Running your own business can be the most fulfilling and most frustrating thing someone can ever embark on. It's both draining and empowering at the same time; quite simply, it's the most toxic relationship you will ever be in, but you'll always be going back for more no matter how crazy people say you are.
How many of us picked up our first camera because it was a way to make a buck? For most videographers, the hustle of media production work gradually evolved from a passion for filming into a business formula based on our strengths, reputation, and market necessity, but fun was the kickstarter.
Watch as Josh Connolly tests out the slow motion explosion he bought off Amazon Prime (ya, you heard me) and then learn how to create your very own. OK, they won't actually teach you how to blow things up, but they will entertain you while walking you through the process they used to create a slow-motion explosion effect. So, even though you may go to Film Riot to learn filmmaking techniques and how to create kick-ass visual effects, you'll go back for the sketches.
We first saw the trailer for "The Boy with a Camera for a Face" some three years ago. And while it may seem like director and writer Spencer Brown took his good old time, (at least for those of us who were waiting with bated breath), you'll be glad he did. The resulting satirical fairy tale, narrated by Steven Berkoff, is beautiful, humorous, and grim and speaks to how we live our lives in today's media-driven society.
As we celebrated Martin Luther King Jr. Day this week, we saw many striking reminders of the power of photography in documenting progress and creating change. The issue of race in America is as strong as ever, and as we pause to celebrate one of the greatest leaders of the Civil Rights Movement, we examine the power of photography in the last half-century.
Abandon fake Photoshop lens flares and enhance your photographs with lens flares captured in an actual camera. Vibrantly colored and rich in detail, these flares are created using Nikon, Leica, Fuji, and Pentax cameras. Fairly simple to use, the Principle Light Hits Pack by Lens Distortions is definitely becoming one of my new favorite toys for creative post editing.
In my last article on flash photography, I gave you a few simple techniques for keeping your flash looking natural and allowing it to blend in with your existing light without calling attention to itself. This time around, we're going to do exactly the opposite, and look at how varying the amount of ambient light in a photograph can affect the way your flash appears and how this can be used for dramatic effect.
When talking about the differences between full-frame cameras and crop sensors, one of the biggest arguments in favor of full-frame sensors is the ability to produce images with a shallower depth of field. This was always my understanding of the subject as well. But after watching this video, I have seen the error of my ways. As it turns out, if all the variables are the same and the only thing changing is sensor size, the smaller the sensor, the shallower your depth of field.
For the last several weeks, the Fstoppers team has been working with Joey Wright in Curaçao filming a new original tutorial on swimwear photography. While we were filming, we used some of our time with Joey to offer feedback to a variety of images submitted by the Fstoppers community. We chose 20 images to critique. Check out our selections below and add your thoughts and ratings to the comments below.
When Steven Erra was in art school, he found out that he had an eye disease that would cause him to go completely blind within 20 years. While for many people, this news would be devastating, for Erra, it motivated him to create the best art of his life. Check out this inspirational video showing insight into Erra's story.
The ability to direct models (any model) in your shoot is key to any visual project. You might have the best location, styling, and lighting setup, but if you don’t have the right kind of emotion in your model's face, it will all have been for nothing. Your mission is not just to press on the shutter release, but to also be a director. Here are the dos and don'ts and a little bonus at the end.
About two years ago, in the spirit of adventure and creativity, I decided I was going to try and photograph the ocean with artificial lighting. I had an image in my head of all the things I’ve seen in daylight hours, with the stark contrast of an illuminated wave against a dark backdrop. A run-of-the-mill day down at the beach certainly wasn’t going to do either. We were going to go straight to the top and shoot the biggest and meanest waves we could find.
A long time ago, our ancestors drew paintings with their hands in caves; later, they used papyrus paper, then canvas, all the way up to glass plates, film, and digital pixels. The means might have evolved, but mankind has always had the same instinctive need: storytelling.
I’ve always been a fan of big lights. There are certainly situations where they aren’t appropriate, but a lot of my work is centered around big, soft light. What has always drawn me to large sources of light is their versatility. Almost every subject looks good with soft light. Because large light sources cause such soft gradation in the shadows, they can be useful for both younger subjects with smoother skin, or even older subjects that may have wrinkled and scarred skin. However, there is one thing that should be cleared up: the definition of a large light source.
Faster, higher, stronger is the code by which I have made most of my lens and camera decisions for nearly a decade. I've never been satisfied with f/2.8. I've waged war between the focal planes of the eye and the eyelash, and I have the scars and image casualties to prove it. As I grow older and my battle-weary eyes begin to look back at my quest, I have begun to see the emptiness in it all. Were even my perfect shots completely out of focus?
We all know it's a little bit more competitive for females to "make it" in the photography and film industries. Yes, it is. The gender gap is real, and I'm not being a feminazi. There are studies about this — science. Even women who are the main characters in films don't get paid as much as their male counterparts (Jennifer Lawrence in the Hunger Games, anyone?). It's even worse for women who are behind the screen, the creators of these big projects. The team over at Vimeo isn't having it anymore, so they are doing something about it.