Speedlights and similar flashes can be a wonderful way to bring high-quality lighting on location. However, adapting a small flash to take softboxes, gels, diffusers, and other modifiers can be a bit of a slog. By the time you bring everything you need you're back up to a sizable kit. For that reason, I don't usually bother with small flashes, preferring to go with my larger setup. That may be changing.
Articles written by Hans Rosemond
There's been a lot of doom and gloom about film and its viability as a photographic medium in the last few years. Film stocks seemed to be fading away faster than ever. However, this past year, Fujifilm decided to bring back one of their most beloved modern films, Acros, in a new formulation: Acros II. In this great video, Roger from Shoot Film Like a Boss puts the film through its paces and gives his thoughts.
Lighting can be as simple or as complex as you make it. As someone who uses light meters myself, I struggle to articulate why using this handy tool can be a far more efficient way to light a scene. In this informative video, the simplicity of lighting a portrait using ratios is explained far better than I ever could!
In my ramblings as a photographer over the last decade and a half, I've shot with almost every brand of commercial digital camera out there. However, most of my experience has been in the realm of common crop-sensor and full-frame cameras. I've always seen the more exotic offerings in medium format digital as beyond my reach and therefore, not worth thinking about.
Film use is definitely on the rise. However, when you start to play around with this admittedly archaic technology, one fact of life rears its head very quickly: the film needs to be processed. Although you can go the lab route, I've always found a certain satisfaction in processing my film myself. For those of us with means, however, there may be another option: The Filmomat!
Technology in the video world is moving at a blistering pace. With new features being released seemingly every month, once-hyped cameras are being tossed by the wayside faster than ever in favor of the next big thing. Although this trend of rapid obsolescence could be seen as a negative, it often results in just-shy of cutting edge technology rapidly coming down to a price point that is affordable for the masses. This could be the case with the Fujifilm X-H1!
With the release of the Fujifilm GFX 50R, the Hasselblad X1D II 50C, as well as a burgeoning used market, digital medium format has become more attainable than ever by professional photographers wanting to step up to the next level in image quality. However, the full frame market is firing back on all cylinders, producing cameras that claim to rival medium format, such as the Sony a7R IV. Many medium format users are quick to point out that there is a medium format look that these high-end full-frame cameras are lacking. So, what is the medium format look? Is it real? Why, yes. Yes, it is.
In part of three of making prints of my shoot with Cognito, I made a kallitype from a film scan. A kallitype is an iron-based contact printing solution that yields a wonderful tonality that, in my opinion, can only be found in analogue printing. Here's a quick overview of the process and some thoughts on why you should venture out and try something different!
As a sort of part 2 to my last video, I'm taking the black and white film from that same shoot and jumping into the darkroom. It's been a while since I've ventured in, so I thought it would be fun to take you along with me while I kicked off the cobwebs.
Scanning film has always been a bit of a pain. However, with time comes progress, and Nate over at Negative Lab Pro has been doing some awesome work, making scanning C-41 film using a DSLR or mirrorless easier than ever. However, using Negative Lab Pro with a flatbed scanner has always been a bit lacking. That just changed with Negative Lab Pro 2.0 and an unlikely partner: Vuescan.
In the nausea-inducing argument of "gear doesn't matter," one of the lines often peddled by one side or another is that the camera, no matter how sophisticated, is just a tool. It's the equivalent of a hammer. Its job is to collect light and any romanticizing over these "light boxes" is just an exercise in GAS. I agreed with that sentiment for a long time, but now I'm not so sure. Here are my reasons why the camera is more important than its obvious job as a way to catch an image.
So you finally made the jump to mirrorless! You've got that sexy new Sony/Nikon/Canon/Fuji/Panasonic and you're itching to get cracking on some awesome portraits! It's about then that you realize that the kit lens isn't going to cut it and you didn't quite budget as well as you'd thought for some shiny new system lenses. What's a photographer to do? Buy some cheap, old glass to get you going!
Technology is a locomotive moving full speed ahead. From the creation of the first digital SLR almost two decades ago to the mirrorless revolution, the progression of technology in photography has made the craft more accessible, affordable, and reliable than ever. However, even with all of this progress, I can't help but feel that we've lost a little something along the way.
While we all love it when a gig lands in our lap, sometimes the timetable doesn't work in our favor. Having a decent amount of time leading up to the shoot can be critical in getting the best results for you and your client.
Depth of Field, or a lack thereof, has become a buzzword of sorts in photography circles. Many times the term is used as a blanket nomenclature to cover anything to do with how much or little of a subject is in focus. What we often fail to consider is why. Why are we choosing to use as much or as little depth as we do? It's time to look past aesthetics and really think about depth of field in relation to our subjects.
For many of us, marketing ourselves to potential art buyers, publications, and agencies is the stuff of nightmares. Cold calling is certainly one of the most feared.
Art and inspiration go hand in hand. For photographers, curling up in the corner of the bookstore with a stack of magazines, oohing and ahhing at photographs we wish we had created seems to be a part-time job. However, equally as important as what our heroes produce is how they produce it. We can learn a lot from the methodology of the folks that do what we want to do day in and day out. With that in mind, here's a conversation with Art Streiber.
Automation is a very good thing. From streamlining our workflows to speeding up client interactions and accepting payments, we are living in a time where the right software packages make running our business much easier. However, blindly trusting that pieces of software are doing what they're supposed to do can lead to financial losses or worse. A few days ago, I found this out the hard way.