There are times when you wish to manipulate light sources but don’t always have the luxury of having an assistant to position and hold a reflector. The Impact 42″ 5-in-1 Reflector with Lightstand and Holder Kit comes in handy during such situations, as it allows you to tinker with different lighting angles, position the reflector, lock it in place, and carry on with your shoot. It is like having an assistant when one is not available (albeit a rather silent one!). It also comes in handy when it is not convenient to take multiple lights with you on a photo shoot. The reflector kit can act as a “second light” by maximizing the effects of a single light.
Many of our previous Mastering Lightroom series articles focused on specific Lightroom 4 features and tools, as well as ways of using them in your everyday workflow. I’ve explained how to use the Basic Panel and talked about the Tone Curve in great detail. We’ve also learned how to use External Editors, Spot Removal Tool and Virtual Copies. However, simply learning what each feature does is not our goal with these articles. After all, theory makes sense only when put to practice. In the end, we want to teach you how to actually edit your images, start to finish, no matter the subject or scene or desired result. We want you to be able to use what Lightroom has to offer without thinking about it, just as we should use our cameras and lenses. Learning what each tool does individually is essential, but what matters in the end is how we make them work in conjunction with one another. Perhaps then it is time to shift away from features and theory for a while and move towards editing images to achieve desired look in practice? There are many aspects of Lightroom we haven’t covered so far. Many tools, options, modules and tabs yet await our attention. But this time, instead of explaining specific settings, we will do some simple portrait post-processing focusing most of all on color and tones.
As you know from reading this site, Impact makes a number of excellent products that offer quite a bit of bang for your photography buck. The Impact 22″ Beauty Dish Reflector Kit represents a solid value for those that want to engage in portrait photography, but don’t want to pay more for a beauty dish kit than they paid for their portrait lens.
I’ve always admired landscapes and portraits taken by much more talented photographers than myself. Looking at their work – take landscapes photographed by Nasim – I see a world completely different to my own. I see colorful forests and tall mountains inviting me, tempting me. It’s as if they’re saying – come. We look gorgeous from every angle. Come. We are the very bones of Earth. We have valleys and rivers, there are canyons and caves, meadows and snowy peaks to be found. Whatever the time of day, whatever the season or weather, we look gorgeous from every angle. Much unlike the nature around my home, you know. All I’d need to do is choose the one angle I like most. How wonderful would that be.
Winter can be a very beautiful time of the year, especially if you live in a region that gets plenty of snow. We all know how children love the snow – there are endless possibilities for having fun and cold weather is usually not enough to stop them from enjoying it. On one hand, winter poses a beautiful time of the year for photography, particularly landscapes and portraits, and can be equally refreshing for wildlife photographers. On the other hand, it creates certain problems that are hard to figure out for beginner photographers, let alone their cameras. In this article, I will give you tips on how to photograph in winter and end up with well exposed, beautiful color images. I will also provide you with suggestions on when to go out to photograph and how to use snow to your advantage.
These words summarized what was arguably the best commercial of the 47th Super Bowl between the Ravens and 49ers. I was not surprised that this Dodge Ram Truck commercial rose to the top of the pack, since I have been a long-time fan of the man whose touching words graced the 2 minute ad – Paul Harvey. The most intriguing aspect of this ad was that it was as low-tech as it gets. No fancy computer graphics. No matinee idols. No pop culture icons. No questionable language. No massive creative ad budget. It was merely the legendary voice of Paul Harvey, who passed away in 2009 at the age of 90, reciting a 35 year old text… and a series of touching photographs. Let’s take a look at the elements of this great ad and understand why it proved to be so appealing to so many – even lifelong inhabitants of big cities whose only experience with farms has been watching them on TV.
A while ago, I posted an article explaining the Brenizer method panorama. Ryan Brenizer is a NYC based wedding photographer and the “father” of Bokeh Panorama, or Brenizer panorama, technique, which allows one to achieve an otherwise impossibly shallow depth of field at a given angle of view. While I did my best to explain how it all works, it’s often better to see how one does it once than read about it ten times. And who to better do it that Ryan himself?
A while ago, I posted an article asking for your feedback. We were all very thrilled to see so many of you comment (even though I didn’t get to answer all of the comments, we already have a list of things we will be working very hard on during the coming months). One suggestion, made by Marcin (thank you!), was of particular interest to me. “What inspires us?”, he asked. Let me rephrase that – who inspires us?
Ever since I published my Nikon 50mm f/1.8G review, where I showed that the lens outperforms pretty much any other Nikon 50mm lens, including the more expensive Nikon 50mm f/1.4G, I have been getting a lot of questions from our readers. Some wonder if perhaps I made errors in my assessment of the lens – it seems hard to believe that a cheaper lens would outperform its bigger brother. Others wonder if the 50mm f/1.8G truly is that good, why Lola and I continue to use the 50mm f/1.4G lens for our work (it is also listed in the outdated “Our Gear” page).
Let me start by saying that I’m a digital camera junkie. I love technology. I love everything about working with digital images… the number of images that can fit on a tiny memory card, the sharpness and amount of detail that can be captured with good bodies and lenses, the instant gratification that comes from looking at an LCD screen and the amount of flexibility available while editing. Why, then, would I ever want to shoot film instead of digital?