Posts Tagged ‘fashion’

Fashion photography with Ulysses Curry and the Zeiss Batis 85mm F1.8

09 Sep

The Zeiss Batis 85mm F1.8 is a short telephoto prime lens for the Sony E-mount, compatible with both full-frame and APS-C format cameras. 85mm is a classic focal length for portraiture, while on an APS-C body, the lens becomes a 128mm equivalent, making it a useful general-purpose telephoto.

In this video, photographer Ulysses Curry takes the Zeiss Batis 85mm F1.8 to a fashion shoot in downtown Seattle, working with stylist Margo Jones to create unique looks.

Zeiss Batis 85mm F1.8 sample images by Ulysses Curry

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1882377589″,”galleryId”:”1882377589″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

This is sponsored content, created with the support of Amazon and Zeiss. What does this mean?

Articles: Digital Photography Review (

Comments Off on Fashion photography with Ulysses Curry and the Zeiss Batis 85mm F1.8

Posted in Uncategorized


fall fashion with Jordan P.

10 Jun

From a recent shoot with Jordan P

All done with 1 light, mixed with ambient to varying degrees ?








Tweet This Post Stumble This Post


Comments Off on fall fashion with Jordan P.

Posted in Photography


Fashion photographer Lindsay Adler named Rangefinder’s ‘Icon of the Year’

08 Mar

Fashion photographer and Canon Ambassador Lindsay Adler is the first woman to win Rangefinder‘s Icon of the Year Award. The announcement was made during the WPPI 2020 event last week, where Adler was caught off guard thanks to some careful planning by WPPI and Photo Group Content Director Arlene Evans, as well as Adler’s boyfriend and mother.

Rangefinder explains what it means to be named an ‘Icon,’ stating on its website that an Icon is someone who fills many roles; who is ‘super creative and has extraordinary talent’ in addition to serving as a role model, educator and more.

We contacted Adler to talk about her work, the new milestone award and what it means to her. In talking about winning the award, Adler said:

‘Winning Rangefinder’s Icon of the Year in an incredible honor that makes me feel that I am making an impact on my community and its continued success. This award is a beautiful way to show me that my sharing and love for photography and photographers have not gone unnoticed. I am constantly pushing myself to grow, and I hope this journey encourages others to do this same. I’ve been reading Rangefinder and attending WPPI for more than a decade, and this feels like a beautiful culmination… now I just wonder, what’s next! Can’t get much better than this!’

Adler’s photography has been featured in a number of notable publications, including Harper’s Bazaar, Marie Claire, InStyle and more, and she has worked with major brands like Microsoft, Grey and Edelman. In addition to her photography work, Adler also teaches at events and through various platforms, including everything from online tutorials to books. She explains:

‘My life is centered around creating and sharing. I create images and share the process. I create in-depth tutorials answering all the questions I once had as I grew my career. I create and I share, and I am so lucky to get endless love back from the community—whether in the form of praise, encouragement, or those simply following my journey.’

Behind-The-Scenes image of Adler (far-right) at work with a model.

Adler’s work is showcased on her website, which features collections of photos like ‘Seeing Red,’ ‘Editorial Beauty,’ ‘Skin’ and even ‘Cinemagraphs.’ Looking back over her career, Adler says:

‘I am truly the happiest I’ve ever been and am proud to [have] achieved so many of my life’s goals. I know that along the way there have been so many other gracious photographers, educators and industry leaders that have shared their knowledge, given me opportunities, encouraged me and ultimately been so important to my success. Because of this, I realize just how important it is for those with success to share with their community however they can.’

In addition to her website, Adler’s work can be found on her Instagram and her Canon Ambassador page.

Image credits: Photos used with permission from Lindsay Adler

Articles: Digital Photography Review (

Comments Off on Fashion photographer Lindsay Adler named Rangefinder’s ‘Icon of the Year’

Posted in Uncategorized


Everything You Need To Know For a Fashion Shoot

13 Feb

Preparing for a fashion shoot sounds easy on paper, but in reality requires a lot of thought out planning – namely for the equipment you’ll need. There’s flexibility within this, but there are certain elements that are necessities (such as your camera and lighting). Luckily, we’ve written up the perfect guide to help you, and to make your own fashion Continue Reading

The post Everything You Need To Know For a Fashion Shoot appeared first on Photodoto.


Comments Off on Everything You Need To Know For a Fashion Shoot

Posted in Photography


Black and White Fashion Photography: The Set Up

24 Aug

Black & white photography: from training the eye to choosing your models, make up,

Fashion Photography Blog

Comments Off on Black and White Fashion Photography: The Set Up

Posted in Uncategorized


Fashion magazine expects photographers to PAY to be on the cover

24 Mar

An American fashion magazine has created a storm by expecting photographers to pay $ 860 if their image is chosen for its cover. In a ‘the world’s gone crazy’ role-reversal, Sheeba magazine’s submission guidelines specify that photographers lucky enough to have an image selected for the cover will have to pay for the privilege of having it used.

In the magazine’s defense, it does style itself as a place where photographers, designers and models have an “opportunity to show-case and promote their contemporary masterpieces worldwide through print, digital and social media exposure” and presumably getting the cover position allows that photographer the most exposure.

Work placed inside the magazine is published for free, and at the moment there’s a special 50% off deal for cover placement.

In return, the photographer gets a copy of the print edition, a high-resolution tear sheet, and possibly an interview inside the magazine. Although billed as a monthly magazine, there seem to be three ‘volumes’ some months. The 74-page latest issue costs $ 26 for the print edition.

It isn’t clear what the magazine’s reach is, or exactly how much exposure gracing the front cover will gain the chosen photographer. The magazine’s Instagram page has fewer than 2,500 followers and its Twitter posts appear in the feed of just 75 people. The magazine is a little more successful on Facebook where it has 6,703 followers, but its most recent post is rather soiled by a lengthy comment thread about the morality of its cover policy.

If you don’t feel up to applying for a place on the cover, the magazine is looking for a number of interns to help put the publication together. The job ads offer the “opportunity to gain valuable editorial experience in media publishing and further develop a professional portfolio in return for work efforts” and a promise that you might be considered for a permanent position in the future. There’s no mention of payment, but the magazine expects considerable skills and dedication, and someone to layout 100 pages of content—perhaps three times a month.

For more information see the Sheeba website.

Articles: Digital Photography Review (

Comments Off on Fashion magazine expects photographers to PAY to be on the cover

Posted in Uncategorized


Film vs Digital: Fashion photography shootout

20 Jan

Photographer Anita Sadowska likes to set up “challenges” on her YouTube channel, and when she sent us her most recent one, we knew we’d want to share it. Unlike most of her challenges, where you get to compare different photographers, in this one you’re comparing different mediums: Anita shot with her Canon 5D Mark IV, while her challengee Alex Hutchinson shot on either a Pentax 67 or Nikon N80.

Anita shared the final shots with us (and you) for comparison, and you’ll be able to browse through them in the gallery below, but the most interesting part of the video for us was not actually the resulting images. The most interesting part was to see how differently Anita and Alex approached the shoot.

Alex—because he was shooting 120 film that cost him about 8 Euro (~$ 9.75 USD) per roll— was taking several light measurements, fixing all of the minute styling issues he could see, and snapping only a couple of shots per pose. Anita, meanwhile, had as many frames as she could possibly want, and post-processing to fall back on for all the stray hairs and other minor tweaks that might need to be done.

To mix things up, after the first round of photos, Anita covered up her LCD screen, limited herself to just 10 shots, and began shooting all manual focus as well—imposing the same challenges on her digital workflow that Alex was already dealing with shooting analog.

Here’s a look at all of the poses they shot, first on film, and then on digital:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_4980416082″,”galleryId”:”4980416082″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

It really is a fascinating comparison, and one of the better shootouts we’ve seen. Check out the final video up top, scroll through the final images in the gallery above, and then let us know what you think in the comments.

Do you take the same approach as Alex, shooting film to occasionally “slow yourself down,” or do you embrace the freedom of shooting all digital all the time?

Articles: Digital Photography Review (

Comments Off on Film vs Digital: Fashion photography shootout

Posted in Uncategorized


Behind the scenes of Joe McNally’s ‘High Fashion Heist’

18 Dec
Joe McNally created this shot in the Museum of Ethnography in Budapest, Hungary using the Nikon D850, a 14-24mm F2.8 zoom lens, and strobes. A lot of strobes.

Nikon D850 | AF-S Nikkor 14-24mm F2.8 @ 14mm | ISO 160 | 1/20 sec | F5.6

Joe McNally is one of the most recognizable names in photography. As one of the foremost fashion and portrait photographers in the world, his work has been published internationally in books, magazines and newspapers for decades.

In his role as a Nikon Ambassador, McNally had early access to the new Nikon D850. We spoke to him recently to talk through the process of creating one of the most arresting images of Nikon’s D850 launch campaign.

How did the idea for this image come together?

I think the bottom line here is that I’ve seen way too many James Bond movies! I wrote up three separate potential treatments, and this one I titled ‘The High Fashion Heist’. So imagine an elegant lady sweeping down a grand staircase, gown flowing behind her, clutching stolen gems, racing past the sleeping security guard. And the wrinkle is her gown inadvertently is toppling a priceless statue. It’s a heist gone wrong, that type of thing. I also wanted to include the feeling of motion or speed.

The museum was willing to work with us, it was affordable, and it’s Budapest, which is an amazing place

Did the concept evolve during the process of putting the shoot together?

The original treatment did not include the toppling statue. I was driving the sense of motion from the flowing gown, and we wanted to emphasize a little more tension, so when I re-wrote the concept I threw in the idea that she’s knocking over a statue.

Where did you shoot?

We had to work outside the U.S., and we came up with a number of locations – one of which was in Edinburgh, Scotland, and one was in the Hermitage in St. Petersburg. And one was the Museum of Ethnography in Budapest, Hungary. They sent me scouting photographs of it, and it had that feel. The old elegance. The big staircase.

The museum was willing to work with us, it was affordable, and it’s Budapest, which is just an amazing place. So after the idea was approved, we moved forward on the location pretty quickly.

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2777146075″,”galleryId”:”2777146075″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The bust tipping over in the foreground – was that manipulated in post?

The column and the head are supported by metal braces. We couldn’t buy a bunch of busts and have them smash on the floor, so we took the column and put a brace against it, and the head, and then touched out the braces in post.

I’d say there were probably about 20 large power packs and heads, and about 10-15 Speedlights

How did you light this shot? Was it all strobes?

It’s virtually all strobes. We were allowed to come into the museum at around 6 o’clock at night when it was closed, and we worked until 6 o’clock in the morning. So there was no natural light. So if you look at the windows up top, camera left, those are strobes on a crane truck outside. I’d say there were probably about 20 large power packs and heads, and about 10-15 SB-5000 Speedlights.

Were you shooting in TTL mode, or was it all manual flash exposure?

I shot all manual for this. The D850’s touchscreen is fantastic, because now, if I’m doing something complex with six groups of Speedlights for example, I can just tap on the screen and alter their values.

How did the D850’s particular feature set help you in putting this shoot together?

First off, there’s the resolution. When you shoot in an ornate place like this, you really want to be able to capture all of the detail, and the camera handled that really well. The D850’s sensor has great dynamic range, so I didn’t have to over-light. In the cavernous spaces, I could hint at lighting, and I knew that the shadow detail would be alright. The autofocus is hyper-accurate, which is essential, because you don’t want to get THE expression and THE particular arrangement of the gown absolutely perfect and have any sort of focus issues afterwards.

I was able to effectively control two fields of flash, with the Speedlights being controlled from the camera

I was shooting the flashes in manual exposure mode, but I was controlling all of the Speedlights using the WR-10 radio trigger from the camera. So I had a big strobe system on a different radio system, but I also had the Nikon Speedlight system. I was able to effectively control two fields of flash, with the Speedlights being controlled from the camera.

We had a big crew, plus a video crew, the clients were there, we had a props person, hair, makeup, fashion, styling, and a very elegant wonderful model. I had a crew of five assistants! So the convenience of the new technology really helped.

Are there other features of the camera that you’re excited to try out?

So far, I’ve used the D850 strictly as a stills camera. I’ve been using it a lot just for simple portraiture and for beauty portraiture, but I’m very much looking forward to going into video mode with this camera. Again, the detail is really pretty luscious and pretty wonderful. I have a small stills and video project I’m going to be shooting in February, and I’m looking forward to it.

I shot the Rio Olympics with my D5, because it’s tough and it’s fast, and I’ve always used my D810’s when I needed resolution. But the D810 doesn’t have the radio controls that I’ve come to be so fond of with the SB-5000 flashes. And the D810 didn’t have things like the tilting LCD from the D500, which I’ve found to be very convenient. With the D850, I can have all of that in one camera. Speed, resolution and convenience.

This is sponsored content, supported by Nikon. What does this mean?

Articles: Digital Photography Review (

Comments Off on Behind the scenes of Joe McNally’s ‘High Fashion Heist’

Posted in Uncategorized


Video: Professional fashion model hits 30 poses in just 15 seconds

25 Jul

If you’re a fashion model working with Taobao, an Chinese online retailer a la Amazon, your photographer expects some next-level posing from you. In this video posted by the Facebook page Shanghai Expat, we get to see what this looks like in real life: 30 poses hit in just 15 seconds of shooting.

Rapid-fire posing is nothing new, but it’s still hard to believe that each one of these split-second poses turns into a different look option for a catalog. Over the course of a day’s shooting, these models will reportedly pose up to 150 outfits, taking just one minute to change outfits and a 10-minute lunch break.

At that pace, we’re not entirely sure how the photographer is keeping up. Have you ever had the opportunity to work with a model at this skill level? What was it like? Tell us in the comments.

Articles: Digital Photography Review (

Comments Off on Video: Professional fashion model hits 30 poses in just 15 seconds

Posted in Uncategorized


7 Tips to Get Professional Results on Your Next Outdoor Fashion Photography Shoot

28 Apr

Many photographers like to take portraits or fashion outdoors, as it does not require any huge investment such as owning a studio space and lights. Though it might look like an easy task, there are few things that you need to be aware of before and while doing fashion photography outdoors.

Outdoor fashion photography 01

You might have a good-looking model and expensive camera and lens, but you still may not be able to capture professional results. You need not worry, as the tips mentioned below would help you drastically improve your results during your next outdoor fashion photo shoot.

1. Know the location well

The location is one of the first things you should finalize while planning an outdoor photo shoot. Scout the location at least once before the day of the shoot to ensure that you do not waste time on the final day. It is even better if you take some photos of the places that you feel could be perfect for your images, and simply browse through them on the day of your shoot.

If you follow these practices for your next outdoor photo shoot, you would surely save a lot of time as you would have already pre-planned and pre-visualized your frames.

Outdoor fashion photography 4

2. Choose the right time of the day

Once you have finalized the location for the fashion photo shoot, you need to make sure that you choose the right time of the day to captured desired results. There is no fixed time of day that you should be shooting, it all depends on the weather conditions and how you want to use the ambient light.

Try and avoid the time when the sun is at its peak as it would create hard shadows on your model’s face. The safest time to shoot outdoors is either just after the sunrise or a couple of hours before the sunset. During a cloudy day, the light would be soft and there would be less contrast in the background (depending on the backdrop) but it all depends on your choice. I you wish to capture photos with diffused light, you can go ahead and shoot during a cloudy day.

Outdoor fashion photography 5b

3. Choose the right background

It is important to spend some time thinking about the background in your photo. You might see a beautiful location and simply pick up your camera and get started taking photos, without even visualizing whether the background will make or break your photo.

You need to think, visualize, and then frame accordingly, making sure that the colors in the background and the colors of the model’s clothes are not getting merged. The colors in the background should not overpower the model, which is the main highlight of your photo.

Outdoor fashion photography 05

4. Try mixing ambient and flash light

Go out of your comfort zone and do something different by using both ambient light as well as flash. This gives an extra dimension to your photos. You can use the sun as the key light falling on the subject and place the flash at the back of the model to give a rim light effect on their face or hair. Or you can use the sun light as the rim light or the kicker and the flash as the key light source, this allows you to control the shadows on the face.

Outdoor fashion photography 02

5. Make the model comfortable: Talk and Compliment

Expressions and body language of the model are key ingredients in fashion photography. You need to make sure that your model is comfortable shooting outdoors, as sometimes there may be other people surrounding you as you work. If it’s possibility that you are shooting with a model who is not professional or has just started his/her career, you as a photographer have to make your model feel comfortable.

You can do so by constantly interacting with your model, compliment them while he/she is posing and make them feel confident. You need to tell your model whether they are posing right, you must direct and get the best out of the model in the friendliest way possible.

Outdoor fashion photography 08 Outdoor fashion photography 09

6. Get the best possible exposure in camera

Never shoot with the thought that the exposure can easily be adjusted during post-processing. You can adjust the exposure later during the post-processing stage but you might end up losing details in your photo, depending on the camera that you are using. If you have taken a photo which is 2-3 stops over/under exposed, adjusting the exposure during processing will not give details as good as a correct exposure would.

If you adjust the exposure of an underexposed photo, remember that you may also be introducing noise. Similarly, if you adjust the exposure of an overexposed photo then you will not be able to retain as much details in the highlights as you would have in a correctly exposed photo.

To ensure that you are capturing correctly exposed photos during the shoot, you should refer to the histogram in your camera.

7. Shoot in RAW format

Never be afraid of shooting in RAW. It may take up space on your memory card but it is really for your benefit. Shooting fashion in RAW format allows you to capture much more details as compared to the JPEG format, which helps in retouching the image during post-processing.

Outdoor fashion photography 6

Another benefit of RAW format is that it contains the maximum dynamic range possible from your camera and can be used to recover an overexposed or an underexposed image during the processing, as discussed in the previous point. You can also edit the same RAW file multiple times, without losing any details. Whereas, a JPEG file loses its quality every time you edit the image.


Being a photographer, you need to plan and stage the photo shoot so that you get the best possible results out of your model. From choosing the apt location to scheduling the shoot at the right time of the day, it is your job to get the things planned in advance to save time and energy. Try and get out of your comfort zone by adding more light sources such as the flash lights or strobes, this will help give you more professional results.

You might be using the best possible camera and lens, but if you are not able to get good expressions and body language, your photos will not stand out. So, the next time you plan an outdoor fashion photo shoot, do keep these tips in mind to achieve the best possible results.

Share your fashion photography tips and images below.

The post 7 Tips to Get Professional Results on Your Next Outdoor Fashion Photography Shoot by Kunal Malhotra appeared first on Digital Photography School.

Digital Photography School

Comments Off on 7 Tips to Get Professional Results on Your Next Outdoor Fashion Photography Shoot

Posted in Photography