Argentina-based food stylist and illustrator Anna Keville Joyce has managed to take the art of food styling to a whole new level, for her recent creations are true culinary masterpieces (so what if they’re not made to eat?). While food photographer Agustín Nieto had quite the task of doing justice to these mouthwatering works, he managed to capture them perfectly, but as he readily admits, it didn’t come easy.
If you are no stranger to photography or other visual arts, then it is likely that you are no stranger to the “rules” of composition. There have been some excellent writings familiarizing one to the different forms of good composition, such as “The Ultimate Guide to Composition” by Chris Knight, but it’s much harder to find anything about its in-the-moment application. We all strive to find strong compositions that can drive the narratives in our photography. The next time you’re looking for the hidden story of your surroundings, recall the following simple tips.
The last time I talked with Alexis, he was just trying out a technique of shooting two different lighting setups with the press of a button (be sure to check that article out for details on how the SpeedCycler feature of the Pocket Wizard MultiMax works).This time around, he managed to pull off five different looks (three at one time) – nabbing himself six pages and the cover of the World Cup preview issue of Sports Illustrated. His behind the-scenes-video gives a ton of insight into how he pulled this off, but I asked him to go even further than the video or what he already explained at his blog and explain the "whys" of it all.
It's that time of year again! You know, that time when you frantically type "How to photograph fireworks" into Google before heading out of your house into the cold December night to line up next to hundreds of other photographers, all with the end goal of being the first to post an epic fireworks photo on social media. Well, fear not! We are here to help you not only nail those firework exposures, but also show you how to blend them seamlessly in Photoshop.
Last week saw the release of ‘Anomaly’, a film that is redefining the approach and model for independent, narrative film making. Co-Director Salomon Ligthelm outlines how he managed the project as it grew from “a 2 minute art film” into the astonishing 38 minute-long final masterpiece, and provides key takeaways for all of us that we can apply to our own stills or motion projects. If you have any interest in what's coming over the horizon for cutting edge, independent, visual media production, this is for you.
In three years of working in photography, I've shot roughly 1,500 family sessions. I've dedicated all my time to growing my photography skills whether it be watching online tutorials, going to WPPI, reading articles, and reaching out to fellow photographers. In my time spent doing this, I've come to one major realization; photographers seem very guarded, opinionated, and close-minded. I've tried to understand what it is that stops us from helping one another? Is it the fear that we are training our competitors, are we bitter that we may have had to learn the hard way, or is it the fact that we are too proud to admit when someone is better than us?
Every time I hear a photographer state, “I’m a natural light photographer”, it can carry a suggestion that they are a more honest type of photographer, better attuned to reality, and purer in motive. What I hear is, “I haven’t learned to use my flash.” This may sound harsh but I can’t help it; right or wrong, I want to call them out on it. It is time to question why natural light shooting has, in many circles, become the more virtuous form of photography.
Everything starts from nothing. Thousands dream of being full time photographers, but knowing how to start a business - and how to grow it - are really tricky parts of a complex equation. Emily Soto today celebrates 4 years of full time professional photography. In this exclusive interview, she shares insights on how she has grown her business, as well as the struggles, hardships and rewards she's encountered along the way. If you're curious about what it takes to make it as a successful photographer today, this might just provide the answers you've been looking for.
I guess I’ve always been different; I’ve never really yearned for a big studio space. As a freelance photographer, the majority of my clients require that I come to their location and shoot on-site. I have a strict organizational-mobile system to transport all my equipment which includes over 8 strobes, 2 scrims and a plethora of staging props and modifiers. I’m asked quite often about my studio and where I shoot all these incredible portraits and dramatic fashion editorials. The answer is easy; my living room.
Let's face it, it is about to be 2015. As in, 15 years after the change to the new millennium. We are firmly in what we used to call "the future" when I was a kid, and technology is overwhelming us with brutal amazingness every couple of weeks. The youth of today have no idea what life is like sans smartphones (read: access to almost every piece of information in the world at any time in your pocket) or social media platforms. To them, life is one big pile of over shared, overseen and overly celebrated schlock mixed in with useful bits of knowledge, and it is all taken for granted. The digital world isn't coming, it is here, and has been. So who in the right mind gives a crap about a printed photograph anymore?
First of all, if you watched the lead video above, you have learned that Matthew Jones is possibly a crazy person. Car photography is absolutely a challenge, but rollerblading down the road at full speed to capture driving action is just bonkers. When I heard Matthew talk about doing this and when I saw the high quality of his images, I knew I had to feature him on Fstoppers. Obviously this technique is not for everyone, but Matthew has absolutely captured my attention with his story. Read below to read why he has chosen to do this and see samples of his great photography,
Patrick Rochon is a world-reknowned light painting photographer who recently produced a project with Infiniti, where he used their cars as paintbrushes themselves, in a manner of speaking. This video shows off what is possible when a skilled artist is given the reigns to create compelling images of vehicles, and has the support of a technical and creative team. And to top it all off, the really cool part is that everything was done in camera– there was nothing digitally added.
My studio receives client inquires anywhere from once per week to several times a day. Obviously not all of these inquiries turn into paid work, some are a downright waste of time. Dealing with client inquiries is not my favorite pastime, but if everything goes to plan, at least a few of them get me behind the camera and end up paying the bills. Here's a few things to keep in mind when making initial contact and responding to client inquiries.
Almost four years ago I began a new journey in my photography career. At the time I was still bartending part-time and concentrating on building the headshot side of my business, when hospitality photography came and slapped me upside the head. As it goes with most other good things, it all started over a few drinks with a friend, and has spiraled into a full second stream of income from photography.
Any photographer who wants their work to stand out has to offer something unique to the viewer. The following list contains ideas, poses and editing techniques that probably aren't too original and should be avoided. If I had known this when I started photography, I probably would have found a signature look sooner.
Many of us know what it feels like to have or want to do a strobed on-location portrait without the benefit of an assistant. In fact, many of the portraits that I believe to be my best were done without an assistant and only with one strobe. It's all about good strategy and proper planning gear/creative-wise. This video by the Slanted Lens does an excellent job preparing you on how to do this kind of shoot effectively. Read below to learn more.
While sharing drinks with a friend, he started inquiring as to how I’m able to supplement my income with video editing projects. The more we talked, the more I realized that a lot of people have the ability and skill to do it, but they don’t understand the small things that can make or break being successful at it. In this post, I’ll share what I’ve learned about being a freelance editor.
For years I found myself making excuses as to why I wasn't creating the type of images that I so desperately wanted to make. I didn't have the gear, I didn't have a model, I didn't have access to a studio. At the end of the day, it came down to one simple thing, I never tried.
I have always associated a romance with being a specialist photographer, whether this be in the area of weddings, fashion, automotive or dreamy tintype portraits. You are valued as a master in your field and people want you for the style that you create. On the other hand, there are positives in working in multiple industries as a photographer. You rarely get bored due to the variety of work you do, and it’s fun to learn new skills and adapting to various situations. You might have to manage different “identities” but that suits you fine because you love the challenge conquering different fields.
Our generation has witnessed the death and rebirth of Polaroid Instant Film; yet it is interesting to note that most model agencies have always preferred the format as a staple facet in portfolios. From the model's perspective the idea of a harshly lit and un-editable image is less than ideal. However; standing in the shoes of the photographer or creative director, it is always best to have an idea what you'll really be working with.
If you’ve been following the photography industry in recent years, there’s no doubt that the term ‘boudoir’ has entered your lexicon at one point or another. While the century-old niche has enjoyed renewed momentum as of late, there are many more different groups of people that seem to be losing their inhibitions today than upper-class exhibitionists of the early 1900s. Individuals and couples of all walks of life are seeking boudoir sessions and it’s becoming an increasingly lucrative business. But what exactly is it? And how do you do it?
The most common request I get via email and social media is "How do you shoot exotic cars with glamour models?". I have actually held two classes on this very subject, both in Houston in 2012 and 2013, but have yet to ever discuss it online anywhere. So, in lieu of a full online class on the subject, I've recently documented how I went about my most recent project in Houston with Chicago model Amanda Paris and a trio of European exotics at Potresse Automotive, and I will discuss a few past projects as well.