Years ago when I started my own studio, I didn’t have the space I had in previous studios. I thought I would give backdrops a try to give myself variety. After purchasing an inexpensive one, I asked a friend to pose for me as a test run.
There is a distinct art to photographing men, one that I would even say has become a passion of mine. This is most likely because of my love for men’s fashion and styling, but also because I don’t get to do it as often as I’d like on wedding days because as the lead photographer I’m primarily with the bride.
When you work as a photographer, you're often dealing with subjects who aren't professional models. This puts more responsibility on you to coax good poses out of the subject. Today, I'd like to give you some useful tips for doing this when your subject is a man, or someone who wants to portray a masculine image.
A decade ago, I was fairly new to the professional world of photography. While I didn’t know much, using flash was something I knew I didn’t want to do.
Engagement Photos is an amazing way to break the ice and connect with couples. It gives the couple an opportunity to experience working with you before the wedding day.
In today’s high-tech, visual age, teens have their finger on the pulse of what’s cool and what’s not. They consume hours of visual content each day, even more so now that they attend school from their bedrooms and get shamed for spending time with friends due to the pandemic.
Boudoir photography is something that every wedding photographer should be thinking about offering. There are more than a few reasons why. First, the number one question that photographers ask has to do with finding new clients.
Before I jump into the meaty topic of in-studio posing, I want to begin with a premise from which all of my tips in this article emanate. I believe all posing can be broken down to the same fundamental goal: honour who the subject is that’s standing in front of your camera and make them look damn good
Fine art photography is created with the photographer’s artistic vision. It is not simply documenting a subject as the camera sees it—such as in the case of photojournalism—but it is using the camera as a tool to create an artistic vision.
I found that the best way to use strobes is to either bounce it, diffuse it further, or even both. I would use that rule at any setup, with some adjustments depending on the concept itself. Here I will be talking about different ways of using your lights, which will keep your body of work looking consistent yet diverse.
