Posts Tagged ‘Commercial Photography’

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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Blair Bunting Show Us How to Light a Football Player

Written by Rebecca Ahremark on . Posted in Sports Photography

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Blair Bunting Show Us How to Light a Football Player Blair Bunting ASU 2 600x345 Blair Bunting Show Us How to Light a Football Player

©Blair Bunting

Being an established advertising photographer and a Nikon and Maurice Lacroix Ambassador, Blair Bunting sure knows how to light. In a recent blog post, titled How to Light a Football Player, Blair shares some of that knowledge.

“Let’s talk about lighting, specifically for mood,” writes Blair on his blog. “The eye finds discomfort and intimidation in the unknown and the unknown is where the light is not. The approach to making a subject intimidating should not be a mass of lights cranked to 11, but a single focus of direction where one light dominates and the remaining support the fear. An example of this that I shot a while back is this portrait of a football player.”

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How to Make a Dirty Car Shine Like a Winner

Written by Fredrik Franzén on . Posted in Commercial Photography

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 How to Make a Dirty Car Shine Like a Winner

Most of us associate car photography with chrome and meticulously polished metal. But the Porsche GT that Richard Dole shot had just won a 24-hour long Daytona race and was far from clean. It was covered in dirt and grit. Keep reading to learn how he got his shot.

The 24 Hours of Daytona is a 24-hour sports car endurance race held annually at Daytona International Speedway in Daytona Beach, Florida. Needless to say, the 24-hour long race takes its toll on the racecars. By the time they cross the finishing line, they are covered in dirt and grit.

This year, a Porsche GT from CORE Autosport in Rock Hill, South Carolina, was the first car to cross the finishing line. This car was also the one photographer Richard Dole was asked to shoot on behalf of RACER Magazine.

“This was an unusual assignment,” says Richard. “They wanted me to photograph the car still covered with the dirt, oil, rubber, grease and grime accumulated from the race. And it had to be photographed not in a studio, but in the winning team’s race shop.”

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