Photography Masterclass-[2021]

PHOTOGRAPHY MASTERCLASS MAGAZINE | ISSUE 104 Photography

MASTERCLASS

BUYERS GUIDE LIGHTROOM

THE GODOX TL60 THE AMAZING
TOOL I USE
LED TUBE LIGHT
ON EVERY PHOTO
REVIEWED


EXPERT GUIDE

Daniel Hollister BEST LENSES FOR

Interview WEDDING
PHOTOGRAPHY
CARVING HIS PATH TO
SUCCESS IN BEAUTY INSPIRATION
PHOTOGRAPHY
5 COMMON
MASTERCLASS SHOOTING
MISTAKES

ESSENTIAL GUIDE TO SHOOTING STUNNING

Car Photography

Photography

MASTERCLASS

MAGAZINE

EDITORS: PHOTOGRAPHERS:
Gill Roberts
Kevin Roberts Christer Ehrling
Jan Boutrup
CONTRIBUTORS: Meerhund
Jo Plumridge Alice Alinari
Sergey Ferdinandovich
Krystal Kenney Sergey Katyshkin
Daniel Hollister Nojan Namdar
Jamie Windsor
/ER 'V^I^MĕWOM
Nigel Danson Jacce S
COOPH (Cooperative Of Photography) Pap Yan
Chaunceton
Night Lights Films - Adrien Mauduit Rogerio Okabe
Ben Johnson Jason Enrico
Alex Cortis
Josh Morgan (Momentum Productions) Kayshaune
Leo Szabo
COVER PHOTO BY: Corne Du Plessis
Kayshaune David M. Kraus
Nikita Vantorin
Contact Details: JH Photography
A Binmassam
Email: [email protected] Natilyn Hicks
Web: Photographymc.com Robin McSkelly
Facebook Page: Facebook.com/PhotographyMasterclassMagazine Jason Wong
Facebook Group: Facebook.com/groups/PhotographyMasterclassMagazine Isabella Mendes
Twitter: Twitter.com/MagazinePM Asoggetti Photography
Instagram: @photographymasterclassmagazine Oscar Ivan Esquivel Arteaga

© Photography Masterclass Magazine /IǺVI] ;IKV^]R
Antonio Uquiche
Jakub Sisulak
Natalie Dobson
Evelien
Jeana Shandraw
Viktor Vasicsek
Bhavani Singh Solanki

05

Editors Choice

A Hand-Picked Selection Of Our
Favorite Photos

23
Expert guide

Best Lenses For
Wedding Photography

33

Masterclass 49 Featured
Photographer
Essential Guide to
Stunning Car Photography We Speak To Photographer, Daniel Hollister,
whose Carving His Path To Success In
Beauty Photography

15 31 67 71 80

Inspiration Editing Timelapse Readers BUYERS GUIDE

Avoid These 5 The Amazing Tool I The Land Of Gallery The Godox TL60
Common Shooting Use On Every Photo Dancing Lights - LED Tube Light
Mistakes Beginner in Lightroom 4K Norway Aurora Your Best Shots Reviewed
Photographers Showcased

Make

EDITOR’S

NOTE
Welcome to this edition
of Photography amazing tool he uses on every photo
Masterclass Magazine in Lightroom. And we look at the
some of the best lenses to use for
Car photography is a great genre wedding photography and why these
to start working in. The challenge are the ones that should be in your
of putting a beautiful location and kit. We also bring you an in-depth
a stunning car together is definitely interview with photographer, Daniel
one worth experimenting with! In Hollister, who is carving his path to
this issue, we look at how best to success in beauty photography!
approach photographing cars, and
the equipment and techniques you’ll And don't miss our review of the
need to get great results. brilliant Godox TL60 LED Tube Light!
We hope you enjoy this issue. If
Also in this issue - in our inspiration you try out any of the techniques
article, we look at 5 common shooting mentioned, we’d love you to see your
mistakes beginner photographers results, so please do share them
make! Nigel Dawson reveals the with us in readers' Facebook Group.

Happy Shooting!

Gill

MESSAGE FROM GILL ROBERTS

THE EDITOR

Photography Masterclass Magazine | 4

EDITOR’S

CHOICE

A Hand-Picked Selection of
our Favorite Photos

By: Christer Ehrling
Website | Instagram

EDITORS CHOICE

By: Jan Boutrup
Instagram

EDITORS CHOICE

By: Meerhund
Shot Details: Canon EOS 60D
at 300mm, ƒ/5.6, 1/20s, ISO 100

Website

EDITORS CHOICE

By: Alice Alinari
Shot Details: Nikon D800
at 24mm, ƒ/3.5, 1/250s, ISO 200

Instagram

EDITORS CHOICE

By: Sergey Ferdinandovich
Shot Details: Canon EOS 1DS Mark III

at 100mm, ƒ/3.5, 1/160s, ISO 50
Website | Instagram

EDITORS CHOICE

By: Sergey Ferdinandovich
Website | Instagram

EDITORS CHOICE

By: Sergey Katyshkin
Shot Details: Canon EOS 5D Mark III

at 85mm, ƒ/5.6, 6s, ISO 200
Instagram

EDITORS CHOICE

By: Nojan Namdar
Shot Details: Canon EOS 6D Mark II

at 50mm, ƒ/5.6, 1/160s, ISO 100
Instagram

EDITORS CHOICE

By: Jan Brzeziński
Instagram

EDITORS CHOICE

By: Jacce S
Shot Details: Fujifilm X100S
at 23mm, ƒ/2.8, 1/125s, ISO 640

Website

INSPIRATION

BMEIG5SITCNAONKMEERMSOPTNHOOSTHAOVOGOORITDAINPAGHSEAR

By Krystal Kenney fast track through some common mis-
takes that first-time photographers
A s a beginner photographer 15 commonly make and help you focus on
years ago, I made a lot of mis- the next levels of bettering your work.
takes! But through those mis-
takes, I learned so much about Remember the more you shoot the
my style and who I was as a photogra- better your work is bound to become!
pher. Just like with any passion or job, So, try to think about these 5 common
it takes time to learn and better your errors every time you shoot so you
trade. don’t make them yourself.

But this article is designed to help you

Photo by: Antonio Uquiche

INSPIRATION

Photo by: Viktor Vasicsek

1. OVEREXPOSED super sunny day, but you are shooting
AND UNDEREXPOSED the shade then your camera tends to
IMAGES become confused. When there are two
contradicting light sources entering the
When we first begin our shooting sensor it doesn’t know which to expose
career, we often set the camera to for hence your photos come out with
program or automatic mode and then the wrong lighting.
wonder why some of our images are so
dark or bright and not what we want at The best way to avoid this situation
all! It’s important to remember that you is to shoot in manual mode. Learning
are smarter than the camera. to shoot in manual mode is the best
way to give you full control over your
It may not feel like this at first, but your camera and to make sure your exposure
camera is reading light, but you should comes out correctly. It is pretty easy to
be in control. If you are shooting in an learn and you get check out Issue 47
environment that has multiple lighting of Photography Masterclass Magazine
situations going on, such as a dark room where we cover how to get to grips with
with a bright window, or outdoors on a manual mode. So get started today!

INSPIRATION

2. TREES AND Try to stay focused while shooting and
BUILDINGS GROWING double-check what you see through
FROM HEADS your camera’s viewfinder to make sure
you don’t have any strange happenings
Whenever you are shooting people behind your subjects. Another great
or taking a portrait it is vital that you thing to do is imagining a fist above
check your surroundings. You may your subject’s head to allow space. This
be so caught up in the moment that comes in handy as a check but also
you forget to look around and you for when they print, as printers tend to
completely miss that giant tree coming crop photos into smaller pictures.
out the center of mom’s head!

Photo by: Bhavani Singh Solanki

INSPIRATION

3. NOT BACKING UP You can download this app for free on
YOUR FILES your phone and it will automatically
backup your photos on their drives, you
In this rapidly moving digital age, we can always access all your photos on
often forget to backup our files. Most the app even if you delete them from
photos will never see the light of your phone.
day, meaning they won’t be printed
but simply stored on our phones and For your computer, it is better to buy
computers. You wouldn’t want to lose a hard drive or use a service such as
some of your most precious vacation Dropbox to backup your files. And if
memories or time with family and you are an Office 365 subscriber (which
friends because your phone is stolen many people who own Windows
or your computer crashes. computers are) you get 2 TB of
OneDrive Cloud storage for free as part
There are a ton of options out there of your subscription. You can use this
when it comes to backing up your files. to automatically back up your phone
One of the easiest is Google Photos. photos and your computer files.

Photo by: Evelien

INSPIRATION

4. AWKWARD POSING

We are definitely not all born models!
Even worse, many times when you
put a camera in front of someone
they instantly become like a deer in
headlights, looking frightened and
unsure of what to do. The best way to
work around this issue is to get in front
of the camera yourself! Ask a friend or
another photographer to take photos of
you so you can feel what it’s like to be
photographed and learn how to move
your own body.

Photo by: Dmitry Ratushny Photo by: Jeana Shandraw

When you get the exact feeling as your
subject you will better understand how
to guide them later. Also, it’s important
to chat with people through shoots,
laugh, make jokes. The more you relax
them, the more it will shine through
in your photos. Verbal cues are great
as well. Try these: run, twirl, tell your
partner a secret, jump as high as you
can, give me some hair flips. They all
work great for natural reactions.

Photo by: Daniel Corneschi

INSPIRATION

5. BLURRY OR
SMUDGED PHOTOS

Often times when I am giving private The second problem is that oftentimes
camera lessons, my client will say their you are setting your shutter speed too
photos are all so blurry! There are two low. This is mainly a problem when
main reasons for this. The first is the shooting in automatic modes. Your
easiest and most common. Your cam- camera will set the shutter speed way
era lens is made of glass and it gets too low to be handheld. Anything below
DIRTY! I can’t tell you how many times a 50th of a second should be put on a
I looked at their lens or iPhone camera tripod or stable surface. If you do not
and it was covered in finger stains and own a tripod you can also use the timer
dust. It’s important you buy a cheap on your camera and place it on a table
microfiber cloth to keep your camera’s or pile of books. That way it won’t move
glass clean and working for years to while the shutter snaps.
come.

Photo by: Natalie Dobson

INSPIRATION

Photo by: Jakub Sisulak

CONCLUSION

Learning photography is a rewarding attention to the common errors above
and fun way to pass your time. Whether so that your photography can keep
you are a hobbyist or professional in advancing with fewer headaches.
the making remember to pay extra

About the Author:

Krystal Kenney is an American photographer residing in Paris, France. She also runs a
popular podcast about artists with French connections called "La Vie Creative" available
anywhere podcasts can be found. You can see some her work on her website or Instagram.

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EXPERT GUIDE

BEST LENSES FOR

WEDDING PHOTOGRAPHY

Photo by: Natilyn Hicks

by Jo Plumridge

L enses are the most important right lenses can make all the difference
piece of kit to invest in – good to your shots. In this article, we’ll look
glass makes all the difference at some of the best lenses to use for
to your images. When it comes wedding photography and why these
to wedding photography, having the are the ones that should be in your kit.

EXPERT GUIDE

Photo by: IåýųåƼ œåčųDŽƼĹ

OTHER GEAR

Professional wedding photographers often get higher quality lenses for a
always carry two camera bodies. cheaper price than a zoom equivalent.
Weddings are not staged events and However, there’s no doubt that a zoom
things happen spontaneously. Having lens is extremely practical for shooting
two cameras with two different focal weddings as it allows you to cover a
lengths to hand means a photographer range of focal lengths quickly from one
can capture things quickly, without spot. Some photographers use only
missing any special moments. Pros primes, some use only zooms, some
also carry flashguns for each camera use a combination of both. What I would
and sometimes a tripod for the large say to you is that if you’re just starting
group shots. out shooting weddings, the best lenses
will be the ones you already own!
PRIME VS ZOOM Consider renting other lenses to try out
before investing lots of money. You’ll
Prime lenses offer the largest maximum
apertures and, as the glass only WSSR JMRH [LEX [SVOW FIWX JSVc]SY
has to cover one focal length, you’ll

EXPERT GUIDE

WEDDING PHOTOGRAPHY
LENSES

I’m going to discuss the lenses that I
think are most suitable for wedding
photography. However, you wouldn’t
want to own all of these! These
choices cover the ideal prime and
zoom lenses from which most wedding
photographers pick their favorites. Do
note that I’m talking about these lenses
as if they were being used on a full
frame camera, so adjust to equivalent
JSGEP PIRKXL EGGSVHMRKP] EWcRIIHIH JSV
your camera's sensor size.

Photo by: Isabella Mendes

EXPERT GUIDE

Photo by: Oscar Ivan Esquivel Arteaga

24-70MM F2.8 70-200MM F2.8

If you only had one camera and one The 70-200mm is the natural
lens, this would be the best choice. accompaniment to the 24-70mm if
24mm is wide enough to capture group you’re sticking with zoom lenses. The
shots, whilst the 70mm telephoto end longer telephoto range of this lens
allows you to zoom in for intimate and allows you to use a slightly wider
candid shots. The large maximum aperture to keep both the bride and
aperture also allows you to use a groom sharp, whilst still softening
smaller depth of field – essential at the background and helping them to
weddings when you’re trying to isolate ‘pop’. The 70-200 is great for capturing
details from a scene. The 24-70 is details and close-ups and it’s a great
probably the most popular wedding option for portraits. The big downside
and event photography lens. The f2.8 is that it’s a heavy piece of kit and
version isn’t cheap though and it’s worth fairly pricey. It’s also a lens that you
considering third party options if you’re really need image stabilisation on, as
on a budget. Sigma’s Art line 24-70mm weddings are often shot in venues with
is a good one to consider if there’s the fairly low light and limited exposure
right mount for your camera. choices. Again, third party options such
as those from Tamron and Sigma will

GSQI MRcGLIETIV

EXPERT GUIDE

35MM F1.4, F1.8 OR F2 50MM F1.2, F1.4 OR F1.8

If you’re going to shoot with prime Countless photographers (including
lenses, the 35mm is a great wide- myself) swear by the humble 50mm
angle lens to have in your kit bag. lens and it’s not hard to see why. Even
The lens is wide enough to capture the cheapest f1.8 versions offer creamy
groups, the ceremony and even the bokeh and they offer a bright aperture
dance floor, whilst still being light and and great portrait options. Now some
easy to carry around. The lens is also manufacturers do make a f1.2 option
not wide enough to cause distortion but I’ve personally never seen the
or vignetting and the larger maximum point of paying that much extra for one
aperture allows you to get brighter aperture stop when the f1.4 option is so
shots even in dimmer locations. The good. The background separation isn’t
f1.4 options will give you the highest quite as good as a telephoto lens but
quality images but if you’re on a budget with 50mm lenses being so small and
an f1.8 or f2 version will still give you light, it’s daft not to have one in your
great results.
OMXcFEK

Photo by: Robin McSkelly

EXPERT GUIDE

85MM F1.8

The 85mm is the ultimate portrait lens,
with a focal length that’s more flattering
than a wider angle. It allows you to take
photographs in venues with limited
space and gives you images with a soft
background and pin-sharp subjects.
Best of all, the 85mm is usually fairly
reasonably priced, meaning it won’t
break the bank!

135MM F2

If you’re using one prime portrait lens
then the 85mm would always be my
first choice. But if, over time, you want-
ed to add a second telephoto prime to
your kit, the 135mm would be the obvi-
ous choice. The focal length allows you
to take candid shots more easily, with-
out your subject noticing, whilst the f2
aperture still allows for a small depth
of field with portraits. It is, however, not
a cheap lens compared to the 85mm!

Photo by: I±ŸŅĹ œŅĹč

EXPERT GUIDE

IN CONCLUSION successfully. And everyone has a
different way and style of shooting,
Whichever combination of lenses you which will influence their lens choice.
choose to use, it’s undeniable that a Hopefully though this article will go
wedding photographer needs a range some way to narrowing the field and
of focal lengths to cover a wedding giving you some choices to think about.

Photo by: Asoggetti Photography

About the Author:

Jo Plumridge is a UK based photographer, writer and lecturer. She specializes in
portrait, corporate and travel photography, and writes photography, travel and comedy
pieces for magazines, websites and books. You can see some of her work at her website
or follow her on Twitter.

EXPERT GUIDE

VIDEO TUTORIAL:

BEST LENSES FOR

WEDDING PHOTOGRAPHY

by JAMIE WINDSOR

A brief introduction into what gear you should take with you to shoot a wedding,
with an emphasis on lenses. The best wedding photography lenses will be
those that properly meet your needs. I talk about why I like each lens and its

pros and cons for shooting a wedding.

About the Author:

Originally from Bath, England, Jamie Windsor now lives and works in London as a filmmaker
and photographer. He runs a YouTube channel and his photographic work can be found at
jamiewindsor.com.

EDITING

PHOTO EDITING:

The Amazing Tool I Use On
Every Photo In Lightroom!

EDITING

VIDEO TUTORIAL:

THE AMAZING TOOL I USE

ON EVERY PHOTO
IN LIGHTROOM
by NIGEL DANSON

The is one tool I use every time in Lightroom - the graduated filter. It is really
powerful and allows you to do more than just create graduations. In this video I

explain the multiple ways I use this filter in Lightroom.

About the Author:

I am passionate about landscape photography and the great outdoors. Follow my adventures taking
beautiful landscapes in the UK and US on my website, Instagram, Twitter, YouTube & Facebook. My aim
is to inspire with Landscape photography tips and techniques.

MASTERCLASS

MASTERCLASS

THE ESSENTIAL GUIDE TO

STUNNING CAR PHOTOGRAPHY

By: Pap Yan
Instagram

MASTERCLASS

By: Chaunceton
Shot Details: Sony Alpha 5100
at 50mm, ƒ/1.8, 1/400s, ISO 100

Portfolio

MASTERCLASS

By: Rogerio Okabe
Instagram

MASTERCLASS

By: Jason Enrico
Portfolio

MASTERCLASS

By: Alex Cortis
Shot Details: Canon EOS 60D
at 190mm, ƒ/5, 1/320s, ISO 2500

Website

MASTERCLASS

By: Kayshaune
Portfolio

MASTERCLASS

By: Leo Szabo
Shot Details: Canon EOS 760D

at 24mm, ƒ/2.8, 1/2s, ISO 100
Instagram

MASTERCLASS

By: Leo Szabo
Shot Details: Canon EOS 760D
at 70mm, ƒ/2.8, 1/250s, ISO 100

Instagram

MASTERCLASS

By: Corne Du Plessis
Shot Details: Sony Alpha 99V
at 20mm, ƒ/20, 1/60s, ISO 320

Portfolio

MASTERCLASS

By: David M. Kraus
Shot Details: Nikon D750
at 50mm, ƒ/2.2, 1/200s, ISO 160

Portfolio

MASTERCLASS

ESSENTIAL GUIDE

TO STUNNING

CAR PHOTOGRAPHY

by Jo Plumridge

Photo by: JH Photography

C ar photography may seem like a simple proposition but it takes skill and
technique to capture the design and details of a car. And that’s before
you’ve added in any movement! In this article, I’ll look at how best to ap-
proach photographing a car and the equipment and techniques you’ll
need to get great results.

MASTERCLASS

Photo by: A Binmassam

GEAR Wide-angle lenses are also extremely
useful, but you don’t want to go so wide
If you’re going to be photographing that you’ll cause distortion or vignetting.
moving cars, you’ll want a camera that’s I’m a big fan of the 24-70mm lenses, which
fast, has a decent amount of megapixels cover a useful range of focal lengths but
and reliable autofocus capabilities. aren’t too wide-angle.

2SZMRK WYFNIGXW FIRIǻX JVSQ GEQIVEW Finally, an absolute essential for car
with a fast frames-per-second (fps)
rate, although this is often at the cost of TLSXSKVETL] MW E TSPEVMWMRK ǻPXIV 4RI
megapixels for really fast sports cameras. SJ XLI XLMRKW XLEX TSPEVMWMRK ǻPXIVW HS MW
However, most DSLRs and mirrorless VIHYGI KPEVI ERH VIǼIGXMSRW Ƴ TEVXMGYPEVP]
cameras have an acceptable fps rate that important when working with cars. When
will allow you to start experimenting. turned at an angle to a light source, glare

[MPP FI WMKRMǻGERXP] VIHYGIH

When it comes to lenses, I think one of LOCATION, LOCATION,
the most useful for photographing cars LOCATION
is actually a standard 50mm lens (or
equivalent ifyou’re working on a crop frame If you’re lucky enough to be shooting
camera). Even the cheapest 50mm lens a Ferrari, chances are you won’t be
tends to come with a large aperture of f1.8. quite so worried about the location!
This makes them ideal for using in low light But if you’re just practicing shooting
with your own car, a good location can
ERH [MXL E WLEPPS[ HITXL SJ ǻIPH XERHEVH QEOI EPP XLI HMǺIVIRGI XS XLI WLSX
lenses also photograph the scene as the
human eye sees it, with no distortion.

MASTERCLASS

The classic stationary car shot is that taken LIGHTING
at sunset, with the car on a hill and the
sun setting behind it. But other locations If you have the choice of when to shoot,
can work just as well – consider using the the Golden Hour (the hour after sunrise
and the hour before sunset) is always
XST SJ E GEV TEVO SV XLI VIǼIGXMSRW SJ XLI KSMRK XS KMZI ]SY XLI QSWX ǼEXXIVMRK ERH
car in glass buildings if you’re in a city for soft natural lighting. The pink and gold
tones of the light at this time of day are
I\EQTPI .XƶW ǻRI XS XV] SYX QSVI YRYWYEP I\XVIQIP] ǼEXXIVMRK XS EPP GSPSVW SJ GEV
locations but do remember that you Unfortunately it’s not always possible to
don’t want your car to look completely shoot at this time of day or to predict what
the weather will be like.
EPMIR ERH PMOI E ǻWL SYX SJ [EXIV
If you’re shooting pictures in bright
As with most photography, context is WYRPMKLX GEVV] E VIǼIGXSV XS LIPT FSYRGI
key. Remember that if you want to take PMKLX SǺ XLI VIǼIGXMZI WYVJEGIW SJ E GEV
shots of the car in motion, you’ll need to
&PXIVREXMZIP] ]SY GER YWI ER 3) ǻPXIV
ǻRH E WEJI VSEH [LIVI ]SY GER WXERH SR to allow you to use longer exposures
the pavement or grass without any risk of without overexposing the entire image.
being run over. Obviously, the ideal here +SV HMǽGYPX SV PS[ PMKLX YWI E XVMTSH ERH
is access to a test track but if that’s not a longer exposure so that you can stick to
available, be sure to be sensible! Lastly, using low ISOs and reduce any noise on
make sure that any colors in your location the image.
compliment your car and don’t distract or
take away from it.

Photo by: Nikita Vantorin

MASTERCLASS

REFLECTIONS background to give the feeling of speed.
A good starting point is to drive both cars
When photographing a shiny car, you at around 35mph and use a shutter speed
RIIH XS FI ZIV] GSRWGMSYW SJ VIǼIGXMSRW of 1/125th of a second. You can also use
A car is a bit like a giant mirror on wheels! these same settings for panning shots.
As I’ve already mentioned, a polarising
ǻPXIV MW ER EFWSPYXI IWWIRXMEP JSV GEV BEYOND THE OBVIOUS
TLSXSKVETL] Ƴ MX GYXW VIǼIGXMSRW ERH
glare to a minimum. You can also help Great photos of cars don’t have to just
things along by trying to keep an open be the obvious shots of a full length car
WTEGI FILMRH XLI GEQIVE
PMOI E ǻIPH WS driving around. Stationary shots often
XLEX XLIVIƶW PMXXPI XS VIǼIGX MR XLI GEV =SY look great as well, but you need to take
also need to keep an eye out for your own care with your angles. Bear in mind that
VIǼIGXMSR MR XLI GEV Ƴ YWI ]SYV GEQIVE SR whilst eye level shots look great, you can
a tripod with a self-timer if you’re worried XV] HMǺIVIRX ZERXEKI TSMRXW JSV E HMǺIVIRX
about this. feel to the shot. For instance, shooting
from just above the ground can give a car
MOVING CARS a menacing feel!

Capturing a car in motion can give a very It’s also worth looking for any interesting
dramatic feel to photos. There are several detail shots to photograph. Some brands
ways to do this. The simplest way to start have iconic badges and body details that
experimenting is to use panning. This make great shots on theirown. Carinteriors
simply means moving round in line with are also worth capturing – particularly if
your subject as you take the shot. Make you’re lucky enough to be photographing
sure you’ve got your AF mode switched a high-end vehicle. Don’t be afraid to look
to continuous focus and this is also a beyond the obvious!
good time to take advantage of your fps
rate and switch to continuous shooting. IN CONCLUSION

A more advanced method of shooting Car photography is a great genre to start
a car in motion is to do so from out the working in and it’s easy to get started with,
window of another car. Obviously, care as most of us will own or have access to
must be taken when doing this! You need a car. The challenge of putting a beautiful
to aim for a balancing act when shooting location and a stunning car together is
moving cars. You want the car to be sharp, HIǻRMXIP] SRI [SVXL I\TIVMQIRXMRK [MXL
but for there to still be some movement
shown in the wheels, along with a blurred

About the Author:

Jo Plumridge is a UK based photographer, writer and lecturer. She specializes in
portrait, corporate and travel photography, and writes photography, travel and comedy
pieces for magazines, websites and books. You can see some of her work at her website
or follow her on Twitter.

MASTERCLASS

VIDEO TUTORIAL:

CAARTPEHSOLTOAGMRAOPHDYEWLIT3H

by COOPH (Cooperative Of Photography)

In this video, the COOPH photographers had the opportunity to drive
a Tesla and of course they had their cameras with them to capture
this experience and put together a handful of clever tips for you! They
played with light and shadow, used their (colorful) surroundings in a
unique way and of course they tested the acceleration of the Tesla.

About the Author:

COOPH is a photography apparel and accessories creator, as well as a community-focused Youtube
channel that recognizes and supports people passionate about photography. It is the very first brand to
produce stylish and functional clothing specifically designed with photographers in mind. Visit their store
and or follow on YouTube, Facebook, Instagram and Twitter,

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Carving his path to success in beauty photography

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