If you were old enough to remember the horrible scenes of the Los Angeles riots of 1992, the memory probably most burned into your mind is the ruthless beating of truck driver Reginald Denny. This last weekend marked the 25th anniversary of one of the ugliest domestic events in American history. Over the course of six days, 58 people died, 2,000 people were seriously injured, and over 11,000 citizens were arrested. The man responsible for capturing the most graphic video of the epicenter, Timothy Goldman, happened to be at the wrong place at the right time, and the story of how it all unfolded is pretty interesting.
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Today on our new Fstoppers Live channel, we had the chance to interview Vasyl Nykolyshyn, the owner of Raycrown accessories, about a brand new shoot-through octabox concept he has designed. Not only is this light modifier wind-resistant and easy to build and break down, but it can also be used off-axis as a large soft light and on-axis as a massive ring light. Let us know what you think!
One of the most useful lenses any photographer can own is an ultra wide-angle zoom lens. One of my favorite zooms in this category is the Tamron 15-30mm f/2.8 lens. Tamron recently released the upgraded G2 version of their already great SP model and I wanted to see if this redesigned lens was worth the upgrade.
Without a doubt, one of the most popular and useful pieces of gear a photographer can own is the 70-200mm f/2.8 telephoto lens. This lens is so amazing that it has become a staple for photographers shooting wildlife, portraits, headshots, sports, weddings, events, and even landscape photography. With Nikon and Tamron both recently updating their version of this lens, we thought it would be a great time to review them side by side and definitively name one as the "best bang for the buck."
When it comes to shaping the light sources photographers use, there are a lot of modifiers available. Each lighting modifier has it's own characteristics which can make it difficult to determine the best light for your project. Karl Taylor has produced one of the best videos I've ever seen showing exactly how the light fall off, contrast, and specularity differs between the parabolic reflectors, beauty dish, and large octabox softbox.
Last week Fstoppers and Peter Hurley hosted a free Illuminating the Face release party on Spreecast (view it here if you missed it). Since I had learned so much from Peter's tutorial I figured it would be exciting to use some of his studio lighting techniques for my own webcam session. What I didn't expect was all the emails, tweets, and live questions concerning my lighting setup. So in this post I'm going to share my lighting setup with everyone so you can reproduce it with your video sessions.
Even though I am not a landscape photographer and I have never attempted any sort of astrophotography, I have always appreciated beautiful photographs of nightscapes. Recently, I borrowed the new Tamron SP 15-30mm f/2.8 Di VC USD lens and tried to photograph an interesting night scene here in Charleston. Truth be told, it was quite the learning experience. In this video, I will share my first ever approach to shooting the night sky and hopefully give you a few things to think about when tackling this interesting genre of photography.
As high quality RGB Led light panels become cheaper and more compact, more and more photographers and videographers are finding just how useful these little lights can be. In this video, I compare the new Falcon Eyes Pocketlite F7 light to my favorite RGB light panel as we explore a few unique lighting setups any photographer can create on the fly.
Most photographers know that a cloudy or overcast day produces really soft light that can be flattering on the human face. But many of my wedding clients naively say "Oh it's overcast today, the photos will turn out much better!" Sometimes Most of the time overcast light is actually pretty boring and removes any and all contrast from your scene. There is a little trick I explain in our Wedding Tutorial that has saved me from producing boring, flat images on a cloudy day, and I think all photographers should have this technique in their bag of tricks.
For our New Year's Resolution, Lee and I decided to attempt to post 30 new videos to our YouTube channel throughout the entire month of January. We were not only curious if we could find the drive and motivation to complete such a feat, but we also were curious what sort of traffic, advertising income, and excitement it would bring to Fstoppers.com. Here is what we found out.
If there is one thing photographers are obsessed with it is lens bokeh. Even if you shoot landscapes or interiors at f/22, your mouth will surely drop the second someone pulls out a fast f/1.2 lens from their bag. One of the most sought after ultra-fast primes in the Nikon lineup is their manual focus 50mm f/1.2 lens. Can this 35-year-old design compete or even beat Nikon's newest 50mm f/1.4 lens in a studio setting? Today we find out.
One way to spice up your photography is to add gels to your lights so you can produce colorful and edgy looking imagery. Adding wild colors to your photos can offer a lot of creativity but gels can also be used in a much more subtle fashion to slightly alter the color of your background and sky. In today's video I want to share two simple techniques I use to help make my backgrounds on location look more interesting.
No matter if you photograph headshots, weddings, portraits, or sports, one of the most important skills you can have as a photographer is picking out interesting yet non-distracting backgrounds. Many photographers prefer shooting with fast prime lenses but in today's short photography tutorial, I'm going to show you why I prefer the power and versatility of a telephoto lens.
What to name your photography business is one of the first questions any entrepreneur has to answer before venturing out into the freelance world. Many photographers simply use their full name as their business name, but could that be the worst decision ever? Today, we discuss some of the most important things to consider before making the jump into being a full-time photographer.
It's not everyday that you get to see a rare 1970s Nikkor 6mm Fisheye lens. It's even more unlikely that you get to see one mounted to the rare Nikon D800 DSLR body! The guys at Grays of Westinster mounted the two elusive beasts to show how insane it is to have a 220º angle of view. If you have $160,000 saved up, and need to see behind you as you shoot, it might be worth picking up one of these rare lenses. Now where are those full res D800 files so everyone can complain about purple fringing?