This sequence of photos is from a photo session in my studio with a model, Eryn. I have this one canvas backdrop where I prefer the back of the backdrop, which looks distressed, rather than the proper painted front of the backdrop. I like it this way because it looks unusual compared to the front. I wanted to photograph Eryn against this canvas backdrop ... and I wanted to use window light. As I opened up the window blinds, the indirect light spilling in was also punctuated by the sunlight glaring off the hood of my car, creating these patterns Read more inside...
Clamshell lighting is one of the simplest lighting setups for headshots and portraits. Two lights are set up to light your subject from above and from below. Both are at approximately a 45 degree angle. This gives an even light on your subject, that somehow has a glowing effect. Easy to set up, and gives consistently good results. Here I used studio lighting, but obviously it is just as easy with speedlights.
You must have seen similar clamshell style lighting setups, but with a reflector below instead. This 2nd light source from Read more inside...
One of the few portraits of myself that I immediately liked — more than the background and the starkness of the B&W processing, what draws me to this image is the pose — it’s as if I am hovering in decision. There’s an implied narrative here, even if shrouded in mystery. Not quite a self-portrait but I was involved in the setting it up of this, and the other photos in the sequence.
Photo by my friend, Clayton. He used an 85mm lens.
Posing by me. I kept changing my Read more inside...
I'm a bit of snob when it comes to the sharpness of lenses. Vintage lenses and lenses such as the Mitakon Speedmaster 50mm f/0.95 are the exceptions - they have a specific character. Modern lenses though - I want them sharp. As a friend once said, there's sharp, and then there's stuff you can shave with. Until now, I’ve had no native Sony lenses - just a drawer full of vintage lenses for the Sony - so I had to go out and buy a proper Sony FE lens to use with the only A7R III. Since I use Nikon cameras for the serious work, I couldn't justify the Read more inside...
Photographing portraits with a personal connection
Of all the portraits I've taken over the years, this photo is one of those that I am most proud of - my friend Petra Herrmann. This photograph shows her strength as well as vulnerability.
I'd mention her sense of humor, and her warmth and kindness .. but she'd just tell me to fuck off. So there's that. But it's true. She's a remarkable person and friend ... and I am glad she's going to be around much, much longer.
Petra is a well-known boudoir photographer in Kansas City. Somewhere late in 2014, she was diagnosed with breast Read more inside...
Shooting portraits with fast lenses for that distinctive shallow depth-of-field look, works in the studio too. In fact, it works exceptionally well. But it is perhaps an unexpected way of working in the studio - the usual way is to work with apertures in the range of f/8 or f/11 for great depth-of-field and superb image sharpness.
That super-fast aperture portrait lens - such as the 85mm f/1.4 - really focuses the attention exactly where you want it … Read more inside...
