When people walk through my living room studio, they are puzzled that I do not own or rent a permanent studio space. What many do not know is that when I’m contracted for a commercial assignment, about 80% of the time I must travel to a location or shot at the client’s home base. And, in many cases that requires transporting several 9 foot seamless backdrops and a whole lot of equipment. I don’t have a giant bus to haul all of my studio gear, so it’s been a trying experience to find the right tools to efficiently pack and tote my mobile studio.
Getting your clients comfortable in front of a camera is always a challenge. I still get a little nervous before a shoot so I can imagine what my clients must feel like. In part one of this series, we talked about the importance of the pre-shoot consultation and how it can start you off on a good path toward a successful headshot or portrait session. In this article, I want to talk about ways we can address skin issues with our clients, how to deal with makeup, when to use a makeup artist, and discuss the basics of getting clients comfortable and focused in front of the camera.
The last time I talked with Alexis, he was just trying out a technique of shooting two different lighting setups with the press of a button (be sure to check that article out for details on how the SpeedCycler feature of the Pocket Wizard MultiMax works).This time around, he managed to pull off five different looks (three at one time) – nabbing himself six pages and the cover of the World Cup preview issue of Sports Illustrated. His behind the-scenes-video gives a ton of insight into how he pulled this off, but I asked him to go even further than the video or what he already explained at his blog and explain the "whys" of it all.
A new year and a clean state; last year’s resolution was to take wedding photography "back to basics" and capture images that truly matter to couples and their families. At the end of this year, I had the opportunity to look back on the moments of 2014; a new emotional set of images that are imperfect perfection.
For many, the 7’ parabolic umbrella seems like a one-trick pony. The textbook move of sandwiching the camera between the subject and the light for an edgy, high-key look is quickly growing old. In this video, commercial photographer Joel Grimes shows a different way of using the 7’ parabolic to create soft, high-key images best suited for beauty photography.
One of the most noticeable differences between portraits taken outside using natural light as opposed to artificial light is the background. Images using artificial light tend to have darker backgrounds. This is crucial in catching the eye of the viewer and allows him or her to focus on the subject. This article is a guide in achieving this look using natural light only.
Photographers around this time of the year, portrait and wedding photographers especially, tend to have clients banging down their doors for holiday photos and other must have product deliveries in time for Christmas. While the rest of the world is gearing up for a relaxing holiday, we often experience anything but. From Christmas cards to wedding albums — regardless of the client's procrastination all year — we're expected to produce our work in record time.
I guess I’ve always been different; I’ve never really yearned for a big studio space. As a freelance photographer, the majority of my clients require that I come to their location and shoot on-site. I have a strict organizational-mobile system to transport all my equipment which includes over 8 strobes, 2 scrims and a plethora of staging props and modifiers. I’m asked quite often about my studio and where I shoot all these incredible portraits and dramatic fashion editorials. The answer is easy; my living room.
It has happened to all of us. We spend countless hours planning, scheduling, and coordinating for a beautiful golden hour photo shoot only to have our parade rained on by weather or other mishaps out of our control. Perhaps you didn't plan for those mountains in the background that's cutting your shoot 30 minutes shorter than anticipated. Maybe the conditions are perfect when you leave for the shoot, but by the time you get there, clouds are hovering above. Or it could be that your client just can't shoot at the ideal time. No matter what the obstacle, this article is going to show you a super simple trick that will allow you to get that golden hour capture at any hour!
Let's face it, it is about to be 2015. As in, 15 years after the change to the new millennium. We are firmly in what we used to call "the future" when I was a kid, and technology is overwhelming us with brutal amazingness every couple of weeks. The youth of today have no idea what life is like sans smartphones (read: access to almost every piece of information in the world at any time in your pocket) or social media platforms. To them, life is one big pile of over shared, overseen and overly celebrated schlock mixed in with useful bits of knowledge, and it is all taken for granted. The digital world isn't coming, it is here, and has been. So who in the right mind gives a crap about a printed photograph anymore?
While people around the world prepare for the holidays, photographers have something else on their mind. For all of us it's that time of year to buy your conference pass, make your hotel reservations, plan shoots with friends and highlight the classes you want to attend at the annual WPPI Photo Conference in Las Vegas from February 26th thru March 5th.
Having an older brother, I have had the privilege of knowing comedians from both his and I's generations, so getting to see a fun series like this brings many smiles from my past and present. Seth Olenick is a photographer based out of New York City releasing a book, simply called Funny Business, featuring portraits of some of the funniest comedians still around. With legends like Zach Galifinakis, Jane Lynch and Jeff Garlin you can see a range of comedians from various eras.
Artificial lighting can be overwhelming, there are thousands of options to modify one single light source and there are dozens of companies that claim they have the best product and best bang for your buck. Regardless, photography equipment is expensive and I know I'd rather not waste money on a gimmick product when the same result could be achieved with just the right strobe placement or accessory.