David Ziser is a famous wedding photographer who regularly lectures on the craft. Hailing from Cincinnati, Ohio, David has photographed weddings for years, and was one of the first photographers to make a full transition from film to the digital world. Besides lecturing, David also offers lots of tutorials on his blog, Digital Pro Talk.
We had the opportunity to talk with the wedding great for a bit. This is Part I of his perspective on the photo industry.
Recently, our very own David Brommer chatted with famous photographer and cinematographer Vincent Laforet. They discussed filmmaking, creativity, technology, his photographic upbringing, and his new book, Visual Stories.
Get into the mind of the master himself. Check out the video after the jump.
Few things improved my photography more than learning when and how to set the exposure manually. That knowledge allows us to get good exposures in situations that automatic exposure can't handle. Setting the exposure manually also encourages us to make conscious, creative decisions about exposure.
I've heard some photographers say that they don't see any reason to use manual exposure. If that's your view, here's why I think you should reconsider.
Studio lights are essential for many types of product and fashion shots, and I’ve used them for decades.Sometimes I like to keep things simple, though, and it’s fun to challenge myself to create lighting that evokes a mood and an emotion with just a single portable flash.I recently photographed a beautiful young model, Ellecie White of Hillsboro, Tennessee, and I thought this would be the perfect time to minimize my equipment.I felt it would be less intimidating to a five-year-old, and I was sure I could create the type of lighting I wanted.
As a professional photographer, I am often labeled—even pigeon-holed—using simple titles like stock photographer, documentary photographer, photo-essayist or fine-art photographer. That makes sense to me, because people want a quick way of knowing who I am as a photographer, and what kind of work I can do. A student recently asked me to explain how one photographer (me), would approach one subject, and photograph that subject different ways while wearing those four different hats.
Bonaire, along with Aruba and Curaçao, form a Caribbean Island group referred to as the ABC islands. They are located north of Venezuela. The island has pristine reefs close to shore, and is below the hurricane belt. Many people consider this island “Diver's Paradise,” just as it says on the automobile license plates. When a group of friends said they were going to Bonaire, my dive partner Olga Torrey and I decided that after a season of Northeast wreck diving, practicing photography at Dutch Springs, and a trip to the cold waters of Alaska, a nice and easy pretty-fish trip should be put on the calendar.
I've recently gotten my hands on the Nikon 85mm F/1.4G lens, and I have to say I'm not disappointed. I put the lens to the test by shooting portraits in my studio of three young ladies who are also budding photographers.
Autumn: an appropriate time to be thinking and writing about cycles. The garden is fully formed, yielding all that it has to offer. The mornings are cooler with the smell of crisp change perched on the air, and once again, my thoughts turn to another year. Another year of productivity, highs, lows, little celebrations and small defeats. Each year brings better understanding of the way I work and the work that I do now, potential uncertainty about the work to come, and acceptance of the work that's been done. And the crux here is that it is all connected.
Light that comes into a scene off-axis from the camera view will ALWAYS look more dynamic, interesting and pleasing. It looks more three-dimensional, and it creates shadows on textures, shapes and form that enhance the visual appeal of the image.
And aside from that, using the flash off-camera prevents red eye and that horrible “deer in the headlights’ look that straight-on flash usually gives. You probably already know all this, though.
Of course, the main issue with using off-camera flashes is how to trigger them. Essentially, there are five different ways to trigger a remote lighting unit:
I have been taking photographs for almost four decades—mostly for money and always for myself. Over those forty years, I have slowly figured out what I wanted to ask the many photographers I encountered along the way. I have distilled this down to a list of questions that I would ask any photographer, knowing that the answers will help any photographer.
Have you ever heard of a Gobo? It's a term used by photographers to describe something that goes between the subject and your light to modify the light output. Today, they're more commonly known as light modifiers. We've previously talked about using one light (and modifier) at a time, on-camera flash accessories, and about using these at a wedding. Today, the experts at Kelby Training talk about using a flag to modify a light: specifically about controlling falloff.
Take a look at the video after hitting the read and discuss button and for more in-depth training please visit Kelbytraining.com. They also have full one day seminars at Kelbytraininglive.com.
Do you have any other makeshift light modifiers? Let us know about your own hacks in the comments below.
When people think of traveling for scuba diving, they think of warm blue water locations such as the Red Sea, Australia, Fuji, the Bahamas, Grand Cayman, Cozumel, and Bonaire. But Alaska? The green rich waters of this temperate rain forest are full of life and photographic opportunities. A trip to Alaska is a true adventure, both above and below the surface. My dive buddy Olga Torrey and I decided to experience Alaska on the liveaboard dive boat, the Nautilus Swell. This 100-year-old refurbished tugboat is the perfect platform for cold-water exploration, and is very photographer-friendly. The crew is well versed in dive procedures in this very different environment. We would board the boat in Juneau, and after a week of diving, we would depart from Sitka.
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