Cleaning skin is one of the most tedious tasks there is when it comes to portrait retouching. It takes quite a bit of time, and when done improperly, the texture can quickly become mushy. To keep the final image as natural looking as possible, there are a couple of techniques that can be used to limit the number of pixels we alter. In this tutorial, Zoë Noble demonstrates how she uses the clone stamp tool to clean the skin.
Here we are on day five of our 30 for 30 where we are releasing 30 videos to the Fstoppers YouTube Channel the entire month of January. Yesterday Charleston, South Carolina was hit with the biggest snowstorm in over 25 years. I decided to team up with my crazy friend Bryan Young and take ski portraits around town. The resulting images are pretty hilarious and are definitely once in a lifetime photographs.
When you're first starting out shooting portraits, one of the most important decisions you can make is the focal length you shoot at, as it can vastly change the way a subject is rendered. This helpful video will show you how various focal lengths affect the look of a portrait to help you choose which one is most suitable for your work.
In this video produced by The Guardian, Australian Photographer Adrian Cook shows a reporter how he utilizes a mobile darkroom to produce striking images using the Collodion Wet Plate Process. It’s a short video but it has a wonderful tempo to it, mimicking the excitement one might feel when creating an image using this technique. It starts off slow and thoughtful, but the music builds towards an exciting crescendo while the plate is sensitized and exposed, then settles again as the plate is bathed, magically revealing the beautifully toned scene superimposed on the aluminum sheet.
Some time earlier this year, I had this idea to try and find my own approach to portraiture solely for children. It was a multi-faceted idea which came to me pretty much at random. I was reviewing some of my recent portrait work when I realized that I had only ever worked with a couple of children as my subjects throughout my entire running career as a photographer. I figured out a long time ago that family portraits really just weren't something I was interested in, but that didn't really have anything to do with my actual choice of subjects. Just because I didn't want to shoot family portraits didn't necessarily mean that I couldn't work with kids.
When you're retouching a portrait, I'm willing to bet that you spend the majority of your time working on the subject's face, because, well, it's a portrait. Nonetheless, your subject's face isn't the only part of them, and with a little extra work on their hair, you can really make the entire image pop. This great video will show you how to do exactly that.
No matter if you photograph headshots, weddings, portraits, or sports, one of the most important skills you can have as a photographer is picking out interesting yet non-distracting backgrounds. Many photographers prefer shooting with fast prime lenses but in today's short photography tutorial, I'm going to show you why I prefer the power and versatility of a telephoto lens.
Light is a key factor in photography. It helps shape and create your photo. As the sun changes throughout the day, depending on where you are you may see some thin beams of light fall across the environment. Creating these thin light beams and adding them to your portraits can add some interesting looks. Controlling the light into small beams is one way to create drama and mood in your work. How would you create a thin beam of light on set?
Personal photography projects generally are meant to pull the photographer out of a creative rut or to work on a piece that draws the artist away from the boredom that can occur from shooting the same work over and over. For Sophie Palmier it was about shooting boredom itself in a new way.
Traditional advice says that prime lenses are best for portraiture for many reasons, particularly a wider aperture and better sharpness. Nonetheless, modern zoom lenses can offer very high image quality coupled with increased flexibility, and that can cause some photographers to reach for them before a prime lens when doing portrait work. This video explores one photographer's experience with both.
When you're shooting portraiture, particularly outside without artificial lighting, you'll often need to brighten your subject a bit in post. This can create a few issues, but this helpful video will show you how to obviate those potential problems and create a higher-quality result.