Second to the world of modeling, the world of beauty pageants takes the cake for all its glitz and glamour. Photos of contestants need to be a step above a regular portrait. When pageant girls step into my studio, they’re looking for a final image that represents who they are in the most fiercely confident and over-the-top, gorgeous way possible.
When you work as part of a team focused on a common goal, the results are almost always far better than those produced working alone.
This month I show you how I choose lenses, light and modifiers in a challenging real-world shoot to overcome obstacles and create the images I want for my clients.
Whether you’re in a studio, office or on location, space is always an issue. A large studio with plenty of room is wonderful, but space is at a severe premium. What do you do?
Lighting challenges are present in almost all aspects of the wedding day, but seldom do photographers face more problems than when they light receptions.
Ah, the age-old question. Should I invest in speedlights or strobes? As we lighting geeks are fond of saying, light is light.
If you have a studio portrait business, you’ve probably had potential clients who wanted to do business with you but couldn’t make it to your studio. I decided to maximize my sales opportunities by creating our Studio-to-You package: I literally take my studio to them.
Men and women are lit in very different ways. With men, there is more flexibility with hard light, deep shadows, a harder look overall.
As a wedding photographer, I envy portrait shooters who work inside a studio and not on location. They get as much time as they need to set up the perfect lighting and settings, and do everything else that goes into a studio photograph.
In my previous articles, I’ve talked about how light patterns are the building blocks of what I do and how I create those patterns. With a firm understanding of the strengths and weaknesses of each pattern, you can create any look or mood you want, using them singularly or combining them.
