Peter Hurley is a true inspiration. Not only is he an amazing headshot photographer but he is also one of the most fun, energetic, and encouraging photographers I have ever met. Click the post to read more about how we got in touch with him and what we couldn't show you in this video. <
A while back we featured a behind the scenes video on the making of the 2011 Pirelli Calendar and people enjoyed commenting on it (especially Karl Lagerfeld's crazy gloves). If you aren't familiar with the Pirelli calendar, it's basically a glamour nude calendar that is only released to VIPs and Pirelli customers. Even though the calendar is not for sale, it has become an icon in the fine art world. A few days ago this BTS video on the making of the 2012 calendar was released and it's pretty interesting at well. It features photographer Mario Sorrenti as he and his crew scout out locations throughout Corsica in pursuit of the perfect light for each nude image. There are two video versions available below each having a slightly different perspective. While I wouldn't consider this pornography, this video is definitely NSFW so you might want to revisit this later.
Photographers love Zack Arias because of his no nonsense, laid back approach to photography. In his full blog post Why I Moved To Medium Format :: Phase One IQ140 Review, Zack describes some of the amazing features these DSLR alternatives have for the commercial photographer. If his posted examples aren't enough to have you foaming at the mouth, this full review video will definitely have you lusting after in-camera WB adjustments and the LCD touch screen found on the IQ140 digital back!
Every photographer needs a few things in their bag of tricks. An easy trick is to add some smoke to your images for effect. You can always create photo smoke on a budget if you want to MacGyver it but there is another solution - two solutions in fact. Click the full post to watch a video on how easily smoke can be created with two liquids.
Unless you shoot fast moving objects with flash on a regular basis, you might not be aware that a strobes "flash duration" has a huge affect on an image's total sharpness. Flash duration is simply the time at which your flash is emitting light. Technical gurus will break it down into T.1 and T.5 times but for simplicity the longer the flash duration, the more your strobe light acts as a constant light for extremely fast moving objects (great article here). Recently Broncolor did a test between their Broncolor Scoro power pack and the Profoto Pro 8 Air to see which one had a faster duration. As biased as it might appear, I think it's fair to say that the Scoro does produce a sharper image especially since you can digital select the flash duration on the power packs themselves. The Broncolor packs do cost about 20% more than the Profoto packs so unless you are shooting extremely fast moving objects then you probably won't ever notice the difference. I think it could be interesting to throw something much cheaper into the mix like an Alien Bee but my suspicion is it might fail the color accuracy part of this test.
A few weeks ago, commercial photographer Jay P Morgan showed us how to balance strobe light with ambient light on a large 18 wheeler (which involved closing down a California highway on ramp). In this video Jay is shooting a lifestyle image for Pilot Freight Services which requires him to light a large outdoor areas with studio lighting. The answer to the question in the title could probably be "one light," but using one strobe on a commercial shoot is not only going to produce a less than perfect image, it is also going to look unprofessional from the eyes of the art director. When photographing large advertising campaigns, I've learned that giving your clients that "wow" experience is perhaps even more important that the actual final image so don't underestimate the saying under promise and over deliver. What is great about this photoshoot is that even if you don't shoot large campaigns like this on a daily basis, it should still force you to think why certain lights are needed, and more importantly, ask what you yourself would do if this was your hired job.
Most people know Joe McNally for his photojournalism or his editorial work. Others know him as the author of some of the best photography books on lighting. But Joe "numnuts" McNally is also one heck of an advertising photographer too. Recently Joe photographed the Anti-Gravity Dancers in an ad campaign for Epson's new R3000 printers. By using huge Octobanks and powerful gridded rim lights, McNally and his team were able to create some dramatic portraits of the dancers flipping and soaring above the New York City skyline. Click the full post to see the final image and a BTS lighting setup and head over to Joe McNally's Blog to view a ton of images throughout the day. This shoot looks like a ton of fun and has my wheels turning a bit!
When someone turns us onto a product or service we really enjoy we like to spread the word. Our friends over at Novum Studios just recently launched the new site design for BorrowLenses.com and it looks great. The Novum team was responsible for the site design you see on Fstoppers.com, and since we are not web designers, they have been instrumental in helping us turn our ideas into working realities. I can't really say enough about Case Sandberg and his team so if you need any custom wordpress design work check them out. Also check out Borrow Lenses new site especially if you want to test or rent gear for an upcoming project.
Chase Jarvis has become one of the most inspiring figures for both amateur and professional photographers alike. His successful career as an advertisement photographer has only been eclipsed by his overall entrepreneurship. Recently Chase sat down for an interview with Tamara Lackey to explain his self proclaimed "10 year overnight success". I absolutely love his statement "what makes you hirable is not your technical proficiency, that is assumed...it is your vision: how you see the world." So many photographers focus entirely too much on their lighting and completely overlook creating an image that resonates with their viewer. There is a quote that says something like "a photograph that requires a caption is a failed photograph" but I think a photographer could go further and say "people don't care about what you had to do to create the photo, they just want to be wowed by the final image."
Gary from F8 Photography and Mikey from Lightenupandshoot have crossed paths while traveling through Hong Kong. Lee and I ran into Mikey out at WPPI in Las Vegas a few months ago where he told us of some up coming adventures he had planned for Southeast Asia. These guys are really laid back and excited to break out into a photoshoot at any given time. In this video they take a ferry over to a local island to capture a few images of some friends they made in Hong Kong. Around 2:30, Gary talks about using a Variable Neutral Density Filter to almost completely destroy the ambient light while still shooting wide open at f1.2 and maxing out his shutter sync speed at 1/250. I've never attempted this technique, but it has been made famous by many photographers including Joey L. Does anyone have an opinion about these variable neutral density filters or use this technique in their own work? If so feel free to post an image in the comments below.
Usually when I hear someone is shooting a sexy calendar my stomach churns a bit as I imagine poor photography, less than stunning models, and ridiculously boring scenes. Thankfully this military themed calendar from Hot Shots is definitely not one of those poorly executed photoshoots. The final images are not yet public but they do have a bunch of them within this behind the scenes video so watch closely. The lighting is perfect, the photoshop is inspiring, and the amount of production value everyone put into this is something everyone should notice even if you aren't shooting sexy military bikini babes (which who isn't really?). If anyone comes across more of the final images let us know. In the mean time, enjoy a break from your typical Tuesday afternoon!
There is no doubt that the RED's Epic video camera produces some of the most crisp and surreal footage you are likely to see at a reasonably "budget" price point. Up until now, the only lenses you could use with the Epic had to have the PL lens mount found on cine lenses. Recently, photographer turned videographer Vincent Laforet was able to demo the new Canon lens adapter which allows the RED cameras to use most of the EOS mountable lenses. In the video below, Vincent shows what the RED/Canon combo can do out in the field. One particularly interesting combo is the Canon 600mm f/4 L lens mounted with the 2x Canon Teleconverter. Some estimates give this combo a 35mm equivalent of 3400mm with the crop factor but I think it's actually a bit less than that (the RED should have around a 1.2x crop factor depending on the file output). Either way, the footage is pretty amazing and super exciting if you dream of using RED gear down the road with your existing Canon lenses. Any idea how he shot the video in low light? Looks like the lens would be at least at f8 which is almost unusable in anything but bright light.
Remember the Lytro Camera that made it's viral rounds a few weeks ago? The camera that lets you focus after you take the photo has finally showed its head. Photographer Eric Chen has apparently been given a prototype of the miracle camera to test and put through the ringer. Shockingly enough, Eric did not use the camera at all for macro or multi-layered compositions that would best suit the Lytro. Instead he went into the streets of New York to shot fashion shots of super model Coco Rocha with little more than a reflector for lighting. I'll have to admit I wasn't too impressed with the image quality from this camera even with Eric giving his best efforts. What do you guys think; is this "focus after you take a photo" technology from Lytro ever going to live up to its promise? Either way, be sure to check out Eric's portfolio and and hit the full post to see the final Lytro images with variable focus points.
Everyone loves a good timelapse video, and Benjamin Sichert has a great one here. Ben filmed this at the NA Otto & Cie factory in Germany which was the first plant to produce 4 stroke combustion engines back in the 1870s. As you can clearly see in the video, this was entirely filmed on a Canon 5D Mark II (video sequences), a Nikon D90 (photo sequences), and the automated Pocket Slider. I love how Ben added a behind the scenes element by including a few camera shots of the setup and motion. It always amazes me what these motorized dollies can do...might have to pick one up soon.
Every now and then I toy around with the idea of calibrating my monitor. I know how important color is for a photographer, but as a Jpeg shooter I've always felt that if I can capture an image to my liking in camera then I should be good to go. In the past I have tried a few products to calibrate my monitors and the results have never been very pleasing to my eye. After a few hours of letting my eyes adjust, menu bars and icons I've seen for years start having a pink or yellow tone that I simply can't get used to viewing. Well today I decided to test the calibration waters again on my laptop (since it's not used as much as my main workstation). Many of our Twitter followers recommended the ColorMunki by X-Rite which lead me to the following video on their system. It all seems pretty straightforward on video but I want to see what you guys think. Have you had a good experience with calibrating your monitor and feel confident people on normal laptops are seeing your work in the best possible representation?
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