Some of our Fstoppers readers may have noticed that for nearly a month, specifically after March 28, I dropped off the map in terms of posting new articles. Some have asked why, and in the interest of transparency, I have opted to write this article today explaining this near-tragedy and subsequent fallout from it, as well thanking the photo and video community for their continued generosity and support during this difficult time. On top of that, I have a special offer (in the form of your donation) for my video tutorials.
Any good makeup artist will tell you that great eyebrows will make any face look good. Think of eyebrows like frames for prints: when they are beautifully crafted, they will make your prints standout. Eyebrows will do the same for a model's face, whether it is a male of a female model. They can totally change the expression and the look of someone depending on how they are shaped. Sometimes, a makeup artist can only go so far and we are left with work in post-production. So it is important to have a little knowledge on what the eyebrows should look like to get the best out of a model's face.
During our 4 month project with Elia Locardi I didn't shave once. During this time my beard got a little out of control. Last week I had a little fun shaving it off slowly and creating portraits of myself as different characters. I'm now giving out the raw files to you, to abuse them as you see fit.
Bruce Gilden is one straight talker. The no-nonsense Brooklyn born, Guggenheim-awarded, Magnum photographer does not mince his words, that’s for sure. There is so much to learn from him in this interview, in between his quips and comments. Listen in as he shares more than 45 years worth of experience as he critiques a selection of images of street photographs in this VICE interview.
As photographers we like to believe that everything we shoot is flawless straight out of the camera. The truth is that, most of the time, each of us spends more time and effort editing our work than actually shooting it. We will completely change the color or the crop of an image without thinking twice. Why then don't we at least consider one of the easiest way to completely change an image; the "horizontal flip."
Last year at the annual Sundance Film Festival, photographer Victoria Will left her DSLR at home and decided to try something a little different when photographing the celebrities in attendance. Setting up shop with her old Graflex Super D, she created a set of portraits of actors, comedians, and musicians from all across the event. Here are the beautiful results.
I, like many photographers out there, don't have a studio, or don't have the money to rent out studio space every time I want to do a shoot. While shooting inside my house or garage is always an option, I found myself wanting to experiment more with ambient and natural light. Although I love shooting in a studio, a completely controlled environment, I learned shooting outside with backdrops was a great experience and taught me a lot about light.
I will soon be releasing a start-to-finish retouching tutorial video here at Fstoppers on my most recent fashion editorial photoshoot. But before I do, I wanted to start warming our readers up with a complete gear list. In this article, I share with you everything I used on my shoot, the breakdown of costs, and where to find all the gear and extras: from the Profoto Strobe all the way down to the gaffer tape.
Many makeup products can make the skin glow and can look great when associated with a good contouring. However, shiny products when used under strobe light can be difficult to dose out correctly. In a previous article I showed you a technique to diminish that glowing effect when too much highlighter or too few setting powder is applied. Let’s see how we can amplify the glow of the skin when more products could have been used to give a fresh look to your model's face.
RGG EDU just wrapped a week of shooting video in New Orleans, where they captured content of Dani Diamond teaching his approach and style to natural light portrait photography. This behind the scenes video takes you along for the ride and shows you the locations, models, and gear we got to use, and what it takes to make a video tutorial come to life.
Having a process is one of the most essential keys to success in art, design, and photography. In this tutorial we will look at what to do after we have completed all of the major changes to our portrait retouch. In the beginning of our retouching we will commonly address larger issues like blemishes, distractions, tone smoothing, dodging and burning, and color corrections. But, after completing the major steps of our retouch, what are the finalizing steps in our process? Let's take a look at the five final steps you should follow before completing any portrait retouch.
As I spend more and more time around other photographers, I’ve had the opportunity to sit back and listen to everyone’s take on what makes a retouched image successful. Some photographers spend minutes retouching, while others spend literally hours on an individual image. Regardless if you spend 15 minutes or 3 hours retouching in image, it’s important to have a strong workflow so that you maintain your sanity.
About a year ago, Pratik Naik wrote an article about a video the guys at FX-Ray made regarding hair retouching . At the time I found the video very interesting and quite educative. The only problem I had with the technique described was recreating a realistic looking texture. Since then I have found a perfect solution with Aaron Blaise's custom brushes. Best of all they work with almost any hair texture you could possibly be up against.