Sports photographers run in to all sorts of problems during a shoot. Witty athletes are probably not the most severe of them. Jed Jacobsohn tells a story of how he got pranked by American football player Marshawn Lynch.
Taking editorial portraits of top performing athletes is like shooting a-listed film stars or royalty. They are busy people and they don’t have much time to spare for photography shoots. There’s often a tight schedule where you need to fit in, especially since the writer usually steals most of the time from the subject.
What’s the Difference? is a series of video lighting tutorials. Each episode responds to a single question. In this episode, Jared Platt tries using on-camera flash to overpower the sun. The entire series, including all videos, articles and lighting diagrams, is available at our website. And feel free to leave a question to Jared in the comment section if you have one!
Some places in the world have a limited range of tones. Cloud cover and fog and even heavy smog tend to take the edge of the extremes. This makes capturing an image with a limited latitude much easier.
I have fantasies about living in such places. But then I also remember that I might have to wear a coat to stay warm. So I quickly dismiss the day dreams.
In times and places with limited contrast, a flash is used to add catch lights into the eyes, fill in subtle shadows or provide more volume with a stronger direction of light.
But in the harsh light of a dry, clear blue sky below (or above) the 40th parallel, you are going to experience the limits of your camera’s latitude regularly, and feel the challenge of lighting your shot just to balance the intensity of the light.
We took on this challenge by taking our bride and groom out into the city in the intense afternoon sun. During this challenge we compared a completely ambient shot to one using a simple on-camera flash set up.
Born and raised in Cincinnati Ohio, Sam Wallander entered the Rochester Institute of Technology, better known as RIT, at the urging of one of his high school teachers. Sam has a background in art and he believes the nature of photography goes hand-in-hand with his previous illustration interests. He says the photographic process truly resonates with him and feels, for lack of better words, natural.
What’s the Difference? is a series of video lighting tutorials. Each episode responds to a single question. In this episode, Jared Platt tries using a Collapsible Reflector as a fill light. The entire series, including all videos, articles and lighting diagrams, is available at our website. And feel free to leave a question to Jared in the comment section if you have one!
On location lighting should be simple and lightweight. Regardless if I’m shooting a quick corporate portrait, a senior portrait or even a wedding portrait session, it mustn’t get too complicated.
When I’m operating on my own – or even with just one assistant, the amount of equipment I bring on a shoot is very limited. So the art of economizing lighting gear is crucial.
In the light of this, we set out to compare a portrait shot with and without a Collapsible Reflector as a fill light. Why? Because the Collapsible Reflector is one of the simplest, most lightweight tools we can use to shape light!
If a friend knocks on the door and asks you to photograph him on his new motorcycle, it doesn’t really matter that it’s early in the morning. Award-winning photographer João Carlos stepped out of bed and brought his Profoto B2 Kit out to greet the day.
New York-based João Carlos professional focus is on advertising, fashion, and fine art photography. But every now and then a photographer gets the chance to shoot a personal project. That is exactly what happened when an old friend of João’s called up and asked him to take pictures of his new motorcycle.