If you've recently wrapped watching the 80s throwback "Stranger Things" on Netflix, you are probably filled with plenty of nostalgia by this point. Why not dive a bit farther back to a galaxy far, far away in some behind the scenes toy photography action? Freelance Photographer Steven Price is reliving his childhood love in these surrealistic scenes using toys usually meant for kids. Then again, we are all kids at heart.
A few months back, I mentioned that I had been given an exclusive invitation to spy on the Shoot The Centerfold seminar in Miami. This much celebrated glamour photography event features the pinnacle of models and educators in the genre, and goes down twice a year alternating between Miami, FL and freaking Santorini, Greece or some other insanely exotic location.
"This is what we have to create if we want to sell." Ruben Salvadori, an anthropologist and photographer, spent months in East Jerusalem, where he initially went as a conflict photographer. Soon, however, his anthropological training kicked in, and he found a subject that was more interesting to him personally: the photographers themselves.
In this video from Ryan Connolly over at Film Riot, he takes viewers quickly through an action sequence he has edited, and shows a few simple ways that he was able to increase the perceived speed and create a more realistic edit. Even if you're not editing fight scenes, there are a few tricks in here that are absolutely applicable to other genres.
There are certain images that have become so ingrained in our psyches, they are almost dismissed outright. If you've ever been in a bookstore, browsing the photography section, you've seen the docile faces of the Weimaraners of William Wegman. The images are always clean, crisp, and have become immensely popular in the last 20 years, gracing coffee tables and calendars alike. The temptation to dismiss them as commercial drivel is strong. But that would be a mistake!
I know that I’m preaching to the choir when I say that personal projects, free from the constraints of commercial clients dictating production details, are an important outlet for creativity and staying sharp on your skills. Photographer Ray Demski just dropped his latest passion project, "Fireball," combining parkour, football (soccer), and beatboxing.
Foster Visuals, known for the nationally-awarded "Legacy Project," recently teamed up with DJI to tell the story of Heraldo Riel, a gaucho in Patagonia, Chile. Like his father before him, Riel became a Gaucho at the age of nine. To be a Gaucho means to be kind and caring for all living things. Using a combination of equipment, including the DJI Osmo, Ronin, and Inspire 1, Brent Foster and his team tell Riel's story and captures the intense beauty and solitude of the remote section of Patagonia in which Riel lives.
“The War In Every Portrait” is an interesting video from photographer Sean Tucker that explores the idea of capturing authentic moments in a portrait session. Tucker muses that there is a constant battle between the subject and the photographer. The goal is to find the kink in the armor of their exterior persona and expose the “real” person hidden inside.
Light painting is one of the rights of passage photographers have to try at some juncture. I enjoyed playing around with it in the early days, but what surprised me is I have used the techniques commercially on several occasions; from creating better backgrounds to my portraits in dark locations to capturing English Heritage sites. The importance of knowing how to light paint isn't necessary per se, but it does help you understand how light works and how your camera exposes a scene.
Nick Carver is no stranger to going big. Not only does she shoot big negatives on big cameras, but he's immensely passionate about printing and framing and making sure work both fills and compliments a space. In this video he goes through the process of scanning a panoramic 6x17 Portra 160 film negative, sizing up a space on the wall for the final 6-foot print, and even building a custom frame for it.
In their latest video, Film Riot's Frontman/Director Ryan Connolly comes to my backyard (Vancouver, BC) to film a truly epic bar brawl short. This entire series of videos is extremely useful when it comes to learning what it takes to film a quality short. The "Uncut Behind the Scenes" video is seriously my favorite of the bunch as you get a very candid look at every little detail and consideration the cast and crew had to make.
For me, commercials are supposed to be fun and entertaining while I wait for what I am actually watching to come back on. If they want to grab my attention and sell me on a product, what better way then to add Jason Statham acting as every single person in an action sequence? The boys at Energy BBDO have created a concept that is over the top and exactly what you would think of when star Statham is fighting his way through the busy streets. Check out the behind-the-scenes video and snapshots below to see how in depth they went.
From the company that pioneered the use of virtual car reskinning for video use, comes the newest innovation of film technology. The Mill, in partnership with JemFX, Performance Filmworks, and Keslow Camera, launched their new product onto the scene, dubbed "Blackbird." Resembling a mix of a Caterham 7, a dune buggy, and maybe some sort of Batman-esque type vehicle, the Blackbird is a small electric car that has pre-mapped tracking points on it to allow for easy replacement in post.
Over the years as a boudoir photographer, I have noticed a theme when it comes to new shooters about the "restrictions" they come across. Countless times I hear or read, "I wish I could upgrade my gear," "I just do not have a commercial space," or my favorite, "I just cannot afford to have all those set ups." Well quite frankly, that is a load of bull.
As much of a Game of Thrones fan as I am, the scene in Sunday's episode that has had everyone talking, "Battle for Winterfell" or "Battle of the Bastards," resonated with me for two reasons. The first is the same as most people who watched it: the scene was epic — not epic in the way kids these days use the word, but in the sense of it being truly gargantuan and awesome. The second reason was the curiosity of the photographer in me on how something of that scale could be shot.