What happens when you throw together a shoot with two fashion models, one photographer, and an iPhone? We went ahead and found out for ourselves. As a professional photographer, the most popular question I receive on a daily basis is, "What camera and lens do you shoot with?" I also hear "My camera isn't good. What camera and lens should I buy?" When asked that question, I always make sure to emphasize that great light trumps great gear every time. That inspired me to do put down the D810 and practice what I preach. And what better way than to break in my iPhone 7 Plus?
How do you recognize a talent? How do you predict if someone in the photography industry will become a good professional when they are just starting? Is it the level of the aesthetics you see in someone’s work, a sense of perfect balance in their compositions, their speed of mastering technical aspects of certain art, or do you just feel it in your gut? It might be an amalgamation of all, but the young Mauritian Photographer Karen Pang sure has it all, and I feel privileged to have spotted her right at the start of her career and watched her growth throughout the years.
Whenever I am working with models on a shoot, I always have their best interests at heart. You may say I care too much about my models, but I am alright with that. No one badmouths a caring photographer. I have seen firsthand how some models are treated badly on set and it saddens me to see how bad attitude from photographers can ruin the photographer-model relationship and also lead to bad photos. Knowing how to build a relationship upon meeting your model and engaging in a photoshoot with the latter is a must and I asked a couple of models for advice to write this article.
Unless you’re a well established fashion and beauty photographer with the support of an agent or a plethora of business acumen, you probably aren’t going to make much money when you’re first starting out in the business. This is why it’s important to learn how to be scrappy and work with less gear if you’re working on a budget. In these lighting tutorials, I’ll show you three easy-to-replicate fashion and beauty setups that fit almost every budget.
Recently I found myself going through Facebook when I came across one of Benjamin Von Wong's videos. After watching the video by Empty Duck Digital, I felt like he hit the nail right on the head with his response to people's common questions of “What preset do you use? What equipment do you use to make that happen?” Like he states, people are always searching for the fastest and easiest steps to speed up their workflow. I understand why, but at the same time, most of it can’t be done. “Time and hard work” are his answers, and I completely agree.
Adobe Photoshop is a visual cacophony of tools, tools, and more tools. There is seldom just one way to accomplish the look you are after, and beginners endlessly scour YouTube seeking the end-all answers to their questions only to find 27 different ways to, say, "add contrast." It can all be a bit confusing until you remember one key thing: There is no right and wrong. If you get the result you like, and those viewing your work seem to like it, then you've succeeded. To that end, I wanted to review one (of the dozens of possible) ways I utilize Gradient Maps for my color work in Photoshop.
Mario Testino is without a doubt one of the most famous fashion and portrait photographers currently alive. He has worked for the biggest magazines and brands in the world, including Vogue, GQ, Vanity Fair, Calvin Klein, and Burberry. Over his 35 years of experience in the industry, he more than certainly shot some of the sexiest, most important, and most famous people on earth. In this article, take a glance at his work, but also his life, through a documentary created by the BBC.
When I first started photography at 15 years old, I didn’t know anything about organizing a team. I would bribe my younger sister into being my model for the afternoon, pulling clothing from her wardrobe and doing the makeup (really badly) myself. I was worlds away from the average fashion photography set, which typically involves a team of agency represented models, a professional make up artist, hair stylist, set designer, wardrobe stylist, and assistants. This is how I conducted my photoshoots for years, and after a while I realized that I needed to expand.
“Peter Lindbergh: A Different Vision on Fashion Photography” will be on view from September 10, 2016 until February 12, 2017 at the Kunsthal in Rotterdam, Holland. Just two days before the exhibition opens, the photographer will be giving an exclusive masterclass for students.
I'm back with yet another editing contest, but this one has a twist you'll either love or hate. As I was recently in San Francisco teaching alongside Dave Gallagher, CEO of Capture Integration, for our course on CreativeLive, it occurred to me that almost no one (at least) that I knew personally edited solely in Capture One. That is, taking an image to completion using nothing but Capture One, which would mean not using the sacred Adobe Photoshop in any way. Challenge accepted?
When you're shooting film, especially large format film, you have a lot of time to think. When your hands are in a bag and you're loading or unloading many sheets of film, the mind tends to wander and probably the subject that crosses my mind the most is "why?" Shooting digitally would be so much faster. I could be out having a beer somewhere! I could be editing some images in Photoshop from an editorial gig that I've been putting off. Hell, I could be practicing my juggling skills (or learning to juggle). So, why am I instead up to my elbows in this bag, enduring the necessary tedium of film life? Here are some common doubts I have and the reasons I push past them!
This article will probably seem like a giant “duh” to a lot of you out there. Hell, even most avid selfie-shooters have figured this out. This is geared more towards the photographers who lust after huge, expensive light modifiers and overlook the amazing light source that is probably staring them in face. I suggest you start staring back!
Style is one of the most important aspects of fashion photography. Having a consistent portfolio of images that reflects who you are and your creative vision is really important when it comes to clients viewing your work. Many fashion photographers, including myself, have struggled with making their work stand out from the crowd. Here are a few tips from what I have learned about finding your style and visual voice as a photographer.
A beauty dish can be extremely versatile if you learn how to control the way it modifies light. Most photographers simply use beauty dishes to light the face, but you can use it to light full length photos if you know how to position the light correctly. In this video, I’ll demonstrate three ways to use a beauty dish for beauty and fashion photography.
It is a common expectation that when clients hire you, it is because they like your style and think you will help project their brand’s identity. But what do you do when, despite previous exchanges, on the shooting day, you realize that your clients have entirely different expectations. Do you just change everything to adapt to their needs or do you say no?