People often ask me about my post-processing when they look over my photography. To be honest, the post-process I’ve developed has been a combination of small tutorials I’ve taken over the years from artists I respect. I’ve since developed my own style from these tools, but the most important part of post-processing is having an image that will take it on well. In this article, I will be talking less about the post-process and more about how to utilize natural light. In order for proper digital development, the shot has to be versatile for the final result.
I am excited about presenting yet another addition to our Photography Life family – please welcome Charles Hildreth! Charles is an amazing portrait photographer, who is coming back to Denver after spending the last several years working in Hollywood, California. I found out about Charles through my wife Lola, who showed me some stunning work by Charles on his 500px account (which happens to be one of the top). We will be closely working with Charles on some projects in the future right here at PL, so please give him a warm welcome!
Update: this article seems to have spawn a number of different opinions. Which, we must admit, makes us rather happy – discussion, as someone much brighter than me has said, is an exchange of knowledge. More importantly, argument is an exchange of ignorance. While the photograph described at the beginning of this article is not actually all that important for the said discussion, a lot of our readers have expressed their curiosity and wish to see the reason for this article popping up in my head. And no matter how tastefully and subtly done, please do note it contains nudity, and if that is something you’d prefer your children not to see – or something you would prefer not to see yourself – take caution. For the rest, click here and enjoy.
Even just a few hours ago, I was once again asked by a reader what lenses do I use most for my wedding photography. The answer is and always has been the same for my wedding, family or general photography needs – a classic fifty. I am sure hardly anyone will find this at all surprising, because fast 50mm fixed focal length lenses have become a legend of sorts. Ask any photographer and he will tell you – that is one of the two most versatile fixed focal length lenses you can buy (the other being a 35mm lens). It is time we back up that claim with actual photographs, and plenty of them. Is there a single reason for it being so versatile? No. Rather, it is a combination of various characteristics and generally pleasing manner of “drawing” the photograph that, even today with all the amazing zoom lenses, makes it such a sought-after lens.
Some photographers oppose the idea of using flash or light modifiers. Sometimes because it does not suit their style, sometimes because they do not feel comfortable using flash in first place. While we as photographers often love the feel of soft, natural light, knowing how to utilize artificial light can be of tremendous value in low-light environments. Not to mention that such knowledge and being ready to overcome challenging tasks in pretty much any environment can boost confidence and give peace of mind when working in the field. In this article, I would like to go over situations when flash should be used and how it can work to our advantage. I divided this article into indoor and outdoor photography to make it easy for everyone to follow. Please feel free to add your use cases in the comments section below. Please note that I am not going over the basics of flash photography here – the article assumes that you understand the relationship of flash with ISO, Shutter Speed and Aperture.
In this article, Patrick Downs is providing very useful portrait photography tips to our readers, sharing his experience and beautiful images that he has taken as a professional photographer. As a photojournalist for 25 years and shooting for much longer, I may have a different or expanded definition of what a portrait is, and what it takes to produce them. There are genres of portraiture, of course, such as: editorial, corporate, commercial/retail, documentary or candid, and illustrative portraits. With some you exercise almost no control (e.g., William Albert Allard), and with others almost total control (e.g., Annie Leibovitz). There is no right or wrong answer … the photographer chooses their style! There are many photographers whose portraits I love, and not all of them are pure portrait photographers. Allard is a documentary photographer, but his found portraits are wonderful. Annie L. imposes her will on her subjects, but the results are fascinating and something I’d love to be able to do. If I were to pick my top 3 pure portraitists, it might be Arnold Newman, Gregory Heisler, and Annie L, in no special order. I went back and read my Arnold Newman’s “One Mind’s Eye” the other day, and was struck by how many of his images don’t use “perfect” light by today’s standards, but so many are amazing. This one, of Igor Stravinsky, is still one of the most brilliant photo portraits ever taken, I think. It’s interesting to know that Greg Heisler was one of Newman’s last assistants.
The most exciting announcement of the week for me personally, is the new Nikon 58mm f/1.4G, a lens that I have been waiting for many years now. This is a specialized, one of a kind lens that is basically the modern version of the Noct NIKKOR 58mm f/1.2, a legendary manual focus lens with extreme performance that still sells for over $3000 used today. Although Nikon currently offers two f/1.4 and f/1.8 modern 50mm primes with autofocus capability in its lens lineup, the 58mm f/1.4G is a lens at a whole different level that is specifically designed to yield maximum sharpness and microcontrast, along with beautiful bokeh at the maximum aperture of f/1.4.
As someone said, “photography is all about the light”. And nothing gives a photographer more flexibility to craft light better than quality studio strobes. If located in a permanent studio, they provide wonderful lighting and an endless array of possibilities, particularly when used with various light modifiers. Taking them on the road, however, is a different matter. Many models are bulky, heavy, and require proximity to a power source, making them impractical for many settings. Traditional off-camera flash units are much more portable and can be used creatively in a variety of situations, as David Hobby (a.k.a. “Stobist”) and others routinely demonstrate, but lack the power of strobe lights. To meet the needs of photographers seeking the power of traditional strobe lights combined with the flexibility of off-camera flash units, Impact provides the LiteTrek 4.0 DC Two Monolight and Mini LiteTrek (LT) Battery Pack Kit, a portable lighting kit consisting of 2 flash heads and a portable battery pack.
Today we are bringing you a whimsical world of Oleg Oprisco‘s fine art photography. The depth of Oleg’s work and the idea behind each, thoughtful shot prompted me to share his creations with you. I reached out to him with multiple questions and he gladly agreed to share his knowledge with the readers of Photography Life. Oleg teaches multiple workshops every year and is a great educator. He promised to appear in Photography Life more to share tips about his line of photography and if you have any questions for Oleg, leave them in the comment section below.
Of all things photography I love photographing family portraits. For me, family portraiture is generally more flexible than any other type of photography, and it gives me lots of opportunities to express my creativity. If you are thinking about getting into family portraiture or perhaps someone asked you to photograph their family, you might not know where to start and how to plan it all out. In this article, I will talk about photographing family portraits and provide some tips on simple things you can do to come back with photos that the family will treasure for years to come.