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Storytelling
Summary:
A picture says more than a thousand words, and that is just what Mike Larson wants to adhere to.
Telling a proper story with a series of photographs requires to determine a theme as well as the right handling with the models on location. To plan and implement a shooting in a more unusual manner will result in images that stand out from the ordinary. Larson prefers a tilt-shift lens for this purpose, which lets him experiment with depth of field to deliberately stress certain areas of a picture.
Analogue Night Photography
Summary:
Leo Seidel is a photographer from Berlin, Germany specializing in night photography, better yet, and twilight photography. Today he sits down to explain what his shooting methods are in the second part of this two part series on how to take good night photographs.
For the second segment, Seidel focuses on analogue night photography using a large format analogue camera and digital camera, to make comparisons between the two. Seidel also gives a recap of all that was learned in the first part of this series, on digital night photography. He discusses the technical aspects, the choice of lighting, and the weather conditions that can make digital night photography ideal.
Since shooting analog and digital are shooting two different types altogether. Seidel clarifies the differences between the two in regards to night photography. He highlights both their strengths and weaknesses and in what situation you are better off choosing which medium. Analogue definitely has its advantages; it is highly stylistic and very exquisite looking. It is definitely a very sophisticated way for photographers to show what they can do. But analogue photography is expensive. Very expensive in comparison to digital files, which are free. But Digital photography does have its strengths and advantages as well and Seidel does an excellent job listing the pros and cons.
Most importantly, Seidel stresses that photographers should have fun with night shooting and experiment as much as possible and always be on the lookout for things to shoot. There are three things technically that Seidel knows close to perfection that help him create such amazing photos, aperture, exposure time, and ISO. But his biggest advantage by far is having the eye for the right shot at the right time.
Digital Night Photography
Summary:
Leo Seidel is a photographer from Berlin, Germany specializing in night photography, better yet, and twilight photography. Today he sits down to explain what his shooting methods are in the first part of this two part series on how to take good night photographs.
For the first segment, Seidel focuses on digital night photography using a Nikon D3X, which he primarily uses for night work. Armed with two wide-angle lenses, Seidel sets out to photograph on allied airfield in Tegel, Berlin.
Seidel likes to capture movement at night over an extended period of time. Cars leaving a trail of light down the street and people only registering as outlines or shadows make for some very non-descript yet ethereal photo scenes. But that’s what makes his photos all the more attractive because we can all identify with the situations one way or another—even if we’ve never seen anything like it.
There are three things technically that Seidel knows close to perfection that help him create such amazing photos, aperture, exposure time, and ISO. But his biggest advantage by far is having the eye for the right shot at the right time.
Couples at Ease
Summary:
In this “How To” tutorial, photographer Mike Larson gives us tips on the specifics of shooting couples in an atmosphere to make them feel comfortable to make the best possible outcome to make the models and therefore the shoot look most appealing. Larson explains that it is his job to put the model at ease and make them feel as most comfortable as possible. His approach is to get the models to feel at ease and relaxed as soon as possible. He gives multiple tips on how to go about working with the models as if they were friends and not just subjects. He also suggests being extremely prepared, but laid back so to create an amicable atmosphere.
Larson’s style is very practical, something most photographers can appreciate He gives a very comprehensive list of technical and creative aspects that will help photographers create their own shots while building confidence for the models. Moreover, photographers wishing to learn the rules of shooting couples so that the photos are useable will find this video very informative. The most important thing when shooting couples is the relationship between them and the personal relationship with your subject, especially the body language and interaction between them. Larson works with his models in a way that he puts them at ease so that everything they are doing feels comfortable. Intimate shots of a couple touching or tickling each other, or, even being very far away at times for that matter can be extremely difficult at times, especially if the couple feels that they are doing something unexpected. Keeping models relaxed is the key to perfect, professional results. Larson also points out how to solve simple problems that can arise on a portrait shooting, such as keeping both models animated and engaged so that they feel part of the shoot, all with a casual undertone.
To get updates on Mike Larson's work and tips, visit his twitter page at mikelarsoninc.
Shooting with a Different Perspective
Summary:
In this “How To” tutorial, photographer Mike Larson gives us tips on the specifics of shooting in different perspectives to make the best possible outcome to make the model look most appealing.
This time Larson has chosen a boat as his location while uses a tilt shift lens to isolate specific parts of the model and the surrounding atmosphere. Larson gives a helpful and accurate account of all technical aspects used so photographers can recreate a professional shooting in their own environment. Key once again is Larson's perfect direction of the models to ensure the best possible outcome. What is of particular note is the usage of composition and framing and flexibility when it comes to changing perspectives. Such simple things available on location such as doorframes and nearby objects enhance the shoot immensely. Larson continues to use sun bouncers to give the most dynamic light available producing spectacular professional resultsPaying close attention to light and their results is key to Larson's approach, while shooting on one location getting four or five different looks.
To get updates on Mike Larson's work and tips, visit his twitter page at mikelarsoninc.
High Noon Shooting
Summary:
Taking photos during the hours from about 11:00 am to 2:00 pm is considered to be the time better known to most photographers as “High Noon”, the hours that are considered most difficult to photograph in. Today, Mike Larson is going to show us several useful tips and practice shootings on just how to remedy the situation so photographers can be most effective with their shooting time. Larson takes the “no choice, no options” of high noon shooting and turns it in to a perfect problem solving light.
During the high noon hours the light from the sun is more direct and harsh, giving your subjects unpleasant shadows and leaving images flat or blown out. One option Larson suggests is to use a reflector to fill in the harsh shadows, it reflects sunlight back on to your subject and they are economical and easy to use. One thing a photographer should always be on the lookout for while shooting during midday hours is open shade. This will always prove to be very useful, as we learn from Larson. He further goes on to explain color temperature differences in light and the importance of correcting exposures by using a polarizing filter. Using a polarizing filter not only makes the sky darker, or bluer, but it also takes away light and reflections, allowing more saturated colors and a more overall pleasing image.
Paying attention to where shadows fall will solve most of your initial problems, such as where to place the subject, and which direction the light is coming from. Moving on however, most photographers tend to stick their subjects in open shade, while a contrasting over-exposed background distracts the image as a whole, but as Larson demonstrates, understanding contrast, subject placement and light diffusion and how to use them together will yield excellent results.
Shooting Stars 3
Summary:
In this special series, 15-year veteran photographer from Cologne, Germany, Peter Wafzig takes FotoTV viewers up-close behind the world of concert photography, along the way sharing valuable information, tips and techniques as well as sharing exciting images from his archives.
In this third installment, Wafzig focuses on the planning and execution of concert photography. Today he takes a look at all the many important aspects of the preparation and planning concert photography shoots. He also gives FotoTV viewers’ helpful tips and also what to expect when shooting from a stage trench, to even securing a parking space in close proximity to the concert venue. Because no photographer wants to walk blocks and blocks, weighted down with all his equipment.
Wafzig begins by giving viewers ideas on how to go about getting beginning concert photography, with tips such as starting off small, photographing a school band or a friend’s band. He points out it is important to have pictures to show clients what you can do and where your strengths (and weakness) lie. So building up a portfolio is the first thing to do. After photographers have enough photos, about 8-10 will do, they can begin contacting local magazines and newspapers to peddle their artistry.
Concert photography does not happen as easy as one thinks. You need to have an assignment letter from a newspaper or magazine editor in order to get accreditation from a concert promoter. Without an assignment letter you will not receive accreditation, no ifs ands or buts. Concert promoters generally only issue proper credentials to individuals or media entities that will help make their venue a success, in plain terms, a lot of press coverage.
Other vital areas Wafzig covers during this special series are, compliance and working with security while at concerts, verbal and written agreements and the sale and publication of images to third party magazines, or publications.
70's Style
Summary:
In this film, photographer Martin Krolop covers the topic of shooting in 70's style, a look that has recently made a revival in fashion photography.
Krolop stresses that photographers do not have to use expensive or many pieces of equipment. What he does to recreate a 70's style shooting is done with very little equipment and also by using the lens flare technique, a technique to which some refer to as a mistake a lens will produce while shooting backlighting.
Photos shot in 70's style create a halo glow around the model and if the proper lens is used it will also create some vignetting around the photo edges. Again, some photographers refer to these deficits as mistakes of the lens. But Krolop uses all this to his advantage and creates stunning photographs, almost as if covered with a grey veil of beautiful soft light.
In conclusion, Krolop's reiterates not all disadvantage are actually disadvantages. He urges photographers to put out their photo ideas and take a lens that is suitable for the scene and get out and have fun shooting.
Based out of Bonn, Krolop comprises half of the creative team at Krolop & Gerst photography. Combining traditional photography techniques with the latest technology and software, Krolop and Gerst specialize in editorial, fashion, location and wedding photography, providing excellent visual solution services to many satisfied clients.
Shooting Stars 2
Summary:
In this special series, 15-year veteran photographer from Cologne, Germany, Peter Wafzig takes FotoTV viewers up-close behind the world of concert photography, along the way sharing valuable information, tips and techniques as well as sharing exciting images from his archives.
In this second installment, Wafzig focuses on the composition of the concert photo. Wafzig begins by show examples of different possibilities photographers have when photographing in the limited shooting trench right in front of the stage. He suggests first having a game plan, an actual thought out idea of what exactly it is that needs to be photographed in the short amount of time allotted for concert photographers. He also recommends becoming familiar with the band or artist before going to the concert.
The fundamental difference between concert photography and other photographic applications is that the situation at a concert cannot be controlled. Wafzig points out that while during a photo-studio shoot everything is controllable, the lighting the temperature, even directing the models or setting up articles for table t-top shootings. "During a concert, a photographer has to take what he can get", Wafzig says. "You have to work reasonably well with the action happening on stage, using the lighting provided." He adds. Wafzig stresses the fact of shooting from a multitude of perspectives, providing you have enough room or authorization to get to the hard to reach or off-limit areas. One tip he gives is using the camera, guerrilla style 'hand-held'. He has gotten many good photos this way.
All in all, Wafzig really gives a comprehensive approach to composing photos in such a small confined space, such as a concert. Thinking graphically, diagonally, or vertically are several tips Wafzig says helped him create a connection between the audience and singer from the famous group, "The Beatsteaks", just by thinking out of the box Wafzig gives photographers many interesting tricks and techniques to achieve the best possible concert photograph, guaranteed to satisfy customers in tenfold measure
Available Light
Summary:
In this film, photographer Steven van Veen demonstrates a spectacular shoot focusing on shooting with available light in an enclosed location. Van Veen gives FotoTV viewers an effective tips and techniques on how to effectively photograph a natural light setting by simply using the location and a large picture window.
Van Veen's shooting this time makes the best of a bad weather situation day to create a soft, even lighting, with practically no shadows, and by styling the model to match her surroundings van Veen further enhances the subtle light situation to his advantage to create stunning and beautiful shots. Van Veen stresses, to recreate this shoot all you need is a large window and an overcast sky, and at the time of year in autumn in winter that should not be a problem. So get out and shoot some spectacular shots.
Based out of his studio in Schwanau, Germany, Van Veen has worked for a multitude of clients in television, advertising, periodicals, fashion and media. He also leads his own workshops for fellow photographers as well as being a regular contributor for FotoTV.