Everyone and their Auntie seem to sell Photoshop action sets these days, as if they're the answer to something. I'm primarily referring to action sets which create entire "looks" for your image, but there are uses for actions which are less comprehensive and arguably more useful. For example, I use an action for sharpening my images which creates a layer I can lower the opacity of or mask until it is satisfactory. Actions like these are easy to create and can result in accrued time saved. This guide will ensure even people whom have just picked up Photoshop for the first time can create actions.
We've all seen Toy Story. We've all been taken on the same journey with Finding Nemo, and felt sad when Wall-E was left behind to clean earth all by himself. We've all had either a smile on our face or a tear in the eye due to a fictional 3D rendered character showed an emotion you identified with. We take photos and video of what we know. We show others these images and moving images with the aim to make them feel that same emotion. We create because of the emotional experience we felt at some point in life towards a movie or photo that made us decide that's what we want to do.
I'm not too sure about this, but maybe it's because most of the images on my Facebook profile that people like are the ones of me looking left but hey, this is science, and it's called Spacial Agency Bias. Simone Schnall is a Director at the Cambridge Embodied Cognition and Emotion Laboratory. She says we all want to look progressive, dynamic, and forward thinking. It's what the social circles, culture, and industry demands. It's also what we want to portray when people see photos of us.
We as photographers capture light. It's the fastest thing we know in space and time, and we try make it still to enjoy and share with others. It's the one thing we as photographers use every time we press the shutter button. To change from looking at photography for inspiration we can follow Chase Jarvis's advice and look at a Swedish Furniture design company IKEA to show us how they think about and use light, and about how we use it and how we don't.
DSLR Guide, created by Simon Cade, is one of my go-to resources for all things film and cinema. With almost a half-million subscribers and over 21 million views, his channel is an awesome resource for anyone interested in becoming a film maker, particularly those who are DIY-savvy or on a budget.
When you hear the term “HDR photography,” you probably either cringe, or start to smile at the thought of beautifully balanced landscape and architectural imagery created by the likes of Trey Ratcliff. Some may argue that with the dynamic range of current camera sensors, taking bracketed exposures is no longer necessary, since detail can be effectively recovered from both shadows and highlights. In this video, Scott Kelby demonstrates how an image produced from combining bracketed exposures can be superior to one derived from a single frame.
Grids are probably amongst the best pieces of equipment a photographer using flash can own. Alas, they are often either underrated or misunderstood. On one of my recent shoots, I decided to create a lighting setup with grids on every single strobe. My goal was to create a somewhat complex setup, that once broken down step by step would be easy to recreate by any photographer starting out in studio photography.
I've always had this issue with regards to the sound design of video and how to actually get something that is usable for the video you are working on. It's either getting audio from a stock library, having a friend compose something, or making it yourself. And the latter is really very time-consuming, and I'd rather focus on the stuff I enjoy and am good at, like shooting photos or video. Once I watched the latest video by Film Riot, it seems like the problem of finding audio might be over.
Have you ever seen those amazing shots that show a subject holding its place in the frame while the background falls away or becomes extremely compressed? This is called a "dolly-zoom," and you've likely seen an example in films such as "Jaws" and "Goodfellas." While we don't typically use a dolly-zoom when filming interviews, we can learn a lot from studying what happens to an image at different focal lengths. In this video and article, I'll discuss the visual effects created when choosing a wide versus telephoto lens for documentary-style interview productions.
Creating stunning portraits of our canine companions requires so much more than technical knowledge of photography. Understanding how to coax a dog into just the right spot while keeping them relaxed and happy is crucial to capturing genuine expressions with perfectly composed surroundings. Adding a few special items to your gear bag for those times when you venture out to photograph someone’s four-legged friend can have a much larger impact on your photos than choosing the perfect lens.
W. Eugene Smith was an American photojournalist who was active from the 1930s to the 1970s when he passed away. He was, as Ted Forbes states in the video, one of the most prolific photographers of his time. Smith is well known as being a master of the photographic essay, and much of his career was spent on the types of longer assignments that are few and far between in the modern world of photography. His works for LIFE Magazine (including Country Doctor) and later the Jazz Loft Project are some of his most well known and enduring projects. Not to mention he was a Magnum photographer as well.
Ah, the crown of the (Ant)arctic. Known in the northern hemisphere as the Aurora Borealis (northern lights), and as the Aurora Australis in the southern hemisphere, these brightly colored bands of moving and waving light are a majestic display in the night sky. Who doesn't want to take a picture of this otherworldly phenomenon? Here's exactly how to do it.
It's always such a sensitive subject for the creative industry. Money is what the creative industry hates to ask for. but loves to have for their gear and career. So let's get it out there. Professional photography is a business, and in photography, you'll only flourish at it because you love what you do. You'll never become a photographer if you didn't love it. David Bergman gives some good tips when starting out because photographers don't usually know what their images are worth.