Time to be with your loved ones

Time to be with loved ones

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The short answer: You need more light on the background so that you can intentionally blow it out without blowing out the product. Then expose so that the background is on the verge of blowing out. In post-processing push the exposure for the highlights up until the background is pure white. This has been covered many times here in the past: How do I ...


I used to hire a lot of diferent types of studios! it depends obviously on whats being shot, who your client is, what the budget is etc. Having a studio with a large up and over infinity cove for cars and trucks is great but you must keep it busy for obvious reasons, could also have small table top studio as well, changing rooms for models, office for ...


Exactly what you need to know depends on the type of studio photography you are doing and the needs of the client. Generally, the more you know, the better you'll do. There isn't some set minimum or some set maximum beyond which it won't help. Certainly basic composition and 3 point lighting are valuable to know, understanding the exposure triangle and ...


Light creates shadows but also removes them. The key is simply to illuminate the object from below or lift the object above the background. For the color, green and blue are often used in video but then most people have to apply the spill-removal tool after the keying tool to cancel the green cast that appears on subjects shot next to a green screen. In ...


You do not need to photograph on a green background to be able to separate them out later. Green screens are used in video so that the process can be automated since many, many images need to be altered (24 to 30 per second of video). For still images, it is much higher quality to do manual masking to extract the objects since you only need to do it for ...


50mm should work perfectly fine, an 85mm might be a bit too long assuming the photographer was on the same (level) ground and of average height. Judging by the example photo you provided it appears that the angle of view is relatively close, with a small aperture (maybe f/8-f/16 at 50mm) when looking at the bokeh. The size of the camera sensor would affect ...


Try moving back to fit the composition you want, use a tripod, and stop that 50 down. The blur and general lack of sharpness may be due to shooting wide open at f/1.8. If your composition calls for bokeh of the type that f/1.8 provides, consider calculating a precise dof and positioning your subjects very carefully, keeping in mind that your range of ...


Apart from what has been previously mentioned, preferably there has to be some form of magic going on. No matter how skilled, if we don´t like the person in question it gets very difficult to work together. Make sure you speak the same language when it comes to the artform, yet at the same time don´t be afraid to venture into a new realm.


Where I might find MUA's (is ModelMayhem any good for example?) I never used Model Mayhem much, so can't comment on that, but a couple of other good resources are: Net Model Purestorm Both of which are good resources (from the point of view of a UK photographer). Good questions to ask a potential MUA What experience do you have? Can I see ...

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