Array (  => WP_Post Object ( [ID] => 80196 [post_author] => 25217 [post_date] => 2017-08-10 09:58:37 [post_date_gmt] => 2017-08-10 13:58:37 [post_content] => The market for stock video footage has grown tremendously, as video is quickly becoming the premiere media format throughout advertising, social media and publishing. This means the demand for quality content is increasing rapidly, creating more work for videographers and filmmakers. However, with so much diverse content out there, from aerial footage to virtual reality, it can sometimes be difficult to meet the needs of the client while working within your budget. That’s where stock footage comes in, and it’s changing the game for video creators. Although a number of stock media platforms have surfaced in recent years, VideoBlocks caters specifically to videographers and filmmakers, offering one of the fastest growing video libraries that hosts over 3 million videos, After Effects templates, motion backgrounds and more. It’s also affordable, offering a subscription-based model that gives users unlimited access to premium footage.In addition, for content creators interested in selling their media, VideoBlocks gives 100 percent of the commission back to their contributors—the only stock company to do so. VideoBlocks even offers a seven-day free trial for trying and exploring their video library.Here are some ways you can use stock footage to elevate your video game.Get Footage From Locations Around the WorldSometimes, a project or client may call for footage that you’re unable to shoot in a timely or cost-efficient manner—suppose you’re based in NYC and in need of drone shots above a winding, rural road or underwater footage that shows a herd of sharks. Of course, with enough time and budget, nearly any filmmaker would jump at the opportunity to shoot this themselves. But more often than not, traveling around the world to shoot B-roll is an improbable endeavor. So instead of removing it from the shot list—or worse, telling the client “no”—utilizing stock footage is the perfect compromise for quality footage that won’t blow your deadline or budget.Earn Supplemental IncomeNot every videographer is consistently working, especially freelancers. However, nearly every videographer has archives upon archives of unused footage, content and clips. With VideoBlocks Marketplace and Contributor Portal, creators can bring new life to their footage by selling their videos and earning 100 percent commission on every sale. VideoBlocks is also home to an audience of over 180K active customers who’ve collectively made more than 100 million downloads, a solid alternative to letting your content sit on your drives. Effectively, this could create a significant passive revenue stream for your business, whether you’re hoping to invest in new gear or finally shoot the personal project you’ve been dreaming about.Obtain Content That You Don’t Have the Gear to ProduceAside from traditional video content, the need for 360°/VR, timelapse, and aerial footage is greater than ever. However, obtaining the optimal gear to produce this can be costly, especially for one-off or occasional projects. Not to mention that there’s surely a learning curve for creating this kind of content. Fortunately, VideoBlocks offers dedicated sections for such content, allowing users to efficiently add a creative twist to their work.Optimize Your Post-Production WorkflowThe world of post-production is extremely dense. Today, the effects that can be created through video editing is seemingly limitless, alongside the methods employed to do so. But if you’re working fast and on a deadline, you may not always have the luxury to build advanced content from scratch, which is where VideoBlocks’ After Effects templates comes into play. With sections for typography, titles, logo reveals and more, you can same time and stress on post-production while still delivering a polished, cinematic final product.Click the image below to start downloading and get started today! [post_title] => 4 Ways Stock Footage Will Elevate Your Video Game [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 4-ways-stock-footage-will-elevate-your-video-game [to_ping] => [pinged] => [post_modified] => 2017-08-10 09:58:37 [post_modified_gmt] => 2017-08-10 13:58:37 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=80196 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 78458 [post_author] => 47252 [post_date] => 2017-05-12 15:50:04 [post_date_gmt] => 2017-05-12 19:50:04 [post_content] => As photographers, using a flash or a strobe to light our images can accentuate and lift them up to an entirely new level. One of the key elements to be considered when shooting with flash, and one that gives us several creative options, is the flash duration of the strobe used to create the image. Historically, the top flash sync shutter speeds of 35mm film cameras and modern DSLRs have been around 1/200th to 1/250th second. A shutter speed of 1/200th second is pretty slow if you are trying to stop any sort of moving subject, even a slow moving subject. Because of this limitation, for decades now when shooting with flashes, photographers have relied upon very fast flash durations, not the shutter speed, to stop motion.Before we get into all of the options, let’s first define the term flash duration. A flash duration for any strobe or flash is technically the length of time that the flash tube emits light for a single burst. Most flash manufacturers quote what are known as the t0.5 or the t0.1 flash duration specifications. The t0.5 value is the period during which the flash intensity is above 50% of its maximum brightness. The t0.1 value is the period during which the flash intensity is above 10% of its maximum brightness. The graph below shows exactly how these different flash duration specifications relate to the entire burst of light emitted by the flash. For a more in-depth article on flash duration check out “Demystifying Flash Duration.”[caption id="attachment_78459" align="aligncenter" width="1024"] As you can see the t0.5 value is the period during which the flash intensity is above 50% of its maximum brightness. The t0.1 value is the period during which the flash intensity is above 10% of its maximum brightness. Hence, the t0.1 value is a much more accurate assessment of the actual flash duration.[/caption]Using a strobe with a fast flash duration is one way to stop the motion of a moving subject when using flash. Typically, a t0.5 value of 1/2,000th second or higher will be more than adequate for most photographers who need to freeze the motion of a moving subject. For those who are photographing extremely fast moving subjects, like dancers or exploding liquids, a much faster flash duration with a t0.5 value upwards of 1/10,000th second is usually required to freeze the subjects movement.Many pro photographers have historically relied on medium format cameras, which incorporate leaf shutters in the lenses, to help them gain faster flash sync speeds. On some medium format cameras with leaf shutters the top flash sync shutter speeds are as high as 1/1,600th to 1/2,000th second. When shooting with leaf shutters ideally the flash duration of the strobe would be shorter than the shutter speed used. Hence, when using a shutter speed of 1/2,000th second a flash duration of 1/2,000th second or shorter would be required. Otherwise, the closing of the leaf shutter would clip the burst of light from the flash. The beauty of leaf shutters is that they make syncing with strobes at high shutter speeds very straightforward. A good example of this is shown in the image below, which was shot with a Hasselblad medium format camera and a strobe with a very fast flash duration.[caption id="attachment_78462" align="aligncenter" width="1024"] This mountain biking image was shot using a medium format digital camera and leaf shutter lenses that allow for fast flash speed syncs. To capture the action, this image was shot with a shutter speed of 1/800th second and used the extremely fast flash durations of the Elinchrom ELB system flashes to help freeze the motion of the mountain biker. Tech specs: Hasselblad H5D 50c WiFi, HC 50-100mm f/3.5-4.5 lens, f/16 at 1/800th second, ISO 400, Elinchrom ELB 400 strobes, both with the Action flash heads.[/caption]Flash manufacturers usually denote in their marketing materials the flash duration of their offerings at the highest power setting and also the fastest flash duration (typically at the lowest power setting). Sadly, most flash manufacturers don’t tell you the flash duration for each power setting, though some have this information in the manual that comes with the flash. A few manufacturers display the actual flash duration for each power setting on the flashes LCD readout, which is very handy. But these numbers aren’t always accurate. Because of this, using a light meter like the Sekonic L-858D-U, which can very accurately measure the flash duration, is quite helpful. Right now, the Sekonic L-858D-U is the only light meter on the market that can measure a strobes flash duration.[caption id="attachment_78461" align="aligncenter" width="1024"] The Sekonic L-858D-U, as shown here, can measure the flash duration of any strobe or flash. It can also be set to measure the t0.5 or the t0.1 flash duration. And of course it can also measure ambient exposures, flash exposures and also High Speed Sync (HSS) flash exposures—all of which makes it the most powerful and versatile light meter on the market.[/caption]As most photographers don’t own expensive medium format cameras, for the rest of this article I will concentrate on flash durations as they relate to DSLRs. With DSLRs, we have a few options when shooting with strobes. If we intend to stay at or under the top flash sync shutter speed (i.e. 1/250th second) then using a flash with a very fast flash duration is advantageous. Using a fast flash duration allows us to freeze the movement if we stay close to the top 1/250th second flash sync speed or alternatively, we can “drag the shutter” and shoot at a slow shutter speed to show some of the motion blur and then let the flash freeze the movement, as show in in the image below.[caption id="attachment_78460" align="aligncenter" width="1024"] In this image I intentionally chose a slow 1/20th second shutter speed to blur the movement of the mountain biker flying across the sky. During the exposure I also moved the camera while panning with the mountain biker, which partially blurred the ground as well. The flash was set so that it had a very fast flash duration. By combining a slow shutter speed with a fast flash duration I could freeze the rider at the apex of his jump while showing a bit of motion blur. Tech specs: Nikon D700, Nikkor 14-24mm f/2.8 lens, f/5.6 at 1/20th second, ISO 200, Elinchrom Ranger RX Speed AS strobe with the Action flash head.[/caption]Even when shooting portraits of a stationary subject, the flash duration can make the difference between a sharp image and a blurry one. With a slow flash duration, like a t0.5 flash duration of 1/250th second, if the subject moves even slightly during the exposure this will result in motion blur and a blurry image. With a fast flash duration, for example a t0.5 flash duration of 1/2,000th second or higher, even if the subject moves the flash will freeze the subject. Of note, if the background is dark, then you could literally throw the camera up in the air and trigger it as it falls and still get a sharp image using a fast flash duration. To sum up, anytime I am syncing at or below the top flash sync speed of my DSLR (i.e. a shutter speed of 1/250th second or less) using a fast flash duration is critical.[caption id="attachment_78463" align="aligncenter" width="1024"] Even when shooting portraits of stationary subjects flash duration is very important to insure sharp images. For this portrait of a skier I chose a flash with a decently fast flash duration. Tech specs: Nikon D4, Nikkor 24-70mm f/2.8 lens, f/6.3 at 1/80th second, ISO 100, Elinchrom ELB 400 strobe.[/caption]Alternatively, with the advent of Hypersync and Hi-Sync (HS) flash technologies, which allow us to sync modern DSLRs with strobes at shutter speeds up to 1/8,000th second, using a flash with a slow flash duration is paramount for success. HS flash technology works by timing the flash to coincide with the narrow slit of the shutter moving across the sensor. Ideally, the timing allows for the maximum flash output to line up with the shutter release, which usually means the flash is triggered milliseconds before the image is taken. Understanding HS (and how it is different than High Speed Sync) is a complex topic and the best explanation that I know if is in an article that I wrote for Elinchrom entitled, “HS vs HSS: What is the Difference?”Because syncing the flash and the camera using HS techniques is so difficult, a slower flash duration helps to get good results. Typically a flash duration of less than 1/800th second or less is required for the best results when shooting with HS technologies. Slower flash durations like 1/500th second are even better. What these HS techniques allow us to do is freeze the motion of a moving subject like never before. As in the image below, this inline skater is frozen mid-jump with a flash sync shutter speed of 1/8,000th second. Freezing a subjects motion with the shutter speed is much more effective than trying to freeze it with a fast flash duration.[caption id="attachment_78465" align="aligncenter" width="1024"] In this image, I have used Hi-Sync (HS) flash technology, currently only offered by a few strobe manufacturers, to sync my camera and the strobe using a 1/8,000th second shutter speed. This freezes all of the movement of the in-line skater. Note that with this technique, the flash duration is much longer than the shutter speed. Nikon D4, Nikkor 70-200mm f/2.8 lens, f/3.5 at 1/8,000th second, ISO 800, Elinchrom ELB 400 strobe with the HS flash head.[/caption]One of the things you will notice if you measure the actual flash duration of any flash—be it a speedlight, plug-in studio strobe, monobloc or battery-powered strobe—is that the actual flash duration from flash to flash can vary, and sometimes it varies widely depending on the flash. By using a light meter like the Sekonic L-858D-U it is easy to make sure you are using a fast enough flash duration to stop the motion or vice-versa that you are using a slow enough flash duration so that HS techniques can work well.As shown in the images in this blog post, understanding how the flash duration—as well as the chosen shutter speed—will affect the final image is paramount to your creative vision. With a sound understanding of flash duration we can adjust the lighting on our subject so that it matches what we are trying to create. In many situations, the actual, real world flash duration of your strobe or flash is often much more important than the power output of the flash. Flash duration is one of the key specifications to look at when purchasing a strobe or flash. It is also the key specification to keep track of when trying to freeze action. Hence, using a light meter like the Sekonic L-858D-U, which can extremely accurately measure the flash duration [using t0.5 or t0.1 specifications] will help to make sure you can very accurately control the flash duration.For more demystifying flash duration, check out the Sekonic blog! [post_title] => Using Flash Duration to Elevate Your Photography [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => using-flash-duration-to-elevate-your-photography [to_ping] => [pinged] => http://blog.sekonic.com/2017/05/11/demystifying-flash-duration/?utm_source=resource& [post_modified] => 2017-05-15 13:19:39 [post_modified_gmt] => 2017-05-15 17:19:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78458 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 78405 [post_author] => 25217 [post_date] => 2017-05-10 11:59:37 [post_date_gmt] => 2017-05-10 15:59:37 [post_content] => Form factor is everything these days. Gear is becoming increasingly compact and lightweight, making it ideal for both professional photographers and content creators to simply toss in their everyday bags, hit the streets and start shooting. However, there’s one rather cumbersome, yet integral piece of equipment struggling to keep up: the tripod. Sure, we’ve seen numerous advancements in recent years, such as lighter, durable carbon fiber gear, but that certainly hasn’t done much in the way of cost. Not to mention that the overall size of the tripod, for the most part, generally hasn’t changed. And for someone like myself—and many others like me—who’s more of a casual street shooter or "Instagrammer" than working professional, strapping a tripod to my bag as I go about my day-to-day life is far from practical. Have you ever tried stuffing a backpack, shoes, jacket and tripod into a standard 12 by 30 inch gym locker? Believe me, it’s a hassle, but that doesn't have to be your only option.[caption id="attachment_78415" align="aligncenter" width="675"] via Platypod[/caption]Meet Platypod Ultra, a simple evolution of a ground pod targeted toward photographers who pack light, and those who shoot with mirrorless cameras or mid-sized DSLRs. But despite its moniker as "the world’s most compact tripod," it's important to note that the Platypod isn’t intended to be a tripod replacement, but a compact tripod base that can be used as a standalone stabilizer as well.The Platypod Ultra, which was updated from the Platypod Pro based on user feedback, is 10 percent larger than its predecessor at 3.5 by 5 inches, and offers four heavy duty removable spike feet rather than three. There’s also five screw holes compared to three on the Pro, and it can be paired with all standard ball heads, a feature that sets it apart from other competing products.[caption id="attachment_78416" align="aligncenter" width="678"] via Platypod[/caption]Some other notable features of the Platypod Ultra are two-inch belt slots for strapping it to trees, poles or other peculiar places. And despite its size, it can support up to 100 pounds of gear. Additionally, the removable spikes, which also double as rubber feet, are complete with locking nuts, meaning it doesn’t always need to lay flat and can be adjusted to sit evenly on rough surfaces. You can see more specs, additional features and add-ons here.To learn more about the practicality of the Platypod Ultra, we put it to the test on the streets of New York. Here are some of our favorite scenarios we discovered.
Self-portraits or showing scale in landscapes [caption id="attachment_78406" align="aligncenter" width="1024"] © Billy Murray / Resource Magazine[/caption]Whether you’re shooting landscapes in nature or an urban setting, it’s always good to place a subject in the frame to show scale or add a human aspect to an otherwise barren scene. But the problem is you don’t always have a subject at your disposal, and without any stabilization, attempting to prop up your camera, set a timer, and dart into the frame is a bit ambitious. The Platypod is a great solution, notably if you are often your own subject.[caption id="attachment_78417" align="aligncenter" width="1024"] Behind-the-scenes[/caption]
Night photography [caption id="attachment_78407" align="aligncenter" width="1024"] © Billy Murray / Resource Magazine[/caption]When shooting at night in New York, I often use long exposures for city lights or moving vehicles. The problem is that when it starts getting late, it’s best to wander the streets with an inconspicuous gear bag, especially if you’re a Brooklynite like myself. Carrying a tripod is a dead giveaway to anyone looking for trouble, and the Platypod is a great way to meander the streets unnoticed. On one hand, it makes for a reliable stabilizer, and on the other, it’s small and can be easily stowed away in your backpack. Just quickly set it down and rip a few exposures—maybe stand over it like a guard dog—then wander into the night and hit the next spot.[caption id="attachment_78418" align="aligncenter" width="1024"] Behind-the-scenes[/caption]
When you’re avoiding tripod restrictions [caption id="attachment_78409" align="aligncenter" width="1024"] © Billy Murray / Resource Magazine[/caption][caption id="attachment_78408" align="aligncenter" width="1024"] © Billy Murray / Resource Magazine[/caption]New York law, along with most major cities, restricts tripods or other types of stands from touching the ground unless you have a permit. In some instances the rules are a bit loose; if you’re shooting along the water in Brooklyn Bridge Park, for example, there’s little chance that anyone will hassle you. But in more populated areas, specifically subway stations and sidewalks, the laws are strict, and breaking them puts you at high risk for a fine. [caption id="attachment_78419" align="aligncenter" width="1024"] Behind-the-scenes[/caption]I’ll be honest when I say that I was effectively being watched by the NYPD when taking these two shots. In this particular subway station, there are police kiosks equipped with displays that allow officers to monitor activity down below. And yet, I was able to shoot with the Platypod for about 20 minutes without any complications. We would never condone breaking the law in the name of photography, but in this case it seems that no laws were broken. Proceed at your own risk.
Tight spots and strange places [caption id="attachment_78411" align="aligncenter" width="1024"] © Billy Murray / Resource Magazine[/caption]The Platypod is roughly the size of a smartphone, which makes it great for tight spaces or situations with a readily available surface, such as a park bench, guardrail, or curb. This is especially ideal when traveling or vlogging, as well as other scenarios that require you to shoot quickly or on the go.[caption id="attachment_78420" align="aligncenter" width="640"] Behind-the-scenes[/caption][caption id="attachment_78412" align="aligncenter" width="989"] © Billy Murray / Resource Magazine[/caption][caption id="attachment_78421" align="aligncenter" width="1024"] Behind-the-scenes[/caption]The Platypod Ultra is available for preorder on Kickstarter starting at $49 until June 25, and then $69 in retail. It's anticipated to start shipping in July 2017. [post_title] => This Discreet, Miniature Tripod is an Instagrammer's Dream [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => this-discreet-miniature-tripod-is-an-instagrammers-dream [to_ping] => [pinged] => [post_modified] => 2017-05-19 16:29:12 [post_modified_gmt] => 2017-05-19 20:29:12 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78405 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) => WP_Post Object ( [ID] => 72607 [post_author] => 25217 [post_date] => 2016-12-14 10:18:55 [post_date_gmt] => 2016-12-14 15:18:55 [post_content] => The holidays are right around the corner, so we've put together a selection of gifts for photographers and filmmakers. This article was curated with one principle in mind: to recommend equipment and accessories that any image-maker would be delighted to receive, from strobe lighting to travel tripods. Here are 5 incredible holiday gifts that would impress any photographer or filmmaker, whether hobbyist or professional, and in no particular order.5. Gitzo Mountaineer TripodThe Gitzo tripod line has been a long-time favorite of Resource, and even won our annual year-end "Best Of" awards for 2015. This particular model, comprised of a Mountaineer Tripod and Center Ball Head, is especially excellent for anyone who likes to shoot on the go, such as travelers, street photographers, or landscape fanatics. It's slim, sleek and simple design makes it appealing to the eye, while its carbon fiber material makes it a lightweight yet durable backbone of a photographer's kit.4. Manfrotto 3N1 Pro Light BackpackIt's hard to think any modern photographer wouldn't clamor over the versatility of this bag. With three carry options—backpack, sling bag, and cross-backpack—the 3N1 is designed to carry a DJI Phantom, Canon XC100, or other camera bodies with plenty of room for additional lenses. This makes it ideal for the video shooter, as side pockets make it easy to quickly swap out gear, and interchangeable dividers are used to fit the needs of nearly any equipment selection. It also comes complete with a rain protector, while the bag’s outer fabric features a water-repellant treatment that makes it perfect for trekking through a blizzard.3. Bowens XMS500It's more than just the sexy form factor that draws us to this new Bowens studio strobe. Internally, this particular model packs 500 watts of power, perfect for humble studio setups and professional portraiture. These units are fully digital, which ensures the accuracy of flash power and color temperatures, while making it intuitive for the beginner to operate—and beloved by professionals who are tired of getting bogged down on gear during a shoot. We highly recommend this strobe for those first exploring the world of lighting, as it's great for simple one-light setups, yet will be a powerful staple of more complex techniques as one progresses. Additionally, the Bowens Lumiair Octobank is an excellent, multi-purpose softbox and a great accessory for fashion, portrait or lifestyle photographers.2. Manfrotto XPRO Monopod+ Tripod & Video HeadThis monopod is a videographer's dream. The XPRO video monopod is equipped with Manfrotto's FLUIDTECH system, enabling incredibly smooth pans, tilts, and swivels for nearly any perspective. It's constructed from Adapto Technopolymer and Aluminium, making it lightweight and easy to carry, and comes complete with the Manfrotto 200PL plate, the most widespread photographic plate on the market. Also, with a maximum height of almost 80 inches, it's excellent for videographers who leverage the height of their monopod to reach above crowds, while its retractable feet make it extremely portable for travel adventures.1. Lastolite Tri Flip kitOften, it's best to keep it simple, and if you've made it this far, you may still be undecided on your holiday gifts. But think no more. If you're shopping for a photographer or filmmaker, you can never go wrong with a good ol' reflector kit. This particular kit, known as "the tri flip," offers an 8-in-1 solution, so image-makers can be ready for nearly any lighting scenario without the need to carry additional bulk. Armed with a 2-stop diffuser and seven colors, this reflector array is foldable for maximum portability, as it collapses to one-third of its size. Not to mention, it includes a lifetime rim guarantee, in which Manfrotto will repair it free of charge if the rim breaks or comes apart. If you're shopping for a photographer or filmmaker, under no circumstance could you go wrong with this one.
This article was sponsored by Manfrotto Distribution. [post_title] => 5 Incredible Holiday Gifts For Photographers and Filmmakers [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => incredible-holiday-gifts-for-photographers-and-filmmakers [to_ping] => [pinged] => [post_modified] => 2017-01-31 16:08:16 [post_modified_gmt] => 2017-01-31 21:08:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=72607 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 72236 [post_author] => 47224 [post_date] => 2016-11-30 16:16:46 [post_date_gmt] => 2016-11-30 21:16:46 [post_content] => Living life as a travel photographer, it is not uncommon for me to be away from home between six to nine months out of the year. Most of my time is spent working internationally, however, during my free time, I always try to sharpen my landscape photography skills a little closer to my home in Idaho.[caption id="attachment_12465" align="aligncenter" width="740"] Boise, Idaho[/caption]I have visited 29 countries in the world, and have been fortunate to have returned to 11 of those on multiple occasions. While my primary reason for returning was for work, I had developed such strong personal connections on my first visits that I jumped at the chance to return time and time again.When I first read about the Flights.com holiday campaign to“Don’t Skip the Trip”, immediately I felt a wave of nostalgia wash over me. The purpose of the campaign is to inspire travelers to revisit the places and people that made a lasting impact by recommending flight deals based on previous Facebook check-ins. Having revisited over a third of the countries I have explored, the tag line hit home for me. I knew how my initial love for a destination was only solidified and multiplied on my return.[caption id="attachment_12471" align="aligncenter" width="740"] Victoria Falls, Zimbabwe[/caption]While many travelers base their worldly knowledge on how many unique stamps they have in their passport, I think returning to some of the locations you had experienced before can be just as rewarding, if not more so.So naturally, I compiled a list of reasons why I think you should never ‘Skip the Trip’ opportunity to return to the destinations and people you miss most.[caption id="attachment_12512" align="aligncenter" width="740"] Surfing in the Arctic[/caption]
Life is Short It is the truth. I have previously talked about how a tragedy in my life led to the way I approached travel. I learned that every day we have on this planet counts, and according to Expedia's 2015 Vacation Deprivation study, Americans left 500 million vacation days unused. 500 MILLION. That is the equivalent of Americans tossing over 1.3 million years of vacation time in the garbage every 365 days. That is simply a mind-boggling stat, and in my opinion, completely unacceptable. I understand how fortunate I am with the field of my employment. I travel for a living and don't have to request to use my vacation days. But I didn't always have this life. I worked as a popcorn shovel boy at a movie theater and a bartender in a dirty dive bar before joining the technology workforce in Silicon Valley. In all of those years where I had vacation days, I know for a fact none of them went unused. Usually, I would take more vacation days than allotted, which wound up coming out of my paycheck. But I didn't care. I worked hard for those vacation days. I deserved them, and even if I loved the job I was at, I could definitely find something to do and somewhere more appealing to place myself than my office desk.[caption id="attachment_12480" align="aligncenter" width="740"] Redwood National Park, California[/caption]I understand life can throw us many curveballs, and maybe traveling isn't in the cards for everyone in a given year, but surely, even spending a sunny summer day at the park tossing a frisbee while lighting the charcoal is a better way to spend your time than at the office, no? Please America, use those vacation days. They are good for your soul.
Give Back to the Community That You Will Come to Love With my work with The Giving Lens, I lead an energetic group of photographers around the globe to experience the sights, sounds and culture of a far off land. But more importantly, we work with local non-profit organizations to help the communities grow and become stronger and more self-reliant. Before I had begun working with non-profits, I made my first trip to some countries just as a normal everyday traveler. In fact, I wasn't even a traveler. I was more of a standard tourist, but when I started working within the local communities, doors began opening to experiences that that would never have been available on my first trip as a tourist. Local non-profits provide a great way to meet passionate local people and see the world that most tourists never see. Returning to a previously visited location and working with a non-profit will also allow you to acquire a deep knowledge of the local community and culture that you were initially drawn to on your first visit. And most importantly, you will make new lifelong friends.[caption id="attachment_12470" align="aligncenter" width="740"] Elephant Nature Park, Chiang Mai, Thailand[/caption]Establishing personal connections, ones that help inspire you to leave the community stronger and more empowered than when you arrived, will quickly become ingrained in your memories once you leave. These experiences will soon have you impassioned and planning your next trip to continue the work that you started.
Revisiting a Location Opens Your Eyes to New Experiences We all have a favorite movie that we have seen time and time again. Why do we keep returning to the Netflix queue on a rainy day to watch it yet again? It’s not just for the expected emotions the film invokes. Every time you see it, you learn something new, you notice something you hadn’t seen before, and most important, you view the same scenes from a new point of view. Travel is no different. Each return visit draws us deeper inside the culture, learning about the rich history, and seeing the beauty in things that we may have glanced over the first time, not realizing the deeper meanings behind what was in front of you all along.[caption id="attachment_12475" align="aligncenter" width="740"] Reine, Norway[/caption]
Forget the Money. Become Rich With Experiences Remember those 500 million vacation days that go unused every year? That equals a lot of money. Money that most people will never see, as most employers don't pay on unused PTO. Whether you could get paid for those days or not, there is something worth much more than your daily salary. Life and travel, and the experiences both of those hold, especially when returning to one of your favorite destinations with more comfort and confidence the second time around will help you find deeper and more meaningful experiences with the people and their culture.[caption id="attachment_12478" align="aligncenter" width="740"] Negril, Jamaica[/caption][caption id="attachment_12479" align="aligncenter" width="740"] Teahupoo, Tahiti[/caption]
Get the Most out of Every Destination Before it's Too LateToo late isn't the right word. More like "different". The social media age is both a blessing and a curse. We have so much information coming at us at lightning speed. This helps travel junkies discover new locations and plan their first trips. But on the flip side, everyone is sharing their experiences in almost in real-time, which instills the inspiration to travel to that destination in others. This is a great thing. Travel is something everyone should experience, and growing tourism industries help inject money into the local communities. But with that boom in tourism, it is almost a guarantee you will notice many changes when you return to a destination. Some are great, some not so great. But no matter the changes, you will always find something new in an old location to fall in love with.[caption id="attachment_12476" align="aligncenter" width="740"] Trinidad, Cuba[/caption]
Rekindle and Build Personal Connections I have seen the Taj Mahal, Machu Picchu, and Petra. But by far, my favorite part of traveling is the people I meet along the way. I have met some of my best friends in random adventures, and saying goodbye is usually the hardest part of any trip. So for me, maintaining these long distance friendships is by far the best reason to return to the places I have visited before. Deep in the Wadi Rum desert in Jordan, there lives an Egyptian man named Shaban. Known as “The Shisha Man” at Captain’s Camp, Shaban can almost always be found around the fire, packing up flavored shisha in water pipes for the overnight guests. On my first trip to Wadi Rum, I stayed up with Shaban until the early morning hours, sitting by the fire, drinking tea, and puffing on the flavored tobacco. That night turned into one of the best conversations I had ever had. But the kicker was, I don't speak Arabic and Shaban doesn't speak much English, aside from "Awesome" and "Obama". I showed him a photo of my dog, he showed me photos of his camels. His smile can light up a dark desert night, but I had never seen it as bright as when he showed me photos of his family back in Eygpt. The next day, when we left the camp, Shaban and I embraced and both began to wipe tears from our eyes. It was a friendship born despite the cultural differences. I vowed to return to see my friend Shaban, and the next year, I did just that. This time, we spent two nights sitting by the fire, 'chatting' and laughing like no time had passed. Again, when it was time to leave, Shaban came to embrace me once again. But this time, he gave me his handmade shisha pipe that he had used every day for countless years. Through our interpreter, I told him I could not accept the gift, but the joyful tears in his eyes and his insistence left me no choice. He was proud to give me this as a sign of our friendship. To this day, that Shisha pipe is the greatest gift I have ever received.About every two or three weeks, I will get about 50 Facebook notifications showing me that Shaban has liked and shared a number of my travel photos. Yes, the Shisha man of Wadi Rum was given a laptop. But, not knowing how to read or write, the laptop gift giver created a Facebook account for Shaban and showed him to press "this button" to like and "this button" to share. Even though he is over 7,000 miles away, I get so excited knowing that my '?Sadiqi" is seeing the stories I tell through my photographs, even though he cannot read the captions.[caption id="attachment_2753" align="aligncenter" width="740"] Shaban and I, doing what we do best![/caption]I have not been back to see my friend in two years. But the connection I have made with him, and countless others in my life, is the main reason why I will never let myself 'Skip the Trip'. The smiles and the memories that come from returning are worth much more than those unused vacation days.View personalized flight recommendations to return to the destinations and people you miss most by using the Flights.com social media integration feature. [caption id="attachment_12469" align="aligncenter" width="740"] Unstad, Norway[/caption][caption id="attachment_12474" align="aligncenter" width="740"] Serengeti National Park, Tanzania[/caption][caption id="attachment_12473" align="aligncenter" width="740"] Salt, Jordan[/caption][caption id="attachment_12467" align="aligncenter" width="740"] San Francisco, California[/caption][caption id="attachment_2672" align="aligncenter" width="740"] Half Dome, Yosemite National Park, California[/caption][caption id="attachment_12468" align="aligncenter" width="740"] Lofoten, Norway[/caption] [post_title] => 6 Reasons to Never "Skip the Trip" [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 6-reasons-to-never-skip-the-trip [to_ping] => [pinged] => [post_modified] => 2016-11-30 16:16:46 [post_modified_gmt] => 2016-11-30 21:16:46 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=72236 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 72189 [post_author] => 47193 [post_date] => 2016-11-30 11:49:35 [post_date_gmt] => 2016-11-30 16:49:35 [post_content] => Photographer Ian Plant is known for many things. He is a Tamron USA Image Master. His books and instructional videos have taught thousands of people the process of fine art landscape photography. His work has been published by acclaimed magazines Outdoor Photographer, Popular Photography, and Landscape Photography Magazine. But even with a resume this impressive, Plant may be best known for his series, 'Dreamscapes', which he says, "moves beyond the literal and transforms subjects into something unexpected, bridging the line between the real and surreal."While Plant's Dreamscapes are an obviously impressive collection of photos, I personally have always loved a section on his website called "The Human Element". From Kenya to Iceland, Plant incorporates human subjects into the extraordinary scenes that he finds.I sat down with Plant to get the story on the project that doesn't get as much attention as Dreamscapes, but is equally just as impressive.
You are beyond well-known in the world of photographers, with most of your known work centered around your landscapes and Dreamscapes. But you appear to be drawn to having figures in your travel photos, adding a human element. When did the addition of people start to appeal to your photographing mind?
There was a time in my life when I vowed to never take a photo featuring people. That all changed several years ago during a trip to Morocco, where I fell in love with street photography. I learned then that my quest for making compelling images transcends genres and the arbitrary lines I tried to draw for myself. Art should know no boundaries! So now I readily embrace making photographs featuring the human presence.
For you, What is the most appealing aspect of adding people to your travel scenes?
People add life and energy to travel photos. A person's pose, posture, facial expressions, and line of sight can add so much to the story you are trying to tell with your photographs. Not every travel photo needs a person in it, but adding people can improve one's travel photos in numerous ways.
Currently interviewing you from Morocco, I find myself obsessing over your images from this country. Possibly the most powerful being the woman begging at the food stalls in Jamaa el Fna in Marrakech. What was it about the scene that drew you in, and how did you try to tell the woman's story through just one photograph?
So much of the scene was visually appealing, especially the woman's bright orange robe. The Jamaa el Fna is a chaotic place of seemingly endless motion, but I was immediately struck by her motionless vigil. I tried very hard to capture the paradox of Morocco in this one photograph: the collision between the slow slumber of ancient civilizations and the vibrant fervor of modernity.
Being a Tamron Image Master, you obviously know your lenses. If you were on documentary style travel assignment to highlight the local culture of a location and could only bring one lens, which would it be and why?
I'd want to bring a lens that is capable of capturing multiple perspectives, ranging from wide-angle scenes to tight telephoto portraits. So an "all-in-one" lens would be best, such as a 16-300mm lens.
What is it that inspires you to continue to work with the addition of the human element in your photographs, even though they may not become your most well known or most shared images?
These days, I just chase good photos. Even if most of my fans want to see landscape work, if a photo has meaning to me, I'm going to take it, no matter the subject!
Can you provide three tips for photographers to help improve the way they incorporate the human element into their travel photography?
One, learn to view everything, even people, as abstract visual elements, the building blocks of a successful composition. Two, always look to tell a story with your photos: wait for the moment when your subject does something revealing, or something that will help forge an emotional connection with your viewers. Three, don't be afraid to look for unusual perspectives and compositions. The best photos show people what they don't or can't see with their own eyes, so always look for ways to surprise your viewers! [post_title] => Ian Plant Explores the Human Element of Travel [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => ian-plant-explores-the-human-element-of-travel [to_ping] => [pinged] => [post_modified] => 2017-01-31 14:25:22 [post_modified_gmt] => 2017-01-31 19:25:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=72189 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 72127 [post_author] => 1 [post_date] => 2016-11-29 15:31:39 [post_date_gmt] => 2016-11-29 20:31:39 [post_content] => Amii and Andy (Sunshine & Reign Photography) are Arizona-based destination wedding photographers, whose images and articles have been featured in a variety of blogs and print magazines. In addition, they're authors at SLR Lounge, love being married to each other, have five kids, and when they aren’t shooting weddings, they spend their time working out in their garage, practicing archery, or planning their next epic road trip (most likely to a beach to teach their kids how to surf). Oh, and of course, they absolutely love being wedding photographers. Their goal is always the same and pretty simple: to bust their asses to document love in the most epic way possible.To learn more about their creative process, they gave us a behind the scenes look into their wedding photography in various locations, from the Grand Canyon to Tuscon, AZ.Florence, Arizona Windmill Winery Bride [caption id="attachment_72132" align="aligncenter" width="1024"] Nikon D750, Nikon AF-S Nikkor 24mm f/1.4G ED, ISO 50, f/2.5, 1/200 sec. © Sunshine & Reign Photography[/caption]For this shot, we used Tether Tools' RapidMount PowrGrip Kit. The BTS shots show the use of two Nikon SB-910s, both gridded with MagMod MagGrids. One was mounted on a mirror, and the other was held by our assistant. Our goal was to capture our bride “spritzing” herself with her favorite lavender calming mist. And you can tell she was loving it![caption id="attachment_72131" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption][caption id="attachment_72129" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption][caption id="attachment_72133" align="aligncenter" width="1024"] Nikon D750, Nikon AF-S Nikkor 24mm f/1.4G ED, ISO 250, f/4.0, 1/125 sec. © Sunshine & Reign Photography[/caption]Sedona, Arizona Wedding Reception We generally shoot receptions with a Nikon SB-910 attached to a Westcott Rapid Box (26” Octa Softbox) and mounted to an Impact QuickStik. And we generally have another Nikon SB-910 mounted on a light stand as well. But, depending upon logistics, a crowded dance floor or the lack of an assistant, for example, sometimes we have to get creative. Thankfully, Tether Tools' RapidMount PowrGrip Kit mounts easily to a DJ’s speakers.[caption id="attachment_72135" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption][caption id="attachment_72134" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption]Sedona, Arizona Engagement[caption id="attachment_72138" align="aligncenter" width="1024"] Nikon D750, Nikon AF-S Nikkor 50mm f/1.4G, ISO 100, f/2.8, 1/200 sec. © Sunshine & Reign Photography[/caption]We were stoked when, on a recent engagement adventure, our bride-to-be took the time to get her hair and makeup done at a local shop, so we arrived early enough to get some shots of her getting ready. Here we used Tether Tools' RapidMount Q20, due to our need to mount one of our Nikon SB-910s to a wall in a very small space (it’s gridded w/ a MagMod MagGrid). The final image is an in-camera double exposure that is also prismed with an A & M Film and Photo prism.[caption id="attachment_72136" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption][caption id="attachment_72137" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption]Tucson, Arizona Bride[caption id="attachment_72144" align="aligncenter" width="1024"] Nikon D750, Nikon AF-S Nikkor 50mm f/1.4G, ISO 125, f/4.5, 1/125 sec. © Sunshine & Reign Photography[/caption][caption id="attachment_72143" align="aligncenter" width="1024"] Nikon D750, Nikon AF-S Nikkor 50mm f/1.4G, ISO 100, f/3.5, 1/200 sec. © Sunshine & Reign Photography[/caption]We love capturing getting ready images of our brides, which often happens in very enclosed, small spaces. In this case? It was the bride’s parents’ home and the bathroom off the kitchen. These shots, in which we used a MagMod MagGrid on our Nikon SB-910, wouldn’t have happened without Tether Tools' RapidMount SLX. The final images use an A & M Film and Photo prism plus an inexpensive set of LED string lights.[caption id="attachment_72142" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption][caption id="attachment_72140" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption]Phoenix, Arizona Bride[caption id="attachment_72152" align="aligncenter" width="1024"] Nikon D750, Nikon AF-S Nikkor 24mm f/1.4G ED, ISO 250, f/4.5, 1/125 sec. © Sunshine & Reign Photography[/caption]When hanging out with our brides while they get ready for their “best day ever,” we like to be ready for anything. In this case we had three of our Nikon SB-910s ready for action. One was held by our assistant, attached to a Westcott Rapid Box (26” Octa Softbox) and mounted to an Impact QuickSti. Another was mounted opposite our bride with Tether Tools' RapidMount Q20 with a MagMod MagGrid. And a third was mounted in the bathroom, on the mirror, with Tether Tools' RapidMount PowrGrip Kit.[caption id="attachment_72150" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption][caption id="attachment_72149" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption][caption id="attachment_72151" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption]Grand Canyon Engagement [caption id="attachment_72153" align="aligncenter" width="1024"] Nikon D750, Nikon AF-S Nikkor 24mm f/1.4G ED, ISO 200, f/8.0, 1/125 sec. © Sunshine & Reign Photography[/caption][caption id="attachment_72154" align="aligncenter" width="1024"] Nikon D750, Nikon AF-S Nikkor 24mm f/1.4G ED, ISO 200, f/2.5, 1/120 sec. © Sunshine & Reign Photography[/caption]After getting some epic “Grand Canyon cliff shots” with our engaged couple, we wanted to get in closer, and since they wanted plenty of shots with the American flag as the soon-to-be-groom is active military, we stood them just off the path (somewhere on the South Rim). We needed a kicker light so we mounted a Nikon SB-910 in a nearby tree. Thankfully, we had Tether Tools' Rock Solid EasyGrip XL in our camera bag. The final two images show a bit of progression...because, again, we wanted to get in closer.[caption id="attachment_72155" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption][caption id="attachment_72156" align="aligncenter" width="1024"] © Sunshine & Reign Photography[/caption]See more of Amii and Andy's rad work on their website and IG @sunshineandreign. Click here for more on Tether Tools' mounting solutions! [post_title] => How to Creatively Light and Shoot Destination Wedding Photography [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-to-creatively-light-and-shoot-destination-wedding-photography [to_ping] => [pinged] => [post_modified] => 2016-11-29 15:31:33 [post_modified_gmt] => 2016-11-29 20:31:33 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=72127 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 71710 [post_author] => 1 [post_date] => 2016-11-22 10:00:54 [post_date_gmt] => 2016-11-22 15:00:54 [post_content] => By Bryan MinearAs I sat on a plane bound for San Francisco, staring down some 40,000 feet to the clouds passing underneath me, excitement and anticipation filled my soul. It was the beginning of a journey—an epic adventure creating unique images and memories. I hoped that this pilgrimage with fellow photographers would live up to my expectations, and further inspire me to follow my dreams.[caption id="attachment_71713" align="aligncenter" width="2500"] Photo by Bryan Minear[/caption]After being awake for 30 hours, we arrived at dusk. On the way into Yosemite, we stopped off at tunnel view. It was my first glimpse of California that wasn’t being hidden away by the night. The rock faces lit up underneath a sea of endless stars. In that moment, it all felt like a dream. I was now experiencing this miraculous destination that I had experienced so many times before through someone else's eyes. We spent an hour shooting before heading to drop off our bags and get settled in our condo. At 4:30 AM, we were off to glacier point to prepare for our first sunrise.I stared into the face of half dome, brilliant and gleaming in front of me. In some ways, I was taking a photo that millions of people had taken before me—but at the same time, I took pause to remember that the beauty of photography is that each moment captured is infinite and unique in its own way.[caption id="attachment_71712" align="aligncenter" width="2500"] Photo by Bryan Minear[/caption]The sun began to glow, and I was able to catch the last few stars in the sky over half dome. My FUJIFILM X-Pro2 clicked away on a timelapse and my FUJIFILM X-T2 shifted in my hand as I tried to find my perfect composition. I was awaiting the shot that I was planning on taking since the trip’s inception.“First light over half dome” is something that I had wanted to see for myself since I knew Yosemite existed. My lens of choice for the perfect capture was the FUJIFILM XF10-24mmF4 R OIS. It gave me the versatility I needed to grab a few shots at various focal lengths in order to choose my shot in post.[caption id="attachment_71715" align="aligncenter" width="2500"] Photo by Bryan Minear[/caption]After a short and much needed nap, we ventured down into the valley to see the golden light as it passed over us. Fall color was in full swing and there was a slight chill to the air, only further enhancing the experience. We found a spot along the Merced River with a beautiful view of half dome reflected in the water. Along a nearby boardwalk, we took in Yosemite Falls as it towered above us. The falls were not supposed to be running at this time of year, but luckily, a storm passed through the night before we arrived, giving the falls a second wind.I framed up a shot with a 10-stop ND and 3-stop ND Grad to get some cloud and water movement. Shooting long exposures during the day is one of my favorite things to do because it gives me some time to enjoy the scene around me. Oftentimes I get so caught up in getting the shot that I don't "see" things for myself. The photos are the best way to relive the moment, sure. But it’s equally as important to live in the moment and enjoy your surroundings.[caption id="attachment_71714" align="aligncenter" width="2500"] Photo by Bryan Minear[/caption]As the light started to drop in the sky, I shifted into creative mode trying to make the absolute most of the light that I have left. I set up another timelapse in front of the half dome with my FUJIFILM X-Pro2, and with my FUJIFILM X-T2 and FUJIFILM XF16mmF1.4 R WR attached, I began walking around finding different compositions to maximize my last few moments.[caption id="attachment_71711" align="aligncenter" width="6000"] Photo by Bryan Minear[/caption]Over the course of the next few days I experienced close to all that Yosemite and the surrounding area had to offer: Taft Point, the 7,503 ft lookout, Tioga Pass, and the desert-laden Eastern Sierras that lie just outside of Yosemite proper. The trip was full of friendship, laughter, and best of all, amazing scenes to photograph.Learn more about the FUJIFILM X-T2 and FUJIFILM X-Pro2 cameras. [post_title] => 24 Hours in Yosemite Will Inspire You to Follow Your Dreams [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 24-hours-in-yosemite-will-inspire-you-to-follow-your-dreams [to_ping] => [pinged] => [post_modified] => 2016-11-21 15:46:26 [post_modified_gmt] => 2016-11-21 20:46:26 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=71710 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 71924 [post_author] => 25217 [post_date] => 2016-11-15 09:01:32 [post_date_gmt] => 2016-11-15 14:01:32 [post_content] => Many of us know Hive Lighting for its original, energy-efficient plasma lighting technology; but now, they’ve launched a Kickstarter for its first-ever LED system, and it could very well redefine image-makers’ approach to lighting for photography, video, and events.The WASP 100-C is a continuous LED light with full saturation controls, allowing for infinite color combinations, which can be programmed through professional DMX boards, a manual interface on the light itself, or through Hive’s smartphone app. With a CRI—or color rendering index—of 98, it’s capable of mimicking any color gel or natural daylight. In addition, it’s compatible with Profoto’s wide range of modifiers and accessories, which can be adapted to pair with Bowens, Elinchrom, and Chimera products.“Hive is still very actively developing and expanding our plasma technology, but we are always looking at unique technologies we can develop,” said Hive Chief Product Officer and Founder Jon Miller. “We became excited about the possibilities of using a 5 color round LED array to create higher quality white light and greater full color control than was currently available in existing LEDs. When we realized we could achieve this incredible color and control we wanted to make sure it would be affordable and easy to use, after that it seemed like an obvious choice to introduce it to our customers.”Needless to say, there are a few things that make the WASP 100-C special, whether you’re an amateur, professional or just like to experiment with new and interesting gear.
“I think the most interesting use we have seen is the combinations achievable when using all three of the color controls, hue, saturation and color temperature in conjunction,” said Miller. “The ability to start with a base white light color temperature anywhere from 1650K - 8000K and then combine that with 360 degree hue range and different levels of saturation allows for an unbelievable amount of creativity when lighting. The other use has been the ability to combine it with photo accessories. A good example of this is putting the light into a beauty dish, one of my favorite light modifiers, but difficult to gel effectively, having almost infinite color options in a dish source is really a cool tool. “ Aside from the expansive control it delivers, its affordable price point makes it an ideal setup for amateurs or those on a budget, as it’s planned to retail for $1,100, or $799 if you pledge on Kickstarter. “Similar controls in an LED with lower color quality start at over $2500,” said Miller. “For less than $1,000, being able to match any kind of light in any location with a single source and not needing to bring along gels is a lifesaver, especially when you are working with a limited budget. This light is very forgiving, a huge amount of power in small package that really allows you to experiment. The app is also extremely helpful for an amateur, compared to historically remote control for lighting required expensive DMX lighting boards.”The WASP 100-C is available now on Kickstarter, complete with a video walk through and behind-the-scenes testing with its creators. “For photographers, cinematographers and lighting designers this control allows for a huge amount of creative possibilities to create looks, set moods and doing amazing effects for both beauty and product work, Miller added. “It can also be very exciting when you think about large lighting arrays for studio or stage applications when you have these kind of spot lights with robust back end controls available through DMX lighting boards.”See additional specs for the WASP 100-c below:WASP 100-C™ FEATURES:
WASP 100-C™ KIT INCLUDES:
- 100-240 VAC input via power supply
- 12 - 28 VDC input via 4-Pin XLR
- 98 CRI / 97 TLCI
- Omni-Color LED (1650K - 8000K)
- 360 degree Hue controls, 0-100% Saturation
- 0 - 100% Dimming Control
- Manual, DMX, Smartphone Control
- 5 Lbs
- 6" Length x 4" Diameter body
- 5" Reflector face
Visit the Kickstarter page to help bring the WASP 100-C to life. [post_title] => This New LED Light Takes Production Lighting to the Next Level [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => this-new-led-light-takes-production-lighting-to-the-next-level [to_ping] => [pinged] => [post_modified] => 2016-11-15 09:06:30 [post_modified_gmt] => 2016-11-15 14:06:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=71924 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 71385 [post_author] => 30241 [post_date] => 2016-10-20 09:00:57 [post_date_gmt] => 2016-10-20 13:00:57 [post_content] => Success in photography is not easy. It requires not only talent and skill with creating a photo, but also proper timing, the right attitude, and the right environment for whatever kind of images you are currently making. For Joseph Cartright, his start came out of necessity, but he created success for himself using skills not at all related to his artistic acumen.
- Wasp 100-C™ Head Unit with 22° Reflector
- Wasp 100-C™ Power Supply 100-240 VAC
- HDP Lenses: Spot, Medium, Wide, and Super Wide
- 5 inch 4-Leaf Barn Doors
Want to learn from the best to help you become a better photographer? Phase One is hosting the Stand Out Photo Forum in several cities this year, and Joseph Cartright is teaching a seminar in Toronto. There are a several cities on the list, so for more information, head over to the Stand Out website.
To stay in the loop on Stand Out, make sure you follow them on Instagram @standoutphotoforum (#standoutphotoforum) and Twitter @standoutphotof(#standoutphotoforum #standoutUS). As a Photographer, Joseph has created imagery for many top-tier and up and coming designers, companies and classic brands – Escada, Halston, Victoria’s Secret, L’Oreal, Ralph Lauren, Victoria’s Secret Beauty, and has won many awards – PDN, Art Director’s Club and NAHA, America Beauty. As an educator, Joseph is an Adjunct Professor at Parsons MFA Design program. Joseph has created and taught artist based educational programs and lectured for Apple Computers, Microsoft, Phase One, HP, Xrite and Adobe. As a Creative and Technical consultant, Joseph has consulted for Spiegel’s, Apple Computers, HP, Fashion Institute of Technology. "More than anything, what inspires me is a challenge," Joseph told us. "Easy is, well … easy. I’m not afraid of failing. As matter of fact, I expect to fail – it’s not just part of the process – it is the process. Success is not a rocket shot to the top. It is a slow arduous climb and your feet are constantly slipping."Joseph doesn't just limit himself to paid work, but actively seeks projects that keep his artistic juices moving. "I have several personal projects on the go all the time. I call them my leverage projects. I like to leverage my time, travels and resources. For example, I get to travel with some clients to events/show – fashion/beauty. I have a personal project with a major beauty client that I travel with to shows/events where I’m creating a Fine Art Gallery series of the magic that happens backstage."
I expect to fail – it’s not just part of the process – it is the process. Joeseph didn't choose photography, it more chose him. "I started my photography career out of necessity. I was in the music business producing and managing talent," he told us. "I was no longer fulfilled with the music business so I decided to combine my engineering and artistic background and try something both technically and artistically changeling – photography." Though he found more joy in photography, it wasn't his skill with the camera that he attributes to his success. "Honestly, my business acumen has played a huge roll in my success," Joseph told us. "Regardless of the business you are in, be it art or widgets, it’s still a business. Unless your talent supersedes your ability to run a business you are doomed. Having talent and business smarts is recipe for success.""Beside the creative side of the photography/visual process, clients want professionalism," he continued. "Whether you are working with an ad agency, corporation or a small design firm, everyone has a job they want to keep. We need to be respectful of that. Clients want to know that you can deliver the goods, deliver on time, and go the extra mile when needed – and sometimes even when not needed."
The key is to get paid for your brain and not your finger. Joseph told us that his biggest personal hurdle was that initially his knowledge of photography was limited due to his education on the subject. "I am self-taught. Because of my engineering and computer background the technical aspects of photography has been relatively easy to grasp. Being technically proficient does not make you a good photographer per se," he explained. "Certainly not a well paid one, anyway." Joseph then said the most valuable piece of information that any photography could hear: "The key is to get paid for your brain and not your finger.""In other words, we make far more money being paid as artists then we do as photographers," he explained. "As an artist you sell yourself as a visual artist who uses photography as a medium." This sort of separation immediately differentiates you from all the others out there who own a camera and take pictures. Instead of you being one of them, you instead are classified completely differently."When I first started I knew nothing about the business," Joseph continued. "I did not assist nor did I take any classes. I made an investment in equipment and went for it. I felt confident I could learn the fashion and beauty business, even though it’s the toughest to break into."Just because it was challenging didn't stop Joseph from attempting it. "Call it divine ignorance. Knowing that I had no technical or creative experience I decided to embrace the catalog business. I read books, watched videos, etc… I offered my services for free. Within a year I had a portfolio decent enough to start attracting paying clients. By the second year I was shooting for Victoria’s Secret, Ralph Lauren, etc."Bringing all this together, Joseph explained how he pivoted his business to be more successful. "The biggest challenge was what I recently alluded to previously – I knew I was getting paid for my finger and not my brain. At almost three years into photography I decided to stop shooting catalogs, despite the pretty decent income. I knew that in order to have a career I had to pursue the art side of the business."That process took several years, most of them were down years, not to mention a terrible economy. But the key to this game is perseverance!"Joseph has a lot in store for those who come see his seminar in Toronto. "I’m excited about my discussion at the Stand Out Forum. The discussion is on the Art of Lighting. As visual artists we don’t take pictures, we create them. We use our technical knowledge, interpret our clients’ input, and apply our creative bend to the process in order to create something unique – every time."In reality there is a hidden agenda – the real focus is to inspire fellow photographers to think of themselves as Artists!" [post_title] => Photographer Joseph Cartright's Success Comes From Using His Brain, Not His Shutter Finger [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => photographer-joseph-cartrights-success-comes-from-using-his-brain-not-his-shutter-finger [to_ping] => [pinged] => [post_modified] => 2016-10-19 22:52:08 [post_modified_gmt] => 2016-10-20 02:52:08 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=71385 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 71095 [post_author] => 30241 [post_date] => 2016-09-29 12:55:48 [post_date_gmt] => 2016-09-29 16:55:48 [post_content] =>
In the last couple years, the relationship between Pratik Naik and Bella Kotak has grown well beyond what most of us see in a couple, and expanded into some of the most enchanting fantasy portraiture that has ever been produced. When I saw what they are creating together, it struck me as incredible given the energy and inspiration that making even one of these photos requires. I was curious how they manage to make stunner after stunner, and stay dedicated and inspired with their work. So... I asked.
Before we get to that, both Pratik and Bella are giving a workshop/presentation at an event coming to a city near you! Phase One is hosting the Stand Out Photo Forum in several cities this year, and Bella and Pratik are taking the stage in Dallas, Chicago and Los Angeles! For more information on those, head over to the Stand Out website.
To stay in the loop on Stand Out, make sure you follow them on Instagram @standoutphotoforum (#standoutphotoforum) and Twitter @standoutphotof (#standoutphotoforum #standoutUS).
"If you ask anyone who is obsessed over retouching, you'll get a wide range of answers," Pratik told me. "It's hard to quantify into words because it's a mix of many reasons. For me, it's seeing a photograph in its raw state and wondering what the final product is going to look like with my craftsmanship. In short, the answer is driven by curiosity."
Pratik seems driven by not only what he can do with something, but how much he can bring to the table to fully appreciate what the photographer is doing. "It's met by the end result after (sometimes) hours of work. Can I bring justice to what the photographer spent so much time capturing? Will I also live up to his standard of me he has in his head? That thrill of bringing a flawless image image to reality and making a photographer happy is all the drive I need. I find joy in being a part of someone's vision and living up to the standard of my portfolio and hype that came from hearing about my work."
"The answer is driven by curiosity."
For many artists, it's all about working alone. For this team, the key to their creative power is each other. "If I could edit by his side all day every day I would! It’s funny, I always tell him that I feel that my pictures turn out extra beautiful whenever I work beside him," Bella told us, with Pratik agreeing. "It's true, she always seems happier working next to me," he said. "I feel the same as well, often because I do like knowing I'm there should feedback is needed in the progression of her color work."
"Something about the good energy just channeling into the work," Bella continued. "Art is so subjective that the emotional state really does play a part in how I create so for me working together I feel, elevates my work. Either way, I always make sure that Pratik’s eyes are the first to check out a finished piece."
Pratik said that he does watch what Bella is doing, if first just to see where an image is heading, and also to build a better understanding of his own craft. "I peek out of the corner of my eye now and then to see how it's going. I still learn so much from her direction for every image she does. The before and after shots are startling! For me, retouching next to her keeps me motivated as well. I'm continually inspired by her feedback on my work too."
"I always start off with asking myself, 'what’s distracting?'
On the same note of working together, Bella and Pratik said they are "complimentary" in how they work and interact, and that results in few confrontations when it comes to creating their work, something that I have no doubt is a reason the images come out the way they do. In fact, they are presently working together on a Fine Art Action venture which they launched just a week ago. "It’s all very exciting right now! I think Pratik and I are incredibly fortunate," Bella said. "We’re both complimentary personalities and as a result we don’t really clash often. We just focus on bringing on board our individual skill sets and learning from each other. If there’s a problem we take a walk and talk it out," she said. "I think this project, the first we’ve ever worked on together, really highlighted to me just how easy it can be to work with someone who’s on the same level and is as focused on bringing something beautiful into the world."
"The reason this project was special to me was because I got to see an idea start off from what people wanted from us finally come to life," Pratik added. "We went through a lot of hurdles and figured out solutions to them."
Speaking more directly on the last image they worked on together, Pratik referenced an image that they made on the Phase One IQ 3 100MP system. "The files were massive but It really allowed her to show off her potential even more with the sheer color depth and resolution that camera brought," he said. "I haven't seen that vibrancy and intricacy with colors replicated on her SLR before."
Pratik specifically is considered to be one of the best retouchers in the world, but he never seems content to stay there, and won't even recognize his place when asked about it (the humble guy he is, and he did it again during this interview actually). He's always working at improving, and I was curious to hear how he personally does it when he's already considered to be one of the most excellent out there. "You're right in that I do not broadcast everything I am up to with regard to actual projects. My main channel of improvement comes from the strict eye of clients, who are at the top of their game," he explained. "The art directors, editors, and photographers won't send me a dime unless I can meet their standard. With their feedback, I get to see improvements that I never imagined. It opens up my eyes on how I can always do something better or differently to improve upon the final image. I still look at images retouched from a year ago and realize how much better I could have made it. Never be shy of feedback, it's free education!"
I was curious how Bella maintains the incredible intricacy of her images, where there is unprecedented detail in almost every pixel of every photo. Personally, there are things I see in her images that would never have occurred to me. "I think a lot of the sense of detail comes from deliberate choices," she said. "I always start off with asking myself, 'what’s distracting?' This could mean anything from hair movement across the face, bringing back highlights, shadows, removing elements that stand out too much or draw the eye away from the subject, etc. Controlling the viewer’s eye is something I also keep in mind, such as where do I want the eye to go to first? This consideration helps so much when it comes to color toning too."
"I like to think of my process as fairly organic. I follow the light, create scenes with what I have, and whenever possible, strive to bring a fairytale to life if only for a few minutes."
So how did this come into play with a recent image? "My most recent photo is called ‘Under your spell’. It was created in a public park in Oxford and as with all my pictures, I love picking a rather nondescript location and bringing it to life through a picture," Bella said.[caption id="attachment_71096" align="aligncenter" width="1024"] "Under Your Spell"[/caption]
"In this case, there were some small white flowers blooming on a bush. It was surrounded by other plants and colors but there was something about its delicacy and quiet presence that captured my imagination. This awareness of its existence sparked the light [of inspiration]. Once I placed my model in the scene, connected her to the flowers by placing some in her hair as well as draping her long hair across them, I could see a picture beginning to form. I like to think of my process as fairly organic. I follow the light, create scenes with what I have, and whenever possible, strive to bring a fairytale to life if only for a few minutes."
"The scenes in every picture of mine change in real life with time. What bloomed this year may not bloom the next and this, in turn, motivates me to strive towards capturing slips of beauty in time."
Speaking of organic, and plants and colors, Bella chooses to use them a lot. I was curious as to why, and what keeps her coming back to these elements. "Well that’s because I live in the country!" she told me. "We work with what we have and I have lots of flowers, foliage, greenery, overgrowth around me. I’m incredibly fortunate in the part of the world I live in and I suppose loving nature and natural life could have something to do with it too."
What Bella said next is a real example of how her mind works, and painted a vivid picture in my mind as to how she is able to create the images she does.
"As I’ve gotten older I’ve begun to notice time in a way that I never had before. I’m more conscious of it, how it slips away, how relative it is, and just how fleeting. Nature lives in its own time and it’s a constant, steady and slow. Blossoms bloom in Spring, leaves fall in Autumn and every year the cycle flows, one season into the next. It’s this reflection of nature and womanhood that channels itself into my work.
"The scenes in every picture of mine change in real life with time. What bloomed this year may not bloom the next and this, in turn, motivates me to strive towards capturing slips of beauty in time."
All images used with permission. [post_title] => How Pratik Naik and Bella Kotak Continue to Stay Inspired, Creating Stunning Work Together [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-pratik-naik-and-bella-kotak-continue-to-stay-inspired-creating-stunning-work-together [to_ping] => [pinged] => [post_modified] => 2016-10-01 20:26:41 [post_modified_gmt] => 2016-10-02 00:26:41 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=71095 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 71026 [post_author] => 47235 [post_date] => 2016-09-27 10:57:54 [post_date_gmt] => 2016-09-27 14:57:54 [post_content] => Californian photographer, cinematographer and editor Ryan Aylsworth started shooting as a hobby at the end of high school, when he was very much in love with playing music. Over the years, and once he started shooting people and building creative teams, he grew more and more into his own abstract and experimental style. Two years ago, however, Ryan crashed his motorcycle, leaving him hospitalized for weeks and in need of a wheelchair before learning to walk again. Acid Burn, which is showcased in his Dripbook portfolio, was the first photo series he shot once he got back on his feet."I found that I was subconsciously telling the story of my accident in this series," Aylsworth said. "The crutches the stylist brought along with the wardrobe were a serendipitous accent that tied the whole thing together in my mind. The bike in the background is the one I crashed on and continue to ride every day as a new life form that rose from the ashes of that wreck."[caption id="attachment_71031" align="alignnone" width="1300"] © Ryan Aylsworth[/caption]This series of images was shot in one day at Aylsworth's photo studio in Los Angeles' Chinatown. Yet for someone with such a large passion for technology, the gear used in this series is beautifully antiquated—it was captured using strobes from the 1970s, alongside colored gels and varying shutter speeds."There is some post production on this, but I preferred to keep it more about the color and tone than any kind of surgical beauty retouching," he said. "This aesthetic of cyberpunk and modern futurism has been increasingly tempting for me to explore in visual storytelling."[caption id="attachment_71030" align="aligncenter" width="1300"] © Ryan Aylsworth[/caption]When asked if there was a pivotal moment or point in finding his niche and cultivating his style, Aylsworth says, "It was the moment I realized that there is no 'they' watching and judging if you shot or edited an image 'properly,' no committee of 'photography experts' determining whether your work meets the standard. I remember when I started to check out art magazines and publications that weren't just regurgitating sterile beauty, but changing what I considered to be 'good' photography. Telling a story seemed to gain importance. The moment I realized that photography is more about the observer than the subject is when I truly realized that there are no rules to photography. Anything can be profound to anyone for any reason. That took the worrying out of it and made it something much more like playing in the authentic way that children do. Once I allowed myself to experiment and play with my photography it became effortless and my best work started to bloom."[caption id="attachment_71033" align="alignnone" width="1300"] © Ryan Aylsworth[/caption]But while Aylsworth says his craft has evolved in ways that would make his childhood self "manically laugh in disbelief," today he operates at a level he's always strived for, yet he believes he's at only the beginning of his journey.[caption id="attachment_71034" align="alignnone" width="1300"] © Ryan Aylsworth[/caption]
"'Why' is infinitely more important than 'what' or 'how,'" Aylsworth adds. "Never ever try to emulate a style, hoping that you're going to coincide with a trend and have your big break. Your big break happens when you make good work that makes you happy, and you couldn't give a fuck about who it pleases or offends. Trying to blend in is a recipe for failure. Success is measured by how true you are to yourself in the end. Never be jealous of the success of others. Everyone works at their own special speed. Never allow yourself to think that you've reached the height of your learning. Get lost and learn things along the way. Find your 'why,' and everything else will follow." [caption id="attachment_71035" align="alignnone" width="1300"] © Ryan Aylsworth[/caption]For more of Aylsworth's work, check out his Dripbook portfolio.[caption id="attachment_71036" align="alignnone" width="1300"] © Ryan Aylsworth[/caption] [post_title] => Photographer Processes Trauma of Motorcycle Accident in Cyber-Punk Beauty Series [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => photographer-processes-trauma-of-motorcycle-accident-in-cyber-punk-beauty-series [to_ping] => [pinged] => [post_modified] => 2017-01-31 15:11:56 [post_modified_gmt] => 2017-01-31 20:11:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=71026 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 69922 [post_author] => 47235 [post_date] => 2016-08-25 13:29:40 [post_date_gmt] => 2016-08-25 17:29:40 [post_content] => Mark Mawson is a London based photographer with over 25 years experience and a specialty in shooting colorful liquids. One of the greatest highlights of his career happened back in 2011, when he was contacted by a London production company to produce a piece for The Queen's diamond jubilee celebration. A year later, it was projected on the walls of Buckingham Palace. And after years of nagging, he was finally given access to the video, which can be viewed in his Dripbook portfolio.[caption id="attachment_69928" align="alignnone" width="1280"] © Mark Mawson[/caption][caption id="attachment_69929" align="alignnone" width="1280"] © Mark Mawson[/caption]"We had several production meetings where we discussed things like colour palettes, slow motion and shapes that we would produce," says Mawson. "The concept for the work was to create beautiful colours and shapes which swirl and blend with each other in a kind of dance in time to the music, which was Sir Paul McCartney’s Magical Mystery Tour."Mawson adds that this was the largest scale shoot he'd ever worked on—he generally shoots liquids like this using tanks that are significantly smaller than the ones used for this job.[caption id="attachment_69930" align="alignnone" width="1280"] © Mark Mawson[/caption][caption id="attachment_69931" align="alignnone" width="1280"] © Mark Mawson[/caption]"While we shot with one tank, the others were being cleaned and filled with clean water," says Mawson. "When we were finished with one, it would be wheeled out and a fresh tank wheeled into position. It was challenging and kept me on my toes but I was sure we would nail it."Technically speaking, Mawson explains that it was shot in slow motion at a variety of frame rates from 200 to 800 fps. In addition, there was a second camera set up at 60 fps while several 10k lights were placed above and to the sides of the tank.[caption id="attachment_69934" align="alignnone" width="1280"] © Mark Mawson[/caption]
"It was the proudest moment in my professional career seeing it on the Palace walls with thousands of people seeing it including the Royal family," he says. [caption id="attachment_69933" align="alignnone" width="1280"] © Mark Mawson[/caption]For more of Mawson's work, visit his site and check out his Dripbook portfolio. [post_title] => Check Out This Liquid Photographer's Massive Projection on the Walls of Buckingham Palace [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => check-this-liquid-photographers-massive-projection-on-the-walls-of-buckingham-palace [to_ping] => [pinged] => [post_modified] => 2016-08-26 13:23:44 [post_modified_gmt] => 2016-08-26 17:23:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=69922 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 69512 [post_author] => 25217 [post_date] => 2016-08-22 09:00:51 [post_date_gmt] => 2016-08-22 13:00:51 [post_content] => You could say Joel Grimes’ photography career began during his first official art class in middle school. It “was nothing short of heaven,” he states on his website, and since then art has been the premise of his work, no matter if it’s a personal project, portrait session or commercial client. With an obsession for the process of creating, he draws influence from some of the greatest illusionist painters, yet he’s not one who just sees his work as art; he sees “art as life.”For over 26 years, Grimes has worked for the world’s top advertising agencies, and in 2015 was inducted into the prestigious Canon Explorer of Light team. Most recently, though, he partnered with Westcott to design a new travel-friendly beauty dish, known as the Rapid Box, so we asked Grimes to reveal his secrets for using it to capture compelling one-light portraiture on location and in studio. Here’s what he had to say.[caption id="attachment_69520" align="aligncenter" width="1200"] © Joel Grimes[/caption]Simplicity is Key“Starting out with strobes and modifiers can really make your head spin,” says Grimes, and he’s right—there’s square boxes, rectangle boxes, umbrellas, continuous hot lights, the list goes on. Even today, Grimes admits that he struggles to keep up with the terminology, such clamshell or butterfly lighting. But as a seasoned educator, he’s come up with some ways to break it down into a simple and effective practice.First off, Grimes explains that the work of Renaissance painters is what inspired him to initially start with strobe lighting—he sought to emanate the cross-lighting look of Rembrandt paintings, and to build drama using classic side lighting. And it wasn’t until about 10 years ago that he decided to expand his techniques.“If I was to break down lighting as simply as possible, I’d say the most flattering light on a subject comes from top down or cross-light,” says Grimes. “Specifically, light falling from top to bottom with the sky is gorgeous. So what I try to emulate is that top down light, since all that light is coming straight down over the face.”[caption id="attachment_69521" align="aligncenter" width="1200"] © Joel Grimes[/caption]Grimes adds that when starting out with lighting, it’s commonplace to attempt to emanate the natural light around us, yet that’s not always in good practice."Our eyes can see detail in shadow and highlight, but when it comes to film or a camera sensor, there are limitations that happen,” says Grimes. “The odds are that the natural light falling on my face right now isn’t very attractive—it’s not going to put me in my best light. But if I move around the room I could probably find better options. As a photographer, the goal is to find the best light for your subject, which takes time and practice.”So let’s move on to some simple and dirty lighting tips for using a single strobe with a 24-inch beauty dish modifier.[caption id="attachment_69519" align="aligncenter" width="1200"] via Westcott[/caption]Factor the DistanceAccording to Grimes, one of the most important components of lighting is the distance between the light source in relation to the subject. As a general rule, he explains that when working with modifiers, the closer it is to the subject the softer the light, and the further it is the harsher the light. In addition, the bigger the modifier in relation to the subject, the softer the light becomes and vice-versa. With that in mind, it’s an excellent way to begin experimenting, and one of the first things Grimes demonstrates to newcomers in his workshops.“When I teach workshops, I say, ‘watch what happens when I drop this back 10 feet,’ and some people say, ‘I really like that,’ while others will say, ‘it’s too harsh,’” says Grimes. “It’s all about getting to the point where you enjoy that feedback as an artist. A modifier is a tool, and that tool helps you get to where you want to be as an artist or for a client.”[caption id="attachment_69522" align="aligncenter" width="845"] © Joel Grimes[/caption]If you look to magazines such as Vogue or Cosmopolitan, for example, the lighting is fairly sharp and edgy. This is because the light is backed up from the subject, which can be gauged by watching where the shadow falls from over the top of the camera.“I have a sweet spot where I think the light looks best to me. Depending on the scenario, let’s say a beauty headshot, I’ll take the diameter of my light source—in this case 24 inches—and bring it 24 inches from my subject,” says Grimes. “Then I’ll put a fill card underneath my beauty so it bounces the light back in and softens it, filling in the shadow below the nose and chin. And in a closed environment, a 24-inch modifier with a fill card is always gorgeous light.”[caption id="attachment_69518" align="aligncenter" width="800"] via Westcott[/caption]Master Your Location A crucial part of lighting is not only being able to create high quality light, but knowing how to replicate your look or style in any setting or location. This, however, can be challenging, given the ever-changing brightness and position of the sun—or ambient light—as well as the environment you’re shooting in. For example, white sand could reflect light while black asphalt could dampen it.“If we take the 24-inch beauty dish outdoors, I’ve discovered that I can create the same quality of light on my subject as I would in a studio, except I have all of this ambient light coming back into my scene,” says Grimes. “The more ambient light I have coming into my scene, the softer gets, but if I drag the shutter for too long, then my strobe has no input and doesn’t show up. So there’s a fine line in balancing your ambient and strobe light outputs.”[caption id="attachment_69517" align="aligncenter" width="2400"] © Joel Grimes[/caption]To do so, Grimes suggests utilizing the ambient light before bringing in your strobe. “If I swing my subject so that the sun, or a bright source of light like a window, hits the hair or the shoulder creating an edge light, that’s when I’ll implement my beauty dish technique—24 inches from my subject, depending on how soft or harsh you're aiming for,” says Grimes. “On one side you have light falling on the subject, and it’s shadowed a bit so the overhead light has a greater influence. And the sun is then causing a glow or edge to the subjects shoulders, which creates a sense of depth.”He adds: “If the sun is raking across my subject’s face, then yes, the beauty dish can fill it in, but then I’m competing with the sun. But if I position my subject so the sun’s not hitting the face, then the beauty dish above my camera acts as light coming down from the sky and fills it in beautifully and softly, which is how I approach that lighting technique in the field.”[caption id="attachment_69523" align="aligncenter" width="643"] via Westcott[/caption]Visit the Westcott site for more on Rapid Box Beauty Dish designed by Joel Grimes. [post_title] => Joel Grimes Shares His Secrets to Compelling One-Light Portraiture [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => joel-grimes-shares-his-secrets-to-compelling-one-light-portraiture [to_ping] => [pinged] => [post_modified] => 2016-08-19 10:31:12 [post_modified_gmt] => 2016-08-19 14:31:12 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=69512 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 68775 [post_author] => 47235 [post_date] => 2016-07-19 10:00:55 [post_date_gmt] => 2016-07-19 14:00:55 [post_content] => Diwang Valdez started out as a graphic designer, but always loved and appreciated music and photography. When he got a job as a designer for a local music magazine, he had the opportunity to shoot some artists when the regular photographer wasn’t available. "I loved how immediate it was," he says, "and that I could create with so little. I didn’t have any lights so it was just me and the artist and my camera." After the magazine folded, Diwang knew he wanted to pursue photography full time.[caption id="attachment_68781" align="aligncenter" width="1920"] © Diwang Valdez[/caption]Diwang started building is reputation by capturing stirring images of hip hop's most fascinating personalities. His photos appeared in Rolling Stone, The New Yorker, Mass Appeal, Respect Magazine, Slam Magazine, and XXL. He also created images and videos for record labels Interscope, Def Jam, Atlantic Records, and Warner Music Group. Other than that, he also worked for corporate clients such as Nike, Casio, Soundcloud, and Ford. The majority of Diwang's work, showcased in his Dripbook portfolio, remains entrenched in his hip-hop rootsIn 2008 and 2011, Diwang traveled to the Philippines, where his parents were born. By then he had become a professional, and he wanted to capture "a slice of life" of his cultural heritage. "These photos are what initially got me documenting my travel," he adds. Check out the series below.[caption id="attachment_68777" align="alignnone" width="1280"] © Diwang Valdez[/caption][caption id="attachment_68778" align="alignnone" width="1920"] © Diwang Valdez[/caption][caption id="attachment_68779" align="alignnone" width="1920"] © Diwang Valdez[/caption]The majority of these images, as featured in his Dripbook portfolio, were made in Baler (where Diwang's father was born) and Maria Aurora, which are two small towns near the east coast of Luzon in the Philippines.[caption id="attachment_68780" align="alignnone" width="1920"] © Diwang Valdez[/caption]
"I was shooting with a 5D Mark2 at the time and using either a 50mm f/1.2L or a 35mm f/1.2L. All of these photos are shot with available light. But most importantly: I had my cousin who was a translator and guide for the portraits." [caption id="attachment_68784" align="aligncenter" width="1920"] © Diwang Valdez[/caption][caption id="attachment_68782" align="alignnone" width="1280"] © Diwang Valdez[/caption]
"If I had to give advice to emerging or aspiring creative professionals, it would be to shoot for yourself and shoot as much as possible. Shoot what feels good to you and eventually you’ll find out what you really love shooting and it’ll show in your work." See more of Diwang's work below, in his Dripbook portfolio, or on his Tumblr-account.[caption id="attachment_68783" align="alignnone" width="1920"] © Diwang Valdez[/caption][caption id="attachment_68785" align="alignnone" width="1280"] © Diwang Valdez[/caption][caption id="attachment_68786" align="alignnone" width="1920"] © Diwang Valdez[/caption] [post_title] => Hip-Hop Photographer Travels To the Philippines To Capture & Explore His Cultural Heritage [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => hip-hop-photographer-travels-to-the-philippines-to-capture-explore-his-cultural-heritage [to_ping] => [pinged] => [post_modified] => 2017-01-31 12:41:14 [post_modified_gmt] => 2017-01-31 17:41:14 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=68775 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ))