Time to be with your loved ones

Time to be with loved ones

by sat

submit your photo


Hall of Fame
View past winners from this year

Please participate in Meta
and help us grow.

Tag Info

Hot answers tagged

5

Since it is not clear which part of the look you want to recreate... First, you need to shoot with a shallow depth of field (as already mentioned), and at 50mm to 85mm. A prime lens will work best, but just keep your aperture as low as it can get in the lens you have. That will give you the general feel. In terms of processing, there are a few things going ...


4

it's not a necessary step at all but it is popular especially on pictures of women and especially for lifestyle and fashion shots as it covers up wrinkles and bad skin. you're right though - it can be overdone to an extent that the skin looks flat. i think in portraiture a little glow is good though as it does glamourise the shot.


3

If you want the sharpest result, get the 24-70f/2.8 II or the 70-200f/2.8 IS II (whichever is appropriate for your needs). They are the two sharpest zoom lenses Canon has ever made and are possibly two of the sharpest zoom lenses in the world right now. I own both and have found them to both perform exceptionally. If cost is a factor, you could consider ...


3

It is not required to take your professional further. What will take your career farther is a happy client. A good deal of blemish/wrinkles etc. can be taking care of by lighting direction and quality. However, pride is a big part of photography and if your subject wants wrinkles to disappear, then away they go. I try to take care of this in a client ...


2

Don't forget that a lot of models are shooting TFP - time for prints. On their end they need shots that compete with all of the other models in portfolios, who have had such smoothing applied... Like you, I think most softening is overdone. I like to apply a light amount of softening so generally smooth out small imperfections while leaving overall ...


2

It's certainly the fastest way to hide blemishes and make skin look smoother, but overdone it does make it look flat. Personally, I'm not a big fan of the look, but I think expediency might be part of it. It is a lot more difficult to go in and fix blemishes by hand while maintaining the detail level without making it obvious that manipulations were made. ...


2

Without knowing for sure of course, but it looks like the D&G shoot used at least a large soft box to the upper left of frame. I say large because the shadows are fairly soft and there is a lot of fairly even lighting on the subjects. The photos you received look to be set up the same, only with a smaller light source. You can observe this by noting ...


2

A lot depends on which 24-70mm f/2.8 lens you are comparing to the EF 24-405mm f/4 L IS. There are three very good 24-70mm f/2.8 lenses you could consider: Canon EF 24-70mm f/2.8 L II This lens is the most expensive at a little over $2,000 U.S., but is the sharpest from 24mm all the way to 70mm at f/2.8. But at the wide end where you want to use it there ...


1

I would recommend PCB Einstein's with Vagabond mini power supplies, and 86" PLM's in extreme silver with a white front diffusers. If your shooting for a long bit, you may need extra batteries for the mini, but that combination will get you the light in these images at a very reasonable cost. I wouldn't recommend the ring flash unless you like that style of ...


1

Portability and those shots don't go well together. They are using a single strong key light in front that is coming from a large area (using a soft box most likely) to generate soft but dark shadows on the backdrop. They are also using a hard backlight that is strongly off to the side and almost functioning as more of a side fill. Look at the feet in the ...


1

Continuous can be easier to start with as you don't have any issues with triggering and syncing, and you get instant feedback as you can see the effect of the light as you move it. Strobes have the advantage of being able to overpower your ambient light so you don't have to work in the dark. They also don't get as hot as they are only on momentarily. You ...


1

I would use a 50 on your crop sensor cameras, it will give you a good position and good range to get a variety of shots from different distances as the model walks. The 50mm will in fact be around 70mm on your camera. The 35mm has some level of distortion compared to the 50mm so if you are not prepared to adjust this afterwards somehow then a 50 would be ...


1

What 24-70? I or II? To be honest, both lenses are good, both have strengths and weaknesses - in the end, you trade a wider aperture for IS or IS for a wider aperture. When I got my 5D MK II I had a similar issue - get the 24-70 f2.8 L (v1) or the 24-105 f4 IS L as a kit lens - I went for the 24-70. My reasoning is that you can simulate IS (with a tripod) ...


1

If you are serious about fashion work you need a set of fast primes, not an f/4 or slower zoom. Although the example you linked to is impressive considering it was taken using an f/4 zoom, it is probably not quite good enough for commercial use. Depending on what focal lengths you plan to work at you can go for any of the following focal lengths. 35mm, ...


1

Learning to give your clients what they want is key in any business. Even if as the one producing it you think it's a load of rubbish. As a hobby, not so much - you're producing what you want and to hell with anyone else! Airbrushing has been around since photography and although there are plenty of other fads which produce rubbish images that people ...


1

I think it depends on what you want to achieve. In my opinion, if a viewer says "nice photoshop" then I have failed in processing. It would be like saying of a painting that you like the brushstrokes without commenting on the content of the work. The best background is less dependant on what is real or manufactured and more on what makes the composition ...



Only top voted, non community-wiki answers of a minimum length are eligible