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Screenshot taken from the video

Photographer Lindsay Adler is an absolute master at posing people and in one of her recent videos for creativeLive, Lindsay teaches you how to photograph a full figured woman.

She starts by talking about using one big light modifier and about creating positive and negative space in the photo while slimming them out. It involves turning the subject to the side and creating an S shape with the body then bringing the knees together. After that, you’re moving parts of the person closer or further away from the lens. As we always say, the longer the lens, the better it is for slimming a person out.

This demonstration worked specifically for the the model present, but it probably won’t work with everyone because of the different shapes that each person has.

creativeLive’s video is after the jump.

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Chris Gampat The Phoblographer Tap and Dye Horween CXL Camera Strap product images (3 of 8)ISO 4001-40 sec at f - 2.8

“Needless to say, quitting my jobs and putting myself back in school was quite stressful. To cope with the stress I would walk around Manhattan.

At some point, I wanted a way to capture the New York City I was falling in love with during my walks. Still too broke to even afford a smartphone, I bought a $79 point and shoot off of Amazon (which arrived partially broken!) and started to take photos with it on every walk.”

These are the words of photographer Vivienne Gucwa in an interview we did with her, and they’ve absolutely never been more true for so many photographers who become very stressed out by life. For many, photography is an escape–it’s a place where they can create a world of their own, capture things in a different way, and most of all focus on something else completely different from the world around them.

Photographers of all types should go on photowalks–and this ties into something even larger. When someone is filled with lots of negative energies, channeling them into something positive can always help, and in this case, channeling those energies into something that help the person become more creative and results in a positive outcome for the photographer no matter how small it is.

Beyond this, it’s been proven that walking promotes creativity. You’ll get more ideas, you’ll have new interactions, and you’ll even encounter and learn totally new things. If you’re a photographer, this is invaluable. Photowalking with a friend gives you even more value. Photographers can feed off of each other’s energies, work together, and find new and interesting perspectives.

If you’re the type that needs to face down the stress (and there are loads of you), then do it. But the lingering effects can be turned into positive creative energy just by taking a photowalk.

photos-in-box

There’s this idea that as digital photography progresses, we as photographers won’t have a foolproof way to save and store our images the way that albums and contact sheets saved film. This is why Uconomix Technologies created PhotoKeeper–an online storage platform that is designed to automatically backup your photos without your needing to worry about it all. Its automatic backup feature works with Windows, iOS, Mac and Android devices. And in one convenient spot you can have access to all the backed up photos via a web browser, thumbnail view of all uploaded photos including RAW files. Using their platform, you’ll be able to search through your entire library by EXIF data, date, name, rating, tags and geolocation.

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Chris Gampat the Phoblographer Olympus 7-14mm f2.8 first impressions photos (17 of 19)

When it comes to painting with light, what photographers obviously need are tripods, a camera capable of manual operation, lights and a creative vision. Lots of photographers use tools like flashlights, light sabers, and industrial worklights–but there are so many other tools out there that you can get your hands on. These tools will also let you create more intricate designs and will let you have lots of fun while doing it.

In the end, the goal is to look at an image with a sense of excitement at what you’ve created. Here’s what you need.

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Chris Gampat The Phoblographer Portraits from Early Winter 2015 extras (13 of 21)ISO 4001-180 sec at f - 5.0

Want more Useful Photography Tips? Click here.

Illuminating someone’s face when using a flash is pretty simple to do and really all about positioning more than anything else. Best of all, you can do it all with one light source.

If you’re using natural light:

– Don’t have your subject look into the sun.

– Find diffused light; like that under a tree, awning, or in a building.

– Preferably, find a reflective surface that bounces light back into the person’s face.

– Place the reflected light source in front of or slightly to the side of the person.

If you’re using a flash in the hot shoe:

– Bounce the flash output off of a surface to the side and slightly behind you.

– Have the subject face you directly.

– Do not bounce the flash directly off of the ceiling. You’ll create shadows under the eyes.

If you’re using a flash/strobe out of the hot shoe:

– Put the flash in a large modifier–one that is larger than the person’s face

– Place the light modifier with the flash in front of the subject/slightly to the side

In all of these situations, try to turn the subject’s face slightly towards the light source. This will create more direct illumination onto the eyes.

(Left: Betty, Right: Terry) © Bruce Gilden/Magnum Photos

(Left: Betty, Right: Terry) © Bruce Gilden/Magnum Photos

All images are copyrighted and used with permission by Bruce Gilden/Magnum Photos.

There has been a great deal of ballyhoo around Bruce Gilden’s latest work, from his two-day stint in Appalachia for VICE to his upcoming book Face. The latter of the two comprises 50 portraits Gilden took over the past several years, and one of the most interesting things about this is that he got permission from every single person. Most of Gilden’s oeuvre consists of images made very close with a flash in hand, which you can see a demonstration of in several videos. Gilden’s work often yields polarized reactions with no real middle ground, and while Face stands apart from most of his work, it’s caused the same spate love-it-or-hate-it reactions.

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