commercial photographer

Remember the commercial photographer who turned sick and disabled children into Justice League heroes? He’s back, and this time his family have received the Star Wars treatment.

Whether you think about conceptual art, impressionism, or high fashion, they are all deviations from the traditional art expressions. Is the emperor naked, or do these forms of art have nothing to do with that well-known story? Is it possible to make more profit from impressionism than from traditional photography?

Like most technology we own, our cameras will eventually stop working. Not only is this bad news for our bank balances, but if a camera were to die mid-shoot then it could potentially land us in a world of professional problems. Minimize these risks by knowing what to look out for and the kind of plan you need to have in place for when that inevitable disaster strikes.

You don’t need me to tell you the importance of social media. Many of you under a certain age likely can’t picture your life without it. Judging by the number of selfie sticks and Facebook screens annoyingly lighting up dark movie theaters, social media had apparently become as important as breathing. Even those who came of age before the dawn of the smartphone are not immune to its charms. And in an increasingly connected world, our devices are not only a social diversion, but can also become a business necessity. This week, I had an experience that drove home just how necessary it can be.

I always think that knowing a bit about the author is important, especially when reading an article about camera equipment. I work predominantly as a commercial photographer shooting people and food. However, most of my kit was purchased when I was starting out as a wedding photographer. So the reasons I shoot prime lenses apply to both my event work and the more commercial work I shoot now.

Being a commercial photographer means being able to deliver no matter what the conditions are and pushing the boundaries for the client. In this video, as you’ll see, French photographer Philippe Echaroux was given the challenge to go even further and create stunning portraits using only an iPhone, a flashlight, and a Big Mac box. Yes, you read that last item correctly! If you’re wondering how he did it, be sure to watch the full video.

Just like everyone else, my social media feed was flooded with solar eclipse images yesterday. While there were a number of truly amazing shots and at least one potentially politically controversial one, my hands-down favorite was the remarkable photograph of a silhouetted climber at the moment of totality, captured by professional Outdoor and Commercial Photographer Andrew Studer. I spoke with Studer and Ted Hesser, an adventure photographer who envisioned and planned the shot, to better understand how they pulled it off.

Black dogs are the most likely of all coat colors to be euthanized in shelters. And of course, they're no less worthy of adoption than their lighter counterparts, which is why Commercial Photographer Shaina Fishman decided to bring awareness to the issue with this great series.

It’s already the fourth time Jessica Kobeissi got together with three other photographers to challenge themselves on a shoot. Each artist is given the opportunity to choose the outfit and location for one set, and then everyone has to come up with something in their own style. For this episode, the photographers were Joey L, Brandon Woelfel, Dani Diamond, and Jessica Kobeissi. Each having a very different photographic style, the video is quite entertaining.

Organizing a photoshoot, professional or otherwise, can be a daunting task. From a small portrait sitting with a local band to a worldwide ad campaign, there are some key steps that will reduce stress, ensure everyone feels understood, and ultimately help everyone work towards the same goals. As a bit of a disclaimer, I work in the U.K. as a commercial photographer, but most of these steps can be dialed up or reduced for any project, wherever they happen to take place and whether paid or not.

You don't need a ton of gear to produce dramatic portraits. By using focal length and lighting to your advantage you really can add so much more power to your images.

Strobist. Natural light shooter. These words are at two opposite ends of the spectrum of photographer that seem like they're always a hair's breadth away from starting a photographic civil war, both sides preaching their philosophy as if deviation is blasphemy. One side is derided as being "afraid of learning to use flash" and the other side is jeered at for creating "flashy," "fake," or "contrived" images. Both sides seem immovable in their adherence to their preferred light source. Despite this disagreement, a popular saying in photography is, "light is light." So which is it? Is one better and the other worse, are they just preferences or are both sides cutting themselves short?

Some families head down to their local mall to get their portraits taken. However, if you’re Commercial Photographer Blair Bunting, then NFL superstar and photography enthusiast Larry Fitzgerald is your go-to man for the job. As a pre-Mother’s Day gift, Bunting surprised his mom with an exclusive photoshoot with the Arizona Cardinal’s wide receiver that left her speechless.

Becoming as a commercial photographer can't be defined with a formula. Each story is different but lots of stories share similar basic principles. They can be applied not only in the areas of photography and filmmaking, but also in other businesses.

In this video, Commercial Photographer Joshua Geiger walks you through how to easily composite and retouch a product shoot using mid to low-range watches, yet brings them to life in a high end way. His technique is fairly simply but the experience he shows in layering his shot and adding texture via smoke and atmosphere is brilliant.

In this video, I’ve provided a solution for photographers who want the ability to walk around their set, wirelessly trigger their Sony a7R II and still retain the capability to shoot tethered (with a USB cable) to Capture One or Lightroom.

One of Billboard magazine’s latest covers – featuring former Fifth Harmony babe Camila Cabello – was recently shot quite infamously using the portrait mode on an iPhone 7. The spread itself was shot using both the iPhone and a DSLR. What does all of this mean for our ever-changing industry? Should we be worried? I chatted to commercial photographer Jay Mawson, who has shot campaigns for Nike and Adidas, to gather his perspective on all of this.

I’ve seen more than my fair share of articles regarding the joys and pitfalls of being paid on time. A very vital part of making a living in any profession is, after all, actually getting paid. But rather than rehash the terrific advice I’ve seen from other shooters about the best way to invoice, I thought I would offer you another perspective. That of the accounting department.

Splash photography is an art unto itself, and this is no exception. Shooting an ad campaign for Peet's Coffee, Commercial Photographer Bill Cahill walks us through his process on the "hottest set" he's ever been on.

I started my journey in photography back in 2011. Since then, there are only a handful of photographers that I have really paid attention to in terms of actively keeping up with their work. One of those photographers is Commercial Photographer Dave Hill. His work has taken a more drastic turn in just a few years than any photographer that I’ve followed. That’s one of many reasons that I reached out to Hill to chat about his work and photography.

'The Concert,' a painting by the famous artist Johannes Vermeer, is one of the masterpieces of the Dutch painter. Unfortunately it was stolen in 1990. All his paintings are so skillfully created with quite remarkable understanding of light as intensity, shape, direction, size, and color. It's exciting to see what would happen if a photography master is asked to recreate this painting using Photoshop, images from a stock library, and his extensive knowledge of light and color.

A lot of us have been there, especially when we're first trying to build our businesses in the beginning. A job lands that you feel like you can pull off really well, and you quote accordingly. The client then comes back and lets you know that their budget is significantly smaller than what you quoted, but they really want to work with you. On the one hand, you need the money, but on the other hand, you realize you're being forced into an uncomfortable corner. How do you answer this?

Whenever I am working with models on a shoot, I always have their best interests at heart. You may say I care too much about my models, but I am alright with that. No one badmouths a caring photographer. I have seen firsthand how some models are treated badly on set and it saddens me to see how bad attitude from photographers can ruin the photographer-model relationship and also lead to bad photos. Knowing how to build a relationship upon meeting your model and engaging in a photoshoot with the latter is a must and I asked a couple of models for advice to write this article.

When you think of photographing jets above rising cityscapes, some of you may think initially of a "Mission Impossible" type of situation: a daring photographer in a flight suit and goggles strapped to the back of a military-looking plane with the cargo ramp down, snapping off shots as they fly through the air. Sure, it's been done, maybe not to that extreme, but you get the gist. However, Dallas-based Automotive Photographer Pepper Yandell shows you his trick to getting those picture-perfect photos, and it's much less dangerous and extreme than what you may have first thought.

I haven't been writing very much lately, but when Swedish Commercial Photographer Erik Johansson hit me with an email about his recent creation, I had to stop and take notice. And I'm not the only one. For the third chapter of their miniseries, "Human Made Stories," Volvo (in partnership with Sky Atlantic) spent three days this summer documenting Erik's process as he breathed life into his latest piece, "Wake Up." Volvo's miniseries features defiant pioneers who inspire, do things differently, challenge conventions, and blaze their own trail. Yup, that sounds like Erik to me.

This is one of the most important questions that most photographers out there have been asking themselves. We admire the photographers who have their own styles, and sometimes we try to imitate their styles that we like most. We were all taught to try everything, until we find our own unique visual styles. But, is that really important?

One of the most common questions photographers have is about how to effectively price their work. Rates vary so widely based on location and skill level that many are left scratching their heads as to what is fair. This has led to the common mantra stating “ask for the clients budget.” Here is why I think that's a ridiculous way to price yourself and a horrible piece of advice.

I get it. You can’t pay the bills by photographing clients for free, or in most cases for exposure. There are definitely ways of turning exposure into monetary compensation however, that most creatives gloss over. Here are three ways of turning exposure into dollars, just by asking some simple questions to your client.

Earlier this year, commercial photographer Lars Schneider was followed by a camera on a trip to the Faroe Islands to document his “other life” as a landscape photographer. The resulting video gives us insight into what his professional lifestyle entails and the change of pace enjoyed when shooting landscapes for personal fulfillment rather than clientele.

With little exception, every time you agree to provide raw images to your client, you are hurting your own brand and doing that client a disservice. Although it might be easy to feel, it may be hard to understand exactly why this is. Even more difficult is how to then explain your decision to your clients in a way that also makes them feel good about receiving 'less.' Thankfully, Austin-based commercial photographer Caleb Kerr has all of these answers.

When a commercial photographer, Sasha Leahovcenco, decides to document the touching experience and life of people he has never met before, the result is quite astonishing. You would think pre-production played a huge part and that he had to have had exceptional gear, carried by a huge team, but the truth is far from that. The experience was the heart of this series, and the pictures show it well. Combining both journalistic and commercial genres with a very personal approach yields pictures we only wish we could see more often.

Casting is time consuming! It can suck up all your energy. It can leave you exhausted and frustrated. It is mostly the one part of photography that always demands tons of effort, and does not always reward us with the results we hope for. That’s why there are casting directors, both in the stills and film industry. It is a job! When you are working on your portfolio you rarely have the means to hire one, so better to get efficient with it on your own. If you are a landscape or a still life photographer, move along gleefully.

The next time you're having a rough day thinking about how all your photography is looking the same, the competition is stiff, and bookings are down, remember that there are photographers out there taking pictures exclusively of the male anatomy and translating those into $10,000 limited edition prints.

Photographers and videographers who work on-location for their gigs need an easy, dependable way to haul and station their gear and grip kits. Many have come to rely on the RocknRoller MultiCart for this purpose because of its versatility. In this video, commercial photographer Kiriako Iatridis shows how he customized his MultiCart to make it that much better and may inspire your own modifications.

Many photographers start out as hobbyists and part-time photographers while relying on a day job to pay the bills. Maybe you shoot on the weekends and edit after hours. But at what point should you quit your day job and commit to becoming a full-time professional photographer? Here's how to take that first big step in your photography career.

Most of us know Lytro for their light field cameras that capture scenes in a way that allows you to refocus an image anywhere you want with the click of a button without having to take a new image. I'll admit, I thought it was a neat trick, but as a commercial photographer, I never saw how it would apply to someone like myself. Well, Lytro has blown me away today with the announcement of their new virtual reality camera system that works much like their light field cameras and allows the user to move within a video environment (not a computer-rendered space) while wearing a virtual reality headset. They have officially changed the game.

As Fstoppers' resident virtual reality content creator, I'm excited to share our most recent project we did for AOL. A few weeks back, the Autoblog/Translogic team flew my business partner and I to southern California and rented out a race track so we could film an awesome 1980s Ferrari that was converted to an all-electric high-performance sports car in virtual reality. They also wanted to interview us on what we are doing in the VR field and where we see the technology going. Learn more and see the actual VR film below!

Something I've been asked a lot during my career is where I went to art school. Whether I took that as a compliment on my dedication to my craft or an insult saying that I couldn't have gotten to that point without years of instruction, I still really don't know. As you can probably tell, I was self-taught, not even finding photography until I was a senior in college, already committed to grad school for my MBA.

In this video we see Antwerp, Belgium-based commercial photographer Andy Van den Eynde tackling color correction on location. Andy starts by dropping his base temperature down to a cool 2800K and then recreates the warm glowing effect of torch light using gels from his Rosco Color Correction Filter Kit. What I found interesting was how he actually builds torches out of strobes and gels, which provide the rim light and the glow that would be thrown off from actual torches.

Think of the nowadays common term #squadgoals; now, turn off your Taylor Swift playlist on Spotify and really listen. Would that term have the same meaning if some of the "squad" were paranoid, bitter people? Probably not, because those kind of people don't make for very good company. Instead, you're probably picturing a team of diverse, amazingly talented powerhouses from various walks of life who all have one thing in common: eating faces and taking names.

Most amateur photographers assume that they need to buy a ton of expensive gear in order to compete or reach the level of most professional photographers. I’m quite guilty of doing the same. As a matter of fact, I spent the first couple of years studying the work of photographers that I admired and I was quickly intimidated by their level of production. I didn’t think that I could possibly afford to invest in the type of equipment they used. It wasn’t uncommon to see these photographers use 3+ studio strobes on set, along with a seemingly endless list of modifiers they had access to. Their level of production just didn’t fit my personal budget at that time.

I’m always fascinated when a photographer uses their talents for a greater cause than themselves. SlickforceGirl is a commercial and creative pinup brand that helps raise awareness for women’s causes and breast cancer. I recently had the opportunity to review creator Nick Saglimbeni’s Mastering Lighting series, and I wanted to sit with Nick to discuss his SlickforceGirl campaign and how he uses the techniques taught in Mastering Lighting within the campaign.

Dreaming big is never a bad thing for a photographer. The more imaginative your ideas, the easier it is to stand out amongst your peers. Yet there is often a very real, and very high price tag associated with grand productions. Producing personal projects that you’re passionate about is vital for many photographers in the fashion industry. However, it can be frustrating to lack the funds necessary to bring your vision to life for more ambitious projects. Fortunately, there are many options available to photographers to help them bring that production to life, without breaking the bank in the process.

Zach Arias has a new educational site called DEDPXL where him and a group of his friends write on their experiences, struggles, and successes. Commercial Photographer Sid Ceasar is among those writers. A few months ago he produced a video appearing as Sid "The Muppet" Ceasar and talks about inspiration, getting out and making new work, and why surrounding yourself with creative people is so important.

Many new photographers hold a lot of excitement and fear inside of them waiting to be unleashed the moment they receive a call to do their first big photoshoot or ad campaign. For talented automotive photographer John Zhang, this was no different when he received a call from one of Land Rover USA's ad agencies recently. He has been nice enough to share his entire experience from the first client call to executing the shoot itself. There is a lot to learn from Zhang and his photoshoot, read on below!

When building a successful photography business, there is no aspect more crucial than a client meeting. This is your chance to represent the very best of your brand, while putting a face to the person behind the camera. For many photographers, the decisive face-to-face meeting can be an intimidating challenge. For others, it is their opportunity to shine and demonstrate how personable they are. Whether your are a wedding photographer or a commercial photographer, there are many techniques that can make your meeting a success.

Many photographers use the word “make” to describe their process of photography. “I made these images,” you might hear a professional say describing his work. The layman phrase, “take pictures” or “capture photographs” evokes a feeling that the photographer did not put any work into the image, that they simply pointed the camera and the photo just came to be. Any creative medium takes skill and I’m not here to argue the artistic validity of a photograph over a painting or sculpture. But a somewhat fatal flaw of the digital age is the ease of which photography can be transferred, saved, downloaded, and reproduced in comparison to that of physical artistry.

In this tutorial, Photoshop guru Aaron Nace of Phlearn.com shows you an easy yet effective way to take branding your images to another level. By placing logos or other branding elements into a scene's already existing spaces (such as billboards, truck trailers, or even clothing) you can really drive home the message you are trying to deliver. Follow Nace's simple step-by-step instructions to recreate this effect in your images.

We all know the concept of a skinny mirror or fat mirror but lighting is really what can change your appearance in photos, especially when defining muscles.