Lighting and Portraiture Tutorials

Jolijn Snijders and I Love Fake Magazine

I Love Fake

I came across the latest printed issue of I Love Fake magazine the other day.  Big, thick, and instantly addicting, this brainchild of photographer Jolijn Snijders is visually exciting and I even read a little of the text.  Although I haven’t found it at any of the newsstands in my neighborhood, at least one single copy was available at Barnes & Noble in Union Square (all the best magazines seem to be the hardest to find).  Snijders started an online version of the magazine when she was still in art school.  In its latest incarnation, she likes to celebrate and feature young photographers and subjects alongside more established ones.

When I look at her photography, and much of what she selects for the magazine, I have two thoughts as a professional:  1)  This stuff rocks and makes me want to drop everything and start shooting ANYTHING; and 2) My photographer friends and followers would probably see much of this as badly composed, poorly executed, and juvenile work.  In other words, bad photography.  So, why is that?  Why do we strive so hard to perfect our lighting, balance our color, compose to the nearest rule-of-thirds or Golden Ratio, and worry about every little blown highlight, DOF, and bit of noise we might notice?

The answer probably has a lot to do with knowing that we want to learn to control those things; we want to master the technical.  That’s a good goal.  But I think some of us might get stuck there.  Snijders and so many younger photographers like her can actually create the latest slick look if they wanted to (and sometimes they’re hired to).  The love and joy, however, is in the style they choose to really communicate with.  It’s a language of raw imagery, simple lighting and attitude.  When asked by Dazed Digital how she describes her style, Snijders said, “Raw, cinematic, makeshift, moody. What is also typical of one of my shooting’s is improvisation, using simple tools and joking around.”

What do you think of Snijder’s work?

Through a Lens, Views of Bronx Streets, Chris Arnade

Chris Arnade has his inspiring project featured on the New York Times website.  Yes, there is humanity everywhere.

The Right Camera for Terry Richardson?

YouTube Preview Image

Readers occasionally write in and ask for specifics about the camera, lens and settings I used for a particular shot.  Sometimes they want to know exactly how far from the subject I was when I took the photo, what the sensor size was, and whether or not I cropped the image after the fact.  At times I feel that some of the questions are overly concerned with the technical.  But I understand why people are curious about that kind of thing;  I enjoy the technical side of photography, too.  For many of us who’ve been doing this for a while, however, there’s a tendency to dismiss much of the gear and technical details as irrelevant.  They are not.  These things are important, even when they become so familiar to us that we take them for granted.

After all, even I enjoy behind-the-scenes footage showing a pro in action.  I paid enough attention to this video to know that Terry Richardson is using a Nikon D3X in such a manner as to get his trademark point-and-shoot style nailed.

He did this first with a Yashica T4, an actual point-and-shoot.  So, why use a $7k+ camera for the same thing?  Well it’s digital, dependable, and that wide angle Nikkor isn’t so bad either.  Tools and style are always linked but sometimes you can modify the normal use of a tool to make it your own.

YouTube Preview Image

 

 

 

 

 

Should You Watermark Your Images?

I received a question from one of our newsletter readers about watermarking (we’ll use the word “watermarking” here when we talk about digitally overlaying some conspicuous logo or text on an image).  She asked if she should sign, or put her logo on her portrait and larger artistic prints, and if she should “watermark” her web images.  She noted that another artist told her that doing so screams , “not professional.”  My first reaction to that statement is that being professional doesn’t necessarily scream “artist” either.  But that’s another debate.

I don’t think it’s unprofessional, or inartistic to mark your work in some way. It’s a good idea for professionals to promote themselves through their work.  And artists have been conspicuously signing their work for centuries (or longer).  But making the decision about putting an imprint on your prints or digital images is really a matter of what you’re trying to accomplish by doing so.  The two practical reasons people give are to help with self-promotion and to prevent image “stealing.”

Marking actual prints is probably OK if the mark doesn’t harm the integrity of the work.  Putting some type of identifier on the back of the print, then labeling and signing the mat is always classy.  Logos are something I would stay away from here.

The big question for most photographers is about watermarking images for the web.  Again, I think it comes down to how you do it and what you’re trying to accomplish.

Proofs: If you use very noticeable watermarks on proofs, so clients won’t be tempted to copy and use them without buying the rights, feel free to go crazy with it.  The uglier and more intrusive the better, right?  Well, maybe not.  Too intrusive and the client may not want to purchase as many images.  Of course, if the watermark is not intrusive enough the client might go ahead and “steal” the images anyway.  As a matter of fact, some watermarks are so appealing they almost give the images a commercial ad look, which doesn’t bother a lot of people.


Web Images: The images you post to your blog, portfolio, or other websites can also benefit, or suffer, from the use of watermarks.  Truth is, some watermarks are really ugly, too big, or unnecessary.  So, if you ARE going to mark your images, at least make sure your watermark doesn’t ruin the viewing experience.  Is watermarking going to prevent your images from being stolen (copied and used elsewhere without permission or credit)?  Probably not, unless they’re so much a part of the image as to make the image unusable to anyone.  If someone wants to copy your image off their computer screen, they can and will.  If they’re concerned about your watermark, they’ll crop it or clone it out.

While a watermark might be a slight deterrent, I believe there is currently no available way to completely protect your images from being used without permission on the web.  The real advantage to placing your watermark on your images then, is that it will serve as a promotional tool.   That being the case, any clean, easy to read watermark is OK as along as it doesn’t distract.  Some photographers will provide their web images with borders so they can display their credits or logos outside of the main image.  Experiment with different styles and looks, keeping in mind what you want to accomplish.  It’s a good idea to find something you’ll be happy with for awhile so you can maintain a consistent look to your watermarking.  Of course, there’s always the option of not watermarking at all.   Some of the most well-known photographers choose to present their images without watermarking at all.