Recently I went to New York City to do a week of headshots. As many of you know, part of my cinematic style involves shooting outdoors, but flying from Los Angeles to New York City to put this on meant I couldn’t rely on the weather. Figuring out how to translate the look and feel of my style indoors was the only way to make it a success. As I’ve had many questions about how to make this look happen inside for those that can’t always be outside, I decided to share my own experience with you.
Last spring, I got a dream call from one of the photo editors at Sports Illustrated to photograph the legendary Dan Gable, a wrestler from Iowa, and one of the most winning athletes of all time. From winning gold in Munich during the 1972 Olympics, to having coached other U.S. teams to gold after, this guy oozes excellence and passion in everything he does. I’m not one to be intimidated by people because of their status in life, but people who work as hard as he does definitely stand out to me.
We are all guilty, or have been guilty, of slamming out edits right after a shoot, only to realize we don't like what we've done when we see it the next morning. As any artist can attest to, the morning after can be a sobering, if not disquieting, time for you when you recognize that your hasty post work is simply no good. Can you avoid this blunder? Yep, with a self-imposed doctrine of pre-editing your most important of project images instead of knocking out flawed or misguided finals in haste.
In Part 1 of our Dramatic Beauty Portrait Tutorial, we looked at the lighting setup, gear breakdown, and shooting of our dramatic beauty shoot. In Part 2 of the tutorial we will now look at two different ways of exporting and preparing your image for retouching. The first method involves creating versions in Lightroom and exporting directly to Photoshop. The other method utilizes Adobe Camera Raw and the ability to make variations within Photoshop. I will also discuss the overall goal of our pre-edit stage.
Pull up almost any lens review these days and one of the primary attributes people are judging is the oh-so-important bokeh. Purchases are made and lenses are brought back all because of the how a lens does or doesn't measure up in the bokeh department. Well I’m here to tell you, at least for portraiture, it’s just plain overrated.
Last year I had an exciting opportunity to shoot what I am told is the first combined Jaguar and Land Rover USA ad campaign now that they are both under new combined ownership. The goal of the campaign was to create content that would appeal to the users of both car markers and promote brand loyalty. It was as if we were to say: "If you have a Land Rover, you need a sporty Jaguar for the ultimate garage!" (and vise versa). This campaign came together very quickly and the client had specific production requirements. Learn how I did it below and feel free to ask any question about the process in the comments section.
Not long ago, learning and critiquing photography was done almost exclusively in person. With the rise of the Internet, we saw a fundamental shift in how photographers interact with one another. Yet, even with the opportunities afforded by the web, there is so much more to gain by spending time with fellow photographers in the flesh.
Since its first version, Photoshop has changed quite a lot. The functionalities it offers are greater now than ever before. But plugins are legion and for beginners it is hard to differentiate the ones that are truly useful and those that are just a waste of money. The Retouching Academy Beauty Panel has been around for a little while and was revamped very recently. I use it all the time when retouching but I get many questions about it. I am frequently asked if it is worth its price and if it makes my retouching any better. Here is my take on the panel, why I bought it, and above all, why I keep using it everyday.
In the often collaborative world of fashion and commercial photography, there are many who contribute to the final product. From the styling of the model and the brands involved, to your crew and retoucher. No fashion image is a solo act, yet there are many who will never credit those that were a part of the production. This phenomenon is not exclusive to photographers, but to models and other creative professionals. Before you post up your next photograph without credits, give the following reasons some consideration.
We have all been there, that moment when your stomach slowly turns to drizzled mush as it discovers the harsh brutality of a critical comment. In a few short words your career, art, and passion is reduced to the strangling grip of failure. Receiving criticism is not for the faint of heart but with the right frame of mind you can get the most out of any critique, solicited or otherwise.
If you're not familiar with Peter Coulson's fashion and editorial work, you have clearly been living under the proverbial rock or simply don't follow portraiture. Coulson has quickly become one of the most respected and successful fashion photographers from down under, and has been fielding an endless stream of requests to visit America. Namely, to teach his voodoo studio mastery to the masses. Thankfully, this June in Chicago and New York, Coulson is doing exactly that.
When starting out in wedding photography, one of the most common questions that gets asked is, “What lens is a must have for my first wedding?” The most popular answers to this question are all over the map. They range from 50mm to 85mm to 70-200mm and so on. What you likely never see on the list is something like a 20mm lens, but for me, I will always have one of these lenses in my bag.
This is Part 1 in what will be an 8 part series for a dramatic beauty portrait. In the series of tutorials, we will go through everything from the gear used, to the lighting setups, and all the way through the complete retouching process. In Part 1, I will breakdown my gear list used for the shoot and I will thoroughly go through my lighting setup. In this video tutorial not only will you see the gear and setup, but also a behind the scenes look as me and my team go through hair, makeup, and shooting. The complete series of videos will be available here on Fstoppers and on my YouTube Channel.
We all get lost in the Internet from time to time, and some of us way too much. We see a great photo online, or perhaps read an interview with a successful photographer, and then Google them and spend time pouring through their portfolio and blog. “How did they do it?" "I wonder what type of lighting that is?" "Where did they take that?" Half an hour and a cup of coffee later we close our laptop relatively depressed and completely diverted from our own path as unique and creative individuals. We start to scroll through our Lightroom catalogs in search of an amazing image we may have forgotten about that competes with what we just saw, or look at our measly social media following and wonder what we did (or are doing) wrong.