When you are working in the studio, it is not a big deal to create complex, multi-light setups, since all your gear is there and doing so only requires moving it a minimal distance. On the other hand, when it comes to working on location, unless you have an entire crew with you, efficiency is the name of the game. This helpful video tutorial will show you a quick, simple, and effective lighting setup for on-location portraits.
The whole point of a studio is being free of the outdoors and having complete control over the shooting environment, so it would seem a bit strange to drag a multi-light setup and backdrop system into the middle of a field, but that is just what this photographer did, and the results are quite intriguing. This great video tutorial will take you behind the scenes and show you how it was done.
As you can see, recently, I have been doing an evaluation of all the gear I have in the studio. This time, I looked at a dozen or so light modifiers that I own and selected my top five favorites. Rather surprisingly, they are far from what “conventional” light-shaping tools are.
The recent addition of an astrophoto time-lapse mode (uncovered by XDA Developers) coming to Google’s camera app on their Pixel line of phones piqued my interest. Not that I think it will replace all of our “real” cameras, but I do have a deep appreciation for the engineering wizardry required to push right up to the physical limits of a tiny sensor and lens. And as an astronomy enthusiast, any developments that might open an appreciation of the night skies to a wider population get me very interested.
In a few days, Activision will launch the 18th installment of Call of Duty, returning players to the Second World War. To market the game’s new photography mode, two conflict photographers were immersed inside the virtual world and tasked with photographing it. The resulting commercial portrays mankind’s most brutal act of self-destruction as little more than a game of football.
One of the most standard professional lenses for a wide range of genres is the 70-200mm f/2.8, but such lenses are almost always expensive and bulky. In recent years, we have seen a rise in 70-200mm f/4 lenses as alternatives for those who want the versatility of those focal lengths but who do not need the extra stop of aperture. Canon shooters have options in both camps, so which is right for your work? This helpful video comparison takes a look.
