The photography industry is beyond saturated. Everyone is clamoring for a tiny piece of the shrinking pie. Instead of battling for scraps, California-based photographer Hannah Ray is busy baking her own pie by crashing through the boundaries of conventional commercial photography.
In Part 3 of the Dramatic Beauty Portrait Tutorial, we will finally get into the first main step of the skin retouching process. Basic skin retouching involves addressing subtle skin and texture issues on our portrait images. We will not only look at techniques for skin retouching in Photoshop, but also discuss the theory behind our decision process during the retouching process. I will also show optional techniques for those looking for quicker or alternative options during their portrait or beauty retouching. In case you missed it, during Part 1 of the tutorial we went over the lighting and shooting of our image and in Part 2 we looked at the "pre-editing" process.
It's never a bad day, or more often evening, when I get to Skype with Peter Coulson, an artist I am proud to say is my friend, from his place in Melbourne, Australia. However, our most recent Skype discussion was totally hinged around the controversy surrounding Richard Prince's appropriation and subsequent sale of prints featuring Instagram screenshots of photos by other photographers. One of these photos, in fact, was shot by Coulson. I asked him about it, and we chatted.
A couple of weeks ago I had a chance to shoot with the Broncolor Siros Monolights for the first time. Until now, my light of choice has been the Profoto D1. I, like many of you, have seen reviews on Broncolor's new monolight, and like many of you as well, have been a bit skeptical about their delve into competing with Profoto's D1 and B1 Series for the high-end monolight market. The Siros is available in two models, a 400W/s monolight and an 800W/s monolight, and for this shoot I used five Siros 800s. In this article I will give you my complete lighting setup, gear list, a retouching preview, and complete review of my experience with the Siros Monolight and BronControl app.
Whenever you work with someone new, whether it’s a member of your crew or a client, there is often that initial hesitation that comes with working with someone untested. There is a question of personalities clashing, of their skill, their expectations, and how they’ll handle direction or feedback. The sooner you are able to ramp up production and start capturing photographs, the better. Here are some best practices for making the most of the first look, and setting a great tone for your next photoshoot.
Specifically, John is my attorney, and I am lucky to have him on my side of things when it comes to my work, as he is rather sought after and emerging as one of the preeminent patent and copyright lawyers in the country. But before I go into that, I will say that I know I'm going to catch hell for this article today, as evidenced by the many and varied opinions I've seen in the industry about this latest Richard Prince controversy. Here goes nothing.
We are all guilty, or have been guilty, of slamming out edits right after a shoot, only to realize we don't like what we've done when we see it the next morning. As any artist can attest to, the morning after can be a sobering, if not disquieting, time for you when you recognize that your hasty post work is simply no good. Can you avoid this blunder? Yep, with a self-imposed doctrine of pre-editing your most important of project images instead of knocking out flawed or misguided finals in haste.
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.
In the often collaborative world of fashion and commercial photography, there are many who contribute to the final product. From the styling of the model and the brands involved, to your crew and retoucher. No fashion image is a solo act, yet there are many who will never credit those that were a part of the production. This phenomenon is not exclusive to photographers, but to models and other creative professionals. Before you post up your next photograph without credits, give the following reasons some consideration.
Today at 6 p.m. EST there will be a live Twitter chat with Russian-born, Indianapolis-based commerical photographer and Pattern Fashion Magazine creator Polina Osherov. The chat will cover a lot of ground, from the impact of recent trends in mobile on commercial photography to what it takes to build an international community from a mid-sized city like Indianapolis with virtually no budget to begin with. To participate in the chat, follow along at Element Three's Twitter account.
If you're not familiar with Peter Coulson's fashion and editorial work, you have clearly been living under the proverbial rock or simply don't follow portraiture. Coulson has quickly become one of the most respected and successful fashion photographers from down under, and has been fielding an endless stream of requests to visit America. Namely, to teach his voodoo studio mastery to the masses. Thankfully, this June in Chicago and New York, Coulson is doing exactly that.
This is Part 1 in what will be an 8 part series for a dramatic beauty portrait. In the series of tutorials, we will go through everything from the gear used, to the lighting setups, and all the way through the complete retouching process. In Part 1, I will breakdown my gear list used for the shoot and I will thoroughly go through my lighting setup. In this video tutorial not only will you see the gear and setup, but also a behind the scenes look as me and my team go through hair, makeup, and shooting. The complete series of videos will be available here on Fstoppers and on my YouTube Channel.
I am a bartender. After 15 years of slinging drinks it’s still hard to come out and admit that shooting isn't what I do full time. The path I've taken has been a twisted, gnarled, winding thing fraught with frustration and surprise. I've been shooting for 11 years and I never expected to still be behind a bar. But, such is life! I’m here to talk about dealing with that gut-wrenching feeling that comes along with any artist who hasn’t quite made it: shame.
When I saw this wedding shoot I was stunned into silence for a few moments. I really didn't know what to think of it! In my mind, when I think of wedding photography, I think of a world of immaculate white dresses, expensive shoes, thoughtful furnishings and of course, smiling wedding couples and their guests.