Zoom, focus, spray and pray. That seems to be the M.O. of many photographers who shoot runway. I admit, I was one of those photographers. The one who scours through thousands of images at the end of the night, wishing they had shot more strategically. And, after two hours of culling, flagging three images per look, they’d be lucky if only one was tack sharp. After many shows, I’d criticize my every move and would long for a time machine to do it all over again.
As a working photographer, my gear is obviously very important to me. My most-used lenses, Canon’s 35L and 50L, are both long time favorites and are glued to my camera almost 24/7. For many reasons, I’ve been a fan of Canon’s prime lenses for a number of years, taking both the good, the bad, and the price tag that they each have to offer. When something new like the Sigma 50mm f/1.4 comes up I, like most of us, give it a quick once-over and then head back to the comfort of our expensive name brand gear.
Photographing large groups and make the photos look good is always a hard task. Any group of over 7-10 people can look awkward and the photos are usually not very appealing. But what if the group is not of 7 people, but of 1,500-2,000 people. If any of us will get the task of shooting 2,000 people we'll probably think it's a prank. But for photographer Chaim Perl it is part of his daily routine. Check out the in-depth BTS video and images of how he creates these huge group shots.
As a photographer, I'm always looking to capture something in a unique way. This is the craziest landscape photoshoot I have ever done. By taping a tiny Nikon Flash to my DJI Phantom II Drone, I was able to fly my remote helicopter up the side of a lighthouse and light the entire thing with flash. Creating this photograph was one of the trickest shoots I've ever done, and this is how I made it happen.
Merely two years ago, Stanislav picked up his first camera: a Lumix G3 for $600. From that point forward his inspirational journey began. The majority of his mind-blowing work was taken in his attic using friends as models. Now he is known as Sean Archer - a natural light photographer who specializes in female portraits. His work is proof that it’s not about gear. It’s about the photographer; it's about the vision of the artist.
One week from today I’ll be on the other side of the world, shooting a personal project that’s been years in the making. On the one hand, I have to be prepared for all kinds of situations. On the other, I can’t bring a suitcase. What do I bring… what do I leave behind… and can I get away with only one shirt?
Rain on your wedding day can be quite a downer for most brides even though many cultures see rain as good fortune, cleansing and fertility. Often brides wonder how they are going to still get good photos if it's raining. Here are some tips for photographers that I've picked up over the years having shot numerous weddings in the rain.
We live in a time where photographers and filmmakers must combine powers to be competitive in todays advertising market. Recently a huge fashion client approached our production company to capture concurrent motion and still ad campaigns with supermodel Lily Aldridge, but we had to do it all in under 10 hours with 2 complete hair and makeup changes and 12+ outfits. Advertising creatives today need to be able to shoot stellar visual content and assemble bulletproof productions.
Bokehliscious photos. That is the ultimate goal for any photographer no matter the experience level. When "bokeh" is mentioned, the first thing that comes to mind is the lens and the aperture. Although both play vital roles in bokeh, there are a few key elements that play an even more important role in achieving the finest milkyness in a photo. These requisites aren’t often discussed or even seen as necessary.
I'm guilty. As a commercial and fashion editorial photographer as well as a writer for Fstoppers, I love lighting, bokeh, rigging, and all technicalities involved with cinematography and photography. For many months, content fell second to setup. From my experience, there are three types of photographers: those that confide in instinct and sunlight, those that rely on post processing, and those that excel at artificial lighting and formalities.
Matt Davey, a music photographer based in Essex, and iPhonographer Dilshad Corleone take to the streets of London and go on a fun journey of self-discovery and in the process create a collaborative project of creative individuals using the power of photography. I caught up with Matt and he broke down the project and the great experiences that he gained from collaborating with his fellow colleagues.
Months of planning, 567 images stitched into a single panorama and a 14.6 gigabyte image results in a breathtaking view of New York City from the top of the Freedom Tower. Deemed as one the tallest skyscrapers in the US, the new Freedom Tower is about one year out from completion.
The first time I saw a levitation shot, I stared at it for 15 minutes in astonishment. I could not conceive how the image was captured; I was captivated by the story it conveyed, it was surreal, magical and awe-inspiring. Conceptualizing the image and executing it can prove to be rather difficult and meticulous. Thankfully, photographers who have mastered the techniques involved in levitating have decided to share their secrets with us.
Please - do yourself a favor. Stop whatever you’re doing and go and watch the scene from True Detective I’ve linked in this article right now. It is not only possibly the greatest one shot I’ve ever seen, but it’s one of the most stunning pieces of cinema I've seen in recent memory.