"Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.” George Eastman.
Having been involved in professional photography for over 30 years, I've tested a wide range of equipment and used a variety of camera bodies to achieve the huge library of work that I presently have. I'm happy to share how I got this particular photo, and the story will probably surprise you as much as it did me.
Do you remember that feeling when you were a child and fireworks started bursting in the sky? As a photographer, I think I have that same child-like joy reaction—because I know I am going to get some amazing photographs. Since Fourth of July is right around the corner, I thought I’d share some of my habits, tips and processes when shooting fireworks. Most people try to capture a few pretty fireworks shots when they shoot. I aim for about 50.
Editor's Note: This is a guest blog post from Luke Ballard.
Is Jeff Cable a smooth, Vegas-style crooner? A flügelhorn virtuoso? A singing cowboy? Nope. Jeff is a talented photographer and an excellent public speaker, and B&H has been fortunate to have him host a number of lectures at our Event Space. Recently, it came to our attention that the YouTube videos of his presentations have racked up nearly half a million views, which is impressive, considering that most of them are well over an hour in length. We decided to mark the occasion by sharing this collection of Jeff Cable’s Greatest Hits.
When you’re taking the leap into shooting photos or videos professionally, there are many things to consider. However, one element that doesn’t occur to most people is the need to acquire insurance to protect yourself, your team and the equipment being used. Budgets are typically very limited, and additional expenses are surely unwelcome. However, even though insurance is completely removed from the creative process, the protection it offers is indispensable. Read on to find out why most professionals insist on it.
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.
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.
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:
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