After receiving almost 300 submissions to my previous raw file challenge (inspired by Dani's post last year), I decided to cap the entries at 200, because why not, and also put out a second raw file and an all new challenge. This time, with a shot of model Anna Truett, shot inside the Union Station Hotel convention area in St. Louis.
Recently I babbled on and on about shadow and highlight recovery using raw data in Capture One Pro, something I still fully endorse and recommend you do in your post production work when recovery is needed or wanted. However, feedback and practical thinking made me create a simple Photoshop Action that sets up one of my more common methods for simple shadow recovery, but in a refined and manual way.
I’ve attended plenty of workshops in my time as a photographer. I’ve attended classes taught by Joe McNally, David Hobby, Joel Grimes, and more. I’ve assisted some of the best photographers in a variety of fields, and watched dozens of tutorials put out by some really top-tier shooters. It’s pretty safe to safe to say that I have had a solid amount of training through a variety of sources, but no amount of classes or YouTube videos will ever compare to the five months I spent interning at a large newspaper.
Yes I said it. I can hear the outraged shrieks of equipment addicted photographers, but hear me out. In February, I went to Capetown for a month to please my trigger finger and shot eight stories in the same location using just natural light. South Africa is a renowned location for occidental productions. When it is snowing in Europe and in the States, it is summer season there. During that time the only weather complication can arise from wind with the upside being constant blue skies. During my stay, I got unpredictable rain and clouds. When I was done throwing tantrums at the black skies and banging my head against a wall questioning my decision of spending hard earned bucks to fly to the southern tip of Africa, I capitulated and went with the flow. And learned a lot in the process. Getting out of my comfort zone reminded me about the core of photography: my vision.
If you're socially introverted like me, you probably find the thought of approaching a stranger for a portrait in everyday situations downright nauseating. What if they say no? What if they think you’re creepy? What if they are rude and tell you to get lost? These are the thoughts people struggle with at the very thought of approaching someone they don’t know to photograph them. These thoughts often keep many photographers from taking some of the best and most interesting portraits of their lives.
I always had a strong love/hate relationship with the New York City subway, never picturing I would be driving again. But now that my work is having me travel more frequently, I find myself in the market, looking for that perfect vehicle. The first thing I did was a search for "Best Vehicles for Professional Photographers" on Google, with no luck. So, after further work, I wanted to share my findings and knowledge with you, so when you start looking for that perfect photo-mobile, you know just where to start!
Recently, a gear company you may be familiar with, Tether Tools, released their new Case Relay Power System (CPS). This contraption allows you to shoot continuously without any interruption or having to keep recharging batteries. So, I decided to put it to the test and travel almost 100 miles away with just the power system and no batteries.
You don’t need the best gear to take good photos, but it sure doesn’t hurt to have them. RGG EDU just dropped the covers on their latest tutorial featuring one of world’s greatest, two-time winner of the esteemed “International Photographer of the Year Award”, Sandro Miller.
Lots of skilled videos editors have started to see the value in being hired for contract work. It’s a great supplement to other income, you can be picky about projects, and most of us enjoy the work. But what about negotiating rates, estimating time, and dealing with files after the job? Here are some tips for the business-side of being a freelance video editor.
Color management can be one of the most boring topics to learn as a photographer, right up there with topics like digital asset management and accounting. They all have one thing in common, however: they’re important parts of being a photographer. Learning how to manage color doesn’t have to be difficult, however. Consider this your crash course introduction in learning how.
Photography, at face value, is already a difficult combination of capturing a scene as it unfolds and manipulating a tedious balance of exposure, aperture, and ISO to illuminate an image that does true life justice. When you add any additional element to the equation, the entire process can be thrown off. I often find this challenge in photography to be resting on the surface of the ocean in surf photography. Here are six tips I’ve learned that can help your surf photography.
I’m a nerd. There, I said it. It’s out there now, and it’s never coming back. I’m adamant that all facets of life are infinitely improved by statistics. I paw over numbers, percentages, and graphs for academia, sports, science, films... the list rolls on. Even reeling off the sort of stats I like makes me want to forge some sort of Excel spreadsheet to identify the stats for which areas benefit the most from stats. Sorry, I digress. The point is fewer things are richer in information than statistics. We often use this approach to compare lenses and cameras, but what if we could apply it to something far more subjective: portraiture?