Fauxtographers. Everyone knows what that means, commonly associated with Mom-tographers and GWC's. Basically someone that self describes as a photographer with no basis or experience to warrant such a title and in some extreme cases, people who have for long stretches of time have made claims of being a professional but have not improved their methods or techniques past what that little green square on the camera does.
In this Film Riot video, actor and director Ryan Connolly gives us the rundown on how to create a blind eye effect, similar to what we see happen to Arya Stark in HBO's, "Game of Thrones." Film Riot pulls this off in Adobe After Effects (although this tutorial can be applied to your compositor of choice) and without the use of painful contact lenses.
For a very short time, you've got a chance to get some of the best off camera flash products on the market at a hugely discounted rate. Get almost 50% off FlexTT5 Transceivers and MiniTT1 Raadio Slave Transmitters, for both Nikon and Canon. A wide variety of other PocketWizard products are also discounted until tomorrow May, 12th.
I have been on Instagram for quite some time now, almost five years actually. Being a designer by day I can appreciate the simplicity they have put forward for years. The way you can snap, edit, and post a photos so quickly is astonishing to me, and to a platform that works so well. Today, they are changing it all up with a super clean logo and branding across the line of their apps. They are also quietly pushing out the new UI which consists of a total overall of the look and feel of the app.
SLR Lounge founding partner, photographer, and retoucher, Pye Jirsa, walks us through a quick Lightroom tutorial on how to adjust a photo that has mixed light. How many times have you taken a group shot only to find one or two of your subjects were poorly lit because they were too far from the source light, hidden behind another subject, or from using multiple ambient light sources?
I surround myself with creative and inspiring visionaries. One of them is a conceptual photographer and illustrator named Elena Ohlander, whom I am happy to call my best friend. Her focus is in conceptual self-portraiture and illustration that deals with identity, gender issues, space, individuality, and pop culture. Her main influences are Taiyo Matsumoto, Gregory Crewdson, Paolo Roversi, Cindy Sherman, and Japanese aesthetic.
For those of you may not know, we recently created a 20 hour photography tutorial with the incredible Joey Wright on all things swimsuit photography and retouching. We've been posting a weekly behind the scenes series of the creation of this tutorial. This is Episode 4.
Today, more and more cameras have wireless technologies built into the body. So far, the concentration on development for the use of these antennas has centered around image transfer and social media connectivity, posting directly to other services, etc. But that’s far from all that can be accomplished when cameras start being able to communicate with one another.
The world of photography and imagery is a rapidly evolving field. As stills and video have been exponentially improving over the last two decades, a more advanced kind of imaging is making it's way onto the scene. Virtual reality is actually becoming a reality, and Fstoppers writer Douglas Sonders is one of the individuals leading the industry. Tomorrow at 2 PM EST, join Douglas Sonders, Alex Chechelnitsky, Ben Nunez, and PJ Morreale for a B&H hosted live discussion as an intro to VR as a medium and a progressive methodology for content creation.
This is a pet peeve of mine, so I am going to thank you in advance for indulging me. There seems to be a rampant misunderstanding in certain levels of the photo community as to what editing presets are, and what they actually accomplish. I (like many of you I would assume) am a member of various photo-centric groups on Facebook. In particular, I am a member of groups for people who have purchased Lightroom and ACR preset packs from a variety of creators. Almost daily I see posts in these groups that go something like this: "I thought my photos were beyond hope, but then I applied "WHIMSICAL PRESET NAME" and they were saved! These presets are amazing!!!1!111!!!" Sound familiar?
If there’s one thing you can rely on us photographers for, it’s bleeding every last drop of quality out of our work. We feverishly pursue clarity like a commission-only ophthalmologist and over the last couple of years, time-lapse photography has been the most blatant exhibition of this.
I fell into a canal in Venice with the ThinkTank StreetWalker HardDrive Bag on my back. I was walking too close to the edge while looking at the bridges and architecture, and how the water brushes up against them, when I stepped on a moss-covered section of the canal ledge. I slipped, hit my bum on the ledge, and gently slid into the canal. There was no splash, and my head didn't go below water, but the ledge was so slippery that I couldn’t get out by myself. I was floating in the canal for what was the longest 30 seconds of my life.
People who are new to photography or videography often have huge levels of enthusiasm. The learning curve, however, is a steep one, and it can take many years to get to a point at which you're happy with the quality of your work. How then do you ensure that you remain enthusiastic about your craft amidst the disappointment of a mediocre standard of work?
With little exception, every time you agree to provide raw images to your client, you are hurting your own brand and doing that client a disservice. Although it might be easy to feel, it may be hard to understand exactly why this is. Even more difficult is how to then explain your decision to your clients in a way that also makes them feel good about receiving 'less.' Thankfully, Austin-based commercial photographer Caleb Kerr has all of these answers.