Photographing Peaches in a Moving Vehicle

During a recent trip to the Shenandoah National Park I spent my day photographing all sorts of scenic overlooks, animals (including some bears), sunsets and getting some shots of the world going by as we made our way along the Skyline Drive.

Getting motion shots is something I’ve been doing for years (my automotive clients use them for creating composite images of new cars that can’t be taken out on public roads). There’s something I really like about a shot that makes you feel like your moving. Add in some additional interesting elements and you can really make some awesome shots. The difficult part of making this kind of shot is all of the planning (and getting perfect weather) and getting your camera mounted as solidly as possible. For this blog entry I’ll talk a bit about how I take these kinds of shots and the equipment I use to make them happen.

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The Coffee Shop Shoot (part 1)

Recently I’ve been working with a local business owner on a new photography assignment.

The owners of the Common Grounds coffee shop just opened their business and they needed some images to use on their website, in print advertising and for any future projects. This kind of work is great because it will involve lots of different styles and techniques for me to successfully deliver everything they need.

I’ll be taking exterior shots, interior HDR shots, shots of employees and customers (portraiture), shots of their products (food shots) and even some animal shots (they are service dog friendly). After a week of scouting and planning I began shooting some exterior shots last night. For this blog entry I’ll begin talking about how I use my photography on special assignments for business owners like this coffee shop.

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Creating a complicated lighting setup (the finishing touch)

This is the last of my three blog entries where I built up a studio lighting setup that looks great for shooting portraits (If you missed part 1 and part 2 be sure to check them out since they help this blog entry make sense). A lot of what I’ve done so far has been in my portrait studio but the principles apply to any location where you’ll be shooting. The portrait shots we’ve captured up to this point have all looked great and there’s not a lot more we can do with the light on Dug. What we haven’t looked at so far is the background.

We’ve been shooting on white seamless paper (available in rolls of various lengths) and up to this point we haven’t talked much about it. In every shot so far the background has looked neutral grey because we haven’t allowed much light to hit it. If we completely blocked light from hitting the background then the color would have been much darker grey (or even black). For the rest of the shots we’ll be using a third flash to create some unique looks for the background.

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Creating a complicated light setup (next steps)

This blog entry is part 2 of a series about building up a complicated studio lighting setup one step at a time. If you haven’t read part 1 you can read it here.¬†We already had a really good start that could have been the finishing point for this portrait. But we’re photographers and we are always looking for something better. Let’s see if we can improve the shot by changing the umbrella orientation to a shoot though to get even better looking light. And if you own a second flash we’re going to take advantage of it next by creating a rim light to really separate our subject from the background. But first, let’s turn that umbrella around.

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