Photography Tips And Tutorials

If you’ve ever tried to photograph a shiny object, you know how reflections can throw a wrench into your shoot. Likewise, if you’ve ever shot anything larger than a small group of people, you’re probably familiar with the challenges of illuminating wide, often multi-faceted areas. If you combine these two situations, you might start to get an idea of the challenges behind lighting  and photographing an automobile. In this video, photographer Tim Wallace explains in great detail how to “shape” light around a vehicle – specifically, a high-end muscle car: Because the surfaces most cars are polished to a high gloss, it’s important to pay close attention to where the lights are showing in the finish. You should use clean, simple lighting accessories (soft boxes and strip lights) that can blend nicely and create attractive reflections, as opposed to barn doors, grids, or snoots which will create odd, awkward shapes. Carefully position your lights where their reflection will be minimized. In order to set this up effectively, you must compose your frame before setting up the strobes; leave it stationary on a tripod, and reference your lighting through the viewfinder (or live view). Because of the nature of reflections, they will look very different depending on what angle you view them from, so keep that angle invariable. Be patient and experiment with an ideal placement of your lights that obscures the shapes of the sources, while also lighting the vehicle broadly, evenly, and with attention to the fine detailing that gives the car its unique personality. Most sedans or coupes will require three or four different lights to cover it; trucks and vans may require five or more. Strip lights are your friend (He uses a couple of Profoto 1′x6′) for these types of shoots – they cover a wide (or tall) area, while concentrating the flash and not spilling rays in every direction (they will light the car’s length, rather than the floor below it). Once you get those principles down, automobile photography is just like any other product, except on a much larger scale. Ask yourself what it is about this vehicle that makes it more special than any other, and emphasize that strength with your lighting, composition, and choice of setting. Go to full article: Muscle Car Photography Lighting Techniques What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Whenever Air Force Master Sergeant Jeremy Lock raises his camera to his eye, he becomes a man on a mission. “You look for the moment, that brief second,” he says, neatly summing up the objective of photojournalism. Lock’s exceptional work with the US armed forces, shot on 40 countries across 6 continents and spanning 2 decades, have earned him Military Photographer of the Year honors a record 7 times: In the short feature above, Lock talks about what he looks for when he wants to capture war, the sacrifices that come with the profession, and the things that he appreciates about the job. He points out how a military journalist differs from a civilian journalist — in 2006, he earned a Bronze Star for an incident in Iraq where he put down his cameras to pick up a rifle and provide covering fire while others pulled a wounded soldier to safety — while still essentially having the common goal of trying to tell the story as best as they can. He uses Nikon simply because that is what the military issued him, specifically the D700 and D800. “Whenever I am on assignment, whether its in war or on a local shoot, I carry two cameras, one with a long lens and the other with a wide. And I will have usually a 50mm lens in my pocket. I pride myself with carrying as little as possible to get the job done.” Towards the end, he speaks about how it will be tough to hang his cameras when the time comes to leave the military (Via The Washington Times & Petapixel). Still, he says will always be thankful for being given the chance to leave a photographic legacy, his mark on this world. “To truly capture war is to capture it on the face of the soldier next to you.” “You’re only as good as the last photo you’ve taken.” When Lock received his 6th MPOY award last year (Q&A at Imaging Resource), CBS made this video about him. When CBS’s Bill Plante asked him to show his favorite photo, he said: “I haven’t taken it yet. Still waiting for that one.” Go to full article: The Stunning Work of Jeremy Lock: 7 Time Military Photographer of the Year What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

(click on image to view larger, read easier) Because if you love both photography and reading I could really use your help. As I mention in my review of Scott Kelby's "The Digital Photography Book: Part 1", books for review are delivered on both a numerous and regular basis. So much so that it would be impossible for me to read them all. Here's how you can help me out, pick any one of the above books (first come first serve), and I will send it to you to read and write a review. Not only will the book be yours to keep, we will also provide links back to you (your website, Flickr page, etc.) as part of your intro/bio that will be part of the posted review. The only two things we ask is that you follow our review policy and have your review back to us in a two to three week time frame. So after getting this far if you are still interested simply send us an email with your book of choice along with your snail mail address and we'll send your book right out to you. You might want to include a second choice just in case your first choice is already gone.

You’ve got the Camera and the Action — now, about those Lights. We’ve rounded up our favorite easy to use lighting gadgets. And we’ve even added a new one … The Deluxe Pop-Up Flash Bounce that bounces light from any angle. Grab up these gizmos and give your photos pro-quality lighting, just the special sparkle you’ve been looking for. Deluxe Pop-Up Flash Bounce The Deluxe Pop-Up Flash Bounce redirects the harsh light from your pop-up flash. It swivels around so you can bounce your flash’s flash off of a wall or ceiling and make the light fall more evenly. Deluxe Pop-Up Flash Bounce $37 at the Photojojo Store Ring Flash Adapter Get the soft glowing look of a ring flash with the Ring Flash Adapter. It works with your external flash to surround your subject with light, for a fraction of cost of a pro ring flash. Ring Flash Adapter $40 at the Photojojo Store White Balance Lens Caps Nothing ruins great lighting like crumby white balance. The White Balance Lens Cap helps you set the perfect custom white balance every time, even in mixed light where the presets just won’t cut it. White Balance Lens Caps From $45 at the Photojojo Store Related posts: The Pop-Up Flash Bounce – Perfect Lighting with Your Camera’s Own Flash! Your pop-up flash’s measly spurt of light and shadowy results... No light? No hot shoe? No problem. The Metz 28 CS-2 Digital Slave Flash to the Rescue! Nothing will ruin a shot quicker than on-camera flash. Unless... The Ring Flash Adapter Ever wonder how photographers get that glowing halo in their...

If you’re looking to get into wedding photography or have just started out in the industry, you’re probably aware of how hectic a wedding photo shoot can be. Learning the ropes involves a lot of trial and error, which I can attest to. This simple step-by-step plan should eliminate a fair amount of hassle and ensure you enjoy your photo shoots as much as the happy couple enjoy their big day. by Lisa Gill Preparation Meeting The first step is to have an initial face-to-face meeting with the bride and groom-to-be, preferably at your studio. This is your chance to gather as many details about the wedding as possible. As a starting point, I recommend the couple are given a questionnaire to fill in, which should answer the following questions: Details of the venue and when the wedding will take place The bride and groom’s contact details The wedding planner’s details (if they have booked one) An additional contact for the day, such as the best man Where the bride and groom will be getting ready How many attendees will be present It’s also vital that you note down detailed timings for the wedding day itself – there’s no point preparing for a certain aspect of the day if you won’t have enough time to do your thing. This initial meeting is also a good opportunity to request time for group shots and bride & groom shots as part of the wedding itinerary as this is an aspect often not considered by planners. It’s also the photographer’s chance to advise the couple on what can realistically be done in the time frame provided. Preparation meetings can be arranged a year or more in advance of the big event, leaving both parties with plenty of time to agree on any changes to the original plan. Pre Wedding Shoot Not only will a pre wedding shoot give the bride and groom a taste of things to come, it’s the photographer’s opportunity to get to know the couple and build some rapport. Understandably, many couples will have some nerves around getting their photos taken and now’s your chance to allay any fears they may have. I recommend taking them out and about for this meeting – it’s far more relaxing than being in a studio under the lights. Once you’ve moved between your planned locations, taking various shots, it’s time to share any tips that the couple should be aware of. Things such as where to turn in relation to the sunlight or how to pose for certain shots. No detail is too small, as these can make all the difference to creating those striking reportage photos. by Lisa Gill Visiting the Venue In the run up to the wedding day it’s definitely worth checking out the venue, even if it’s one you’re already familiar with. Shooting at a venue you’ve previously worked at in a different season brings certain considerations – for instance, the sun may be higher or lower and the nearby flowers and trees will look different. Your primary focus on this visit however should be to establish where you’ll be taking group shots, where the sun will be in relation to the building and finding alternative locations just in case the weather tries to rain on your parade. In addition, select four to five locations for the bride and groom shots, as well as a wet weather plan for those too. One Week Before the Wedding It’s always a good idea to have a final chat with the bride and groom around a week before the wedding to make sure no details have changed. I learnt this the hard way – a groom once decided to change where he was getting ready and didn’t remember to tell us. Needless to say it caused much unnecessary panic! Also, you’ll often find a quick catch-up is appreciated by the couple – it assures them and shows that you have everything under control. The Day Before the Wedding Now that your plans are set in place, all you need to do is conduct some spot checks. I always ensure that: batteries are on charge for all the cameras, including spares extra disposable batteries are packed for my back-up lighting (such as speed lights) just in case there’s a pr

People like to take pictures of the sky — fluffy fair-weather clouds, sunsets shot with pinks and golds, great expanses of clear blue. But sometimes foul-weather skies can be beautiful in their own way. A prime example is this picture of a magnificent storm brewing off the coast of Riva Levante in Liguria, Italy: Ominous storm with waterspout touches down off the Italian Riviera (Imgur) The photo, captured by Gian Paolo Chiesi, depicts a weather phenomenon known as a waterspout, a tornado-like formation that occurs over water. Above the waterspout, many different types clouds tower overhead, looking dark and ominous while bits of blue sky try to peek through behind. Chiesi used a Singh-Ray Reverse filter with a 2-stop density on his camera. Go to full article: Interesting Photo of the Day: Ominous Storm Approaches What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Topaz’s new tool Clarity is designed to help you create compelling and powerful images by intelligently enhancing contrast and clarity without artifacts or halos. It can manipulate your micro, mid-tone and overall contrast while maintaining the “natural feeling” that is best to keep. Discounted 40% off until the end of the month for the launch sale, simply remember to use the voucher code CLARITYNEW at checkout. Now available here: Topaz Clarity New: Topaz Clarity (Click to Learn More) Features introduced in Topaz Clarity: Selective Contrast Control. With Clarity, we have developed a cutting-edge process of selecting specific contrast variations in your original image, allowing you to quickly target and then increase or decrease the contrast and clarity in that specific variation. Breakthrough Halo-Free Algorithm. Boost contrast and clarity without emphasizing transitions between light and dark areas, eliminating the common problem of halos, noise and artifacts. Advanced Hue/Saturation/Luminance Technology. Using IntelliColor technology, you can easily enhance your image with the HSL filter, getting stronger, yet more natural HSL adjustments. Re-Imagined Masking Workflow. The masking module, now attached to each adjust- ment tab contains a comprehensive set of tools including an edge-aware brush, gradi- ent mask, smart feather tool, color aware tool and more. User Interface Design. With Clarity, we have continued to develop a cleaner, more modern and efficient interface to improve usability, workflow and overall aesthetics. If your interested, the launch sale can be found here: Topaz Lab’s New Clarity Tool Go to full article: Released Today: Topaz Clarity Advanced Contrast Adjustment What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Have you ever wondered how a giant tower seems to appear smaller in front of a person, or how you can make an object seem closer than it is without even moving it? Let’s see how we can combine the concept of forced perspective in photography to delude the eye, even if it is for a second. What is It? Forced perspective is the concept o...

Each summer, at air shows across the globe, awestruck spectators enjoy the power and precision of aerial demonstration teams and individual performers. In addition to what is happening in the air, there are often static displays on the ground. For photographers, these events provide outstanding photographic opportunities. After you shoot your first air show, you will likely return each year as I do. The tips below are based on my experiences at air shows around the New York area. “Spitfire’s in the Sky” captured by Barry Price (Click Image to See More From Barry Price) Day of the Show It is recommended that you get to the show at least one hour in advance in order to find parking, and a shooting location. Air shows can be very crowded, with numbers reaching into the tens of thousands. By arriving early, you may be able to set your gear up in a prime area. Generally, the performers enter from the left and right, with their stunts done at “show center.” “Jet Blur Blue Angels” captured by Rob Hayashida (Click Image to See More From Rob Hayashida) A good viewing spot is important, as it allows you to focus and track the incoming jets. When possible, I try to pick a place that’s in the shade with a full view of the show center. However, many airports and military bases do not have trees to block the sun. To protect yourself from the elements, I strongly urge you to bring sunscreen. Lens Choices When I photographed my first air show many years ago, I used a 28-135mm lens. Yet, unless the plane was flying directly above me, I found that much more reach was necessary. Today, I use a 70-200mm for action that’s directly overhead, and a 400mm for tighter shooting. My camera does not have a full frame sensor, so a 400mm with a 1.6 crop factor is actually an effective 640mm lens. Just remember, air shows are usually several hours in duration, and longer lenses can get quite heavy. “Final Approach” captured by Rob Hayashida (Click Image to See More From Rob Hayashida) Image stabilization is a nice feature, but a tripod will give your arms a break and allow you to create sharp images consistently. While the majority of my aviation work is shot with longer lenses, I find that wide angle lenses are also useful for performance teams that are spread out in wide formations. By utilizing a few different options, you can capture more of the action, and will come home with a diverse collection of images. Shutter Speeds Attempting to freeze the motion of something traveling over five hundred miles per hour is no easy feat. In order to achieve this, a fast shutter speed of around 1/1000 is recommended. Yet, like most aspects of photography, there are exceptions to this. With older planes, a shutter speed of 1/1000 will freeze the propellers. The effect actually reduces the appearance of motion, and gives the image an unnatural look. “Diamond Jubilee” captured by Tatoune (Click Image to See More From Tatoune) To show the movement of the propeller, a shutter speed of 1/90 is a good starting point. However, you may have to adjust it slightly to 1/60th or slower, depending on the speed of the plane. Of course, with these slow shutter speeds you will want to pay close attention to your camera technique to ensure sharp images. In-Camera Metering Even today’s sophisticated DSLR metering systems can be tricked by certain situations. When exposing a jet against a clear blue summer sky, automatic camera settings will often properly expose the sky, and leave you with an underexposed plane. In order to have full control over the camera, I prefer to use the in-camera spot meter along with the manual exposure mode. Semi automatic modes can be effective as long as you are utilizing your histogram, and making adjustments as needed. “Mix of Pix” captured by Stevie Mc Teague (Click Image to See More From Stevie Mc Teague) Most often, I find myself around 1/1000th, ISO 400, a

Yahoo’s CEO Marissa Mayer unveils an update to the company’s Flickr photo-sharing site. Among the changes are a redesign with larger images, the ability for users to upload full-resolution photos, and 1TB of free storage for everyone: One terabyte is 1,024 gigabytes — enough to store more than 500,000 images at a resolution common to most smartphones. Yahoo has redesigned the Flickr website to emphasize photos rather than text or white space, as was the case previously. Photos are bigger and shared in full resolution rather than compressed into a lower quality. Flickr Update & Redesign “Flickr was awesome once, it languished, and we now want it to be awesome again,” Mayer said. Go to full article: Flickr Now Offering 1 TB of Free Photo Storage What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips