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 guys at Photo Rumors tested the new Canon EOS 7D Mark II and the DxOMark results are a bit haunting for Canon users. In the comparison charts below they found the highly anticipated Canon EOS 7D Mark II tests similar to the five year old Nikon 300s. Has Canon hit a plateau in meaningful updates to push themselves ahead of the rest of the pack? With comparisons to five year old Nikon systems, it could be the case.
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.
This week I wanted to share a few of the tools we commercial photographers use to create our tabletop images. Particularly the items used in photographing beverages. There's a lot of trial and error when it comes to this sort of photography, often times we find ourselves using things in ways far from their originally intended purpose. Having said that, there's a lot of things that have become kind-of standard practice in food/beverage photography, some of those items I'll share with you today.
Do you have an eye for editing video? The editor often wields the power and ability to breathe life into a piece of motion work, or to kill it off. But where do you go to learn how to edit? Inside The Edit recently launched the world’s first end-to-end online program, and while it’s not without it’s considerations, it represents a giant leap forward for anyone who wants to get hands-on experience in the world of motion storytelling.
Supermodel Coco Rocha and photographer Steven Sebring have teamed up to release an interactive book, The Study Of Pose, chronicling over 1000 poses captured from 100 different angles in an experimental 360 degree rig. It is an ambitious project that has resulted in a massive, and certainly quite heavy, book with over 2000 pages.
Melissa Rodwell has been there, done it and got the t-shirt. A thirty year veteran of the world of fashion photography, she has paid her dues and then some. She has seen the trends come and go, and now has the knowledge and experience to help those just starting out. Anyone interested in fashion photography, or simply how to survive as a professional photographer will benefit from this frank and exclusive interview.
Sure it's easy to put off watching a video that isn't under five minutes long. Sometimes you just have to make an exception, and the weekend is the perfect time to do it. In this video, David Brommer talks about not only the rules of composition, but the theory behind the rules we all know and how they relate to our way of seeing. He takes us through the history of painting (which is the best possible thing to study for composition) and how it relates to every single image we take.
Ever since I briefly introduced it in my Photographer's Grip Kit video, people have been emailing and messaging me regarding the utility cart I use to haul gear around a job site. As a result, I figured a video was in order to talk about the cart in more detail, along with the modifications we've made to better adapt it to our workflow.
This is something that I am proud to hear being said, and I genuinely hope it continues to be said. When I saw this article making the rounds online, I knew I had to help spread its message, not just because it is important in my industry, but also in my personal life. Sexual harassment of any kind is unacceptable, and I will always fight against it. Awareness is step one, speaking out is step two.
As you may already know, I spend a good deal of time polishing my photos in post production and have taught retouching in Photoshop for some time. A few months ago I made the move from Lightroom to Capture One and haven't looked back. To test out it's power, I decided to see just how close I could get to my portrait retouching style using only Capture One Pro 8 and forgoing Photoshop entirely.
Ever take a photo during the daytime and wish it was at night? Some of you may shake your head, but it there are legitimate times in commercial and editorial projects where this is completely necessary in order to fulfill client/creative requirements. Glyn Dewis has put together this effective and straightforward Photoshop tutorial on how to do just that. Read below to download the original file and try it out yourself!
There are dozens of classes, courses and books on posing and they’re all useless. Why? There’s a definitive difference between directing a subject and posing a subject; if you’re “posing" a subject, then you’re doing it wrong. Here are three reasons why I don't like posing subjects and how I’ve managed to overcome those obstacles.
Perhaps it's only my opinion but I believe that one of the fastest ways to fail in business is to try to do too much, for too many people. Right behind that is producing a product that nobody wants, but we'll get to that beast later. When I talk with photographers looking to go pro, the first thing I ask them is what they intend to shoot. A solid 80% of the time their response is something like "well, some weddings, family portraits, maybe kids, and seniors too."
Retouching problems start well before we sit down in front of the computer and begin pushing pixels around. I know this because as I reflect on my past work, I realize that I’m as guilty of making countless mistakes as much as anyone else. Rather than talk about techniques like dodging and burning, frequency separation, etc. let’s focus on more high level problems that might be leading you in the wrong direction.
You may have noticed during our studies of umbrellas and technique that we have been lighting everything in a very direct manner, illustrating some very basic techniques for you to test out with your own photos.
Those techniques will serve you well, and can be used to create beautiful photos. But it’s time to try something a bit advanced, something that will give you the ability to better control your umbrella light and impart your own style into the photo.
Ever since Benjamin Von Wong took a leap of faith and left his successful career as a engineer to persue his artistic passions, he has kept a legion of die hard fans enchanted by his ability to turn the ordinary into epic. Whether it be organizing complicated pyrotechnics, photographing surreal scenes of ultraviolet models, or chaining models to a shipwreck 25 meters below the surface in Bali, Benjamin has never been interested in being ordinary. In his insanely creative mind, his thought process of "If it's not epic, than what's the point?" has led to some of the most memorable photoshoots in the last several years.
We’ve studied how direction and angle can drastically change the quality of light produced from your umbrella. We have also seen examples about how distance can change the umbrella light falling on your subject.
Now it’s time to look at the big picture. Let’s take a peek at how our umbrella is actually producing light across the whole image, not just the subject that you chose. In Umbrellas 103, we’re going to study fall off, and compare the type of light produced by four different shoot thru and reflective umbrellas.
If you’ve ever wondered why you might use a giant umbrella instead of a small, collapsible model, this article is for you!
What are certain photographers doing that make them popular? Surprisingly enough, things like gear, location, social media skills and post production have very little to do with it. Believe it or not, it's something far more important and it's not often discussed. Here is the common secret all five photographers shared that makes their work stand out.
A common issue that we're often faced with when using hard light modifiers such as a beauty dish or open reflector, is that of over-exposed highlights on our subject's forehead, nose and under eye areas, which also results in lost skin texture in those regions. While raw processors offer up the ability to recover highlight detail, this rarely leads to satisfactory results. In this tutorial I'll show you how to recover the texture while leaving the overall luminosity in-tact to produce a well-balanced result.