Plan and Improvise

There’s a lot of things that can happen during a shoot and no matter how you prepare for everything, something will always come up and challenge your ability to improvise to finish the shoot. Although there’s that very common human error, equipment failure is a definitely the bummer.

Shooting with two strobe lights bounced through both side of the wall and ceiling. No light modifier needed except for the standard reflector. The entire room becomes a big light source making the light soft and even.

Shooting with two strobe lights bounced through both side of the wall and ceiling. No light modifier needed except for the standard reflector. The entire room becomes a big light source making the light soft and even.

Last week I was doing a corporate shoot and the first challenge was doing it without my assistant. I had to prepare all the equipment and made a checklist to make sure I got everything. When deciding which equipment to bring, you have to have alternatives just in case something goes south in the middle of the shoot.

There’s a reason why you bring two camera bodies and an extra lens during a shoot, just in case one equipment decides not to perform. Same goes to your  lighting setup, backup is necessary and some few extra cables, battery, trigger and never forget the all around solution, duct tape. Continue reading “Plan and Improvise” »

Boils down to Taste

Shooting with the warm sunlight at the back of my subject. I had this image in mind but it came out a bit washed out, I had to bring back most of the details in highlight using Lightroom. When shooting raw, you have a lot of latitude especially in the highlights. (credits to Cherry Maine Balagtas)

Shooting with the warm sunlight at the back of my subject. I had this image in mind but it came out a bit washed out, I had to bring back most of the details in highlight using Lightroom. When shooting raw, you have a lot of latitude especially in the highlights. (credits to Cherry Maine Balagtas)

With the explosion of the mirrorless cameras in the market today, photographers are given more options on what device to use or to add to their arsenal. If you’re new to photography, it would be best to try as many camera in your hands as you can before you decide which one best fit your taste.

With the geniuses in marketing, a product can be really enticing and often times very convincing. Then the hype comes and suddenly you see photographers around you starts using the same brand. You probably will end up getting one. That’s ok. If it will help add confidence in you to make the shot, why not. Continue reading “Boils down to Taste” »

Fujifilm’s X-Pro2 is finally here

It’s an exciting times for the X-men this time around. I’m actually referring to Fujifilm’s new addition to their lineup. Indeed, they started the year with a bang. Fujifilm X-series is making a statement to Sony Alpha and the mirrorless market.

The first ever camera in the X-series to go beyond 16 megapixel. The X-Pro 2 is equipped with a 24 megapixel X-Trans III sensor.

The first ever camera in the X-series to go beyond 16 megapixel. The X-Pro 2 is equipped with a 24 megapixel X-Trans III sensor.

I have been praising Fujifilm for its classic look and state of the art functionalities from the very beginning. I tested the X100s for quite some time and spend a good quality time with XE-1 during my trip down under and I’m all smiles the entire time. There were very few frustrating experience to write about. Continue reading “Fujifilm’s X-Pro2 is finally here” »

Adding visual impact to your shot

This photo was taken in one of my out of town projects. I didn't have any assistant at that time given the equipments that I normally carry with me. To direct the light from one direction, I used a gridded softbox. I allowed the ambient light to fill in some warm light and added space on top of my subject to bring in other elements in the composition.

This photo was taken in one of my out of town projects. I didn’t have any assistant at that time given the equipments that I normally carry with me. To direct the light from one direction, I used a gridded softbox. I allowed the ambient light to fill in some warm light and added space on top of my subject to bring in other elements in the composition.

When you test a new camera equipment, whether this is a lens or the camera body itself, you start shooting at random scenes. You check how the equipment performs and the feel of it. The photos you take during tests are often, if not, always goes to the trash. The photo lacks the appeal to be shared in social media or at least take a space in the memory card. Continue reading “Adding visual impact to your shot” »

A Mix of Strobe and Ambient Light

CJ Sparxx during the Bikini Photo Safari, f/5.6 1/80sec ISO200 ND8. Ambient light at the right side of the frame while a strobe with a large size diffuser on the left.

CJ Sparxx during the Bikini Photo Safari, f/5.6 1/80sec ISO200 ND8. Ambient light at the right side of the frame while a strobe with a large size diffuser on the left.

Recently I was invited by Rey Dacalos to join them in their Bikini Photo Safari. This is an organization formed by Rob Lucas to offer to both local and foreign photographers the chance to visit different tourist destinations in the Philippines and take photos of professional models in their swimwear. They have another similar event this coming February 2015. Continue reading “A Mix of Strobe and Ambient Light” »

Crop sensor vs full frame

 DON’T know of any photographer who is crazier than Zack Arias. He’s the type who doesn’t care if you like him or not. Recently, I saw a video of him trying to differentiate a crop sensor versus other sensor sizes. I didn’t expect him to end up choosing Fujifilm’s APS-C sensor.

A PRO’S RECOMMENDATION. A renowned editorial and commercial photographer, Zack Arias recently released a video in which he differentiated the crop sensor versus other sensor sizes. Despite the common practice of using full frame to supposedly ensure high quality, he made the surprising choice of going for a smaller sensor. (ZACKARIAS.COM FOTO)

A PRO’S RECOMMENDATION. A renowned editorial and commercial photographer, Zack Arias recently released a video in which he differentiated the crop sensor versus other sensor sizes. Despite the common practice of using full frame to supposedly ensure high quality, he made the surprising choice of going for a smaller sensor. (ZACKARIAS.COM FOTO)

Zack, no matter how much success and popularity he has, maintains his independence. I’m pretty sure he was not asked to endorse Fujifilm without his personal preference over the brand—making him trustworthy amidst the circus of brand endorsements. Continue reading “Crop sensor vs full frame” »

Tethered Shooting

I posted some behind the scene photos where I mounted my camera up the ceiling on a light stand and controlled it through my laptop. Moments later, I got messages asking how to control your camera remotely.

Camera mounted on manfrotto  magic arm attached to a boom. Remote shooting using ESO Utility Software.

Camera mounted on manfrotto magic arm attached to a boom. Remote shooting using ESO Utility Software.

Continue reading “Tethered Shooting” »

Finding The Reflection

One light on top with few reflectors on the sides.

One light on top with few reflectors on the sides.

Recently I was commissioned to shoot an E-cig product by Janty. The images are to be used for their webstore and for packaging. When shooting products, it is very important to understand what the product is. Every functionality and all the details there is in the product must be taken into consideration. Continue reading “Finding The Reflection” »

Fashion Photography: Lighting and Retouching

Lighting and Retouchinig

Lighting and Retouchinig

Speaker:

Albert Pedrosa

500px.com/albertpedrosa

Adobe Certified Expert

IMAG Section Writer

SunStar Columnist

Workshop Outline:

Lighting Patterns:

Loop Lighting

Split Lighting

Butterfly Lighting

Narrow Lighting

Broad Lighting

Lighting Ratio

Retouching:

Non-destructive Editing

Clone and Healing

Skin Tone Correction

Contouring

Sharpening

Special Effects

ISO and Dynamic Range

ISO an Dynamic Range

ISO800 f5.6 200mm

ISO800 f5.6 200mm

I’ve been researching about the myth that increasing your ISO will increase your dynamic range. I got interested on this technique after watching Lara Jade shooting at a rather high ISO than the usual even with a good light. She explained that she wanted to get more shadows. From that statement, I can only assume that she was referring to wider dynamic range.

Continue reading “ISO and Dynamic Range” »