When it comes to shooting implied nudes, it is not as easy as simply stripping down as one might think. Soft posing, flattering light, and the trust from client to photographer is essential to capture that perfect look. Having a solid portfolio of this genre is essential to bring in new potential clients who can form a bond with your work. So how does one start out shooting implied looks if you do not already have a portfolio to show potential clients?
I recently travelled to the local racetrack with my brother for an open track day and decided that while he was out riding, I would try to make a few portraits of the other attending riders. I spent plenty of time ahead of the trip planning lighting, gear, locations, and more. This is a step by step walkthrough of how I created this series of portraits.
Spring has arrived, which means the time for gorgeous golden hour shoots in wonderful weather is nearly upon us. Sunset (and sunrise) are indisputably the most consistent crafters of amazing natural light for portraiture. The warm soft glow of the sun as it falls towards the horizon not only creates fantastic atmosphere but also some of the most flattering light that can be found. For portrait photographers the golden hour as the sun rises or sets is the perfect time to shoot.
The third and final sunrise in this series was by far the easiest to pull off and the most successful. Once again our setting is on a family vacation, except this time it featured Grandparents. Close your eyes (after the sentence of course) and imagine yourself alone about to enjoy a sunrise all to yourself on a beautiful beach in Cape Cod, MA.
Constructive Criticism is a unicorn in online photography groups; much sought after, but rarely found. Good constructive criticism, or CC as it's often referred to, can be some of the most helpful and growth inducing feedback a photographer can receive but, in the wrong hands, it can be a sword that cuts confidence to ribbons. Here is how to give, and receive, CC in a way that wont destroy your soul.
There’s no phrase I dislike more in the photo world than "I’m a natural light photographer." Believe me, I love natural light more than anything. It’s simple and easy to work with, and you don’t need to worry about bringing a ton of gear with you. But very rarely will just unmodified natural light work. It’s the unfortunate truth of photography (unless you’re a landscape photographer, you lucky bastards). Most photographers will use a flash to do what natural light can’t. Sadly, many don’t use it to great effect. If you want your portraits, or any image with mixed lighting to look better, there are a few key things to keep in mind when you’re on location.
We live in a world constantly fascinated by technology. We want the TV with the greatest definition. We want the tablet with the shiniest screen. And, as photographers, we always want the most expensive gear and the most elaborate new toys. But the more you grow as an artist, you'll quickly realize it's the man that makes the equipment, not the equipment that makes the man (or woman).
One of my goals as I started taking photography more and more seriously was to shoot a sunrise. Although it seems easy enough to just "get up early and bring a camera," I've found more often than not if you aren't prepped, you'll sleep in. Join me in a walk through three of my successful sunrise shots!
The most important tool in any photographer’s arsenal is their ability to use and manipulate light. However all too often many photographers either shy away from, or completely rule out using hard light and it may be hindering not only their flexibility but also their creativity. What if you could shoot in direct sunlight and love it?
How did technology make "Planet Earth" so much more cinematic? If we go back to how it was done back in the day and compare it to the technology we have today, it's quite a leap. Back in the day 35mm was the broadcast standard. The 35mm cameras were bulky and heavy, they were perfect for studio and not for the shots that they needed. In the filming circles and the BBC insiders saw 16mm film as being for amateurs. But, thanks to David Attenborough first taking his 16mm camera out to shoot abroad and coming back with footage of animals never filmed before, it changed opinions. This made the program that later became one of the best wildlife documentaries of all time.
The more you photograph people, places, and things, the more you understand how much control the available light has over the outcome of your image. Taking advantage of tools like filters to limit or modify the light coming into your camera is a great way to craft a unique image and even add a dramatic flare that you may not be able to create otherwise.
Three years ago Yulia Taits fell in love with the process of conceptual photography. The hard work of planning, searching for the perfect location, and matching styles to create something beautiful and magical fascinated her. Yulia was hypnotized by the pure and almost fairy tale beauty of people having Albinism since she remembers herself. Yulia always knew that she will make a project dedicated to them one day.
Many photographers who are beginning to dabble in pet photography ask about the best lens to use when photographing pets. While there is no right or wrong answer, as a dog photographer who primarily specializes in outdoor sessions, I use a telephoto lens for the majority of photos I take. If I were limited to just a single focal length to use for photographing dogs, I’d go with 200mm, and there are several reasons for this decision.