Growing up along the coast, I became accustomed to beautiful views of the ocean and, of course, lighthouses are an important part of the New England scenery. One lighthouse, in particular, has long been a favorite subject of mine to shoot. I've spent many days and nights shooting the 67-foot-high structure and its surrounding area, and I always envisioned creating the classic image of a massive moon as it rises behind an interesting foreground structure — in this case, the Point Judith Lighthouse on the southern tip of Rhode Island.
With the effortless launch of Capture One 11, it only made sense to go back and share a hidden gem of a seminar that helped me greatly with color editing. Capture One's cutting-edge color editing ability, now combined with the newfound layer and opacity capability breathe a new sense of life into a process that can sometimes feel overwhelming and daunting.
As someone who shoots 90 percent of my professional work with wide lenses, it seems like a daunting tasking to go reaching for a 70-200mm or longer when looking to capture a landscape. Long lenses require a lot more thought in how the compression is going to affect the way the viewer sees the image and its a focal length that the human eye can’t really grasp until you look through the viewfinder. With that being said, learning to use these long focal lengths will go a long way in making us more versatile in our craft. Lucky for us, Thomas Heaton has decided to make a video specifically about this.
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 taking 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.