It is the dream of many amateur photographers to be hired for celebrity photo shoots and high-status advertising gigs. What could be more exciting than photographing a famous singer in a large photo studio with stylists, digital techs, and assistants at your beck and call? Imagine how great it would be to see your photographs published on a magazine or album cover. Best of all, commercial jobs can pay well over $10,000 for a single day of work. Surely this is better than just photographing ordinary folk, right? Maybe not.
Articles written by John Ricard
A new year brings thoughts of new beginnings and new opportunities. Resolutions are common this time of year. You undoubtedly have plans to join a gym this year, but why not also make a goal of working on a new photo project? There are several projects you might consider undertaking in 2023, ranging from those that require you to create something original each day to those that will be successful with a less frequent contribution on your part.
There are several timeless photography debates that are fun to engage in but will probably never be resolved to everyone’s satisfaction. There’s film versus digital, zoom lenses versus primes, small compact minimalistic camera versus fully featured monster-sized pro camera, and of course, continuous lighting versus strobe lighting. This article will not seek to determine whether strobes or constant lights are better for portraiture, but we will take a deep dive into how one photographer used continuous lighting on a recent celebrity shoot.
For decades, color slide film was the industry standard for commercial and editorial work, and the speed of the film was typically 64 or 100. It was standard practice for a portrait photographer to use a high-powered strobe to illuminate the subject. Today, a digital camera can produce clean images at high ISO settings and allows the photographer to forgo strobes and instead illuminate the subject using lower-power continuous light units.
Each week, we are assaulted with an endless barrage of new photography-related products promising to make us better photographers. For a beginning shooter, this must be overwhelming. If someone asked you for a short list of essential items necessary for the specific genre of photography that you partake in, what would those items be?
Depending on your perspective, street photography is either one of the easiest or most difficult types of photography one might pursue. The barrier to entry is low, with a small camera and fixed lens being all you need to get started shooting. Just step outside your door and capture what is happening on the street in your town ,and you are a street photographer. The problem is, although it is simple to get started in street photography, it is not easy to create compelling imagery.
Starting a YouTube channel is something you might consider whether you take photographs for profit or fun. A successful channel can offer benefits in the form of payments for viewership and sponsorship opportunities. A less successful channel can help a photographer build an audience and create a community in which to share their passion for photography.
The issue of whether or not photographers should work for free is a polarizing one. Some of us feel we should not haul thousands of dollars worth of lighting and camera gear to a location and spend a full day shooting just to gain a reward that comes in the form of intangible exposure. Others feel doing regular collaborations with like-minded peers to produce new work is valuable in nurturing a photographer’s creative process.
Photography scams are something that we all need to be on guard against. These scams often come our way in the form of poorly worded emails that we instantly delete. Atlanta wedding photographers Jaimie Dee and her husband Kyle were recently targeted by a rather elaborate variation of a classic photography scam. Fortunately, they didn’t fall for the con. How might you fare if you were targeted by the scam detailed below?
Leica cameras are expensive. So are the lenses.
Queen Elizabeth’s passing has received quite a bit of coverage here in the United States. Millions of people turned out not only in London but all over the UK and the globe for various services held in her honor. The coverage has shown the sincere outpouring of respect and affection that the people of her country have for her, but there is a noticeable emphasis on the scale and spectacle of the event.
As a portrait photographer, I often struggle to create new work. To add a new image to my portfolio, I must involve at least one other person who will be photographed by me. Contrast this to a landscape photographer, who can get into her vehicle, drive to a cool shooting location any day she desires, and create new images with relative ease.
Like most photographers, I own more than one camera bag. There is my main bag, my video gear bag, my small kit bag, my rolling bag for airplane travel, and that one, never-been-used, just sitting in the back of the closet, camera bag of unknown origin.
I’ve been fortunate present photography workshops over the past 15 years. My focus is usually on lighting for beauty, but I’ve presented on other topics as well including how to pose a subject so they look natural on camera. I’ve also attended many workshops from both well-known photographers and lesser-known names as well. From being on both sides of the lectern, I’ve developed a good understanding of what makes a good photography workshop. Here are 3 tips you might consider should you find yourself tasked with presenting a photography workshop.
For years, photographers have understood that creating the best photograph possible means shooting in the best possible light. For natural light shooters, the best light often comes at a time known as the golden hour. This occurs when the sun is setting and the angle of the sun to the earth causes the light to travel through clouds and air pollution creating soft, diffused light. The color of this light is warm and the look is beautiful on all skin tones.
It might seem to be an easy transition for a photographer to become a filmmaker. At the core of each of these disciplines is storytelling. A photographer tells a story in a single instant captured at the decisive moment, while a filmmaker tells a story over a period of time, often incorporating elements such as editing and sound to help tell that story.
There are as many approaches to street photography as there are streets in any major city. Some photographers use autofocus cameras and long lenses to capture candid scenes from a distance. Some shooters point their manual focus film cameras at funny street signs. Others look for shafts of lighting falling between tall buildings.
It is common today to find professional photographers eager to embrace new equipment offerings from manufacturers. I recall a time when things were different and professionals were content to stick with gear that was adequate for their current needs.
Any photography enthusiast who works a 9-to-5 job has probably wondered what it would be like to walk away from that day job and make all of their income through photography. This can be a scary endeavor, especially if you don’t have a specific plan in place to find clients.
Imagine being tasked with photographing press events featuring some of the most famous people in the world, on a regular basis. Are you confident that you can come away with photographs as strong or better than those of your peers? Can you find the small, personal moments taking place in the chaos to create images that are unique? Christy Bowe is a photographer who has successfully accomplished these tasks for the past three decades.