American David LaChapelle is known both in the fashion world and in show business. He is one of the most famous glossy photographers of our time, included by the American Photo Association in the top 10 most important people in photography. He is the author of famous video clips for a huge number of musicians of the first magnitude, from Moby, for whose video Christina Ricci turned into an angel, to Christina Aguilera, who was terribly criticized for the video sequence on the verge of a foul to the song Dirrty.
All the famous glossy magazines of the world resorted to the services of an extraordinary photographer. As a director, Lachapelle worked with Elton John, Meraya Carey, Jennifer Lopez, Florence Welch, Robbie Williams and other musicians, receiving awards for the video many times. The National Portrait Gallery in London acquired his work, in which designer Alexander McQueen and his muse Isabella Blow pose. Continue reading
Ultraviolet photography is a genre that photographers use relatively little, despite the fact that the pictures are exciting and extraordinary. Why is this happening? We dare to assume that simply photographers unfamiliar with the intricacies of the process are scared in advance of the difficulties and the need for additional investments in equipment for ultraviolet photography. But in vain! Canadian macro photographer © Don Komarechka not only studies UV photography for himself, but also enthusiastically shares his knowledge with everyone who is interested.
Most UV photography revolves around a world that we usually don’t notice because of its routine. Trying to look at simple objects through an “invisible prism” helps to get beautiful images – new and unusually entertaining with their outlandishness. Using UV light that is out of the range of human perception is a great way to start research and enter the world of ultraviolet photography. Continue reading
Take some pictures
At their seminars, I always advise students to follow the rule of “peeling onions in layers.” This method is not only about photographing flowers. I rarely take just one photograph of a flower and only from one angle.
You can distract yourself and start shooting other flowers or objects that attract, but then you need to come back again and look at the flower from all sides with a fresh look, and then again and again, as if removing layer by layer from your vision, peering every time in more and more detail. I took this approach from my many years of experience when I discovered that the more you examine the subject, the more you can discover it for yourself. Continue reading