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Wednesday, October 31, 2018
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After having recently announced both the Mavic 2 Pro and Mavic 2 Zoom, DJI has now announced the new Mavic 2 Enterprise. DJI is turning the Mavic name from more being than just a single drone into a whole range of products focused on different tasks Despite the name, though, the Mavic 2 Enterprise is […]
The post DJI announces the Mavic 2 Enterprise with self-heating batteries appeared first on DIY Photography.
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What's happening in art: Rock stars as photography, HCC's artsy anniversary, Art Harvest in Dunedin - Tampa Bay Times
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As a photographer who captures rare and priceless moments, you can’t afford to have disasters during photo sessions. However, sometimes things go wrong regardless.
If you have a recovery plan in action before anything goes wrong, you’ll never have to freeze up and panic at that moment. You’ll never have to fear a photo session getting ruined.
If you psychologically prepare yourself for disasters in advance and rehearse the crisis in your mind, then you can switch to autopilot when it happens.
Let me walk you through what to do when cameras fail, families fight, or photos fall short of your vision.
Knowing that you are prepared for any disaster will allow you to banish your worry and focus on the moment.
If you show up to a session with only one camera and one lens, you’re asking for a disaster to happen. You should always have a backup camera with you. Even if you have no intention of using it during the session, you need to have something to fall back on.
I heard of a wedding photographer who showed up with one camera and one dead battery. The wedding was delayed for an hour while she searched around for somebody to help her find a battery. Don’t let that be you!
However, I keep a Nikon with an ultra-wide 10-24mm lens tucked in my camera bag (from before I switched to Fuji). It’s there in case I want a unique wide-angle photo. It’s also there in case of disaster.
This is the sort of photo that I would take with my spare Nikon camera and wide angle lens. A couple of nice wide angle photos like this balance out the look of the photos taken with the portrait lens.
Last spring, I timed a maternity session for the golden hour. If you’ve ever photographed during the golden hour, then you know how quickly the time passes. When the family arrived, I pulled out my camera, dialed in my settings, and then noticed with surprise that the battery was dead. ‘That’s strange; I always charge my batteries,’ I thought. I reached into my camera bag to pull out a spare battery and panicked when I realized I hadn’t brought any!
Decide right now what you’ll do when your camera stops working, or you make a foolish mistake as I did. Decide right now what your backup plan is so that when it happens, you can switch to autopilot and get the job done.
Most likely, you’ll reach for your second camera. That’s what I did.
I had no choice but to shoot the whole session with an ultra wide angle lens! It’s the last lens I would ever choose to photograph portraits.
All of the photos in this article are from the photo session with the ultra-wide lens. You can let a family down with your mistakes, or you can rise above and make whatever you’ve got work. I’ve seen enough episodes of “Pro Photographer, Cheap Camera” to know that beautiful photos can be made with nearly any camera and lens.
During one session, I was waist deep in a river. There was one camera around my neck and one in my hand. After a few minutes, I realized I had been dunking the camera around my neck into the water. Panic rushed through my head and chest – I just drowned a $2000 camera. But I calmly walked ashore, packed away the camera and got back to work. Nobody knew but me. I allowed the need to capture memories to overcome the panic I was feeling in the moment. I could deal with the camera later, there was a family counting on me. Decide in advance not to let your negative feelings rule you.
I’m more concerned about the people I’m photographing than the gear I’m using. Personality knows nothing about cameras and lenses, it shines whenever it wants to.
Beyond technology, other disasters can happen during your photo session.
How about a family that arrives at the photo session in miserable moods and arguing? They probably found it stressful getting ready for the photo session.
It’s uncomfortable for the photographer and might even lead to the family completely blowing up at each other.
You can get upset and stressed out (how dare they treat me like this as a professional photographer?), or you can diffuse the situation.
These scenarios can be tricky to figure out. Try to get them focusing on something else by asking questions and bringing up topics they love. Focus more on the kids first. If you can cheer them up, their excitement becomes contagious. You’ll find the moment that the tension is released, the scene turns to laughter.
Laughter is so contagious. My wife always comments that I come home from photo sessions in a better mood. It’s because there is so much laughter.
Once in a while, families bring me very challenging kids. One mom came with her non-verbal child. He didn’t take direction at all, and immediately ran off into the woods! All of the photos from that session were candid because the child didn’t sit long enough to pose. It wasn’t until he rested with exhaustion that I finally got a photo of him and his mom.
It was the first session where I thought I had failed. However, upon reviewing the photos, I discovered many wonderful moments, and the mom loved them.
You need to begin every tough situation by telling yourself, ‘there is a way.’ I now know that completely candid photo sessions are possible.
As a photographer, I prefer candid moments over posed ones. Even when posing a photo, I wait for the candid moment to appear.
I remember one little guy who was terrified of cameras. Just the sight of one sent him into hysterical tears. Beginning with the phrase, ‘there is a way,’ I built a trusting relationship with the child. It naturally led to smiles and no fear of my camera. It took a while, but it worked.3. Photos that Fall Short of Your Vision
Every master was once a disaster – T. Harv Eker
You may feel like some photo sessions were a disaster because you weren’t happy with how the photos turned out. It is perfectly reasonable for creative photographers struggling with their vision. It’s part of how you grow as a photographer. Allow that dissatisfaction to push you harder next time. Learn from your mistakes and let them prepare you to avoid future disasters.
In the end, I learned that an ultra wide angle lens can lead to nice photos. I broke my dependency on my favorite lens. It makes me wonder what other disasters will help me grow as a photographer.
Technology, people, and our lack of creativity threaten our photo sessions all the time. But if you create and rehearse your backup plan in advance, you’ve got much less to actually worry about.
What’s your biggest fear about a photo session going wrong? Let me know in the comments and see if we can figure out your backup plan in advance.
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Walter Capital Partners Invests in Leading Ontario-Based School Photography Company - PR Newswire (press release)
"The future of school photography is bright, and we couldn't be happier to move Edge forward with Walter Capital Partners," shares Dave Pond, President and CEO of Edge Imaging. "It was very important for us to join forces with a like-minded investment ...
Walter Capital Partners acquires school photography company Edge Imaging Private Capital Journal (press release) (blog)
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In fall of 2017, I had the opportunity to capture the transformation of an empty plot of land turning into a high-tech vehicle test track. The bulk of the construction would take place for about a year. My friend and colleague, Ryan, and I were tasked with capturing that transformation into a timelapse video. We […]
The post How I built my own DIY long-term weatherproof timelapse rig appeared first on DIY Photography.
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Light painting artist Darren Pearson is known for combining light painting and stop motion animation. In his latest video, he has again brought these two techniques together to create a tense duel between a cowgirl and a light-painted skeleton. Who will win? The animation was made entirely from in-camera shots. 300 of them, to be […]
The post This cowgirl shootout stop-motion was composed of 300 light painted, long exposure shots appeared first on DIY Photography.
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With fancy dual and triple camera phones, you can set the depth of field of your images using a simple slider. But did you know you can do it in Photoshop, too, after you’ve taken the photo? Colin Smith of photoshopCAFE figured out a way to refocus images in Photoshop after they were shot, and […]
The post Here’s a simple way to refocus your images in Photoshop after they were shot appeared first on DIY Photography.
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The UK Civil Aviation Authority (CAA) issued a safety notice, warning that some DJI Matrice 200 drones have randomly fallen out of the sky. DJI confirmed the issue, saying that they’re working to resolve it – but no one is sure why exactly this is happening. CAA writes that a “small number of incidents” has […]
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Here is an eye candy for any of you who are going to a costume party this Halloween. Photographer Bryan Troll built a full body Nikon camera custom. That alone was kind of impressing (and by kind of I mean extremely), but he did not stop there. The camera is fully functional with a strobe, “real” […]
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Tuesday, October 30, 2018
Snap happy: Nevada Union freshman's photography recognized by New York Times - The Union of Grass Valley
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San Francisco- and Oslo-based firm Mork Ulnes Architects has unveiled a black timber home tucked into a forestscape in Norden, California. To connect the home with its stunning scenery, the chalet-inspired Troll Hus was clad in pine tar-treated wood and elevated off the landscape with large concrete pillars for minimal site impact.
The massive, 3,300-square-foot family home holds court in the middle of a pine forest, just an hour and a half outside of Sacramento. To blend the home into its pristine natural environment, it was clad in dark wood. The black, timber structure sits high up near the tree canopies, giving off a sense of peaceful solitude among the soaring trees.
According to the architects, the inspiration for the design was to create a family home where the residents could reconnect with nature, whether inside or outside the home. They explained, “The design is driven both by the extreme environmental conditions found at a 6,800-foot elevation and a California sensibility of generous indoor-outdoor living.”
While the elevation of the home certainly affords stunning views, the pillars are also a strategic feature that provides resilience and passive temperature control. The concrete legs were meant to reduce the impact on the environment and protect the home from snow fall, which can reach up to 800 inches during winter. Additionally, putting extra elevation to the home allows for optimal solar exposure in the winter and shading from direct sun in the summer. The orientation of the house also shields the building from strong winds.
On the interior, the living space is clad in light wood paneling, creating a soothing vibe. An abundance of large windows brighten the interior with natural light. The open living and dining layout was designed to offer ample room for entertaining or simply enjoying the views in solitude. A large terrace wraps around one side of the home, further enhancing the design’s strong connection to the outdoors.
Photography by Bruce Damonte
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In Dhaka, Bangladesh, local architecture firm River & Rain transformed four shipping containers into a light-filled, three-story house spanning 134 square meters. Completed in 2017, the cargotecture dwelling doesn’t hide its shipping container roots yet manages to exude a welcoming and livable atmosphere through strategically cut openings, terraces that emphasize indoor-outdoor living and greenery that grows up, around and through the building. Recycled materials were also used throughout the home, which is named Escape Den after its tranquil setting on the outskirts of the city.
Spread out across three floors, the Escape Den organizes the kitchen and dining spaces on an elevated ground floor and places the living room and bedroom areas on the upper levels. Accessed via a side gate off of a dirt road, the property features an entry sequence that begins with a short flight of stairs from the parking pad to a sheltered deck. The deck consists of the dining area and other seating options oriented to face views of the lawn, which takes up approximately two-thirds of the site. The covered deck also connects to a shipping container converted to house a small media room, kitchen and bathroom. The caretaker’s room is located in the back.
A flight of stairs traverses the central atrium space — anchored by an almond tree and a veil of green vines that hang from the ceiling — and connects to a glass-enclosed living room. Another flight of stairs leads up to the third floor, where a third shipping container, housing the two bedrooms, is set perpendicular to the bulk of the building in a dramatic cantilever and is topped with a green roof. One of the bedrooms also connects to an outdoor terrace. The green-roofed shipping container can be reached via a spiral staircase.
“The hefty look of those containers has become dramatically airier with some skillful ensemble of architectural details,” the architects explained. “The floated platforms of the house, intertwining stairs and diverse direction of container placement have made the project more visually eye-catching.”
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We are witnessing the rapid improvement of smartphone cameras (and more of them being added to each new phone that gets launched). But have we come to the point where smartphone cameras can take better photos than full-frame DSLRs? Tyler Stalman tested the iPhone XR against the Canon 5D Mark IV. And when it comes […]
The post Can iPhone XR take better photos than a $5,000 full-frame Canon? appeared first on DIY Photography.
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LISBON, Ohio (WYTV) - Federal and local law enforcement searched a house/business in Lisbon on Tuesday. DCG Productions is located in the 200 block of W. Washington St. According to the business' website, it specializes in photography, graphic design ...
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The Canon EOS R was cause for some internal controversy here at Kolari Vision. After all, we’re in the middle of The Great Mirrorless Camera War. Tensions are bound to rise, turning brother against brother, camera tech against camera tech, and photographer against photographer. Despite this, I will do my best to describe the form factor and […]
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When Conny told me about the brand new Retouching Toolkit 3.0, it almost felt too good to be true. Can you imagine having a more modular version of Photoshop? I wish it was like this out of the box. Since it isn’t, Conny had to go and make it and thank goodness he did. It’s […]
The post Retouching Toolkit 3.0 initial review – it kicks butt appeared first on DIY Photography.
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I thought that I can’t think of a better Halloween costume for a photographer than a huge camera. But Yohei Shimada took it to a higher level: his Halloween costume is a working Canon DSLR that takes actual photos. Shimada goes by name @cameraaman on Twitter, where he shared a couple of photo of his […]
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A tripod is an essential piece of equipment for a landscape photographer. Sure, you won’t always need to use it. But you’ll find yourself in situations where it can help you capture a high-quality image you wouldn’t be able to get otherwise.
But how do you choose the right tripod? There are hundreds (if not thousands) of options out there, with prices ranging from $10 to more than $1,000. How do you know which one will best suit your needs? Should you just go for the most expensive tripod you can find? It must be the best, right?
Not necessarily.Why You Need a Tripod
Before we get into the best options for you, I want to go over a few key reasons why you need a tripod.
Tripods are essential for capturing razor-sharp images, especially in low-light situations where you want to keep your ISO low.
While increasing the ISO lets you use a quicker shutter speed, it can introduce unwanted grain/noise and reduce the overall quality of your image. But keeping the ISO low means you’ll need a longer shutter speed. (Yes, you can adjust the aperture. But I won’t be talking about that here).
Capturing a sharp image using a shutter speed of 1/10th of a second or slower with a handheld camera is almost impossible. It’s very difficult to avoid any camera movement which, with such a slow shutter speed, means you’ll introduce some blur into the image.
Mounting the camera on a tripod lets you use slower shutter speeds and still capture sharp images. The camera sits still on the tripod, so you don’t have to worry about the motion of you holding it.
Using a tripod also allows you to use even slower shutter speeds and capture long exposures (i.e. images that make use of extra slow shutter speeds).What to Consider Before Buying a Tripod
The first tripods I bought were cheap $20 aluminum models from the local electronic shop. While most photographers start with such a tripod, I strongly advise you not to buy one. For landscape photography, they simply won’t do a good job. In some situations, they may even do more harm than goods. These also break more easily than something of a higher quality.
So what should you consider before purchasing your next tripod? Here are a few things to keep in mind:
- Price and quality (i.e. what does your budget allow?)
- Weight (aluminum vs carbon)
Taking these topics into account before you buy will make it easier to find the best one for your needs.1. Price
The first thing most of us consider is the price. Photography equipment is rarely cheap, and if you want quality you need to pay for it. As I said earlier, a tripod can cost you anything from $10 to several thousand. But are more expensive tripods necessarily better?
In general, yes. A $1,000 tripod will outperform a $200 tripod in most tests. But that doesn’t mean it’s the right one for you. Ask yourself what you need. What type of photography do you do? Do you need the most expensive model? For most people, the answer is no.
Chances are a mid-range ($200) tripod will be more than adequate and perform perfectly in most scenarios.2. Flexibility / Height
What about the specs? Should you choose a short one or a tall one? Can the legs spread wide, or are they locked into a fixed position? Flip-lock or twist-lock?
Let’s start with the height. In most situations, you won’t need a tall tripod. But there may well come a time where you need that extra leg length. Is it worth paying extra for? If you often find yourself in rivers, rocks or rugged seascapes, then yes. But if you’re not into extreme landscape photography and mount your tripod on flat and stable ground instead, I wouldn’t bother.
While a tall tripod is nice, it’s also nice to have one that lets you get close to the ground. For this image, the tripod held my camera just a few centimeters off the ground, which allowed me to get extra close to the flowers.
So what’s more important to you? Having a tall tripod, or being able to take photographs from a low perspective?
The good news is that some of the more expensive tripods can give you both. While they can stand close to two meters tall, they can also lay more or less flat on the ground for those extremely low perspective shots.3. Weight
The final thing to consider is the tripod’s weight. This is important, especially if you head out on long hikes to reach particular destinations. Your backpack can get quite heavy once you add all the gear you need, so the last thing you want is unnecessary weight from a tripod.
Now, a lightweight tripod doesn’t necessarily mean a low-quality tripod. In fact, some of the best tripods out there are lightweight. You just need to make sure they’re sturdy and can support the weight of your camera. However, these tripods are rarely cheap and are often found in the higher end of the price range.
If you’re an avid hiker and tend to go a long way to photograph your subjects, I strongly recommend looking into a lightweight carbon-fiber tripod. These tripods are just as sturdy (if not more sturdy) than the heavier aluminum alternatives.
But if you’re not into hiking, weight might not be such an issue. In fact, if you photograph in rough conditions you may prefer the extra weight. When photographing beaches in Arctic Norway I depend on having a sturdy tripod that won’t break when hit by waves or move when the waves are receding. In these situations, a low-quality travel tripod is far from ideal. Even strong winds can make these tripods vibrate, leading to blurry images. A heavy and solid tripod is a much better option.
What types of landscapes do you normally photograph? And what do you need to capture those scenes?Which Tripod is Best for You?
Unfortunately, I can’t answer this question for you. It really depends on who you are and the kinds of photographs you take. But when you’re ready to buy one, consider what I’ve talked about and ask yourself what you need. Do you need a light tripod you can easily bring on long hikes? Do you need a sturdy tripod that can handle wind and rough conditions? Perhaps you need a combination of the two.
And what about the price? Do you really need the most expensive model, or will a medium-priced alternative do the job?
Answering these questions should help you narrow down the options, and help you find the tripod that is best for you.
Personally, I have two tripods: a lightweight travel tripod I can bring on long hikes, and my main tripod that’s a little heavier (and more expensive) but solid enough to use in even the roughest Arctic conditions.
Let us know what tripod you ended up choosing. We’d love to hear about it.
The post How to Choose the Right Tripod for Landscape Photography appeared first on Digital Photography School.
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Want to shoot an “impossible” f/0.2 portrait? Here’s a 3.5-minute video in which photographer Tony Northrup demonstrates the Brenizer Method, which effectively turns a telephoto lens into an ultra-fast wide-angle lens.
The Brenizer Method, popularized in the modern day by photographer Ryan Brenizer, is simply a stitched panorama in which a portrait subject is featured in the frame.
Using a Nikon 105mm f/1.4E lens and shooting in portrait orientation, Northrup photographed both his model and the entire surroundings around by panning his camera around in small shifts.
Once you have a large number of shots, you’ll need to stitch them together into a single wide-angle panorama of the scene. Northrup uses Microsoft’s free ICE (Image Composite Editor).
There are other programs out there that can also stitch a large set of photos together automatically into a panorama, but Northrup has found that Microsoft ICE consistently produces good results with fewer errors than other options (e.g. Lightroom’s Photo Merge).
Here’s the resulting portrait that Northrup ended up with:
Based on the measurements, Northrup concluded that it’s the equivalent of a photo shot using a 14mm f/0.2 lens mounted on a 1,400-megapixel square-format camera. It’s a photo that could be printed 10-feet-wide at 300dpi.
This technique “creates an effect that people aren’t used to seeing. And anytime we can make a photo that’s a little bit visually different, we can make something unique and striking and something that gets a little bit of attention.”
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Ever since the GoPro Hero7 leaked online, the emphasis was on the new and improved stabilization. Then, the company promised “hypersmooth” and “gimbal-like stabilization” when the camera was announced. To show off the capabilities of the new Hero 7, GoPro strapped the camera to an eagle and let it fly over a soccer field. And […]
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Monday, October 29, 2018
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Now, there are a lot of great apps that really can help photographers. In my own work, I concentrate on landscapes and night photography (star trails, Milky Way), and these are the apps for my outdoor work I really like. Some you may have heard of ...
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There’s not a day that goes by that Meghan McCain doesn’t think about her late father.
“66 days. I wake up every morning still instinctually trying and reaching to call you on the phone. I miss you so much Dad it physically hurts my heart,” Meghan captioned the post.
“I miss your laugh, your voice, your dark sense of humor, the way you always made me feel safe in a world that seems to have lost its way.”
Meghan also reminisced on her father’s cooking, “I miss your dry ribs and grilled chicken. I miss you singing The Beach Boys on the porch.”
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66 days. I wake up every morning still instinctually trying and reaching to call you on the phone. I miss you so much Dad it physically hurts my heart. I miss your laugh, your voice, your dark sense of humor, the way you always made me feel safe in a world that seems to have lost its way. I miss your dry ribs and grilled chicken. I miss you singing The Beach Boys on the porch. I miss waking up and drinking cappuccino and reading the New York Times together. I miss your old far side t-shirts and watching John Wayne movies. I miss hiking across the creek to the top of the mountain and looking at the black hawks. I miss the way you cooked eggs and bacon. I love you forever. Stay with me.
A post shared by Meghan McCain (@meghanmccain) on Oct 29, 2018 at 6:29pm PDT
“I miss waking up and drinking cappuccino and reading the New York Times together. I miss your old far side t-shirts and watching John Wayne movies. I miss hiking across the creek to the top of the mountain and looking at the black hawks.”
“I miss the way you cooked eggs and bacon. I love you forever. Stay with me,” Meghan concluded.
Meghan also shared a Halloween-inspired tribute to her father on her Instagram Stories, which showed Sen. McCain on a Jack-o’-lantern.
On Sunday, Meghan posted a mural of her father captioned, “Seen in Los Angeles… I miss you, Dad.
Meghan’s heartfelt tributes come just a few weeks after she returned to work on Oct. 8.
Meghan got emotional as she returned to The View, thanking supporters for their kind words as her family continues to grieve.
As the crowd erupted with cheers, Meghan began, “I have missed all of you so much. Thank you so much … I have a lot of things to say … I just want to thank ABC and The View for giving me this time, to thank all of America for being so kind to my family.”
“From the second that my father passed … I had to get in a car and a motorcade … from the moment I left, there were people of all races, all ages, all creeds, people saluting, praying … he would’ve loved it,” she continued. “I cried the entire time. There was a lot of talk about what died with him … his ideals … but they didn’t.”
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A post shared by Meghan McCain (@meghanmccain) on Oct 28, 2018 at 4:59pm PDT
//www.instagram.com/embed.js John McCain and Meghan McCainSierra Blanco Photography
Meghan revealed that her father planned his entire funeral, down to the speeches. She also said that she believes he deliberately chose her to be the only woman to eulogize him.
Her speech seemed like a pointed rebuke of President Donald Trump, who was reportedly asked by the McCain family not to attend the services prior to the Arizona senator’s death. (Trump, 72, infamously questioned John’s record as a military hero.)
“The America of John McCain is generous and welcoming and bold,” Meghan said. “She is resourceful and confident and secure. She meets her responsibilities, She speaks quietly because she is strong. America does not boast because she has no need to. The America of John McCain has no need to be great again because America was always great.”
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Highly stylized looks offer a great learning opportunity to the beginner or intermediate product photographer. When items are placed on a composite-heavy background, there are certain considerations we can make in-camera to avoid a headache in Photoshop.
Since we are using speedlights, we’ve used adapters to make them fit inside stripboxes, which are great modifiers for controlling the light to flatter our cosmetic. By placing our stripbox behind the subject at a 45-degree angle, we can add a nice edge light which will make our product stand out on the dark composited background.
By setting this light up while other lights are off, we can get a strong read on how the edge light is positioned. We can also avoid flare, by getting a pure look at the contrast present in the black background. Here we adjusted the angle of our light a couple times before we achieved this stark level of contrast while cutting the edge out nicely.
Since our product cap is glossy, it will reflect our lighting directly. This incentivizes the use of a diffuser, which, in combination with a stripbox, will give us a larger area to reflect light onto the cap. By placing the stripbox such that it is almost perpendicular to the diffusion panel, we can create a gradient going from the inside to the outside of the cap. We turned our edge light off while we made these adjustments.
The gradient gives an edgy look to the product, while flattering the matte & glossy materials, and sufficiently lighting the brand name and text.
Now we can turn our edge light back on, and we will see right away a fashionable look emerge with just two speedlights. Of course, any type of lighting can be used here, as long as you can modify it properly. The strip boxes helped a great deal in crafting this look with precision.
Reflective frames can give you good data to incorporate in post-production, and it only takes a quick second to hold a piece of paper or card, to bounce some fill back in the subjects darker right side. Even if you don’t use all of this data, it takes a moment to capture and would be a huge headache to “fake” in Photoshop.
Mounting our product on a wire, allows us to diligently tweak the lighting, making our compositing work very straightforward. Shooting the accompanying applicator is as simple as cleaning it off and placing it similarly in the boldly lit environment.
By ensuring our products are sufficiently lit and carved off the backdrop nicely with an edge light, we create an easy time in Photoshop. The high level of contrast makes the items easy to select out, while the bright edges ensure the product will sit confidently on a low-key composited backdrop. We used pixels here as a background element, though this is just one small application of an array of looks that will now be at your fingertips.
If you enjoyed this tutorial and video, be sure to subscribe to my YouTube channel to follow along with my future videos.
About the author: Dustin Dolby is a commercial photographer and speedlight enthusiast. The opinions expressed in this article are solely those of the author. Dolby teaches photography through his YouTube Channel, workphlo, where he breaks down studio setups using minimal gear and retouching techniques.
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