I’ve used poly-boards, bounce-boards, and even white sheets and white walls as lighting modifiers to soften the light in the past, but arguably the quickest and most efficient way to instantly achieve beautifully soft light, is the V-Flat.
Creating a do-it-yourself lighting setup for dappled natural light backgrounds isn’t as tricky or as involved to achieve as some setups and techniques, but it is a nice little idea to play with if the occasion arises.
One of the bigger personal projects I’ve been working on recently is my Cinematic Studio Lighting course. During the process of writing the accompanying notes and shooting promotional images for the event, I’ve done a ton of research on how cinematographers and directors of photography work, think, and plan their shots.
I’d argue that nearly all of us owned a speedlight at some point before we owned a studio strobe. When we’re looking to dip our toes into supplemental lighting, strobes seem like a big investment. It just makes sense to pick up a cheap speedlight to play with, right?
Although the original Polaroid as a company is no longer manufacturing their film, their ethos and idea behind instant imaging is still very much alive and kicking.
What even is a ‘studio shooter’ today? Years ago it was a little easier to define, but due to us having tons of heavy, cumbersome lighting and cameras, we were all pretty grounded in the actual home-base of a studio. Today though, the vast majority of my own jobs are not shot in my own space. I shoot wherever I’m needed and whether that be in a home, an office, hair salon or even another hired studio, I’m always on the move.
It's my belief that color is actually one of the most subjective elements that we as humans all understand, yet we actually have no real way of enforcing or translating it to one another.
For those that have followed my work for a while, you’ll know that I love to show a sense of depth to my images. Sure we can all shoot wide-open (f/2.8 for example) to get that shallow depth of field, but nothing beats the depth of showing not only a separation between subject and background, but a foreground element to your image too.
If you're looking for at-home photo ideas, here's an 18-minute behind-the-scenes video by photographer Irene Rudnyk showing how you can get dappled light for a portrait shoot with a small budget and studio space.
There are a million-and-one ways to add creative flares and effects to your shots in post-production after you’ve taken the image, but nothing beats the look and feel of an image that has used in-camera flares and bokeh effects.
‘Flash duration’ isn’t a very glamorous topic, but it’s certainly something that every single photographer that uses flash should be aware of.
For those of us born in the 1970s and 80s, this new phenomenon of mottled, cloudy backdrops appearing in modern portraits is an odd one. You see, back when we were kids, we had horrendously cheesy family and school portraits taken in front of these bizarrely arranged patterns, so to us, it’s pretty weird to see these painted, cloudy backdrops now grace the covers of Vogue and Tatler.
Shooting in a studio has its advantages. But although being warm, dry and convenient are greatly appreciated, shooting between the same four walls can get a little boring if you’re constantly using them as backgrounds for your shots.
Lensbaby has become a bit of a household name in recent years and for those of us searching for a more unique look to our images, Lensbaby has been there to provide a whole host of creative solutions. Its latest product is no different, but this time around it isn't producing a new lens, but instead a ‘creative filter system’ called the Omni.
A little while ago I was teaching one of my lighting workshops and one of the attendees was looking to implement some of the set-ups I was sharing into his workflow. Seems simple enough right? Well, it turns out this photographer was a Formula 1 trackside shooter that needed to get portraits of drivers and crew.
I’ll own up to this and say that I’m guilty of being stuck in my ways. But age is no excuse for not being as adaptive as I should be to the changing times. But let me explain.
It’s not often I get to shoot very simple, clean white light shots, but in a recent shoot the model asked if she could get some updated ‘Polaroids’. For those of you not familiar with the term when used in reference to a model shoot, it’s actually not the now-obsolete and ludicrously expensive single-shot film, but a request for very basic portraits of the model for their agency.
If you’re like me and you’ve tried to attach gels to your lights in the past, you’ve likely resorted to using one of the many types of sticky tapes available. When I used to manage a studio, I would see all manner of tapes being used to attach gels to hot modifiers.
Art has arguably been around almost as long as humans have. The moment we learned to mark something for others to see and interpret, the moment art was born. Thankfully for us photographers, we needn’t go quite that far back to begin learning from the history of art. In fact, we only need to go as far as the "Old Masters."
When we finally pluck up the courage to purchase an expensive lens, we expect them to be perfect right? Unfortunately, no matter how good the lens is, there are always going to be minor differences when we attach it to our specific camera.
A few years ago, I was embarrassingly very vocal about how disappointed I was about some of the Nikon lenses. I've been using Nikon cameras and lenses for decades and although I was very pleased with the image quality and color rendition their cameras produced, I strongly considered jumping the Nikon ship in search of crisper, cleaner looking lenses.
I've used diffusion filters for years but rarely for their intended purpose. If you haven't heard of them before, diffusion filters are transparent glass or plastic sheets that go in front of the lens and diffuse the light as it enters the camera. The resulting images taken with a diffusion filter have an appearance of reduced contrast that ultimately looks hazy, offering a slightly dream-like effect.
Whether you're aware of the correct terminology or not, you have likely experienced color contamination happening in your photographs already. Put simply, color contamination is when one color is affected by the presence of another color in close proximity.
Photoshop is such a hugely featured application that much of its feature set can be overlooked by even seasoned veterans. This 25-minute video tutorial from photographer Jake Hicks explores some of the less intuitive features that Photoshop offers.
Nearly every professional studio I’ve ever used has these "polyboards" and you‘ve probably even seen them yourself but may not have known what they’re used for. Polyboards are polystyrene boards that usually measure 4 feet wide by 8 feet high and are normally 2 inches thick. One of the other defining characteristics is that they are often white on one side and black on the other.
In this article, I am going to highlight 5 key things that I see portrait photographers doing that I consider to be "in need of improvement." And although there are no hard-and-fast rules to photography, try to think of it as being similar to an instrument being slightly out of tune or a meal that's perhaps a little too salty. These are glaringly obvious errors to the well-informed but may not be so obvious to those who are just starting out.
Whether you've been shooting for five minutes or five years, there will likely come a time when you'll have to book a shoot with another person. Maybe it will be a friend or coworker and maybe it will be a full-time professional model.
I'm as interested in an "easy life" as much as the next person, so if somebody else has already done the hard work of making a product for me, and I can purchase it for a reasonable price, I'm all over it. After all why make life hard for yourself if you don't have too. Unfortunately there are times when you literally can't purchase what you need and the only option is to get all arts-and-crafts on the problem!
My name is Jake Hicks, and I'm an editorial and fashion photographer based in the UK. In this article, I'll share a look at some of the sharpening techniques I use in Photoshop to give my images a little visual-pop before I publish them.
I think it's fair to say that most photographers will, at some point in their career, have to work with models at least once—whether you're a still life shooter that photographs models' hands holding a fork full of food a couple of times a year or an e-commerce shooter that works with models every single day.
This article aims to provide you with key tips, techniques, and hacks that, if followed correctly, should practically guarantee nailing pin-sharp manual focus shots in no time.
A lot of the time when we're shooting with flash photography in a big white studio, our portrait images can appear a little stark or cold. This quick fix in Photoshop takes less than two minutes to do but can add a lot of warmth and life back to our models skin.
This foreground bokeh look is actually a setup I played around with a few times many years ago. I thought it would be a good, fun setup to share, as you can get some interesting results whilst playing around the much-loved bokeh.
I'm going to preface this by saying that this isn't a lens review article, there are many photographers better suited for this topic, so if you're after refraction index comparisons and chromatic aberration charts this article probably isn't for you.
In a recent article, I spoke about the best ways to perfectly light your background with colored gels. We covered the best things to keep in mind if strong and vibrant colors across your backdrop are your objective. It turns out that gelling your background is actually relatively simple -- it's keeping those strong vibrant colors that's actually the tricky part.
In this tutorial, I'll show you how you can remove harsh highlights in portraits without affecting the shadow detail in minutes.
In this post I'll be sharing the best one light portrait setup I've ever used. I'll come clean right off the bat here and say that I stumbled across this little super easy lighting technique more by luck than skill.