I was looking at the photos from the editor, and it made me think about finding angles
Photo by David Schloss
Scrolling through a gallery of images taken by my editor from a recent trip abroad, I noticed a couple of interesting photos. I don’t mean “cover of a magazine” interesting or maybe even Instagrammable, but for where the focal point was in a very difficult scene.
In this instance, the scene was Kendo practice in a setting...
One of our contributors is based in the Midwest, where he witnessed 100% totality. Here’s how he captured this image of the eclipse.
DPP / Photo By William Sawalich
Whether you were able to photograph it, watch a live stream of it or catch it in person, the Great American Eclipse was a breathtaking event. The coast-to-coast total solar eclipse began in Oregon at 10:15 a.m. PST, traveling across the country to coastal Charleston, S.C. at 2:49 EST.
Contributor Editor William Sawalich, who’s based in St. Louis,...
As photographers and filmmakers, most everything we try to achieve visually with lighting, a camera and storytelling through composition goes back to the Masters
“The Supper at Emmaus” by Caravaggio. The lighting is a wonderful example of chiaroscuro, translated from Italian meaning literally “light-dark,” but for those of us who create images, both filmmakers and photographers, this is a common method we use to create contrast, mood and, most significantly, depth and dimension.
I recently visited a...
A vintage Cooke Optics lens
Cooke Optics has been making lenses for 130 years, and their coatings haven’t changed much since the ’60s—that’s what contributes to the Cooke Look cinematographers want on their digital bodies, like RED and ARRI.
The coatings are like pixie dust and seen here (decades of them built up) on a flange. The flange holds...
Manufacturers are responding to ever more capable cameras with cinema lenses, and Byron tries out two of them
“The Initial Mystery that attends any journey is: how did the traveler reach his starting point in the first place?” — Louise Bogan
For this journey I’m on in London, it’s an initial mystery of shooting with cine lenses, but let’s back up to the starting point. If you’ve never heard of a cine lens, that’s shorthand for cinema, and what’s...
Why the Leica M Monochrom has this photographer reacquainting himself with black-and-white photography
To me, shooting in black-and-white is like listening to opera—I have to be in the right mood and frame of mind. Earlier this year, that mood happened at WPPI, a wedding trade show in Las Vegas. I had arranged a demo Leica from their booth and, well, the lighting at trade shows is always terrible, so I asked for the M Monochrom, then assigned myself...
On assignment with Jim Cornfield, as he uses a subject’s history to tell the story of an honored vet and the airplane that saved his life
Text & Photography By Jim Cornfield
For a recent photo assignment, Jim Cornfield chose to create an environmental portrait of Air Force Capt. Kenneth Curry, telling a story in images by connecting the pilot to his former military experience.
The environmental portrait is one of photography’s simpler ideas: An image of a subject that includes his or her external life—some place or...
Using shapes, lines, colors, tones and lighting to create visually interesting and painterly photos of the city
Scene from a typical spring night in NYC. When considering geometries, note that the architect’s vision of the building is ignored because I’m instead concerned with the visual activity around it.
In this photo taken during the Sony a9 launch of 30 photographers crowded around the long jump at The Armory, notice what David J. Schloss is doing—he’s...
Using speedlights to tell a more compelling visual story
Text & Photography By Tom Bol
Moai Statue At Sunset. Nikon D3, 24-70mm ƒ/2.8 lens, shot at 1/50 sec. at ƒ/8, Nikon SB-800 used off-camera to light the statue.
I have traveled 4,625 miles to get this image. I’m stumbling through the volcanic landscape in the murky predawn darkness trying to find the Moai statues. The salty breeze and crashing surf remind me of early-morning shoots...
Improvements in wireless flash give photographers an astounding amount of creative freedom
The year 2003 rocked my world as a photographer. It wasn’t the year I purchased my first digital camera. This was the year Nikon introduced the SB-800, which was the first flash I could trigger off-camera using my D70’s popup flash. Using Nikon’s i-TTL technology, flash exposure was calculated using TTL (through-the-lens) metering just like a...
How to bring studio-style lighting to the outdoors
Text & Photography By William Sawalich
A strobe-illuminated subject really pops off of an underexposed ambient background. In this case, a cloudy day and tall tree coverage helped bring the ambient down naturally, making it easier to overpower the daylight with a portable strobe.
Just because you’re working outdoors doesn’t mean you can’t take studio-style lighting control with you....