Fstoppers Original Articles

The ever popular Loka and Loka UL were favorites among many outdoor adventure photographers and filmmakers I know, including myself. With F-Stop Gear's recently updated line of Mountain Series packs, the Loka has been reborn and is now known as the Ajna. I've been using it for the last few weeks and discovered some surprising details about it.

Working with models can be an exciting part of photography, as each model can lend a different look and unique perspective to your vision. Casting a model appropriately for each project is an important part of a photographer’s job, as it speaks to their ability to manage their ideas and make them a reality. Just as a casting director will carefully select the best actors for appropriate roles, the same is true for casting the right model for the right photoshoot. Below we will review some guidelines for making the most out of working with models, in order to produce the best photographs...

Recently I felt a bit let down when looking at my work. It seemed to me like I had not improved much during the last year and that I had hit a plateau. Then when asking friends, fellow photographers, and other people from the industry, everyone told me it was just in my head. Creating new things day in and day out is quite difficult, but creating new things that are better each time you shoot is even harder! Sounds familiar? I know for a fact that most photographers have felt like that at some point in their career. We all have periods in our lives where we feel disappointed with our work. That same time when we also start looking at others work and wonder why we are not better. But all we really should be doing is looking at our work to see how far we have come and how we could get even better.

When I first heard about the Canon EF 11-24mm f/4 L USM, I couldn’t help but think of the famous “Spinal Tap” scene: “these go to 11!” It’s a hefty lens with a hefty price tag, so I had high expectations of it when it came time to review. It has risen to the occasion.

My favorite part of the wedding day is the reception. After the traditional first dances, and speeches are done, and the wedding party starts to let loose. The party is in full swing and the best man is giving “The Dougie” his best attempt in an effort to win a dance battle against the bride. While capturing these images I want the viewer to feel like they were in there, in the moment. My goal is to not light up the entire room like a Christmas tree. I want to see the light from the DJ and the motion on the dance floor. This is how I do just that.

As beauty/fashion/glamour photographers the quality of our work is often largely driven by how well we can tell the story of an intimate moment within the frame. A big part of being able to do this is by building trust with the model to ensure that she feels safe throughout the entire shoot.

Since Lee and I first started Fstoppers 5 years ago, we have always wanted it to be a place for inspiration, news, reviews, and of course educational behind the scenes material. One thing has always been missing though, and that is the voice of you our readers. Today we are expanding the Fstoppers Community by opening Groups to the public. Anyone with an Fstoppers account can now create and moderate their own photography community directly on Fstoppers.com

In my research to come up with ideas for blog posts, I watch a lot of videos. A few months ago I came across a few videos about the wet plate collodion process and I was hooked! The results are so unique that I just had to participate in it myself.

What inspires you to pick up your camera? For Ivan Agerton, it’s people – and for all the talk about convergence between the worlds of stills and motion, Ivan is doing it. His ‘stills from motion’ portraits are both a visually gorgeous treat with their sublime use of slow motion, and thought provoking in the connection with the subject Ivan has captured. Not just creating eye candy, Agerton is a fascinating character and provides a great example of the life we can all construct for ourselves – if you decide to take the plunge and go for it.

It's been a month since most undergraduates walked across the stage and received their diplomas. The glow is still there as summer ramps up, but will soon wear off as August approaches and they realize they will not be moving back to the alma mater. With summer in high gear let's take a look at what recent undergraduates can do to make sure they are successful moving forward.

Dave Re has a demanding job. He heads the photography team within the media department of one of the fastest growing sports in the history of sports. CrossFit (CF), a topic that I wrote about last month, is a fitness regimen that has gained extreme popularity in just a short time. Although Re never planned going to work every day as head staff photographer for CF Media, he has embraced it with open arms.

There is no substitute for hard work when it come to being a photographer. In my opinion, the best way to improve your work is to shoot as much as possible. If you want to be a surf photographer, shoot surfers, if you want to be a portrait photographer, shoot portraits, and so on. However, for photographers just starting out, chances are it's going to take some time and experience to build your skills to the point where you are able to specialize in one thing. While this is not always the case, here are some tips to help you make the most of the simple things and improve your photography.

As you build up your clientele, you will undoubtedly encounter a host of requests that can blindside you. Many photographers will learn quickly how being a good salesmen is just as vital to their business as the quality of their photographs. Below I have compiled a list of the most common customer concerns, and how to best overcome them while building value in yourself and in your brand.

Since I started doing makeup on most of my projects, I discovered that some very basic makeup tools could have helped me in a big way on previous shoots. Before learning about makeup I had absolutely no clue whatsoever on where or even how to apply some very simple cosmetic products. Looking back now, I see how much time I have lost in Photoshop not knowing these simple things. My goal with this article is not to teach you makeup from A-to-Z but rather to give you a few easy tips you or your models can use to diminish your postproduction time. Less time in front of the computer means more time behind your camera, and who does not want that?

If a photograph is two-dimensional, understanding depth of field gives you a measure of control over the third dimension. Mastering it will give you more ability to render photographs with clarity and directness.

The Nikon D750 is one of the most talked about cameras in a long time. It’s a small lightweight body that packs a major feature set and has even lured Nikon D4 shooters to "upgrade." The camera is packed full of customizations, some of which can be pretty hard to understand and even difficult to find. I’m here to explain what I feel to be the best overall setup and why. This article is geared towards the Nikon D750, however the majority of the settings, if not all, are applicable to most cameras.

In my opinion, mastering negative dodge and burn is the key to any beauty retouch. There are many steps and many hours that go into a great retouch, but negative dodge and burn is as essential, if not more so, than any of them. The term "negative dodge and burn" is one that I first heard from fellow retoucher Pratik Naik. It was the concept of having a specific process of removing distractions and smoothing tonal transitions through dodge and burn that was responsible for one of the biggest jumps in my own personal retouching game.

A few weeks ago, I wrote an article pitting the venerable Nikon D800 against a lowly Nikon D40x in a portrait shoot. The purpose of the article wasn’t to see if the D40x was as good as the D800 (it obviously isn’t), but to ascertain whether a beginner would be better off getting something cheap to start out with than starting with a behemoth of a camera.

In Spring 2015, two photographers traveled to the rugged mountains of Iceland to collaborate with a pair of elite costume artists (cosplayers) to shoot some of fiction's most iconic characters in an unforgettable location. With only a piddly $180 in the “candy budget,” the team set out to plan 24 shoots over the course of 8 days.

There’s something about old places that always leaves you with a feeling of uncertain familiarity. Old places and empty places are like ghosts drifting behind us humming childhood singsongs just an octave below audible as we pace through their halls. If you’re from Detroit, you know that these places are aplenty. Some mighty like Roman ruins, some meek and shuttering in the wind, and most begging for new life. A new life is just what you’ll notice when you look at Michigan photographer Heather Saunders' photos of the amazing art installation, "The Flower House," which documents two long-abandoned homes in Hamtramck, Mich.

Don't worry, this isn't a geometry lesson. The exposure triangle is a common way of associating the three variables that determine the exposure of a photograph: aperture, shutter speed, and ISO. One must balance all three of these to achieve a desired result, an adjustment of one requiring adjustments of at least one of the others. They do not only affect exposure, but are also the largest determiners of the global appearance of an image; thus, their mastery is absolutely crucial both for technique and composition.

Dreaming big is never a bad thing for a photographer. The more imaginative your ideas, the easier it is to stand out amongst your peers. Yet there is often a very real, and very high price tag associated with grand productions. Producing personal projects that you’re passionate about is vital for many photographers in the fashion industry. However, it can be frustrating to lack the funds necessary to bring your vision to life for more ambitious projects. Fortunately, there are many options available to photographers to help them bring that production to life, without breaking the bank in the process.

Heck yes! I'm pretty dang pumped about this post. Ever since the middle of high school, I've been immensely interested in "the process." You know, that middle bit between point A and point B that nobody but the artist ever sees. I've always loved peeking behind the scenes to see where something started and what kind of work and thought went into creating the finished product. I know I'm not the only one because a lot of you have asked to see before/after's of certain shots on my Facebook so I decided to create a new series that not only shows you the before/after's (hover...

Every wedding photographer has their very own tricks to get their calendar fully booked each year. Websites and social networks have of course become a staple for every solid business nowadays. But sometimes we forget that brides and grooms are not connected 24 hours a day and that they might meet other vendors before coming to us. This might be the oldest trick existing to get booked, but referrals from other vendors are a strong way of getting more business.

Memorial Day has passed and at least here in southern New England, summer is in the air. Around this time of year I find myself outside more often than not, but that's not always the case. Sometimes, the work load is too much and I get stuck in the studio or working in front of a computer for long hours during the day. If you're anything like me you can only take so much time indoors, so getting outside is essential. If the long days, warm nights, and sunshine aren’t enough to get you into the outdoors with a camera, here are a few reasons why getting outside can help you become a better photographer.

Rings can be considered one of the most important details of a wedding day. The groom may have spent months trying to find the right ring, and even longer saving up to purchase it. When the bride first announces their engagement, all of her friends can't wait to see the ring. It’s the only item from the wedding day that most couples will have their entire lives (besides the images of course). When I take pictures of the rings, I want to capture more than just the ring sitting on a table. I want something visually interesting and unique. Here is how I do it.

The photography industry is beyond saturated. Everyone is clamoring for a tiny piece of the shrinking pie. Instead of battling for scraps, California-based photographer Hannah Ray is busy baking her own pie by crashing through the boundaries of conventional commercial photography.

Over the past few years there has been a lot of negativity thrown at attending school for photography. While there is some sound wisdom and reasoning behind these arguments, I would have to say that I am extremely proud to have gone to Columbia in Chicago, and I think most of my friends that have done so would agree (those at other art schools as well). Now, I must admit that I didn’t even graduate, or spend four years there, but my photo school experience has been invaluable to my career. I don't believe a degree will make any difference in the photo world, and it all comes down to who you know, your character, and your portfolio.

I've spent the last two years photographing Los Angeles from a Helicopter, in what is surely the largest project I've worked on to date. After a long, extensive and ultimately unsuccessful search for a publisher, I finally decided to scrap that idea and self-publish via Kickstarter. I'll be doing a series of weekly posts about what I've learned and just how insane this whole thing has been.

This week, Phase One announced a brand-new camera platform, the Phase One XF, and three new IQ3 digital backs. Every photo media outlet in the world has the press release and various levels of speculation and information, all focused on those two main announcements. Here’s the thing: it was only one of a half dozen announcements Phase One made, and some of the best announcements are getting obscured by the announcement of their body and backs. Read on to see some of the other exciting stuff they have coming out this week.

The debate whether to work for free is an old one. It’s also one that I don’t care to get into. However, for most of us, there comes a time when we do shoot something without payment, whether it be because we’re testing lighting, doing pro bono work, or we just aren’t very good at asking for what we’re worth. But what do we do with the images after the shoot?

In Part 3 of the Dramatic Beauty Portrait Tutorial, we will finally get into the first main step of the skin retouching process. Basic skin retouching involves addressing subtle skin and texture issues on our portrait images. We will not only look at techniques for skin retouching in Photoshop, but also discuss the theory behind our decision process during the retouching process. I will also show optional techniques for those looking for quicker or alternative options during their portrait or beauty retouching. In case you missed it, during Part 1 of the tutorial we went over the lighting and shooting of our image and in Part 2 we looked at the "pre-editing" process.

In just about every video I edit, during my last or second to last round of revisions I find myself having to add titles, credits, name graphics (lower thirds), and one or two other pieces of text to help explain and give context to the video. Here are my go-to techniques for cranking out decent looking graphics both quickly and efficiently.

Whenever you work with someone new, whether it’s a member of your crew or a client, there is often that initial hesitation that comes with working with someone untested. There is a question of personalities clashing, of their skill, their expectations, and how they’ll handle direction or feedback. The sooner you are able to ramp up production and start capturing photographs, the better. Here are some best practices for making the most of the first look, and setting a great tone for your next photoshoot.

Beauty photography is something that I have become drawn to over time. Setting a mood, imagining a makeup style, and finding or even creating props to fill the frame with my model’s face is something I came to love more than anything else. In any genre of photography, I feel like it is important to develop a style that is recognizable. May that be retouching, posing, lighting, or something else, if people can tell you took the picture it means you have developed a signature style. For my beauty work I wanted to create a signature lighting setup that would be easy to recreate wherever I would go, no matter the condition or the place the shoot would take place in. Here is how I created it and how you can recreate it as well to make it your own.

Are you doing well in photography? Do you have a cause you believe in? Your skills and pictures can help the world more than you might have thought.

A lot of people associated HDR with over-processed, surreal images. This is not always the case. Shooting HDR can be very useful in different circumstances. It is often seen in real estate and landscape photography and can be very useful to balance a wide range of light levels. There are many programs out there for merging images together to create an HDR photo, but one of the simplest ways to create these dramatic photographs is using Photoshop's built-in HDR Pro.

Never say never, but there are several quick reasons that make business cards with images a bad decision — even for a photographer. Every rule has its exceptions, but for most, a photographic business card is certainly not something you should automatically assume to need or even want.

A question asked very often by photographers is "How do I fix red or mismatched skin tones in Photoshop?" As with everything in retouching there's hundreds of ways to achieve the same thing. So the question you're left with is, which is the most efficient method that has the best results. Here's the top three methods known to mankind, pick the one right for you!

If you're a wedding photographer, chances are couples are also asking if you do engagement photos. The answer to this should be “absolutely!” So you’d better get good at them quick, because well-executed engagement sessions will lead to more work. But before you think about weddings, spend some time and find your style shooting couples. Here are five simple ways to improve your engagement photography.

Recently I went to New York City to do a week of headshots. As many of you know, part of my cinematic style involves shooting outdoors, but flying from Los Angeles to New York City to put this on meant I couldn’t rely on the weather. Figuring out how to translate the look and feel of my style indoors was the only way to make it a success. As I’ve had many questions about how to make this look happen inside for those that can’t always be outside, I decided to share my own experience with you.

Last spring, I got a dream call from one of the photo editors at Sports Illustrated to photograph the legendary Dan Gable, a wrestler from Iowa, and one of the most winning athletes of all time. From winning gold in Munich during the 1972 Olympics, to having coached other U.S. teams to gold after, this guy oozes excellence and passion in everything he does. I’m not one to be intimidated by people because of their status in life, but people who work as hard as he does definitely stand out to me.

In Part 1 of our Dramatic Beauty Portrait Tutorial, we looked at the lighting setup, gear breakdown, and shooting of our dramatic beauty shoot. In Part 2 of the tutorial we will now look at two different ways of exporting and preparing your image for retouching. The first method involves creating versions in Lightroom and exporting directly to Photoshop. The other method utilizes Adobe Camera Raw and the ability to make variations within Photoshop. I will also discuss the overall goal of our pre-edit stage.

Pull up almost any lens review these days and one of the primary attributes people are judging is the oh-so-important bokeh. Purchases are made and lenses are brought back all because of the how a lens does or doesn't measure up in the bokeh department. Well I’m here to tell you, at least for portraiture, it’s just plain overrated.

Last year I had an exciting opportunity to shoot what I am told is the first combined Jaguar and Land Rover USA ad campaign now that they are both under new combined ownership. The goal of the campaign was to create content that would appeal to the users of both car markers and promote brand loyalty. It was as if we were to say: "If you have a Land Rover, you need a sporty Jaguar for the ultimate garage!" (and vise versa). This campaign came together very quickly and the client had specific production requirements. Learn how I did it below and feel free to ask any question about the process in the comments section.

Not long ago, learning and critiquing photography was done almost exclusively in person. With the rise of the Internet, we saw a fundamental shift in how photographers interact with one another. Yet, even with the opportunities afforded by the web, there is so much more to gain by spending time with fellow photographers in the flesh.

In the often collaborative world of fashion and commercial photography, there are many who contribute to the final product. From the styling of the model and the brands involved, to your crew and retoucher. No fashion image is a solo act, yet there are many who will never credit those that were a part of the production. This phenomenon is not exclusive to photographers, but to models and other creative professionals. Before you post up your next photograph without credits, give the following reasons some consideration.