Because most of us fear rejection to some degree, speaking to a complete stranger and asking them for something, let alone asking if you can photograph them, tends to be pretty challenging. I’ve never been one of those naturally confident people but over time I’ve developed some techniques that have provided me with the confidence to work with strangers, which has brought additional benefit when communicating with paying clients.
Keeping your models and clients happy on set is vital to creating images that evoke the full range of emotion. Part of your job as a photographer is to bring everyone on set to a mind space that is calm and comfortable. Here are a few tips on how you can play the good host.
A few weeks ago we featured an interesting project by Casey Neistat: The CLA Project. Casey was hired by Mercedes Benz to create a new, fresh and creative approach to the typical stock car commercials that you've seen on television for the past twenty years. The final commercial for the new Mercedes Benz CLA has finally been released. I have to say it is definitely creative and unlike any car commercial I've seen before. I love the patriotism and the fun, light-hearted vibe in the commercial.
"VICE Meets: David LaChapelle" goes inside David LaChapelle's studio in Los Angeles and sits down with him to talk about his early days in New York, what he did in art school and why photography is the parameter that prevents his head from exploding. It's always amazing to get a glimpse into the mind of a great artist and begin to see what makes them tick.
Joey Wright is a swim and lifestyle photographer based in Florida. Despite only picking up a camera a few years ago, Joey is a already regular contributor to SI.com with clients ranging from Callaway Golf, the Atlanta Falcons and the Seminole Hard Rock Hotel & Casino and is recognized as a Wescott Top Pro. He's also really, really likable.
When you think of fashion photography, you typically think of women being the main subject. It's not without reason because female models typically dominate the fashion scene. When it comes to shooting male models in fashion, there's a lack of information out there for aspiring photographers. I reached out to my friend and colleague Chris Davis who was happy to share a few tips on shooting male models in specific.
There is a fine line between having a well defined photographic style, and constantly putting out the same stale, boring work week after week. A fine and dangerous line. A line that can make the difference between being a successful, inspiring photographer and a photographer who has lost his audience and has even lost interest in his/her own work.
A few years ago we featured photographer Kevin Kozicki in a behind the scenes video using pointsettias for a beauty shoot. Kevin is back with an amazing glamor photo and video shoot with filmmaker Christopher Park in a beautiful pool location using the Phase One IQ180 that was featured in Sessions Magazine. We had the opportunity to speak with Kevin and get his insight on the shoot.
A few years ago when I was still new to the world of beauty photography and digital photo retouching, I prided myself on the ability to "fix it later in Photoshop." I would welcome retouching challenges as I was still learning, but things changed forever after I started working with professional teams and shooting for commercial clients.
There are a few unarguable reasons for getting it right in camera.
You've all seen these images. It's the knob-and-hanger set up that has become the signature style for many kids retail sites such as Zulily. What you do not see, however, are all the tools that go into creating these minimalist images. The bulk of my work as a commercial photographer is with product, one of which is children's clothing for sites like Zulily, so let me give you a sneak peek into my personal tool bag that I could not work without.
If you are into photographing people, the idea of working with professionals has probably been on the agenda at some point in your career. Whether an editorial photographer, fashion and beauty shooter, or just someone who likes creating awesome fantasy composites, the use of professional models will invariably improve your work. So how do we go about working with these gatekeepers of the people photography industry?
I'm glad you asked!
This is the second part of the article on how to learn to "read" lighting in photography. If you haven't read the first part yet, please start here: How To "Read" Light In Photography - Part 1.
And for those of you who have been waiting for the second part, let's jump right back in and see what other cues we can use to breakdown lighting in other photographers' work.
We can often get swept up in the world of digital video. Topics like 'What it will mean for the future of photography when we can pull stills from video?' occupy a lot of time and thinking.
Discussion like this is relevant but I sometimes think we miss the most important element of all. The single biggest contributor towards great video is actually making sure we understand what it is that makes a great still image in the first place. To go faster, we should actually slow down. Maybe even stop.
Finding the right light for your images can be a daunting task, especially when shooting outdoors and with unpredictable lighting conditions. Professional fashion and portrait photographer Lindsay Adler, is here to give you her list of the worst lighting conditions outdoors, and how to correct them in camera, to give you the best possible photos.