I've been there, standing in the middle of a field on a hot day with a scorching sun, mulling back and forth on how to capture a quality shot. In the back of my mind, I'm wishing for some cloud cover or an overcast sky to magically move in. A commercial client or art director doesn't care what time it is, they just want the right image. It’s up to you to capture that image with the weather Mother Nature has dealt.
By now, we’ve all seen the gigapixel landscape shots over the years, but I’m pretty sure never seen anything like the 900 gigapixel portrait series Swiss photographer Daniel Borschung has undertaken. I’m not much of a numbers guy, but when you have a robot arm taking 600 pictures of your subject with a macro lens, the results are a tiny bit mind blowing.
About 5 years ago, when I was still in my Photography college in Australia, our teachers would regularly introduce us to the new and noteworthy Australian photographers' and digital artists' work. Among others there was one artist, whose work really grabbed my attention and I have been watching her growth and success ever since.
Pepper Yandell is a talented young photographer out of Texas who shoots some of the coolest cars in the world. He recently was given an awesome opportunity to photograph a couple of supercars in a hanger with really expensive jets - the kind of shoot car photographers dream about. Pepper was nice enough to share with me about how he put this shoot together.
I'm guilty. As a commercial and fashion editorial photographer as well as a writer for Fstoppers, I love lighting, bokeh, rigging, and all technicalities involved with cinematography and photography. For many months, content fell second to setup. From my experience, there are three types of photographers: those that confide in instinct and sunlight, those that rely on post processing, and those that excel at artificial lighting and formalities.
There is an old quote that says, “If you want to shoot fashion, shoot in color, but if you want to shoot emotion, shoot in black and white.” I don’t know who said it, but I tend to agree. I do love myself a good black and white portrait. There is something special about black and white imagery which has the ability to cut through all the baggage and display both the inner beauty and turmoil which can be so easily hidden away by color photography.
The first time I saw a levitation shot, I stared at it for 15 minutes in astonishment. I could not conceive how the image was captured; I was captivated by the story it conveyed, it was surreal, magical and awe-inspiring. Conceptualizing the image and executing it can prove to be rather difficult and meticulous. Thankfully, photographers who have mastered the techniques involved in levitating have decided to share their secrets with us.
The Democratic Republic of Congo, often referred to simply as “DRC”, is a country steeped in reports of extreme violence, corruption and unrest. Citing ethnic conflict and the pursuit of control over abundant mineral resources, The New York Times referred to the country as “one of the biggest battlefields in Africa’s history.”
Creative clients and photographers love shooting on white. Whether it be seamless paper, foam core board or a cyclorama wall. I’m not sure if it’s the simplicity and absence of color or it just creates such clear contrast for eye popping subject matter. Yes, it's versatile and can go dark with less fall off but frankly, I've always found white somewhat boring.
When I first came across Guilherme Brasileiro’s series “Delicadezas” on Instagram, I was pulled in by a seemingly nonsensical, quirky theme: dozens of portraits, cropped close featuring men and women, each holding a hand under their chin. The energy of the series struck me as open and full of warmth; the subject’s reaction to the pose they had been asked to assume was usually very apparent (some looked amused, a good few looked self-conscious, and some had really obviously embraced the idea).
It has happened to all of us a million times: After wrapping up a creative photo shoot and go through some of the images in post, we typically find a few photos in there that are "meh" at best and you most likely pass over or discard. Well, photographer and retoucher Glyn Dewis once again shares an awesome Photoshop / Lightroom tutorial on how he turned one of his throwaway photos into a killer shot. Check out the final image and information below.
Some may say it’s quite the phenomenon. I only shoot commercial and editorial fashion and I seem to make a living out of it without shooting weddings, families, babies or seniors. I don’t live in New York, Chicago or Los Angeles and I don’t travel like George Clooney in the film “Up In The Air.” The number one question I’m asked on a daily basis: “Clay, how do I get more paying clients?”
One does not often associate violent protests and the threat of sniper fire with portrait studios. However, photojournalist Anastasia Taylor-Lind’s recent portraits of protestors and fighters in Kiev, Ukraine make us question this apparent disconnect. Taylor-Lind's stunning and revealing portraits were taken with a medium-format film camera between outbursts of violence, documenting the men and women fighting for their freedom in Kiev.
Does photography have the power to radically change and improve lives? Brooke Shaden, one of the most successful contemporary fine art photographers around today thinks so. Brooke has a single-minded goal to help others through photography - and she’s only got 23 days left to do make her plan a reality.