Have you ever eaten at a fine dining restaurant? You know the type of place with white table cloths, 3 different forks, and you have to have a reservation to get a table? In fine dining restaurants, the dishes look a little different; the plates are works of art! The colors, textures, and placement on the plate are all done with very specific intentions. This type of beautiful plating is becoming more widespread than you might think. No longer is it reserved for the restaurants where you know your check will have three digits in it. If you are hired to shoot at these locations, make sure to capture the beauty of the plate! Here are some tips to help you out.
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Dixie Dixon is a Dallas based badass and one of the sixteen “celebrated contemporary photographers” of the Nikon ambassador program. Dixie specializes in commercial fashion photography and is a prime example of how hard work, apprenticeship, and relentless dedication pays off in commercial photography. I recently chatted with her and stole all of her secrets of success for you, the reader. Because that’s how much I love you, reader. [more]
In our newest segment, we’ve turned to the public to ask some of our writers about working in the industry as professional photographers, and invite all of you to participate in the discussion. Last week, we asked about our favorite light modifier, and the week prior, about commercial photography. This week, we ask ”Your camera is suddenly only able to mount one lens. What is it?” [more]
Do you use a sweep in your portrait or large product photography? Sure a roll of paper several yards in length is necessary for photographing people and large products, but what about food and small products? Walking into a bakery or the back of a kitchen with two C stands and a large roll of paper is not going to work in the often small kitchen shooting environments. [more]
Have you ever wondered what it would be like to stare down the barrel of a gun? Well Toronto-based photographer Peter Andrew teamed up with art directors Simon Duffy and Derek Blais to show us. The series, “Point Blank”, features iconic handguns in high-resolution “portraits”, some of which are printed as large as 4×8 feet. In order to achieve the incredible detailing in these shots Peter used [more]
Mike Campau is on another level, and I don’t even know where to begin to look for this level. Mike is a industry leader in CGI and photoshop composites for the commercial advertising industry. He collaborates with names like Paul Mobley and Tim Tadder. Mike can take a blank canvas and build uber realistic baseball stadiums while drinking an IPA. [more]
Because most of us fear rejection to some degree, speaking to a complete stranger and asking them for something, let alone asking if you can photograph them, tends to be pretty challenging. I’ve never been one of those naturally confident people but over time I’ve developed some techniques that have provided me with the confidence to work with strangers, which has brought additional benefit when communicating with paying clients. [more]
In our newest series, we’re inviting you the viewer to ask a weekly question for the writers of Fstoppers. Last week, we touched base on what we each individually believe commercial photography to be. Coming from different fields of photography, we all shared similar thoughts on the subject, but with different arguments and approaches.
For the second installment, we’re asking each of our staff ‘What is The One Light Modifier You Couldn’t Live Without?‘.
Keeping your models and clients happy on set is vital to creating images that evoke the full range of emotion. Part of your job as a photographer is to bring everyone on set to a mind space that is calm and comfortable. Here are a few tips on how you can play the good host. [more]
Guest writer Felix Hernandez R. is a commercial photographer based in Cancún, Mexico. He is a very active member of our Fstoppers Facebook group and is well known for his stunning composite work and food photography. In this article he explains how accomplished his amazing series, ‘Magic Moments’ with the use of compositing and underwater photography. [more]
Once upon a time at brunch in Santa Monica, I created the biggest, most complex cheeseburger anyone had ever even attempted to ask a chef to make. I basically picked my top 10 things off the menu and asked the chef to put it between ciabatta bread. Then I ate the entire thing. It gave me severe meat sweats and rendered me unconscious afterwards, but it was the most delicious thing I had ever created. It’s my single greatest achievement in life. I learned a lot about myself that day and will tell the Epic Burger story to my great great great great grandkids. [more]
I hear that a lot.
It shoots out of the mouths and into my ears from bellyaching photographers and it clutters the mind while reading an on-line post somewhere.
If photography is dead, why do publications like Sports Illustrated, National Geographic and Wired magazine produce amazing images each and every month? Why do companies spend thousands and thousands of dollars to create images of their products? [more]
A friend of mine who is a professional retoucher (and asked to remain anonymous) recently told me about a very interesting facet of his business. Today a significant portion of his income comes from Photoshopping cats. Yes, you heard right – retouching cats for a living. Check out the full post to see 18 examples of his cat retouching. [more]
Joey Wright is a swim and lifestyle photographer based in Florida. Despite only picking up a camera a few years ago, Joey is a already regular contributor to SI.com with clients ranging from Callaway Golf, the Atlanta Falcons and the Seminole Hard Rock Hotel & Casino and is recognized as a Wescott Top Pro. He’s also really, really likable. [more]
Django Greenblatt-Seay and JJ Dreier joined together to form Tree Speed, self proclaimed as “A of couple of Mid-Western guys who spend vacation time traveling the country shooting time lapse photography.”
Based out of Omaha, Nebraska, the duo recently took to the road and self produced a 10 day trip to Utah to create a series of time lapse videos. In order of appearance, the team shot in Latuda, Utah (a ghost town), Arches National Park, Canyonlands National Park, and Lake Oahe. [more]