A couple weeks ago, we asked the community to submit their natural light portraits to be critiqued. We had an overwhelming number of over 300 images submitted for feedback and thus will be breaking up this critique into two episodes of 20 images each. For the first episode, we had the honor of having Dani Diamond, a fantastic natural light photographer in New York, help us critique a range of 20 images. Check out the selection of pictures below and add your thoughts to the comments!
Today marks the end of a full week at Photo Plus Expo in New York City. In the mayhem that comes with such a large expo, one of the stand out presentations for me was hearing Gregory Heisler speak at the Canon booth on Saturday. I've had the privilege of hearing Greg speak many times and even the chance to interview Greg at Gulf Photo Plus, and each time his presentations absolutely blow me away. In this extended video from BH Photo, Greg discusses how the Canon 50mp 5DsR camera holds up against medium format and large film cameras of the past.
So you want to travel with a model? I've been shooting portraits for around four years now, and have started to (finally!) add more traveling to my life. Unintentionally, it turns out that my travel partner, my friend Victoria, also happens to be a model. In a relatively short span of time, Victoria and I have shot together in multiple countries and states, including Florida, North Carolina, New York City, Ireland, Italy, and France. In my career up until this point, I had worked with a variety of models, choosing them based on how they fit a location or look. Here are some of the pros and cons of the experience.
Many photographers rely on their 50mm 1.4 and 85mm 1.4 lenses to give that dreamy, narrow depth of field look to their portraits. These two lenses have become a staple for portrait, headshot, wedding, and boudoir photographers who enjoy the soft look that comes with a narrow depth of field and natural lighting. But what happens when you want to create a similar effect in the studio, where your strobes are often too powerful for shooting wide open? Today, I'm going to share with you a fairly unconventional lighting technique that will allow you to shoot your lenses wide open in the studio.
Each month I will be featuring and chatting to a different creative. My first is Nirrimi Firebrace, a photographer known for her intimate approach to taking portraits. She's been a name on the lips of many creatives for the better part of a decade, paving the way for the next generation of young photographers. Here, I spoke with Nirrimi about her inspirations, shooting style, and future plans.
Our next episode of "Critique the Community" will feature natural light portraits. Use this awesome featured image by Dani Diamond as inspiration for your submission. While images which include the use of reflectors are acceptable, please do not include any shots that include extra light (flash or continuous) added by the photographer. Please get in your submissions by Sunday, October 18th and you'll have the chance to have your image critiqued by the Fstoppers team. For this episode, we will be giving feedback to 20 pictures. To qualify, you must follow the submission rules below.
Halloween is almost upon us. October brings the opportunity to photograph a huge array of exciting costumes. As a photographer who specializes in cosplay photography, I’m accustomed to shooting elaborate costumes all year-round, but for most photographers, Halloween presents a fun time to step outside of their normal photography box.
Help me settle this ongoing argument. In his article, my good friend Neil Van Niekerk tells his readers "Fall out of love with your 50mm lens. Use it when it is appropriate." He goes on to say that the 50mm is not appropriate for tight portraits; even uses my photos to demonstrate his point. I say he's wrong.
Jake Hicks is a U.K.-based photographer who adds dramatic color to his portraits. He was kind enough to share a few tricks he uses to achieve his signature technique. It doesn’t matter if you are using studio lights or speed lights, this is a simple recipe you can use to color and bounce light and create different effects in your work.
Last week we asked the Fstoppers Community to submit some of their family portrait work for the next episode of Critique the Community. We accepted anything family related, groups, kids, or babies and chose 20 of them to give feedback on. Check out the submissions below and listen as Lee and Patrick give their thoughts.
It seems that a lot of photographers tend to avoid direct sunlight and for a long time, I did too. Occasionally, I would backlight subjects, but I would never dare light them directly with the sun. I decided one day that it was time to embrace the sun. In this article, I break down my methods for achieving a good photograph in direct sunlight, discussing what has helped me and what you should avoid.
Our next episode of "Critique the Community" will feature family portraits. We will choose anything from kids in a studio to whole family groups outdoors; so, feel free to include a wide range of pictures. Please get in your submissions by Friday at noon (EST) and you'll have the chance to have your image critiqued by the Fstoppers team. For this episode, we will be giving feedback to 20 pictures. To qualify, you must follow the submission rules below.
As a self-taught photographer, I’m an advocate of learning through doing. I didn’t study it, but I can imagine that reading all the Photography 101 books that are available still wouldn't prepare you for actually being on a set, with a model standing in front of you, and a team awaiting your creative direction. In my journey, experience has meant everything. Here are some of the things I’ve learned over the years that may help when shooting your own portraits.
Recently, I have been experimenting with creating a sort of more intense style of headshot for certain clients who are interested in a more surreal, vibrant, look to their headshot as opposed to the more traditional headshot which is designed to to more closely emulate realistic lighting. The heavy cross-light look uses powerful lights that are positioned perpendicular to your the main light to create a strong highlight to the side of the face while living a distinctive shadow down the subject's cheek. Heavy cross-lighting can do a great job of building a sense of three dimensionality without sacrificing the soft, flattering, feel of a traditional headshot.