Writer and director Ryan Connolly, over at Film Riot, wanted to challenge himself to see if he and his crew could turn out a realistic, action-packed, science fiction short film with no script, three hundred dollars, and a whole lot of help from his friends.
It's 2018. A brand new page. For us creatives, renewed energy, and enthusiastic drive is what it will take to kick the new year off right. And who better to personify said energy than coffee fueled, Toronto-based photographer / cinematographer Peter Mckinnon? In his first "vlogtorial" style video of 2018 Mckinnon takes to the streets of Toronto with friend and sage-like video creator Chris Hau.
Under mounting pressure from my peers and the industry at large, I finally tried getting into video creation. While filming myself in my first video ever (an unboxing), I ran into a whole slew of issues. How should I mount my camera? Where do I place it? Why does this look so gosh diddly darn boring? To say I struggled would be an understatement. To say I gave up would be spot on. But maybe it was for the best, because two days later, Toronto-based Photographer and Cinematographer Peter McKinnon came out with all the answers to my problems — well, my technical and inspirational ones. The rest I'm still working on.
Today the behind-the-scenes series of “Photographing The World 3” continues with Episode 7. In the last three episodes, things have not been going very well for us. The food has been bad, the weather has been worse, and we've been struggling to finish lessons for the tutorial. Luckily, in Episode 7, things start to look up.
Patrick and I created Fstoppers.com about eight years ago and it's been a wild ride. We never planned any of this, we simply tried to steer this ship that seemed to be moving on its own.
The "bullet time" effect keeps evolving and today it can be achieved not only with an array of digital cameras, but with high-speed robots equipped with high-speed cameras. We, the lower budget society, always try to get the latest visual techniques in our work, but, if possible, on the cheap. This video will help you imitate a high-speed camera movement with simple tools you may already have in your video production workflow.
For the longest time, I avoided shooting weddings at all costs. I personally thought they were something photographers only did to make money and that no one truly enjoyed them. But as I developed more and more as a professional I started getting the itch to just try one, just to say I could do it. Soon after, I got in touch with my contact that worked weddings and lined up a job as a secondary shooter the following week. When it was all said and done, those four hours were possibly the most fun and challenging times I’ve ever had with a camera.
I hold these truths to be self-evident. One, things don’t always go the way we’d like them to. And two, how we respond to failure is equally, if not more important than how we deal with success.
Personal photography projects generally are meant to pull the photographer out of a creative rut or to work on a piece that draws the artist away from the boredom that can occur from shooting the same work over and over. For Sophie Palmier it was about shooting boredom itself in a new way.
Late last year, Photographer Marsel van Oosten received one of those phone calls that we all dream of: Nikon rang to ask if he would be interested in shooting a time-lapse to promote the global launch of their new, groundbreaking camera: the D850.
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.
Wildlife Photographer Michel d’Oultremont knows what it’s like to wait. Sometimes he spends a week and a half just waiting for the perfect light and the animals he photographs to show up. The resulting images are well worth the effort.
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.
Our behind-the-scenes series on the creation our photography tutorial "Photographing The World 3" continues today with Episodes 5 and 6. In these episodes, we continue to struggle to film a usable lesson in Pietrapertosa, Italy.
