p.3 #3 · Desert Portraits {a little bit of everything}
Honestly though - I'm making very good money to teach a workshop in a location that people from out of my area really WANT to shoot at - it's all good. I'll keep doing what works for me, and this works. Not being bored of it is a bonus. The night photography was something new for me, and a lot of fun - I'll have to try it again sometime. Thanks for the kind words, everyone.
p.3 #4 · Desert Portraits {a little bit of everything}
Lisa_Holloway wrote:
Try to put as much space between your subject and the background as possible - and pick a location with a LOT of working room. Have fun!
How far back do you have to be to fit subjects in the frame like that at 200mm? Does it make communication with your models difficult? When you're in the city like on some shots here, do you have to deal with crowds moving in and out of frame?
p.3 #7 · Desert Portraits {a little bit of everything}
Thank you everyone!
tsaphoto wrote:
How far back do you have to be to fit subjects in the frame like that at 200mm? Does it make communication with your models difficult? When you're in the city like on some shots here, do you have to deal with crowds moving in and out of frame?
I'm not good with distances, but quite a ways. For a full body shot probably approx. 50 yards? Maybe a bit less? I just holler at my models and include a lot of hand signals/gesturing. haha
We didn't have a problem with crowds from the angles we were shooting the night shots. All of the foot traffic was in the opposite direction.
p.3 #8 · Desert Portraits {a little bit of everything}
Someday I will get to take a workshop from you or Meg.I remember seeing your work when you first started posting here. I am truly blown away everytime I see your work. It could be the same pose in the same spot of the same person and I would still not get bored. I dont see many photos where the photo is deeper than the subject, yours always capture a depth very few can. Your photos give us a glimpse of the soul and have us evaluate ourselves many times. Its always a pleasure to view them. Thanks for sharing!
p.3 #9 · Desert Portraits {a little bit of everything}
Interesting, Lisa. Just watching a Joel Grimes workshop on CreativeLive, and he said he's mastered his own way of doing a three-light studio shot. He says I just do it over and over again. Sometimes, I get emails from people wondering when I'm going to move on. He laughed. When I feel like it, he said. Basically, he was saying that he has a process down that works for him, so why immediately move on?
Of course, doing a studio shot the same way is quite different from creating the same look with different lighting conditions outdoors.
p.3 #10 · Desert Portraits {a little bit of everything}
Thank you guys. Ron - it was a challenging day. The workshop started off with dark overcast and pouring down rain, then migrated into sun that was in and out of the clouds. Honestly, I think that working with that type of changing lighting conditions is more challenging than doing a predictable studio setup, kwim? And the night stuff was totally new (and fun) for me. I do actually feel like I stepped outside of my box a little bit with these. And he is right - I'll move on when I'm good and ready.
p.3 #11 · Desert Portraits {a little bit of everything}
I'm not gonna critique the photos, but something I am seeing a lot, both here and on Lisa's FB posts (and those of other photogs with a similar style) is that everyone is asking about the lens and the aperture used. And of course, they do matter in getting that great background knock out, etc. But there is a TON of work done before these photographers even pick up their cameras, i.e. wardrobe and styling, location hunting, model hiring, etc… You can't just go buy a 200 f2 L and think that's all it takes to make these kinds of photos. It is really hard work.
p.3 #12 · Desert Portraits {a little bit of everything}
Sharona wrote:
I'm not gonna critique the photos, but something I am seeing a lot, both here and on Lisa's FB posts (and those of other photogs with a similar style) is that everyone is asking about the lens and the aperture used. And of course, they do matter in getting that great background knock out, etc. But there is a TON of work done before these photographers even pick up their cameras, i.e. wardrobe and styling, location hunting, model hiring, etc… You can't just go buy a 200 f2 L and think that's all it takes to make these kinds of photos. It is really hard work. ...Show more →
p.3 #13 · Desert Portraits {a little bit of everything}
Sharona wrote:
I'm not gonna critique the photos, but something I am seeing a lot, both here and on Lisa's FB posts (and those of other photogs with a similar style) is that everyone is asking about the lens and the aperture used. And of course, they do matter in getting that great background knock out, etc. But there is a TON of work done before these photographers even pick up their cameras, i.e. wardrobe and styling, location hunting, model hiring, etc… You can't just go buy a 200 f2 L and think that's all it takes to make these kinds of photos. It is really hard work. ...Show more →
+1 agree. The thought and work that goes into the quality of images like these are often overlooked. In the entertainment industry the saying is, there's nothing harder than working with dogs and children. A coworker of mine that worked photographing children in a small photo shop at a mall said it this way, "photographing kids is like trying to nail Jello to a tree". It's evident in Lisa's work that her subjects are very comfortable and at ease. Lisa has mastered nailing Jello to a tree. I often marvel at the locations that are chosen. There's a lot more than lens choice going into these images. JMHO
Ed
p.3 #14 · Desert Portraits {a little bit of everything}
It should also be pointed out the role of post processing. Based on the SOOC images that have been posted, some images receive a light touch and some have been heavily worked, including composite work to add elements.
There's no question that the 200 f2 is a gorgeous lens and I'd love to own it. However, it's almost 10 times as expensive as the 200 2.8. I'd have to shoot wide open all the time to justify the difference. Yes IS is nice but there are ways to compensate when doing portraits. With some careful planning and technique, I think you could come darn close to the look of the f2.0 with the f2.8. The 135mm f2 is also a wonderful lens.
p.3 #16 · Desert Portraits {a little bit of everything}
These are stunning pictures. Not only the models are beautiful, but the pictures are fabulous. I love the miniatures effect with the kids which makes them look like fairies. Great inspiration!
p.3 #18 · Desert Portraits {a little bit of everything}
MVestergaard wrote:
I'm thinking the same as Chuck.
Lise, you're one of the top photographers - no doubt!
You really have beautiful colors, depth and ultra sweet children images.
That being said, I also think that it's the same "desert", same colors, that "one street" and so on.
Actually I thought it was awesome that you started doing some city photography. Just to mix it up.
But images are spot on - no doubt.
I've had the same thoughts recently. Lisa...your work is consistently excellent. There's no doubt about that. And every image you post here is an image that either your client or you (for shots of your family) will no doubt cherish forever...and that's the most important part.
However, I have noticed you do tend to get in a rut when you find a good location. The photos are still excellent, but there's a whole lot of the same. There was one point last year where you showed (I believe) senior portraits and you basically took the same shot of about 4-5 different people on the same road with the same fall leaves blurred behind them. The shots were gorgeous, but they were all the same. It's the same with the desert pregnancy photos. I think I've seen 10 different pregnancy shoots on the same rocks at the same time of day with similar poses and similar outfits. There seem to be about 15 different photos that you take over and over and over again. "Child holding flowers' 'girl standing in front of blurred serpentine roadway' 'close portrait with fiery leaves surrounding their head', etc.
As I said, I'm sure that the clients LOVE them, and they are truly expertly created photographs. Every one on its own is a work of art, and for your business, that's what ultimately counts. People come to you to get these iconic photos taken with them or their children in them. However, it is also the reason why people here often will have similar comments (as you remark on the first page)....there is a lot of repetition as well.
I have to say that your recent Facebook posts about only wanting positive comments also rub me the wrong way. I follow you on Facebook because I admire your photographs (which is why I've seen so many of them), but the 'don't criticize my photos' posts do bother me a bit. You seem to only want people to love you, love you, love you, and if they don't, then it's banished forever. I understand if you have incredibly rude or distasteful comments, that those should be moderated on a business page, but publicly saying 'don't say anything negative' reminds me of a lesser version of those photographers who are suing people for leaving bad reviews on Yelp.
Anyway, despite some of the repetition on several of these images, there are some true gems as well. I simply love images 4 and 5.
p.3 #19 · Desert Portraits {a little bit of everything}
My Facebook page is for client sneak peeks, so YES, I only want positive comments there - I'm sure you can understand that. There is no place for constructive criticism or downright rudeness on a client's sneak peek. My clients read the comments on their images and do not need to see someone telling me how I could have improved the photo. There is a time and a place, and that is not the time NOR the place. I'm trying to sell images there, not improve my photography or listen to someone's view on gun control.
Also - these images are from a WORKSHOP that I taught with a friend. The VALLEY OF FIRE workshop. So yes, naturally, they are images that were taken in the Valley of Fire. While it may be par for the course for me, people in other areas of the country LOVE the landscape we have out here and flew in from all over the country (and out of the country) to be able to shoot there and learn in the process.
Additionally, when I start posting sessions from a certain location, and other people see and LIKE said locations, they are specifically requested by new clients. I'm in this to make money - not make other photographers happy. If someone wants the Valley of Fire and is willing to pay me to drive out there, they get the Valley of Fire. I do what works for me, and take images that are true to my style. My clients see my website and expect that their session will follow suit with the same style of shooting, editing, and artistic vision. If someone hired me and I suddenly whipped up a bunch of moody black and white FPJ stuff, they would not be happy because this is not what is represented on my website or Facebook page.
If you guys are bored of my images and think I lack creativity, that is perfectly fine. Everyone is entitled to their opinion. It is always an option not to look. You know what to expect from me by now, so why do people keep feeling the need to harp on me about it? I enjoy what I do, have a well defined style that has taken me years to develop, and make a good living doing what I love. It's all good.
On a related note - those who think all I do is the same old thing over and over again - did you completely miss the night images I took in downtown Vegas? I've NEVER done anything like that before. So I guess I don't get credit for stepping outside the box there, huh?
p.3 #20 · Desert Portraits {a little bit of everything}
I understand, and I also understand that your clients request similar images. I'm not trying to be harsh, and I love the landscape out there as well. One thing: the people (such as me) who make comments about the repetition obviously like your work. If we didn't, we wouldn't have viewed enough of your images to notice.
I don't think anyone is saying to change your style (If I produced portraits as good as yours, I sure as heck know I wouldn't change my style). And I know you're not going to change what your clients want as far as locations go...but do understand why the comments are out there. And when you share all these images with us (which I, for one, appreciate), do also realize that we've seen a lot of what you've done before.
Have fun!