Headshots are in huge demand right now. Why? Well, if I had to guess, more people than ever are working remotely and most companies want more than a glorified selfie for their profiles.
I am a supporter and fan of the beginner photographer. I think as we grow in our profession, we may on occasion forget the road we once traveled. One of the most significant moments in my life was when I first learned how to do off-camera flash.
Lighting is a thing. As photographers, we get it. We know we need light to shape and create. Sure, you could use the ole light and airy and just blow everything out, but what fun would that be?
Pivot. It's a word you've probably heard spoken more in the last 18 months than you might've cared to. But no matter who you are, these days we all have to get used to this changing and challenging world.
Saturating your photos with colorful lighting can be a showstopper. When blindly scrolling through Instagram or quickly flipping through a magazine, it can instantly catch the eye of the viewer and make them pause.
There’s something about low light that draws me in. Maybe it’s the romantic atmosphere it exudes, or the depth it can give an image to make it look three-dimensional.
A huge part of what we do as photographers is nothing more than capturing different subjects by means of all sorts of unique light sources.
As a freelance commercial and editorial photographer, you never quite know what the job will bring you. Today you could be inside a state of the art studio, photographing the CEO of a Fortune 100 company.
When Ellie asked me to write for the annual “Lighting” issue, she suggested “Lighting Patterns.” My first thought was dark, gloomy closeups with sad people and of course Rembrandt.
As someone who shoots with any kind of light available to me, I’m pretty resourceful when it comes to incorporating external lighting within my shoots. A lot of my photoshoots are spontaneous, so I don’t like to weigh myself down with heavy gear or props.