Tag Archives: artistic

16 Examples of Extraordinary Model Portraits

My near-future adventure into the world of photographing models has my gears turning, and I’ve been looking for examples of extraordinary model portraits. A lot of stuff I found out there is somewhat generic with lighting and pose — and maybe because that’s what works for the client. But as an art photographer, I felt a little empty with that kind of stuff. So I went in search of some extraordinary model photography.

What I found was that I’m most attracted to the portraits that stand out from the rest. The really unique stuff. I also found that the unique qualities can come from either the models themselves or the photographers. And when you combine a unique and talented model with a unique and talented photographer, you get magic.

The following selection of photos come from a mix of professional and amateur photographers. The models in the shots might also be a mix of professionals, amateurs, friends, and even the photographer taking the photo. Do note: a couple of the photos below are quite informal and the subject is not a model, but I included them because they are good examples of what could be done in a formal portrait situation.

You can also see my Flickr Gallery here.

Day One Hundred Forty One
Creative Commons License photo credit: Dustin Diaz

So
Creative Commons License photo credit: Luc D

First time with a Hasselblad
Creative Commons License photo credit: Carlo Nicora

20090427_aurum_0090
Creative Commons License photo credit: checkmezov

Andreas Tilliander Makes His Move
Creative Commons License photo credit: Aeioux

Her Tangible Dream •.
Creative Commons License photo credit: Felipe Morin

Jesús Hidalgo10
Creative Commons License photo credit: Esther Marí

mallard pinup
Creative Commons License photo credit: MadMannequin

{ you're the only one !! }
Creative Commons License photo credit: graphistolage

Coleção Geometologia - Neandro Ferreira
Creative Commons License photo credit: André-Batista

PORTRAIT OF A FRIEND
Creative Commons License photo credit: Akbar Simonse


Creative Commons License photo credit: Carolina Parragué

The third eye
Creative Commons License photo credit: Tywak

Collab5 (Picture II)
Creative Commons License photo credit: TNT Photo

Oriol Lopez Sanchez 01 © studio.es
Creative Commons License photo credit: Vincent Boiteau

Let The Curtain Come Down
Creative Commons License photo credit: Gabriela Camerotti

Do you have any good examples of model portraits or other posed portraits? Feel free to drop your photos into the comments below. And if you have any favorites from fellow photographers, leave a link so we can check it out!

27 Ways to Edit John’s Photo

Here they are! 27 different artistic interpretations of the same photo. I’ll save my thoughts for the bottom of the page — for now, check out some of these project entries and enjoy! Click on the thumbnails below to see a larger version of the photo.

1-Jan-Klier2-Paul-Parkinson3-Andrew-Ferguson4-James-Cheng5-Ernst-Schneider6-Clara-Harold7-Gabriel-Van-Wyhe8-Ben-Bender9-Conor-Coen10-Denis-Seguin11-Andrew-Boyd12-Albert-Salim13-John-Hagar14-Jenni-Brehm15-Dominique-Paluck16-James-Ferguson17-Phineas-Kibbey18-TJ19-Brian-Auer20-Giles-Atkinson21-Karen-Ard22-Frans-Hoynck23-Tasha-Schalk24-Katie-Trudeau25-Russ-Thompson26-Bob-Simmons27-John-Huson

And here’s the original…

Photo by John Huson

For those not aware of the recent project, here’s a little background. A long while ago, we ran a similar project here on the blog titled “Edit My Photo“. I handed out an unprocessed photo to participants and they edited in any way they saw fit. Then I gathered up all the entries and posted them in one place.

This time around, I asked the readers of Epic Edits to submit a photo for the project. Then we all voted on our favorite, and we used that one as the starting point. John Huson was the photographer who submitted the winning image for the project. And after a month of handing out the photo and various other photographers working with it, here’s what we have.

I’m always shocked and amazed at how different each of the entries can be… and yet, I’m also amazed at how similar some things are. As you glance through the entries, you can see that the colors, crops, and compositions are widely varied. But you can also pick out some peculiar similarities such as the splitting of the subject at each end of the frame and the use of grungy colors to enhance the mood. And these similarities happened without the participants seeing the results from others. Really interesting stuff here.

All in all, another successful project here at Epic Edits. A big thanks to all the participants who put in the time and effort just for the sake of playing along with us. Be sure to check out the entries more closely — the thumbnails don’t do them justice.

My Weakest Area of Photography

My Weakest Link

In my “What Should I Write About” poll, Neil Creek asked me what my weakest area of photography is and how I plan to improve it. That’s a pretty deep question, and it really made me think about my photos and what I’m trying to convey.

Picking out your own strong points may be a difficult task, but picking out your own weak points is near impossible. I would expect people to fall into one of two camps on this: too self critical, or not critical enough. I’m actually having a hard time narrowing my weak spots down to one, so I’ll break this discussion into two parts: technical and artistic.

TECHNICAL WEAKNESS

This one is actually easy for me to identify because every time I encounter it I dread having to deal with it. I’m talking about the dreaded off camera artificial lighting (flashes, strobes, studio lights, etc). I’m very much a natural light photographer, but I encounter situations that could benefit from a better understanding of lighting techniques and equipment.

Part of what’s holding me back is the fact that off camera lighting requires equipment. Buying that equipment requires knowledge and understanding of how it works and what it can do. Using that equipment requires an even deeper understanding of how it works and how to control it.

HOW I PLAN TO IMPROVE

First of all, I need some equipment. Right now I have one slave flash, but I’d like to get something that offers a little more control and flexibility. I’d like to have a one or two light setup that can be taken out in the field if needed. I like the idea of things like soft boxes, umbrellas, reflectors, etc, but I’m not sure which ones would be most useful in a wider array of applications. I’m open to taking suggestions from those of you who know more about this stuff than I do.

While I save up some money for that equipment (which means I’ll have to stop buying new film cameras), I suppose I could brush up on my Strobist education. I’ve also been following Jim Talkington and his lighting videos lately, which are actually getting me more interested in the concept of off-camera lighting.

Once I’ve done my research and acquired my equipment, it’s just a matter of practice practice practice.

ARTISTIC WEAKNESS

This one is a little harder to define for me. I think the biggest thing I’d like to improve upon is my ability to capture and convey the emotion of a scene. Do you ever come across those photos that strike you emotionally? You know, the stuff that really hits you, makes you ponder life, stirs your emotions, and conveys a message.

In looking back at my own work, I can see little bits and pieces of this sort of thing, but not on a consistent basis and not at full force. Many times, I attribute these types of shots to dumb luck. Often times, while viewing a particular scene, I can feel a certain emotion due to my surroundings. I have a mental vision of how I’d like to capture that scene, but I often fall short of telling the whole story the way I saw it with my eyes. Am I making any sense here?

HOW I PLAN TO IMPROVE

I think this sort of thing is something that comes with lots of time and even more practice. I’ve been heavy into photography for a relatively short time when compared to the old masters. I’m sure that their ability to convey emotion was something that had to develop over time. So I guess I’ll just keep shooting and see what happens.

One other thing I’ve noticed is that my photos of people seem to have a stronger emotional connection than those without. Not that it’s impossible to create a striking image without the presence of people, but I think we naturally have a stronger connection to people shots. Including people in my photos (whether it’s portraits, candids, or street photography) is something I’ve been trying to do more of lately. I’m at a stage where I’m getting comfortable with candids and street photography, but I’d like to progress to a point of getting a little more intimate with the subjects and making a connection with the camera.

WHAT ABOUT YOU?

What is your weakest aspect of photography? Is it something technical? Or is it something more artistic? And what do you plan to do to improve yourself in this area? Please do share your thoughts on this one — I’m sure many of us have the same weaknesses and aspirations as photographers.