You've probably seen some pretty comical behind-the-scenes images of the kinds of positions photographers put themselves in just to get a shot. They climb trees, hang off cliffs, stand in the middle of rivers, lay down in the dirt, all just to frame up that perfect shot. Well there's almost always a reason behind the madness and sometimes those reasons end up having a much bigger impact than most people might expect. Sometimes it's about getting a really intriguing angle on a particular subject, but I find myself laying in the dirt quite a lot just so I can create a composition that carries more depth. Let's compare a couple different shots that can help make some sense of this.
I met a new contact on a job recently that encouraged me to delve deeper into the world of lifestyle imagery when thinking about my next shoot. She explained that over the years in between paid gigs, she would self-produce and fund her own micro shoots to use as portfolio material, but more importantly, as stock imagery to be sold. Over time, she has amassed an impressive collection of stock imagery that continually pays her royalties and is an excellent source of continuous revenue when work is slow.
In today's somewhat over saturated market of boudoir photography, everyone is looking to shoot something new and unique. It can be difficult to find a new perspective on shooting when so many ways have already been discovered. So how can you get creative and grasp the attention of the viewers without reinventing the wheel?
The animal kingdom does most of its activities at dawn or at dusk, and many only hunt when they can hide in the darkness that the nighttime brings. This video showcases how BBC went about capturing the animals using artificial light at first, and how they do it now using infra-red and thermal cameras.
Across the board boudoir photographers have seen an increase in the number of inquiries for couples boudoir sessions. While boudoir photographer was generally more known as a more intimate session for a female to either reconnect with her own sensual side, or perhaps to give as a gift to a significant other, the trend is now becoming for these couples to capture these moments together. So how do you coach and pose for emotions during a session if the inquires start to roll in?
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?