Photography

What's the advantage of getting an external flash?

15-Year Portrait Photographer Reveals Why She Avoids Flash

Claire Olliver, portrait photographer here guys. This is a great question, what's the advantage of getting an external flash? I've seen some amazing portrait work done over the years with flash photography but for my career of 15 years I have never used a flash and I have used prime lenses, cameras that work really well for me in low light level and so I have avoided using flash because I find if I'm not searching for the great beautiful clean light I'm not working hard enough. So for me when I was taught years and years and years ago that flash is something you turn to when you haven't actually mastered light. Now in this day and age I would say that answers wrong because there are some amazing flash techniques out there but as the main source of light for a portrait I would say there is no advantage in my work for flash to be used.

For portrait photography, I do not use flash because I prefer to find great light without relying on it. However, there are some amazing flash techniques that can be used to create beautiful portraits as the main source of light.

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As a portrait photographer with 15 years of experience, I've never used an external flash in my career. I prefer using prime lenses and cameras that excel in low light conditions. I believe that if I'm not actively seeking out and working with beautiful natural light, I'm not putting in enough effort. In my early years, I was taught that using a flash is a fallback option when one hasn't mastered light. While there are impressive flash techniques available today, I personally don't find any advantage in using flash as the primary light source for portraits in my work.

Which is better? telescopic lens? or a set lens? 

The debate: telescopic lenses vs set lenses, which is better?

Which is better, telescopic lenses or set lenses? Well, they all have different things, so it's not a matter of which is better, it's what you prefer using. People love the security of a telescopic lens, being able to move in and out quickly. Look, I use my feet. I shoot primarily prime lenses, which is what you're calling set lenses. My 24-70mm telescopic lens is always in my kit. And when I arrive on a job where I have no control of the surroundings or what's happening, I'll get that out first and get my key images. You know, that security of being able to move in and out and around. Once I've got those establishing shots, I will move to my 85mm because that's where my creativity comes in. I'm able to use shallow depths of field. It's lighter. I have taken all my equipment to the physio before and all the telephoto lenses are a lot heavier, especially my 70-200mm. I dropped using a 70-200mm a good 10 years ago. It was just so heavy and the physio said, look, you can't physically use this for more than three or four hours. And I was shooting eight and 10 hour weddings. So my 85mm 1.2 at the moment is my absolute favorite lens and is used honestly 85-90% of the time.

Telescopic lenses offer quick and secure movement, while set lenses (primes) are lightweight, allowing for creativity with shallow depth of field. It depends on what you prefer using and the situation you are in.

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Telescopic lenses and set lenses each have their own advantages, so it's not about which one is better, but rather about personal preference. Many photographers appreciate the convenience of telescopic lenses, allowing for quick adjustments and versatility. Personally, I primarily use prime lenses, which are what you're referring to as set lenses. However, I always have my 24-70mm telescopic lens in my kit for situations where I have limited control over the surroundings or need to capture key images rapidly. The ability to zoom in and out provides a sense of security. Once I've obtained those initial shots, I often switch to my 85mm prime lens for creative purposes. It offers shallow depths of field and is lighter than telephoto lenses like the 70-200mm, which I stopped using due to its weight causing physical strain during long shoots. Currently, my absolute favorite lens is the 85mm 1.2, and I use it for around 85-90% of my photography work.

What strategies do you use to stay within budget on a photography project?

Photographer reveals key strategies to stay on budget

Claire Oliver, photographer here. What strategies do I use to stay within budget on a photography project? Guys, before I embark on any shoot with a client I have full communication of what's expected of me including timeline, travel, that means locations, everything is organized beforehand and I have a safety net as well for weather and backup plans for different dates etc. So to stay on budget it just comes down to a bunch of planning beforehand, knowing how many images are going to be taken. That then tells me my post-production time, knowing the depth of Photoshop they're going to need, also time. So post-production is massive, shooting on a day you know usually it's usually half day or full day you're shooting on the commercial work and that's all well and good but you could have half a day with a quarter of a day retouching on a job or you could have half a day with days of retouching. So that's where you have to make sure your client has given you the full idea of what they want at the end so that you can stay on time and on schedule and then make some good money out of that job.

To stay within budget on a photography project, it is important to plan ahead and communicate with the client to understand their expectations. This includes establishing the timeline, the number of images needed, the post-production time required, etc. Being aware of this before beginning the project will help ensure that you are able to complete the job on time and make a profit.

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As a photographer, I use several strategies to stay within budget on a photography project. Firstly, I ensure clear communication with the client regarding their expectations, including timelines, travel requirements, and location details. This allows for thorough organization and also provides a safety net for potential weather-related issues or the need for backup plans and alternate dates. To stay on budget, meticulous planning is key. Knowing the number of images to be captured helps determine post-production time requirements, such as the level of Photoshop editing needed. Post-production is a significant aspect that can vary greatly depending on the desired outcome. Additionally, understanding the shooting duration (whether half or full day) is essential, but it's crucial to consider that post-production can range from a few hours to several days. Therefore, it's vital for the client to provide a clear vision of their desired final result, allowing me to manage time effectively and ensure profitability while staying on schedule.

How do you use depth of field to enhance your compositions?

Master the Art of Depth of Field in Photography

Hi guys, Claire Oliver, photographer here. I love this question. How do you use depth of field to enhance your compositions? Well guys, I'm a portrait photographer, so I am making sure I have eyes and hands sharp in images and I don't want anything else to be a distraction. So I use depth of field to point the viewer to what I want them to see in my composition. So I would be using prime lenses mainly. I have my 50 mil on today and I would usually shoot around f1.2, f1.4, f1.8 and I really just want that eye sharp and that's how depth of field is enhancing my image. The eye sharp, everything else is soft. The skin soft, the tip of the nose is soft, the ear soft, it's just that eye and then my viewer can really hone in and the eye, you know, that is the passageway to the soul and if you've got depth of field working well for you in a portrait, it can be a magical thing.

As a portrait photographer, I use depth of field to point the viewer to what I want them to see in my composition. I use prime lenses and shoot around F 1.2 - 1.8 to get eyes sharp and everything else soft. This helps the viewer focus on the subject's face and allows for a more intimate connection with the subject.

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As a portrait photographer, I utilize depth of field to enhance my compositions. I want to ensure that the eyes and hands are sharp in my images while minimizing distractions. By using depth of field, I guide the viewer's focus to what I want them to see in the composition. Primarily, I work with prime lenses, such as my 50mm lens, and shoot at wider apertures like f1.2, f1.4, or f1.8. This allows me to achieve a sharp eye while keeping other elements soft, such as the skin, tip of the nose, or ears. The eye is a powerful focal point as it connects with viewers and can convey emotions and meaning. When depth of field works effectively in a portrait, it creates a magical impact.

How do you approach the challenge of representing and interpreting complex or controversial subjects in your work?

Capturing Complex Subjects: A Photographer's Intuitive Approach

Great question. How do you approach the challenge of representing and interpreting complex or controversial subjects in your work? Now, being a portrait photographer, I'm photographing people who might not want their photograph taken, who are a bit nervous in front of the camera. In a few weeks time, I'll be traveling through Ethiopia and I'll be photographing through villages. Look, you have to have a sensitive intuition when it comes to photographing portraits. If you go in there, guns blazing, shooting away, your subject will be shocked and frazzled. So I definitely don't bring the camera out straight away on a shoot like that. Probably if you've got an hour with a subject, I would use at least a third, if not two-thirds of that, to communicate, break down that barrier and help get closer to what the subject wants or needs or how they're feeling in front of the camera. And then take your camera and get a couple of shots right at the very end and you'll find they've warmed up to you, there's an understanding, there's a communication. And I think that sensitivity will really help get an amazing image.

To represent and interpret complex or controversial subjects in photography, a photographer needs to have a sensitive intuition and break down the barrier between them and their subject. Spend time communicating and building a relationship with your subject before taking any photographs so they are more comfortable and willing to be photographed.

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When it comes to representing and interpreting complex or controversial subjects in my work as a portrait photographer, I approach it with sensitivity and intuition. When photographing people who may not be comfortable or willing to have their picture taken, such as in villages during my travels through Ethiopia, I understand the importance of building trust and rapport. Instead of immediately bringing out the camera and shooting away, I prioritize communication and connection. If I have an hour with a subject, I would spend a significant portion of that time engaging with them, breaking down any barriers, and understanding their wants, needs, or feelings in front of the camera. Only towards the end of the shoot would I then take out my camera to capture a few shots. By establishing that understanding and fostering a sense of warmth and communication, it allows for the potential to create truly remarkable images.

How do different file formats (e.g. RAW, JPEG) affect the final image and post-processing options?

Unleash the Power of RAW: The Key to Ultimate Post-Processing Freedom

How do different file formats for example raw and JPEG affect the final image and post-processing options? Shooting raw you are capturing Everything all the detail that the massive size files and then afterwards in post-production you choose where you flick that file off to So shooting in raw Means you have the opportunity to do whatever you want with that file and I would a hundred percent Always recommend shooting in raw. It's imperative You don't want to take an image in JPEG or low-res JPEG and suddenly it's one of your best and you can't blow it up for the wall nice and big and sell it and present it so shoot in raw and then what you do is in bridge or Photoshop or Lightroom or Capture One whatever you're using and You flick it off to high-res JPEG, high-res TIFF, medium-res JPEG, social media might be low-res and You know send it you then have control Afterwards after you've taken the image, but if you've shot it too small Then you've stuffed it so always shoot raw for sure Sorry that was lame it rhymed

Shooting in raw is best for getting the most control and detail out of an image. It also allows you to resize and export images in different formats, like JPEG, for different uses such as social media.

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Different file formats, such as RAW and JPEG, have an impact on the final image and post-processing options. When shooting in RAW, you capture all the detail in a large file size. This provides flexibility during post-production to make various adjustments to the image. It is highly recommended to shoot in RAW because it allows you to have complete control over the file. On the other hand, capturing an image in JPEG or low-resolution JPEG limits your ability to make significant changes or enlarge the image for printing or presentation purposes. Shooting in RAW ensures that you have the highest quality and flexibility for editing. After capturing the image, you can then convert and save it in different formats like high-resolution JPEG, high-resolution TIFF, medium-resolution JPEG, or low-resolution for social media purposes. Shooting in RAW gives you the freedom to decide how to process and use your images effectively.

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Clare Oliver is an experienced photographer passionate about capturing meaningful stories. She has traveled the world photographing people in all walks of life, from personal branding to weddings. Clare loves animals, has a knack for capturing children, and often cries behind the lens on wedding days. Her favorite photographers include David Oliver, Elliot Erwitt, Nick Brandt, Eve Arnold, Jeff Carter, and Richard Avedon. In her free time, she enjoys Hugh Jackman movies, blue, champagne, and cherishing moments with her husband, son, and dog.