Fashion week: To some, it’s a time for designers to showcase their latest collections. To others, it’s pretentious and laughable. Here, one group of YouTubers decided to dress a friend up in the most ridiculous outfit possible, in an attempt to see if photographers covering London Fashion Week would take the bait.
Fashion photographer Christopher Cavanaugh was brought on for this photo project that took place in Los Angeles by creative director Terrel Mullen as a collaboration project to expand both their portfolios. It expanded their portfolios and expanded our appreciation of what can be accomplished from behind the camera.
When Per Florian Appelgren first got the brief from L'Officiel Indonesia, he was excited as shooting styled beauty is his strong suit and he absolutely loved doing it. Being able to work with a top-tier model such as Sara from GirlsClub Management Berlin was also a huge plus point.
This shoot was an art project that Amber Gray had been dreaming of for a long time. One of the things that she often explores in her work is the relationship between feminine energy and the natural world, and this concept in particular really exemplifies that idea in a surreal way.
Photographer Magic Owen was offered the opportunity by HUNGER Magazine to set her own brief for a shoot at the gorgeous venue, Castle Ashby. Having been given the chance to shoot in a location that magical with such creative freedom, Owen decided to create a modernized Wonderland style shoot.
It is widely acknowledged that necessity is the mother of invention. DIY and jury-rigged lighting setups are all the rage these days. The phrase "gear doesn't matter" has become a mantra. Why are photographers so loathe to admit that gear can matter? Sometimes not having the right gear is what stands between you and your concept.
If you've ever used luminosity masks, you know how perfect they can be for creating specific looks, effects and styles, and are also hugely purposeful for specific utility processes in your workflow. There are many ways to go about creating luminosity masks, but have you considered simply using the Gradient Map adjustment layer for this?
I shoot for a clothing boutique and we shoot outside at the same area weekly. To say I have overused the available locations is an understatement. Sometimes I find myself on the side of the road, next to a rundown building I’ve shot at 20 times already, and think to myself, how in the world can I make this different? I’ll bet most of us have been there at some point.
Many people have asked me over time why most of my headshots are taken in portrait orientation and so tight? I used to joke around, saying I shot that way because I am a Virgo and my style of shooting is very much “in the box”. I then realized I could simply sum up three main reasons for why I shoot in portrait.