Retouching in photography has many forms. Everything from skin work to background manipulation. With the latest software abilities to retouch and manipulate an image, there is an endless source of possibilities to create. Even with all the tools available, there is a fine line and perhaps sometimes too much is too much.
Any time there is a case of nepotism in photography — like with Burberry and the oldest spawn of the Beckhams earlier this year — there is a colossal backlash and insatiable rage. In a time prior to refreshing social media four times an hour, although I could see the motivation for nepotism in fashion photography, it was tantamount to indefensible in my books. Now, however, I have a harder time working out why companies wouldn't favor their elite friendship circles for recruiting photographers.
If there is one comment I hear the absolute most at my studio lighting workshops, it's "Nino, I need to learn studio lighting. That stuff is hard. I'm a natural light portrait shooter and that's much easier." This is a statement I could not disagree with more, and here's why.
It's been a long time coming, but today's episode of my weekly web series, The Backyard, finds my co-host Staci and myself reviewing our three favorite edits from (what I dubbed) the Dani Diamond Experiment, posted almost two months ago. I allowed you all to download a raw file I shot of Staci in Miami and let you loose on it to retouch it as you saw fit. The results? Let's take a look.
If you follow big name photographers or pages like FamousBTSMag on Instagram or elsewhere, you’ve likely seen a parabolic reflector. Even more likely is the prestigious names that are Broncolor or Briese plastered on the side. The results that these modifiers produce are absolutely gorgeous, there’s no doubt there. They offer the most even light spread of any modifier, a large range of sizes, and incredible versatility. If you’ve done some research, however, you’ll throw the idea of shooting with one out the door because of their incredibly steep price. A few months ago, I stumbled on a company by the name of Parabolix. What I found seemed entirely too good to be true.
Dutch photographer Hans Eijkelboom captures the way we universally dress like bad extra's in 80's B-films. In his latest project, "People of the Twenty-First Century" (Phaidon, $35), the Dutch photographer shares the results of 20 years of skulking around the world's busiest streets. The images tell an amazing story of just how average we all are.
One of the most commercially viable careers as a photographer can be fashion or beauty photography. In fashion photography, you are mostly shooting people, and you have details like clothes, makeup, and mood that you can capture in creative ways. You can create fantasies, capture a personality, and really build a name if your images are unique, and you will get people asking for you if you’re able to portray a certain feeling or mood. How to get started is often most aspirational photographers’ stumbling block. I can tell you that it is the ones who "show up and shoot" who build the careers and names for themselves from it. So, how do you do it?
From Vogue to People, including Playboy and National Geographic, all these popular magazines are familiar to us and instantly recognizable, but just a few of us know what their first editions looked like decades ago. As time passed by, bringing forth new faces, new fashion, and a whole new way of thinking, magazines needed to evolve with their time and adapt. Some have stayed faithful to their initial visual identity, having only undergone minor changes because they knew what worked for them. On the other hand, other magazines covers have changed drastically, their covers being a far cry from the original design.
Canadian Photographer Melissa Trotter is getting a lot of attention with her latest foray into alternative themes. "Blood Dress" was viewed more than 1.3 million times in just 8 hours after being posted online. Inspired by a "milk dress" shoot, Trotter says she instantly fell in love with the idea of creating the same concept with blood. There are plenty of comments to go along with the provocative image. The owner of Stolen Innocence Photography, Trotter says she's been overwhelmed with the response she's gotten, pointing out most of it has been extremely positive.
I've always been very slow and methodical when it comes to posing. Each angle is adjusted; every minutiae is considered. Sure, it may take a little longer, but it's worth it for the shot. After watching these videos, though, I've begun to think I've been doing it all wrong.
The latest fantasy shoot from the Slanted Lens instantly brings to mind the incredibly Academy Award winning movie Mad Max. With the help of a local junk yard, some incredible styling, and creative lighting, Jay P was able to execute an eye grabbing shoot. Check out just how he did it.
I am a wide angle fanatic, especially when it comes to prime wide angles. I carry four lenses in my camera bag: two of them are prime wide angles, one prime nifty fifty, and one telephoto. Out of all these four, I found myself reaching just for one particular lens: the Sigma 24mm f/1.4 DG HSM Art. This came to substitute my old Canon EF 28mm f/1.8 USM lens which I adored, but it used to struggle a bit with chromatic aberrations and at times I craved for a wider view.