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.
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.
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.
I have been asked countless times over the past few years about how I go about culling and selecting portrait shots from a shoot. Frankly, I have had so much trouble trying to organize my thoughts on the matter into a cohesive tutorial, I opted to simply never do one. Until quite literally this morning. My approach was to click record and improvise whatever popped into my head. So, as the catchphrase says, "Here goes nothing!"
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?