There is a fine line between having a well defined photographic style, and constantly putting out the same stale, boring work week after week. A fine and dangerous line. A line that can make the difference between being a successful, inspiring photographer and a photographer who has lost his audience and has even lost interest in his/her own work.
Guest writer, Corey Rich is primarily an outdoor/adventure photographer, but last winter he decided to do something totally different and shoot CrossFit—the masochistic athletic craze sweeping the nation. More than anything, he was keen to experiment with heavy-duty artificial lighting in an indoor environment–not exactly what he's known for. His goals were simply to elevate his lighting skills, unlock his creativity in different ways, learn some new things, and have fun in the process.
Django Greenblatt-Seay and JJ Dreier joined together to form Tree Speed, self proclaimed as "A of couple of Mid-Western guys who spend vacation time traveling the country shooting time lapse photography."
Based out of Omaha, Nebraska, the duo recently took to the road and self produced a 10 day trip to Utah to create a series of time lapse videos. In order of appearance, the team shot in Latuda, Utah (a ghost town), Arches National Park, Canyonlands National Park, and Lake Oahe.
While on a kayaking trip in the Great Lakes, I stopped just after sunset to shoot some images on the beach. The sky was still bright and very saturated, while the sandy ground was losing light and getting dark in my exposures. My kit was small, and I had no graduated ND filter, but I came up with something that worked well in a pinch.
A few years ago we featured photographer Kevin Kozicki in a behind the scenes video using pointsettias for a beauty shoot. Kevin is back with an amazing glamor photo and video shoot with filmmaker Christopher Park in a beautiful pool location using the Phase One IQ180 that was featured in Sessions Magazine. We had the opportunity to speak with Kevin and get his insight on the shoot.
It felt like yesterday that we featured Underwater Dogs. Seth Casteel took those incredible photos and it definitely was a really memorable series of animal shots. How could you not love them? In fact, Seth is such a great animal photographer that he didn't just stop there. He's created some great tips on photographing animals for the intent of getting them adopted.
Wolfe Air is a company that specializes in creating air to air footage for airlines, big-budget movie productions, the military, and private commercial clients, and they recently released their updated reel, which is absolutely mindblowing. Not many people think about what might go into these shots, so as the Fstoppers designated aviation photography dork, I've decided to write up a reader's digest version of how they're made.
A few years ago when I was still new to the world of beauty photography and digital photo retouching, I prided myself on the ability to "fix it later in Photoshop." I would welcome retouching challenges as I was still learning, but things changed forever after I started working with professional teams and shooting for commercial clients.
There are a few unarguable reasons for getting it right in camera.
Many times when shooting objects in an uneven light (usually outside), we have to choose if we want to expose for the darker areas, or for the brighter areas. This means part of the image will be exposed 'correctly' while the other parts will be overexposed (or underexposed). There are few solutions that can help us avoid these issues like shooting HDR or adding artificial light. But these solutions are not always handy and not always something that can be done. This great tutorial shows you how to fix overexposed highlights in only few minutes.
This is the second part of the article on how to learn to "read" lighting in photography. If you haven't read the first part yet, please start here: How To "Read" Light In Photography - Part 1.
And for those of you who have been waiting for the second part, let's jump right back in and see what other cues we can use to breakdown lighting in other photographers' work.
Just recently Zach posted a guest article on 3 Nightmare Lighting Environments and How to Photograph Them with tips from top shooters Lindsay Adler and Erik Valind. This simple behind the scenes video takes a look at some amazing tips not only covered in the article, but in their book, Shooting in Sh*tty Light. You can catch their creativeLIVE workshop starting tomorrow.
Photographer Lukas Renlund shares with us the second installation in his "Steal My Photograph" series. I was very impressed with this idea when I posted his Copenhagen Exhibit last August but Lukas has added a humorous new twist to his Barcelona installation by hiding a GoPro camera behind his photos to capture the reactions of the unsuspecting, would-be-thieves. I got a chance to catch up with Lukas and asked him a few of the questions that have been on everyone's mind.
One of the first very important skills I acquired in my Australian Photography course was the ability to breakdown lighting and determine approximate camera settings in images taken by other photographers. If you understand how the direction of light and its degree of diffusion are controlled and how they affect images, it should be easy for you to train yourself to "read" lighting in the images you see in magazines, on billboards and in your favorite photographers’ portfolios.
In the fall of 2010, I decided to shoot my dream assignment. I knew that no one was going to pay me to go out and tackle this subject matter, and I had not seen any photographer do what I wanted to do, so I did it. At the time, I had no idea what the assignment would turn in to or how it would change me as a photographer and a person. Here is what I learned from photographing 35 College Football Tailgates.
I've been shooting commercial photography for years and despite any fancy gear I might have in my arsenal, I never walk on a set without at least one reflector with me. SLR Lounge put together a great tutorial showcasing the power of one of the most affordable photography tools that every photographer should learn to use.