When it comes to photographing animals, one of the most technically difficult images to capture is the running action shot. This style of photography often captures the most comical expressions, and is a necessary skill for artists who specialize in photographing dogs. Choosing the appropriate lens, camera settings, and lighting environment will ensure that you will be able to consistently nail your action images time after time.
It applies to life as well, but if you want to get out there and take some great images, don't be a d*#k. Eduardo Pavez Goye takes us through how he gets his street photography shots on film. It's a great challenge these days, the streets are filled to the brim in the cities, which is great for taking multiple shots, but it's not as easy when shooting film. You want to get it without someone moving in front of your shot to block and spoil your composition. I found his tips to be great. It's practical, and completely doable.
A filmmaker favorite, the Canon C300 Mark II has always been a little more expensive than other cameras with similar specs. Last year around this time, Canon dropped the cost from $16,000 to $12,000, and lowered prices on a few lenses. Now they have dropped it again, bringing it down so that for only $9,999 you can get a shiny-new, internal 4K video camera.
Even though many photographers like to think they can move to video whenever they want, the truth is both medias are totally different. Shooting films is an entirely different story than capturing stills. One example is stabilization. While many photographers can safely rely on their lens or body stabilization, videographers must use much more complex systems. One issue when starting out in the cinematography world is knowing what stabilization to buy. YCImaging created a video comparing three of the most popular options out there, giving us his advice on what to use according to our work.
Unlike most people in Photography, I didn’t pick up a camera for the love of making art. I never thought of myself as an artistic person but I wanted something better than my phone to document my hikes in the Appalachian Mountains. Quickly after getting my first Sony a6000 just like with all my hobbies I had to know everything about it and so I ran down the photography rabbit hole (and haven’t come back). Even though I do more with my camera nowadays than just documenting the trail, it has taught me a few things that have helped me immensely in my work.
Consumer drones continue to grow both in capabilities and sheer numbers at a rate that seems to be outpacing the government's ability to find a way to properly integrate them into the national airspace. As the FAA works to catch up, their newest proposal could be a big step forward.
Best-selling Author Steven Pressfield is educating others on how to break through creative roadblocks with his novel “The War of Art.” After reading this inspiring book, Photographer Sean Tucker decided to make an online video to share his new insights about dealing with creative mind blocks with the world. Tucker's video focuses on the idea of overcoming personal resistance and overcoming negative internal monologues. By highlighting his own roadblocks and proposing solutions to counter-act them, Tucker is able to offer hope and encouragement to every photographer out there who is suffering from the inability to motivate themselves to get up and create.
Did you ever play those "hot or not" games, where you were given images of two people and you clicked on the one you were more attracted too? Well, GuruShots is not really like that, but it is a photography community that's based around a similar concept of voting for images you like. Currently, you even have a chance to have your work exhibited at the Usagi Gallery in New York City.
We talk a ton about different lighting setups and how they affect tonal transitions, strength of shadows, etc., but rarely do we investigate how the way we work with our lights affects our subjects' pupil size, and yet, that plays a large role in a person's perception of a portrait.
If you're a photographer or really any kind of creative, you've probably at some point experienced the existential crisis along the lines of "does my work mean anything? Does anyone care?" This reminder that even the greatest among us had humble beginnings should put a smile on your face.
Inspiration is something we all wrestle with as creatives. Where do our ideas come from? Why can’t we simply come up with them on the fly? Why do we wake up at three o’clock in the morning with the perfect shoot planned out? How can we get more of these kinds of ideas? Let’s look at a few things that I do to keep myself inspired and ready to create.
We've all seen those inspiring commercials which claim to have been shot entirely on a smartphone. While technically they were captured with the device they are trying to sell to you, it is often with some heavy equipment adaptation which has always felt a little fraudulent to me, even if they do mention it in the small print which no one reads.
From Vanity Fair covers to designer fashion shows and theater stages, artist Sarah Oliphant has painted her way into the fabric of fashion by creating beautiful canvases worthy of framing on a scale large enough to become the industry's leading backdrop painter. Oliphant Studio has been creating scenic backdrops for photographers, film producers, fashion designers, architects, and interior designers since 1978. Along the way, Oliphant has collaborated with the top level of fashion and editorial portrait photographers including Annie Leibovitz, Steven Meisel, Patrick Demarchelier, Albert Watson, Mark Seliger, Norman Jean Roy, and Sue Bryce while also providing an inventory of backdrops available for rent to photographers beginning and advanced.
The Fstoppers community is brimming with creative vision and talent. Every day, we comb through your work, looking for images to feature as the Photo of the Day or simply to admire your creativity and technical prowess. In 2017, we're featuring a new photographer every month, whose portfolio represents both stellar photographic achievement and a high level of involvement within the Fstoppers community.
We all dream of having huge production budgets for our shoots, so imagine being one of the lucky few who get to work as stills photographers on one of the TV’s biggest shows, "Game of Thrones." With a budget of $10 million per episode for its latest season, you can only imagine the fun these photographers have on set.
No matter how small I am in the business I always try to watch how the big ones do it. Probably I won't be able to do most of the work those big budget movies do, but I still want to know the principles. Who knows what may come up my way that may need key knowledge I get from videos like these. In that segment the stunt coordinator Darrin Prescott describes how they shot the opening scene from "John Wick 2."
Color balance underwater is not always an easy task. In a fresh water spring, you have the ability to capture the red spectrum a bit more than in a pool, but still not nearly as much as on land. The approach to color correcting your underwater images is not as daunting as it may seem the moment you open them up on your computer and see just blue hues. A few tips will bring back what you envisioned the moment you submerged your camera.
The box-set revolution of the last fifteen years has pressed huge demands of screenwriters to flesh out narratives into 10-20 hours of television. Over the last few years, there has been a go-to technique that has helped writers add meat to the bones of complex narratives, whilst filling up the content needed to air modern TV shows. We’re talking about the flashback.
University photographers often end up rubbing shoulders with some pretty famous alumni, and that privileged position sometimes offers the chance to shoot some compelling portraits of said celebrities. Unfortunately, that doesn’t always mean you’ll have a lot of time to bust out the strobes in the studio. Sometimes, all you have is 90 seconds, a speedlight, and a hallway.
I'm a sucker for simple videos like this and can really appreciate what goes into making them. As I strive to jump more into video, it is interesting to stay tuned and watch what other people create to help give me ideas for future work. The coolest thing to me about a video or even a photo is the mood or feel it can convey. A lot of the video work I do, I focus on sharp focus, straight lines, clean shots, accurate color, cutting to music and a few other little things. I mainly shoot real estate videos, but it is nice to have the freedom to shoot whatever I want, however I want rather than following my standard rules for shooting real estate. I have been messing around more with video and hope to come out with something to show from it soon enough!
Landscape photography is a weird genre: there are no people, and unlike something like product photography, it's pretty much up to you to choose what to shoot and how to shoot it. So, it can often feel a bit nebulous as to how one navigates a world veritably inundated with imagery, particularly when standards are sky-high. This helpful video will give you some great pointers to get you on your way.