I have always admired photographers who specialized in glamour.
They may be men but they are very in tuned to how makeup works on the variety of skin tones, hair color and facial features of the women they photograph.
Coordinating all that and wardrobe alone is enough to make my head spin.
Having a makeup artists on hand is definitely a god sent.
I recently connected with makeup artist and hair stylist Anna Cameron recently so we when we got together, we collaborated to photograph aspiring model Maria Nuñez.
We worked in the basement of Back to the Grind coffeehouse.
Continue reading Using Speedlites for location glamour photography
I usually have the exposure mode on my cameras set to “Manual”.
Likewise when I use my strobes, Speedlites or flash units.
That doesn’t mean I fight the technology especially when the results are consistent and predictable.
It’s always a good idea to learn how to work the Speedlites on power ratio or manual settings just in case E-TTL or iTTL goes berserk and no matter what you try, it’s unpredictable. Continue reading Creating an on-location 1940 Stylized portrait
When my buddies Steve Fetbrandt & Rigo Peña dreamed up the idea of doing a 1940s photoshoot over a long 3-day-weekend last Labor Day, I have to admit, I felt out of my element.
He told me to google “noir” and said I should be able to find tons of pictures that fit that description. Continue reading 1940s-theme-photo-shoot-in-riverside
I generally test my gear thoroughly before heading out and using it on jobs.
In the case of a light modifier like a soft box, I would be wasting invaluable time assembling and disassembling it at every assignment.
So with my Photoflex Octodome extra small, I keep it assembled.
For my portrait session with UC Riverside Mathematics professor Dr. Pamela Clute, as with most of my portraits, I have some an idea of the kind of lighting I want even before I arrive.
Still, it’s a challenge.
On location, unless the spot I’ll be working is one I’m familiar with, I have to plan for the worst case scenario and then be pleasantly surprise if there’s good ambient light to work with.
For that reason, arriving early to set up and having some idea of the light setup I want to use is important.
There’s nothing worse than having to rush.
Details get overlooked and mistakes start creeping in.
Continue reading Field test Photoflex’s OctoDome XS softbox