I like this short vid, it really highlights some great points which can be not only applied to Fashion. When editing any work it is great just to go with your gut and consider relationships that images have with each other ... enough paraphrasing just have a watch and learn from the man himself ... Alexi Lubomirski

Source (Alexi Lubomirski Youtube) (music "LIKE SWIMMING" by Broke For Free @tomcascino)

QUICK TIP 6 // Using Smartphone Flash To Light Portraits

In this quick tip, we show how using a smartphone flash (iPhone in this case) can make an ambient portrait come alive by helping to separate the subject from the background.

Just watch the position of the light as it is a hard light source. For quick black and white portraits, it can be a great way to make a more interesting portrait.

Working With What You Are Given: 6 Tips for Photographing Light


We can all appreciate the beauty of the unpredictable – and the weather mama earth chooses to bestow upon us with each day is exactly that – unpredictable. Understanding ever-changing conditions and working with what you're given are skills every photographer hopes to hold within their tool belt. After borrowing a friend's camera in Slovenia 5 years ago, Matthew Payne set out to travel over 50 countries and hasn't put the camera down since. We sat down with Matthew for some insider tips to capture light no matter where the course leads.

01. Time it Right

My absolute favorite time to shoot is in the last hour of daylight. It's a time when the light hits your camera sensor with a softness that no amount of editing can make up for. When shooting in a new location, it's crucial to know where you want to be for the few minutes before the sun breathes its last breath. Research what time the sun will set and time your shots when you can expect light to pour into your frame, hitting the peak of that mountain or spilling into that church.





No Frills HEADSHOT With & Without a Reflector

Quick Tip #2 in our ongoing no idea when we finish tutorial tips. So here we are again so the simplest head-shot EVVVER. Once again we have our trusty white wall and reflector. Whip out your camera set it to your largest Aperture you can focus on an eye whack a reflector camera left of light sorce (in this case our shop front window and ......BAAAAAMM.

Above we have no reflector (left) and with a reflector (right). We used the Leica Q set to a 50mm crop which is still a HUGE 8mp capable of 10x8" prints. All ya really need I say. A subtle but pleasing difference. Below is a basic diagram of the shooting location and the light direction

Crop above just for quality purposes. Nice and spanky. Now the final image below after Photoshop and some film emulation (thank you Exposure 7)

Not that it is needed but above is a crop of the eye area, nice and sharp.


So, a NEW regular feature which Nick and I have decided to do until we run out of brains. Every Monday  8;35 AM, we will post some random 'QUICK TIP' related to photography. Some lame, some brilliant, stay tuned and without further adieu ...

Harsh Light 30 Second Environmental Portrait

Over breakfast this morning (Sat 7th November) Nick and I decided to put up some quick low-fi photo tip just for kicks. We eventually decided on a Harsh Light Portrait scenario, an obvious problem when you live in sunny QLD. I am certain many of us have wished to take a portrait of someone in the middle of the day; the sun beaming down harsh as ever frying ones retina at any opportunity. You get the general idea.

So what do ya do? Simple, grab a wall in the shade and a reflector (white card whatever), place it on the ground leaning against something so as to angle the sun towards your subject (your bag would be a great leaning post). Fill in the shadows of your subject and shoot away, the rest is Lightroom.

There you have it, couldn't get much simpler really. Remember you can find anything white for a reflector. Hell, even some cardboard painted white or wrapped in cheap-ass silver-foil would do. Above are 3 examples of Nick Bedfords image post processed in Adobe Lighroom CC using the 3 separate VSCO presets.

What a HOOOOOT shot, it's obvious you need awesome models to get the best results.


Well, lets just say I’ve gotten better at this over the last couple of years. The left image was one of the first I’ve “scanned” with my DSLR, and the one on the right I’ve just rescanned using the techniques described below (higher resolution available here). Right now I can get higher resolution and better image quality that what street labs give you on CD.

I’ve seen many articles on the web explaining the basics of digitising film negative or transparencies with a digital camera. The basics are quite simple: you take a photo of a negative into a light source and invert. That’s it. But that alone led me to scan negatives that looked like the one on the left, above. Because I’ve never seen one tutorial that told me “the whole story” of how to do it properly, I’ve decided to put together what I’ve learnt during the last two or three of years of scanning film with my DSLR.

0. WHY?

  • Street labs can usually scan the film but I’ve got bad scans and missing/cut frames more than once. Also, when you scan, you make some artistic decisions over contrast and colour that are often definitive. By leaving these decisions to a machine or someone else, you are losing control over your creative freedom.
  • I often develop film myself and I don’t own a film scanner. Even if I did, good film scanners cost a fortune and I get better quality from scanning the film with my DSLR than I would if I used an average scanner.
  • Very precise control over colours, highlight and shadow curves, while making use of the vast film dynamic range.

These are my reasons, you may obviously have different ones. Some people do this because it’s faster than using a scanner, but that depends on how much time you spend post-processing, and I do spend a bit more than I would like to admit, but it is a time spent doing something that gives me pleasure, not pressing buttons on a poorly designed software and waiting for a tedious scan.

All the following instructions have the objective of achieving the best possible resolution, colour depth and dynamic range out of the film, while keeping image noise as low as possible. Also, I aimed at keeping the whole process as quick as possible. I think each time I’ve made a scan I’ve got better results than the time before, because I keep improving the process and now I’ve got to a stage I’m quite happy with the results.

I’ve separated this tutorial into five sections, and you may want to skip, or skim through some of these.


3 camera lessons every new photographer should learn (free cheat sheet)

We love FREE stuff so when the people over at digitalcameraworld created this great FREE CHEAT SHEET, we had to pass it on

If you’ve just bought your first camera, you’re probably finding a bit of a learning curve in getting up to speed with all of its bells and whistles. There are a number of great beginner photography tutorials out there that can help you get to grips with all that functionality.

Before you get you get started, though, there are three fundamental concepts you need to understand: how your camera’s shutter speed scale works; how focal length affects your composition; and how your aperture controls what’s sharp.

We’ve explained each of these concepts below, and we’ve also compiled everything into a handy photography cheat sheet for you to download and save!


Source (

TUTORIAL // Color Film Scanning by Michael Fraser

Michael Fraser is a Toronto-based fine art and street photographer, working primarily on B&W and color film. He has put together a great trio of Color Negative Scanning articles. I really think they are a great introduction for anyone looking to better understand scanning their negatives. For those who already have a good grasp of the basics, your in luck because by the end or his 3rd installment ... you'll be happily surprised. Enjoy

Part 1 - The Rationale

Let's face it: scanning colour film - particularly colour negative film - isn't life's most enjoyable task.  Getting the colour just 'right' can be tricky, and the inability to preview the shots prior to scanning (one of the major benefits of reversal film, FWIW) is a drawback.

Nevertheless, good results are possible.  I've been a strong advocate of a workflow based upon scanning to linear TIFF files (preferably using Vuescan), and doing the orange mask removal and inversions using the ColorPerfect plugin.  For those who haven't seen it and would like to, my workflow is available here.

Since that video was produced, however, there have been some substantial changes to my film scanning workflow, the most profound being that I no longer actually use a scanner.  Based on my tests from late last year, I decided to sell both of my film scanners and move completely over to a DSLR scanning system, based around a Nikon D800 and a Tokina 100 f/2.8 macro lens.  I've written about my workflow with this system previously, and I'm very happy with the final scans I've been getting out of this system.

Despite this, there are two things that always bothered me about the Vuescan/ColorPerfect workflow: first, the complete inability to batch the process on multiple images, and second, the lack image-to-image reproducibility in ColorPerfect.

Both of these are essentially criticisms of the ColorPerfect plugin itself (though not, it should be noted, of the quality of the final product that ColorPerfect can produce).  The plugin isn't compatible with Photoshop actions (except to call up the plugin), and the controls are not at all intuitive, which makes it very difficult to get consistent results between frames.  That is, two shots, taken in the same light, may end up with very different final scans, depending on the way in which you, the user, manipulate the controls in ColorPerfect.  And as I said, knowing which control does what is not exactly straightforward.

With this in mind, I decided to try to improve upon the process, and to develop an entirely Photoshop-based process for colour negative scans.  The three conditions for a successful process were:

  1. Output as good as - or better than - what ColorPerfect can produce (it goes without saying that image quality should be the primary concern),
  2. The ability to batch at least part of the process (it'll never be 'set and forget', but if an entire roll could be ingested into Photoshop and at least inverted, with an easy way to finish the colour balancing, I'd be ok with that), and
  3. Frame-to-frame reproducibility.

Against my better judgement, I'm going to "live" blog this process.  I'll try to update this every few days with my progress, and to detail the thought process behind the things I'm doing.  In the end, I'm hoping that I can develop a simple Photoshop action (which will be shared with whoever wants it, of course), which could help film photographers gain a little bit more control over their colour negative film scans.

So here we go.

Source (

10 Tips on Street Photography by Pau Ll. Buscató

Pau Ll. Buscató is a street photographer based out of Barcelona, Spain, now roaming the streets of Oslo, Norway. We love his style (one of his NYC shots is the cover of this year’s EyeEm Festival & Awards) so we asked Pau to share some of his tips on how to get into taking photos on the streets.

From the desk of Pau Ll. Buscató:

Street Photography is difficult and demanding, but at the same time very rewarding when you collect the fruits of your hard work. It asks you to be 100% into it but the average rate of really successful shots is around 0,1% or less. That means you’ll need a lot of patience and persistence.

The EyeEm team asked me to write a list of important things to have in mind when approaching this kind of photography, and here are 10 that have helped me in both practical and more inspirational ways. Scroll down to read them!

1. Avoid gear distractions

Minimising your photo equipment to the basics will help you focus on what really matters: the photographs. Pick one camera/lens and stick to it for a long time in order to master it and use it instinctively on the streets.