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.
Every time I go to state parks along the lakeshore, I always see a few people with DSLR cameras walking around taking shots. Anytime there's an interesting bird nearby, it often becomes the subject of their attention. These colorful creatures are as majestic as they are quick though, and don't usually tolerate humans being too close to them. In this video tutorial from Tony Northrup, he shares many tips to get up close to birds in the field or even your own backyard.
Not since Matthew Brady’s work documenting the Civil War has the tintype photographic process been used on the battlefield. Staff sergeant Ed Drew, an aerial gunner in the California Air National Guard, brought tintype back to the theater of war to photograph his fellow soldiers during his deployment from April to June in Afghanistan’s Helmand province.
The Fourth of July has come and gone here in the states and while most photographers spend that evening trying to capture the light of the explosions, I opted to give my family something fun to do after the shows. That turned into an awesome game. It went over so well that I pretty much have to share it with you.
About six months ago, I wrote a piece comparing flash techniques to HDR and ambient-only techniques when shooting for architecture and interiors clients. There was some great discussion involved and many valid points raised, and I'd like to take a few minutes to bring up another scenario that really shows the benefits of using flash whenever possible when dealing with interior or architectural situations.
With a brilliant display and talent and planning, street artist Sofles and Selina Miles from Unity Sound and Visual joined efforts to create an epic dubstep music video. While Sofles spray paints the walls of abandoned buildings, a hyper time lapse precedes him, wrapping around walls as he works through different areas. How did they do it?
Portrait and fashion photographer Lindsay Adler is not only a great photographer, but also a superb educator. Just recently she did a session with creativeLive on studio lighting, and also taped a new show with Framed Network. In her most recent video, Lindsay shows a very cheap (between $0 and $20) way to create beautiful soft light just by using your window and some black foam core. No need in expensive strobes, no need in extra equipment. and the results are amazing.
Peter Zeglis is a landscape and fine art photographer from Greece. I have admired his work for a while now and fell in love with his black & white series of Iceland entitled “Ísland”. I feel like any one of us would have went to Iceland and captured it in full color, picking up the rich greens of the vegetation and colors of the northern lights in the night sky. But Peter took a different approach creating a very moody series that gives Iceland an even more mystical and cinematic mood. Enjoy!
Miroslav Tichý, was a photographer that constructed his own homemade cameras out of cardboard tubes, tin cans, dress elastic and old camera parts he found. From 1960 to 1985 he used these homemade cameras to snap thousands of images around town often of unsuspecting women. It wasn't till 1981 that one of his friends gathered up prints strewn all over his studio, and organized them to share with the world through photo exhibitions, that Tichý's work would finally be discovered.