Apr 07, 2011 — 6 comments
Whenever I return from a shoot, I go through this process every time with each camera so that they are ready for the next time.
While most of you know what a portrait photography catch light is, bear with me. At some point, it was a new idea for you, just as I’m sure it is for some of the other readers. In the interest of being thorough, in today’s photo tip, let’s have a quick look into the catch light.
With the ease, affordability, and ever-increasing clarity made possible by the development of digital photography, many people believe that film, in all its formats, has gone the way of the dodo. If you look closely, though, you’ll see that it’s gone more the way of the vinyl record – not as cheap, not as easy, and not made on a computer, but having a lasting, eternal quality that enthusiasts will forever appreciate.
This entertaining tutorial brought to us by Digital Rev demonstrates some creative ideas along with the basics of long exposure photography.
Making the decision to remove your eye is difficult for anyone, and even more so for photographers. Unlike blind musicians who can still hear their music, photographers must have their sense of sight to be able to compose photos properly. James Fabri is among those who have chosen to continue pursuing photography despite having only one eye:
Have you ever planned out a photo walk, only for it to be spoiled by less-than-optimal conditions? In this video, Gavin Hoey explains how to come up with a great photograph by creating one with the use of textured images layered over an otherwise boring photo
Here are some composition tips to remember next time you go out to shoot. Keep them at hand and see if they work for you.
Surprisingly, photographer Jay P. Morgan uses only three reasonably-sized strobes in this shoot, and deftly shows us how the task isn’t nearly as difficult as it seems to be at first blush. In fact, he makes it look downright simple, relying on strategic placement of his strobes, established industry tricks, and post-processing.
An architectural photographer can create dramatic images of buildings that perhaps at first glance, do not seem to be all that photographic. Understanding architectural design and then selecting the angles that best portray the building, combined with critical lighting – which is determined by time of day – are all essential components in fine architectural photography. Many buildings can appear much more dramatic when photographed at either dusk or dawn.
Lighting is tricky. Mixed lighting is trickier, and in most cases avoided. But learning to control mixed lighting can help you create a distinct look to your photographs. In this short video, Jaroslav Wieczorkiewicz explains how to used mixed lighting in the sense of both the type of light, flash and continuous, and in the color temperature of light to create some unique effects:
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