If you were on Fstoppers last week (or anywhere on the internet for that matter), you probably saw the newest music video from popular band OK Go. The band is known for their incredibly complicated filming, choreography, and performances which go into each video. Their latest song "Upside Down & Inside Out," is no exception as they take their act into a Zero Gravity filming situation. As they've done past for past music videos, this one was also followed up with a behind the scenes look at how they accomplished their latest viral hit.
Do you feel at a certain point, after making a long run of photoshoots, that you're hitting a wall with your creative side? Or have you "lost your touch" so to speak? This is also known as "Creative Burnout." As creatives, we've all been there before. At one point we all plateau and need to find a way to break the "funk" to get back of the swing of things. So how do we overcome this?
Your headache from over-drinking (either in celebration or in deep depression) may be wearing off, but for those that had to photograph Super Bowl 50, that headache began days before the big day. The preparation for covering the game took its toll on those that enable us look back on it this week. Fstoppers caught up with ESPN photographer Andrew Hancock to get a look into the gear, setup, and planning to cover the most important event of America’s favorite sport.
Are you thinking of becoming an assistant? Trust me; assisting can be brutal, yet it can be exciting as well. It really depends on who you assist. Working in this role is the best way to gain lots of experience, especially when you're working your way to becoming a professional photographer. Working closely with a professional gives you valuable insights on equipment, processes, and techniques.
Despite having grown up around photography all my life (thanks, dad) and then starting my own commercial portrait business in 2009, there is one small little thing I'd never done before, silly as it sounds. I have never, ever shot in snow. Born in the Caribbean in 1975, then briefly living in Miami before settling down in Houston in 1979, I have truly never experienced real snow. But all that changed for me recently in Salt Lake City and Albuquerque - in January.
I admit it freely: I didn't used to pay attention or care about portrait lighting patterns. In fact, when a photographer would mention them around me, I would cover my ears and say "La la la la la" as loudly as possible while hurriedly trying to leave the room. There was a time where dismissing the standards was my usual, as was my tendency, but eventually I realized I was missing out on fundamentals that I could easily have built on and expanded rather than ignored. Just starting out? Don't make my mistakes.
Big movies mean big budgets, which usually mean big visual effects. The Moving Picture Company (better known as MPC) recently released another one of those mesmerizing VFX breakdown videos for their most recent feature film, “The Martian.” The breakdown reveals some aspects of the film and of Matt Damon's performance that were both challenging and impressive, like the fact that the helmets worn in the film didn't feature physical windscreens. Those were added later with matching reflections to the scenery.
If you work in portrait photography, be it commercial fashion or high school seniors or anything in between, at some point you will be on set with makeup artists (MUA) and hair stylists, if you aren't already. A good makeup artist can make or break your sessions, and a bad one can simply ruin everything. And since no amount of retouching can totally undo subpar makeup, hair, and styling, Staci and I decided to sit down with pro makeup artist Sarah Stafford in The Backyard to shed some light on the relationship between MUAs and photographers.
Every photographer has come to a point where he thought he did not have the right gear, enough budget, the team, or just the perfect idea to make a project come to life. There are those that then let an idea go and others, like Anthony Kurtz, that keep their ideas in mind until all the elements come together.
Jay P. Morgan with The Slanted Lens has released a new video that demonstrates how he and his team were able to precisely capture the exact moment they wanted, using the laser mode on the MIOPS trigger system. Morgan breaks down the tricks for getting just the right shot, without having to rapid-fire a bunch of extra, useless images.
Watch as Josh Connolly tests out the slow motion explosion he bought off Amazon Prime (ya, you heard me) and then learn how to create your very own. OK, they won't actually teach you how to blow things up, but they will entertain you while walking you through the process they used to create a slow-motion explosion effect. So, even though you may go to Film Riot to learn filmmaking techniques and how to create kick-ass visual effects, you'll go back for the sketches.
It’s safe to say that this camera doesn’t suck, and in the hands of someone like Tim Kemple, who’s at the top of their game, the results are pretty incredible. I got the chance to chat with Tim about his thoughts on using the new Phase One XF 100MP camera, including what happened when he flew it on a drone over a waterfall.
World-renowned photographer and visual engineer Benjamin Von Wong has done it again. His breathtaking, inspiring photography has taken yet another step and this time for a great cause. According to Von Wong, this is the hardest shoot he has ever pulled off, and one he hopes has the biggest impact.