Wedding photography has become an extremely popular and lucrative specialty. First and foremost, a wedding is a grand, unrepeatable, emotionally charged event at which expectations run high, and second best won't do. Being a wedding photographer requires dedication and talent, but having the right equipment is crucial if you expect to achieve sharp, well-composed, well-lit images that depict... READ MORE
Nikon AF-S 58 f/1.4 Busted, because my wife just got me this killer lens! I love f/1.4, but only with a few focal lengths. This just happens to be one of them.
History books, WWII aviationLike our English teachers taught us in the beginning, to write about a subject, you've got to know it. For... READ MORE
Watch and listen as Larry Becker, of Kelby Media, discusses Westcott's new SkyLux LED continuous light source. Becker explores the attributes and special qualities of LEDs, impressive power versus traditional tungsten sources, dimming features, long lamp life, and accurate color rendering.
In this tutorial, Mia McCormick, of Kelby Media, takes you through the basic steps of lighting a green screen properly. Green-screen production is great for special-effects work or when you need to shoot a subject against a variable background.
There is a first time for everything, and if you have your mind set on producing a wedding video, you will encounter plenty of “firsts” during that initial wedding weekend. There is a first kiss, a first dance, and a first slice of cake. Where will you have your cameras set up for each of these memorable moments? Will you need lights for every shot? How will you manage the audio? When the bride... READ MORE
Larry Becker of Kelby Media explains the importance in this video of using softboxes as you move your speedlights off camera in the studio. When you're trying to light your subject, a soft, diffused light is almost always going to look better than a harsh, pinpoint light that creates hard shadows and extremely bright areas.
We took a few minutes to speak with Mr. Joey Quintero, professional photographer and lecturer at the B&H Event Space, about ways we can improve our photography, especially in terms of portraits and basic lighting techniques.
LEDs have come a very long way from simple uses as indicator lights on your audio and video equipment to a dominant position in the field of signage and display in large public venues. Since developing technology has helped to overcome their initial high cost of production, they are now poised to supplant fluorescent lamps in our homes.
Most catering halls are designed with photography in mind—they often have a choice of backgrounds in the form of fountains, sweeping stairways, polished brass and crystal-laden lighting fixtures that can really dress up group portraits.
After posing for a few gigabits of formals in a hall, you can sense the wedding party’s palpable relief when, weather permitting, it’s time to take it outside. If you’re lucky enough to have nicely landscaped grounds, it’s a great opportunity to stop fighting with the tungsten light sources inside and take advantage of that flash-friendly sunlight.
Whether you’re a wedding photographer, wedding planner, or the lucky couple who will be tying the knot, an Apple iPad 2, new iPad, or one of the many Android tablet PCs can be very helpful when you’re preparing for a wedding.
Wikipedia succinctly defines wedding photography as “the photography of activities relating to weddings. It encompasses photographs of the couple before marriage as well as coverage of the wedding and reception."
After cameras and lenses, the third slice of your wedding gear triad is your choice of lighting gear. The most basic system revolves around a dedicated TTL (through the lens) flashgun mounted on your camera’s hot shoe (or preferably on an adjustable flash bracket).
What is often missed when approaching a plate of food is its unique architecture, which begins with the vessel or plate. There is no substitute for moving it around and rotating it in-camera, arranging the elements utilizing the unique perspective of the lens in use. This is a lesson I learned doing interiors. Many of the spaces that you see depicted in glossy architectural publications couldn't be lived in as photographed, but rather appear as though they could be.
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