The one and only Pepper Yandell, based in Dallas, Texas, could be called the rising star of automotive photography for some time now, and for good reason. Yandell produces some of the most striking and commercially viable automobile images I've ever seen, so recently when BMW handed him the keys to a factory fresh 2 Series and told him to get lost for 24 solid hours, it was pretty clear that this rising star had ascended to a new level.
In a dramatic scene from "Interstellar," the space crew was nearly overcome by a massive wave on a distant planet. Take a look behind the scenes to see the filmmakers and actor Wes Bentley discuss the lighting and composite work required to produce this daunting visual effect.
Knowing when to stop is the hardest lesson to learn for those new to retouching. In this tutorial we will look at how to recover lost texture and over smoothed skin tones, even when your file has been flattened. In this image the texture has been over retouched resulting in a significant loss in the skin texture. The transitions between skin tones have also been slightly overdone. Frequency Separation is a term we see in retouching all the time its also a technique I'm working on using less and less and bring in as a last resort. By using frequency separation here we can borrow texture and...
We've had one hell of a cold, long winter this year here in North America. On top of that, I live in Houston, Texas, so this business of freezing rain in March can go die in a fire already. I enjoyed shooting moody styles outside during this extended drabness in recent months, if I'm honest. However, sunny days are coming and I couldn't happier it because summer means outdoor swimwear projects begin, which is one of my favorite styles to shoot. However, having been so bleak for so long this winter, have you gotten yourself prepped for this most popular of fashion and glamour photography seasons?
RGG.edu has released its newest tutorial, "The Complete Guide to Product Photography and Retouching." This in-depth tutorial features over 20 hours of content on shooting and retouching, taught by Tony Roslund. The tutorial is currently available and being sold with a $25-off early-bird discount, this week only. Use the promo code 25OFF to recieve the discount at checkout. RGG brings us a curriculum based approach to teaching photography with 55 Pre-production, 11 Photo Shoot, and 11 Retouching tutorial videos.
In Branding and Logo Design for Photographers Part 1, we looked at the initial steps of self-analyzing, market research, and competitive analysis. Now we move into the designing of our photography brand logo with possibly the most important step: identify and separate. The happy medium of fitting in with your genre enough to connect while contrasting from your field enough to stand out is a tenuous balance. Following these steps will help photographers and non-photographers build a strong competitive brand.
Being fiscally successful as a photographer requires more then just taking great pictures. Branding, marketing, and promoting are huge aspects of the business of photography. One of the first steps photographers often take when starting their business is designing a logo, but this can often be a mistake. Before designing a logo, photographers or really any business should carefully develop and create their brand identity. In this post, we will look at the multi-stepped process of developing and designing a photography brand.
When it comes to compositing, more often than not it's the little things that take an image from good to great. In this tutorial I show you how to pull off a simple yet very effective way to create those small embers and sparks that are all the rage in Hollywood action movie posters. Adding details like sparks, debris, fog, dust, etc. to your composites can change the overall mood of your composites and give them that epic feel you are looking for!
Perhaps the benchmark of “making it” in this business is to earn an assignment that would cause all but those with the strongest moral character to push both ethical and legal boundaries if an opportunity to supplant the rightful hire were to present itself. Bicoastal photographer Navid Baraty is one such photographer that might draw out said envy from his peers with the most recent addition to his client list.
When a client came to me and asked if I could do a composite that featured a dragon, my first response was, "Of course, no problem. This is going to be so much fun!" Immediately following the conversation, reality set in and the haunting feeling that I had bitten off more than I could chew began to overwhelm me. After a momentary panic episode, I promptly began racking my brain on how I was going to pull off this impossible feat. Luckily in the end, creativity prevailed!
Last summer, photographer and director Dixie Dixon was called upon by Nikon to shoot a campaign for their new touch screen DSLR, the D5500. This incredible opportunity had one interesting challenge in store for Dixon, however; All of the material would be photographed and filmed — kit lens, auto settings, and Photoshop-free — using the consumer-level D5500 itself.
I first came across the work of Colorado-based photographer Drew Lundquist in 2013 when he was working for the powerhouse advertising agency Elevendy. Lundquist is a composite photographer who specializes in what he labels "theatrical special effects photography." His composite work is extremely clean with an immaculate attention to detail. Everything from his compositions to his color work leaves you wanting to see more and more. Lundquist's work has been featured numerous issues of Advanced Photoshop Magazine, and his work is the cover image for the current edition of The Professional Photoshop Book. Lundquist is well on his way to becoming one of the big names in the compositing game. I highly recommend taking a few minutes to check out his work.
Super Bowl XLIX is just two days away and most of us are looking forward to the commercials as much - if not more - than the actual game. This year will feature a Snickers’ commercial that is bound to be the talk of the work place come Monday.
The commercial follows the familiar “You’re Not You When You’re Hungry” campaign – only this time, it takes place within an episode of The Brady Bunch.
I have learned a lot over the years regarding pricing and bidding commercial photography. I still have a lot to learn. I've made mistakes (lots of them) and had some victories (fortunately). Sometimes as photographers we feel isolated on this psychological roller coaster of wins and losses. The reality is, no matter where you are in your photography career, no matter how big (or small) your clients are, we're all struggling with the same issues when it comes to bidding a gig.