Looking for some explosive photography inspiration? Whether you’re fond of making your photos pop with color, or simply find vibrant hues hypnotic, you’ll enjoy the burst of colors in this intriguing work by Danish photographer Ken Hermann.
One of the reasons I use specific white balances like Daylight when shooting photos is because it tends to take the guesswork out of editing and colors. Daylight white balance is balanced to be fairly warm and to counteract the already very cool light that daylight is. Though many times there are situations where you’d rather have warm skin tones in the scene. For the most part, what people tend to do is just work with the white balance to make the skin warmer but then in the process just make the whole scene warmer.
This happens a whole lot when working during the blue hour, in overcast weather etc.
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One of the reasons why you use telephoto lenses in landscape photography not only has to do with capturing an entire scene, but also being more artistic about the format in one way or another. What some of the more advanced landscape photographers do beyond looking for layers of sky and land is look for shapes in a scene to focus in on and play with. So how do you do this?
- Crops: Experiment with various crops of your images and try different sizes. Modern cameras have enough megapixels where you can crop for quite a bit.
- Looking at things on a micro scale: You know how folks like pixel peeping? Don’t pixel peep but instead look at the image closer and make your psyche vulnerable to shapes, tones, etc.
- Rendering in black and white: One of the easiest ways to do this is to go black and white. Looking for shapes, tones and everything else becomes simpler. You can find so much in a black and white image.
- Shapes: Circles, lines, leading lines, squiggles, etc. Look for them and keep them in mind. Sometimes even rotating your photo can help.
- Contrasting colors: Go for at least two colors; no more than three.
- Think about paintings: Imagine the scene without any sort of details. In fact, try to strip them away in post with stuff like Gaussian blur. I personally really like to think about and bring up Bob Ross. He created paintings of scenes but nothing was incredibly detailed obviously because they were paintings. From this you can recognize in your mind what he was painting. The same goes for Van Gogh and so many others.
Our friends over at Outdoor Photographer have even more tips on how to do this. Head on over and take a look.
When you get to the idea of calibrating your monitor as a photographer, chances are that so many photographers stray away from it simply because they don’t understand it. But calibrating the monitor that you’re editing on or at least editing in the same spot over and over again will really help you not necessarily create better photos, but create more consistency in the photos that you put out. In earlier times, it wasn’t as important simply because everyone had different displays. But these days, most photography is consumed on a mobile screen and therefore the screens are typically all balanced in the same ways when it comes to color. So ensuring that you get consistent color accuracy across the board makes a whole lot of sense lest you get weird shifts in your colors.
We’ve all seen the photos and movies that show the picturesque, cinematic Cuba. Creating a picture of a place through its people is one effective way to show the essence of a destination; and this portrait set taken by Amsterdam-based Stijn Hoekstra around Cuba is a great example. If you’re looking for some inspiration in the realm of travel photography, portraiture, and even street photography, his version of a “Cinematic Cuba” will certainly do the trick.
Instead of making candid street snaps of people going about their days during his three-week holiday in the Caribbean island nation, Stijn did what many of us are still hesitant about: getting close to his subjects, interacting with them, and making a connection. This resulted in photos revealing some interesting characters. The attention to detail is also impressive — notice how the repeating combinations of straw and felt hats, the world-famous Cuban cigar, and rural backgrounds paint a picture of Cuba’s more laid-back parts.
The Venus Optics Laowa 15mm f2 lens is promising zero distortion, and when in use it honestly holds itself very well to that promise. This lens appeals a whole lot to the urban geometry and architecture photographer in addition to the interior and real estate photographer. The reason for this obviously has to do with the lack of distortion. In many ways, you can say that it surely is zero distortion but if you run it through some editing programs you’ll see that it isn’t quite totally eliminated but it’s surely close. It isn’t as complicated as something like the company’s lenses with shift abilities built in. But it’s surely quite a great option.
The ReEdit is a series on the Phoblographer where Chris and the staff dive back into their archives to find a way to make older images from previous sessions look better. The use standard techniques such as color editing, cropping, black and white conversion, etc. Be sure to not miss a single moment by subscribing to the Phoblographer on YouTube.
In the third episode of the ReEdit I return to Capture One Pro in order to show people how I currently tend to create images based on color channels and making subjects stand out more effectively by using said channels. And for this episode I went back into my archives and sought out a photo from my Secret Order of the Slice Series. The photo is an ode to Quentin Tarantino’s briefcase in the movie Pulp Fiction–and this time around I wanted to tone down the excessive editing I felt I did and instead just focus on creating a really good photo through the editing process in Capture One Pro.
There’s been a big personal void in my life when it comes to slide film since the first death of Kodak Ektachrome, and I haven’t been able to fill for a while. But perhaps the closest thing to filling that gap is Fujifilm Provia 100f. Lots of folks love negative film; but I’ve always been more partial to slide film. Slide film is sort of like a badge of honor: you have to get the exposure perfectly right and most of the time the camera doesn’t really do it. With negative film and the development process, you’ve got a lot more versatility. But with slide film, you have maybe one stop extra in either direction. Perhaps this is one of the trademarks of what makes film so fun–you have to get the image right and the editing process isn’t as simple as it is in digital.
But either way, I’m genuinely in love with Fujifilm Provia 100. Like any other film though, I adore it in medium format much more than in 35mm.