The vast majority of fashion photographers have worked with nude models. A smaller minority work only with nude models. As a fashion photographer, I am often asked if I shoot nude models. While I find the question silly, it’s important to understand that nude photography is absolutely not fashion photography.
Recent Glamour Articles
The world likes looking at beautiful photographs of beautiful people and photographers are constantly receiving validation for producing them. However, when does it stop being about photography and start being about a preoccupation with female flesh?
Victoria's Secret has cast Brazilian model Valentina Sampaio, an openly transgender woman, for a catalog photo shoot. This announcement marks the first time Victoria's Secret has cast a transgender person for a catalog or brand campaign. Does this mean the lack of diversity and inclusion in the advertising industry is finally changing?
Just about anyone who has played with Photoshop a bit can learn about portrait retouching from YouTube, as there are tens of thousands of videos on there covering the many and varied methods involved in the process. But what about tutorials for photographers who are legitimately brand new to Photoshop, and have never used it?
Photography has been around for almost 200 years, believe it or not, and with every generation the art form evolves and changes. Everything from styles and fads to technology and world events have affected how photography has advanced over the decades, but what's going on today in 2019?
Skin retouching is an art form in itself, and there are thousands of different ways to retouch skin in Photoshop. Skin retouching is such an essential part of creating the final image in the beauty and fashion industry that there is a whole industry of artists who only specialize in skin retouching.
Just about every photographer at some point has found themselves in a situation on set where the disparity between light temperature sources causes significant color casting in ways they don't want. In my experience, the most common problem is when you have to contend with traditional incandescent light bulbs in frame, but you're using strobes that are (mostly) balanced to average daylight light temperatures. What's the best way to fix this in Photoshop?
There is simply no secret, instant fix to attaining truly great skin tone in postproduction. Using Photoshop, you can accomplish many a miracle in portrait retouching, but the many variables in any one image will dictate the direction you will end up going in your workflow when you want rich, deep, vibrant skin tones. I made an Action that starts the process for you in a click using my favorite approaches to deepening skin tone.
If there is one seemingly simple and wildly popular process in postproduction, it's boosting color saturation. I totally understand why — it's appealing to see your image sort of come to life with all the vibrancy and "pop" that color saturation enhancement brings. However, there is a smarter, more refined way to boost color saturation that I often employ, and I've also created a Photoshop Action for you to download for free that streamlines the process into one click.
If you've ever used luminosity masks, you know how perfect they can be for creating specific looks, effects and styles, and are also hugely purposeful for specific utility processes in your workflow. There are many ways to go about creating luminosity masks, but have you considered simply using the Gradient Map adjustment layer for this?
Let's face the facts and admit that frequency separation is quite likely the most misunderstood and misused retouching techniques, plain and simple. If you've never heard of frequency separation, then do yourself a favor and browse YouTube on the subject before reading on.
As a portrait photographer, you’ve probably considered hiring a professional makeup artist to prep your clients. In this first part of a two-part series, a professional makeup artist tells us everything we need to know about making professional makeup a part of our portrait photography offerings.
At some time, if you’re shooting glamour photos, you are going to need to perfect the blowing hair technique. This type of shot is inexpensive and fun, but does take a little more talent than merely throwing a fan in front of your model. This excellent video shows you the different fans and techniques that can be used to give your model that windblown look.
Test shoots are essential for the photographer and really help fill the gaps in a portfolio. On test shoots, everyone contributes for free. The photographer, makeup, hair, wardrobe, and model all work for free. Everyone is building on their portfolios on test shoots and if done correctly, it should fill the creative gaps in a portfolio.
Whether you believe the approaches are passé, amazing, or just reasonably useful, frequency separation persists in the photography industry still, and has for years. Here's how to use a new method I created that expands control over all three main ranges: highs, mids, and lows.
Whenever Paul C. Buff, Inc. releases a new product, the industry always pays immediate attention. After all, Buff gear is beloved far and wide for being, hands down, the best "bang for buck" lighting option in studio strobes for photographers, myself included.
David LaChapelle’s Latest and Last Photo Books Complete the Photographer’s Narrative on Pop Culture, Consumerism, and Paradise [NSFW]
In case you’ve been living under a rock for the past 30 years, allow me to give you a brief introduction to the Commercial, Fashion, and Celebrity Photographer David LaChapelle who just released his latest and final books, "Lost + Found, Part I" and "Good News, Part II." LaChapelle, 54, has photographed some of the most iconic figures of the 90s and 2000s including Tupac, Hillary Clinton, Amy Winehouse, Kurt Cobain, and Muhummad Ali. Pretty much anyone worth their salt has been shot by this guy.
Full disclosure: I am about to tell you about my new Photohop plug-in, and yes it's a product of mine, via the new brand NBP Plug-ins. It's called Freqsep Control, and I intend to show you why I think it's so amazing, and a little bit about the history behind its development which began at the start of 2017.
When you are especially particular about your adjustments and want your dodging and burning to utilize the maximum amount of image data possible, nothing beats Raw Smart Objects for the task. This is also ideal when you're making significant changes to exposure, whether it's for dodging and burning or other adjustments. In the end, more data almost always amounts to smoother, better looking changes.
I'll be honest, when it came to shooting swimwear, I went straight to Pinterest looking for whatever ideas and inspiration I could find. Swimwear is different enough from the other types of shoots that I was typically shooting that I really had no idea where to begin. Granted, my clients weren't clothing line companies, so I wasn't aiming for the more routine, catalog-style shots. Since the people wanting the shots were the models themselves, I wanted to make sure that the end results looked as good as possible and hopefully a bit more stylish.
If you touch my hair I will hurt you. In life, we take many chances. Like, riding our bike with no hands, getting minimum coverage on our car insurance and petting stingrays. However, for the chosen few who have the superpower of catching our eye with their beautiful hair, there is no chance to be taken. The following is meant only for a lighthearted fable for this Friday.
Back in 2015, I produced some home-grown lighting and shooting video lessons for my very first subscription-based photography tutorial channel on YouTube. The first wave of feedback I received was various forms of "YouTube offers a paid subscription service?", and the second wave of feedback was more or less "Rad!" After almost a year idle, I am relaunching this channel under a slightly modified premise. As such, a few of the tutorials from the original channel are now available at no charge.
Whether you're just getting started on portrait retouching or have been at it for a little while, there comes a time when you will realize you're doing it all wrong (I know I did). The list of things that can go potentially awry in the beginning is massive, so I've narrowed it down to 10 amateur mistakes I've seen most often in this video.
Less can definitely be more when you're trying to create mood in glamour photography. I think you'd be surprised what sort of results can be achieved with compact lights and a little know-how.
Some model poses seem to pop up everywhere repeating across different mediums and across decades. Many photographers deride these posing cliches, but these cliches can be useful on fashion and other model shoots, especially when working with new models still learning how to move. They can help create serviceable images when you are stuck for ideas or when you need shoot a series of good looks in a short period of time.
Recently, while on a speaking engagement in St. Louis, I had some time to chat up several glass manufacturer reps at the conference and ended up testing several lenses, including a side-by-side comparison of the new Sigma 135 f/1.8 Art and the manually focusing Zeiss 135 f/2 Milvus (read that here if you missed it). I also snagged a new 85mm option from Tamron, the 85 f/1.8 Di VC USD, and spent a couple of hours with it. How did it go? Well, let's just see.
It's been a good while since I've bothered reviewing any gear, so when presented with a bevy of manufacturer booths at a conference I was speaking at in St. Louis recently, I decided it was time to once again test some equipment and babble about it a little. In this case, I pitted the brand new Sigma 135 f/1.8 Art against the year-old Zeiss 135 f/2 Milvus, because why not.
If you've been shooting any type of portraiture for a significant amount of time, you will likely find yourself working with a handful of subjects (or perhaps even just one) on a recurring basis. Most of us have been there, or are there right now. Perhaps you have one specific model that you've worked with for years (your "muse" as it were), or maybe you go in phases with a different select model for a few months before moving on to another. But is this practice a good idea or not?
I'm back today with another utility Action for you all to download, for free, and see how it works for you. It deals with luminosity mask level control of what I often call the Big Three of image control: highlights, mids, and shadows. It's the most common use of luminosity masks, so, why not streamline it into an Action?
It's been a little while so I reasoned some new free Photoshop Actions were in order! As you may recall, I create Actions based on simple processes I find myself doing regularly in my retouching workflow, mostly in the interest of convenience and efficiency. Today, however, I've essentially updated a previous Action I gave away, now dubbed Smart Flare. Let's break down what it does and why.
Short version of the story: I love issuing challenges to the awesome readers of Fstoppers, but I also have this wild schedule of mine that changes at a moment's notice this year. So, without wasting more of your time, I'll just say "my bad" and get right to the Capture One Pro EIP Challenge winner.
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.
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?
Way back when, before traveling and scheduling became a bit crazy for me, I issued a second Retouch Challenge to Fstoppers readers, offering up a raw file from a shot I did of model Anna Truett in St. Louis. After receiving a couple hundred submissions, I have finally (no, really) selected my favorite ten edits. Let's take a look!
If you've seen my quick tutorial videos about the Photoshop actions that I make and use in my workflow before, then you know I am obsessed with detailed control of everything from shadows and highlights to color and texture. Today, I'm reviewing one of my newer actions, high and low contrast boost control, and showing you why I use it.
A few months back, I mentioned that I had been given an exclusive invitation to spy on the Shoot The Centerfold seminar in Miami. This much celebrated glamour photography event features the pinnacle of models and educators in the genre, and goes down twice a year alternating between Miami, FL and freaking Santorini, Greece or some other insanely exotic location.
The iconic AlienBee has been one of the most popular strobe units ever since their debut in 2001, and for good reason. Developed to be the perfect balance of price and quality (which is something that's tricky to pull off in the world of gear) their reputation spread quickly. Sure, you can always spend many, many, many thousands of dollars on studio lights in order attain top quality equipment, but it's never been easy purchasing a strobe rig when more restrained budgets are a concern. Enter Paul C. Buff.