Inspired by a recent photo book I purchased, "Creative Flash Photography" by Tilo Gockel, I set out to create a series of food photos this week as part of a Thai dinner theme my wife and I decided on. The principle here was simple: create a great image using a single speedlight and a bounce card. That’s it.
Articles written by Mark Bowers
Catchlights are those beautiful, almost imperceptible, reflections in the eyes of your model that bring their expression to life. When photographing portraiture every effort should be made to capture this light in their eyes, but sometimes they come out so faint the impact is simply not enough. Fortunately, there is an easy fix.
My passion for photography stemmed from a series of trips I had taken overseas and a desire to capture the beauty of those places with more finesse. Landscapes were a natural draw for me and it didn’t take long to come across the concept of exposure blending.
Living in the live music capital of Texas, there is no shortage of opportunities to experience incredible shows while taking some memorable shots. Capturing the excitement can be tricky, however, as dim lighting and moving subjects don’t usually play well together. Here are some tips for making the most of your next concert.
Interviewing interesting people can be an awesome experience that when done right, will provide impactful insight to your next video project. When done wrong however, you may find yourself asking the client for a do-over or spending hours in the editing room cleaning up mistakes.
Composition may be one of the most widely discussed artistic aspects in photography. In theory, the idea is simple. Putting it to work, particularly in motion arts, is easier said than done. Composition is one of the most important creative aspects of any filmmaking. Simply put, it is the act of defining the position, arrangement, and view of objects within the frame. The composition is, in effect, representing the point of view of your viewer and it will have a direct impact on how that viewer feels when they see it.
You’ve bought a brand new 4K video camera with all the bells and whistles and shot your first piece of work. You can’t wait to get home and edit the footage for your client imagining how incredible and crisp the video will be. You open Premiere Pro, import the files, and within seconds your computer takes a crap as it struggles to render the data intensive footage.
I met a new contact on a job recently that encouraged me to delve deeper into the world of lifestyle imagery when thinking about my next shoot. She explained that over the years in between paid gigs, she would self-produce and fund her own micro shoots to use as portfolio material, but more importantly, as stock imagery to be sold. Over time, she has amassed an impressive collection of stock imagery that continually pays her royalties and is an excellent source of continuous revenue when work is slow.
Shooting high-quality video has never been easier and cheaper than it is today. Most digital cameras offer at least high definition 1080p quality and considering the applications of video from a business standpoint, it seems foolish not to offer this service as part of your photography business.
I was hired to shoot graduation photos for a client recently, a particular job that certain photographers may be at odds with accepting. Simply put, it’s one of those gigs that can be hard to get motivated for if it isn’t your style. As a working photographer however we must all make decisions with our career and in my case, work is work regardless of the genre. So how can you take something as simple as a graduation shoot and turn it into an experience? Here are a few tips.
Most, if not all, have seen the picture profile settings in our cameras. These can include settings for Landscapes, Portraits, or even Cine-style formats for filmmakers looking to achieve that cinematic look. But what do these mean and how do they affect our final image?
This week I finally got around to editing some footage I shot at SXSW this past year in Austin, Texas. I imported all of my clips into Premiere and began the laborious process of sorting, organizing, and cutting in and out points for all of the clips I wanted to use. Then I laid down a music track to cut against and around this time is where all the fun ended.
As part of a commitment to expand my portfolio in 2017 with work that showcase a broader understanding of concept and light, I decided to plan a shoot centered around a vintage travel theme. After weeks of planning the style, location, and overall shots I wanted to take away, I finally had the opportunity to execute the shoot yesterday and I’d like to share the results as inspiration for any interested readers.
As photographers, most of us eventually stumble onto the world of flash and the myriad of options available for producing light as well as modifying it to produce different results. Speaking from personal experience, I have often been perplexed as to whether a softbox or an octobox would be a better choice or better yet, a cheap umbrella.
When shooting images outdoors, particularly in bright sunlight and towards the sun, the appearance of lens flare is often an unintended consequence. It can reduce contrast in your image and create nasty artifacts that can ruin your shot. Conversely, creating a flare in post can produce vibrant results that I find many clients asking for in their images. Here are three easy to use methods for adding a flare in your images tastefully and non-destructively, each providing a unique look and feel.