Pro Techniques

Sort By: Post Date | Title | Publish Date
Filed under
Blaine Harrington Posted: May 06, 2014 Published: Mar 01, 2014 0 comments
The picture of the Buddhist nun drinking tea in the Drepung Monastery in Tibet was going to be perfect. The light coming in through a window behind her was capturing the texture of her skin and casting a glow on the tea and the rising steam, and from my training in studio photography I knew how rarely light like this happens in real life. But by the time I’d asked for and received permission to take the photo, the moment had passed: she’d finished her tea and was about to move from the light. So now, along with permission to take the photo, I had to get permission to recreate it.
Josh Miller Posted: Apr 15, 2014 Published: Mar 01, 2014 1 comments
As primarily a landscape photographer Iam often in a situation where I am struggling to give a feeling of scale to big dramatic views. I will look for something to place close to the camera, such as a dramatic flower or rock, to capture the viewer’s attention and draw them deeper into the photo. In some cases, though, I find including a person rather than a natural element within the scene does a better job of it. Not only does the figure add scale, but it also makes viewers feel like they are standing within the scene rather than looking at a print on the wall, a kind of visual empathy.
Lorin R. Robinson Posted: May 02, 2014 Published: Mar 01, 2014 0 comments
Caving,” “spelunking,” “potholing.” Whatever you call it, this subterranean activity is not for everyone. There’s even a phobia that keeps some out of caves—speluncaphobia. Then, of course, there’s fear of darkness (achluophobia) and the rather more common claustrophobia—fear of no escape from small or enclosed spaces.
Lindsay Adler Posted: Apr 21, 2014 Published: Mar 01, 2014 0 comments
A powerful portfolio involves so much more than just a strong grasp of the technical aspects of photography—it’s a complex mix of style, techniques, and intriguing ideas. Many photographers struggle to achieve a high-impact portfolio, feeling that they lack the creative spark to invigorate them and move their work forward.
Filed under
Steve Bedell Posted: May 06, 2014 Published: Mar 01, 2014 0 comments
Mention the name Jerry Ghionis to any wedding photographer and you will immediately see respect and admiration in their eyes. Jerry shot to prominence by winning the International Wedding Album of the Year Award at Wedding Portrait Photographers International (WPPI) a record eight times and was also named by WPPI as one of the top five wedding photographers in the world. With a style that combines fashion, portraiture, and spontaneity, his work is instantly recognizable. Sought after by wedding clients from around the world, Jerry has expanded his base to become a wildly popular teacher and lecturer and now even a product developer. I even hear he does a mean karaoke but I’ve yet to witness that!
Filed under
George Schaub Posted: Feb 24, 2014 0 comments
Tonality does not exist in a vacuum; the tones form a visual impression in terms of both their intrinsic value and their relationship to one another. The context in which they relate is called contrast, simply the difference and relationship between the light and dark values in the scene. Contrast determines the “look” of the image, and has a profound effect upon visual effects.
Lorin R. Robinson Posted: Apr 11, 2014 Published: Feb 01, 2014 0 comments
It is probably true that a photographer, through almost single-minded devotion to a place, can help make it known, understood, and appreciated. But the converse is also true. A place can make a photographer. Its beauty, its landscape, its human dimensions, its impact on the creative spirit can mold or shape a photographer—both as artist and person. That’s been the experience of fine art photographer William Davis in his 45-year symbiotic relationship with Northern New Mexico and the small town of Taos.
Filed under
Jack Neubart Posted: Mar 17, 2014 Published: Feb 01, 2014 0 comments
You can’t simply walk into an Operating Room (OR) and insinuate yourself into the scene. There are rules, there are boundaries. Greg Shapps knows them well. Still, he manages to produce telling images that convey the client’s message without blatantly advertising any product or service. The methodology involves a complete 180 from the way he approaches his small product photography, where the message is unmistakably to buy a specific product. His healthcare imagery is nuanced, often depicting healthcare givers and receivers alike. Specific products are not necessarily the focus. It’s more about what a product, service, or institution can do for the individual.
Suzanne Driscoll Posted: Apr 04, 2014 Published: Feb 01, 2014 0 comments
Vincent van Gogh once said, “Stars are the souls of dead poets, but to become a star you have to die.” Vivian Maier (1926 - 2009) was an amateur photographer who had no desire to share her work with anyone during her life, and kept a treasure trove of over 100,000 prints, negatives, and films in five storage lockers in Chicago. By several twists of fate, they ended up in the hands of a few collectors who recognized their unique quality, and are now shown in books, documentaries, museums, and galleries throughout the world.
Maria Piscopo Posted: Mar 21, 2014 Published: Feb 01, 2014 0 comments
As technology changes so do methods of presentation. In this article I set out to discover what type of portfolio photographers have found work best and, from the buyer’s perspective, what type or types they prefer. As I conducted the interviews among art directors, photo reps, and photographers it all began to boil down to this: how do you get your work seen by potential clients and how do you craft an effective portfolio that makes sense to them and represents your craft and passion?
Rich Sheremeta Posted: Jan 17, 2014 Published: Feb 01, 2014 0 comments
Wildlife photographers with any interest in photographing big Alaskan brown bears should certainly consider the McNeil River State Game Sanctuary, professed to have the highest concentration of large adult brown bears in the world with over 70 bears having been seen at any one time. The sanctuary is located on the Alaskan Peninsula about 100 air miles west of Homer and is only reachable by floatplane.
Jim Corbran Posted: Apr 07, 2014 Published: Feb 01, 2014 0 comments
The idea for Phil Pantano’s photographic series, “The American Worker,” walked into his office at a local steel mill in Lackawanna, New York, where Pantano holds a day job as a computer analyst. The man who came through the door was Jay “Elvis” Borzillieri, a fourth-generation steelworker whose father died in the mill. It doesn’t matter to the story what Elvis stopped in for that day, but when Pantano looked into his face a flash went off in his mind.
Gregory Heisler Posted: Mar 25, 2014 Published: Feb 01, 2014 1 comments
Widely regarded as “a photographer’s photographer,” Gregory Heisler has been described as having “the mind of a scientist, the heart of a journalist, and the eye of an artist.” Known for his candor, humor, and generosity as a teacher, he is able to convey the most complex photographic concepts simply and elegantly. In the long-awaited Gregory Heisler: 50 Portraits (Amphoto Books, October 22, 2013, $40) he takes us on a guided tour of his innovative editorial images and iconic portraits, engagingly illuminated by his insightful and highly personal perspective.
Filed under
Blaine Harrington Posted: Mar 07, 2014 Published: Jan 01, 2014 0 comments
I’ve seen my share, and I expect you have too, of people who basically spray the area hoping to get a keeper. I’ve also seen photographers who wait…wait…and wait some more to catch that decisive moment. I’m neither of those types. I think of what I do as mindful shooting: I know what I want the photo to look like; I preconceive and previsualize the moment; I control the situation as much as I can to get that moment; and I’m prepared to work with what I’m given and what I can’t control in order to get a good result.
Filed under
Josh Miller Posted: Feb 11, 2014 Published: Jan 01, 2014 0 comments
Sunstars are a great way to fill an otherwise boring, cloudless blue sky with a feeling of drama and excitement. They are often a way to add a compositional element that helps draw a viewer into a scene. Technically, any light source can create a “sunstar” as long as it is a tiny point of light and the camera is set correctly. We often see the star effect in shots of buildings with their lights twinkling at dusk, or the moon in the night sky. Most commonly we see star patterns when the sun is setting on the horizon, but in this case we only see half of the sunstar because the other half is being blocked by the horizon.

Pages

X
Enter your Shutterbug username.
Enter the password that accompanies your username.
Loading