You may have missed opportunities for incredible street portraits because of fear of taking photos of strangers. I myself have imagined scenarios where my candid subjects yell at me or attack me.
Luckily, in my 6 years taking photographs of strangers throughout New York City and in small towns in the tri state area, that has never happened. . thephoblographer.com
Yes, that's right. A photography composite isn't a photograph. It never was. We were just calling it that for most of history. We've never called a bunch of paintings put together a single painting: we called it a collage.
A while back, Apple gave us a really cool feature in the Photos app: reading text in the images. This is immensely useful combined with the ability to detect faces, locations, etc. You can search for things like photos of your favorite slice of pizza and more with relative ease.
The biggest problem for many photographers getting into portrait photography is establishing a connection. Lots of folks just don't know how to do it. One of the best lessons that my mentor taught me was to actually talk to folks.
50mm vs 85mm? That's the question. And most often, it's associated with portraiture. Both of these lenses have their advantages and disadvantages. And the truth has to do with what you want to do with each lens.
Today’s letter is all about how to work with a portrait subject. Hey Mike, Do you have any advice for making non-models comfortable in front of the camera? I always have trouble getting people to relax.
The trend that has taken over Instagram and lots of cinema is firefly lamp portrait photography. But lots of folks don't know how to do it themselves or simply just associate it with other photographers.
Several years ago I wrote an article that gave advice about managing confrontation in street photography. I spent time putting together an action plan, including ways in which you can avoid confrontation altogether.