When I moved in to my studio a little over three years ago, I needed a place to hang, store, and use my rolls of seamless paper. I didn’t have many — just a few nine-foot rolls of white, gray, black, and green — but I wanted them out of my way. Storing them vertically wasn’t a good option in the space, and storing them laying down is never a good idea. So, I wanted to figure out a simple system that I could build that would do the trick. Here’s what I came up with.

Those who wish to practice their off-camera flash technique or simply, wish to create a successful concept shoot to boost their portfolio, should strongly consider practicing the arrangement with themselves as the subject.

Sony shooters will soon be blessed with two new zoom lenses courtesy of Tamron: the unusual 35-150mm f/2-2.8 Di III VXD and an updated version of the incredibly popular 28-75mm f/2.8. Both are due to go on sale in the next four months.

Do you often think about the significance of the subject you are photographing? What if you knew it would be gone forever someday? Though we don’t always realize it in the moment the shutter clicks, the images we capture with our cameras become more precious when the subjects in those images no longer exist.

If you're like me and shoot a lot of video, you use both an on-camera shotgun as well as lav mics interchangeably, depending on the situation. The shotgun I use is the Rode DSLR video mic, and it rocks except for the need for a 9 volt battery. Seriously, who has those kicking around anymore? It seems Rode is listening to bitter complaints like mine, and their latest microphone, the VideoMic GO, requires no dedicated battery.

Whether you're a fan of the Jurassic Park franchise or not, it's going to continue to be pushed in hopes of reaching the status of the original blockbuster by Steven Spielberg. A tall order indeed, but with the first trailer slightly sparking my interest, it was the newest CGI-filled update during the Super Bowl that really brought me back to that first movie's excitement and unpredictability.

Sometimes when on a job, things happen. You might show up and take photos of the wrong couple at a proposal shoot. You might break into an abandoned house and discover it wasn’t as abandoned as you had thought. Or, you might turn around and see the groom you’re photographing standing nearly waist-deep in water saving a kid from drowning. You know, normal stuff.

Photographer Joe McNally is out in the desert again. This time he is in a dry lake bed outside of Las Vegas with Cirque du Soleil performers Daria Shemiakina and Anna Melnikova. It’s a little unclear whether he is shooting this concept for a Gitzo campaign or for the artists but if you can take your eyes off the beautiful and amazingly talented athletes for a moment you’ll be able to gleam some of Joe’s desert setup. If you're like me and prefer simple kits and small intimate teams over large crews and trailers full of gear then you’ll find it comforting to see that a master like Joe keeps it pretty basic.

You've probably seen thousands of articles on screen calibration and you may strive to deliver perfect images and videos. Unfortunately, in the end, your client views them on their non-calibrated way-too-blue or way-too-orange screens. Sometimes they say "looks good to me." Other times the response may be "it's too dark," or "it's too blue." They may even edit your photos to make them look "better." How do you handle these situations and is it really critical for you calibrate your monitors?

Anyone who likes to bring a light or two on-location knows the frustration of wanting soft, controllable light that won't weigh you down or break the bank. The Westcott Apollo Orb is, without a doubt, one of my favorite lighting modifiers. As you'll see below, the Apollo Orb has just about every feature you could ask for in its unique, somewhat-brolly-box-style design, all at a modest price point.

Raised in a small farming community in Saskatchewan, Canada, Chad Carpenter found himself far from the idea of ever being a boudoir retoucher. Boudoir in a small conservative town can be considered taboo and Carpenter never imaged he would be leaving his job in order to work as the main retoucher for his wife's boudoir company.

Last night we were treated to an annual event where Adobe encourages their developers to think differently and solve problems they perceive and present them to the world. This event takes place every year at Adobe MAX and is called "Sneaks." Sneaks has led to innovations like Content Aware Fill and Shake Reduction, but not everything revlealed at Sneaks is guaranteed to make it to a final consumer release. But what we saw looked pretty amazing.

It's no secret that producing still as well as motion gives any photographer an edge over his competition. As the years go by, creating animated content is getting increasingly more accessible. In this article, I review Flugo, an iOS app that turns any still portrait into an eye-catching motion shot.

The golden hour, a cherished time for photographers, offers breathtaking opportunities at both sunrise and sunset. While both moments provide stunning lighting conditions, there is something truly magical about sunrise photography. This article explores the top five reasons why sunrise photography shines brighter than its counterpart, sunset photography, why many choose to set their alarm at a ridiculous hour, leave their warm bed, and head out into the darkness with their camera bags packed with both certainty and uncertainty.