Pro Techniques

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Jack Neubart Posted: May 24, 2012 Published: Apr 01, 2012 17 comments
“I fell into shooting the healthcare industry quite by accident,” recalls Montclair, New Jersey-based photographer John Emerson (www.johnemersonphotography.com). He’d met an art director who hired him to photograph the staff at a research lab, for Rutgers University—which remains a client some 20 years later. That was the proverbial foot in the door. Aside from that, Emerson continues to pursue his other passion: environmental portraiture of celebrities, athletes, and politicians.
Wes Kroninger Posted: Apr 27, 2012 Published: Mar 01, 2012 4 comments
In his new book, Wes Kroninger’s Lighting (ISBN: 978-1-608952-54-0, Amherst Media, $34.95 US), the author and photographer draws on his experience as a portrait, commercial, and editorial photographer to present strategies that will help photographers bring out the beauty and character in all of their subjects—from kids, to businessmen, to fashion models.
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Lorraine A. DarConte Posted: May 02, 2012 Published: Mar 01, 2012 4 comments
The majority of articles written (and classes taken) about wedding photography focus on taking better pictures of the bride and groom. By now, every photographer knows at least 20 poses they can compose in 5 minutes or less, plus several clever ways to make a plus-size bride look slimmer and her mother younger. But what about the rest of the wedding, such as taking better cake-cutting, bouquet-tossing, first-dancing, or champagne-toasting photos? It is at the reception where a photographer’s technical—and anticipatory—skills are most likely to come into play. Working in banquet rooms with poor lighting and questionable architecture are just two of the many challenges photographers face. With that in mind we talked with three top pros, Lisa Lefkowitz (www.lisalefkowitz.com), Cliff Mautner (www.cmphotography.com), and Kate McElwee (www.katemcelweephotography.com), who offer their experience in helping you make great wedding reception shots.
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Jack Neubart Posted: Apr 03, 2012 Published: Mar 01, 2012 1 comments
Andy Marcus and son Brian are second- and third-generation portrait and wedding photographers. Their New York City studio, Fred Marcus Photography & Videography (www.fredmarcus.com), continues a tradition of dedicated service established by Fred Marcus back in 1941. “Back then my dad would use a 5x7 view camera for studio work and could be seen shooting portraits in bridal salons in the prestigious Bergdorf Goodman and Saks Fifth Avenue, among other venues,” Andy recalls. “When he shot weddings, he’d bring a Speed Graphic to the event—and flashbulbs.”
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Maynard Switzer Posted: May 07, 2012 Published: Mar 01, 2012 2 comments
What I want to capture in my photography can be expressed as the character of a place. I have to aim for images beyond “this is what it looks like here” because in my business photos have to tell stories, have to illuminate, even educate; my images should always reveal something of the culture, the history, and, most important, the lives of the people.
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Steve Bedell Posted: Apr 13, 2012 Published: Mar 01, 2012 19 comments
High school senior photography has changed dramatically in the last few years. With looser yearbook standards and the ability to see what you get with digital cameras, many photographers who previously did major business in the senior market are now seeing sharp declines. With this in mind, I decided to ask four of the top names in the business about how they maintain a strong presence in the senior market. All have their own style and way of doing things and all are exceptional photographers.
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Lou Jacobs Jr. Posted: Apr 02, 2012 Published: Feb 01, 2012 1 comments
Portrait photographers are responsible for a lot of happiness among a wide variety of people, because well-done family pictures grow more valuable yearly. They usually portray infants, seniors, friends, and relatives, though sometimes portraits are interpretations of unusual subjects. Thomas Balsamo knows this because he has 30 years of experience photographing families and children. His work has also led him to a personal project that originated when his good will and curiosity were extended toward individuals or groups who found their portrait sittings emotionally and psychologically unusual, as well as uplifting.
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Lorraine A. DarConte Posted: Mar 09, 2012 Published: Feb 01, 2012 14 comments
Cristian Movila, who was born in Bucharest, Romania, in 1983, has four sisters whom he says taught him all about “emotions,” a trait he’s been able to successfully incorporate into his work. He also says he was drawn to the arts early in life. In elementary school, he learned to play the piano and the trumpet. Later, in grade school, he became interested in journalism while hosting a children’s radio program. Although he studied electronic engineering at the University of Polytechnic, Bucharest, over time he found himself increasingly concerned with social issues, and so he decided to become a photographer so he could capture the complexities of life “in a snapshot.”
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John Isaac Posted: Mar 13, 2012 Published: Feb 01, 2012 2 comments
“Earlier this year, I was invited by JIB TV in Tokyo and Olympus, Japan to help document the recovery taking place after the terrible earthquake and tsunami that hit the northeast part of the country in March 2011. I agreed to do it even though I knew it would be a traumatic experience.
Eric Dusenbery Posted: Mar 23, 2012 Published: Feb 01, 2012 1 comments
“Our family came to America from Vietnam in the 1960s. When I first came to America, I came with fear. I was unsure of what I was going to find, my family had to be broken up. I had no clue if they had made it to America safely.”—Khanh Duong (Excerpt from Liana Bui’s student photo/oral history project.)
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Maynard Switzer Posted: Feb 23, 2012 Published: Jan 01, 2012 1 comments
I don’t have to light up rooms or freeze fast action very often—travel photography doesn’t usually call for that, and, besides, I really prefer to shoot in natural light. Fortunately, most of the time I can, but there are instances when a flash will make the difference in a picture by narrowing the scene’s contrast range, making it possible for the camera’s sensor to capture the details in shadow and highlight areas. Often flash is the only way for me to make a picture, as I don’t have the luxury of coming back when the light is better.
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Jack Neubart Posted: Jan 30, 2012 Published: Dec 01, 2011 23 comments
Jeffrey Totaro (www.jeffreytotaro.com) didn’t plan on becoming an architectural photographer. After graduating Drexel University in 1991, he became an architectural engineer. In his job, he found himself working alongside architectural photographers and was soon assisting them, until finally he found the allure too great and switched careers. Now he runs his own studio near Philadelphia.
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Chris Maher and Larry Berman Posted: Jan 31, 2012 Published: Dec 01, 2011 5 comments
Chase Jarvis is one of a new breed of successful young photographers who’s at the top of his game. His use of social networking has brought him an enormous following while his exploration of radical business models is opening new markets. Best known for his lifestyle and sports images, the creative and financial success of his personal projects has earned him top corporate clients like Nikon, Reebok, and Microsoft.

Shutterbug: You have no formal training as a photographer, yet arguably you’re one of the top photographers working today. How’d you get there?

Chase Jarvis: I wish I could answer that in a sentence. I think maybe the shortest description is by being incredibly curious and very hardworking. And throw a whole bunch of luck in there, too. There’s a lot of timing and luck involved in anything I do.

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Lou Jacobs Jr. Posted: Jan 24, 2012 Published: Dec 01, 2011 1 comments
After almost 40 years of making platinum prints, chemical fumes had harmed Tom Millea’s lungs to a point where he could no longer go into the darkroom. He says, “Closing my studio was traumatic in the extreme.” He didn’t believe that anyone else was capable of printing his work as he envisioned it. He liked computers but had no desire to try to make digital prints look like his platinum prints. “One technique could not replace the other,” he says. He selected prints from his inventory to sell in gallery shows and considered himself retired.

But by 2004, when the color palette of digital inks had changed, Millea thought his prints were beautiful, and comparable with his darkroom images. He began making digital color photographs full-time using an Epson 2200 printer. Over the next five years, he says, “By myself, step by step, I learned to use the computer to make images I felt were uniquely my own.” He eventually put together a complete digital studio with Apple computers and two Epson printers, the 4800 and the 9800. He could then make his own prints up to 40x60”.

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Maynard Switzer Posted: Dec 23, 2011 Published: Nov 01, 2011 5 comments
The last thing I ever want to do is pose someone. On my travels I want pictures of people acting naturally, doing what they normally do, and if they acknowledge the camera at all, or pause for a portrait, I want them to do it in the most natural way. The people I photograph are always aware of me, but I never want them to play to the camera—which can be tricky because the very presence of the camera changes the situation.

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