Fstoppers Original Articles

Grand Theft Auto 5, which launched yesterday, is the most expensive video game ever produced, at a cost of $250 million of production and marketing costs. It also set records for day one sales. Most of the short time I played over the last day was spent inside the house one of the one of the main protagonists. I moved from room to room and realized I’d just spent almost an hour trying to work out how to position the character for best dramatic lighting effect. As I stepped outside and watched the sunset and saw the lighting change, it got me thinking - can Grand Theft Auto (GTA) 5 actually help us to improve our photography?

Everyone has to start somewhere, and for people seeking entry into the world of video production, or even studio photography, doing work as a production assistant is a great way to get your feet wet. I've hired lots of assistants, and before that I worked as one myself. I still do for some producers! Here are my tips on what to NOT do if you'd like to keep getting hired and make your way up the chain.

Exactly one week ago we marked the 12th anniversary of the 9/11 terror attacks which resulted in the deaths of nearly 3,000 people. As they do every anniversary, The Municipal Art Society of New York created two vertical columns of light ("Tribute In Light") right next to the World Trade Center in remembrance of the Twin Towers using 88 powerful searchlights pointing up to the sky. Every year I photograph the Tribute In Light from a different spot, and this year, for the second time, I decided to photograph it from above. From a helicopter. Here is how and why I did it.

In our newest segment, we've turned to the public to ask some of our writers about working in the industry as professional photographers, and invite all of you to participate in the discussion. Last week, we asked about our favorite light modifier, and the week prior, about commercial photography. This week, we ask "Your camera is suddenly only able to mount one lens. What is it?"

The phrase “go big or go home” seems to take on a special significance with photographer Dennis Manarchy. Obsessed with the concept of scale and the possibilities of working with massive negatives to create portrait images more than two stories high, he and his team have created a 35-foot view camera, the world’s largest film camera. The project, nicknamed “Butterflies and Buffalo”, aims to use the traveling view camera as a conduit for documenting more than 50 of the unique cultures in America.

Over the coming weeks I will be releasing a series of articles that will guide you step by step through the process of pricing your photography for commercial work. I will show you how to structure an invoice as well as go in depth to discuss the different parts of the invoice itself. I will show you how and why you should be using license agreements on all your work. I will even explain how you should calculate your own rates in the commercial marketplace.

Do you use a sweep in your portrait or large product photography? Sure a roll of paper several yards in length is necessary for photographing people and large products, but what about food and small products? Walking into a bakery or the back of a kitchen with two C stands and a large roll of paper is not going to work in the often small kitchen shooting environments.

Dani Diamond is a talented portrait photographer based out of Connecticut and is also an active member of our Fstoppers Facebook Group. His headshot work is impeccable and eye-catching. Recently Dani has started a personal project coined simply as "The Project." His mission is to find fellow photographers from around the world, take their headshots and challenge his craft under the scrutiny of his talented peers.

Since joining Fstoppers I had planned on doing a "behind the scenes" of one of my shoots, so today I've put together a lighting diagram courtesy of Kevin Kertz, and a detailed description of how the finished product was produced. Fair warning, I am a bit of a technique nerd and can get pretty detailed. We've all seen diagrams online, and brief descriptions on what goes where, but it seems there are always details left out that can significantly impact the results. I didn't want to do that. I wanted to leave no stone unturned and give you guys as accurate of a diagram and explanation as possible.

Just about every day I read a comment from a photographer complaining about Facebook making their images look terrible. There are hundreds of websites that have done tests and posted results to show what they feel is the best resolution to post your images to Facebook. Rather than run a bunch of tests I am going to keep things simple and tell you exactly what has worked well for me.

Because most of us fear rejection to some degree, speaking to a complete stranger and asking them for something, let alone asking if you can photograph them, tends to be pretty challenging. I’ve never been one of those naturally confident people but over time I’ve developed some techniques that have provided me with the confidence to work with strangers, which has brought additional benefit when communicating with paying clients.

In our newest series, we're inviting you the viewer to ask a weekly question for the writers of Fstoppers. Last week, we touched base on what we each individually believe commercial photography to be. Coming from different fields of photography, we all shared similar thoughts on the subject, but with different arguments and approaches.

For the second installment, we're asking each of our staff 'What is The One Light Modifier You Couldn't Live Without?'.

I recently got engaged and have started the process of finding my wedding photographer. Something that has become very hard since I have decided to rule out the possibility of a friend shooting it, because let's face it, they need to be drinking. As a wedding photographer myself, I noticed some positives and negatives in other businesses first impressions. These are just things that have become my pet peeves while seeking a photographer, mostly website related.

In my first rickety little studio I called a place to take portraits, I had nowhere but a corner to store my rolls of seamless paper. In my little budget corner I found a million ways to ruin whole rolls, or ruin parts of seamless paper on an hourly basis. The ends would get damaged, the rolls would become wavy, and I would typically end up cussing and throwing away seamless that should not have been destroyed. It was money being thrown away. I want to prevent this from ever happening to you.

Lately I've been scouting locations for a calendar project I'm working on, and it got me thinking how little content I've come across online on how to go about it. Location scouting isn't really a science, there are a lot of ways to go about it, but there are a few simple tricks and tools to maximizing productivity in your efforts.

Keeping your models and clients happy on set is vital to creating images that evoke the full range of emotion. Part of your job as a photographer is to bring everyone on set to a mind space that is calm and comfortable. Here are a few tips on how you can play the good host.

In the photography world, social media connects you with a multitude of people and not a month goes by where someone doesn’t mention they’re moving. The first comment they always make is ‘I don’t want to start my business all over again!’ But if you have developed a sturdy business in your current location there is no reason that continuing your business somewhere else shouldn’t be a possibility.

Many of us in the industry are using social media in some form or another. It's a great tool in promoting our work and we tend to explore as many options as possible. Facebook is one of those options. You may be using your personal page along with a business page to promote your work. What if Facebook suddenly deleted your personal page and you lost all your contacts, messages, and more? That is what recently happened to photographer Catherine Oshanek, otherwise known as White Cedar.

Martin Gregorian from Butterfly Photography was shooting a wedding ceremony in an outdoor park in Vancouver B.C. last weekend and became the victim of an increasingly common crime. His camera bag was stolen by a thief posing as a tourist right in the middle of the ceremony! Now, don't just brush this off as something that could never happen to you; let's learn something from this so we don't find ourselves scrambling during a wedding as well.

It is getting pretty hard to avoid reading a story a couple times a month where a photographer's photos are stolen in some way. It has become, sadly, the nature of the internet. Sometimes photographers aren't even aware of it until the image spreads beyond containment, but others, like Swedish photographer Tuana, do their best to nip it in the bud and succeed with help from what many would consider to be an unlikely source: the company who was unlawfully selling the image.

I grew up as part of the generation of photographers that developed film (or had a lab develop it) and mounted photos in family albums. At the time, I would remember thinking it wasn't a particularly special exercise or the photos themselves weren't particularly amazing. But how many of you remember the feeling - often years later - of finding those same 'mundane' shots and nostalgically revisiting the past? Wasn't that a powerful and often wonderful feeling?

In our newest series, we're inviting you the viewer to ask a weekly question for the writers of Fstoppers. Each of our writers are also professional photographers, in a broad range of categories and styles. Many of them are among the best in their respected fields and have been working full time as a professional in their industry for years. So who better to ask photography questions to?

To kick off the series, we're asking each of our writers 'What is Commercial Photography?'.

Some people go through life and aren't sure how they can take their photography to the next level of giving back. There are many programs and non-profits such as Help Portrait and Operation: Love ReUnited, but nothing that you can say you did or created. Well these 16-year-old brothers decided they would do just that and create something worth remembering.

From time to time, we’re graced with a new product that completely changes our workflow and makes our lives as photographers a hundred times easier than it was before. However, this luxury isn’t always the case, and we’re sometimes graced with some of the most ridiculous products imaginable.

Ten thousand miles, ten cities on a coast to coast ramble in a 1977 vintage VW bus all for the sake of promoting photographic art. From April to June of this year, gallerist Jennifer Schwartz was behind the wheel of her microbus on a two-fold mission: to promote photographers and create collectors. Working with five photographers in each city on the tour, she orchestrated pop-up events and curbside photo exhibits designed to educate and engage communities regarding photographic art and the value of starting a collection.

Recently we saw a great post from Rich Meade listing off 34 ways to stay creative, well now I have my own to add as well, as a challenge to our readers - change it up!

Routine, in many ways is a good thing. It keeps you organized, makes sure everything is completed on time, and is usually a source of comfort/sanity for people with busy schedules, but it has its draw backs as well.

Photography is a dream career for many of us. The reality is, few of us can actually turn that into a full time career. We keep our regular 9-5 jobs to pay the bills and grab the odd photography gig here or there.

Every once in a while though, one of us will slip through the cracks and enjoy some moderate success. So much so, that it begins to interfere with that regular 9-5 job, and a decision must be made to transition from one career to another. Many aspiring photographers jump the gun and attempt to take on a full time career before they are actually ready. When that time comes for you here are 5 things to consider and help make sure it's the right move for you.

I hear that a lot.

It shoots out of the mouths and into my ears from bellyaching photographers and it clutters the mind while reading an on-line post somewhere.

If photography is dead, why do publications like Sports Illustrated, National Geographic and Wired magazine produce amazing images each and every month? Why do companies spend thousands and thousands of dollars to create images of their products?

Have you had trouble lighting reflective surfaces? If you were given a food like ceviche to style, would you know where to begin? In this post, I am going to show you how I styled and shot a scallop and peach ceviche recipe. Here is a little background on the shot. The recipe developer meant for this dish to be served at an outdoor entertaining event, and wanted to highlight the light refreshing nature of the dish. With this in mind, I chose lighting and props that would help communicate this. Here is how I created the shot.

Update: The featured video has been changed per request of the photographer that was featured in it. In summary the video showed the back of a photographer standing up in the middle of the aisle next to the front two rows shooting with a 70-200mm lens aiming at the bridal party. I saw this video (video replaced with dancing dog) posted up in a Facebook group I belong to by the amazing team of videographers over at Motivity Films.

When dealing with clients every little thing we do or don't do can affect whether or not they will refer us on to their friends or colleagues. The digital age not only helps us communicate and run our business but sometimes it is a hindrance to our ability to run a successful and personable business. Taking a step back and looking at the things you are doing currently and how they come across to your clients is your best form of action.

The hottest trend nowadays is Photoshop presets. Presets to mimic the look of films past, to add a bit of editorial edge to those mundane studio shots, or to just expedite the editing process. Many companies have come out with pre-packaged presets, treatments, and plugins to help users reach a new level of creativity.

Have you ever felt inadequate as a creative artist? Have you internally credited luck to your success rather than give yourself credit for the hard work you put in to get where you are today? Maybe you even just feel like a fake? All of this even though you have worked your ass off to become the successful artist you are today. I know I personally have felt this way on numerous occasions. It wasn't until photographer Sascha Reinking shared a post he got from Brian Friedman in a Facebook group that I realized there is a name for this condition.

I wrote recently about the importance of developing your own style. One of the worst things any creative professional can do is to get sucked into thinking about what work we should be doing or how we should be doing it. When was the last time you looked at someone else’s work and thought “Wow that’s really good. I really need to be doing something like that”? For me, it was earlier this morning. It’s totally normal and intuitive behavior.

Joey Wright is a swim and lifestyle photographer based in Florida. Despite only picking up a camera a few years ago, Joey is a already regular contributor to SI.com with clients ranging from Callaway Golf, the Atlanta Falcons and the Seminole Hard Rock Hotel & Casino and is recognized as a Wescott Top Pro. He's also really, really likable.

When you think of fashion photography, you typically think of women being the main subject. It's not without reason because female models typically dominate the fashion scene. When it comes to shooting male models in fashion, there's a lack of information out there for aspiring photographers. I reached out to my friend and colleague Chris Davis who was happy to share a few tips on shooting male models in specific.

When this post is published I will be on my way to Moscow, Russia somewhere above the North Atlantic Ocean. I have a couple of shoots booked with my regular clients there, and my relationships with those clients are so great and long-lasting that they inspired me to write this article.

Django Greenblatt-Seay and JJ Dreier joined together to form Tree Speed, self proclaimed as "A of couple of Mid-Western guys who spend vacation time traveling the country shooting time lapse photography."

Based out of Omaha, Nebraska, the duo recently took to the road and self produced a 10 day trip to Utah to create a series of time lapse videos. In order of appearance, the team shot in Latuda, Utah (a ghost town), Arches National Park, Canyonlands National Park, and Lake Oahe.

While on a kayaking trip in the Great Lakes, I stopped just after sunset to shoot some images on the beach. The sky was still bright and very saturated, while the sandy ground was losing light and getting dark in my exposures. My kit was small, and I had no graduated ND filter, but I came up with something that worked well in a pinch.

Restaurant's interiors can be just as beautiful and recognizable as the dishes that they create. When shooting a dish, you may want to include some of a restaurant's interior elements in the shot. These can be chairs, walls, light fixtures, or anything else that shows off the restaurant's character. To do this, you will need to be able to balance the light you are creating with a flash and the ambient light in the restaurant. Here is a look at how I did this on a recent assignment involving a burger and beer.

In the last few years, video-sharing sites like YouTube have become a marketer’s best friend.

These sites offer the opportunity to disguise advertisements as pure entertainment. As more people recognize the marketing opportunity, getting exposure becomes more difficult. Video producers are constantly scrambling to stay relevant and unique.

Alright, So you've made it past the hard part, making contact and getting the ok from the agency to work with their talent (As discussed in Part 1). Now what? Well now you book your first model!

Yesterday a colleague Pratik Naik posted a gif of an interesting phenomenon, which coincidently illustrates an issue I have been having (at least it appears to be). When you shoot a job with thousands of images it’s sometimes paramount to quickly view and flag or pick the good ones. Some people even start with quickly rejecting the bad ones. This .gif is a good reason why you shouldn’t start with deleting the bad ones.

Photography is the perfect counterpart to road travel. On a mission that seems to blend aspects of Ken Kesey, Robert Frank and Matthew Brady, fine art photographer Anton Orlov is traveling across the United States in a school bus doing wet plate collodion photography. You might’ve seen his Kickstarter video in 2011 that involved retrofitting a school bus into a mobile darkroom nicknamed “The Photo Palace.”

Wolfe Air is a company that specializes in creating air to air footage for airlines, big-budget movie productions, the military, and private commercial clients, and they recently released their updated reel, which is absolutely mindblowing. Not many people think about what might go into these shots, so as the Fstoppers designated aviation photography dork, I've decided to write up a reader's digest version of how they're made.

A few years ago when I was still new to the world of beauty photography and digital photo retouching, I prided myself on the ability to "fix it later in Photoshop." I would welcome retouching challenges as I was still learning, but things changed forever after I started working with professional teams and shooting for commercial clients.

There are a few unarguable reasons for getting it right in camera.

So you know your business inside and out and your image quality is top notch, but there's always room for improvement. A factor that many people overlook is the experience that a client has when they work with them, being on one side of the operations gives you a very different perspective and because of this you could be overlooking little important details that make the world of difference. I've been working as a full time commercial photographer for a year now, and in that time I've learned a lot from not only my own client interactions, but the other businesses I've worked with as well.

You've all seen these images. It's the knob-and-hanger set up that has become the signature style for many kids retail sites such as Zulily. What you do not see, however, are all the tools that go into creating these minimalist images. The bulk of my work as a commercial photographer is with product, one of which is children's clothing for sites like Zulily, so let me give you a sneak peek into my personal tool bag that I could not work without.

When calling ourselves artists, we also inherently accept the title of “story teller”. We each use different mediums, but our goals are ultimately the same: Creating memorable and engaging content. We use art to tell stories in beautiful and unique ways, which in turn helps connect us together.

Recently, Julia Kuzmenko has been putting together a wonderful tutorial on how to read lighting in photography to help better understand different lighting concepts (Seriously, read Part 1 and Part 2). Applying these to photos, you can reverse engineer different lighting diagrams. However, using these concepts in your everyday life will allow you to give you a much better understanding of lighting techniques as well.