Key to understanding this is to understand that B&W doesn’t simply mean all color is removed from the image. The tonality of those colors are varied in lightness and these dictate the look of the final image. Also different cameras, as was the case with film, will represent and interpret color differently, not to mention the paper they are printed on, so it’s not a bad idea to test each beforehand…if you need to be that discerning.  

Simplicity is often key to black and white photos

Choosing to work in greyscale allows us to hone in and focus on the individual thus making the overall set and scene less important. Keep the aesthetic relatively simple, approach it with a less is more attitude, and choose an aperture and exposure that makes the subject pop when shooting in a busy location.

Continue this mantra all the way through to the editing phase too, as nothing kills a perfectly executed image quite like that of a hack editing job.

Look for Texture (and personality) in your black and white photos

Think leather, wool, faux fur and other shiny things that light well in regard to styling. Textured textiles photograph impeccably well and the lack of color information only amplifies the details.

Hair is another key focal point in the image and can be paired with accessories. A properly stylized shoot with various textures will elevate the overall image.

Expressions are essential

Connection and expression should be the main priority of any image but especially important in black and white photography. Encourage the subject or model to over exaggerate their facial expression to ensure that it comes across. Show them the back of the camera to encourage them that their efforts are or are not working and they will more than likely fully commit to the shot. Everything can be there from the styling and the lighting but if the face is dead the entire concept is lost in translation.

Make sure the contrast is fitting for B&W photos

Tip number 6 is that drama exists in between the shadows and choosing whether or not to make use of them dictates the overall mood. Choosing less contrast and shadows creates a lighter feel with more tonality while embracing more creates an edgier vibe. Bruce Weber and Helmut Newton are prime examples and their works make for great study material. Additionally, high key and low key exposures are great uses of expression.

The use of contrast and shadows is ultimately a personal choice in black and white photography. Take the time to meter properly and create for the sole purpose of a finished image sans color. If aiming for more contrast, push it slightly during the shoot to reduce the need to push it in post.

Look for the Imperfectly Perfect

The next black and white photography tip to keep in mind is that perfection is overrated and often translates as mundane across an audience. Imperfections are what pique interest and draw attention to the subtle details throughout a piece. This is easily achieved when working in the unpredictable environment of the outdoors. The blowing wind creates ripples in fabric and movement of the hair while the ever changing light creates different patterns that wouldn’t otherwise be there.

The studio environment is often typecast as perfection as well, however it is the curated imperfections that make it this way. It is an art form to pick and choose which stray hairs make the cut and deciding when the hair needs to be messed up a little bit. Also pay attention to personal imperfections as they are often revered as the most attractive component of a person.

When turning images Black and White, Take the time to simplify the overall frame, eliminate distractions and shift the focus to the subject. It really is all about the small details and limited distractions; the best portraits are the ones that appear seemingly effortless and seem minimalistic.

Consider Digital Filter Options

Instead of black and white photo editing, using filters with your camera set to monochrome can be a great help, and with digital you can see quickly how a certain filter color affects your final image. Not everyone is yet adept to using them, or has the required equipment, but most modern DSLRs will give you filter options digitally. Surprisingly, they can be quite effective. It’s a rather simple and quick tool I often use to shoot a test shot, to see which shots will look good in B&W before heading to post processing and finding it just didn’t suit. The example screenshots are from Nikon, but anon has similar menu choices.

Note: RAW shooters beware that your images will be in color when uploaded to the computer. You could shoot RAW+JPEG as a solution.

Selecting In-Camera

First, go into Settings and select ‘Set Picture Control’ and then ‘Monochrome.’ Don’t stop there, however, go a step further and you’ll see ‘Filter Effects.’ Scroll down to ‘Toning,’ where you’ll see a scale of colors each able to be even more finely tuned once it’s selected.

What do those colors do? Essentially, the color of filter you select will lighten the tone of that particular color, and make its opposite darker in the final image. For example, a Red filter will generally lighten skin tones, but turn Blue, its opposite, darker. I usually use the red for photographing people and tends to be my go to all round. It is, as stated above, all subjective to the look you are going for, so I encourage you to play around.

While a hobbyist can enjoy taking beautiful portraits of their female friends and family members, there are more ways in which a professional Beauty photographer can grow: makeup, skincare, jewelry and accessory advertising, hairstyling and hair care products. And within those directions, one can aim to shoot for global high profile brands, or thrive on shooting for small local companies that are easier to approach and acquire as a client. As an additional avenue for growth, there is an abundance of big and small magazines that accept and publish beauty editorials.

There are many things that anyone who is interested in commercial and/or editorial Beauty photography needs to take into account when starting out, and I’d like to share with you a few points that I think are very important.

Space in Beauty Photography

The great part about Beauty photography that opens a door into it for many aspiring photographers is the possibility to shoot in the smallest places available. Unlike in Fashion photography, you don’t have to rent large studios with big light modifiers to shoot full body images. In Beauty you can build a strong portfolio literally in a corner of your living room.

All you need is a couple of strobes with a few different light modifiers. Over time, you can get yourself a background support system, start with a gray seamless backdrop and grow your collection from there. And even this part is simpler for a Beauty photographer: seamless paper rolls are typically available in two widths: 53” and 107”, and for Beauty the narrower backdrops are perfectly sufficient, so you don’t need to buy and store large backdrop rolls.

Your Fashion and Beauty Photography Team

In Beauty, just like in Fashion photography, the photographer must rely on a strong team of creative professionals to achieve top-quality results.

While it is possible to shoot beauty portraits for local individual clients without the help of a professional Makeup Artist, it is uncommon to attempt to produce a commercial beauty shoot without at least a Makeup Artist and a Hairstylist.

The larger the production the larger the team, but regardless of how big or small the creative team is, it is often the photographer who will receive most of the praise if the images turn out amazing, but equally all of the blame if, despite the collective effort, the images are mediocre.

There’s a lot of responsibly that we photographers carry in each photoshoot, but it grows along with our personal and artistic development, so thankfully we do have a chance to get used to it and become comfortable leading and coordinating the team.

What’s important is to build a team that we can rely on. During the shoot, there are so many things to keep under control that it’s very important that your creative team members are not only on top of their game when prepping the model, but also can help you watching and fixing any potential problems for post-production. The collective goal is to create the images that will require an absolute minimum of post-production efforts and that will not only save you time but also ensure better, natural looking retouching results.

If you are just starting out in Beauty, you might often hear seasoned photographers advise to find beginner Makeup artists and Hairstylists like yourself and grow together. Yes, it is a way to do it, but it will take you years before you and your team will grow through practicing together. I believe it is best to try harder and find creative professionals who already have experience in producing the type of photography that you are interested in.

Do your research and find local talent to approach, study their portfolios and social media to see if what they do aligns with what you would love to create with them. If not – move on, if yes – approach them and invite them to collaborate with you. Often a well put together reference board for a shoot you are planning can convince a professional makeup artist to shoot with you, given they are interested in the concept and are available on the day of your upcoming shoot.

Rest assured that the more you shoot and share your new work, the sooner you will start getting approached by other creative professionals in the area. Instagram is a wonderful platform for sharing work and connecting with other creative professionals, so get on it if you haven’t yet.

After working with many Makeup Artists around the world I have learned to recognize great, hard working, professional Makeup Artists, and shared my observations in an article on my personal blog: How to Find Your Ideal Makeup Artist.

The Importance of Professional Models in Beauty Photography

Casting is very important in Beauty and the key is to select not only good-looking faces that fit the concept of the shoot, but also experienced models in the type of photography you need them for, and those who look after themselves very well. The worst thing you can do for your post-production stage is to select a model whose skin is far from ideal for photography.

I often receive compliments on my “mad retouching skills”, but the truth is that it is everything that my Makeup Artist and I do before the capture that ensures great results with minimal retouching efforts.

Of course, it’s absolutely normal and logical to begin by shooting with aspiring models and non-models while you are still practicing your lighting, framing and directing your models. Obviously, those images are not expected to be used in advertising or in magazines. But as you become better and build your portfolio a little, try approaching local modeling agencies. Don’t worry if you don’t think you have a strong enough portfolio yet – let the agency decide; and don’t get discouraged if they don’t get back to you – try again after you add more new work. You might be surprised to know that some great modeling agencies are very open to allowing their models to shoot (test) with beginner photographers too. Check out my article Testing With Represented Models & Working With Modeling Agencies where I interviewed the owner of Osbrink Models, a boutique agency in Los Angeles that I have been working with for quite some time now.

Lighting, Framing and Composition

This is the area where I see a lot of beginner Beauty photographers make most common mistakes, which can be easily avoided.

If your goal is to shoot Beauty portraits, you must understand that your clients simply desire to look beautiful in the resulting images. You may know a lot of various dramatic lighting setups from your other interests in photography, but when it comes to Beauty one of the main goals is to avoid creating unflattering shadows that either expose the subject’s uneven skin texture (acne problems, fine line or wrinkles) or visually age them.

For that, your choice of light modifiers and the main light placement must be well thought through. Hard light and side lighting are never a good idea for Beauty portraits. A large softbox, placed in front of your subject or slightly off to the side of the camera, will create soft light that will fill in most of the unflattering shadows and make it easier for you to touch up these images.

On the other hand, If you are interested in commercial or editorial beauty, a harder light on a carefully selected model with flawless skin will be more appropriate. But of course it will depend on the concept of the shoot.

When it comes to framing, I often see aspiring Beauty photographers attempt to shoot editorial makeup while framing their images as if they are shooting portraits – including head and shoulders.

[REWIND: FREQUENCY SEPARATION PITFALLS TO AVOID]

My advice is if you plan to shoot a specific type of Beauty – editorial makeup, cosmetics or jewelry ads, or hairstyling images – do your research and pay special attention to the common framing in the type of photography you are interested in. You will find that each of these Beauty photography types has a specific set of common frames and many various types of posing and cropping within those sets. Pinterest is a great platform for this kind of research, check out, for example, my collection of closeup and editorial makeup photography.

When you are just at the beginning of your journey in Beauty photography, try emulating framing and lighting from the images that inspire you the most, and as you get comfortable in these, begin to experiment and work on developing your own style.

I hope you found these notes were helpful, happy shooting!

Successful beauty images are a combination of a few important elements: Model choice, makeup, lighting, and retouching. Each one of these elements work together, and if one falls short… the image won’t reach its potential. That being said, did you know most beauty lighting is pretty simple and straightforward? Sure, you can get creative, but we’d like to make sure to introduce you to 3 simple/foolproof beauty lighting setups. Check out all of Lindsay’s tips below;

I use a C-stand for my main light in every setup I ever do because I want the strength and stability a it. Furthermore, in beauty photography, I often place my strobe in a paramount light position (centered) and the C-stand arm allows me to center the light without the pole/stand getting in the way. In this video, I am featuring the Savage C-Stand because it has a bonus feature! It has a riser (little pole basically) on one of its legs that can be used to attach a second light OR you can use it when working on stairs for in tight corners. It’s a great C-stand if you want some versatility and for it to hold multiple strobes at once!

In these setups I am going to use one of the most common light modifiers for beauty photography… you guess it… a beauty dish! A beauty dish creates beautiful smooth light on the skin that is soft, but it also has a bit of contrast and pop to the shadows. It’s great for sculpting features and flattering your subject and creating radiant-looking skin.

Let’s take a look a 3 lighting setups, all using a beauty dish:

SETUP #1: Clean Beauty

Purpose: This setup is glowing, high key, and often when I am showcasing skincare. That’s why you’ll notice this first look has minimal makeup, it’s very fresh and glowing.

Strobes: 3 Strobes

• Step 1: Begin by placing 3x4ft directly behind your subject. This gives you a high key white background and creates rim lights that wrap around your subject and beautifully flatters their jawline and cheekbones.
• Step 2: Add your main light (a white beauty dish) on a C-stand so it is centered in front of your subject. Here I’m using a Savage C-stand.
• Step 3: Put a 1x4ft strip softbox underneath your subject’s chin to fill the shadows. This is call clam shell light.

Savage C-stand: What’s great about this Savage C-stand is that it actually has a second riser that can be attached to the C-stand leg. This means I can add a strobe directly below the main light that is perfect for clamshell lighting without having to bring in another stand that may get in the way.

[Related Reading: Dramatic iPhone Portraits with the Profoto A10 | Slice of Pye]

SETUP #2: Warmth

Purpose: This one is also fabulous when you want warm and healthy-looking skin and hair. I typically use a Savage Universal Beige or Cocoa background based upon the subject’s skin tone. I choose seamless paper because it is easy for me to light (or not light) to change the tonality to be exactly what I need. It’s clean and easy to modify.

Strobes: 2 Strobes

• Step 1: Set up a white beauty dish as your main light. It can be centered or slightly to the right of the frame.
• Step 2: Add a strobe with a 20 degree grid to light the background.
• Step 3: Have someone blow or move the hair to create energy or interest.

[Related Reading: 3 One-Light Fashion Photography Ideas from Lindsay Adler & AdoramaTV]

SETUP #3: Luxurious Hair

Purpose; This shot is meant to be darker, more dramatic, and more luxurious. I recommend a darker background (here Savage Universal Black) for richer results.

Strobes: 3-4 Strobes

• Step 1: Use a centered silver beauty dish for a bit more contrast. To learn the difference of white vs. silver beauty dish, check out my other video on the subject.
• Step 2: Add two strip softboxes (1x4ft) on either side of the frame as rim lights. Raise them up tall so they illuminate the top of the hair.
• Step 3: Place a silver bounce reflector under the chin to brighten the shadows or consider a 4th strobe if you have one.

*Content shared with permission

In this video, (and the one below), from Lindsay Adler, she’s going to share 3 reasons why she loves using v-flats to create negative fill in fashion & beauty photography.

You might not know what a v-flat is, or what negative fill is…but fear not, Lindsay gives a great explanation; A V-flat is typically a foam-like object similar to poster board (but often thicker) that is used to block light or channel it. It’s another form of a modifier. You can DIY your own, or do what we do, and get quality made ones from V-Flat World that fold up and generally are easy to use.

If a fill light adds light to your photos, then negative fill is its polar opposite. It removes light (aka blocks it) in order to create contrast, and can even absorb it!

This is super important, especially if you’re in a space where light likes to bounce all over the place. The v-flats become a great way to control that spill of light. I use v-flats all the time, in the studio, on location, you name it. I find them to be a very versatile tool. They don’t require power, yet they are quite powerful!

Here are 3 Ways To Use Negative Fill with V-flats:

1. Emphasize cheekbones & jawlines

This helps to carve out the features because it helps to absorb any bounced light that ordinarily would fill in those shadows, so you get more of a contrasty look. Try this out yourself, it’s an interesting way to carve out those details! Check out the before/after in the video at 2:27.

2. Define edges

In mid-length and full-length fashion shots using negative fill is a great way to add definition to the side of the body and sides of the subject. I like using this technique when I’m shooting in high contrast black and white especially since it creates s sharper edge on my subject. Check the before/after at 3:21 to see the major difference adding v-flats can have!

3. Control the background

This last example is more about flagging the light, than negative fill, but that’s also a very important thing. As I mentioned, v-flats are great for blocking light. I use v-flats for controlling the tonality of the background. A lot of people get various colored backdrops, but don’t realize they can actually change the color in real-time by how much light hits it! Check out the differences starting at 4:00. So here we’re just a few ways you can use v-flats. 

[Related Reading: V-Flat World Releases Portable Folding V-Flats]

BONUS: Use V-Flats on Location as a Background

In this additional video from Lindsay, she’ll share with you how to use v-flats as backgrounds while on location.

If you follow her work you may notice that she tends to lean towards a clean, bold, and graphic style, so the right backgrounds are often very important.

For me, v-flats help achieve those looks as they are quite diverse. I can use them in the studio, bring them on location, treat them as backgrounds, reflectors, negative fill, you name it! The ones I use also can fold, which makes it super easy to transport.

In this video, Lindsay will show you 3 different setups using nothing more than natural light and some reflection from the v-flats

*Content shared with Permission

Adorama has launched its latest AdoramaTV series, “Inside Beauty and Fashion Photography.” The series features world-renowned fashion and beauty photographer Lindsay Adler, who shares her insider secrets on what it takes to be a successful fashion photographer. Adler covers topics such as behind the scenes of fashion shoots, her favorite lighting techniques, interviews with industry experts, and more.

“To be a successful fashion photographer you have to be creative, be a master of your craft and to understand the industry,” said Mary-Irene Marek, Director of Content and Social Media for Adorama. “We’re excited to bring our followers a series that will help them do just that by learning from one of the best, Lindsay Adler.”

In the first episode, “Tips for Your First Fashion Editorial,” Adler shares insights on what it takes to conceptualize, plan and execute a successful fashion editorial, while giving a peek behind the scenes of her own thematic shoot. Viewers will learn about creating a concept, mood boards, gathering a creative team, and creating a cohesive visual story.

“Adorama’s motto is ‘Equip Your Creativity,’ and they equip photographers with more than just the latest gear, they also equip them with knowledge,” said photographer Lindsay Adler. “I have loved being a partner with Adorama because they truly value education and empowering their customers. The team I work with are always super excited to create and share – they love helping photographers to succeed.”

“I think this series is a great fit for AdoramaTV because they already share a lot of great content for the essentials of lighting and photography, as well as a ton of education for portrait photographers,” Adler continued. “There is certainly a large audience of creatives inspired by the elegant and impactful visuals of the fashion industry, and so this is a great opportunity to provide these creatives insights into this highly creative and extremely competitive world!”

New episodes of “Inside Beauty and Fashion Photography with Lindsay Adler” will be released every other Wednesday at 10AM ET. To watch and subscribe to AdoramaTV, visit www.youtube.com/adoramaTV.

The Worst Photoshoots in the History of America’s Next Top Model

We can’t all get it perfect 100% of the time, not even America’s Next Top Model! So Jessica Kobeissi recently took it upon herself to weigh in on an important issue circulating the fashion photography community: The worst ever photoshoots of ANTM!

Jessica starts off way back in 2003, reviewing photoshoots such as the shoot titled ‘Fashion Victims’, depicting the models getting chased around a house by a spooky, fashion-forward ghost. Jessica says the lighting isn’t so bad, but there’s definitely some oversaturation in the skin tones of the models…

When Jessica moves on to the next photoshoot, she can tell that “somebody really had fun with the clarity slider.” Needless to say, the photo doesn’t look great… The model is a little stiff and the shot looks too posed—no amount of photo effects can fix that.

Jessica really runs through the gauntlet in this video, providing her feedback on photoshoots with superhero themes to photoshoots for the covers of romance novels. But times have changed, and photography has changed along with it. It’s no surprise some of these photoshoots didn’t age well.

Be sure to check out the video above and let us know what you think in the comments below!

[Related Reading: New Video from Fstoppers Shows How To Use Strobes and LED Lights in the Name of Fashion Photography]

Compo Beach

Much like any New England beach, at Compo Beach you’ll find bountiful clouds, calm water and white sand blanketed with shells, rocks and perhaps a few crab carcasses. This textured sand may not be so great for the soles of bare feet, but it is an absolutely perfect setting for engagement portraits. While there are a few common threads between all Connecticut beaches, i.e. rocky shell covered sand, I recommend Compo Beach in particular because one it’s one of a kind rocky shore with rock masses that span far out in to the sound. This beach setting never disappoints and it is a great choice during all seasons; winter, spring, summer and fall.

Address: Compo Beach, Westport, CT 06880

[Related Reading: Best Engagement Photography Locations in Toronto, ON, Canada]

Yale University

If architecture is your jam then Yale University is the place to be. Located in city of New Haven, when it comes to architecture there is a little of everything at Yale University and the surrounding areas. If you want gothic castle vibes, grand iron gates or simple clean lines to work with, chances are you’ll find a structure that fits on the Yale campus. There may be restrictions or permits required for certain buildings so I recommend calling ahead.

Address: Yale University, New Haven, CT 06520

New Haven Street Art – The Anne Frank Mural

Since we are on the topic of New Haven I should note that New Haven is generally great place to find cool street art like this Believe In People Anne Frank mural located on the back of Partners Cafe at 365 Crown St, New Haven, CT 06511. I should note there are several other art installations throughout the city of New Haven’s business district which makes this a solid choice for street art lovers.

Address: Backside of Partners Bar at 365 Crown St., New Haven, CT 06511

Harkness State Park and Eolia Mansion

Located in Waterford, CT Harkness Park is the perfect setting for nature lovers. There is so much to work with here; a greenhouse, water views, open and rolling green, and Eoilia Mansion.

Address: 275 Great Neck Rd, Waterford, CT 06385

[Related Reading: Best Engagement Photography Locations in Boston, Massachusetts]

Chamard Vineyards

If you’re looking for a vineyard location that that also has plenty of other nooks to work with then check out Chamard Vineyards, located in Clinton, CT. There may be a nominal location fee and you just need to contact management to make arrangements.

Address: 115 Cow Hill Rd, Clinton, CT 06413

You can find more of Kesha Lambert’s work via the links below:

Kesha Lambert: Website | Instagram | Facebook

Mixing Strobes and LEDs for Fashion Photography Portraits

In the video, Patrick is using the new Tamron 35mm f/1.4 lens on a Nikon D850, some colored LED panels, and a few cleverly-placed strobe lights. The shoot was sort of a fashion/sportswear mix with “a lot of motion and color.”

For the LED’s, Patrick used Falcon Eyes F7 Pocket Lights. Patrick wanted to try to use these lights instead of using gels on standard lights, but the one thing about the Falcon Eyes is that they’re not very powerful. So the first thing Patrick does is try to blackout as much light from the shoot as possible using some handy-dandy V-Flats from V-Flat World. Eliminating most of the light in the room allows Patrick to get his exposure perfect.

Patrick also pulled out a Profoto B10 to use as his main light on his subject to achieve that nice “freezing motion” he’s going for. The LED is going to burn the model’s image into his sensor and produce a nice motion blur effect from as she moves around.

The images Patrick gets are stunning, and honestly, really cool to look at. The kind of effects he can achieve with these clever lighting techniques and a little editing software magic is incredible!

If you’d like to see every step Patrick takes to achieve these kinds of effects, check out the video above. These techniques can be used for much more than just fashion photography and we’d love to hear about any experience you’ve had with clever lighting in the comments below!