For landscape photographers, a tripod is essential tool for creating those amazing photos showing the movement of rivers and streams. When the dynamic range of a composition is in the double digits, a sturdy tripod will help to blend bracketed images in post. Also, for those who want to create incredibly large panoramas or nighttime imagery, the tool kit begins with an excellent tripod. Zion National Park has become even more restrictive for 2018 and removed the ability for photographers in workshops from using any tripods on any trails within the park.
Each year Patrick and I work on one extremely large project. Two years ago we created The Art Behind The Headshot with Peter Hurley. Last year we finished our 14 hour tutorial on how to become a wedding photographer. In 2013 we teamed up with Mike Kelley to produce what I believe is the best resource available on How To Photograph Real Estate, Architecture, and Interiors.
This year for Christmas I wanted to surprise my father with his dream car, an original Chevrolet Camaro convertible in hugger orange with white rally stripes. Being that I'm a photographer I decided to photograph the car and give my father a framed print of the car before I revealed that I am actually giving him the car.
Most simple scenes in films are lit in a very elaborate way. In this workshop, cinematographer Eric Kress shows how he lights a casual over-the-shoulder composition, making it look natural while everything is shot on an artificial set.
Last week Lee, Mike, Lauren, and I headed down to the Bahamas to work out all of the details on the Fstoppers Photography Workshop taking place at the Atlantis Resort from May 28 - June 1st. B&H gave us a ton of gear for our trip and asked us to "test" all of it in as many different ways as possible. I believe we succeeded.
There isn’t much worse than doling out a substantial amount of money and ending up on a less than stellar workshop. I’ve been there, done that, so here are a few thoughts on how to have a great photography workshop experience.
Last year at my workshop in the Bahamas, my students challenged me to photograph a hotel room in under five minutes. They then wanted to see how fast I could retouch it, and I've decided to do it again, this time capturing it on camera, to show everyone what is possible with only a few minutes on location, a bit of Photoshop knowledge, and of course a lot of practice in the art of previsualization!
I recently visited the Atlantis Resort in the Bahamas with Lee and Patrick to scout out locations for my upcoming architectural photography workshop and we were pretty much given unfettered access by the Atlantis marketing department to shoot whatever we wanted. First on the list? The $15,000 per night penthouse suite. I only brought a minimal amount of gear
There is a reason people say that your price range usually determines what kind of clients you attract, and this also often holds true for photography workshops, not just for weddings or photoshoots. I found this out in the hard way; I burned out, made hardly any profit, sometimes even loss. So, how did I end up in this situation and why did I keep going instead of learning from my mistakes early on?
After a four-hour trip to London and only being able to catch whatever sleep I could during the uncomfortable journey down, I met with Peter Hurley and immediately felt welcome. For those of you who don't know, Peter Hurley is a headshot photographer based in New York City. Hurley once had a career as a model and was also part of the U.S. Olympic sailing team. He is known for his clean, white background headshots and for coining the phrase "squinch," which has now become relatively mainstream thanks to news channels and shows like Orange is the New Black. To many, Peter is known as the best in the business and this may be true, but, what is Peter actually like to work with?
New gear is always fun to work with, however a new piece of glass is not going to make you a better photographer. Many new photographers feel the urge to buy the latest gear thinking it will improve their skills. Learning how to work with what you have, learning new techniques, or even changing directions for a new desired genre is far more important than that latest camera announcement.
Through the years shooting weddings, I have found that my favorite photos always tend to be those charming candid moments that last ever so briefly. In this video and article I wanted to talk about my technique in how I set up and capture well composed and lit candid moments. Hopefully I will see you all in the Bahamas where we are going to dive into all of these subjects in complete detail in our Ultimate Wedding Photography Workshop!
As of right now, you're able to stream all of Nikon School's online classes for free, right from the comfort of your living room.
Primarily, I'm a NYC Wedding Photographer. However, I also photograph business headshots in my NJ Studio as well. I love doing this as a side-gig that brings me extra money for practically no work at all. To be honest, I wasn't really all about it when D.C. Headshot Photographer Moshe Zusman told me I should start implementing it into my business. Seemed a bit boring and I didn't get how it would make me more money than the $10,000+ High-End Weddings that I photograph now. I was wrong.