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.
No matter if you photograph headshots, weddings, portraits, or sports, one of the most important skills you can have as a photographer is picking out interesting yet non-distracting backgrounds. Many photographers prefer shooting with fast prime lenses but in today's short photography tutorial, I'm going to show you why I prefer the power and versatility of a telephoto lens.
It seems as if the film edit is getting more popular every day. A lot of beginner photographers out there will do anything to achieve this look. The easiest way to do that is to buy presets but I want to show you how to create the look yourself. I believe once you understand how to create the look yourself you can begin to find your own style. I know too many photographers that take an image, slap a preset on it, and call it good. All the editing on these images was done in Lightroom 5.
The character of your portraits is conveyed by many different elements, but a crucial one is the eyes of your subject. In this short tutorial, I’ll show you how to make eyes pop without making them look fake.
I love animals and many of us do. They're so expressive and it makes you wonder what they're thinking of. You see the innocence in their eyes and you know it's genuine. Let's not forget to mention their ever ready playful demeanor. When you combine these vibrant attributes with photography, it sets up for some endearing work. Cue in animal photographer, Jessica Trinh.
You read that headline correctly. After making a huge splashes in the motion-capture industry since 2005, Red has big plans to be the only camera system you use on set for both your motion AND still photography needs, and it's closer to being a reality than you would think. Prepare to have your minds blown.
Focus and recompose is an extremely common method for getting around AF sensors with limited AF point spread, but it's an imperfect technique that could be causing you more issues than it's worth.
Every photographer has been faced with the task of photographing subjects in front of beautiful sunrises or sunsets. Ideally, you'd have a light, but if you don't or the subject is too large to light, you're going to have to fix the image in post.
Shooting on a clean white backdrop can be one of the more complex in-studio lighting setups around. Properly exposing for full lengths while giving your models room to work can require four or more extra lights and considerable amount of setup time. While taking the time to take care of the details is important for getting the perfect image and saving yourself hours of retouching on the back end, sometimes you just want to get a nice clean background without the hours of prep.
Help me settle this ongoing argument. In his article, my good friend Neil Van Niekerk tells his readers "Fall out of love with your 50mm lens. Use it when it is appropriate." He goes on to say that the 50mm is not appropriate for tight portraits; even uses my photos to demonstrate his point. I say he's wrong.
From Vanity Fair covers to designer fashion shows and theater stages, artist Sarah Oliphant has painted her way into the fabric of fashion by creating beautiful canvases worthy of framing on a scale large enough to become the industry's leading backdrop painter. Oliphant Studio has been creating scenic backdrops for photographers, film producers, fashion designers, architects, and interior designers since 1978. Along the way, Oliphant has collaborated with the top level of fashion and editorial portrait photographers including Annie Leibovitz, Steven Meisel, Patrick Demarchelier, Albert Watson, Mark Seliger, Norman Jean Roy, and Sue Bryce while also providing an inventory of backdrops available for rent to photographers beginning and advanced.
Shooting in harsh sunlight is always a challenge. Recently I shot a test while out on a trip in Los Angeles. Due to scheduling we had to start shooting around 4 p.m., so we were dealing with hard sunlight. In this post we will look at five different setups you can use to shoot in and manipulate these less than ideal lighting conditions. In a previous post, I showed how to quickly scrim hard lighting. In this quick tutorial we will look five different ways to light while in the same environment and conditions in order to alter the look of our image.
As beauty/fashion/glamour photographers the quality of our work is often largely driven by how well we can tell the story of an intimate moment within the frame. A big part of being able to do this is by building trust with the model to ensure that she feels safe throughout the entire shoot.
Having the right gear for the job is essential in being able to handle the barrage of lighting scenarios that a wedding photographer will encounter on each outing. I, like many others, am constantly thinking about the next piece of gear. What lens, what camera, or what lighting system will allow me to take higher quality images and provide a better experience to my client? This led me to think, what do I really need to shoot a wedding? I mean in reality, to walk out my door and provide my bride with the images she expects, what are the bare essentials I really need?
Richard Tuschman is a fine art photographer, whose works has appeared on a number of book covers. His latest project, Hopper Meditations, has him recreating famous Edward Hopper paintings in an unconventional way.
When I first saw his images, I was struck by the quality in them. They appear to be a composites, but it also looks like he may have been using a tilt-shift lens. Even if they were composites, I was fascinated by how he found locations that perfectly mirrored the original paintings. Tushcman's secret? Dioramas.
Update: Warner Brothers has asked us to remove the images.
Some images have surfaced on Imgur that show some white backdrop, studio images taken for the release of the original Dark Knight. From what I understand, these are images that poster designers would use to craft the extremely popular and highly lucrative (both as a movie advertisement and as individual sale) designs to support the movie.
Natural light portraiture is forever popular, but as us photographers know, more light isn't necessarily better. In fact, like half-breed vampires, we shy away from the sun at its brightest during midday.
Umbrellas have been a staple light modifier for decades. But if you’ve ever wondered why there are so many types, or how the light quality from your strobe is affected by the size, lining, fabric or shape of the umbrella, then this post is for you.
It can be very easy to fall into the trap of thinking elegant and nuanced portraiture requires complex lighting. And while there's certainly nothing wrong with a well-designed setup, it's also important to remember that so much can be done with a single light. This great video walks you through just such a setup.
It's no secret that many people have predetermined opinions about strippers and the private lives they may lead. In a recent project by photographer Bronwen Parker-Rhodes, their lives and their method of self-expression via exhibitionism are put on display.
Parker-Rhodes' began this project after forming relationships with some of the dancers at various clubs she would DJ at. It begs the question, 'How do you capture the private lives and intimate moments of someone that exposes everything (or almost everything) regularly? What do you choose to reveal?'
It’s easy to feel that we have great ideas for our images, but that we simply don’t have the budget to execute them to the standard we’re picturing in our minds. You should always try to find ways to be creative on a budget, so here’s how and why you don't have to spend a fortune to produce good results.
How much difference can you see if you shoot portraits on a full frame camera and compare it with those shot on an APS-C camera, both using excellent lenses? This video finds out.
Andreas H. Bitesnich is one of the world's most renowned fine art nude photographers, with work published and exhibited internationally for the last 25 years. His images carry a signature style and a simple aesthetic that combines beauty and form. Recently, Bitesnich created a photography tutorial that delves into how he achieves his incredible looks. That wealth of knowledge is now available to the Fstoppers community.
Knowing how to light, compose, and pose a portrait is only half of what it takes to create a finished image. The other half is retouching, and it takes a variety of techniques and a delicate touch to create a compelling result. This excellent video tutorial will show you everything you need to know to edit a portrait using both Lightroom and Photoshop.
What's your favorite portrait lens? In this video, Manny Ortiz picks his among a 35mm, 55mm, 85mm, and 70-200mm.
Photographer Nick Saglimbeni recently shot an image of Jhené Aiko for a Humane Society campaign to save the shark population. The goal of the image was to photograph Jhené in the ocean at night (or at least make it look that way). To create this shot, Nick decided to use a pool and strobes to create a similar look.
After Bar Refaeli took over the Superbowl with her controversial commercial, Bar found time to do something she never did before: pose nude for a magazine shoot. The magazine that paid her to do that is currently unknown, but somehow the photos leaked earlier today. Check out the BTS and the final results in the post.
A series of candid film photos shot with then-21-year-old singer Amy Winehouse have been released by the photographer who took them in 2004.
Bruce Gilden is one straight talker. The no-nonsense Brooklyn born, Guggenheim-awarded, Magnum photographer does not mince his words, that’s for sure. There is so much to learn from him in this interview, in between his quips and comments. Listen in as he shares more than 45 years worth of experience as he critiques a selection of images of street photographs in this VICE interview.
In our last photography shootout, Lee Morris defeated Pye Jirsa and I to regain the crown of "world's best photographer." Yesterday we teamed up again to have another battle and we need your help deciding who took the most beautiful or interesting image.
