Lighting and Portraiture Tutorials

What You Like About Black and White Photography

bandw

Last weekend, the theme in our Facebook group was “Monochrome.”  I asked our members to comment about their feelings on Black and White photography.  Here are a few of their responses:

I love the timelessness of B&W.  It strips away any pretense and you’re left with the raw subject, in all its glory. I am a lover of colour but I am in awe of B&W imagery, when it is well done.  — Lori Maloney

I love B&W. They are all about the light and composition. I find that you can convey so much stronger emotion with B&W. Color can distract easily. Though I do find that my clients and fans tend to like color images more.  — Jamie Head

I prefer working in B&W as I find it gives me more options in post, especially if you push the lighting further by changing contrast or adjusting what colours go to light and dark shadows. — Gary Antcliffe

I have a fast growing love for B&W. You cannot hide anything in B&W. There is just your subject and the light.  — David Caldwell

I feel that B&W/monochrome is best for showing the more dramatic works of portraiture to allow the viewer to focus on the art without getting distracted by colors. — Marlene Lebel

Personally I find B&W great to remove the distracting stimuli from the image; it leaves just your focus and intention in the result. Get it right and it sings.  — George Turner

When I want to create something dramatic, I always think how it will look in B&W. I love B&W and especially grainy.  — Michael Healey

I would be happy shooting in B&W forever. I love it. Monochrome just seems to have a mysterious mood to it that speaks to me.  — Martin Howard

Color surrounds us each and every day, it races by us on the freeway and highways, it’s plastered on billboards, it’s on every uniform of our favorite teams. Then nothing stops me in my tracks, like seeing an Ansel Adams B&W or the “Kiss” in Times Square. The stark shadows of a Film Noir-style portrait or “Old Hollywood” Glamour.  B&W packs a punch, in the world of color of our daily lives. B&W photography has impact, of a era gone by, that stands the test of time.  — James Shortridge

It is interesting to ask ourselves whether color is essential to the success of the image. Sometimes it is not, and a conversion to B&W will present a more powerful story. Other times, color is part of the story. I always shoot in color to have both options available in processing.  — Jeff Kauffman

 

Podcast #29: Interview with Photographer Joe Asencios

Podcast (Audio only):

Podcast on Video:

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In this episode, an interview with Chicago-based photographer, Joe Asencios. Subscribe to download our podcasts on iTunes.

Check out the video and images for this episode and all podcasts at:  YouTube

What we talk about:

  • Sacrificing for your photography
  • Joe’s lighting, settings, and post-processing methodology
  • Finding and working with great models

Related Links:

Photos by Joe Asencios:

 

What Will it Take to be a Successful Photographer?

From an editorial shoot for a restaurant/bar in Austin, TX. Mostly, you’ll find people with steady jobs, health insurance, and retirement plans dining here.

I recently posted up a questionnaire in my photography group on Facebook.  In it I asked members to describe their current situations and levels of satisfaction with their earnings as photographers.  The responses to the poll questions were eye-opening.  Granted, very few of our 1,200+ members responded, and this poll was in no way a scientific study.  But looking at the results, together with the frustrated posts appearing on many photography-related blogs over the last few years, it’s obvious that many us are not realizing our dreams of being well-paid pros.  Maybe we’re digging for gold with the wrong tools.

The avalanche of new photographers (should I say never-ending waves) who want to ditch their jobs, or augment their income, by “going pro” probably doesn’t help matters.  I don’t think there are any bad guys here–everyone’s entitled to a dream.  But while I firmly believe that the photographers with the rare combination of undeniable talent, unique style, and marketing and business acumen will always find a way to make a decent living, I wonder about the ability of the average portrait photographer or event photographer to “make it” long-term.

Personally, I think I’ve found plenty of evidence to suggest that it’s not even so much about talent and style as it is about being able to sell yourself and being a creative business person.  But what does that mean?  I think it means that to make a reasonable living as a photographer, you’ve got to be an amazing business person, who can sell themselves like few competitors can.  Again, you need to be good at photography, but AMAZING at both marketing and running a business.

There are plenty of pros out there claiming to have the answer.  One very popular glamour photographer must really want to share that answer because although she says she learned to generate $80,000 per month as a portrait photographer, she still makes time to do workshops to show other women how her story is achievable.  If I were making that kind of money doing portraiture, I don’t know if I’d have the time or energy to share the secrets to my wealth, you know what I’m saying?  Other marketing geniuses are talking about how their easy-money “systems” can make you ultra-successful, too.  With so many easy answers, why aren’t all of us out making a bundle right now?  The people with the easy answers are certainly doing alright for themselves, because there are plenty of people paying big bucks to learn how to replicate their apparent success.

I don’t think there are easy answers to the business side of photography–at least not these days.  And thankfully, I’m not out promoting myself as a photography business guru.  But if you ask me, the answer to successfully “going pro” has very little to do with lighting, posing, and Photoshop actions.  If you want to make it as a professional in this business, you’ve got to have business skills; not just techniques on “how to up-sale an album” or “how to network more effectively,” but a real understanding of running a small business.  Get those tools under your belt and you’ll have a fighting chance.

Proofs You Don’t Want Your Clients to See

What’s your opinion on this?  You do a session for a client and all goes well.  After editing you select only a fraction of the images to present as proofs.  This is common, but some clients will ask to see the “other” shots;  the ones that did not make it into the final selection.  What if a specific outfit or set of shots the client thought would work, just didn’t result in anything she should see (for your sake, and hers)?  How would you handle this situation?  Leave your comment below: