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Chris Gampat the Phoblographer Olympus 7-14mm f2.8 first impressions photos (17 of 19)

When it comes to painting with light, what photographers obviously need are tripods, a camera capable of manual operation, lights and a creative vision. Lots of photographers use tools like flashlights, light sabers, and industrial worklights–but there are so many other tools out there that you can get your hands on. These tools will also let you create more intricate designs and will let you have lots of fun while doing it.

In the end, the goal is to look at an image with a sense of excitement at what you’ve created. Here’s what you need.

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Chris Gampat The Phoblographer Portraits from Early Winter 2015 extras (13 of 21)ISO 4001-180 sec at f - 5.0

Want more Useful Photography Tips? Click here.

Illuminating someone’s face when using a flash is pretty simple to do and really all about positioning more than anything else. Best of all, you can do it all with one light source.

If you’re using natural light:

– Don’t have your subject look into the sun.

– Find diffused light; like that under a tree, awning, or in a building.

– Preferably, find a reflective surface that bounces light back into the person’s face.

– Place the reflected light source in front of or slightly to the side of the person.

If you’re using a flash in the hot shoe:

– Bounce the flash output off of a surface to the side and slightly behind you.

– Have the subject face you directly.

– Do not bounce the flash directly off of the ceiling. You’ll create shadows under the eyes.

If you’re using a flash/strobe out of the hot shoe:

– Put the flash in a large modifier–one that is larger than the person’s face

– Place the light modifier with the flash in front of the subject/slightly to the side

In all of these situations, try to turn the subject’s face slightly towards the light source. This will create more direct illumination onto the eyes.

(Left: Betty, Right: Terry) © Bruce Gilden/Magnum Photos

(Left: Betty, Right: Terry) © Bruce Gilden/Magnum Photos

All images are copyrighted and used with permission by Bruce Gilden/Magnum Photos.

There has been a great deal of ballyhoo around Bruce Gilden’s latest work, from his two-day stint in Appalachia for VICE to his upcoming book Face. The latter of the two comprises 50 portraits Gilden took over the past several years, and one of the most interesting things about this is that he got permission from every single person. Most of Gilden’s oeuvre consists of images made very close with a flash in hand, which you can see a demonstration of in several videos. Gilden’s work often yields polarized reactions with no real middle ground, and while Face stands apart from most of his work, it’s caused the same spate love-it-or-hate-it reactions.

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Screen Shot 2015-08-21 at 9.43.38 PM

One of the biggest problems with Adobe Lightroom for portrait photographers has been the lack of being able to retouch images. While it’s become better with the addition of specific brushes and gradients, it’s still not so simple. But the folks behind the Lightroom Retouching Toolkit want to change that. Despite lots of flak being given to photographers and companies who retouch, the retouching here is very minor. This kit won’t let you give Fat Joe the body of David Beckham or even help dear Miley Cyrus undo all the effects of Molly on her body (bless her soul.)

So what will it do?

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holga digital

You’ve seen Holga around–those multicolored toy cameras are ubiquitous with their ramshackle construction and attention to light leaks that make for lighthearted and quirky photos. Maybe you’ve used one, maybe you haven’t. Now, the camera has finally gone digital, though it can only be realized if you back it on Kickstarter.

It’s a barebones digital machine with a lens that has two apertures (f2.8 and f8) and two image frames (4:3 and 1:1). It has enough tech inside to support Wi-fi capable SD card, and you have the option to vignette your images or not in the same way that many holgas do. There’s a hot shoe, too, and the ability to mount different lenses via an adaptor. The sensor is presently shrouded in mystery, but we’ll update you when we have more information. Given the $75 or more pledge guarantee of a camera, we’re assuming it isn’t that large; but we could be wrong.

More after the jump.

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Aerial image shot from a small single engine Cessna plane of professional surfer Peter Mel outrunning a 25 foot plus wave after it broke while competing in the 2009 Nelscott Reef big wave surf contest in Lincoln City, Oregon.   Contestants were using the assistance of personal watercraft for transport to the reef which is nearly 3/4 of a mile offshore, as well as for safety and to tow in to catch the waves. image © 2009 Ben Moon www.benmoon.com

Peter Mel outruns a wave at Nelscott Reef, Oregon www.benmoon.com

All images are copyrighted and used with permission by Ben Moon.

In this episode of ISO 400, we hear from Ben Moon, a photographer and filmmaker based in Portland, Oregon. Moon recently released a short film he worked on called “Denali,”  a beautifully touching tribute to his dog of 14 and a half years who joined him on all of his travels in his nomadic career. Moon’s photographed everything from climbers on mountainsides to surfers under the waves and bands in the studio. There’s a deep level of humanity and emotion in all of his work, both his photographs and his films.

A selection of Moon’s work, his film Denali, and the episode are below. If you’d like to see more of his work, check out his website or follow him on Instagram, TwitterFacebook and Vimeo.

As always, our music is provided by Yuki Futami, a New York-based jazz musician.

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