Posts Tagged ‘technique’
This guide is what I do during wedding days, and I typically photograph the cake right when I enter the reception location. Overall, I take 4 shots of the cake: 1 vertical, 1 horizontal, 1 detail of topper, and 1 detail of the base or whatever is the most interesting on the cake.
This process takes me literally 30 seconds. That’s it; done. Move on to centerpieces. This guide is for photographing real cakes on real wedding days for wedding photography professionals.
Ever see those pictures where the stars streak across the sky in a big arc? Or maybe the whole sky looked like it was spinning? What you saw was star trails. The streaks were light left behind on the sensor or film from the star as it traveled across the sky in front of an open camera shutter. In fact, what are being recorded are stationary stars and the rotation of the earth as it spins past them. For me, the images seem to have a certain magic or mystery about them.
You must have heard a photographer talking about capturing that perfect moment in time. Well for capturing star trails you will need to capture the perfect hour or two in time. For such amazing looking images, the technique used to capture them is really quite simple. Keep reading for a complete set of instructions from start to finish.
Directors Ian & Cooper created this clever music video for the song “Back to Me” by Joel Compass using cinemagraph-style shots. Each scene is a strange fusion of motion picture and still photography, as some areas look like a photograph, while other portions look like video footage. If you’re not familiar with the term “cinemagraph,” check out other examples of the technique we’ve featured in the past.
(via John Nack)
Freelensing. It’s been around for a while. It’s essentially the “poor man’s tilt shift.” All the technique requires is disconnecting a lens from the camera body and floating it around in front of your sensor to shift the focal plane in weird directions. It takes practice to get accurate with it, but overall the technique is pretty straightforward.
I wanted to take it a bit further.
Sean O’Hagan over at The Observer has published an interesting profile of famed NYC street photographer Joel Meyerowitz, who had some pretty harsh things to say about his fellow NYC street shooter, Bruce Gilden:
I ask Meyerowitz about the combative, confrontational style of street photography espoused by the likes of fellow New Yorker Bruce Gilden, and he grows visibly angry for the only time in our conversation. “He’s a f**king bully. I despise the work, I despise the attitude, he’s an aggressive bully and all the pictures look alike because he only has one idea – ‘I’m gonna embarrass you, I’m going to humiliate you.’ I’m sorry, but no.”
Meyerowitz says that his street photography style is based on his boxer father’s advice to “pay attention” and anticipate the actions of the people he photographed. So here’s the difference between these two famous street photographers: one anticipates, and the other instigates.
Joel Meyerowitz: ‘brilliant mistakes … amazing accidents’ [The Observer]
P.S. Last month we wrote on how Gilden’s street photography attitude carries over into his teaching persona as well.
Thanks for sending in the tip, Phil!
Stacking long-exposure photos of stars leads to some pretty neat photos and time-lapse videos, but what happens if you use a similar technique for clouds? That’s what photographer Matt Molloy does. His “photo stack” images of landscapes show clouds that look like smears and brush strokes across the sky.
Basic skin retouching using frequency separation and dodging & burning. I use this process on every photo that I do, and I usually spend about 4-5 minutes on headshots like this (and less time on full body shots when there is obviously less detail in the face). This is not intended to be a high-end retouching tutorial, but techniques that can help people who want to do natural-looking retouching while maintaining most of the natural skin texture!
Frequency separation is a technique that allows you to give skin a smooth-yet-sharp look.