Videos

Karl Taylor recreates a studio wine-bottle shot using only window light, doubling up diffusion to hide the window frames, adding a foam-board reflector for a highlight line, hiding iPhone torches behind the bottle for a background glow, with a one-second exposure. He critiques member entries that strayed from the brief.

Andrei Restrepo shoots a vacant three-storey Houston home with a Canon 5D Mark IV, 16-35mm f/4 IS, tripod and polariser to cut window reflections off wooden floors. He works from chest height to balance ceiling and floor, uses the in-camera level to avoid keystoning, and mixes corner-to-corner and head-on views.

Mike Burke outlines a minimal real estate photography method using only a camera, tripod and bracketed exposures: a Sony a7 III or a6000-series body, a 16-35mm lens, chest-height placement in kitchens to show countertops, a bubble-levelled tripod head, and verticals checked against a window edge rather than the in-camera level.

Raymond Hatfield's Beginner Photography Podcast interview with Jerry Ghionis covers leaving formal training, seven do-or-die shots after the ceremony and worries about newer photographers. Ghionis explains light via shower-head analogies, small sources hard and large close ones soft, and finds direction in overcast light by turning while watching his hand.

Steve Gerrard of Montreal counts down ten tips for concert photography, where lighting, crowds and a three-song limit remove control: start with small bands who need promotional images and may become headliners, shoot support acts to dial in settings, and expect lighting to change, as it did for Arctic Monkeys.

Mik Milman breaks event coverage into six shot types that tell a story: establishing shots conveying scale at a hall or ceremony, close-up candids on an 85mm or 70-200mm framed through foregrounds or over a shoulder, posed cocktail-hour groups asked to look at each other for laughs, and artistic portraits.

Mik Milman, an event photographer of ten years, lays out a start-to-finish guide to corporate events, birthdays, red carpets and nonprofit galas: why the work suits a fly-on-the-wall temperament, finding clients, shooting and editing a job, and pricing by starting near $75 an hour and raising rates until bookings slow.

Mike Browne photographs a lone ruined church an hour before sunset, shooting fully manual instead of aperture priority. He recces angles first, explains why the camera turns it into a silhouette when exposed for the sky, nudges the shutter from 1/500 to 1/320 by histogram, and plans Photoshop perspective correction.

Barry Callister gives beginner sunrise settings for a Nikon D5200 and 18-55mm kit lens: manual mode, ISO 100, f/8 to f/14, then shutter speed until the meter centres. Three further tips: use a tripod or rock, focus a third into the scene, and do so manually using magnified live view.

Paul from Photo Genius gives a beginner's guide to sunrise and sunset photography, built around 4am trips to a Brisbane bay and Howard Smith Wharves where nature rarely cooperates. Shooting a Nikon Z6, he covers gear, recommends cloudy white balance for warmer colour, and explains taking control of autofocus points.