Posts Tagged ‘Commercial Photography’

Mark Seliger on His Iconic Portrait of P Diddy

Written by Rebecca Ahremark on . Posted in Videos

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We recently had the privilege of meeting one of the true masters of portrait photography – Mark Seliger. This resulted in five new videos, in which Seliger shares his thoughts on lighting and portrait photography. 

You will find all the videos at our dedicated Mark Seliger page. There is also an opportunity to win a signed copy of one of Seliger’s much loved photo books on the page.

In our third video, Mark Seliger tells the story of how he made P Diddy look like the king of New York City for a shoot for Vanity Fair. Watch the video to hear Mark’s thoughts about it.

“A recognition of that person is 50% to the equation so knowing who that person is and then having some kind of mass appeal becomes as important as actually the photograph”, says Seliger.

Watch all videos and sign up for a chance to win a Seliger photo book here.

markseliger PDiddy Times Square small version Cropped Mark Seliger on His Iconic Portrait of P Diddy

© Mark Seliger

How Joe McNally Turned An Empty Room Into a Scary Halloween Fairy Tale

Written by Rebecca Ahremark on . Posted in Commercial Photography

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joe mcnally ppe show.040 How Joe McNally Turned An Empty Room Into a Scary Halloween Fairy Tale

© Joe McNally

mcnally ppe show.040 collage How Joe McNally Turned An Empty Room Into a Scary Halloween Fairy Tale

© Joe McNally

Sometimes, you just have to let your imagination run free. That’s exactly what photographer Joe McNally did for this Halloween-inspired shoot. Borned and raised on comic books and vivid imaginations of Mordor, Joe’s imagination ran all the way back to his darkest childhood fantasies.

In a recently published story on his blog, Joe McNally reveals how he turned an empty room into a scary Halloween fairy tale. With great help from a brilliant body painter, a talented hair stylist, producers and assistants, Joe turned his vision into reality.

Lighting-wise, Joe brought a bit of everything. He had three AcuteB2 battery generators, one powerful B4 battery generator and two B1 Off-Camera Flashes. He also added five SB 910 speed lights to the mix.

“Each light had a job to do, in a specific area of the photo,” Joe writes. “Then they all had to mesh into something plausible.”.

It all started with a shimmer and an idea and ended up as really amazing images.

Head over the his blog for the full story. This is too good to miss.

Moose Peterson’s Air Remote TTL-N Review: “The TTL Is a Miracle!”

Written by Rebecca Ahremark on . Posted in Review

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Moose Peterson Air Remote TTL N 1 Moose Petersons Air Remote TTL N Review: The TTL Is a Miracle!

© Moose Peterson

Moose Peterson is a dedicated photographer and educator who has spent years photographing endangered wildlife. Lately, however, Moose’s eyes have turned to aviation photography. For this shoot of the FM-2P Wildcat, Moose used his flash to bring life to the ambient light. Being a Nikon ambassador, Moose brought a Profoto B1 Off-Camera Flash and the recently released Air Remote TTL-N for Nikon to the shoot. Here is what he has to say about his new tools. 

“I’d come up with this portrait idea a month prior to the shoot knowing I’d have the new Air Remote TTL-N remote unit for my favorite flash, the Profoto B1. The i-TTL system for the Profoto so fits my style of photography because I’m using the flash to bring life to the ambient light. The flash is the main light lighting the subject and the ambient being the fill light, setting the stage for the subject.

“The beauty of the Air Remote TTL-N from Profoto is the multi level of control you have over the light while using the computer in the camera!” Moose continues. “There are three channels so you can effectively change the output of lights on those three channels wirelessly and via TTL exposure control. At the same time, you can fine tune the output of each flash via its power control. It makes the power and simplicity of the Profoto B1 such a powerful creative lighting tool!”

Head over to Moose’s blog for the full story plus a behind-the-scenes video and a few more stunning shots of pilots and planes.

Frederic Schlosser’s Solution for Shooting Cars on Location

Written by Fredrik Franzén on . Posted in Commercial Photography

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Get the shot Frederic Schlosser shooting cars.jpg Frederic Schlossers Solution for Shooting Cars on Location

@ Frederic Schlosser

Shooting cars is a challenge. They are big, shiny and oddly shaped. German photographer Frederic Schlosser and his assistant took two cars, one classic sport car from the 1970’s and a comtemporty model of the same car and drove to Prague, Czech Republic. Here’s how he shot the two cars using the Profoto 1 Location Kit.

In the trunk: Frederic’s camera, his Profoto B1 Location Kit and a SoftboxRFi 1×4’. The Plan: shoot the two cars on location with the beautiful, old buildings in the background.

“I love fast cars,” says Frederic. “I love good car design, and I love driving cars. That’s why I got into car photography. It allows me to live out my two biggest passions in life!” Read More

How Andrew McGibbon Made a Rock Band in a Parking Lot Look Like a 19th Century Painting

Written by Rebecca Ahremark on . Posted in Commercial Photography

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When Indie Rock band JORDI needed a promo image to coinside with their debut album, photographer Andrew McGibbon was their first and only choice. With total creative control Andrew put them on boat and started to make magic.

“For some reason, I entered the conversation with the idea of a row boat in rough seas and they were all like “no way, we have a song about that!”. So it was pretty obvious that the idea fit from the get go and then it was just up to me to figure out how we would pull it off.” says Andrew McGibbon.

The lead singer of Jordi, Jordi van Dyk, had been a fan of Andrew’s work for some time so when it came to shooting their promo, he insisted it had to be Andrew. With a limited budget, Andrew’s condition was to have total creative control of the image.

“The great thing about focusing on a niche style in photography is that your client will end up giving you much more freedom in a job because they trust you – after all, they came to you for your style. Why would they want to stifle that?” says Andrew.

Andrew’s idea was clear right from the start. The image had to be dramatic, almost like a Turner painting. But he knew that the scene itself would be impossible to achieve on location and in only one shot. “You don’t need to be restricted by the natural or real and can create based on your imagination. There is much more room for magic.” says Andrew.

Andrew ended up playing the role as producer, art director and photographer and Jordi was happy to take his lead.

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