It's not every day that a video interview keeps me interested, undeterred by distractions, the entire time I'm watching it. But this one definitely did, mainly because it involves something that probably 90 percent of little boys, one of which I used to be, often dream of: being an astronaut. And learning about taking photos in space is just icing on the cake.
Food photography is ever present in our society. From billboard advertising to culinary magazines and, let's not forget, Instagram. Of course, the photography found in these mediums varies in style and quality depending on its intended audience but, in general, the goal is to make food look pleasing to the viewer. In this concise clip, LensProToGo gives us a long list of actionable tips to improve our food photography.
Every photoshoot is different, but depending on your concept and style, you don’t always need a massive studio space with tons of lighting. If you happen to have a decently sized living room with some amazing windows to take advantage of some natural light, it could be your perfect in-home studio for some of your projects.
Walking up to a complete stranger and asking them if they would like to have a photo taken of them is a challenge for some people. This is exactly what Jessica Kobeissi set out to do, but she wasn’t alone. She decided to have the duo from Mango Street, Rachel Gulotta and Daniel Inskeep, join in on her escapades in the streets.
For over a year now, I've been the lead freelance photographer for Stock and Barrel Magazine, a food and beverage publication here in Columbus, Ohio. Often, assignments get thrown my way with not a lot of time to get them done before deadlines hit. That means I get to shoot a lot of places in a very short amount of time. Oh the joys of the print world! In this article, I'm going to share with you how I shoot food on location quickly. No assistants, minimal gear, during business hours, and without pissing off the chef. Let's get started.
World-renowned photographer Peter Lindbergh has given a candid interview on his thoughts about the use of airbrushing, ahead of the release of his new book.
What makes one street photographer any greater than the other? Is it the streets which they frequent? Is it a matter of being in the right place at the right time? Or is the answer more about perspective and the people who fill the streets? Remarkable Street Photographer Rinzi Ruiz opens up about the inspiration behind his stunning street photography.
You've probably been there before: stuck in a creative rut. I know I have. It's easy to get into when you're shooting the same subject matter over and over again. Don't believe me? Try shooting ecommerce on white non-stop for a month and you'll see what I mean. But sometimes all you need is a change in perspective to set things right, figuratively and literally.
Each and every photographer has their own unique way of working with models, cameras, and light. It’s something that clearly shows through in the series Jessica Kobeissi has developed in which different photographers shoot the same model. In the most recent episode, she brought Dani Diamond and Brandon Woelfel back for a new shoot, but this time they added a few obstacles to make the challenge more fun.
One of the best things about window light is that you can find it almost anywhere. As winter approaches and chilly weather threatens to keep photo sessions indoors, photographers will face the choice of how to light their portraits. Strobes and flashes are a great option, but not all photographers own them. Almost everyone has access to a window though, and a window has plenty to offer any photographer who knows how to use it.
Outdoor on-the-go DIY style editorials are really picking up in the fashion world. It is a good skill to have in your toolkit as a budding photographer. In this article, I want to break down how a small team of talented artists and myself went about producing and shooting two full on-location, outdoor editorials for Bullett Magazine in less than two weeks in NYC.
Sometimes we photographers get caught up in things that we think will help our work: the latest camera, more powerful lighting, lighter tripods, etc. It’s easy to forget that keeping it simple and getting an idea executed properly is the most important part of what we do.
There are several debates over which type of lighting is better between natural light and off-camera flash lighting. Some photographers build their style on one over the other, while some find themselves using both. I believe that it comes down to your personal preference in which you like over the other.
Today, I’d like to talk about three key elements that I feel make up each and every photograph we take. Of course they are not the only elements, but I feel that they are the most important. Specific shoots, like fashion or automotive commercials, require all sorts of preparation and specific skills. However, at the photographic level, three key elements still apply. If you consider your composition, light, and moment, you will be well on your way to making a successful photograph.
In the boudoir industry it is a main priority to help the client feel confident and empowered. Some clients prefer the high-key fashion look associated with strobe work and solid backdrops. For those clients who prefer the anonymous images, Chris Nelson guides you through how low key images highlighting just the curves while shadowing the mood can help your clients make the decision for that large fine art wall piece.
