There are many photographers who can take a technically perfect picture, with stellar lighting and optimal composition. But the mark of a true professional, of someone who has earned their stripes, is the ability to pull emotion from their subjects, the ability to have their subjects so comfortable that they open themselves up to the photographer, sharing their true selves. Continue reading…
Photographing cosplayers at Comic Con and other conventions leans two different ways: capturing people on the floor and then trying to create images that stand out from all the rest. Most photographers that take pride in their portraits often try to do something that looks good off the main floor where everyone else is. The great thing about comic con is that pretty much everyone is alright with you taking their picture. It’s even better when you ask someone–let alone less creepy!
With NYCC going on at the time of publishing this piece, here are some tips.
When you finally want to get into studio lighting being involved in your photography, we will always recommend strobes over constant lights. Part of this is because they have something called a flash duration that can affect the way that the scene looks overall. It’s the difference between being able to darken a sky with ease or not.
Studio lights, as many of you know, can also be shot outside of the studio. But using them just requires you to understand a few new things.
All images by Oddds Studio. Used with permission.
Oddds was established in 2013 by Reinold Lim (Penang) & Sarah Tan (Singapore). The duo believe in aesthetics and how it draws attention to people. “Often we impart our work with references of philosophical values and new thinking.” which makes complete sense in regards to their project entitled “Amber.”
Oddds tell us that the inspiration came from their fascination with fossil.
A Polarizing filter is best used by landscape photographers. They’re designed to darken skies, negate reflections on water, and cut down on glare. If you happen to be out in melting snow where there are random puddles everywhere that create lots of reflections, a Polarizer can cut them out. They can also be of use to studio photographers who are photographing on sheen surfaces that otherwise reflect lots of light.
This kind of stuff can’t necessarily be removed in Adobe Lightroom by nerfing the Highlights slider or killing the luminance of that specific color channel. It’s something that needs to be done in-camera in order to capture the details to begin with.
After the jump, we share a video on the effects of a Polarizing filter on a scene.
All images by Lindsay Adler. Used with permission.
Photographer Lindsay Adler has always had incredible and creative ideas that simply make our jaws drop. But recently, she decided to step her game up a bit more and combine video and stills by teaming up with Flixel and releasing the images just a bit before WPPI 2015.
Lindsay set out to create wedding inspired cinemagraphs by using the Panasonic GH4, lots of lighting and majestic sets–which for the most part are typical of Adler’s shoots that also tend to take place in a controlled studio setting. In the video below, she cites that the GH4 was shooting in 4K and therefore gave her enough resolution to create a crisper, better and sharper cinemagraph.
What’s really cool about Flixel is just how simple it makes the act of creating cinemagraphs. In fact, we’re considering putting more of them into our reviews.
Three of the images and the video are after the jump.
The folks at Orangemonkie are back with Foldio2 “Bigger & Smarter” on Kickstarter. We originally wrote about them a year ago when they debuted the original Foldio. Essentially, it’s a collapsible photo studio with LED lights that will help you take better product photography with either your phone or your camera. The original Foldio came in at 10.2 in. x 10.2 in. x 10.2 in. This time around, the Foldio2 is 15 in. x 15 in. x 15 in., which can accommodate bigger items.
The Foldio2 comes with three backdrop options: white, black and grey. The LED strips are also longer than the original, which provides much more light. The Orangemonkie team is also developing a smartphone to provide quick and easy editing for any photographs you take in the Foldio2.
This is definitely a boon for anyone looking to take better product photos or experiment with macro photography. Hopefully, eBay listings will look a little better, too, if this has a high adoption rate.
They’ve already blown past their $50,000 threshold, but if you’d like to get one early, head on over to their Kickstarter.
Product demo video after the jump. Continue reading…
“Do whatever you need to,” was the response given to me by the other editors of the Phoblographer when asking about budget for the review of the Zeiss 55mm f1.4 Otus lens. When we were calling it for review, it was also decided that I’d handle it–afterall, this is probably the single most important lens that anyone has created this year (with Sigma’s 18-35mm f1.8 being a close contender.) Then you add in the fact that we only had this lens for 10 days (we usually test a lens for an entire month before publishing a review) and you’ve got one of the most challenging reviews that we’ve ever done.
When Zeiss created this lens, they decided that it shouldn’t have a single compromise on the image quality. It was also designed for high megapixel DSLRs. The image quality is reflected in the price tag–which is just under $4,000. Indeed, it isn’t a lens that we believe everyone will go out and buy.
And while our thoughts on the lens are overwhelmingly positive, we encountered a couple of situational problems that made the lens’s functionality somewhat tough at times.