Good photography isn't all about having a big budget and I am always a fan of photographers who can prove it. Columbus, Ohio based photographer Nick Fancher just sent me a quick video that outlines his very simple, yet brilliant, lighting idea. Nick took some cheap pegboard and lit it from behind creating a hundreds of little beads of light behind his subject. By using a wide aperture he could blur each of these bursts of light to create some pretty compelling images.
To put a little twist on filming one of Nissan's most recent car commercials, the crew involved shot everything on a miniature scale by using a few different RC vehicles. Check out how the team tried to preserve some of the standard elements that you might see in a car commercial. The group gets quite creative in building customized camera mounts to keep the best angles.
Peter Lundstrom shot the look-book for Courtrai Apperal in a featureless room that they built out of 5 basic walls and painted them all white for one look, and all black for the other. The final shots look great and leave the viewer looking at the image for a few extra seconds, which hopefully leaves them remembering the clothing a bit better than another brand with a model standing straight up. Below are some of the shots before they were cropped tight for the look-book as well as a video showing how they built the set and shot the book. Enjoy!
Generally speaking, we as photographers get hired because of the quality of our work, but in a market flooded with up and coming photographers how do you make yourself stand out? You've already shot a job and now it's time to deliver the photos, how do you make a lasting impression so your client remembers you in the future? Hopefully the quality of your work is enough, but maybe it's wise to go a step further and wow them one more time. Aaron and Whitney at Durall Photography have a beautiful system for delivering finals to clients which leaves the client with one more lasting memory.
We've posted about how to photograph steel wool burning before in the past, but watching the process in action is a bit more exciting. Instead of taking photographs with extended shutters, film maker Joey Shanks decided to video the burning metal and edit everything into a motion graphics piece. The results are pretty interesting, and his behind the scenes video explains how the whole process came together.
I am always amazed at photographers who can take a simple idea that costs very little and turn it into a really cool photo shoot. In his most recent shoot, Ryan Buller does just that by applying drops of multicolored paint to the top of a garbage bag wrapped over a speaker. Check out his simple set up and the beautiful results!
In this lighting lesson, Jay P. Morgan of The Slanted Lens offers a very cool DIY effect; how to make smoke lay on water. Achieving smoke and wind in photography are two very difficult tasks that Jay P. made very easy by showing this step by step process. Have you guys ever experienced with smoke and wind? If so, share your images and how you did it in the comments below.
Starting TODAY creativeLIVE will stream a 3-day lightweight location workshop featuring well-known photographer, Kevin Kubota. Learn to create studio quality lighting under almost any condition. With lightweight, affordable, and portable lighting tools, Kevin will teach you to create beautiful portrait lighting in a variety of environments from typical urban locations to more challenging situations.
Seeing how this project has been running since 1995 this maybe a very old story for some of you but one that hasn't been on Fstoppers yet. Harrod Blank has a unique "studio" in the form of a van... a Camera Van. Conceived of in a dream and constructed over two years the Camera Van has since left it's home in Berkeley, California, travelled across America, into Canada, Britain and Germany, capturing the astonished faces of those it encounters
Photographer/Diorama Artist Matthew Albanese constructs and photographs unreal real looking landscape scenes using readily accessible materials. Scroll through some of his work and be amazed at their realism, effort and the materials. Can you figure out what Matthew used to make each scene before reading it? No, no you can't.
As a photographer that does a lot of non-profit work internationally, I have always been on the look out for traveling with my gear in the safest yet most affordable way. Typically, my cameras, lenses and lighting equipment (strobes and powerpacks) travel with me as carry-ons in two Pelican 1514 cases. As for my grip gear, well, I was mostly limited to what I could throw into my checked bag with my clothes, which typically would be one Manfrotto Magic Arm, a Photek Softlighter and a small softbox or
Philippines portrait photographer Laya Gerlock graces the pages of DIY Photography this week as he demonstrate in great detail how to build a giant, kick ass light ring. Take a look at the sample image and video and if you like what you see head over to DIY Photography for the full tutorial on how to build your own.
If you're anything like me, you've been yearning for the day when a DSLR comes equipped with an iPhone-like OS, complete with apps and fully functional wifi. This DIY doesn't take a DSLR quite to that level, but it's surely a step in the right direction. Using EyeFi cards or tethering is pretty cool, but can still be very limiting. It's awesome to see projects like this being created and shared that open up the possibilities.
Every now and then you have to stop and recognize a piece of work not only for the creative thoughts put into it, but also for the sheer amount of effort involved in pulling off the project. Vu Hoang and a small team managed to come up with this clever stop motion music video using over 3,000 hand cut pictures stitched together in a clever guy meets girl music video. The final product was shot with a Canon 7D and Canon 17-55mm F/2.8.
Many of you are familiar with Blair Bunting, one of the premier commercial portrait photographers in the United States, and a good friend of mine. A couple weeks ago we were chatting about lenses when he brought up this project he did several years back. I instantly wanted to share it, and we tweeted an image of his 50mm f/1.4 next to his 110mm f/.95, which many of you thought was fake. It wasn't.