Fstoppers Original Articles

Have you ever been shooting away with your camera, and you absolutely love the colors and saturation you see on the back of the screen...only to get your images home and have them look ENTIRELY different once you've loaded them into Lightroom?

Well for those of you who want your images to look like they did on your camera, i'm going to show you how to get that starting point back!

One of the big things lacking in my workflow was the ability to schedule Instagram posts. I have a personal Instagram as well as two work focused Instagram accounts and remembering to post on each one is time consuming and frustrating. About once a month I'll check to see if Hootsuite has added the ability to schedule instagram posts, but unfortunately it still does not. This month, my Google search led me to Latergramme and I was instantly smitten.

If you're familiar with Fstoppers, you've certainly have heard of Pratik Naik before. As a contributor to Fstoppers for years now, Pratik has been able to share his own retouching secrets that help make him one of the biggest names in the retouching community. Following his recent trip to Seattle to host a Creative Live series - one of the most watched to date, I was able to meet up with him and talk about his upcoming projects and his path as a world class retoucher.

No one is more critical of my work than me and I know a lot of photographers share the same sentiment. I took some time this week to reflect on this ongoing frustration and negativity, and really think about what’s behind it and why we do this to ourselves.

Sandro Miller was the first photographer to document the ENTIRE Cuban Olympic team since the mid twentieth century. Sandro was once kissed on the lips by Muhammad Ali. Sandro once made Michael Jordan cry. If you call yourself a photographer, you will not want to miss this rare video interview with Sandro from PRO EDU.

Melissa Rodwell has been there, done it and got the t-shirt. A thirty year veteran of the world of fashion photography, she has paid her dues and then some. She has seen the trends come and go, and now has the knowledge and experience to help those just starting out. Anyone interested in fashion photography, or simply how to survive as a professional photographer will benefit from this frank and exclusive interview.

If you are a photographer, there is a strong possibility that you do a fair amount of work from home. With such an abundance of media and devices fighting for your attention, it can be a struggle to stay productive. Use the following tips to help you stay efficient so you can get out of your house and have a life!

Last week we released our portable light modifier The Fstoppers Flashdisc to the general public through Amazon. While the success of our first ever physical product has been huge, a lot of people have been asking for example images shot with this useful small softbox. Today I am going to break down a simple beauty shot you might see in a magazine that was shot entirely with 4 speedlights and 3 Flashdisc light modifiers.

Eric Crosland is the director of Sherpa Cinema, a collective of artists who produce some pretty amazing stuff. Crosland recently went to some rather remote parts of Iceland with Dave Mossop and John Trapman working on capturing some landscapes, something for which Iceland is a mecca. While there, the Icelandic eruption occurred and Crosland was ready with a Phase One.

Have you ever seen a photo of a unique place, but could never find exactly where it was located? For years, Justin Majeczky was aware of the existence of the Fly Geyser, but only after research and some smooth talking was he able to locate and document this unique phenomena.

How do you make a photograph that sells for more than $100,000? Gregory Crewdson may not have the answer, and I suspect he probably doesn’t care, but that is what his prints will routinely fetch, if not more. What is it that allows him to create such staggeringly powerful works of art, and what are the struggles he endures through the creative process?

In conjunction with The Bubbler and the Diane Endres Ballweg Gallery of the Madison Public Library, Andy Adams of FlakPhoto has produced a new photo exhibition called the Midwest Print Show. The show features 41 photographers living and working in the Midwestern United States, and includes a variety of subject matter from across the region.

The show officially opened on September 26, 2014 and will continue through October 30, 2014. Given that the Society for Photographic Education Midwest Conference is set to happen in Madison this month, Adams decided to take advantage of the happenings and produce a show that celebrates photographic prints from Midwestern photographers.

Next up to bat on the Fstoppers TogTools podcast series is our very own Sarah Williams, half of the wedding photographer team at Val & Sarah. Jess and Stephen interview Sarah about the importance of identifying a niche and how she goes about booking the type of people she would want to hang out with, the ins and outs of partnerships and connecting emotionally to her work.

Ever since I briefly introduced it in my Photographer's Grip Kit video, people have been emailing and messaging me regarding the utility cart I use to haul gear around a job site. As a result, I figured a video was in order to talk about the cart in more detail, along with the modifications we've made to better adapt it to our workflow.

Last month we interviewed Jen Basford of Seniors Ignite and 3 girls photography about reasons why you should have a senior rep program. The full article can be found here. This month we are getting into specifics of what is takes to build a successful senior rep/model program and insight on how Jen built a program that sees continued success.

I'm often asked about the best way to get started with off-camera flash. The problem is, there's no single answer for everyone. There's a lot of different ways to accomplish the same end goal of getting that flash off the camera. In this video I'll break down the three main choices when choosing your method of strobe lighting.

I have seen absolutely beautiful things happen in the photo industry. I've seen strangers become best friends, I've seen grand ideas being brought to life, and I've seen photographers grow from beginners to mentors. I've seen so many things that make me proud to be a part of such an amazing community. The sad news is that I've also seen the uglier side of it. I've seen jealousy turn into bad-mouthing, I've seen photographers knowingly leave out key techniques from classes or talks, and I've seen new photographers become discouraged and disheartened by the cold shoulders of the more popular photographers in the industry.

So you have some down time eh? You’ve been pacing the floor, obsessively checking email, conjuring up clients etc and still nothing is coming your way? Welcome to the harsh reality of freelance life.

Dan Saelinger is a Portland, OR based conceptual photographer with a signature, meticulously clean and refined, style with a flare for simple, graphic-based images. Dan's work has appeared in Newsweek, IEEE, Popular Science, Field & Stream, and Reader's Digest, his advertising portfolio includes work for SKYY Vodka, Nike, and Google. In this interview Dan takes us back to his time as an undergrad photography student, his journey through his MFA, his career in high-end conceptual photography, and the role personal work has played through out it all.

We’ve all been there, stuck with bad light and fresh out of ideas. I may spend up to an hour pre-lighting before a model or subject steps onto set, I work out the kinks and make sure everything is how it should be. But, despite my best efforts to make it right, every now and then I run out of time and have to wing it. We all have our “go to” lighting scenarios, but when you’re standing in unknown territory, keep the following tips in mind and you just might make it through the storm.

As you may already know, I spend a good deal of time polishing my photos in post production and have taught retouching in Photoshop for some time. A few months ago I made the move from Lightroom to Capture One and haven't looked back. To test out it's power, I decided to see just how close I could get to my portrait retouching style using only Capture One Pro 8 and forgoing Photoshop entirely.

Mark Seliger is one of the top portrait photographers in the world. His career spans thirty years and in this time he has photographed some of the biggest names in music, politics, business and entertainment. Interviewing him was fascinating. Who has inspired him? What would he say to his younger self if he could go back to when he was just starting out, and which photographer would he choose to take his portrait, if given the chance?

Trials cyclist Danny Macaskill released a new video featuring a ride through unthinkable terrain in his homeland of Scotland. The daring exploit took place on the Cuillin Ridge in the Isle of Skye, where the spectacular scenery alone is worth the price of admission. The beauty of the Scottish landscape, mixed with the technical and dangerous mountain bike riding is absolutely thrilling to watch. The pinnacle shot, where Danny climbs up a ridge with bike in tow, closes the film and solidifies Danny as a death defying badass. We reached out to the director of the film, Stu Thomson, to ask a few questions about the making of this project.

There are dozens of classes, courses and books on posing and they’re all useless. Why? There’s a definitive difference between directing a subject and posing a subject; if you’re “posing" a subject, then you’re doing it wrong. Here are three reasons why I don't like posing subjects and how I’ve managed to overcome those obstacles.

Anthony Duron and Mark Rainwater were one of the first same-sex couples married in Indiana on June 27th, 2014 after a federal judge overturned the state's ban on gay marriage. Unfortunately, a federal appeals court put a hold on the ruling and they have been waiting in a sort of limbo ever since. The U.S. Supreme Court is currently deciding whether to hear the issue of gay marriage from several states, so many couples like Anthony and Mark have been waiting anxiously for vindication over the last three months. I was honored with the opportunity to take portraits of these two gentlemen and I learned a lot about love and life along the way.

I'm always moving around, which can make doing work on the road an absolutely nightmare. Between travel for photography, workshops and the general need for some decompression, I find myself packing for travel much more often than I expect. After years of just shutting off while on the road, I've finally developed to ways to make traveling as a photographer easier.

If you are photographing people than you understand the importance of sharpening areas of your images while masking out other parts and keeping them soft. For example, I love to sharpen the eyes, the lips, the hair, but don't want to bring out any unnecessary detail on the cheeks. Fortunately in Lightroom there is way to apply sharpening to your image while masking out areas where you would otherwise not want to apply the effect.

There are dozens of "How To" articles when it comes retouching. Very few, if any, focus on vital tips that are often overlooked, that will take your retouching to the next level. Here's a list that the Professionals in the industry never share with you.

If you are an active user on Facebook (and not living under a rock), you have surely seen status updates and links referring to your friend's profiles on the new social network, Ello. But as a working photographer or cinematographer, is investing time into another social network really worth it?

How would it feel to photograph Will Ferrell or Seth Rogen? How would you ever get to be able to shoot clients like these? How do you marry technical capability and develop your own style to deliver something unique? What if you could learn from someone doing this sort of work day in day out? Well, now you can, in this exclusive interview with Emily Shur.

Retouching problems start well before we sit down in front of the computer and begin pushing pixels around. I know this because as I reflect on my past work, I realize that I’m as guilty of making countless mistakes as much as anyone else. Rather than talk about techniques like dodging and burning, frequency separation, etc. let’s focus on more high level problems that might be leading you in the wrong direction.

The air blower bulb is an essential addition to any photographer’s toolkit. They do an incredible job at removing dust spots from the delicate sensors inside our cameras as well as taking care of pesky specks on our glass. However, there’s no reason to stop there. Here I give you three more perfect applications for these nifty cleaning tools that you may not have thought of before.

Most photographers looking to advance their commercial photography careers come to the realization that in order to score the big jobs, they need to work with creative agencies. The question is, how does a photographer get those agency gigs? I sat down with Associate Creative Director Scott Wallace of Magner Sanborn to discuss the creative agency/photographer relationship and what we can do as photographers to get noticed and ultimately get hired.

Anna Mia Davidson has been shooting and documenting sustainable farmers in the Pacific Northwest for the past seven years. The USA Television Network and Aperture collaborated for a campaign called, “The Character of America,” which commissioned nine photographers to document the positive aspects of America. Anna was one of those commissioned to further her personal project under that campaign. She also gained further funding from Fotodocument to be able to complete the project.

Finding clients is a challenge all by itself so when we are fortunate enough to have some in our corner it is a natural reaction for us to go above and beyond the call of duty to keep them happy. While this is admirable from a customer service point of view it is not always feasible to say yes to every request. Here is how I have learned to overcome my fear of saying “no” to a client.

Dirty backgrounds are something that most of us have had to deal with at some point. Sometimes, all we need to do is clean the background. Other times, it's actually better to do a full background replacement. The full replacement can be as subtle as eliminating shadows and sensor dust or something as drastic as changing the background color. In this tutorial, we go over an easy, but precise, way to do this.

Over the last several years, I’ve been fortunate enough to grow an audience wider than I’d ever thought possible. From the days of taking photos of whatever was in front of me, to speaking at the Phase One Stand Out Photographic Forums this October in LA and San Francisco, it’s been, to the say the least, quite an adventure. All that would not be possible, however, if it wasn’t for the Google and, more importantly, a core group of photographers who, at one point or another, shared with me the answers to questions that had been burning so bright in my mind, that I literally couldn’t sleep until I’d found a satisfactory answer.

You may have noticed during our studies of umbrellas and technique that we have been lighting everything in a very direct manner, illustrating some very basic techniques for you to test out with your own photos.

Those techniques will serve you well, and can be used to create beautiful photos. But it’s time to try something a bit advanced, something that will give you the ability to better control your umbrella light and impart your own style into the photo.

The great thing about the program Lightroom is that there are usually a number of different ways to accomplish a task. In this video I show you one fantastic way to create some nice colors in your photo by using a slider tool that you might not have even touched before. As I usually do the video is short - about 2 minutes - and I've provided some samples below to see a before and after as well as steps for those that prefer to read it versus watch a video.

What sets you and your work apart? Having a clear idea of this is critical if you want to develop your work but when was the last time you actually thought about it? Shane Hurlbut is a veteran Director of Photography and today shares his thoughts on his career and success. Whether you work with stills or motion, his approach sets him apart and we can all learn from him.

I’ve seen the future of film... and it is bright. In the next few weeks I will be interviewing companies that are pushing the film photography industry forward. As the large film companies cut film stocks from production, these people are pushing forward. Developing new films, cameras, products, and services. This week, I start with CineStill.

When it comes to the quantity of lights that one needs, opinions are often heavily polarized and a hotly contested debate often rages. There are those that are staunch supporters of one light while others claim that a handful of lights are needed before anything meaningful can be done. Ultimately neither group is right as there is no definable minimum or maximum number of lights that one should use.

Growing up in the family's studios and labs, I learned a thing or two about mounting and framing prints, and I also ruined a lot of them in the process. In this video, I'll demonstrate a version of my process so you can skip the lab and mount your own prints, fresh from your home or studio printer.

Flour bombs to the head, water balloons bouncing off my face, ribbon dancing, beer pours, back flops, a ginger eating cinnamon, and silly string to the face. These are a few of of the things we tried today in slow mo on the iPhone 6 and iPhone 6 Plus from Apple. Check out the results here.

We’ve studied how direction and angle can drastically change the quality of light produced from your umbrella. We have also seen examples about how distance can change the umbrella light falling on your subject.

Now it’s time to look at the big picture. Let’s take a peek at how our umbrella is actually producing light across the whole image, not just the subject that you chose. In Umbrellas 103, we’re going to study fall off, and compare the type of light produced by four different shoot thru and reflective umbrellas.

If you’ve ever wondered why you might use a giant umbrella instead of a small, collapsible model, this article is for you!

For the last month I have shared a useful tip in Lightroom each week and I look forward to continuing the series. For this week I show you how to use the often overlooked color sliders to control the hue, saturation and luminance of each color in your photo. In the short video I also show how to get those mint saturated greens that are currently very popular.

The old photographers’ saying, “It’s not the camera, it’s the photographer” sounds like a self-serving flattery when it comes out of the mouth of a photographer, yet has never been more accurate than today. Its ironic how, as a professional photographer, I posses the knowledge of manipulating the most sophisticated gear and cameras available, yet when I shoot an image on the iPhone the resulting image is an embarrassment. Rushing to my defense I’ll utter each time, “I’m a terrible iPhone photographer…” So when I see amazing images, shot with the iPhone, I’m impressed with what can be achieved.

I became a photographer because I love taking photos, and I’m fortunate enough to be one of those lucky few who gets paid to do what they love. That being said, when I got my start in this industry, I don’t think I could have anticipated just how much work was involved in running my own photography business. From taking and editing photos, to filing invoices, to professional networking, there’s no shortage to the number of items that fill my to do list each day.

If you’ve been following along, you may remember that back in July, I packed up my apartment, loaded up my car, and set off on a month-long cross country tour of the southern United States with my girlfriend Holly and my dog, Olive. Along the way we met and hung out with some incredible people, had the opportunity to take great photos, ate at some great local places and most importantly, got to experience first hand the freedom of the open road.