In addition to my work as an advertising and industrial photographer, in recent years I have increasingly devoted my time to artistic landscape photography.
In contrast to a fully planned advertising production within a team with lots of light, props and photo shooting technology, all that counts in landscape photography, besides uncontrollable aspects such as climate and time, is the simplicity of the equipment, as well as reducing volume and weight. After all, as my colleagues will surely confirm, the specially selected scene can usually only be reached on foot over long, difficult paths.
Meanwhile, I have been able to reduce my equipment to such an extent that in fact I don’t miss any part of the photo shooting technology, just carry a minimum weight and yet still achieve maximum resolution and colour depth.
Today I would like to open my photo bag exclusively for the Datacolor blog and show what I need for my pictures. Maybe this will trigger an approving or also critical reaction from a photo enthusiast and give us all a chance to extend our horizons and lenses.[Read More]
David Saffir has recently written an article for the SpyderBLOG on Timelapse Tips and Notes. He did an excellent job of covering many of the technical considerations. So this article is intended to look at the scene-selection side of the process. We have all learned how to “see” a good photo op when it appears, but what makes for a good timelapse opportunity? And do we have the gear to capture it?[Read More]
I’ve been climbing the learning curve in timelapse photography. (For some how-to details, see my previous article here. It’s a satisfying area in many ways – particularly because the result gives one an opportunity to see things that might otherwise be out of view, or imperceptible to the eye.[Read More]
Join us March 3-5 at WPPI as Datacolor’s complimentary EXPO guest. WPPI Conference+Expo is the premier industry event for photographers and filmmakers specializing in the creative and business aspects of wedding and portrait photography and filmmaking. Each year, nearly 13,000 professional and aspiring photographers and filmmakers attend WPPI to learn new techniques from industry leaders, build new relationships to grow their business, experience new products and solutions from major manufacturers to improve their productivity, and enjoy the many attractions in Las Vegas. WPPI is a week-long event combining educational seminars with a major industry trade show and networking events, all designed around learning the latest techniques, building new relationships and growing a business in a friendly, fun environment – all at one time, in one place.
Stop by booth #124 for informative product demos presented by our Datacolor team in order to help you learn the ins and outs of color management. Make sure you scan your badge and enter our giveaway while you’re there for your chance to win a SpyderSTUDIO and $50 American Express gift card!!
Click here to register for your FREE 3-day EXPO Only pass, compliments of Datacolor. We look forward to seeing you there!
*Must register by February 26, 2014
Most often we might proceed with all the details of our shoot including lighting, location, models and props, but we often will just wing our color balance. I’ve been caught many times on location with a mix of different types of lights from overhead incandescent lights mixed with flash. I heavily rely on a simple color and exposure calibration system offered by Datacolor. This system will save you endless hours in post-production, by simply white balancing to the white and black target SpyderCUBE and the color SpyderCHECKR taken in a shot at the onset of your portrait session. The SpyderCUBE helps you to set the white balance, exposure and black level when editing pictures. The SpyderCHECKR will provide color correction for camera. It can be used to set the correct color temperature for your session.
For my commercial and celebrity sessions, I might be working with 2-3k images per session. Imagine the length of time required to process these images. With the Datacolor process, I can get them all done from the one target shot.
For more information about Hernan’s Master Class at WPPI – The Influence of Color Harmony – Click Here
The note below is from photographer Johnny Bivera, Director of Visual Media One
Most photographers that I get to meet are very good at capturing touching individual moments – or as the father of Photojournalism, French photographer Henri Cartier-Bresson said, “the decisive moment.”
As a photographer entering my 40th year in photography, I am always searching for that moment where the earth, moon and stars all align to reveal that “1/125″ of a second that will produce a wonderful image caught.
We go hiking or plan shoots to put ourselves in a target rich environment under the best lighting and then hunt. I hunt for images. I hunt for foregrounds. I hunt for all of the elements to align and then make that image that gives the impression that I was just passing by. It seems easy, right?
That is what the art of capturing moments is about. Putting yourself, well stocked with equipment, out there searching for dimensional lighting, a dynamic composition, with a subject that is brought together in a story-telling manner.
Well, let’s shift that thought pattern just a little.
We have many other ways of capturing what we see. They can range from a DSLR, to a mirrorless camera, to cell phone, and more.
I’d like to begin with asking you to consider the possibility of going beyond the 1/125 or 1/30 sec. It’s not necessarily the speed of the shutter.
Now consider a sequence of still images that show movement. That movement might be the subject, the background or even possibly the camera. I’m suggesting that you try and look at one of your well composed, well-lit, dimensional images and lets see if you can see that image in motion. It might be a series of still images captured over a period of time, and then set in motion, aka, Time Lapse. The other alternative is actually activating your live view and placing your camera in video capture!
When I began with the description of what we as still photographers, are used to when we go out into the field, I wanted to ease the transition of adding motion to your vision.
One of the thoughts that differ when capturing motion rather than collecting images that impresses us as still photographers is the thought of pre-visualization. We’ve heard about it for many years. Is seems to be a buzzword of sorts. Pre-Visualization. Ansel Adams pre-visualized his imagery. He would consider what color filter he would need to attach to his lens in order to adjust the tones of image that fell on his ground glass to match what he saw in his mind’s eye.
Pre-visualizing what you are going to do in video or with capturing time lapse is paramount. The thought process here will differ from the history of the still capture where we stop when we find an image that we want to capture.
With video, time lapse and motion capture, you will be adding to the equipment that you will probably have on hand as you journey out to photograph. In my camera case (du jour, as the case varies between a roller, a backpack or over the shoulder bag) I generally carry three camera bodies and an assortment of lenses and filters. Along with that camera bag, I carry a “support bag” which has my tripods, sliders and such for my motion vision! I will explain this in detail in my next blog post. Stay tuned, I have a lot to share with you!
Imaging artifacts are typically thought of as negative image elements to be avoided. But in phone photography, weaknesses are often turned into strengths, and artifacts are no exception. In this article we’ll take a close look at an iPhone photo, in terms of how various imaging artifacts add interest and even a bit of mystery to the image.[Read More]
Timelapse photography is a great way to break into motion-based imaging. Timelapse can be accomplished in at least two ways: combining multiple frames into a single image, or using multiple frames to create a timelapase video. In this article, I’ll discuss the former; we have additional articles coming up that will discuss the latter.[Read More]
I’m continuing to find new uses for Datacolor’s innovative SpyderCUBE. Last month I wrote about how handy it was on my photo tour to Cambodia & Burma. This month I stashed it in a side pocket of my camera bag (I love how small it is) and brought it along to cover the International CES (Consumer Electronics Show) in Las Vegas. I found plenty of uses for it, especially given the variety of lighting situations and the need to accurately portray the colors on many retail products to my readers.[Read More]