Last year, we shared Andreas Varro's popular photo series 'The Condom Challenge' here on Fstoppers. Varro has now pushed the limits, or in this case, the deep depths in his latest project. He was called for a commercial shoot for one of Sweden's most exclusive restaurants. How he came to his final composition is something you need to see to believe!
When it comes to art, being creative is always a good way to stand apart from your competition. One day, I was browsing through something and saw that Airbnb put up an ad for a film festival. In the ad, Matty Brown was there talking about what it was all about. I was interested in seeing why Airbnb chose him to work with them on a project like this, so I checked out some of his work. I was blown away.
The previous article about the processed image ended with similar arguments both for and against digital manipulation, and the artist’s disclosure of such actions. But how does the motivation for creating art through both photography and creative editing arise? I’ve gathered a panel of fellow international landscape photographers to expatiate on the power of the processed image. Professional landscape photographers Ryan Dyar, Felipe Gómez, and Simon Roppel are here to help us understand why certain decisions in editing process are made, as well as in the field.
It's been said that Prague-based Photographer and Retoucher Erik Johansson doesn't capture moments, he captures ideas. To him, photography is a way to actualize complex, surreal concepts that are in his head. So, when you think about it, it wouldn't be a stretch to say that Johansson is kind of like our generation's Ansel Adams, as they both heavily employed previsualization techniques while pioneering unique solutions to achieve their visions. The end results are images that match the exact ideas they had in their minds' eyes.
Even though I am not a landscape photographer and I have never attempted any sort of astrophotography, I have always appreciated beautiful photographs of nightscapes. Recently, I borrowed the new Tamron SP 15-30mm f/2.8 Di VC USD lens and tried to photograph an interesting night scene here in Charleston. Truth be told, it was quite the learning experience. In this video, I will share my first ever approach to shooting the night sky and hopefully give you a few things to think about when tackling this interesting genre of photography.
Our second tutorial with Elia Locardi: Photographing the World: Cityscape, Astrophotography, and Advanced Post-Processing was all about different types of cities. We started in Cinque Terre, a region of Italy where cities are basically built into the side of a natural landscape. We then moved on to Rome to shoot ancient architecture. Next we moved on to Singapore and Hong Kong for something a little bit more modern.
Current cameras' sensors are getting better year after year. Unfortunately, they cannot create noise-free images at high ISO just yet. I am sure the day will come soon, but in the meantime, there is a very simple technique using Adobe Photoshop or Affinity Photo to create the illusion of a clean file.
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.
Flatland is a project created by the Turkish photographer Aydın Büyüktaş. These images resemble scenes from the hit movie Inception, where the city seamlessly curves upward into the sky. Each image takes months of planning, and because of the complex scenery, Aydin must constantly reshoot locations in order to get the perfect alignment.
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.
Product photography is a great way to experiment with lighting and editing techniques. For me, it’s a chance to shoot in a relaxed environment where I have complete control over the subject, lighting, and camera. I can set up something small in the living room and find solutions that can be applied to my portrait work or professional product photography. It also requires a lot of creativity. Homemade items or DIY solutions are abundant on sets. From light-shaping tools to methods of creating parts of a composite, a lot can be created simply and at a low cost. You may be surprised to see how minimal of a setup can create some stunning photos.
MacPhun released Aurora HDR just a few weeks ago and touts it as the most advanced high dynamic range (HDR) software in the world. Certainly, veteran users of Photoshop and Lightroom might be skeptical. But if your sole purpose is to create HDR photos on the Mac, Aurora HDR might be the best option out there, seeing as it was created with the close consultation of HDR photographer Trey Ratcliff. In this video, Ratcliff dives deep in a first-hand look into how to get the most from Aurora HDR.
Last week we had the Fstoppers community submit their best composite images for the latest episode of "Critique the Community." There were some awesome composite submissions, including a wide range of genres. We chose a total of 20 pictures for Lee and Patrick to give feedback on. Add your comments and ratings to the pictures below. If we selected your picture, we'd love to hear about how you did it.
Our next episode of "Critique the Community" will feature images that have included some sort of composite. Take our featured image for example, the background was composited behind the beer bottle. (Check out this post for details of how it was done). Your composite image can come from any genre of photography but it must include elements from multiple images. Please get in your submissions by Saturday, November 14th and you'll have the chance to have your image critiqued by the Fstoppers team. For this episode, we will be giving feedback to 20 pictures. To qualify, you must follow the submission rules below.