I have been unfailing in my anti-spoiler vigilance. I haven't watched previews, I haven't read articles, I haven't clicked links. A trailer came on during the finale of Fargo Monday night and I ran from the room with my hands over my ears. I'm taking this seriously. So it was with much trepidation that I finally clicked on this link I've been seeing around for Time Magazine's cover photos featuring the world-renowned R2-D2, and the king of the Weeble Wobbles BB-8.
Have you ever wondered how to create dramatic cross or Rembrandt lighting using only one light source? In this short, concise, three minute video, photographer and retoucher Glyn Dewis explains exactly how to create this look using one light. Whether you are using a giant octabox or a simple speedlight with a flash bender, Dewis shows you how to achieve this look with enough light to slightly spill onto the other side of the subjects face as well as how to check your lighting before even firing a shot.
FotoClient is a new cloud based platform which aims to be a total business management solution for photographers and studios. From lead management to invoicing FotoClient wants to tackle it all. I put it to the test at my studio to see how it performs in the real world. Starting at just $10/month, could this be the solution you are looking for?
Until recently, HSS and HyperSync were considered gimmicky features available on either expensive PocketWizard or cheap Chinese triggers. With Profoto, Elinchrom, Priolite, RiME LITE, and other brands catching up on these techniques, it is slowly becoming more popular. However, are these sync modes as reliable and useful as the brands try to make us believe they are? Moreover, is one better than the other?
Back in October I posted a portrait of myself that quickly became the most popular photo on my entire Facebook feed for 2015. The image was never meant to be anything other than a test shot for a few lenses we were reviewing but people kept asking how I created it. In this Fstoppers video, I will show you a common lighting setup every photographer should know and how you too can achieve this simple look with your clients.
As a fashion and catalog photographer moire is an issue I am all too familiar with. These days, as more and more cameras opt to do without the low pass filter, you might find yourself dealing with moire in some unfortunate places. Adorama has put together a wonderful video that explains moire, how to avoid it before taking a shot, and how to deal with it after the shot has already been captured.
“Star Wars” hype is at an all-time high. The teaser trailers, the TV spots, the toys, the apparel, the video games and more. It's an amazing celebration of the rebirth of the sci-fi magnum opus that gave me my love for all things science fiction. You'd think I might be tired of seeing it everywhere? The gum, the soup, the socks... Nope. Bring it on!
At some point every photographer uses a backdrop of some sort. The problem is that they are usually large, heavy, and cumbersome. Hanging them can be a bit of a pain and mounting hardware can get pricey especially if you are dealing with multiple backdrops. Jay P. Morgan of the Slanted Lens offers up 3 simple DIY solutions for mounting backdrops that will save you time, money, and headaches.
How many times have you seen that popular meme that inaccurately says today is the "Back to the Future" day? Well today, October 21, 2015, is in fact the true date Marty McFly set as his future destination in his time traveling DeLorean from "Back to the Future II." To help celebrate this iconic date as well as the 30th anniversary of the original film, the production company Full Frame did this awesome photoshoot where they explore the capabilities of time travel. Check out the full behind the scenes video in the post below.
Many photographers rely on their 50mm 1.4 and 85mm 1.4 lenses to give that dreamy, narrow depth of field look to their portraits. These two lenses have become a staple for portrait, headshot, wedding, and boudoir photographers who enjoy the soft look that comes with a narrow depth of field and natural lighting. But what happens when you want to create a similar effect in the studio, where your strobes are often too powerful for shooting wide open? Today, I'm going to share with you a fairly unconventional lighting technique that will allow you to shoot your lenses wide open in the studio.
When I started out photography professionally, I only wanted to do weddings. It was what I loved (and still love). I thought studio work was so boring. With time, I was convinced to get my own studio and started doing portraits, beauty, products, and other genres. It was great. However, after two years, I am about to terminate my studio lease and will not take a new one. While I love shooting in a studio, I think the cons outweigh the advantages. Perhaps they will not for you. Nonetheless, let me show you what I learned from my two-year experience of having a studio.
UPDATE: Results from our reader's poll can be found here! Last week we released our head to head competition review between the Sony A7RII, the Nikon D810, and the Canon 5DsR ultra high megapixel cameras. Our test put all three cameras up against each other and compared their performance in terms of ergonomics, HD video, auto focus, ISO performance, Dynamic range, and overall image quality when used in the studio. Unfortunately a bunch of Sony users complained that our final studio test wasn't up to snuff, so we did what any respectable review site would do and brought back baby turtle. The new results might shock you.
I'm definitely NOT a studio photographer, but I respect and understand why for a urban running photoshoot like this one, it can make things a whole hell of a lot easier by doing it in the studio. Steve Brown shares some insight into his process in this behind the scenes video.