Have you ever wondered what a screw feels like? Photographer Oscar Lhermitte, attached a camera to the end of a drill, which produced some interesting images.
You Spin My Right Round
Photo Challenge: Light
Last week we challenged you to take a new photo in our first Photo Challenge. Each week we are going to try to give our community a theme, and then let you go out and take a new photo, that interprets that theme in a creative way. This week we had a lot of great photos, take a look at this weeks photo challenge, and feel free to give some feedback in the comments.
Make sure you scroll to the bottom to find out what next weeks theme is.
Next weeks theme is: Darkness
Grab your camera and take a NEW photo this week, and send them to Photo@snapsort.com, along with your name, and a short description of the photo. Please submit your photos by next Wednesday.
Guidelines:
- The photo should be taken by you
- Photo must be taken after the challenge theme is posted
- You may interpret the theme in any way you would like
- You agree to allow us to share your image on our Blog and Facebook wall
- You retrain all rights to the photo
- Submit your photos by next Wednesday
- Please only submit one photo per week
- Please include a short description of your photo, along with your name
- Email your photo to Photo@Snapsort.com
- Be creative and have fun
Photo Challenge
We want to get our communities creative juices flowing, so we are going to launch a weekly photo challenge. Each week we will give you a theme, and it is your challenge to interpret that theme and turn it into an original image.
Once you have taken your photo sent it to Photo@Snapsort.com, along with your name, and a short description of your photo. We will take those photos and publish them on our blog and Facebook wall, for all the world to see.
Challenge your friends and family, to join into the fun!
This weeks theme is: Light
Guidelines
- The photo should be taken by you
- Photo must be taken after the challenge theme is posted
- You may interpret the theme in any way you would like
- You agree to allow us to share your image on our Blog and Facebook wall
- You retrain all rights to the photo
- Submit your photos by next Wednesday
- Please only submit one photo per week
- Please include a short description of your photo, along with your name
- Email your photo to Photo@Snapsort.com
- Be creative and have fun
The $100 Portrait Lighting Challenge
In the recent past we covered basic three point lighting for portraits and basic five point lighting. That’s all well and good if you have a space big enough for a studio and can afford the equipment. But what do you do when you’re just starting out and can’t afford all that? Or you have to choose between portrait lighting and your kid’s braces? There are also many situations where you want to shoot fast and scoot along without the overhead of setting up big lights.
Today I thought it would be fun to put together an ultra-el cheapo, one light, hand-held system that will still take a decent portrait and try to keep the price tag below $100. Here’s what I came up with and today’s prices.
Yongnuo YN-467 Flash (I had one of these left over from another article) $76.65
A Neewer 33in Translucent Umbrella $7.07
Flash Shoe Holder Type B with Umbrella Holder $7.95
That all comes to $91.67. I picked the components for value, price and versatility. The umbrella you can use as a shoot-through or shoot turn the flash around and shoot into it. It yields a nice soft light that works surprisingly well for portraits.
No flash sync cable or wireless controllers this time, neither one was in the budget. To make it work off-camera, I’m going to set the flash power manually and use my camera’s built-in flash to trigger the external flash in slave mode. But to keep the built-in flash from taking over, I’m going to shoot in Program mode, manual flash operation, and crank the flash exposure compensation down to -2 ⅔.
Now the built-in flash is way underexposed but still bright enough to fire the slave trigger so most of the usable light is coming from the external flash, but there’s still enough from the built-in flash to fill in some of the shadows without being too harsh.
The flash bracket is the type that can be mounted on a flash stand, which you can pick up for around $20.
Since I already have a flash stand I’m going to use it even though that, technically, puts me over budget. I could just as easily hand-hold it or get someone to hold it for me, so I’m claiming the $100 price point victory anyway!
Okay, fellow cheapskates, show me what you got. Let’s see how many of you can beat my $100 rig on price and quality.
Wedding Photography: Five Tips For Second Shooters
One of the most common ways to build up your portfolio as a wedding photographer is to start out as a second shooter for someone else. While you won’t make a lot of money, you will learn a lot about taking wedding photos.
If you want to work as a second shooter for the primary photographer there are a few things to remember both in terms of preparation and the actual shoot. Since it’s been a while since I shot a wedding, I decided to hook up again with Karl Leopold and tag along as the second shooter at a beach wedding in Cocoa Beach.
I’m going to be honest here and admit I made some mistakes, mostly because I haven’t done it in a while and because I use my DSLR a lot for video. My mistakes will help you avoid doing the same thing.
On this shoot Karl was using a Canon 5D MK II with a Canon 580 EX ii while I was shooting a Canon 7D and an off-brand speedlite. One of the mistakes I made early on was trying to lock my ISO at what Karl was using for consistency. A crop sensor camera with a long lens simply can’t shoot at the same ISO as a full frame sensor, which has much better response in mixed light. That was one of those moments you ask yourself later what you were thinking.
What To Wear
Unless otherwise specified, you’ll almost always be okay wearing black slacks and a black button-down shirt. For an outdoor or beach wedding you can usually get away with khakis and lighter colors.
We were at a beach wedding and while the guests were barefoot, I don’t recommend that when you’re working. One stray metal scrap will put you on the sidelines. Wear shoes, but not dress shoes which don’t do well in sand.
Arrive Early
Arrive early, particularly if you’ve never shot at that venue before. Use the time to get your angles and exposure settings.
If you’re working with a top-notch wedding planner, the venue will be ready well in advance. Introduce yourself to the venue, support staff and other vendors but don’t take them off task. Everyone there has a job to do besides you.
In the off chance the primary photographer is late, be prepared to step in and shoot some of the preliminary shots. Traffic happens, accidents happen, so even as the second shooter you have to be prepared to do the entire job. If something happens to the primary, it’s all you. Hope that never happens, but approach every job like it could.
Focus On Your Assigned Coverage Area
Mine was crowd shots, candids of the wedding party and guests, and to shoot the diagonals on the ceremony because I had a longer lens.
There’s no point in having two good photographers shooting the same shots. I did a couple times on this shoot, only so I could show you the setups and resulting shots. Otherwise, as second shooter, be out looking around for other shots. If the primary is busy with the bride and groom, grab some shots of the family and kids. Take pictures of little details that can get lost in the rush, those shots can add a lot to the memories of the day.
You’re Not The Only Person Working That Day
There are a lot of people working at weddings, including other vendors. At this wedding we had a video guy besides the wedding coordinator. Give others room to work and try not to be banging away with a flash when the video people are trying to get their set shots.
Also be aware that the video shooter will likely have a wide covering shot running somewhere, try to walk behind that camera whenever possible. Give other professionals room to work and they’ll give you room to get your shots. It will all get done.
Remember Who You Represent
Keep in mind as the second shooter you are representing the primary photographer. Your shots are going out under their name and they’re responsible for you. This is not the time for showboating or self-promotion. I always carry one or two business cards of the primary photographer and if one of the guests asks for a card, that’s the one I hand out.
If other vendors ask for your card, that’s a little different. Then it’s okay as they usually already know the primary photographer.
Who Owns The Shots?
When you’re shooting second camera normally the photos belong to the primary and go out under their name. Don’t expect any residuals on the prints or reorders. If you need the photos for your portfolio or other uses, clear that in advance with the primary. After the shoot is not the time to try and negotiate ownership and usage rights!
The idea here is not to undercut the person you’re working for. In most areas the vendors all know one another and treating someone poorly will get around in a hurry. No person is an island in a small business and you may find yourself someday needing the people you treated badly.
On the other hand, shoot well, conduct yourself like a professional and be responsible and you may find a lot of photographers appreciate what a good second shooter can bring to the table. All the while you’ll be learning from the best and building a portfolio you can be proud to show off.
