When I got a chance to try the new Fuji XF56mm f1.2 I jumped at it, not just because it was substantially cheaper and lighter than the Canon 85mm f1.2 II I’d played with last year, but because this lens is a clear shot across the bow at Canon and Nikon, with a lens aimed at professional portrait shooters. This was a new line in the sand, but could this thing play with the big boys?
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.
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".
SPOILER WARNING. Listening to Vincent Laforet might leave you forever changed, never able to watch film or TV the same way again. The silver lining is he can also change the way you shoot, and engage, with your audience. With that disclaimer out of the way (you can't say I didn't warn you), join me as I talk to Vincent for this exclusive as we venture down the film and motion rabbit hole. How deep we go is really up to you...
The new Fuji XT1 is Fuji’s best designed, highest performing X Series camera yet. It's the young buck on the block, a DSLR-styled body that’s turning heads left and right. It’s tiny, packs a huge punch and there is no doubt in my mind that it will be delivering a TKO to more than a few DSLRs. But is it really that good? I pushed this thing hard for a solid month to bring you the review, read on to find out.
We might be focused primarily on photography here at Fstoppers, but many of us shoot video and many more are heading to the dark side and getting into the world of motion. This gorgeous little animation from the guys over at Inside The Edit details what a video editor does, and why editing is both misunderstood and yet so critical in the narrative process.
Mary Ellen Mark is one of the world’s greatest and most influential documentary photographers. Next month, 65 years after she took her first photograph, she will be the recipient of the Sony World Photography “Outstanding Contribution to Photography” 2014 Award. What is it that earns a photographer such an esteemed accolade? Let's take a brief look at her work to find out.