A few weeks ago we featured an interesting project by Casey Neistat: The CLA Project. Casey was hired by Mercedes Benz to create a new, fresh and creative approach to the typical stock car commercials that you've seen on television for the past twenty years. The final commercial for the new Mercedes Benz CLA has finally been released. I have to say it is definitely creative and unlike any car commercial I've seen before. I love the patriotism and the fun, light-hearted vibe in the commercial.
Guest writer Felix Hernandez R. is a commercial photographer based in Cancún, Mexico. He is a very active member of our Fstoppers Facebook group and is well known for his stunning composite work and food photography. In this article he explains how accomplished his amazing series, 'Magic Moments' with the use of compositing and underwater photography.
Once upon a time at brunch in Santa Monica, I created the biggest, most complex cheeseburger anyone had ever even attempted to ask a chef to make. I basically picked my top 10 things off the menu and asked the chef to put it between ciabatta bread. Then I ate the entire thing. It gave me severe meat sweats and rendered me unconscious afterwards, but it was the most delicious thing I had ever created. It's my single greatest achievement in life. I learned a lot about myself that day and will tell the Epic Burger story to my great great great great grandkids.
Disclaimer: This post isn't riddled with eye candy, nor will it be the next viral hit of the month. What it does contain, however, may be far more valuable to any working or aspiring commercial photographer than any viral video or cutesy photo series. Norman Maslov is a well-known artist's and photographer's agent who recently performed a great interview with PhotoPolitic, a website specializing in promoting photographers
As photographers and videographers, we always hate when people look at our work on a crappy-uncalibrated-small screen with bad colors. With their most recent commercial, LG proved how having a great calibrated screen can make a huge difference. With their new 84" ultra high definition TV they made people believe they were actually looking out a window. What happens next is absolutely hilarious.
Photography is a dream career for many of us. The reality is, few of us can actually turn that into a full time career. We keep our regular 9-5 jobs to pay the bills and grab the odd photography gig here or there.
Every once in a while though, one of us will slip through the cracks and enjoy some moderate success. So much so, that it begins to interfere with that regular 9-5 job, and a decision must be made to transition from one career to another. Many aspiring photographers jump the gun and attempt to take on a full time career before they are actually ready. When that time comes for you here are 5 things to consider and help make sure it's the right move for you.
According to what I've been noticing in a lot of the comments posted here on Fstoppers, there seems to be plenty of photographers who absolutely hate Photoshop. So lets have a bit of a discussion.
Technology has become part of everything in our lives. Cars get better and better. Phones have become portable and are now the size of a credit card.
Joey Wright is a swim and lifestyle photographer based in Florida. Despite only picking up a camera a few years ago, Joey is a already regular contributor to SI.com with clients ranging from Callaway Golf, the Atlanta Falcons and the Seminole Hard Rock Hotel & Casino and is recognized as a Wescott Top Pro. He's also really, really likable.
There is a fine line between having a well defined photographic style, and constantly putting out the same stale, boring work week after week. A fine and dangerous line. A line that can make the difference between being a successful, inspiring photographer and a photographer who has lost his audience and has even lost interest in his/her own work.
Sean Madden, creative director from the ad agency Brains On Fire, reached out to me earlier this year and asked if given an arsenal of stunt drivers, the newest high performance BMW's, and a closed race course, could I create a 58 foot long composite print for BMW. My answer? "When can I start?" Watch the video and read the post below to learn how the shoot came together.
When this post is published I will be on my way to Moscow, Russia somewhere above the North Atlantic Ocean. I have a couple of shoots booked with my regular clients there, and my relationships with those clients are so great and long-lasting that they inspired me to write this article.
Guest writer, Corey Rich is primarily an outdoor/adventure photographer, but last winter he decided to do something totally different and shoot CrossFit—the masochistic athletic craze sweeping the nation. More than anything, he was keen to experiment with heavy-duty artificial lighting in an indoor environment–not exactly what he's known for. His goals were simply to elevate his lighting skills, unlock his creativity in different ways, learn some new things, and have fun in the process.
As a fellow commercial photographer I know that clients come to us for consistency and reliability. They hire us because when they are spending the big bucks on advertising campaigns they don’t want to leave things up to chance. It is part of our job to deliver the end product on time and free of flaws, but even a professional at the top of their game still battles with human error.
A few months ago we featured one of commercial photographer Michael Herb's tutorials on masking and composting. Michael is back with an awesome behind the scenes video of a national ad campaign he shot for Textile Designer Patty Madden. Michael set out to create some creative photos to showcase the unique advertising that hasn't really been seen before in a nation ad campaign for furniture.
San Francisco based photographer Rob Prideaux makes a living shooting still-life and product photography for clients such as EuroRSCG, 7X7, Google, and Wells Fargo. But what caught my eye was how Rob experiments with "smoke and fire”, attempting to bend it to his will using motion, air and interestingly, stencils. Another cool... hot... (trying to avoid a pun here) neat thing about the way Rob achieves this is the use of seamless white which allow both the smoke and fire to, so clearly, coexist within the same frame.