Photographer Jerry Tovo has spent the better part of the last 2 years pursuing a personal project around the USA called "They May Have Been Heroes." The project is dedicated to raising the Nation’s awareness to the plight of the hundreds of thousands of homeless Veterans, by photographing, videotaping and otherwise recording their stories. The photos and stories are both captivating and heartbreaking.

Lenses, bodies, lighting, software, film, digital. Photographers can be a technical bunch. We must not forget what lies beneath the tangible, first-order details, though.

Recently I had an opportunity to try my hand at creating the new hotness in cyberspace, Flixel Photos Inc.’s Cinemagraph Pro for Mac, what they are calling a living photo creation software. Cinemagraph Pro allows users to easily create Cinemagraph images, a media form that combines elements of a moving video to a high quality still photograph or referred to as 'hybrid photography.'

For those of you who don't know who Pratik Naik is, you're missing out on an extremely talented and witty retoucher with immense talent. Known by many as Solstice Retouch, his work is seen around the world in many a marketing campaign and commercial work. A little over a year ago now, Pratik started his youtube channel, under the name 'Solstice Retouch' and has posted a variety of different video types ranging from time-lapse videos of his retouching of work, some gear reviews and thoughts, and additionally some downright comical videos. Just recently though he posted a video of his review of the demo of 3D LUT Creator.

Over the past month I've been hard at work testing the Blackmagic Pocket Cinema (BMPCC) camera in a variety of situations for an Fstoppers review (since they updated the firmware, it's like an entirely new camera). While that review is still in progress as of today, I did want to talk to you guys about one piece of equipment that made shooting with it a great experience: the Metabones EF to Micro Four Thirds Adapter for the BMPCC.

Corporate events are perhaps my favorite thing to photograph these days. There are so many different shots I can create at a conference that I am never bored. Networking opportunities are in abundance at any given corporate affair, and most of the people in the room are working for a company that has the budget to hire me to shoot for them.

Starting in the photography field is difficult but this is one crowd I don't have to convince. For that reason, I've taken to surprise-interviewing friends in the industry for the most unedited answers to our questions. This is access to people I wanted during my first years, and now I am making sure other photographers have what they need (and what I needed when I started out).

In the years I've been in this industry, one of the more pervasive problems I have seen talented people deal with is personal fear: Fear of failure, fear of uncertainty, even fear of success. I think a misconception is that successful people do not experience these fears. They certainly do, but they have learned to overcome them, harness them, and succeed in spite of them.

Samsung has a weird, and to me slightly irritating, inclination that is bordering on habit: pushing products into hybrid scenarios that are doing just fine where they are. As someone who likes to have a camera, a tablet and a phone as separate devices (because, well I use them at different times for different things), I am continually baffled by the choice to shoehorn them into each other. I’m also disappointed that consumers are rewarding this, and Samsung is at it again with the Galaxy S4 Zoom.

What happens when the sun is setting and you want to get a balanced exposure of the setting sun in the background and your subject? The reality is you can't without the use of a strobe and high speed sync. In this article, I’ll share with you how I was able to get a perfect exposure on my subject and the background using high-speed sync.

I've been looking at the Sony Cyber-Shot DSC-RX100 for a couple weeks now, and as awesome as the specs look on paper, I'm somehow still in a fog of "meh." The compact point-and-shoot camera used to be relevant, but I haven't felt that to be the case for some time now. These days, the compact camera market belongs to the cell phone, and for anything else I'll just pick up a DSLR or a mirrorless. So what do you think? Do you care this camera exists?

How would it feel to photograph Will Ferrell or Seth Rogen? How would you ever get to be able to shoot clients like these? How do you marry technical capability and develop your own style to deliver something unique? What if you could learn from someone doing this sort of work day in day out? Well, now you can, in this exclusive interview with Emily Shur.

Hard drives are something we all need. But in an industry that advances (i.e. depreciates) so quickly and with increases in price due to flooding in Thailand, how can we be sure we're getting what's right for us? And how can we stay technologically flexible with upcoming releases when we have 'old' hard drives? Do I need Thunderbolt? Do I need more than two hard drives? How can daisy-chaining help me? These are some of the starter questions that lead into an entire breakdown of what you might need in certain situations.

We've all done it. We find a location for our subject, place them, set up a light pointing down at 45 degrees, check the light power, and start shooting. When shooting an environmental portrait, there's a lot to worry about. From interacting with your subject to hauling equipment and making sure makeup and wardrobe are on point, it's easy to fall back on our go-to lighting setups. As an exercise, though, let's concentrate on ancillary lighting first and see how it can drive the narrative of our shot.

Boston Magazine’s May 2013 cover image by photographer Mitchell Feinberg depicted running shoes from Boston marathoners shaped into a heart. It was a fitting, smartly conceived statement to a city recuperating from the terror of the finish line marathon bomb attacks. To promote the upcoming Bath Half Marathon 2014, Bath Magazine in the UK printed a cover image almost identical to the Boston edition, sparking an internet controversy.

In what may well be the most outrageous photo shoot that I have ever seen, Olaf Hauschulz was presented with what must be an incredibly rare opportunity to shoot a Lamborghini Gallardo for Lamborghini Magazine. The setting? High in the snow-covered mountain ranges of Romania, with the car drifting around corners, inches from guardrails

Lindsay Adler launched her new company this spring, Dream Shoot Rentals to provide couture dress, accessories, and props to give photographers a source to execute their visions and build their portfolios. Lindsay explained her new vision for this company: “While teaching across the United States, photographers are always asking how they can get a hold of gorgeous clothing for their shoots. Often pieces are too expensive or difficult to attain.

“Expect the unexpected” is great advice for anyone, especially for a photographer. Making the necessary preparations for a photoshoot is essential to success, but what about matters that are beyond your control? We will review three of the most common obstacles that can potentially derail your next session, and how to best handle them both preemptively and after the fact.

Many photographers’ career ambition is to have one of their photos appear on the cover of a magazine. In years past, magazines were frequently seen as the best place to gain publication and see the best of current photography. Often that was a result of having a visually oriented magazine editor at the helm.

About a month ago, you might recall my bitter disappointment with Canon’s new 40mm f/2.8 STM pancake lens. Aside from being light, it presented very little else that I could see as a positive. So my search for a great pancake lens continued, eventually leading me to the Voigtländer Ultron 40mm f/2 SL II Aspherical lens.

The Sony a7S has been the subject of a hotbed of conversation for the past four or five months as a camera with a lot of potential to really shake up the cinema world. This of course was extremely interesting to me as a videographer. I've finally gotten my hands on the camera and after a few days shooting with it on set, I'm not quite ready to write a review, but I do think it is important to address a feature about which I feel lied to: 4K.

V-flats are traditionally not portable by any means. For those that have a little DIY in them, I made my own portable v-flats that I can take with me anywhere I need. Here’s how to make them.

If there was one thing I wanted to know when I first became interested in shooting editorials, it was "How do I do this?" That seems like a broad question, and it is, but it goes to show what a mysterious subject this was for me. I wanted to know how to get started, and what steps I should take. In this article, I would like to pull back the curtain a bit for people who are interested in getting into editorial work and share what steps I go through to conceptualize, build a team, schedule, and shoot a fashion editorial.