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.
That’s right, I said it: If you aren’t sharing content on Instagram, you are shutting the door on a world of potential opportunities! With over 200 million users, this social network has the power to become one of your most important means of promoting your photography business.
With approximately 3.4 million cats entering animal shelters every year in the U.S. alone, the need for adoption is stronger than ever. That's why Fashion Stylist Ryen Blaschke and Commercial Photographer Shaina Fishman teamed up for "Cats in Hats," a wonderful series featuring rescue cats and kittens that are currently up for adoption.
A simple Google search will turn up millions of results on what photographers should do/not do when working with models. However, nine times out of ten, these articles are written from a photographer’s perspective, and the model’s voice is rarely heard. Well, today is your lucky day! I have jumped in to give you the model perspective! Whether you are shooting underwater, commercial, fashion, conceptual, etc., some of the same rules of etiquette apply across the board.
So you found the perfect model for your concept, reached out to him or her, agreed on a date, showed up at the location, and are about ready to shoot. You have never met this person in your life. Now what? We have all seen those unfortunate shots taken by our fellow photographers where the client or model looks wildly uncomfortable. We want our models to look at ease in every frame, and this can be accomplished by following these four simple steps.
With over 40 years of portrait work under his belt, American Photographer Will Shively has become one of the most successful commercial fashion shooters in Columbus. Will found himself at a crossroads when he first decided to pursue his passion for photography. He got his BFA in painting from Ohio State University and was working for a design firm before being let go with a newborn on the way. But despite the risks involved, Will worked nights as a janitor at a local manufacturing plant while teaching himself the art of photography.
So you want to travel with a model? I've been shooting portraits for around four years now, and have started to (finally!) add more traveling to my life. Unintentionally, it turns out that my travel partner, my friend Victoria, also happens to be a model. In a relatively short span of time, Victoria and I have shot together in multiple countries and states, including Florida, North Carolina, New York City, Ireland, Italy, and France. In my career up until this point, I had worked with a variety of models, choosing them based on how they fit a location or look. Here are some of the pros and cons of the experience.
Jake Hicks is a U.K.-based photographer who adds dramatic color to his portraits. He was kind enough to share a few tricks he uses to achieve his signature technique. It doesn’t matter if you are using studio lights or speed lights, this is a simple recipe you can use to color and bounce light and create different effects in your work.