Every week, we ask our eclectic group of writers to weigh in on a question that is asked in the comments from our own readers. The questions can be anything relating to photography, and we invite everyone to participate in our segment called "Fstoppers Answers". This week, we ask "Corporate Headshots for Local Realtor Firm. Ten Clients, One Headshot a Piece. What do you charge and why?"

When you think of fashion photography, you typically think of women being the main subject. It's not without reason because female models typically dominate the fashion scene. When it comes to shooting male models in fashion, there's a lack of information out there for aspiring photographers. I reached out to my friend and colleague Chris Davis who was happy to share a few tips on shooting male models in specific.

Alright, So you've made it past the hard part, making contact and getting the ok from the agency to work with their talent (As discussed in Part 1). Now what? Well now you book your first model!

A few years ago when I was still new to the world of beauty photography and digital photo retouching, I prided myself on the ability to "fix it later in Photoshop." I would welcome retouching challenges as I was still learning, but things changed forever after I started working with professional teams and shooting for commercial clients.

There are a few unarguable reasons for getting it right in camera.

What do you do when you find yourself in a restaurant without a decent window to shoot by? You will have to create your own light. If you are new to food photography and never had to use artificial light to light a dish, you may find yourself unsure of where to start. You don't need multiple flashes and a bunch of modifiers to create a beautiful shot. All you need is a flash, a light stand, a large diffusion source, and a piece of white foam board. Here is how I use these tools to create a beautiful backlit shot.

"Coty Tarr is an active lifestyle photographer based in New York City," so says the not quite so lengthy bio on his website. On initial thought, one might think the concise personal description is a little off-putting, but to anyone that has ever met Coty, it is nothing if not an apt discriptor. In a world where many photographers feel the need for shameless overpromotion (not that there's anything wrong with that), Coty takes a more subtle approach, working tirelessly and letting the caliber of his images and his work ethic speak for him.

Have you ever been assigned to take pictures of a chef's creations in a restaurant? Photographing food on location at a restaurant is a very common assignment for a food photographer. I have an editorial client that sends me to 4 or 5 restaurants every month to take pictures of the dishes. Through these assignments, I have discovered that most restaurants are not designed with the photography in mind.

I have always wanted to shoot editorial work. Getting my work in print has always been my number one goal. In my opinion, it is the mark of having "made it" as a photographer. The problem was that I never knew how to get my work in front of the right people to even be considered for an assignment. I had read articles in industry photo magazines about how to make brilliant and eye-catching marketing materials to nab that client that you are after.

I'm sure by now most of you have tried to attempt a composite. I know when I first started to piece them together I was left with what could only be described as a cheesy mess that should not even be called a photograph. There are so many intricate details that go into making a believable composite. Perspective, color matching, how good a selection you made,ect... all play a important role in having a finished product. After several failed attempts at composites I gave up. Then I came across this tutorial. It gave me hope that maybe I can make a believable composite.