Below are the most bookmarked articles by our members.
So you have a priceless Porsche race car to photograph for an ad campaign and you have to make it look like it's driving really fast, but space is tight and you left your stunt driver at home. So how do you get the shot of this car driving fast while parked? This is exactly the challenge car photographer Frederic Schlosser faced for this project. Watch the video and read below to learn how he executed this shoot perfectly.
Sometimes the one thing holding us back from bigger and better things is actually ourselves. Yes you CAN do everything, but SHOULD you? Many successful photographers have found ways that they can specialize their jobs within their own businesses so that they can do what they love and do best, and outsource the rest.
This year for Christmas I wanted to surprise my father with his dream car, an original Chevrolet Camaro convertible in hugger orange with white rally stripes. Being that I'm a photographer I decided to photograph the car and give my father a framed print of the car before I revealed that I am actually giving him the car.
If you are a lifestyle photographer one of your jobs is to make your images look natural- not stiff, not awkward, and definitely not staged. Your audience should see your images as moments that were going to happen regardless of whether or not you were there to capture it. The imagery that Roxy uses in their advertising is a spot-on example of this. Their photographic brand is made up of images of surfer girls living their carefree, summer lifestyle. Each image is a moment.
Talk to a photographer long enough and the question of screen calibration will be brought up. Often many will say it's an incredibly important tool in your post production workflow, and often many more disregard it all together. So what is screen calibration? Is it still a viable issue within photography today, or is it becoming more and more obsolete, like sync cables and light meters? I'm here to explain it to you.
Color banding is a problem we encounter when retouching many of our images or making them ready for print, but in many of the cases we just ignore it hoping no one will notice. In this long and detailed video, photographer / illustrator Lee Varis explains why banding appears in our photos, how we can recognize it, and shows the best methods we can use to fix it.
Dean Capture, a professional photographer with over 20 years of experience behind the camera, has spent the last 10 years living in Los Angeles, shooting the most beautiful nude models and porn stars on the planet.
About six months ago, I wrote a piece comparing flash techniques to HDR and ambient-only techniques when shooting for architecture and interiors clients. There was some great discussion involved and many valid points raised, and I'd like to take a few minutes to bring up another scenario that really shows the benefits of using flash whenever possible when dealing with interior or architectural situations.
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.
It is pretty common knowledge that photography is based on understanding the principles of good lighting. It's also pretty common for the average photographer not to have the budget to afford a studio and light their subject from 8 different directions. Instead of worrying about not having enough, use the natural light you do have.
Most people think lifestyle photography is over rated. Just pictures of people hanging out having a good time and thats about it. Technically, yes that is it. However, it's more than just that. It's not that easy to just have the shots look like people hanging out. They have to work well with each other, you have to be able to tell a story with the images, show emotions, ect. Basil Vargas is one of the many Life-style photographers I really enjoy looking at.
Hi, my name is Tam. Most of you don't know me, but I've been with Fstoppers for a few months now. As a system engineer, I'm more or less like a ghost in the machine; I make sure the awesome writers here have a functional server to keep the fresh content coming, and everyone else have their daily Fstoppers fix. The job is simple 90% of the time; the other 10%... you probably don't want to be near me.
As photographers, we usually use two different techniques to capture our images: The first is freezing the moment and capturing the split second we are witnessing. The other option is using a long exposure, to show movement, changes, or show things we don't normally see with our eyes. But what if you combined these two concepts - freezing a moment while adding movement? Check out these creative and unique portraits using this technique.
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.
"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.
When I first started shooting, I would spend absolutely no time planning my shots. I would focus tons of time and energy into every other aspect (location, wardrobe, mood, etc) but in some weird turn of events, it must have slipped my mind that the end goal is "The Shot." How that slipped my mind still baffles me. Instead of putting in the effort to plan what my actual finished images would look like, I found a model, found a location and showed up on shoot day with a plan to wing it.
It’s very easy to get used to the option of being able to “spray and pray” – shoot a nearly obscene amount of photographs and hope for a few that meander over the line to above average. I know I can be guilty of this sometimes – modern shutters are both a benefit and a crutch. So I issued myself a challenge: go out and shoot without looking.
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.
Transitioning into commercial photography is no easy task. For some it’s the holy grail, end game, and ultimate dream job to have in the industry. For others it couldn’t be further from what they want- and that's fine! However, for those of you planning a transition from event/portrait based photography into the commercial advertising world, there is a long list of connections, lingo, and experience based knowledge you need to have in addition to being at the top of your game visually.
If you are into photographing people, the idea of working with professionals has probably been on the agenda at some point in your career. Whether an editorial photographer, fashion and beauty shooter, or just someone who likes creating awesome fantasy composites, the use of professional models will invariably improve your work. So how do we go about working with these gatekeepers of the people photography industry?
I'm glad you asked!
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?"
It's a growing trend in wedding photography these days to do photos with sparklers, and yes, you can blame Pinterest. Whether it's sparkler exits, or long exposure sparkler photos, your brides will expect you to know how to do these and will very likely ask you to do them on the spot! With this system, you'll be able to nail them every time!
Lightroom Classic 15.4 is out, and it brings changes that will affect how you mask, manage your catalog, and run AI denoising. If you've been frustrated by sloppy Select Subject masks or a catalog cluttered with duplicates, this update addresses both directly.
Blurry shots, cluttered frames, and flat edits are among the most common issues that show up in landscape photography workshops, and they persist even among people who've watched dozens of tutorials.
Trying to land photography clients before you're ready doesn't just waste your time, it burns opportunities you might never get back. First impressions with potential clients are permanent, and if you approach them too early, they won't come back even after you've improved.