As the divisions between professional photography and ‘fan’ photography continue to dissolve – along comes Tim Wallace, in association with Swedish lighting company Profoto, with a ‘live’ class on how to photograph a Land Rover to professional advertising standards. I like the idea. A lot of creative people in general are very protective of their assumed ‘proprietary’ knowledge or status within the industry. Truly talented folk share, share, and share. And share again. As an art director on myriad of shoots for car brands like Toyota, Lexus and Mitsubishi, I can assure you that car photography is 99% technical – 1% creative. It can be learned. Very easily. Kudos to Wallace and Profoto for an innovative approach to teaching their craft to other aspiring photographers.
This week automotive car photographer Tim Wallace held a ‘live’ shoot with Land Rover at their main centre in Halewood, Liverpool, shooting a seminar and live shoot demonstration outdoors in a purpose built area located near the main Land Rover centre. The shoot was in conduction with leading light manufacturer Profoto and concentrated on the setup from scratch of a professional lighting arrangement for shooting a Land Rover with Profoto B1 equipment and heads. The day was a great success and we had some challenging weather with bright changeable sunlight but working through this Tim demonstrated 3 very different setups showing that it is very possible to make the most of all situations with good lighting.
Tim- “Many photographers find ‘live shoots’ in front of a large audience a little daunting for obvious reasons but in my view its really the best way to help people understand not only whats…
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Excellent. A “how to” film that actually explains how to do something. Rare.
I don’t usually post “How to” tutorials, but this video explaining the basic rules of composition using the photography of Steve McCurry is done with such charm and simplicity that it’s well worth posting and viewing. Even for old hacks like me:)
Not so sure the advice being offered here is completely new – as an advertising art director with over 30 years of experience, I’ve always been on the lookout to commission photographic talent that transcends the mundane and pedestrian. However, what is new is the tsunami of sameness that now inundates the world of image-making. The sheer volume of visual work being produced, due to the ubiquity of digital technologies, has democratised a once exclusive and expensive club. Today, everybody can be a photographer and everybody is. Daring to be different has never been more relevant in the current creative marketplace. Which is only good news in my book. People will always pay for what is rare. Seeing the world differently and having the guts to pursue that vision is rare. For that, you will always find a market. Good luck. And as Steve Jobs would say, “Think Different”.
Link to article: The Hard Truth Why No One Will Hire You As A Photographer | Fstoppers.
Drones are rapidly evolving and changing how we go about our affairs: Everything from how we conduct war to how we make advertising commercials. Worth a visit.
Daniel Boschung cartographies faces. The composed mega portraits are irritating.
‘The Machine View’ is the Swiss publicity and coverage photographer’s newest project. He cartographies faces. Instead of taking pictures himself, he removes himself out of the process by delegating the work to an ABB industrial robot driven by a control software, which was written exclusively for this task. The standardized portraits have a surprising impact.
More on this story: RoboPhot » Portraits.
Sony Cyber shot DSC QX10 and DSC QX100 demo. Clever.
Many of you have remarked how my photography work reminds them of oil paintings by the old masters. I always take these remarks as the greatest of compliments because I have a deep love of painting and painters and have spent many years studying, in detail, how they handle light and composition to create their masterpieces. In fact, I would highly recommend that any aspiring photographer take a course in life drawing, painting and/or the history of art to improve their photographic skills. Learning how to “see” is essential to mastering any visual medium, and the old masters were masterful at understanding how light and composition combine to create sublime imagery: photography is no different. One painter that I am particularly interested in at the moment, is the German Symbolist and Art Nouveau artist, Franz Von Stuck (1863-1928). I admire his draughtsmanship and dramatic use of light. I am particularly enamoured with his rather formal portrait work; beautiful profiles with ornate textural clothing. The portrait above, of my niece Ashling, is heavily influenced by Von Stuck’s approach to light and composition. Below, is a painting by Von Stuck, called, Cinderella. The Symbolists were heavily influenced by mythology and romanticism; a perfect theme to portray the emerging beauty of my niece.
Comforting to know that even the most iconic of photographs and photographers were not adverse to a little retouching here and there. As Ansel Adams said “You don’t take a photography, you make it.” Photographic philistines take note when judging people who employ photo apps to enhance their mobile photographic work.
Link to article: La retouche photographique, 60 ans avant Photoshop.
What has the shell of a Nautilus, mathematics and a great photographic composition got in common? The answer is surprisingly simple: Fibonacci’s ratio. If you answered Golden Mean, Phi, or Divine Proportion, then you would have been equally correct. Since the days of antiquity, this ratio of 1:1.618 has been used to create everything from great art and architecture, right through to today’s wide screen televisions. In fact, anything that you find aesthetically pleasing, be it natural or man-made, will more than likely be based on this simple rule of harmonious proportions. When these proportions are applied to photographic composition – they carry the title ‘Rule of Thirds’. Most people, when they are composing a picture in a frame, naturally place the subject in the centre of the viewfinder. Nothing wrong with that – but it does tend to produce images that are flat and uninteresting. This is where the ‘Rule of Thirds’ can be very useful – it encourages you to place the subject of your photo in or around the four intersections of the on-screen grid (see image above) – be it a tree, house, face, eye, etc. – the list is as endless as the subject matter you are framing. It’s a very simple way to to apply ‘Fibonacci’s Ratio’ and therefore making your photos more intriguing and aesthetically pleasing. It’s not a hard and fast rule, by any means, but it can be a very useful tool when composing your pictures. I encourage you to continue to research this fascinating principle online – it has occupied and delighted great minds in the arts and sciences for centuries.