Thirty years after their original collaboration for Koyaanisqatsi, filmmaker Godfrey Reggio and Philip Glass are at it again with documentary where the audience is placed in an unusual situation: watching the varied expressions of others interacting with technology. This video, an Fstoppers exclusive, gives you a look into the mind of Godfrey Reggio while making the film.
Frozen, The Hobbit, Toy Story, Wall-E, Jurassic Park... these are just a handful of the blockbuster movies over the years that have utilized Pixar's award-winning VFX software, RenderMan. In fact, RenderMan has been around since 1984 - used to render computer graphics in Star Trek: The Wrath of Khan. Now you have the chance to own the software yourself - for free! You read that right - FREE!
Some may have noticed a good portion of the DIY and Kickstarter projects for film photography revolve around the 4x5 format. That's likely because, for lovers of film, it's the best format out there. The negative size allows for incredibly sharp and enlarged prints. It's possible (just) to handhold a 4x5 camera for street photography. And despite many film stocks' deaths by the second, you can still get some of the most popular films in 4x5 sheet film packs.
Jonathon Keats is an American conceptual artist based in San Francisco. This year Jonathon began a new project he calls Century Camera in which he (and the people of Berlin) hide 100 pinhole cameras with the hopes of creating the first series of century-long exposures. Jonathon was kind enough to make time to speak with me and share the details, inspiration, and process behind this ambitious project — you don't want to miss this.
Lomography has officially began a Kickstarter project to try and fund their first release an instant film camera. Multiple colors, lens choices, exposure settings, and more! With 30 days to go on they currently have $32,000 raised of their $100,000 goal. The settings for this camera look pretty cool and, I think, worth backing.
In this episode of National Geographic Live! Peter Essick talks about the journey of creating his new book, The Ansel Adams Wilderness, and what it's like to pay tribute to (and follow in the tripod holes of) perhaps the greatest nature photographer to walk the planet. The work interprets the influence of Adams' work for a digital age, capturing the Sierra Nevada wilderness in a manner that can only be described as timeless.
Photographer J. David Buerk was sitting around one Sunday morning with his Lubitel 2 TLR with plans of making a disassembly and cleaning tutorial when he decided to try to retrofit the lens to his Canon gear. This simple project takes advantage of the beautifully unique 75mm f/4.5 lens.
There's something special about taking a picture on film. That said, film also lent itself to a lot of error: a botched exposure, missed focus and light leaks could all serve to ruin an otherwise lovely image. There are few things more frustrating then getting a roll back from the lab with an error note on the envelope. Occasionally the results were a novelty, perhaps adding interest to an otherwise boring image but all too often light leak was nothing but a bother. So why would anyone want to replicate it in Lightroom?
Why We Create, a series by director/cinematographer Andy Newman, features artists and what drives them. This video is the second installment with portrait photographer Nick Fancher but I highly recommend watching all that Andy has to offer as the series will remind you why we got into photography in the first place (An easy thing to forget when on the hustle for clients). Now if you'll excuse me I feel the need to get out and create something. Enjoy the video.
Chinese photographer Zhang Xiao’s “Shanxi” series captures the otherworldly rituals of a lunar New Year festival in China’s Shanxi province. The series’ ethereal photographs were taken with a simple Holga film camera, creating a haziness and sense of mysticism that emphasizes the integrity of the festival’s rituals despite cultural reform and modern influence.
SPOILER WARNING. Listening to Vincent Laforet might leave you forever changed, never able to watch film or TV the same way again. The silver lining is he can also change the way you shoot, and engage, with your audience. With that disclaimer out of the way (you can't say I didn't warn you), join me as I talk to Vincent for this exclusive as we venture down the film and motion rabbit hole. How deep we go is really up to you...
Back in July, I reviewed Alien Skin Exposure 5, and decided it was one of the best Photoshop plugins for photographers to date. With its gorgeous film presets and full customization of every tool imaginable, Alien Skin seemed to be miles ahead of the competition, making a system that works well for both the beginner and seasoned pro. This morning, Alien Skin announced the followup to their flagship plugin, with Exposure 6.
Andrew Dean from HillBillyGripTruck.com posted his updated video shootout of the Gh4, Gh3, 5d3, 7d, and C100. The results were pretty cool and we were able to get a nice side by side view of quality from each of the cameras as they were all setup to be relatively close in settings. On top of making sure settings were close, all of the cameras shot at the same time in the same exact lighting situation to make sure they were all brought an equal scene to work with.
Michael Ash Smith is a commercial wedding, portrait, and lifestyle photographer based out of Barto, PA. As a hybrid photographer, much of Michael's work is done on 35mm and medium format film with some instant film here and there for special occasions. He recently shared images from a wedding he shot over on the Junebug Weddings blog. The difference? Everything he shot that day was with instant film.
The iconic Windows XP wallpaper "Bliss" is widely considered to be the world's most viewed image. Though most of us are familiar with the beautiful image that has graced our computers at one point or another, not many are familiar with the story of how it came to be, and fewer yet that it is in fact a real image captured on film! Photographer Charles O'Rear shares with us the story behind how he created the image with nothing more than his Mamiya RZ67 and a roll of Fuji Film.