Houston Chronicle Photojournalist Marie D. De Jesús on Harvey and Home

Houston Chronicle Photojournalist Marie D. De Jesús on Harvey and Home

© Marie D. De Jesús, Houston Chronicle

© Marie D. De Jesús, Houston Chronicle

Reporting on a natural disaster is a different challenge when your own home and community are under threat. For photojournalist Marie D. De Jesús and her colleagues at the Houston Chronicle, Hurricane Harvey has meant balancing work and home life.

PDN spoke with De Jesús via phone and email on Tuesday to learn how she and the Chronicle photo staff are working to cover the crisis. She told us about conditions on the ground, what she’s seen that’s made an impression on her, and how the experience of veteran photojournalists and communication among the Chronicle photographers and editors have been key to telling the story of their city.

PDN: First of all, are you safe? Has your home been affected by the disaster?

Marie D. De Jesús: Nothing serious, some water came up through the shower drain. Some of the water from the backyard came into the living room. I have a housemate, he owns two dogs and they went missing in the middle of the chaos and one of them died. So this has been a really hard week.

PDN: Has it been challenging balancing work and home life when your home has been in jeopardy?

MDJ: Balancing work and home life has been a big challenge. Our lives are here, we are not returning to a hotel at the end of the night. We are returning to take care of our homes and loved ones. I have to make sure that under these harsh conditions I will be able to get back to a safe place.

I have been focusing on following evacuees to their shelters and the recovery efforts now that the waters are starting to subside in the center of the city of Houston. Houston is 36 percent Latino, so my Spanish has been useful to be able to learn about their struggles and document them.

PDN: How did the Chronicle photo staff prepare to cover the hurricane and flood?

MDJ: We have several senior shooters that have already been through this process a number of times. Number one, with Katrina [2005], then Hurricane Ike [2008], [Tropical Storm] Allison [2001]. Then we had the Memorial Day Flood [2015] that was also devastating for the city. We have people that have done this many times. They’re very well-prepared, we have our kits prepared and our tools ready.

I’m from Puerto Rico, I’m an island girl. Hurricanes are part of our life, part of our culture, so you learn to get prepared. [The staff photographers are] constantly group chatting using GroupMe app. Every single move, we know where everybody is at, we’re giving updates and the editors are sending us instructions: “This levee is about to give in, this amount of houses have been destroyed, an officer with HPD might have drowned.” So we are mobilizing constantly through that app. We’re reacting as we need, but this is not our first rodeo, this is not our first hurricane or storm. This city floods. This is what happens, it’s The Bayou City, so there’s always water coming up and rising really high. We have been arriving home after a long day of shooting to start planning for the next day. This is a lot of planning. That’s the only way this has been a successful mission.

PDN: Has it been helpful to you as a photographer who is seeing something of this magnitude for the first time to have colleagues who’ve covered larger natural disasters?

MDJ: Yes. We start talking about [hurricane season] early in the summer. One of the senior photographers, Melissa Phillips, she sends us prepping emails with a list of tools, maps and things that can be useful for us to try and navigate [the situation]. On the first day [of Harvey], on Sunday, all of us had to stay and report from our own neighborhoods because we could not get out. We’re all from different parts of the city, so we were all sending photos from those areas and they’re all catastrophic scenery. It was horrible from all the corners we were sending photos from. They are very supportive. We are a pretty tight-knit staff.

PDN: What have you seen that has been the most striking to you?

MDJ: It never gets repetitive seeing people having to decide what to take with them. Water is reaching to their chest and they’re [wondering] what do I take? How do I keep a kid calm when we have to go to a shelter? It still surprises me when I hear someone say, “We have been in our car for four days, waiting to be able to get to a shelter.” Can you imagine, with two kids, and a two-year-old, inside a car since Saturday and finally being able to find a shelter? Cooped up inside her car, trapped because she can’t really move, waiting for someone to rescue them?

Seeing people [airlifted to safety]. And then seeing people reunite at the shelter because some of them haven’t seen each other for days—that’s something that you carry with you forever. Or people arriving to shelters and immediately being given oxygen, things like that. I just came from a shelter and one of the dogs [that was rescued] started pulling on its leash wanting to jump into the lap of its owner who is in a wheelchair. That’s the type of thing that we’re seeing.

And also the volunteers, it’s just amazing. Last week we were hearing about a nation divided over a dark history, and then all of a sudden all of that is not important anymore.

© Marie D. De Jesús, Houston Chronicle

© Marie D. De Jesús, Houston Chronicle

PDN: Have you been in dangerous situations?

MDJ: Walking in water that was up to my chest. And then I saw a snake pass by me. It was a small snake but still, when you have water up to [your chest] and you see a snake pass by, it’s little things like that. You’re running on adrenaline constantly. And I can’t imagine for the shooters that have been really being involved in even heavier stuff.

PDN: Have all of your colleagues been safe?

MDJ: Yes, everybody is in good shape. Under these conditions every solid photo is a miracle. Making really good photos is hard, it takes a lot.

PDN: Have you been focusing on stills or video footage?

MDJ: It is important for the Houston Chronicle that we shoot video, but we have all focused mostly on stills. We have a videographer, he’s supposed to be doing mostly video but the conditions have been difficult for video. So I know he has also been shooting mostly stills.

PDN: I would imagine it has been incredibly difficult to move around. How have you done that?

MDJ: I am using a company car, a four-by-four. But you know you keep turning around. I have been driving against traffic on a major highway because you have to turn around, you can’t cross those waters. And then I get on the medians; I use the truck in ways I could never imagine was possible. Things that would be so not OK with law enforcement, but under these circumstances you climb anywhere that you can to be able to pass that body of water, that pool of water, that puddle. Whatever you need to do to make it happen. We all constantly have to turn around. We let each other know: “Hey, I-45 is still a lake by main street. Don’t even try.” That has delayed the process.

PDN: What do you see unfolding for you over the next couple of days?

MDJ: I think we’re going to have to start to focus a lot on where are these people staying—all the evacuees, all the victims, we’ll have to start focusing a lot more on their life conditions. Also the water will come down eventually and we’ll start seeing the damage, and that might mean a lot of bodies. So that’s what we need to keep our eyes and ears open [for]. How are people still being affected? What’s under those waters? Was there real damage? And then the cleaning process. We’ve got to rebuild.

For more on Hurricane Harvey from the photo staff of the Houston Chronicle, go here.

Related: Mark Peterson: Photographing the Hate in Charlottesville Up Close

The post Houston Chronicle Photojournalist Marie D. De Jesús on Harvey and Home appeared first on PDNPulse.


Source: PDN Pulse

Houston Chronicle Photojournalist Marie D. De Jesús on Harvey and Home

PDN Video: Photographer Oriana Koren on Breaking Barriers to Success

PDN Video: Photographer Oriana Koren on Breaking Barriers to Success

Oriana Koren shares tips and advice on how to make it as an editorial photographer, gleaned from her experience as a woman of color in a predominantly white male business. In our video interview, she describes how she leveraged prejudice to motivate herself, learned how to pitch stories to get editors to respond to her emails, and developed a niche that has propelled her career. She talks about portfolio reviews and self-doubt with words of encouragement every photographer will appreciate.

Related:
Photographer Maggie Steber on Women, Minorities and How to Nurture Talent

Forward-Looking Food Photographers

Businessweek’s Clinton Cargill: Who I’ve Hired

Video: Ruddy Roye on Instagram, Storytelling and Risking the “Angry Black Man Label”

 

The post PDN Video: Photographer Oriana Koren on Breaking Barriers to Success appeared first on PDNPulse.


Source: PDN Pulse

PDN Video: Photographer Oriana Koren on Breaking Barriers to Success

This Photographer Used a McDonald’s Big Mac Box to Light Portraits

This Photographer Used a McDonald’s Big Mac Box to Light Portraits

French photographer Philippe Echaroux recently decided to challenge himself in the area of shooting portraits of strangers. Instead of using high-end camera equipment, he decided to use an iPhone and light his subjects using a McDonald’s Big Mac box.

“I like to challenge myself,” Echaroux tells PetaPixel. His lighting rig consisted of a flashlight, a drinking straw, and a Big Mac box:

Here’s what it looks like when fully assembled and operational (for extra light reflection, Echaroux recommends rubbing oil from the fries onto the inside of the box):

Echaroux then took the makeshift light out and began photographing people:

Here are the portraits Echaroux managed to capture using this unusual setup:

Not bad, eh? Last year, we shared another series of portraits Echaroux shot by setting up a makeshift studio into a building hallway.


Image credits: Video and photos by Philippe Echaroux and used with permission


Source: PetaPixel

This Photographer Used a McDonald’s Big Mac Box to Light Portraits

Film Spotlight: ‘Beach Rats’ Explores Teenage Angst In This Bold New Drama

Film Spotlight: ‘Beach Rats’ Explores Teenage Angst In This Bold New Drama
New York filmmaker Eliza Hittman’s feature film Beach Rats—which won best directing at Sundance—is officially out in theatres. The film was inspired by a selfie director, Hittman saw online of a teenager looking for love. Set in Brooklyn, it follows the life of Frankie (British actor Harris Dickinson) as a Coney Island “beach rat,” and all the trouble he gets up to. From sexual confusion to robbery, he suppresses his own homosexuality. With days spent smoking at a vape bar, a quiet…

Keep on reading: Film Spotlight: ‘Beach Rats’ Explores Teenage Angst In This Bold New Drama
Source: V Magazine

Film Spotlight: ‘Beach Rats’ Explores Teenage Angst In This Bold New Drama

How to Make a Realistic Shallow Depth of Field Using Photoshop

How to Make a Realistic Shallow Depth of Field Using Photoshop

In this 20-minute tutorial by PiXimperfect, learn how to use Photoshop to create a realistic bokeh effect in your photo. Creating a shallow depth of field after you’ve taken the shot can be tricky to do convincingly, but this tutorial will show you one method for how to do it.

By harnessing the power of depth maps, you can tell Photoshop exactly how near or far different elements of the scene are to the camera.

Creating a selection of the subject is the first, and most important, part of the process. You can use any of your favorite selection techniques, but you need to be really careful to get it right as it’s a destructive action.

Once you’ve refined the edges of your selection, you can work on perfecting the mask which will act as your depth map. It’ll look something like this:

To make it realistic, you need to have the amount of blur in the image varying between those objects furthest away from the camera, and those nearest.

The technique lets you take a portrait like this…

…and turn it into this:

It’s a lengthy process, for sure, but it might be necessary if you’re trying to rescue a shot that you didn’t get quite right in camera. Check out the full tutorial above for proper instruction about how to achieve this.

(via PiXimperfect via Fstoppers)


Source: PetaPixel

How to Make a Realistic Shallow Depth of Field Using Photoshop

Here Are the First Nikon D850 Sample Photos Shot at ISO 25600

Here Are the First Nikon D850 Sample Photos Shot at ISO 25600

Nikon has been promising huge things for shooting the new D850 at high ISOs. If you’d like to see how the camera performs at the limit of its native range (ISO 25600), we’ve got our hands on some first real-world sample photos.

Dutch photographer Niels de Vries attended a Nikon event in Holland, where he was able to shoot test shots with the D850 of attendees and a musician in a dimly lit environment.

Here are the sample JPEG photos he captured at different ISO values (you can click each photo to view them in the original resolution):

ISO 1250

ISO 3200

ISO 6400

ISO 8000

ISO 12800

ISO 16000

ISO 25600

100% Crops at ISO 25600

Finally, here are a few 100% crops of a few of the ISO 25600 photos above.

As we reported yesterday, the Nikon D850 has been selling like hotcakes and will likely be out of stock for weeks or months for anyone who didn’t place an early preorder. It’s currently a #1 seller over at B&H.


Image credits: Photographs by Niels de Vries and used with permission


Source: PetaPixel

Here Are the First Nikon D850 Sample Photos Shot at ISO 25600

How I Plan My Landscape Photos for the Highest Chances of Success

How I Plan My Landscape Photos for the Highest Chances of Success

My name is Albert Dros, and I am a professional landscape photographer from the Netherlands. People often tell me that I am “in the right place at the right time.” But I obviously don’t post “failed” shoots. And not only that, I also spend a great deal of time planning my shots in order to make my chances of success as high as possible.

Some of you may be thinking: “What is this guy talking about? I just go out and shoot and see what I come up with”. Everyone is free to do whatever they want, of course, but I’d like to discuss how to help you find optimal conditions.

I planned and captured this perfectly aligned moonrise photo. Click here for my BTS article.

I use a bunch of tools for planning my shots. Here they are:

WeatherPro Smartphone App

When planning perfect conditions for your landscape shots, a lot of it depends on the weather. To accurately monitor the weather, I use the WeatherPro app. Keep in mind that the basic version predicts the weather every 4 hours. The Premium version predicts it for every hour and costs $9 per year. Knowing the weather every hour is important, especially during mornings and evenings as you want to see what kind of sunrise or sunset you will get. The WeatherPro app is often accurate in its predictions.

Here are some things to look for in the app:

Cloud Cover: If you want an epic burning sunset you will need clouds. It’s best to have a kind of thick cloud layer with a big opening on the horizon where the sun will come underneath to cast its light on the clouds during sunset.

Fog and Mist: The app often predicts fog and mist (which mostly happens during mornings). Also look for high humidity.

Wind Direction and Wind Speed: If I want to shoot at a lake or canals (in the Netherlands we have lots of canals) I want to see some reflections. It’s important for me to have a wind speed of lower than 20 km/h (~12.5mph) to get decent reflections with a long exposure shot. Wind direction is also important for long exposure shots, as the wind coming towards or from behind gives a vortex effect in your shot, while wind from the side gives you a completely different effect as your clouds will move sideways in your shot.

Here’s an example of ‘the vortex effect’:

And here’s an example of the sideways effect:

These shots were both planned beforehand, knowing wind speed, wind direction, and cloud cover.

Cloud/Rain/Fog Radars

Depending on what country you are in, some countries have very detailed real-time radars. Fog and visibility radars are super useful. When I am going to shoot a sunrise and fog is predicted, you want to be sure that there is actually fog when you wake up (so that you don’t get up at 4 AM for nothing). What I then do is check the visibility radar in my country (we have one in the Netherlands). I can see the actual live visibility on this radar for every place in the country. If the visibility is low (lower than like 3 km) I know that there is fog and that it’s time to get moving. You’ll need to find radar data for whatever country and location you’re in.

Photopills

You can basically use Photopills for everything else you need. The Photopills website also offers countless of reading and video material to occupy you for weeks. You can plan the position of the sun, moon, Milky Way, stars, star trails, moon phase, sunset times, moonset times, everything.

The augmented reality function is the one I use most. With this, you can hold your smartphone in front of you and use the camera of the phone and see all kinds of info in real time. This way you can plan a sunset/sunrise or moonset/moon rise at a certain scene by holding your camera and checking what date/time the sun or moon will be at an exact location.

You can also plan Milky Way shots with this. By going to a location during the day, you can see how the stars align at different times during the night. These are all tricks to carefully plan aligned sun/moon/Milky Way shots.

Here are some handy functions to be aware of:

  • See exact daily times of sunset, sunrise, blue hour, twilight etc
  • See exact locations and elevations from the sun/moon/Milky Way
  • Moon calendar for moon phases. A new moon is important for Milky Way shots
  • Augmented reality function to see things in real time
  • Star trails calculator for different exposure times
  • Much more. I honestly don’t even know all of the functions myself.
This photo was planned with Photopills to align the sunset exactly at that time of year. I used the WeatherPro app for the weather forecast (clouds) and the wind direction to get this vortex shot of the Amsterdam canals with the sunset exactly in the middle of the bridge.

Sun and Moon Calculators

I use suncalc.org and mooncalc.org. Similar to Photopills and free. These are just websites that quickly let you check the sun/moon position on certain dates. Quite helpful if you don’t have the app and just quickly want to plan a moon/sun shot.

Webcams

What a lot of people do not realize is that tons of places have live webcams. Webcams are extremely useful to check the weather on location. Even traffic cams can be used. When you want to visit a location in your own country, check the weather on a webcam and see how the weather looks right there and then. You’ll be amazed how many places actually have webcams. Just type ‘THE PLACE NAME + webcam’ into Google!

Common Sense

When you’re doing landscape photography, you’ll start to know the weather (especially in your own country) after a while. For example, great colorful sunsets usually appear when there are lots of clouds in the sky with a big opening at the horizon right before sunset.

Another thing when planning shots of certain buildings is to just call them and verify that there’s no construction. I often hear people wanting to take that iconic shot of a beautiful church or cathedral, only to find out that the whole thing is under construction when they arrive. It only takes a phone call to quickly ask, especially if you have to drive a bunch of hours to get to the location.

I plan most of my shots with a combination of the things mentioned in this article. These are the tools I personally use. Regarding smartphone apps and websites: there are obviously alternatives to the things I use, and everyone has their own preferences.

Tons of shots in my personal portfolio were simply planned with the above tools. Of course, when you go out to shoot a lot you occasionally get some ‘luck’ and find some epic conditions. But more often than not, a shoot still fails.

I hope you found this information and inspiration useful. Good luck!


P.S. If you’re wondering how I planned the volcano photo at the top of this post, here’s a behind-the-scenes article I wrote about it. Last year, I also shared 10 tips on how to improve your landscape photos.


About the author: Albert Dros is a 31-year-old award-winning Dutch photographer. His work has been published by some of the world’s biggest media channels, including TIME, The Huffington Post, The Daily Mail, and National Geographic. You can find more of his work on his website, or by following him on Facebook and Instagram. This article was also published here.


Source: PetaPixel

How I Plan My Landscape Photos for the Highest Chances of Success

How To Get Lady Gaga’s Stripped Down Look From V109

How To Get Lady Gaga’s Stripped Down Look From V109
As a truly transformative performer, Lady Gaga has always been able to successfully use fashion as a mechanism to support her soul-baring music. Never shying away from putting her bold fashion choices on full display, Gaga is approaching a new era of expression with her stripped down look. Appearing as our cover star for V109, Gaga cast aside her typical OTT look for something more pared down in sexy cropped tees, denim cutoffs and rocker accessories.
Click below to see how to recreate Gaga?…

Keep on reading: How To Get Lady Gaga’s Stripped Down Look From V109
Source: V Magazine

How To Get Lady Gaga’s Stripped Down Look From V109

Who Needs a Photo Permit in Nevada State Parks?

Who Needs a Photo Permit in Nevada State Parks?

Nevada Law and the Nevada Administrative code have a simple definition of when you need to have a permit to shoot photos in their parks. It is based entirely on whether or not the pictures will be sold.

Nonetheless, the policy of the Parks division is that anyone shooting pictures of a model is assumed to be doing “commercial photography” even when they have evidence to the contrary. After a lengthy discussion with both a park and the Deputy Administrator of the Parks Division, they have confirmed this interpretation. And it’s worse than just getting a permit; there is a burdensome procedure you have to go through before the shoot, even if it’s just two people, and as a permittee, you are highly restricted in where you can shoot.

Let’s do a little thought experiment. Suppose there are two fellows, Bradley and Randy, who are in a State Park in Nevada.

Bradley is an internationally-known commercial photographer. He has been engaged by a top ten advertising company to produce photos for use by a foreign luxury car maker. Their idea is to take pictures of iconic American landscapes and Photoshop in their autos to make their product feel more “American.” Bradley is being paid a retainer of $50,000 to take the pictures, plus will get an additional $20,000 each for every one they use in their ads. He and his camera wander around all over the various State Parks in Nevada for two months, shooting away.

Randy made a bunch of money in the tech industry. He has used it to buy a Nikon D810 and a really big lens. He also has used that money to attract a high maintenance girlfriend, Suzy. Suzy is “a model” — she will tell anyone who listens because she graduated from Barbizon and got a job once handing out flyers at a local liquor store. In fact, since she got paid for that, she proudly tells that same anyone that she is a “professional model.” While driving around in the park, Randy has Suzy get out of the Maybach once in a while and takes her picture. He loves the power he feels from directing her, and she loves to have her picture taken. When they get home you just know that Suzy will proudly plaster those pictures all over her Facebook, Instagram and Twitter accounts. Because, well, that’s what “professional models” do.

Do either of them need a permit for “commercial photography” in the Parks? Well, let’s see if we can figure it out…

The law and regulations tell us:

‘Commercial photography’ means photography engaged in for financial gain, including, without limitation, the sale of a photographic image as a product or for use in advertising, motion pictures, portraits, television productions or portfolios and the archiving of an image by a person who uses photographic skills, equipment or resources to provide a photographic product for sale. [Source: NAC 407.0071, emphasis added.]

Well, Bradley is the big-time commercial photographer who is shooting pictures to sell for advertising and getting big bucks for it, so he needs a permit. Right?

Not so fast. The Nevada Park system has a set of rules, one of which states:

The division will not charge individual photographers that are taking pictures privately or commercially, if they are alone without props or models. Commercial photography engaged in by one person does not require a permit or any additional fees.

So Bradley is off the hook. He can keep all that hard earned money and shoot freely without restriction. But what about Randy?

Randy has a problem. His girlfriend is “a model.” Worse, she thinks she is a “professional model” and so does the Park system. Neither one of them knows what “professional model” means, but never mind that. Randy is there with Suzy, so he needs a “commercial photography” permit. That his pictures are only destined for social media, not for sale or for advertising, means nothing. That he has no chance of ever being a professional photographer doesn’t matter. That he has never made a dime from selling pictures and never will don’t matter. That what he is doing does not meet the definition in the law for “commercial photography” doesn’t matter. He is there with Suzy, taking pictures of Suzy, and so he needs a permit.

For Randy to take pictures of Suzy, all he has to do is get $300,000 in liability insurance policy, make sure the Park is a “named insured”, file an application with a $50 fee, do a survey of the Park without Suzy in the car, and then make an appointment with a park ranger, get the places he wants to take pictures of her approved, and he is all set to tour the park with Suzy the next day.

Now, he still can’t take pictures of her in places he hasn’t had approved. If they drive by a group of tourists at an especially appealing location that Randy missed during his survey, and all those tourists are taking selfies and pictures of each other, Randy can’t stop the car and take a picture of Suzy no matter how much she whines.

And if he happens to be in the Park after 5:00 PM, which is very likely because Suzy really is not a morning person, he can’t take pictures of her either, because that’s what the rules say if you have a permit. Never mind that all the other tourists can happily snap away until sundown — Randy can’t.

All the above is taken from the statute, the Nevada Administrative Code (NAC) and the Rules that the Park system publishes to describe how it administers the law and the Code. It might, at this point, be worthwhile to point out that the regulations in the Code, and the Rules which implement them, are under the authority of the Administrator, whose charter to issue those regulations and rules is also contained in the statute. In this case, the relevant statute says:

Any regulations relating to the conduct of persons within the park or recreational facilities must:

  1. (a) Be directed toward one or both of the following:
    1. (1) Prevention of damage to or misuse of the facility.
    2. (2) Promotion of the inspiration, use and enjoyment of the people of this State through the preservation and use of the facility.

(Source: NRS 407.0475)

It appears that, in the wisdom of the Nevada Park System, all the things Randy has to do, in bold above, are for the purpose of helping him find inspiration and enjoyment in taking his pictures of Suzy. Or perhaps, imposing those requirements on Randy, but not on any of the other thousands of tourists who use the park, take pictures of each other in the park, but don’t happen to have a girlfriend who is “a model” somehow protects all those other tourists.


Author’s note: A copy of this article has been sent to the management of the Nevada Parks division to confirm accuracy, but they have made no response.


About the author: Roger Talley is a former professional fashion photographer who has been retired for over a decade now. The opinions expressed in this article are solely those of the author. Talley has authored a book on modeling: The Professional’s Guide to Modeling. You can find more of his work on his website and portfolio.


Image credits: Header photo by Anthony


Source: PetaPixel

Who Needs a Photo Permit in Nevada State Parks?

How to Do Splashes in Product Photos Using Speedlights

How to Do Splashes in Product Photos Using Speedlights

Adding a splash can add impact to product photos that involve liquid. Here’s a 9-minute video in which photographer Dustin Dolby of  workphlo shows how you can capture splashes with speedlights.

With your glass set up on plexiglass to achieve a perfect reflection, utilizing the tips in his previous tutorial about photographing glass to achieve proper lighting, try putting a couple of diffusers in front of the speedlight to achieve a silky look.

This will remove the harsh edges around the glass you may be experiencing. Here’s the difference it makes:

With a second speedlight set up from the side, on the lowest power possible, it highlights the edges of the garnish on the glass. The low power means a shorter flash duration, which is essential for freezing the water later on.

By capturing initial exposures like this, and perfecting the light before adding the splashes, you’re able to create compositions between a splash and your “blank canvas” frame. For example, should you accidentally cast a shadow over the frame, you can mask this out of the background easily.

Another great benefit of this is that you can comp out the dirty plexiglass, which will inevitably be covered in splashes from dropping an ice cube into the glass again and again.

The dramatic background is created by using curves later, bringing in the attractive gradient instead of leaving the high-key background. Check out the full video above to see exactly how to do this for yourself.


Source: PetaPixel

How to Do Splashes in Product Photos Using Speedlights