For an instant, she stares blankly out into the distance as she would for any photograph. But almost immediately, she takes notice. You're there. She turns her head, looks over, and then slowly turns back, looking down at her outstretched legs. Her eyes move slowly, looking down, as her chin lifts her gaze from the top of her legs to her feet. She's admiring herself — for you. She even starts crawling toward you. You turn your head to look around ("Toward me?," you think, but no one else is there). You turn back to her. The clip is over. You can take off your Google Cardboard viewer and go back to flipping channels on your living room TV.
This story happens much more often than any of us would like to believe. A beautiful model receives a text from a highly respected photographer asking if she would be interested in doing a swimwear shoot at the beach. The model has heard great things about the photographer or maybe has even worked with the photographer before and jumps at the opportunity to shoot with him. The model, back home for the holidays, drives 7 hours across the country for an opportunity of a lifetime only to find out that she has been catfished by a creeper posing as a real photographer.
I admit it freely: I didn't used to pay attention or care about portrait lighting patterns. In fact, when a photographer would mention them around me, I would cover my ears and say "La la la la la" as loudly as possible while hurriedly trying to leave the room. There was a time where dismissing the standards was my usual, as was my tendency, but eventually I realized I was missing out on fundamentals that I could easily have built on and expanded rather than ignored. Just starting out? Don't make my mistakes.
With his brother, Romeo, the face of numerous Burberry campaigns, Brooklyn Beckham has now been spotted working on the other side of the camera for the famous fashion house. The teen, who last year was reportedly working in a West London coffee shop for £2.68 an hour, is the official photographer behind Burberry’s latest fragrance campaign, entitled "This Is Brit."
If you work in portrait photography, be it commercial fashion or high school seniors or anything in between, at some point you will be on set with makeup artists (MUA) and hair stylists, if you aren't already. A good makeup artist can make or break your sessions, and a bad one can simply ruin everything. And since no amount of retouching can totally undo subpar makeup, hair, and styling, Staci and I decided to sit down with pro makeup artist Sarah Stafford in The Backyard to shed some light on the relationship between MUAs and photographers.
Casting is time consuming! It can suck up all your energy. It can leave you exhausted and frustrated. It is mostly the one part of photography that always demands tons of effort, and does not always reward us with the results we hope for. That’s why there are casting directors, both in the stills and film industry. It is a job! When you are working on your portfolio you rarely have the means to hire one, so better to get efficient with it on your own. If you are a landscape or a still life photographer, move along gleefully.
The ability to direct models (any model) in your shoot is key to any visual project. You might have the best location, styling, and lighting setup, but if you don’t have the right kind of emotion in your model's face, it will all have been for nothing. Your mission is not just to press on the shutter release, but to also be a director. Here are the dos and don'ts and a little bonus at the end.
Shooting portrait work during the day outside has always meant that you have to think on your feet and improvise depending on what Mr. Sunshine decides to do. Some days, you get brilliant, bright rays of sol pummeling the entire city with impunity, and other days the order of the day is cloud cover and über diffusion. The biggest challenge, in my opinion, occurs when the sun and clouds start to play games with you and change the game every few minutes, causing you to contend with hard light at 3:54 p.m. and soft diffused light at 4:03 p.m., etc. So, how do I deal with that?
As a photographer and an artist, one of the most rewarding accomplishments you’ll have is when you see your work featured in some type of way, whether it is in a magazine, an art gallery, an advertisement, etc. In this piece, I will take you behind the scenes of the exciting and riveting experience of a fashion editorial, from the preparation, to the actual shoot, post-processing, and beyond.
Ever since the middle of high school, I've been immensely interested in "the process." You know, that middle bit between point A and point B that nobody but the artist ever sees. I've always loved peeking behind the scenes to see where something started and what kind of work and thought went into creating the finished product. To satisfy those of you who are just like me, here's the second post in my before/after series which not only shows you my images straight out of camera and the final product, but which uses each image to explain a bit more about what I do in post. If you want to dig in way further than these, I cover every step of my post processing in my Editing + Consistency class. Enjoy, friends!
Fashion photography is most probably one of the most desirable fields of photography. We are lured by the prospect of working with the hottest and trendiest people out there. That is where I come from and all I can say is: what does not kill you makes you stronger.
The world’s best photographers are defined by their styles. For example, you can instantly look at an image by Martin Schoeller or Annie Leibovitz and recognize what you’re seeing. Their work is distinctly theirs. I believe that a big part of a photographer's success lies in finding this style. It may not come easily to everyone, however.
Moustaches and Beards. The ultimate sign of masculinity, or so some say. Every year there is a National Competition, "The Just for Men National Beard and Moustache Championship presented by Hanes X-Temp," to show off all of hard work of beard connoisseurs. Photographer Cristopher Benitah was there to capture the show.
Ahhh…..rejection! Everyone has experienced rejection many times in their life, but it is especially prevalent in the fashion and photography industries. I’m sure you have been rejected as a photographer before, whether it was by a gallery, publication, or model you have wanted to work with. I can safely say that if I had a dollar for every time I experienced rejection as a model, well, you get the picture. I have been rejected by some of the sweetest photographers, who unintentionally made me feel like I should never have reached out. Similarly, some photographer’s rejection tactics needed some major fine tuning and left me feeling fed up with how some people in the industry tend to act. As a model, I 100% understand that I will be rejected 9 times out of 10. It is completely okay to say no! Saying no is healthy! But it should be done with professionalism, tact, and respect.