In various forms of photography, being able to composite several photos into one final image is an important skill set. In the world of portraiture, composites are often used to create group shots in which the lighting situation is difficult or not every subject of the photo is available at one given time. Here I’ll show my process for blending several shots of people into a final image.
Recently, while on a speaking engagement in St. Louis, I had some time to chat up several glass manufacturer reps at the conference and ended up testing several lenses, including a side-by-side comparison of the new Sigma 135 f/1.8 Art and the manually focusing Zeiss 135 f/2 Milvus (read that here if you missed it). I also snagged a new 85mm option from Tamron, the 85 f/1.8 Di VC USD, and spent a couple of hours with it. How did it go? Well, let's just see.
Many photographers’ career ambition is to have one of their photos appear on the cover of a magazine. In years past, magazines were frequently seen as the best place to gain publication and see the best of current photography. Often that was a result of having a visually oriented magazine editor at the helm.
It's been a good while since I've bothered reviewing any gear, so when presented with a bevy of manufacturer booths at a conference I was speaking at in St. Louis recently, I decided it was time to once again test some equipment and babble about it a little. In this case, I pitted the brand new Sigma 135 f/1.8 Art against the year-old Zeiss 135 f/2 Milvus, because why not.
Creative genius rarely erupts onto the scene full force and in your face. Its entrance into the world is often quiet, gentle, allowing only a few to see it and recognize its brilliance. Such is the case with Portland, Oregon-based Kate Woodman, whose use of color in her work produces an instant halt to the ever scrolling feed of images - causing even the average user to stop and appreciate the story unfolding before them.
Browsing YouTube can be an exercise in either frustration or bliss, depending on the day. Today, though, I happened upon something that truly speaks to me. If you are a portrait photographer, or anything resembling one, you owe it to yourself to check out the documentary, "Darkness and Light," a part of the American Masters Series, produced by PBS.
Last year, the Fstoppers team joined Joey Wright in Curacao to film one of our best tutorials to date, Swimwear Photography - Lighting, Posing, and Retouching. Not only was the location and team incredible, Joey's photography techniques and ability to work with models produced some of the best photography information I've learned in years. Every lesson spans well beyond the genre of swimwear and can be applied to any shoot involving a model. As a tribute to the tutorial, we are releasing a free excerpt from one of the best lessons on posing I've ever watched. In addition, we are offering $50 off the purchase of the full tutorial if you act before the end of May, 2017. Simply use code "POSING" at checkout.
Almost all portrait photographers will incorporate some degree of skin softening during their retouching workflow. Some of these techniques can involve hours of painstaking dodging and burning. For photographers that routinely shoot families, weddings, and newborns, a quick finishing step can generate rapid and pleasing results. Here I go over how to use my favorite free skin softening plugin.
There’s nothing worse than wrapping up a shoot that you’re really proud of only to have your client tell you that they’re not happy with the final images. If this happens, you really only have two options: either take the time to re-shoot or provide a refund. Either way, there’s about a zero percent chance that you will get a referral from them. By simply sharing your images with your clients on set, you can make sure that everyone is on the same page and you can begin the editing process with peace of mind and confidence that your client is going to be thrilled with your final product.
The film versus digital debate has raged on for over a decade now. Digital cameras are so capable that it seems silly for anyone to go back to an archaic medium like film. Film is slow, expensive (sort of), lacks many game-changing features found in today's digital cameras, and has lower resolution (sort of). But it has some qualities to it that make it an entirely viable medium for working photographers and enthusiasts alike. One of which that I firmly believe in is that it will make you a better photographer.
We’ve all been there; the studio is set, the model is awkwardly waiting, but the light isn’t quite right and the stress begins to build. With every test shot, the light quality increases and the anxiety level decreases. Finally, like a blast of cool breeze on a hot day, everything clicks into place. The light is perfect.