Vertical Churches of the World is a project that began in 2012 in New York. It’s been ongoing since then and the project has been featured by numerous news agencies, blogs and articles from around the globe (including here on DIYP). I felt it was now time to put some of the images into a book, which you can find here, and I thought I’d put this article together to explain a little about how I create them....

Now and again we get to play around with cool equipment that we wouldn’t normally use. I got my hands on the spiffy Lightblaster and managed to create a cool neon 80s sci-fi image which wasn’t as hard as it may sound.Advertisements As you can see from the video above on my Youtube (feel free to subscribe for more walkthroughs and tutorials) that most of the work was done beforehand in camera, using one light blaster and one gelled octa box....

All of us, no matter who we are, have an opinion on the paparazzi. Many photographers believe that they’re the lowest form of life that wields a camera. Celebrities also usually aren’t great fans of them, either – particularly after the events that allegedly led up to this incident in 1997. But they’re here to stay and it’s unlikely they’re going to disappear any time soon. But how did they begin to exist in the first place?...

Elliott Erwitt has taken many photos that have become iconic. Some of them show humans, but the main subject of others is the man’s best friend. There are many dog photos Erwitt took and became famous for. And there’s no doubt that his images are recognizable and unique. In this video, Martin Kaninsky of about photography dives into Eliott’s personal history, but also into his recognizable style of dog photography....

If I lay my cards on the table, in my personal and professional work I prefer to avoid the use of flash in favour of natural light. In an ideal world, I like nothing better than working with a fleeting beam of winter sunlight that glances across a face full of character, producing the type of photograph that would typically grace the cover of National Geographic. The trouble is, as a busy corporate photographer, it’s much more likely I have to take a series of senior executive portraits from a basement office, generously artificially lit with horrible overhead fluorescent tubes, working to shoot directors who can spare about three minutes of their time and are itching to be off back to work....