Shooting in harsh sunlight is always a challenge. Recently I shot a test while out on a trip in Los Angeles. Due to scheduling we had to start shooting around 4 p.m., so we were dealing with hard sunlight. In this post we will look at five different setups you can use to shoot in and manipulate these less than ideal lighting conditions. In a previous post, I showed how to quickly scrim hard lighting. In this quick tutorial we will look five different ways to light while in the same environment and conditions in order to alter the look of our image.
When you are shooting for magazine publication (outside of the medium format realm), one thing you always have to consider is the aspect ratio of your images. Paper sizes, in most cases, do not match up to image size, so there are crop variables you have to constantly keep in mind -- especially for editorials where there will be titles, typography or article copy on the page as well.
You have probably heard it a few times: photographers raving about how Capture One is awesome for developing portraits from raw files. However, just like when I first installed it, you might not see any advantage over the current raw processor you are using. Then I found a few functionalities that made my workflow that much quicker and my images look a tad better before even retouching them in Photoshop.
For the "Preservation" project, widely acclaimed Los Angeles-based photographer Blake Little covered a variety of models in 4,500 pounds of honey. You read that right. The idea for this shoot was originally inspired by a previous session where he depicted a man as a bear eating honey. He was startled by the way that the honey gave the appearance that the man was "preserved in amber" and by how it can "distort and amplify forms."
I rarely write in first person but because this is a topic I feel very strongly about, I want to tell you about my personal experience. When I was reminiscing with my wife about the one thing that changed my photography, it was the day I saw the light. Literally. The only way I was able to conceptually grasp light and the way it works was because I started retouching. There is no way to deny it, as I mastered retouching my photography was taken to the next level.
Post-Production and Retouching is just as much an integral part of creating a great image or series of images as pre-production and the actual shoot, especially when you are shooting for a client and not just for yourself. Each genre of imagery, advertising, beauty, fashion, etc. has a slightly different set of rules and parameters when it comes to retouching. In this tutorial we will look at the complete start to finish of a fashion editorial image. Last week I posted the complete gear list for this exact shoot. This week we will look at the first part of retouching, including cleaning up our white seamless and correcting distractions in our image.
Dana Pennington is a Los Angeles-based Fashion photographer. He recently moved to become a permanent resident in Los Angeles, from his home town Denver, Colorado. I had the chance to sit down with Pennington during my first trip to L.A., over the past weekend, and talk to him about his journey into the fashion photography industry.
Fstoppers.com owner Lee Morris recently decided to shave his 5 month beard while having a little fun. Lee created 8 different "characters" with different lengths of facial hair and then released his unretouched images to the Fstoppers.com. These photographers took these files and pushed them to the max, creating 8 hilarious final images.
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.