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Katy Perry

All images by Tim Hiatt. Used with permission.

Photographer Tim Hiatt is one of the most in-demand music photographers in the business right now. Not only is the man talented, but he has a lot of insight to share about shooting concerts and music. Tim is based in Chicago and has shot major acts like Katy Perry, Kiss, and Florence and the Machine, among many others. He started as an Art Director and eventually got into shooting from the pits.

We recently asked Tim for an interview about the music industry, and his humor is probably one of the reasons why he works so well with others.

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Creating the Photograph is an original series where we interview photographers about a photo that they shot and how it was achieved. The results are some knowledge passed on to you. Want to be featured? Email chrisgampat[at]thephoblographer[dot]com.

Photographer Jason Lanier has been making a big splash in the photo world as of late–and in this case, quite literally! He made a big switch from Nikon to Sony, and a little while back he used their cameras to create a beautiful scene in a Detroit warehouse. Jason’s work proves more than anything though that no matter what system you use, a creative vision and great lighting can still deliver a solid image.

Here’s Jason’s story of how he created the scene above.

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JColeWeddingPhotography - 8

All images by Pat Brownewell. Used with permission.

Photographer Pat Brownewell usually shoots digitally, but in some cases still shoots with film as an extra bonus for his clients. But we’re not talking about the 35mm variety–oh no, that stuff is child’s play. We’re not even talking medium format. Pat shoots with 4×5 large format film in both color and black and white at weddings.

Why would he do this? Pat tells the Phoblographer that it was partially out of boredom.

We talked to Pat about the expenses and how it made him a better photographer.

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Chris Gampat The Phoblographer How to Get the Look of a Sunset in Lightroom (1 of 1)ISO 8001-800 sec at f - 2.8

Model: Melissa Perry

Inspired by the Photoshop post that we found the other day, we went to experimenting in Adobe Lightroom to emulate the look of the Golden Hour. Granted, we’ve shot during the Golden Hour a lot, so by applying some of the same theories and principles in the video and combining it with the look that the Golden Hour gives you, we were able to effectively figure out how to make an image look like it was shot during this period.

Granted, it won’t work for every photo, but it will work for many of them.

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julius motal the phoblographer sports illustrated

This week’s cover.

In a depressing move, Sports Illustrated laid off its last six staff photographers, reducing the photography department to the director of photography. According to an NPPA post, the move was a consequence of internal restructuring and economic constraints. So, like their forebears at the Chicago Sun-Times, they axed the last six people who knew their way around a camera.

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Woman Power marie

All images by Richard Veil. Used with permission.

There are professional photographers today that have never shot on film and have grown up in the digital age of Photoshop. Many of these photographers rely on computer programs to improve their digital images.

Those of us who grew up in the age of film emulations and darkrooms relied on perfect execution in shooting and faith that there would be images on the film. Imagine shooting a dozen rolls of film and having no idea what the images were going to look like; that’s real anxiety. Cameras and processing equipment could malfunction and leave us with nothing of use.

Today images are instantly available for viewing alleviating a lot of anxiety that either the camera or the processing equipment might malfunction and destroy all or part of a shoot. The closest we could get to a preview of our images were Polaroids that some cameras had adapters for but the actual image on film was a matter of artistic faith.

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