I always wanted to shoot the portraits of a classic Bharatanatyam dancer, but by adding a modern touch to the 2000-year-old traditional dance form. Here is how we created dramatic dancer portraits with a little technique and lots of imagination.

I’ve been a Profoto user for quite a while now, loving my B1s and B2s for wedding photography, and my D1s for studio photography. I’m a huge fan of off-camera flash, especially when it can be easily manipulated into looking like natural light when I need it to. After all, that’s what 99 percent of my wedding clients want: natural light and a golden-hour glow regardless if it’s raining or we’re shooting in noon-day sun. What I’ve been missing, however, is the portability of a small flash, and being able to use it on camera.

No doubt, any photographer who plans to work in a studio will need to learn proper artificial lighting techniques to realize their creative visions, but flash comes with its own pitfalls and challenges. If you are struggling or new to such techniques, this fantastic video will show you nine mistakes to avoid and how to fix them.

Most lighting modifiers come with diffusion panels that soften and even out the light emitted. Some even come with two panels. These panels can have a strong effect on your light, and it's well worth understanding exactly what to expect when you use them or leave them off. This helpful video gives you a comparison of all three situations.

Achieving soft, directional light outdoors can be difficult. Sure, you can use an overcast day for soft, natural light, but often, this will not give you the most flattering light on your subject's face. In this video, we use my largest light modifier to see how you can turn an overcast day into a professional looking catalog image.

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.

Many photographers start their careers by learning natural lighting techniques. Once these skills are established, complacency can set in and the photographer might choose not to stretch themselves to learn more advanced lighting skills. When photographers do this, they leave a significant amount of value on the table.

About a year and a half ago, I was walking on a local beach and realized that for a few weeks of the year, the sun would set in a perfect line of sight down the beach. I thought it might be a fun photographic challenge to create a super telephoto picture with a body builder "holding" the sun in an Atlas style pose. In my mind, the entire scene would be lit rather than have a typical sun silhouette image. Little did I realize how much work I was getting myself into.

Let’s be honest, there are a lot of advantages to using speed lights. They are light, portable and they run on batteries. Speed light modifiers that accompany them are also usually quite light and portable as well. But speed lights do have their draw backs and they can be a real pain to use when you encounter issues, such as a painfully slow recycle time between flashes and a lot less power then you need on a bright sunny day. If you have a love hate relationship with speed lights then this article might just have a solution for you.

Keeping up with every new feature that is added to Lightroom and Photoshop is a never-ending task I’ve long since given up on. Fortunately, both programs currently perform all the tasks I require from them. Still, I like to periodically make myself aware of improvements to these programs to ensure that I don’t miss something that might speed up or otherwise improve my workflow.

Just when you thought the basic 5-in-1 reflector couldn't get any better, Westcott has announced their new 10-in-1 Omega Reflector. The unique design of the Omega allows you to use it like a ring light, a gobo and a flag rather than just your boring old traditional reflector. At 38 x 45 inches, the Omega offers your typical black, white, silver, gold and 1-stop diffusion surfaces. However, what makes the Omega stand out is its removable center frame on each surface that allows you to shoot through the reflector!

If you shoot a lot portraits or beauty work, you likely spend a lot of your time thinking about lighting, including what the right modifier for the look you're going for is. This very comprehensive and well-explained video will walk you through the standard octabox and beauty dish, as well as the more exotic adjustable parabolic reflector and Satellite Staro.

Creating dramatic headshots using multiple lights doesn't have to be difficult. One of the best ways to become proficient at using a three-light setup is by building it one light at a time. In this article and the accompanying video, I will demonstrate how you can easily create dramatic headshots and portraits using a key light, kicker light, and fill light.

Yes I said it. I can hear the outraged shrieks of equipment addicted photographers, but hear me out. In February, I went to Capetown for a month to please my trigger finger and shot eight stories in the same location using just natural light. South Africa is a renowned location for occidental productions. When it is snowing in Europe and in the States, it is summer season there. During that time the only weather complication can arise from wind with the upside being constant blue skies. During my stay, I got unpredictable rain and clouds. When I was done throwing tantrums at the black skies and banging my head against a wall questioning my decision of spending hard earned bucks to fly to the southern tip of Africa, I capitulated and went with the flow. And learned a lot in the process. Getting out of my comfort zone reminded me about the core of photography: my vision.

When you think of studio lighting, you probably think of elaborate multi-light setups, and while those certainly have their place, there's no reason you can't create compelling imagery with a single light. This great video will show you how to achieve exactly that.

Aputure is taking a step into the realm of more affordable home studio gear with the release of four new lights. This review checks out the brand new Amaran 100d and 200d, with bi-color versions also available.

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.

When you are working with artificial light, you often have to think about not only controlling the flash, but the ambient light as well. That can be a bit of a mystery for a lot of us when we first start working with artificial light, but this excellent video tutorial will demystify the relationship between ambient and artificial light and show you how to take control of both for better images.

One of the biggest leaps you can make as a beginning portrait photographer is taking control of your lighting. It can be daunting at first, but having that skill down is well worth the time and effort. This helpful video will get you started.

When you're shooting a wedding, every minute is valuable. There is often a compromise between the amount of time you spend on a shot and the level of quality you can achieve from that shot. That's partly what makes Fstoppers member Paul Keppel's ring shots so great. They take him almost no time to shoot and they look fantastic.

Ryan Brenizer is famous for his shallow depth of field panoramas known as the Brenizer method. In addition to this, he has photographed presidents, singers, athletes, and has more than 350 weddings under his belt. He was named one of the "10 most sought-after wedding photographers in the world” by Rangefinder Magazine, so when he talks, you should listen. In this video, Brenizer goes through five lighting tips that can help you throughout the day of shooting a wedding.

I’ve just watched one of the best fashion shorts I’ve seen in months. It combines gorgeous color, cinematography, camera movement and Hitchcock-styled, film noir sensibility beautifully. Interestingly, after speaking to one of the directors, regardless of budget or what we’re shooting, there are real gems to be gleaned from their experiences. Read on for the full scoop.

Breathing new life into your studio space shoot after shoot doesn't have to be difficult and it doesn't have to be expensive. With just a few simple DIY tricks, it's actually pretty easy to transform a plain white studio space into a stunning set.

Anthem is a new company. So we didn’t know what to expect when we sat down with their new LED light that promises to far outlast any HMI while promising the implied savings that could drive down production costs.

Golden hour is great and all, but if you limit your outdoor portrait times to those narrow windows during the day, you're going to quickly be frustrated by the limitations. Learning to shoot outside with flash is an essential skill, and this great video will introduce you to it.

As a photographer, my skill set is constantly put to the test. In most cases, I’m handed an idea on a slab of wood and the mission is to hand that idea translated to a tangible artifact back to my client on a silver platter. It’s never an easy process, but it’s a part of my job.

When it comes to all things headshots and manipulating human expression, the best guy to seek council from is Peter Hurley. Peter's career has spanned about 15 years now, and over those years he has gained a tremendous amount of knowledge. Last year with the help from our friends at Profoto, Lee and I were able to film a supplemental free chapter to Peter's Illuminating the Face Tutorial. In this video Peter takes us outside to show some of the techniques he uses out on location.

When a new and innovative product comes out, it generally demands a higher price. But does the Profoto A1 really have what it takes to justify a $1,000 price tag?

When it comes to flash photography, there seems to be a constantly recurring question: manual or TTL flash? So at the end of the day, which one should you really be using?

It was something I’d been thinking about for a while. Casually admiring others and how they went about it so naturally. Watching from afar, admiring the differences between them and me and wondering if there every was going to be a day when I was comfortable enough to do it myself. The more I watched, the more interested I became. Soon, I began visiting websites, looking at the photos and day dreaming what it would be like when I had the nerve to do it myself.

Have you been booked or plan on shooting a large group for their company team photo? Not sure what you need to do or even how to start? Jay P. Morgan from The Slanted Lens is back with another video with some of his tips on how he shoots his corporate group portrait photos.

If you look at the work of professional portrait photographers, you will probably notice that they often employ multi-light setups to achieve their desired looks. And while those are useful, you can absolutely create professional-level photos with a single light, and this helpful video will show you what you can accomplish with one.

The inverse square law is one of the most fundamental and important rules when it comes to lighting in photography, and understanding it can make you a better photographer. This excellent video will introduce you to the law and show you how its affects your work.

Clamshell lighting is one of the most classic and commonly used setups for portrait photography, and when done right, it can produce eye-catching and flattering results. If you have not used it before, check out this great video tutorial that will show you how to create a proper clamshell setup for portraiture.

Many photographers rely on their 50mm 1.4 and 85mm 1.4 lenses to give that dreamy, narrow depth of field look to their portraits. These two lenses have become a staple for portrait, headshot, wedding, and boudoir photographers who enjoy the soft look that comes with a narrow depth of field and natural lighting. But what happens when you want to create a similar effect in the studio, where your strobes are often too powerful for shooting wide open? Today, I'm going to share with you a fairly unconventional lighting technique that will allow you to shoot your lenses wide open in the studio.

It's usually all about that sweet, soft light. Many of us portrait photographers probably would never even consider using a harsh, bare light without something to diffuse it, but Profoto and Pye Jirsa with SLR Lounge show you there is a time and place in this video tutorial that includes three step-by-step scenarios that teach you how to create dramatic photos with a single naked and unmodified strobe.

Learning how to work with artificial light will make you a far more versatile photographer and enable creative opportunities that simply would not be possible otherwise. However, there are a couple of ways to approach building a lighting kit, and if you plan to be on the go quite a bit, you should carefully consider the size, weight, and power requirements of your equipment. This excellent video tutorial will show you a portable, versatile, and effective minimalist flash setup.

Ron Jaffe is the stills photographer for a multitude of popular television shows, and occasionally, he’s asked to recreate images that could have been taken decades ago. I asked him what process he goes through to take us back to pre-war USA.

Stock Photographer Yuri Arcurs definitely went big with this experimental photoshoot, to see if it would be possible to shoot a fast moving fighter jet, and actually light it up with flashes. This behind the scenes video shows us how difficult it was to pull off, but that the end result justifies the elaborate and at times frustrating work.