The only times my strobes see the light of day is when they are facing down onto the surface of the water from poolside for my underwater work. In the studio, the amount of natural light that fills the space has created a look and signature feel to my images. However, I started to wonder if I was just taken advantage of this light and not truly challenging myself to the work that can be created using a strobe light.
Adobe just released a delightful mini-documentary showcasing the work of award-winning Photojournalist Danny Wilcox Frazier. Frazier’s work is centralized on struggling rural communities and the families and stories within. He’s able to capture both the struggles of day-to-day life of underprivileged families while still documenting the successes of perseverance.
When you’re running your own photography or videography business we all know that going out and shooting is only a small portion of the job. You have to make the connections to get the job. You have to go through the process of meeting with the client and assessing the needs to get the desired finished product. Then you have to find out the client’s budget and figure out how to accommodate them while charging properly for the shoot. After all that is said and done, and the project is finally coming to fruition the final thing left to do is send out the invoice for the job.
Many times clients have asked to have the shower scene added to their boudoir sessions. For many photographers this may seem impossible to accomplish if they lack a shower, or the space is too small to accommodate. So I asked a few fellow photographers to give some examples of their shower scenes and techniques to show how this can be accomplished regardless of space or an actual running shower.
A few years ago, on one of my first advertising shoots, I was asked to take a photo of a condo building downtown. All I knew was that the client would be bringing props, that we’d be shooting on a balcony, and that it would be night time. From start to finish, I wasn’t really sure how the ad was doing to turn out… and it turns out, years later, that’s still what tends to happen on commercial shoots: things don’t turn out how I think they will.
In a world where flipping our images between color and black and white is as simple as the click of the mouse, photographers and cinematographers today aren’t often tasked with knowing the complexity of how those vibrant colors actually come into existence. But in the early days of cinema, when competing processes for color reproduction took turns as the next best innovation, one name reigned supreme: Technicolor.
If you grew up in a house with a football-loving father like I did, you probably had your young little mind blown every NFL Sunday by the yellow line darting under the players' feet. My dad's answer? "Hollywood Magic." Up until the moment I stumbled across this video that was the only answer I had ever gotten.
I recently spent three days in Ensenada shooting with the talented TEMPT Media crew during the Baja 1000. On the second night while unwinding at our Airbnb, in walks a guy with three beefy rigs with all the lenses wrapped in gaff tape, underneath what would appear to be a layer of dust that most normal human beings wouldn’t subject their Canon 1DXs to.