First off, some Fstoppers readers who follow my articles may be confused right now because I am posting an automotive retouching tutorial. For those who don't know, I used to do quite a lot of automotive photography work from 2011-2013 or so, and these days I still take the occasional car job here and there. But what I was so grateful for in 2011, when I started in this direction of editing, was that I was already very familiar and comfortable with Photoshop's pen tool - the ultimate weapon in automotive retouching (and more).
Like it or not, 2016 is going to be a huge year for virtual reality content and technology. It seems like every major brand is dipping their toe in one way or another. Even Pixar is creating their own movie studio in order to create 360-degree films. Magazines are no exception for desiring and creating this content. It's a perfect way to immerse their readers into their content. Recently Hearst Publishing's Car and Driver Magazine hired my company, 8112 Studios, to help create their first ever virtual reality car reviews.
Having the right gear for the job is essential in being able to handle the barrage of lighting scenarios that a wedding photographer will encounter on each outing. I, like many others, am constantly thinking about the next piece of gear. What lens, what camera, or what lighting system will allow me to take higher quality images and provide a better experience to my client? This led me to think, what do I really need to shoot a wedding? I mean in reality, to walk out my door and provide my bride with the images she expects, what are the bare essentials I really need?
While some photographers stay close to home, others travel quite regularly. I’ve been traveling my entire life for one reason or another. And whether it was for a newspaper job I was essentially commuting to (living four days in Southern California and three days in Northern California every week) or a short trip on a personal photographic exploration, I quickly learned that it’s great to have some creature comforts to keep you company along the ride once whatever glamour of traveling that’s left these days fades away.
While all photographers are unique and differentiate through their style and specialty, there is one constant throughout: client experience. All photographers must provide an excellent client experience in order to stay in business. When clients choose us to document their lives, they may love our style and even like the final product, but if they have a poor experience, they will not recommend us to others or refer us new business. Particularly in the boudoir genre, because we provide such an intimate service, the client experience must be a priority for a photographer to be successful and have a lasting career.
Due to the incredible amount of submissions, we decided to film a second edition of Natural Light Portraits! This time, Lee and I sat down in the Fstoppers studio and critiqued an additional 20 Natural Light Portraits. Check out the pictures we selected and feel free to add your thoughts in the comments!
Sometimes the time comes to say "enough is enough" and move on from something that has become a cancer in your life. That day has come for Australian model Essena O'Neill who over the last few years has accumulated over 500,000 followers along with myriad of modeling contracts, offers from major agencies, and an endless lineup of sponsors.
That’s right, I said it: If you aren’t sharing content on Instagram, you are shutting the door on a world of potential opportunities! With over 200 million users, this social network has the power to become one of your most important means of promoting your photography business.
Let me set the scene: I’m a 24 year-old photographer based in London. I specialize in portraits with actors, models, and musicians and I started freelancing almost three years ago. I didn’t know what to expect when I first started working in the creative industry, but I soon learned the extent of how many jobs are expected for absolutely no payment in return. But is it really all that bad? Speaking honestly, I don’t think so. Here’s why I think we should stop complaining and, within reason, keep saying "yes" to more free projects.
Photography is tough. There's no doubt about that. The gear and the numbers are the easy parts. These can be practiced, learned, and applied over time. Creativity is at the core of what we do as photographers and that's the tricky part. Jose Rosado's article here on Fstoppers talks about bridging the creative gap and pushing through challenges. Today, we're going to talk about something a little more introspective. Receptiveness.
I have a confession, one that honestly seems to be a little taboo in this photographic world of “professional versus hobbyist” that we seem to have created. My confession is this: I am a part-time photographer. But there’s a good chance you are too, and that’s okay. We’re okay.
Stress is a killer. I’m sure you’ve heard that before. Study after study after study all concludes that stress can lead to a whole slew of nasty consequences. It would then stand to reason that it is in our absolute best interest to reduce it as much as possible. Anyone who has chosen to make their living as a photographer, however, will tell you that this is harder than it appears.
This is the most simple and basic component of life: Our struggles determine our successes. Hence, what pain do you want in your life? What are you willing to struggle for? As Mark Manson tells us, the question that determines your success isn’t "what do you want to enjoy?” The question is “What pain do you want to sustain?”