فوتوشاپ وب

برچسب: the

  • The Power of Mood


    Photography can be many things. For some, it’s about capturing scenes. For me, it’s about conveying emotions and suggesting narratives that resonate deeply, first with me and then with the viewers who might experience the image. I’m not so much after eyes as I am hearts and minds. Mood does that.

    The mood of a photograph is its emotional tone—a subtle yet powerful element that can transform a simple image into a compelling one that is more than visual but also visceral.

    Mood in photography refers to the overall feeling or atmosphere an image evokes in the viewer, ranging from joy and serenity to tension and melancholy. As broad as the gamut of human emotions is, so too is the possibility of touching them with a photograph. Mood is the intangible quality of a photograph, often created by a combination of many elements, a short list of which would include light and composition, the subject matter itself, and colour. But that is a very abbreviated list of how we can establish an emotional connection—to make photographs that are more expressive on the level that makes us sigh, laugh, cry, or feel wonder when we see them.

    For those who aim to tell stories with their images (and not all of us do), an image that successfully conveys a mood can evoke empathy, curiosity, or nostalgia, drawing the viewer into the story behind the photograph. Making them care. Investing them.

    Mood can also play a significant role in guiding the viewer’s perception and interpretation of an image. It acts as a lens through which a visual story is understood. It changes a photograph of something into a photograph about something more specific. For instance, a photograph of a deserted house might evoke feelings of loneliness or melancholy, suggesting themes of abandonment or loss. But the same scene captured with warm lighting and vibrant colours might create a nostalgic or serene mood, changing the narrative entirely. Through mood, photographers can steer the viewer’s emotional response and shape the story being told. Both hypothetical images I just mentioned are of the same thing, but they are about very different things. That’s the power of mood.

    Beyond storytelling and emotional engagement, understanding and pursuing mood can just make prettier photographs. Stronger images aesthetically. Images that stand out more because they have a distinct visual identity. Whether it’s the ethereal quality of a foggy landscape or the raw energy of a stormy sea, mood adds depth and character to photographs, making them more memorable and impactful.

    Mood is often what first captures the viewer’s attention—the hook that draws viewers in to explore the image further.

    Complicated images with a lot going on can take a while to figure out. The impact is spread out and sometimes doesn’t hit as powerfully. Mood is simple; it’s a feeling that requires no figuring out. Mood is seldom a puzzle.

    In portrait photography, mood can be used to reveal a subject’s unique personality or telegraph how they feel. It can connect us to a subject we might not otherwise care about. The landscape photographer relies on mood to transform ordinary scenes into extraordinary vistas, capturing the essence of a place—the feeling of it. Documentary photographers use mood to make us feel empathy about social issues. Any photographer wanting their audience to feel something would be foolish to assume that subject matter alone will provoke empathy when there are much more powerful tools available, among which might be choice of moment, point of view, or the brightness of an image.

    Mood brings emotional depth; it is the life of an image.

    For me, mood is often the why. It’s what draws me to make the photograph in the first place. And so it is perhaps a source of consternation or confusion when I look at the work of photographers new to this craft, and even back on years of my early work and see no mood. What power they might have had if only these photographers (and I) understood the possibilities. If only I had asked better questions than, “Which lens should I use?” or “What would a proper exposure be for this?”

    When you first start out, it’s probably helpful that your questions relate to focus, exposure, or lens choice. But I’m increasingly convinced those questions should never be separated from this better one: How do you want the image to feel? Because even where focus and exposure (and lens choice) are concerned, your choices about how can never be separated from your choices about why. If I can see it, I can feel it. So if you make an image darker, I will feel that darkness and its accompanying mood. If your focus is so shallow that the out-of-focus highlights become globes of light and colour and the rest of the scene softens, I will feel that too. Or if your focus is so shallow I can’t see enough detail to make sense of the story, I won’t feel the power of that story. Not a single decision we make—either in camera or with development—can’t be used to make an image that is as visceral as it is visual.

    Two questions that will change the way you make photographs: How do you want the image to feel? What would that look like?

    If you’re open to a quick exercise, answer these two questions for me:

    What do you love that conveys mood in an image?

    What makes your heart skip a beat?

    Many of the elements and choices that bring mood to an image are felt somewhat universally, but the ones we most like working with, the ones we most want to see in our images, are a matter of preference. I’d love to hear what those mood hooks are for you. My top three would have to be backlight, point of view, and the mystery that shadows create in an image. What are yours? You can drop those into the comments below.

    For the Love of the Photograph,
    David





    Source link

  • The Best Photography Locations in Senja Island

    The Best Photography Locations in Senja Island


    You may not have heard of Norway’s second largest island, Senja Island. This underrated must-visit travel destination spans 600 square miles of land area. It is situated above the Arctic Circle and is home to ragged mountains and fishing villages.

    With a population of fewer than 8,000 people along the eastern coast, the Senja municipality will most probably be excluded from your list of must-see places in Arctic Norway. There aren’t many tour groups covering this area. You can say that this island with its friendly southern coast is yet to be discovered. 

    If you are planning to explore the area, check out these photography locations in Senja Island you should definitely visit as a photographer.

    [table id=33 /]

    Senja National Scenic Route

    Senja National Scenic Route
    Aleksander Englund

    What better way to appreciate a new place is by seeing and experiencing it through a road trip? Visiting Senja Island and capturing amazing pictures is possible by taking a trip along Senja National Scenic Route or the National Tourist Route.

    There are 18 different routes that are portions of highways and railways. When taking this route you can take amazing pictures of Senja’s outer coastline. You should definitely watch out for the stunning views, picnic-worthy spots, and spectacular beaches that are picturesque.

    Tungeneset Viewpoint

    Kamchatka

    Traveling through the National Scenic Route, you can witness two picture-worthy viewpoints of Senja Island. One of which is the Tungeneset Viewpoint. Tungeneset is considered a photographer’s haven, and it’s considered Senja’s most photographed site.

    Here in the Tungeneset rest area, you can take snaps of the jagged Oksen Peaks or the Okshorn Peaks. You can also take snaps of the cliffs and the small pools on the rocky surfaces.

    You can also enjoy walking along the rocky edges and taking amazing pictures of the mountain that meets the sea. If you are lucky and it is low tide, you can take pictures of rock cauldrons that are filled with seawater.

    If you happen to visit Tungeneset Viewpoint during poor weather, you can still enjoy the famous Oksen Peaks and take amazing pictures. A tourist-friendly wooden walkway makes it easier for tourists to appreciate and marvel at the amazing view of so many mountains and the open sea.

    Bergsbotn Platform

    Inger Eriksen

    The other must-see site along the National Tourist Route is the Bergsbotn Platform. This platform is 44 meters long. Here you can capture the beauty of Bergsfjord town and its surroundings.

    If you like the thrill of heights, the view from the top is truly worth it to capture through your camera. The platform is made of wood but the view remains unbothered because the sides are made of see-through material.

    Ersfjord Beach

    Inger Eriksen

    Senja is home to the open sea and an enjoyable coastal stretch. The Ersfjordstranda Northern Norway hides several sandy beaches for both Norwegian hikers and foreign tourists. If you are looking for a white sand beach, you can get your treat by checking out Ersfjord Beach or Ersfjordstranda Beach.

    You can easily find photographers spending a lot of their time on this Arctic beach because of its clear skies, spectacular view, and chilling water. The Ersfjord Beach is a great spot for sightseeing, walking, relaxing, and having a photography break approximately halfway along your trip.

    Beach at Bøvær

    Claudio Beduschi

    The beach at Bøvær is another one of Senja’s must-see sights. Though, the road leading to Bøvær Beach can be extremely terrifying, narrow, and winding. But, reaching the spot can make the trip worthwhile because of the spectacular scenery.

    Bøvær is one of Senja’s amazing beaches. As a photographer, you can enjoy taking pictures of the beach’s long shoreline, as well as the white and sandy beach.

    After taking gorgeous pictures of Bøvær Beach, you can rest and relax at the Crow Caste. The Crow Castle or Kråkeslottet is a renovated wooden fisherman’s house located beside the lighthouse. You can enjoy and take pictures of the cultural programs while you are at it.

    Husøy at Fishing Sites

    Ernest Kung

    Husøy or “house island”  is Senja’s active fishing community. It is a small island found at the heart of Øyfjord. There is not much to do in this fishing village, but there is so much to see. You should get your camera ready when you plan to visit the picturesque fishing village, Husøy. 

    It doesn’t matter when you plan to visit Husøy because this small fishing village looks fantastic all year round. If you are planning to roam the site, be mindful that most stores close during mid-day which is an influence of the Spanish armada in 1588.

    With its remote location, you may think that this site is a living museum. However, it is home to a number of residents who make this village alive and beautiful.

    Red Cabins in Gryllefjord

    Perszing1982

    If you are looking for dramatic shots, you should visit Gryllefjord village. The fjord and the open ocean can give your pictures a dramatic feel. The red cabins in the fishing village Gryllefjord are found along the Norwegian coastline and are certainly a feast to behold.

    In the summertime, if you are considering a more extensive tour of Northern Norway, you should take a car ferry. A car ferry links Gryllefjord with the Andes at the northernmost tip of the Vesterålen archipelago.

    Sea Eagle Safari

    Jiri Hrebicek

    Aside from taking gorgeous scenic pictures, you may also be interested in taking pictures of wildlife while you are visiting Senja, Norway. You can join fishing trips by riding a small boat towards Hekkingen Island. This is the sure way you can capture amazing pictures of white-tailed sea eagles in action.

    Ånderdalen National Park in Senja’s Southern Coast

    Matze Friedrich

    If you fancy taking pictures of the outdoors with primeval forest and Norwegian coastal landscape, you will enjoy Anderdalen National Park. This wonderful place is 134 square kilometers in area. 

    The national park is accessible to hikers and bikers. Fishing is a fun activity during the summer. During wintertime, you can enjoy dog sledding and ski touring. 

    This small national park is home to different animals like the moose, reindeer, and red fox. You can take pictures of the amazing landscape, luscious forest filled with trees as old as 600 years old, and forest animals.

    Town of Finnsnes

    You can easily reach Senja, Norway by passing through Finnsnes. This town is found on the mainland. Shops, accommodations, and restaurants abound here. If you want to take pictures showing the busy side of Senja, you should stop over at the town of Finnsnes.

    If you are feeling nostalgic and you want to taste a bit of Senja history, you can visit the Lenvik Church which was built in 1130 in Bjorelvnes. Its architectural design and simplicity can make an amazing photographic composition.

    Hamn I Senja

    Lars Almeroth

    Hamn I Senja is a sheltered port in Senja, Norway. This place used to be a trading post and an old nickel mine. It is positioned south of Sugarloaf Mountain and the Atlantic Ocean to the west.

    You can capture amazing pictures of 98 islets of Bergsfjord that are clustered together up north of Hamn I Senja. The view is simply breathtaking and worth capturing through your camera’s lenses.

    Northern Lights and The Midnight Sun in Senja, Norway

    Winter is a great time to visit Senja, Norway. Seeing and taking pictures of the northern lights is a non-negotiable when visiting Northern Norway. The island of Senja experiences polar nights during winter which makes it the best place to chase some northern lights.

    Polar night can be experienced from the end of November until mid-January. Aside from witnessing the northern lights, it is also fun to go husky sledding and take amazing pictures with the white scenery and adorable huskies.

    Now, if you want to experience the midnight sun for once in your life, you should consider a visit around the months of May and July. It is when the sun never sets and Senja is also breathtaking during this time. 
    Hiking is a fun activity that you can do while still seeing the sun shine bright at any time of the day. While you are at it, you should bring your camera with you. If you spot an amazing landscape or intriguing wildlife, take that picture!

    Backdrop

    Activities and Photography in Senja, Norway

    There is no doubt that Senja, Norway has several spectacular views and must-experience adventures to keep its tourists entertained and enchanted. Aside from the view, Senja, Norway also offers amazing activities that any tourist would like to participate in.

    Senja challenging hikes are coupled with rewarding views on this small island. There are so many hikable mountains on the island. One of them is the Sukkertoppen Mountain which is a challenging and popular hike route for many.

    Nick Fox

    If you are looking for a gentler hike, then you may want to consider Husfjellet mountain. It is easy to climb and you can enjoy a fantastic view while you are on top. You can bring out your camera and take pictures of the spectacular view.

    Aside from hiking, you may also travel around the island on a bicycle. As a cyclist, you can take advantage of the Norwegian coastline. The route forms part of the European Cycle Route 1. Cycling on the road gives you a more advantageous way of taking excellent pictures. You can easily go to remote areas that offer equally picturesque villages.

    On Visiting Senja Island

    Dodi Sandradi

    Senja is famous among Norwegian tourists because of its gorgeous oceans and beaches, rugged mountain ranges, biking and hiking trails, and must-see fishing villages. This is Arctic Norway which is nestled between Tromsø Islands, Vesterålen Islands, and Lofoten Islands.

    As a photographer, you want to be able to manage your own time and enjoy the island at your own convenience. Thus, going around the island in your own car is best. Rentable cars are a good option. Bring your camera and gear so you won’t regret taking a trip to Senja, Norway.

    Lightroom Bundle Presets



    Source link

  • The Problem with Mood


    I do a little moonlighting for a small computer and imaging company that rhymes with Snapple. They are under the mistaken impression that my nearly 40 years behind the camera means I know what I’m talking about. Still, I like the challenge. One of my first tasks as their Creative Storytelling Specialist (yeah, I don’t know what that means, either) was to help the engineers understand mood as it relates to picture-making.

    So to get a head start, I did some poking around the internet in hopes that people with greater minds than I had already articulated the idea of mood. Mostly what I found was the advice to “put more mood in your photographs,” as if I were being told to add more salt to every recipe. Not helpful.

    The problem with mood is it’s not really one thing. Add mood? What kind of mood? If mood is about emotional connection then surely we can be more specific about which emotions. But before we disregard the advice entirely, it’s worth acknowledging that it comes from a good place, a recognition of the power of mood.

    The desire for more mood in our photographs—not unlike the desire for more salt—is a desire for more flavour. Only in this case, the flavour is emotion. It’s a desire to move beyond the pursuit of perfection in our images toward something a little more poetic. Poetry is about feelings; unless you’re working as a forensic photographer, feelings are probably something you hope to stir with your photographs. And that requires interpretation. It requires making choices that sway an emotion one way or the other. It requires taking some risks because almost every choice that leads to more emotion in our images is a choice that deviates from the playbook we were all given with our first cameras. It’s a move away from average and towards more flavour. Pass the salt, please.

    So back to my early efforts to articulate mood as a powerful tool (more like a toolbox, really) in photographic expression. Once I got over the confusion about why so little insightful information was out there, here are the first three realizations I had.

    You Can Learn Mood

    Mood isn’t the result of secret techniques, or even advanced techniques. It’s more a result of refined sensibilities. Maybe it’s also a matter of priority. It’s in looking for it, chasing it. It’s in recognizing it when you see it and knowing which choices can amplify those emotions through the image. And those are all present as visual cues that we can see and learn from. You can learn this.

    Set the camera aside for a moment and think about a photograph that you love—one that stirs something in you. Maybe one of the iconic images that made so many of us feel the power of the photograph and want to pick up the camera ourselves so we could find that power and beauty. What makes you feel the way you do about that photograph? Is it only the subject matter?

    I love bears, but not every picture of a bear makes me feel anything. Some make me feel bored. They lack mood. But the ones I love? It’s more than a bear. Bear in great light, perhaps. What kind of light is it, and what did the photographer do with it? Maybe it’s a bear in a great moment. Maybe it’s the camera placement or a story implied by other elements in the frame. Maybe—probably—it’s all that. Whatever it is, you feel it because of something you see. And if it’s something you can see, it’s something you can learn.

    In short, don’t spend more time studying your technical tools than you spend figuring out your mood tools.

    Light Is Everything

    The first thing we look to when we chase mood is light. And so it should be. Light is so often the first thing that hooks us. We feel something about light that resonates with us. We feel differently about backlight than about front-lit scenes. We feel differently about softer light than light that’s more direct and makes harsh shadows. We respond to the shadows and reflections created by light. Where light is concerned, what we seem not to respond to is, well, boring light. Average light. That’s not to say you can’t make expressive photographs in boring light, but it won’t be light to which we respond but something else. A different hook. So if light is so powerful, why do photographers insist on painting with anything but light that has the power of an emotional hook? If you want mood, look to the light. 

    It’s Not All About Light

    At the same time, it’s not all about light. There’s a reason photographers use different focal lengths, and it’s not just to “get more reach” or get more in the frame. It’s because different lenses feel differently. They interpret a scene differently. So do the places in which we put the camera. And the weather. And our choice of moment. Of course light isn’t truly everything. All our choices, all the elements, are everything.

    And that’s the problem with “put more mood into your photographs.” It’s every decision we make—or it can be. But here’s the other problem with mood: there are no rules. There are hooks, elements and choices that we do or don’t respond to, but there’s no playbook. Not really. And so it comes down to having a sensitivity to those hooks, taking risks, and knowing what stirs the OMGILT (Oh my God, I love that!). Many things stir emotion in our images—and nearly infinite combinations of them—but you won’t love to use them all. You won’t love the same colours I do. You won’t be as excited by the same focal lengths or perspectives nor drawn to the same subjects or stories.

    Your Turn. There’s a Prize.

    Are you up for an exercise? How about if I put a prize on the line? In the comments on my blog, tell me about that photograph I asked you to imagine a few paragraphs ago. Describe it. Tell me why you feel the way you do about it. It’s probably not just one thing, but many. What gives that photograph its mood, or what makes you feel the way you do about it? Don’t hold back. I’ll draw one person’s name from the comments below for a free enrollment in my next course, which may or may not be available very soon and is all about mood and making photographs that elicit a more powerful emotional response. Who’s in?

    Update: The lucky winner is Jon Lloyd. Jon, I’ll send you an email about your free enrollment in my Shoot What it Feels Like course. Thanks for playing!

    For the Love of the Photograph,
    David





    Source link

  • How to Position Your Subject for the Best Shot – Path

    How to Position Your Subject for the Best Shot – Path


    Getting the hang of using a camera and photo editing is one thing, but directing subjects? Now, that’s hard! Even pro photographers can struggle with an awkward or camera-shy person in front of their lens. 

    How can you guide your subjects so your portrait shoots are consistent in quality, there are fewer retakes, and the result looks great? It’s a mix of technical shooting and composition skills, with plenty of soft skills, like getting your subjects to relax and smile.

    Want your next portrait shoot to be a success? Check out some practical tips for how to pose any subject—from corporate execs to creative professionals and family groups.  

    Prepare for a successful portrait shoot

    The secret to great portrait poses actually starts before your subject arrives. Here’s what experienced photographers do to prepare:

    Set clear expectations

    Help your clients arrive confident and prepared by sending them key information ahead of time:

    • Share simple wardrobe guidelines: solid colors work best, avoid busy patterns
    • Explain the location and background setup: indoor/outdoor, how many outfits to bring
    • Give grooming tips: classic styling usually photographs best—and a fresh shave won’t hurt!
    • Outline the session timeline: how long it will take, how many looks you’ll capture
    • Send examples of poses you’ll try: helps them visualize the result

    To speed this up, you can create a standard pre-shoot guide you can quickly customize for each client. Use apps like Canva or Adobe Express and export the guide as a PDF or create a shareable link.

    Build trust and rapport

    Most people aren’t naturally comfortable in front of a camera. Posing for headshots can be stressful even for the most successful business people, so your first job is to make them feel at ease. Try these quick tips:

    • Start with a quick chat about what to expect and what you’ll shoot first
    • Demonstrate poses yourself—it’s easier than explaining and helps break the ice
    • Pay attention to what works for each person—a pose that looks great on one subject might feel awkward for another, so stay flexible
    • The same goes for instructions in general—some people need more guidance than others 
    • Keep the conversation natural while you work, but keep your directions simple
    • Give positive feedback when you capture great shots, and if something’s not working, smoothly guide them into a different pose instead of pointing out problems

    Main posing frameworks for any portrait shoot

    Let’s break down some of the best poses for professional headshots and relaxed portraits that consistently deliver great results and let your subjects shine. 

    Standing poses 

    Standing poses are a great choice for both corporate headshots and casual portraits. They offer plenty of ways to help subjects feel comfortable—from leaning against the wall to interacting with the surroundings. Standing shots also work anywhere—in a studio, office, or outdoors—and you can repurpose them to crop in for tighter headshots or waist-up portraits. 

    Here’s how to pose for standing shots: 

    • Turn feet about 45 degrees from the camera—this creates a naturally slimming angle
    • Have subjects shift weight to one leg—usually the front one—to avoid looking stiff
    • Ask them to lean forward slightly from the hips, with just an inch or two being enough
    • Change arm positions between shots—relaxed at sides, hands in pockets, or arms crossed
    • Remember “if it bends, bend it slightly” for natural-looking poses
    • Keep shoulders relaxed and dropped because tension shows in photos
    • Ask the subject to change the direction of their gaze slowly from one side to the other to get a wide range of angles

    two photos of women, side by side, with gray hair

    For corporate shots:

    • Keep poses clean and professional
    • Arms relaxed at sides or one hand in pocket
    • Subtle lean forward to engage with the camera
    • Maintain a straight posture while avoiding stiffness
    • For tight headshots, still keep the body slightly angled, like on Treeconomy’s team page 

    treeconomy about us page with team individual headshots

    For personal branding:

    • Allow more dynamic movement
    • Try casual leans against walls or furniture
    • Experiment with crossed arms or hands on hips
    • Include interaction with the environment (desk, tools of trade, products), like Liz, owner of Wild Pines, an arts and crafts store

    Wild Pines about page with a photo and text about the founder

    • Allow space for naturally big smiles and laughter, too—it’ll create warm and welcoming portraits, like on Sojo’s company page

    Sojo about us page with the founder photo at a design table and some text about the brand

    Flattering seated poses

    Seated portraits can create a variety of engaging shots. Just because your subject is sitting doesn’t mean options are limited—it’s all about working with posture and leg positioning to create natural, dynamic results.

    Key principles for seated portraits include:

    • Guide subjects to sit at the edge of their chair or sofa instead of slumping back
    • Avoid letting subjects sink into soft furniture (like in the example below of Noura Sakkijha, CEO of Mejuri)
    • Keep the core engaged for good posture 
    • Point toes in the same direction to elongate legs

    Mejuri meet the founder page with text and portriat

    Professional settings:

    • Position at a desk with a slight forward lean
    • Hands clasped or resting naturally—play around with a variety of hand positions to find a flattering pose for your subject
    • Encourage subjects to engage with what’s on their desk, such as their laptop or notebook
    • Cross ankles rather than legs for a polished look
    • Keep shoulders level and relaxed
    • Walk around the subject to capture different angles—from camera-facing to slightly angled to full-on side profile

    man sitting at a desk looking away from the camera with an open laptop in front of him

    Casual settings:

    • Allow more relaxed postures while maintaining good form
    • Create asymmetry by shifting weight to one hip
    • Use arms for support when sitting on floors
    • Avoid both legs pointing directly at the camera—instead, either extend one leg towards the camera or angle them both slightly away from the camera

    portrait on off-white background of a woman sitting down casually, she has a prosthetic leg

    Creating dynamic duo shots:

    • Use seating to create interesting height variations
    • Try one person seated while the other stands
    • For co-founder shots, have one person sit in a chair while the other perches or leans on the armrest, like in the example below of ettitude’s co-founders
    • Vary the height of chairs or use different seating positions to add visual interest
    • Keep subjects at different heights but maintain connection through body language or eye contact

    Ettitude from the founders page on their webiste

    Relaxed group portraits

    Whether you’re photographing a corporate team or a family, group photos present unique challenges. 

    Basic principles for group shots:

    • Create depth by avoiding straight lines of people—unless you’re shooting a sports team photo that traditionally requires one or two straight lines of players
    • Stagger heights naturally using stairs, chairs, or standing/sitting combinations
    • Keep heads at different levels but close enough to feel connected
    • Position taller people towards the back or center
    • Arrange people in a slight arc to ensure everyone’s visible, like in Ora’s team photo below with the two people on both sides slightly turned inward
    • For large team shots, shooting from an elevated position, such as another floor, can help include everyone, but you could also use a drone
    • Shoot more photos than you think you’ll need—there’ll always be someone blinking so it’s best to have more images to pick from

    Ora about page showing the founders and their story

    For professional teams:

    • Keep poses consistent but not identical
    • Use the rule of thirds to arrange larger groups
    • Break bigger teams into smaller clusters
    • Maintain equal spacing between subjects
    • Ensure everyone’s shoulders are angled slightly rather than square to the camera—or, if facing the camera directly, ask the subject to shift weight from one leg to the other 

    two group shots, side by side, the group shot on the left has three older women standing and the group shot on the right has five diverse adults standing

    For family portrait poses:

    • Create natural connections through gentle touching (hand on shoulder, arms linked)
    • Position children in front or held by parents
    • Use props or furniture to create natural groupings
    • Let small kids move around and play between shots to stay engaged
    • Capture both formal and candid interactions—experiment with both seated and standing poses
    • Switch between some or all subjects looking at the camera to fully candid shots

    family portrait of two adults and two children in a casual home setting

    Common posing challenges and tips to solve them

    Even experienced photographers run into tricky posing situations. Maybe you’ve got a group with significant height differences, someone nervous about being photographed, or the shoot ran late so now you’re rushing to cover all your bases. So, what are some common challenges you might run into?

    Height differences

    If you have subjects with drastically different heights, it can make for an awkward portrait. Position taller people slightly behind or sitting. Seated poses work the best to tackle this, but that doesn’t mean you should avoid standing poses altogether. You can use elements like stairs or slopes to minimize extreme height gaps. 

    portrait photo of a group of students and their teacher in front of a blackboard

    You can also create diagonal arrangements instead of straight lines. Avoid placing the tallest and shortest people next to each other—unless they’re standing behind each other.

    Confidence issues

    If your subjects are camera-shy, start with simple poses to build trust. Give specific compliments about what’s working well, and show them the preview shots when you capture something great. 

    It’s a good idea to have a few go-to safety poses that work for most people. Some might also feel more relaxed if there’s music playing in the background, especially if you’re shooting in a studio.

    Your own confidence and body language as the photographer make a difference too—stay positive or even a little goofy if appropriate. Make sure to edit your portraits and headshots to show your subjects in the most flattering way while keeping their appearance natural

    Photographing glasses and reflections

    If shooting something reflective in the frame, slightly tilt the head down to avoid glare. You can also ask subjects to push their glasses slightly up their nose. Position lights at angles that don’t create reflections. If the reflection doesn’t cover the subject’s eye in full, you can always fix it with retouching.

    Rushing through poses

    Prepare a shot list ready but be flexible—you can have the shot list on your phone or even photograph it so you can flick through your camera during the shoot without stopping the session.

    Start with your most reliable poses first. Give clear, concise directions, and keep subjects engaged by showing progress.

    Are you ready to direct your next portrait shoot?

    Working with people can be unpredictable because everyone’s unique—but that’s exactly what makes portrait photography so rewarding. The trick is to adapt your approach for each subject while keeping your photo quality consistent. With these posing guidelines, you’ll be better equipped to direct any portrait session confidently, from corporate headshots to family gatherings.

    And if you need help getting those portraits polished and ready to share, our team of expert editors at Path can handle the retouching while you focus on capturing more great shots.

    Polish up your portraits with pro retouching from 79¢ per image

    Portrait poses FAQs

    How do you pose for a professional headshot?

    Start by turning your body 45 degrees from the camera, then face back toward it. If you’re standing, shift your weight to your front leg, keep your shoulders relaxed, and lean forward slightly from the hips. Small adjustments make a big difference—change arm positions between shots and keep movements subtle. Allow yourself to smile and laugh, too!

    How do you look professional in a headshot?

    • Maintain good posture without looking stiff
    • Keep shoulders back but relaxed
    • Sit at the edge of your chair for seated shots
    • Cross ankles instead of legs
    • Let hands rest naturally

    What are the best poses for group photos?

    Avoid straight lines of people. Instead, create depth by staggering heights using stairs or chairs, and arrange people in a slight arc. For professional teams, keep poses consistent but not identical. With families, encourage natural connections through gentle touching like hands on shoulders.

    What are common mistakes to avoid when posing subjects?

    Common portrait mistakes include forcing unnatural smiles, rushing through poses without direction, and not adapting poses to fit different subjects. Stay engaged with your subject throughout by having a conversation and provide positive feedback. If something doesn’t work, simply switch to the next pose.

    How to pose different body types?

    Work with your subject’s natural body language instead of forcing uncomfortable poses. The 45-degree angle works well for most people, as does shifting weight to one leg. For seated poses:

    • Focus on good posture
    • Create asymmetry through slight head tilts
    • Adjust your camera position rather than making subjects twist
    • Make sure subjects feel confident in their pose
    • Don’t let the subject sink back into a soft chair or sofa

    How do you pose someone who is camera shy?

    Start with simple poses and build trust gradually. Show them preview shots when you capture something great, keep the conversation going, and guide them into different poses smoothly. Playing background music can help relax in studio settings.



    Source link

  • The best carbon fiber tripods for 2023, tested and reviewed

    The best carbon fiber tripods for 2023, tested and reviewed


    We may earn revenue from the products available on this page and participate in affiliate programs. Learn more ›

    Carbon fiber tripods offer several very tangible advantages over their metal counterparts. They are stiffer, stronger, and more durable than aluminum. Despite those things, they also weigh significantly less than aluminum, making them a popular choice for travel and landscape photography. Of course, they also will cost you more than an aluminum tripod, but for many, it is worth it. The best carbon fiber tripods will help you get stable shots while making it easier to bring a tripod along.

    How we chose the best carbon fiber tripods

    The writers and editors at Pop Photo have decades of photography experience across the full spectrum of photographic genres and equipment. We’ve used our fair share of tripods in a wide variety of situations, from cheap plastic and heavy aluminum to more advanced carbon fiber models.

    When selecting the carbon fiber tripods on this list, we aimed to choose options suitable for different pursuits, from travel to studio work. And while carbon fiber tripods are pricier than aluminum, we looked for products at various price points to suit different budgets. In addition, durability, sturdiness, and ease of use were all part of our decision-making process. Lastly, though tripods aren’t exactly feature-rich, we looked for options with enough features to make them versatile and usable in different–even challenging–situations.

    The best carbon fiber tripods: Reviews & Recommendations

    There is certainly no shortage of carbon fiber tripods available. Below you’ll find our favorite options for a variety of situations and use cases, so you’re sure to find one that fits your needs.

    Best overall: Peak Design Travel Tripod

    Why it made the cut: Peak Design’s Travel Tripod weighs only 2.8 pounds and folds down to the width of a water bottle while still being able to support up to 20 pounds.

    Specs

    • Maximum height: 60 inches
    • Minimum height: 5.5 inches
    • Weight: 2.8 pounds
    • Weight capacity: 20 pounds
    • Folded length: 15.5 inches

    Pros

    • Includes a ball head
    • Compact and lightweight
    • Good height range
    • Excellent strength-to-weight ratio

    Cons

    • Expensive
    • Only two leg angles

    Originally released through a Kickstarter campaign in 2019, the Peak Design Travel Tripod made waves thanks to the unique leg design. When folded down, it is just 15.5 inches tall and about the diameter of a water bottle. That makes it very easy to throw in a backpack‘s side pocket instead of fumbling with attachment points and straps.

    The five-section legs can all be deployed at once with the aluminum lever locks to save time–and to look really dramatic. It can support up to 20 pounds and is very sturdy, considering its small size. The included ball head is minimal and aids in the tripod’s compact design. Instead of levers and knobs like normal tripod heads, there are simple locking and adjustment rings.

    The Peak Design carbon fiber tripod can extend to 60 inches with the center column or 51.25 inches without that extended. For low angles, the center column reverses and hangs underneath the legs. There is also a removable hook on the center column, so you can easily hang weight to add stability. And this tripod comes with a slick travel bag, mobile mount, and hex wrenches. The mobile mount is a nice touch and makes this tripod excellent for all sorts of creators.

    Best for hiking: Manfrotto Befree Advanced

    Why it made the cut: Its lightweight form factor but very adjustable height and 20-pound weight capacity make this a great option to take backpacking. 

    Specs

    • Maximum height: 59.1 inches
    • Minimum height: 16 inches
    • Weight: 2.8 pounds
    • Weight capacity: 19.8 pounds
    • Folded length: 16.1 inches

    Pros

    • Includes a ball head
    • Lightweight and compact
    • Three leg positions
    • Well-designed twist lock legs

    Cons

    • Center column doesn’t move as smooth as the legs

    Manfrotto’s Befree line has been a popular choice for travel and adventure photographers for years. The Advanced version brings a higher weight capacity to the line, able to support nearly 20 pounds. It weighs the same amount as the Peak Design tripod mentioned above, though it is slightly larger when folded down. However, it still fits nicely into a side water bottle pocket on a hiking backpack. And the extra space between the legs makes it easier to secure with a strap for peace of mind while hiking.

    The Befree Advanced tripod comes with a ball head, or you can also get it with a fluid head if you need smoother movements for shooting video. The ball head offers 360 degrees of swivel and can tilt 90 degrees for portrait orientation as well. It’s easily controlled via the large knob, even if you have gloves on. The center dial in the control knob allows you to adjust the tension and get more precise positioning. 

    The legs are made up of four sections and are locked into place using twist locks. Unlike other tripods I’ve used, the leg sections don’t automatically extend when untwisting the locks, which is good and bad. It takes a little more time to set up but is less of a pain when putting the tripod away or if you forget to lock one down all the way. The legs lock at three different angles, giving you lots of flexibility. 

    Best rugged: 3Pod Everest T3

    Why it made the cut: As the name suggests, the Everest T3 is built for harsh conditions. It is cold weather resistant, features CNC machined dust-proof construction, offers anti-corrosion faces, and comes with spiked feet for better traction.

    Specs

    • Maximum working height: 64.17 inches
    • Minimum working height: 13.4 inches
    • Weight: 3.2 pounds (without ball head)
    • Weight capacity: 33 pounds
    • Folded length: 19.7 inches

    Pros

    • Sturdy, heavy-duty build
    • Built for harsh environments
    • Comes with spiked feet for added grip
    • Available with or without a ball head

    Cons

    Photography can take us to some wild, rugged places. The 3Pod Everest T3 is up for the challenge, thanks to a seriously rugged build. 3Pod made this tripod with CNC precision for a dust-proof design. It’s also cold weather resistant, meaning the joints will keep moving even in extreme cold. The grippy material on two of the legs makes it easier and more comfortable to hold in the cold, even if you have gloves on.

    The legs of the Everest use a twist lock design for quick assembly and breakdown. It comes with 3Pod’s H4 ball head (or you can opt for a version without a head) and Arca-Type quick-release plate. The ball rotates very smoothly with just enough resistance. Two bubble levels help you ensure your shots are level in-camera. This carbon fiber tripod can extend to 5.3 feet with the center column extended or 4.4 feet without the extra extension when you need extra sturdiness. Should you need a low-angle shot, you can remove the center column to get shots as low as 13.4 inches. You can invert the center column for creative angles as well.

    The main downside to the Everest T3 is that it’s a fairly bulky tripod. It weighs 3.2 pounds and is pretty long, even when folded down. But, the heavy-duty design results in a 33-pound weight capacity. Should you want something more robust, 3Pod also makes a larger version—the Everest T5—which offers a 55-pound load capacity and 6.6-foot maximum height.

    Even more carbon fiber tripods to consider

    If one of the three above doesn’t tick all the boxes for you, check out these additional options.

    Best for versatility: Manfrotto MT055CXPRO4

    Why it made the cut: This versatile Manfrotto tripod can go from 3.5 inches to 66.9 inches, thanks to the angle selectors on the legs and sturdy center column. Plus, it has a convenient attachment point for arms to hold accessories like reflectors.

    Specs

    • Maximum height: 66.9 inches
    • Minimum height: 3.5 inches
    • Weight: 4.6 pounds
    • Weight capacity: 19.8 pounds
    • Folded length: 21.3 inches

    Pros

    • Ample height range
    • Sturdy and durable
    • Center column bends 90 degrees
    • Includes attachment point for accessories

    Cons

    • Tripod head must be purchased separately

    Manfrotto has long been one of the top tripod producers. Its MT055CXPRO4 is an extremely popular tripod, and for good reason. At  4.6 pounds, it weighs a bit more than some of the other models on this list. But it is very sturdy and supports nearly 20 pounds, which is more than enough for a full-frame camera and hefty telephoto.

    Each leg features Manfrotto’s Quick Power Locks (a type of lever lock), which are easy to use but extremely sturdy. The legs can be set to multiple angles, allowing you to set the tripod as low as 3.5 inches. You’ll be able to get some really dramatic and unique angles for landscapes while still getting stability from a tripod.

    With the center column extended, you’ll get 66.9 inches of height. Manfrotto redesigned the center column on this carbon fiber tripod to enable one-finger operation, so you’ll be able to raise it with much less fuss. And the center column can bend 90 degrees for better versatility or more unique angles. There is an Easy Link attachment point for adding accessories like a LED light or reflector with a compatible arm.

    At the top of the tripod is a bubble level that swivels 360 degrees so you can see it no matter how you have your tripod set up. But, you will need to purchase a head for this tripod separately. For most people, we’d suggest Manfrotto’s XPRO Ball Head.

    Best for landscape photography: 3 Legged Thing Leo 2.0

    Why it made the cut: It can hold up to 66 pounds, so even if you use a large camera and bulky lens, you won’t have to worry about stability. And yet, the tripod only weighs 4.8 pounds, so it will still be feasible to pack on a trip.

    Specs

    • Maximum height: 54.3 inches
    • Minimum height: 4.9 inches
    • Weight: 4.8 pounds
    • Weight capacity: 66 pounds
    • Folded length: 14.7 inches

    Pros

    • Heavy weight capacity
    • Good height range
    • Lightweight and compact
    • Highly modifiable

    Cons

    • Not as tall as other options

    3 Legged Thing is a small British company that was launched in 2010. The Leo 2.0 has a surprising weight capacity, supporting up to 66 pounds. So even if you use a large DSLR or medium format camera with a heavy lens, this tripod will be able to handle it. And yet, the tripod only weighs 4.8 pounds with the head attached, which is only slightly heavier than the Manfrotto 055. 

    One of the best things about the Leo carbon fiber tripod is that it is very modifiable. Each leg can be removed and acts as a monopod. The center column can either be removed entirely or inverted to get lower to the ground. And you can purchase tripod feet for better stability on different types of surfaces.

    This tripod comes with a carrying case and also the 3 Legged Thing Toolz multi-tool for adjusting various parts of the tripod. It can’t extend quite as high as other options, but the ability to modify it so much and the large weight capacity are huge benefits. 

    Best heavy-duty: Gitzo GT5533S Systematic Series 5

    Why it made the cut: The Gitzo Systematic Series 5 holds a whopping 88 pounds, making it the ideal choice for those shooting with large cameras and lenses.

    Specs

    • Maximum working height: 52.8 inches
    • Minimum working height: 3.9 inches
    • Weight: 6.2 pounds 
    • Weight capacity: 88 pounds
    • Folded length: 24.4 inches

    Pros

    • Very heavy duty
    • Available in different heights and configurations
    • Exceptionally sturdy
    • Feet are articulating for better stability

    Cons

    • Center column or head must be purchased separately

    If the 3 Legged Thing doesn’t provide enough stability for you, the Gitzo Systematic Series 5 will. It supports up to 88 pounds, which is ideal for those using large lenses or cameras. Even if you use a large format camera, you’ll get enough support from this carbon fiber tripod. Even when the legs’ three sections are extended, the tripod is extremely sturdy with limited flex.

    The Systematic Series is unique in that they do not include center columns, unlike other tripods. Center columns are not very sturdy when extended, so it makes sense to leave that out if you want the most stability. It does, of course, limit the height you can get from the tripod, but luckily Gitzo makes different heights in this line. 

    Like the 3 Legged Thing, Gitzo sells lots of accessories compatible with this tripod line. For example, should you want a center column, you can add a compatible one, as found on Gitzo’s website. You’ll also need to purchase a tripod head if you want more than the flat top plate. And there are also alternative types of feet available for better stability on different surfaces. 

    Best budget: Neewer 66 Inch Carbon Fiber Tripod

    Why it made the cut: At a much more affordable price, this budget carbon fiber tripod still offers support for up to 26.5 pounds and can convert into a monopod.

    Specs

    • Maximum height: 66 inches
    • Minimum height: 23.2 inches
    • Weight: 3.40 pounds
    • Weight capacity: 26.5 pounds
    • Folded length: 19.3 inches

    Pros

    • Can be broken down into a monopod
    • Affordable
    • Comes with a ball head
    • Center column can be inverted

    Cons

    • Does not go very low
    • Not as durable as other options

    Neewar is fairly well known for its affordable lighting and accessories. Like its other gear, its carbon fiber tripod is much more affordable than other brands but still offers a good amount of quality and features. Unlike more expensive options, it comes with a ball head, so you don’t need to purchase it separately. 

    It supports up to 26.5 pounds, so even somewhat heavy cameras and lenses will work. And it only weighs 3.4 pounds, so it won’t be too much trouble to pack with you on trips. You can break it down into a monopod, so it is multifunctional. And the center column can be inverted if you want low to the ground shots. The legs have three sections and are controlled via twist locks.

    Of course, with the budget price comes some downsides, though they are luckily minor. The included ball head isn’t all that stable, so you may want to invest in a better tripod head if you will be pushing the weight limit of this tripod. And some have had issues with pieces breaking after not all that much use. It may not last as long as more expensive options, but if you want to get started with a tripod without breaking the bank, this still is a great option.

    Things to consider before buying the best carbon fiber tripods

    Tripods, in general, aren’t exactly feature-packed, as they are pretty basic, straightforward pieces of equipment. But, that said, there are still some vital things to pay attention to before purchasing to ensure that it will fit your needs and work with your camera setup. 

    Weight

    Though carbon fiber tripods weigh less than their aluminum counterparts, their weight still varies across different brands and models. And while you may assume you need to find the lightest option, that won’t always be the best. Lightweight tripods lose stability unless you add weight to them. That could be via sandbags or a backpack hung from the center column. Without added weight, the tripod may be prone to getting blown over by strong winds or tipped over if bumped. So, if you are looking for a sturdy option and don’t want to fuss with adding weight, go with a heavier tripod.

    On the flip side, if you travel or like to have a tripod while hiking, be sure to go with a lightweight option. Tripods are never all that convenient to carry along, but if it weighs a lot, you definitely won’t want to bring it along. 

    Capacity

    Beyond the weight of the tripod itself, tripods will be able to support different sizes of cameras and lenses. For example, some tripods are only suitable for lightweight mirrorless setups with small lenses, whereas others can hold heavy medium-format cameras. 

    Before purchasing a tripod, be sure to do a rough calculation of what your heaviest setup will be. Look up the weight of your camera and largest lens to ensure that the tripod and tripod head you are considering is able to support that much weight.

    Maximum and minimum height

    All tripods will be able to extend only so far. Some will be able to go quite high with the help of a center column, while others won’t go beyond eye level, if that. If you like to get serious height with your tripod for unique perspectives, be sure to look for a tripod with a tall maximum height. 

    On the other side, some tripods can’t go lower than the closed length of the tripod. Some, however, allow you to bend the legs out, resulting in the camera sitting very low, sometimes just inches off the ground. This ability is ideal for landscape photographers who want dramatic angles or like to focus on things in the foreground. If you want more flexibility with angles, be sure to look for a tripod that can get low as well as high.

    FAQs

    Q: Are carbon fiber tripods worth it?

    Carbon fiber tripods are worth it for some people, but not all. Those who travel or hike a lot will want a compact and lightweight tripod, as heavy or bulky ones will be frustrating to carry around. Carbon fiber tripods are smaller and lighter than aluminum alternatives, and those weight savings can absolutely be worth it. But, if you need a sturdy tripod for a studio or other general-purpose setting, a carbon fiber tripod may not be worth the cost.

    Q: How much do carbon fiber tripods cost?

    Carbon fiber tripods will cost you anywhere from around $150 all the way up to $1,700 or so. Typically, the more expensive the tripod, the sturdier it will be and the more weight it can support. 
    While you may be tempted to go with the cheapest carbon fiber tripod you can find, keep in mind that all carbon fiber is not created equal. A cheap carbon fiber tripod may actually be less durable and sturdy than an aluminum tripod that costs the same amount.  

    Q: Which is better, carbon fiber or aluminum tripod?

    Whether carbon fiber or aluminum tripods are better depends on your needs and preferences. Carbon fiber tripods are stronger, more durable, and lighter, making them the better choice for photographers who travel or use a tripod in harsh conditions. But, they are more expensive, and because they are so lightweight, they may need weight added in order to have enough stability.
    Aluminum tripods are much more affordable than carbon fiber, making them better for beginners. And, for those using big, heavy cameras or needing extra stability without additional weight, aluminum may be the better choice.

    Q: Can you buy refurbished carbon fiber tripods?

    Yes, you can buy refurbished and used carbon fiber tripods. This can be an excellent way to get a quality carbon fiber tripod while saving some money. You’ll find plenty of options on sites like eBay or the B&H used section.

    Final thoughts on the best carbon fiber tripods

    Carbon fiber tripods are not cheap pieces of gear, especially good ones. They are an investment, to be sure. But for a bit of equipment that can keep your camera safe and potentially improve your images, it is worth spending a bit more to ensure you have a reliable tripod that will last for years.

    Why trust us

    PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

    We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.





    Source link

  • The Art Of Capturing Winter Fog Photography — Mikko Lagerstedt

    The Art Of Capturing Winter Fog Photography — Mikko Lagerstedt



    My favorite thing about photography is that you don’t always have to travel far to capture unique photographs. In this week’s tutorial, I talk about capturing fog in winter and how it can add a sense of mystery and atmosphere to your photos. This is the ultimate guide to capturing winter fog photographs.

    Whether a thin layer of mist hovering over a frozen lake or a thick fog enveloping a forest, fog can transform a mundane scene into something magical. In this tutorial, I show you how to capture stunning winter landscapes with mist, from finding the right location to choosing the right time of day and experimenting with compositions.

    Find the right location

    Fog can be elusive, so it’s essential to find a place where it is likely to appear. Look for areas with low-lying valleys, rivers, or lakes. These areas are more prone to fog because the cool air tends to sink and settle in these areas. Look for locations where the fog is likely to accumulate, such as near water, valleys, or low-lying areas.

    1. Look for forecasts of foggy conditions, especially in the early morning or late evening when the air is cooler, and the humidity is higher. You can also check the humidity and dew point, as the fog is more likely to form when the air is saturated with moisture.

    2. Pay attention to the wind direction. Fog is more likely to form in areas with calm winds. Look for locations where the wind is calm or where the wind is blowing away from the area you want to photograph.

    3. Look for locations with interesting features that can add depth and interest to your photos, such as trees, buildings, or other landmarks. Consider using these elements to create leading lines or to add a sense of scale to your photos.

    4. Fog can be unpredictable, so it’s a good idea to visit your location at different times to see if the fog appears. This will also give you the opportunity to experiment with different lighting conditions and compositions.

    5. The seaside can be an excellent place to capture fog in the Winter. The warm seawater and temperature drop can create a massive cloudlike fog.





    Source link

  • The Storm — Mikko Lagerstedt

    The Storm — Mikko Lagerstedt



    This week let’s go behind the scenes of my photograph, The Storm. One of the photographs from my print collection. The Swedish Lapland is a unique location. It can be a beautiful place in every season. The winter can be spectacular with a lot of snow.

    I captured The Storm photograph in February 2020. I visited the place with my fellow photographers, Konsta and Tobias. Our guide was Magnus, who works in the far north of Sweden. After the first two days of exploring the place, we encountered heavy winds and stunning views.

    The wind started to pick up in the late evening and continued to get stronger by the time we left our camp in the morning. We were determined to capture the perfect shot, so we ventured out into the strong wind with our cameras. And as we battled against the elements, we were rewarded with some of the most stunning views I have ever seen. It was hard to see at times as the wind blew the snow straight to my face.

    The harsh environment and cold wind made the views look straight from a movie. Cinematic and powerful. I wanted to show the majestic scale of the place and the extreme elements. I walked this small hill and used a low angle to get the perfect composition with light bursting on the top right of the frame. I took hundreds of photographs of this scenery as the gusts moved the snow around. The Storm photograph is my favorite of the view.





    Source link

  • The Star Wars Lightsaber was based on a camera flash handle

    The Star Wars Lightsaber was based on a camera flash handle


    We love when nerdy things collide here at Pop Photo, and that is precisely what happened with the creation of perhaps the most iconic movie prop of all time. As the video below from DigitalRev In-Focus explains, George Lucas wanted the props in the Star Wars films to look used in order to suggest a sense of history. He didn’t want shiny new objects in his films. They also had a very limited budget when filming those initial movies. The low budget required they get scrappy—literally—in how they created props.

    As a result, set decorator Roger Christian would browse antique and junk stores for items to use as props. He was in a tiny camera store in London’s West End and asked if they had anything that he might find interesting. The owner took out a dusty box of antique camera goods, which included a 1940s Graflex camera with a three-cell flash gun. A lightbulb went off for Christian. The flash handle became the base for Luke’s lightsaber.

    It took only a few modifications to create the legendary weapon. The actual “blade” portion of the weapon involved painting a tube with blue projector material and adding a light, which made it glow. Luke’s was one of two lightsabers that Christian designed. The entire thing took only $15 to build, though it sold in 2012 for $250,000. That makes it one of the most expensive movie weapon props ever sold. It even beats out Ghostbusters props. And that number is likely even higher now since it was featured so prominently in Episode 7.

    Lightsaber handle design
    The flash handle from the Graflex camera fit the concept for the lightsaber perfectly. DigitalRev In-Focus

    Of course, there is a downside to cameras becoming pieces of sci-fi legend. Camera collectors have had difficulty getting their hands on Graflex flash handles since so many were bought by Star Wars prop collectors and cut up to become lightsabers. A genuine original Graflex can cost thousands of dollars at this point. And camera collectors say that valuable antiques are getting destroyed in the process. Whether you agree that history is being destroyed or are all about your genuine lightsaber props, we think this clash of photography and pop culture history is a fun one.





    Source link

  • The Daily Edit – Aidan Klimenko talks about “wins” or “successes” stemming from work personal – A Photo Editor



    Heidi: Your work has an impressive range – it would be hard to categorize. You mentioned your work asks questions. What questions you thinking about in your recent personal work.
    Aidan: I’ve always been drawn to photography because I’ve seen it as an access point to the world. A license to ask, to look, and to learn. Sometimes I find answers, but most often I just find more questions. With this current work that I’m making while in grad school, I’m taking my interest in landscape—an interest that’s been fostered in objectively beautiful places like Antarctica, the Amazon, and Patagonia—and applying it to the contemporary urban, corporate, and residential environments of Los Angeles.
    The questions that I’m finding myself thinking about while I walk around and photograph stem from my personal experience of moving to a big city for the first time after years spent living on the road, mostly outside in nature. LA is bizarre and layered. It’s a mix of so many things without really having a centralized, defined identity. And it’s home to a lot of this American obsession with concrete, stucco, and bright colored walls that I’ve been finding myself interested in using as elements to question our relationship with this environment we’ve built and surrounded ourselves with. I’m using this time in school to learn about creating work that provides space for the viewer to have their own relationship with the images—space to ask their own questions instead of making images that are limited by the answers they provide.

    It’s interesting, you’re challenging what a wall is – using that typology to question the meaning of a barrier or confining something. Is this an act of resistance in your mind?
    Yes, I think so. Or, at least it started out that way. When I first started walking around Los Angeles, it was easy to make work that directly contrasted the open air, natural landscapes that most would think of when they consider the term “landscape”. The images came easily, but quickly felt cliche. Somehow singular and predictable in their general pessimism. It’s easy to focus on the strictly negative–especially here in LA. It’s a dirty city with a massive unhoused population contrasted with insane wealth, all in and around and on top of itself. To treat it only as one thing—whether grimy or glamorous—would be a very narrow point of view. There are so many aspects to LA, and as I continued to walk and to photograph, I began to find myself interested in the complexity of these layers and in how they’re represented in the community architecture of subways, storefronts, traffic markings, and yes, walls. So much of it is colorful and built to look nice, but ultimately to direct or deter us in one way or another. Not meant to be comfortable. Liminal in nature. You’re allowed here, but only to a certain capacity and not for very long.

    And then, layered onto these surfaces of glossy colorful paint or polished steel are traces left—markings, scribbles, covered graffiti or hand prints that show a back and forth that is sometimes violent and other times subtle. Visual responses to this landscape, or in resistance to it.

    It’s been a fun exercise to shift from relying on obviously compelling subject matter (like penguins in Antarctica or secluded communities in Greenland) to make compelling images. I miss spending my time in nature, and I’m sure that’s seeping into my work. But this has been a very rewarding chapter that’s leading me in a direction that I’m finding quite engaging.

    Rather than responding to a market need and losing control of your photographic voice, you are staying true to your development.
    Hey, I’m trying! Your best work will always be the stuff you’re passionate about. I’ve always believed that leaning into finding and establishing your own voice as an artist will eventually lead to an identity that’s more uniquely yours rather than a style that looks like everyone else’s following whatever the latest trend. And on top of that the work that is the most fun to make often is the often strongest. Good things come from good work so I try to stay true to making work that inspires me.

    I’m still very much on this path of finding my visual identity and am constantly reminding myself to prioritize making work that gets me excited. But doing this is easier said than done, especially when you depend on your artistry for income. In my 20’s, my answer was to live in my truck. By not needing to keep up with rising rent costs I was able to pursue projects that I resonated with rather than having to sacrifice my vision to pay bills. But I recognized this as somewhat temporary solution—despite lasting 7 years on the road without paying rent!—and not likely a sustainable long term path that would lead to the things that I wanted for adult-me, like a stable family lifestyle. Now that I’m in LA, married and starting a family, things have changed and that discipline of staying true to the work that inspires you is much more difficult. LA is an expensive city and my continued path of finding my place within its working professional photography scene has not been a direct one or particularly easy. But it’s led me to some interesting places—some of which have resonated in surprising ways, like commercial fashion and architecture and others not as much. I’ve tried to remember that it’s hard to know whether or not you like something without ever trying it. There are lessons to be learned in even the most unexpected places and on the most unpleasant of jobs.

    How do you exercise discipline and fight the temptation of trends?
    I’m as tempted by trends as anyone and I’m happy to experiment with new ideas and see what sticks. I take with me whatever I think I can use to get closer to my evolving identity and leave the rest behind.


    How does fashion and architecture interplay in your images, does one inform the other?
    I’m curious about what connects us, both across continents and within our communities. My work has always touched on environment, sometime on a personal or cultural level and sometimes in more remote, abstract ways. But even when I’m in the middle of nowhere I’m thinking about how we are affected by these places and how we in turn affect them. Fashion reflects how we present ourselves to one another socially—how we choose to either fit into a social environment or stick out from it. One of the many “threads that connect us” if that’s not too on-the-nose. And I think architecture deals with how we as a society choose to interact with our physical environment. The building materials we use, the colors we choose, the space we give ourselves (or don’t) reflects so much about our societal values, our place in the world and our relationship to it. The work I’m making in school is architectural and while it doesn’t directly feature people (yet) it is still very much about people.


    Your Antarctica work is a sharp contrast to your state fair work in both tools and approach. Tell us about the approach for each.
    Both my Antarctica and State Fair work are ongoing projects and contrast each other (and themselves) as they are both unfinished collections of images made over the span of a few years and a few different developmental stages in my photographic path. I’ve had the privilege of having visited Antarctica a handful of times since 2019, and each time I go down I’ve experimented with different viewpoints and perspectives. This often manifests in a variety of obsessions with different cameras and the aesthetics that each camera system provides. From grainy black and white 35mm to color 4×5 film to digital medium format… who knows where I’ll be in my journey of endless experimentation the next time I get the opportunity to get back down there.

    As far as the State Fair goes, my wife’s family runs a chocolate chip cookie company at the Minnesota State Fair. I was never a big state fair goer growing up but since it now looks like I’ll now be going every year to bake cookies until the end of my days, I figured I’d better make some images along the way. I started with my 4×5 over my shoulder finding quieter moments amidst the dusty chaos of fried food and farm animals. The 4×5 is an ice breaker. People are curious about it and much more willing to have their photo taken than when I carry a more “normal” looking camera. But after starting back at school I was tasked with trying something completely different. Give up control. So I decided to lean into the chaos, ditch the tripod, shoot digital, play with flash, and shoot from the hip (maybe glancing at the camera’s fold-out screen, maybe not). I’ve recently been combining the 4×5 images with the digital in editorial pitch-deck PDF’s with the thought that it shows the breadth of my technical skills while covering a single event.

    After commercial and editorial success, here you are back with creating more personal work – asking more questions – what are you hopes for pushing the personal body of work?
    I’ve written like 10 different responses to this question and still don’t know if I’m any closer to being able to answer it. I’ve been pushing into the commercial and editorial worlds and I’ve certainly had wins here and there but I have by no means found any sure-footedness in either. While I continue to pursue financial stability I keep coming back to the mindset that I mentioned above: make the work that makes me feel something, at any cost, because that will be my strongest work. All the “wins” or “successes” I’ve had seem to have stemmed from work that I’ve made solely because I’m passionate about it. Personal work.

    However, when I was last in South America making Autopista Autopsia, I wasn’t quite able to find the creative flow that I’ve heard other artists talk about. I was pushing my personal work in a new direction but I was having a hard time knowing how to get there. Listening to interviews and reading about the making of projects and books that I’ve always looked to for inspiration, I would hear stories about how one image would effortlessly lead to the next or about how good it felt to be making the work that artist was making. I, on the other hand, was feeling blocked up and I didn’t know how to move past feeling like I was forcing the work. On top of it all, I didn’t feel like I had the right community to turn to for constructive criticism. For too long, I was using social media as the only arena for showing personal work and getting feedback.

    I needed help rethinking my creative process and reestablishing my relationship to the medium altogether.

    The pursuit of a MFA in photography will absolutely not provide a road-map to success in the commercial world. In fact, if anything, it’s sure to steer me in a completely different direction all together. Though I do think it will bring me closer to creating work that points me towards the core of my artistic identity. And the stronger the personal work that I can put out into the world the more likely it’ll lead to that next “win”.

    I won’t ask you about your truck, when was the last time you heard from the previous owners?
    The truck! The previous owners are a Swiss couple who are currently living out of their van somewhere in Europe. We follow each other on Instagram and I drop them a line every few month with photos or with mechanical questions about this or that as all the manuals they left me are in German. It’s a very wholesome relationship that I hope to have with whoever I pass the truck along to, someday, maybe.





    Source link

  • Behind The Scenes: Wonder — Mikko Lagerstedt

    Behind The Scenes: Wonder — Mikko Lagerstedt



    This week I wanted to share the story behind one of my favorite recent landscape photographs, Wonder. It was quite a cold morning. When I woke up, I saw the mist rise, so I headed out. I went around the nearby places and saw the mist rising on the lake. I had been waiting for the perfect shot of this majestic tree I had been photographing for years. I never was able to capture its full glory until that day.

    As the sun began to rise, the frost-covered branches were illuminated by the cold morning light, creating an eerie and magical effect with a wonderful blue sky. One of those moments which reminds me why I do what I do. The feeling of being out in the cold, surrounded by the beauty of nature, is when I feel most alive.

    If you look closely at the photo, you’ll notice that it’s not just one tree but two tangled together. This adds another layer of wonder and magic to the scene, making it even more special. It’s like something out of a movie, and moments like these make me grateful to be a photographer.

    I used a low angle to go near the smooth snow and get the perspective without distracting background elements. I love the frost on the tree and how the snow looks crisp yet smooth simultaneously.





    Source link