The double exposure merges two photos into one, but the technique can bring more than just images together, creating a blend of ideas, perspectives, or concepts. This week, we’re featuring five stunning double exposure images as Photos of the Week. Find inspiration in these shots by Cat Ekkelboom-White, Lucy Schultz, Lindie Wilton, Kristen Hazelton, and Will Khoury.

Cat Ekkelboom-White, Wild Connections Photography

Cat Ekkelboom-White of Wild Connections Photography had just taken this couple’s photographs as they said their vows at sunrise when she decided to try a double exposure as the two were taking in the view. Ekkelboom-White explained that she shot this double exposure in camera using her Fujifilm X-T5 and  XF 16-55mm f2.8 lens.

“Just play around and have fun with double exposures,” she suggests. “Sometimes they work, sometimes they don’t. Practice exposing and testing what makes the best compositions. Make sure you test your settings before going into the shoot, and give yourself time to be creative. Explain to your clients that you want to try something, and that sometimes it can take a few attempts, so you’ll need them to be patient. Most clients are more than happy (unless they are on a tight timeline) and love seeing the results.”

Lucy Schultz, Lucy Schultz Photography

Lucy Schultz of Lucy Schultz Photography was inspired to take a silhouette during Ruth and Ryan’s elopement. But, she wanted to include the California Redwoods they were surrounded by in the shot as well. To do so, after taking the first silhouette exposure, she turned the camera upside down and used the in-camera double exposure mode and live view to properly align the second shot of the tree with the first. She captured the shot with the Canon R6 and Canon 70-200mm f2.8 lens.

“Double exposures are a great way to play,” she said. “My advice is to start with a silhouette photo early in your session, and go back to it later when your creativity is flowing. Use live view to see where your second image will line up and bleed through the first image’s dark areas.”

Lindie Wilton

For photographer Lindie Wilton, double exposure is a tool that allowed her to create an image representing the interconnectedness with nature that all people share. She used Adobe Photoshop to blend the two separate exposures together in post.

“Experiment extensively,” she suggests. “Begin with an image that features striking contrasts between shadows and highlights. Delve into images or scenes with diverse textures, and don’t hesitate to adjust your overlay settings during post-production.”

Kristen Hazelton, Kristen Hazelton Photography

During this senior session, Kristen Hazelton of Kristen Hazelton Photography wanted to create an image that represented her client’s time in Chicago, with a feeling of both looking back at the past and forward to the future. That inspired this double exposure, captured on a windy day in the windy city and merged later in Photoshop. Hazelton captured the image with the Nikon Z5 and Nikkor 24-70mm f2.8 lens.

“My advice with double exposures is just to give it a try – if you don’t like it, delete it,” she said. “I was talking with fellow photographers Laurel Smith and Abbie Christine about how to boost the creativity in my work and decided to try something out of my norm at each session, starting with double exposures. For this image, I looked at tutorials for how to make double exposures in Photoshop to get an idea of how to achieve the look I wanted.”

Will Khoury, Will Khoury Photography

To blend two different perspectives from this wedding, Will Khoury of Will Khoury Photography used a double exposure, taken with two different cameras and two different lenses. The photographer explained that, while he’s done in-camera double exposures previously, for this shot, he wanted to mix the wide-angle silhouette with a telephoto shot that would effectively make the moon appear larger. The resulting image mixes the couple’s intimacy with a sense of place, while giving a surreal look to the moon that looks as if it’s part of the wide shot. He used the Canon R6 with a 35mm lens and the Canon R5 with a 70-200mm lens and Photoshop for this image.

“Approach double exposures with intention, but don’t hesitate to experiment. Play with different image combinations in Photoshop to see how they interact—this practice will guide you in capturing the right photos out in the field. Sometimes, the final edit may surprise you by taking on a look you hadn’t expected, and that’s what makes it art: creating something unique from each moment.”

Dig into our Photos of the Day Archives for even more timeless photos, eye-catching portraits and wedding photos. Submit your wedding, editorial, documentary and other interesting imagery (up to five images at a time) to: arlene.evans@emeraldx.com.

The post Photos of the Week January 6: Double Exposure appeared first on Rangefinder.

Capturing individual portraits on the wedding day highlights the bride and groom’s personalities separately. Groom portraits should showcase his sense of style and emotions on the wedding day. This week, we asked five photographers to share advice on capturing groom portraits. Find inspiration in this week’s Photos of the Week by Ionut Lucian Ianos, Xiaoqi Li, Matthew Sowa, Samantha Turner, and Katarina Tati.

Ionut Lucian Ianos, Lens Stories

During the wedding day preparations, this groom asked photographer Ionut Lucian Ianos of Lens Stories if he could get a picture with a cigar from a special box bought just for the occasion. As the preparations were finishing up and everyone was preparing to leave for the ceremony, Ianos spotted the patterned light coming through the curtains and immediately knew that was the spot for the groom’s requested cigar portrait. Ianos took the shot with the Nikon Z6 II and 58mm f1.4 lens.

“…just like any other portrait, be aware of the light and the surroundings,” Ianos said.

Xiaoqi Li, Xiaoqi Li Photography

For this groom portrait, Xiaoqi Li of Xiaoqi Li Photography was inspired both by the groom’s sense of style and the beauty of Positano. She noted that the groom took pride in how he dressed and wanted to lean into a “cool” vibe. She took the shot with the Canon EOS R5 and an RF 50mm f1.2 lens.

“Hype up grooms just as much as brides,” Li said. “Positive feedback makes all the difference in making them feel confident, and that will show in their portraits.” 

Matthew Sowa, Matthew Sowa Photography

Photographer Matthew Sowa of Matthew Sowa Photography wanted to use the open barn to create a simple backdrop to frame both grooms during this wedding. The composition also created dramatic yet different light across both grooms, while the dog was an unexpected but welcome element in the photograph. Sowa captured the shot with the Nikon Z6 and a 24-70mm f2.8 lens.

“Unlike the bride, when I photograph the groom I often utilize dramatic lighting and shadows to enhance the scene,” Sowa said. “This approach is essential for conveying the confidence of the men, as the moody lighting plays a significant role in the [image] overall.”

Samantha Turner, Samantha Turner Photography

To take a break from urban photography and polish her skills, Samantha Turner of Samantha Turner Photography attended a workshop at Euridge Manor in the UK, organized by Elira Workshops. The change in settings inspired her to capture this portrait with model Taurean and attire by Andréa Kọsta. She captured the shot with her Nikon and a 50mm f1.8 S lens.

“I recommend solo shooting time away from all the chaos,” she said. “Try to engage in relaxed conversation, maybe take the conversation off topic to try and break any nerves.” 

Katarina Tati, Katarina Tati Weddings

For this portrait, Katarina Tati of Katarina Tati Weddings was inspired by the groom himself. To create more dramatic lighting, she closed the room’s curtains a bit for more depth. She took the shot with the Canon R6 and Sigma Art 35mm lens.

“Take your time to get to know the groom, create a relaxed atmosphere and take photos that match groom’s character and his style,” she said.

Dig into our Photos of the Day Archives for even more timeless photos, eye-catching portraits and wedding photos. Submit your wedding, editorial, documentary and other interesting imagery (up to five images at a time) to: arlene.evans@emeraldx.com.

The post Photos of the Week November 18: Groom Portraits appeared first on Rangefinder.

While many predicted that the digital camera would mark the end of film photography, the traditional method has endured. For many photographers, the unique qualities of film provide a feel that’s impossible to replicate with digital cameras. Others have found that learning film for the first time has brought joy and discovery back into their work. This week, we’re featuring film wedding photography—and tips on getting started with film—from five photographers. Find inspiration and advice from Mikalynn Amos, Zoey Sunghera, Steph Large, Gabrielle Maurer and Francesca Carpinelli.

Mikalynn Amos, Venturing Vows

Photographer Mikalynn Amos of Venturing Vows has incorporated 35mm film into her elopement photography for the last three years, alongside her digital work. “I was unsure if film was worth it when I could edit my images for a film look if I really wanted,” she said. “When I started my film journey though, it was as though I was being introduced to photography all over again. As many professional photographers have come to know, there’s something special about getting to revisit the craft through the joy and excitement of a beginner. If you have similar hesitations that I had, know that there really is something special about film.”

For this image, she wanted to capture a quiet moment between the couple with the layering of mountains in the background. She captured the shot using a Canon Elan II with a Canon EF 35mm f/2 lens and Superia film.

“Start with a point and shoot film camera,” Amos advises. “I think a lot of new film photographers are drawn to the cool looking, more vintage cameras. These cameras are generally more expensive and far harder to learn with. For a more manual experience, my most used camera is a newer, 90s film camera that’s compatible with my old DSLR lenses. The interface of the newer film cameras are a lot like DSLR cameras for less of a learning curve. It’s been more natural to incorporate that camera into my wedding sessions than my older ones that have manual focus, older light meters, etc.” 

Zoey Sunghera, ZoeyLynn Photography

For this shot, photographer Zoey Sunghera of ZoeyLynn Photography used her grandfather’s Minolta SRT 202 with a 50mm lens to create a keepsake for the couple. Inspired by the golden Oregon sun, she wanted to create a film portrait that felt both timeless yet nostalgic.

“I am no expert in film wedding photography, but I do think understanding that trial and error is where the magic happens,” she said. “Start out shooting film for fun and get creative! There are no limits!”

Steph Large, Stephanie Dreams Photography

Steph Large of Stephanie Dreams Photography captured this shot after helping to organize the shoot at Folkstone in the UK. She was inspired by the colorful streets and how they brought out the details in the groom. She captured this film wedding photograph with the Canon AV-1 and Kodak Gold film.

“Literally just practice and try,” she suggests. “I always have my film camera on me at weddings, to practice in different venues & with different lighting. It’s helped me build up a great portfolio to showcase to possible film clients.”

Gabrielle Maurer, petites.images

This groom, from Toronto, and this bride, from Ireland, founded a group The Faces of Advocacy to reunite couples and families impacted by border restrictions during the pandemic after the bride was turned away at the border in the spring of 2020. When Gabrielle Maurer of petites.images was tasked with capturing their wedding, she knew the couple’s story would be a key source of inspiration. She created this diptych of two separate portraits to represent fighting their way back together after being forced apart. She used a Contax G2 camera with a Contax Carl Zeiss Planar 45mm f/2 T lens and Cinestill 800T film, later converted to black and white.
 
“Do it for the love of the craft & for yourself first, not because it seems to be back in style,” she said. “Shooting film wedding photography is an art form in itself, and like any other craft it requires tremendous investments in terms of time, resources and dedication – especially with today’s inherent costs associated with it. At the end of the day, it’s about figuring out your voice, your workflow and the medium that works best for you. Whether it’s film or digital, I would say – be patient with yourself, shoot every day, find your voice through personal work, lean onto your instincts, be curious, be bold, don’t limit your inspiration sources, don’t underestimate the value of community, be willing to learn and make mistakes. Trials, errors, risks – on repeat. It’s true for film but I think it applies to anything else really. And more specifically for photographers used to shoot digital but new to film – learn the inside & out of this new world and understand how it differs from your comfort zone as a digital photographer. Know the strengths and weaknesses of your different tools (gear, film stocks, processing, etc.) and shoot with this in mind! Shooting film is unforgiving and in a way, it helps appreciate and honors what you have on hand.”

Francesca Carpinelli, Francesca Carpinelli Photographer

While preparing for this wedding in a majestic venue, Francesca Carpinelli of Francesca Carpinelli Photographer, knew she didn’t want the beautiful location to overpower the story of the couple’s day. For this shot, she saw the moment unfolding and captured a moment that represented their real story. She used a Hasselblad 503 CX with Fujifilm Pro 400H 120mm film.
 
“Go shoot some film,” she says. “It doesn’t really matter with what camera, or what film, just go and do it, go back to basics, question everything you know about exposure and composition and be open to learning and also messing up. It will change your way of understanding light, dimensions, layers of information in an image and will make you a smoother digital photographer as well.”

Dig into our Photos of the Day Archives for even more timeless photos, eye-catching portraits and wedding photos. Submit your wedding, editorial, documentary and other interesting imagery (up to five images at a time) to: arlene.evans@emeraldx.com.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters courses below. Use the code RF25 at checkout to redeem. This code cannot be used in combination with other sales.

The post Photos of the Week November 11: Film Wedding Photography appeared first on Rangefinder.

The dance of the Aurora often inspires photos of the phenomenon, but mixing night sky photography techniques that typically require a slower shutter speed and manual focus with portraits is no easy task. This week, we asked four photographers how they captured these stunning northern lights portraits of the bride and groom. Find inspiration—and northern lights portrait tips—from this week’s Photos of the Week by Andrew Pavlidis, Henry Tieu, Hayley Forstved and Thomas Garchinski, and Tori Burley.

Andrew Pavlidis, Willow and Wolf Photography

Alberta-based Andrew Pavlidis of Willow and Wolf Photography is familiar with the northern lights, which often appear as a faint glow on the horizon. However, during one couple’s elopement, a major solar storm coincided with a mostly clear sky. Pavlidis explains that, on their drive back from a helicopter elopement, they saw the lights from the car window. They pulled over to capture the shot, with the full moon providing enough light to keep the couple and the mountains from appearing as silhouettes. Pavlidis used a Canon R5 Mark II, an RF 28-70mm f/2 L USM lens, and a tripod.

“When photographing the northern lights, greater attention is given to the sky,” Pavlidis said. “It’s important to find somewhere to shoot that is away from any light pollution e.g. city lights, streetlights, buildings etc. The darker the landscape, the more vivid the northern lights will be in your images. Where can you go that has enough open space so that you can get a lot of sky in your images? If you are photographing a subject in your image, how can you position them above you or shoot from below, so they don’t get lost in the foreground? Or you may want to consider lighting them, so they stand out. Unlike photographing the stars, you can get away with shutter speeds as low as a few seconds as the sky is much brighter. This is also essential to capture the bands of light.”

Henry Tieu, Henry Tieu Photography

During this elopement, the last thing Henry Tieu of Henry Tieu Photography expected on a day that started out cloudy was to end the night with shots on the northern lights. While Tieu was photographing the couple during Blue Hour, he noticed a faint pink hue on the horizon. He asked the couple if they wanted to take a chance and wait for complete darkness, which would mean arriving late to the reception. The couple readily said yes and as the sky darkened, that faint pink hue become a stronger aurora glow. Tieu incorporated the couple’s headlamps from their earlier hike, using a Sony a7 IV and a Sony G Master 24mm f/1.4 lens.

“There’s a balance between long exposure and client experience,” Tieu said. “To get the best light, of course a longer exposure would be the best approach. However, as the night gets colder and colder and our clients would be in wedding attire, we want to make sure they can handle the cold as well. Therefore, to get a sharp image without motion blur, I’d advise photographers to keep shutter speed within 4 – 8 seconds and rely on ISO and aperture to get a proper exposure. This image was at 6 second shutter speed.”

Hayley Forstved and Thomas Garchinski, Film and Forest Photography

Capturing the northern lights over the Rocky Mountains is a rare opportunity. When a solar storm hit during a couple’s August elopement, photographers Haley Forstved and Thomas Garchinski of Film and Forest Photography jumped at the opportunity. After sunset vows, the team decided to stay overnight in an alpine hut in Banff National Park, hoping for aurora activity. As the lights began to dance, they ventured back outside, turning the elopement into a 16-hour session that ended at sunrise. They used a Canon R5, an RF 15-35mm lens, and a Manfrotto tripod.

“There’s so much to know when capturing aurora, but the biggest thing to know is that it’s different from starry sky photography,” Forstved said. “You’ve got more light in the sky, and more movement (especially with strong, dancing aurora) so you’ll want a lower shutter speed than if you were simply photographing the Milky Way – or else the pattern of the aurora themselves will be blurred out! The trickiest thing about this photo was finding the sweet spot between letting enough light in to light our bride and groom, while not blurring the auroras.”

Tori Burley, Trillium and Pine

For photographer Tori Burley of Trillium and Pine, taking portraits under the northern lights combines her two passions for photographing people and the night sky. The goal for this elopement was to document the couple’s adventurous souls, Burley says. After a first look at sunrise, the photographer and couple spent the day hiking and chasing waterfalls in Michigan’s Upper Peninsula. Following sunset photos on the beach, the group waited for darkness, hoping the predicted solar storm would deliver a light show. “I don’t think we could’ve enveloped more of a Michigan UP experience into a single day if I tried,” Burley said.

Dust from a day of hiking added even more pop to the image with bokeh. She captured the shot using a Sony a7 III, a Sigma 24-70mm f/2.8 Art lens, a tripod, and a Lume Cube light panel.

Five Tips for Northern Lights Portraits from Tori Burley:

1. Learn and practice using your camera in the dark beforehand. Photograph the moon, the Milky Way, or stars to get comfortable with night settings.
2. Remove your lens filters. Newton’s Rings are a real bummer, I promise.
3. Prevent your lens from fogging. If it’s cold and you don’t have a lens warmer, use hand warmers and a hair tie as a makeshift solution.
4. Scout your locations during the daylight. Make sure you have a comfy spot there, be prepared to wait and let someone know where you’ll be.
5. Adjust your settings as needed. It doesn’t matter what they say your settings “should be,” it’ll always be different. I always start with shutter speed at 15 seconds, aperture as wide as my lens allows, and ISO 1000. Manually focus on the brightest star and adjust from there. For this shot, settings were 3.2 seconds, f/2.8, and ISO 2000.

Dig into our Photos of the Day Archives for even more timeless photos, eye-catching portraits and wedding photos. Submit your wedding, editorial, documentary and other interesting imagery (up to five images at a time) to: moneer.masih-tehrani@emeraldx.com.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters courses below. Use the code RF25 at checkout to redeem. This code cannot be used in combination with other sales.

The post Photos of the Week November 4: Northern Lights Portraits appeared first on Rangefinder.

Meg Loeks, Meg Loeks Photography

For Meg Loeks of Meg Loeks Photography, her work often centers on the real-life moments that unfold in her family. Portraits carving pumpkins is an annual tradition for her, but this year, she wanted to do a bit more of a comical take. Inspired by her daughter’s antics and attempts to sneak candy, she set up this scene, exaggerating the amount of “stolen” candy. She took the shot with the Canon R5 and Sigma 50mm f1.4 Art lens, lighting the scene with a Profoto B10 Plus, B10 and two A2s with umbrellas, diffusers and softboxes. A Tiffen Black Pro Mist Filter also helped contribute to the softer, painterly look to the final image.

“The holidays are a great time to experiment with new concepts,” she says. “If I’m trying something new, for example, a new lighting setup, I often like to have an experimental day where I set things up and play prior to the actual shoot. This allows me to freely make mistakes and make alterations without being rushed. This is especially important when my children are in the frame with me because I only have a short window of time to get the shot. On the day of the shoot, I have everything ready to go.”

Tyler Clement, Clement Portraits

This self portrait by Tyler Clement of Clement Portraits was part of a one-year challenge to create a new self-portrait every month. The photographer explains that he wanted to create a photograph that visualized the feeling of being an outsider in an image of being abducted by aliens. He used the Nikon D780 and a Nikon 50mm f1.8 lens, with two Godox AD400 lights–the main with a green gel and strip box and the fill with a parabolic umbrella. He photographed the objects mid-air, then composited them into the shot, using Photoshop to remove the stool to create the look of levitation.

“Give yourself permission to think outside the box,” Clement says. “Halloween is all about stepping into characters and personas, so don’t be afraid to get creative and push boundaries. Play with dramatic lighting, unusual angles, and bold concepts.”

Mariah Arianna Wall, Mariah Arianna Photography

For this shot, Mariah Arianna Wall of Mariah Arianna Photography wanted to blend the aesthetic of ghoulish lovers with the desolate mood of the mountains in late fall. She used a Canon 5D Mark IV and a 24-70mm f2.8 for this shot, using the lanterns and a hiking headlamp as fill light.

“Get weird! Halloween is one of the few days of the year where adults get to believe in magic again and indulge in fantasy worlds,” she says. “Lean into your creativity and take risks with your Halloween photography. Use it as an excuse to try that new technique, or a different editing style, or just take a break from your usual content.”

Floriana Mantovani

Floriana Mantovani (@floriana.mantovani) says that Halloween is one of her favorite holidays, so she celebrates by creating a new image every year. She captured this double exposure using a Polaroid Automatic 340.

“The things that scare us are often all around us, even if we do not immediately notice them,” Mantovani says. “Just as horror movies exploit the ordinary to create creepiness, we too can carefully observe our surroundings and imagine them in a frightening context. This will help us find the perfect subject. Once we have identified the protagonist of our photo, we can experiment with dramatic lighting cuts, extreme framing and unusual exposure times. This mix of techniques will not only help us discover our personal style but will open up new ways to interpret and transform our subjects in original and frightening ways.”

Dig into our Photos of the Day Archives for even more timeless photos, eye-catching portraits and wedding photos. Submit your wedding, editorial, documentary and other interesting imagery (up to five images at a time) to: hillary.grigonis@emeraldx.com.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters courses below. Use the code RF25 at checkout to redeem. This code cannot be used in combination with other sales.

The post Photos of the Week October 28: Remarkable Halloween Photography appeared first on Rangefinder.

Fireworks aren’t just for the Fourth of July! You’ll find them regularly at theme parks, sporting events, and maybe more surprisingly, at weddings. For the latter, fireworks offer photographers a wonderful opportunity to capture epic couples portraits with a truly unique backdrop. Of course, if you’re not familiar with how to photograph fireworks, there are some basic tips you’ll want to keep in mind, all on top of what it already takes to create incredible couples portraits. In this article, we’ve put together a list of tips and ideas for how to capture fireworks during a couples session in a way that will give your photos all the flash and excitement of a grand finale.

All of the images in this article are provided by the photographers at Wedding Maps and used with their permission.

How to Photograph Fireworks for Couples Portraits

If you consider how long, or rather how short the window of time is for photographing fireworks (typically 5-8 minutes, if not shorter), you can see that you’ll have to work efficiently to get set up and capture your portraits. The best way to make it happen is to plan ahead and know exactly where you need to be and what you need to do when the time comes. To make sure you’re ready, follow these tips.

Find the Best Location

If you’re photographing a wedding that includes fireworks on the timeline, you’ll want to find out as soon as possible where the fireworks will appear so that you can scout locations for the best angle. Go-to resources for getting this information include the couple, the planner, and even the venue.

Of course, in terms of finding the “best” angle, it will vary based on what you’re looking for. For example, you might look for a wide-open area if you want to capture an epic shot of fireworks filling the sky while your couple looks on in the frame. On the other hand, you might also look for a spot with foreground elements like trees or buildings that you can use to help frame the shot. Composition is key to successfully capturing fireworks for couples portraits, so make sure you check scouting off of your to-do list.

Maximize Dynamic Range with RAW Files and Exposure Settings

Photographing fireworks brings with it the demand of capturing photos in a challenging lighting situation. The ambient light is going to be dark while the fireworks themselves can potentially blow out your highlights, depending on your exposure settings. For that reason, and to ensure you have the best chance possible of retaining details in your portraits, it’s imperative that you capture RAW files and dial in your exposure settings to maximize dynamic range.

Raw Files vs. JPEG

RAW files will give you more flexibility when it comes to recovering details in the shadows and highlights during post-production. The dynamic range of the details you capture will be significantly reduced if you opt for compressed JPEG files rather than RAW files.

Exposure Settings

Here’s a starting point that you can use to set your exposure when photographing fireworks for couples portraits.

• Aperture: f8
• Shutter Speed: 5-10 seconds (using a tripod is highly recommended)
• ISO: 200 (adjust ISO to increase or decrease the brightness)

Also, be sure to review your camera’s histogram to see where the data is being represented on the graph. You don’t want the data to hit too heavily on the right side, which would mean that you’re blowing out your highlights and losing details in the fireworks. At the same time, you don’t want to go too far the other way either.

Manage White Balance

When it comes to setting your white balance for photographing fireworks, Tungsten is a great place to start. If you’re adding light to the couple via flash or constant light, you can include a CTO (color temperature orange) gel to the light source and set your white balance to somewhere around 3200 Kelvin. Adjust as needed to match your vision of what the portraits should look like.

Choose the “Right” Lens

The lens you use to photograph fireworks for couples portraits will depend on a couple of things. First, the field of view you want to include for your composition will dictate whether you shoot wide or tight. Keep in mind that these are couples portraits, so using a zoom lens to capture a wide angle shot will make it virtually impossible to communicate with your couple. The space you’re in might also be limited, making a zoom lens a non-option. If you opt for a tighter shot, however, a zoom lens will do a great job of compressing the scene and making the fireworks appear larger in the frame. Beyond that, using a wide-angle lens will make it easier to capture epic shots of the couple and all of the fireworks in their grandeur. Remember, it’s okay to shoot wide and crop the shot a bit during post, if necessary.

Try a Long Exposure

You’ll likely need to set your shutter speed to a slower setting in order to capture better firework portraits. The longer the exposure, the more fireworks you’ll see. Long exposures, which might fall somewhere between 5-10 seconds, also give the fireworks motion as the light traces a path across the sky. Shorter exposures, somewhere in the 2-5 second range, will reveal less detail in the fireworks.

Regardless, you’ll need to use a tripod to minimize camera shake while capturing portraits with long exposures. It can also help to use a cable, remote control button, or delay timer (a two-second delay should suffice) to press the shutter button and further eliminate any unwanted motion.

Light Your Subjects

Typically, when photographing fireworks, we don’t need to worry much about lighting any subjects in the frame. In fact, most of the focus usually falls on the fireworks and subjects are either left in the dark or cropped out completely. For couples portraits with fireworks, however, that is not the case. The way we light our subjects should be intentional and well-executed. The good news is, when time permits, you can set up your shot and dial in your flash power and exposure settings before the fireworks begin.

To start, you will light the couple the way you would even if fireworks were not part of the equation. Dial in your flash power and exposure settings to get the balance you need between flash and ambient lighting. Set the light source off to the side at roughly a 45-degree angle (relative to the couple and the camera), and place it at a somewhat top-down angle facing the couple. You can add a backlight to further define your subjects, or consider using a snoot or grid to control light spill and focus the light directly (or exclusively) on the couple. The particular details of your setup will depend on your own creative direction.

Use Manual Focus

Fireworks can cause havoc on autofocus, so make sure you set your lens to manual focus. If your camera has live view, use that dial to focus on the couple (you can use autofocus for this before the fireworks start) and then double check that manual focus is selected and leave it there.

Create a Composite

You always have the option to create a composite when you photograph fireworks for couples portraits. If you choose this route, you’ll definitely want to use a tripod. The trick here is to first capture a solid portrait of your couple, in which they’re perfectly lit and posed. Then, you can capture several separate photos of the fireworks.

Lightroom

After the shoot, when you’re ready to create the composite, start in Lightroom (or whatever photo editing software that you prefer). Be sure to edit the batch of photos that you plan to use for the composite in the same way so that they are consistent. To do this quickly and easily, edit the photo with the couple first, and then run a batch edit to apply the changes you’ve made to the remaining photos.

Photoshop

Next, move the photos into Photoshop and stack them in a single tab so that you can combine them. Set the blend mode to “Lighten” in order to reveal the brightest parts (the fireworks) of the top layers. From here, just create masks to edit out the parts of each layer that you don’t want to keep.

How to Photograph Sparklers

While not technically “fireworks,” sparklers show up often at weddings, especially as part of a grand exit. For that reason, and because they fall under the umbrella, we’ve included a few basic tips for photographing sparklers as part of a couples session.

Use Big Sparklers

Hopefully, if the bride and groom haven’t already purchased sparklers for their wedding photos, you can recommend that they go with the 36-inch sparklers instead of the 10-inch sparklers. The longer sparklers will give you more time to pose everyone and capture additional photos.

Boost ISO and Wide Aperture

As a light source, sparklers don’t offer too much. For this reason, you can choose to add a light source or dial in the appropriate settings to capture the photos in dim lighting. It also matters whether or not your subjects are moving or standing still. Either way, you’ll want to boost your ISO and go with a wider aperture to start off with a brighter exposure.

Here are some basic settings you can use as a reference when determining the best exposure for your situation.

Moving Subjects

• Shutter Speed: 1/125, Aperture: f/2.8, ISO 3200, Aperture: F2.8, Shutter Speed: 1/125.

Static Subjects

Lower your shutter speeds and adjust the other exposure settings accordingly.

Have a Safety Bucket Handy

When handling sparklers, you’re handling fire. After you capture the shots, you’ll need a safe place to put the sparklers. For this, have a good size bucket of water nearby. Problem solved.

Conclusion + More Inspiration

We hope you found these tips on how to photograph fireworks (and sparklers) for couples portraits helpful. Check out the images below for more inspiration that you can draw from when it comes time to photograph your own couples portraits under a sky full of fireworks.

The post How to Photograph Fireworks for Couples Portraits appeared first on Rangefinder.

When it comes to lighting in photography, most of us instinctively reach for soft, flattering light. We diffuse our flashes, shoot through umbrellas, and seek out cloudy days. But what if I told you that some of the most striking portraits actually come from embracing hard light?

That’s exactly what renowned photographer Roberto Valenzuela teaches in his groundbreaking new Dynamic Lighting Masterclass, now available at WPPI On Demand. Today, I’m excited to share his transformative lighting insights, which could revolutionize your portrait photography.

The Hidden Power of Hard Light

“Hard light gets a bad reputation because it’s more difficult to use. But it’s not really difficult,” Valenzuela explains. “If you have some control over your subjects, hard light is going to look ten times more dynamic, ten times more amazing.”

The secret? Intense lighting creates images with:

1. More shock value
2. Increased drama
3. Better contouring
4. Stronger visual impact

As Valenzuela notes, “People are going to look at the photo, and they can’t stop looking at it. There’s something beautiful about it because it’s not normal to see lighting like that.”

The Essential Gear Tip You Need to Know

Here’s a pro tip from Roberto that could save you hundreds of dollars: Never buy a hard light modifier without also purchasing its grid. “Hard modifiers without a grid is like a car without a steering wheel,” he warns. “If you can’t afford the grid, then don’t buy the modifier at all because it’s a waste of your money.”

Why? The grid helps control where your light falls, preventing it from spilling onto backgrounds and losing that sought-after separation between subject and environment.

The Batman and Robin Technique

But here’s where it gets really interesting. Valenzuela reveals his signature “Batman and Robin” approach to lighting:

1. Use your hard light (Batman) as the main light for your subject’s face
2. Add a softer light (Robin) to compensate and fill in the shadows

“You don’t have to,” Roberto admits, “but it works quite well to do it with two sources of light, a hard one and a medium or soft one.”

This combination creates portraits with impact while maintaining control over the overall look. The hard light provides drama and definition, while the fill light ensures you don’t lose detail in the shadows.

Beyond the Basics

Of course, this is just scratching the surface of what’s possible. In his complete Dynamic Lighting Masterclass, Roberto goes deep into:

• Precise light positioning techniques
• Advanced modifier combinations
• Creating separation with grids
• Balancing ambient light with hard light
• Movement and posing with dramatic lighting

Ready to Transform Your Photography?

While this technique alone can elevate your portrait work, it’s just one of countless insights Roberto shares in his comprehensive new course. If you’re ready to master lighting and create images that truly stand out, check out the complete Dynamic Lighting Masterclass at the WPPI On Demand Store.

You’ll learn not just how to use light, but how to shape it, control it, and bend it to your creative will. Because as Roberto shows us, sometimes the most striking images come from embracing the techniques others are afraid to try.

Learn from the World’s Best Photographers—Anytime, Anywhere

Want to learn more game-changing lighting techniques? Roberto Valenzuela’s Dynamic Lighting Masterclass is now available exclusively at the WPPI On Demand Store.

Explore Roberto’s work at RobertoValenzuela.com and @roberto_photo.

[Read: Create Spicy Photos that Enliven the Senses with Roberto Valenzuela]

The post Why Top Photographers are Embracing Hard Light (And You Should, Too) appeared first on Rangefinder.

The rapid pace at which children seem to grow makes capturing portraits during childhood even more challenging. But, when done well, photographs at this young age can become iconic childhood portraits. This week, we’re featuring five maternity, infant, and childhood photographs from the Icon Awards. Find inspiration from Kelly Brown, Martina Wärenfeldt, Hanna Neret, Rachel Lee, and D’Ann Boal.

See the live judging for the next round of the Icon Awards in fabulous Las Vegas at WPPI in March 2025.

Kelly Brown, Kelly Brown Photography

Kelly Brown of Kelly Brown Photography often takes on the role of both photographer and set designer in order to bring her iconic childhood portraits to life. For her Bookworm photograph, which received First Place in the Portrait Division: Newborn and Baby in the Icon Awards, she wanted to symbolize how parents ready their children to launch into the world. Everything in this particular set is handmade, Brown says, allowing her to capture the photograph in one frame. She took the shot with the Canon R5 and the RF 28-70mm f2 lens and a Broncolor Siros 800 S and a 150cm octobox. She even used her photo printer, the Canon Pro 400, to make the book covers.

“If I could go back in time, the one piece of advice I would give myself would be to create without fear—without worrying about what others think or the fear of failure,” Brown says. “True creativity comes from having the courage to embrace your unique vision and push boundaries.”

Martina Wärenfeldt, Warenfeldt Fine Art Portraits

The shapes and contrast in this portrait by Martina Wärenfeldt of Warenfeldt Fine Art Portraits highlight this mother’s round baby bump in a striking way. Inspired by an AI-generated fashion image that played with shapes, she decided to use circle shapes to create a pattern with the model’s round belly while matching the background to her beautiful skin tone to make the white shapes and wardrobe really pop. She captured the shot with the Canon R5 and the RF 24-105mm L IS USM and a Profoto light with an octagon modifier and boom. The image earned First Place in the Portrait Division: Maternity Category at the Icon Awards.

“Know your worth and value, get organized and serve with love,” Wärenfeldt says.

Hanna Neret, Fotograf Hanna Neret

When creating this image, Hanna Neret of Fotograf Hanna Neret wanted to create iconic childhood portraits that represented how deeply immersed we can become in fictional stories through reading. By overlapping the face on the book cover over the top of the boy in modern clothing, she created a visual representation of how we can see ourselves in the characters we read, despite our differences. She captured the shot with the Sony a7 III and Sigma Art 85mm f1.8, an Elinchrom strobe and a large white umbrella, earning a First Place in the Children and Teen Portrait Division at the Icon Awards. If she could tell herself one thing as a beginner, it would be to invest in a laptop that can actually handle heavy editing, like her current MacBook Pro.

“I have always loved reading and been fascinated by the fact that we can become so immersed in books and stories even though they are just words on a page,” she says. “There are entire universes hidden among the pages of books, and our minds have this wonderful ability to transport us there. With this particular image, I wanted to illustrate how we can relate to written characters. Even though they are fictional, we can form a deep connection and see ourselves reflected in them.” 

Rachel Lee, Scribbly Gum Photography

When Rachel Lee of Scribbly Gum Photography created this image, she did so to validate and talk about the challenging aspects of motherhood. The photographer explains that she was exhausted and felt like she was being pulled in every direction–that everyone needed her all the time. This image, called Overwhelm, visualizes those emotions. The image is a self-portrait that Lee took in her looking room. The image was captured in a single frame, which also meant all three of her kids had to cooperate at the same time to get the shot. She used her Canon EOS 5D Mark III with the EF 24-70mm f2.8L II USM lens and a single flash with a large modifier. The image earned Second Place in the Portrait Division: Group and Families Category.

“I put so much into my photography work–from the creative vision, energy, time, and more,” she says. “It’s always nice to hear wonderful feedback from others who love your work, but as a photographer, you learn the most when you hear the critiques. Hearing what can be improved is going to be what helps you learn the most. Choose mentors, or awards programs with great critiquing options to hear what those with high levels of expertise think of your work and provide that constructive feedback.”

D’Ann Boal, Smitten and Swoon

For our final image in our iconic childhood portraits series, D’Ann Boal of Smitten and Swoon wanted to capture the feeling of gratitude for the sun after a long winter. She took this photograph in late winter, when everything was still brown but the days were beginning to be longer and sunnier. She captured the image with the Nikon Z9 and 200mm f2 lens. The sun served as the main light camera right while a Profoto B10 X Plus with a large white umbrella and diffusion panel on the left helped fill in the shadows. The photograph earned her a Silver Award in the Children + Teenager Portrait Division.

“I vividly remember the stressful feeling of analyzing my work and knowing it wasn’t where I wanted it to be,” Boal says. “If I could go back and talk to that younger version of myself, I would tell her not to rush it and not to worry. I would tell her: with every click of the shutter you will learn and grow, and if you want to be a good photographer, you will be. It’s just a matter of putting in the hours.”

Dig into our Photos of the Day Archives for even more timeless photos, eye-catching portraits and wedding photos. Submit your wedding, editorial, documentary and other interesting imagery (up to five images at a time) to: hillary.grigonis@emeraldx.com.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters courses below. Use the code RF25 at checkout to redeem. This code cannot be used in combination with other sales.

The post Photos of the Week October 21: Iconic Childhood Portraits appeared first on Rangefinder.

As photographers, we are often driven by the pursuit of creating something extraordinary—images that move people, inspire them, and leave a lasting impression. In the world of portrait photography, few things captivate the eye like a stunning woman or couple surrounded by nature’s raw beauty, with a long, flowing dress billowing majestically in the wind. Enter the magical genre of flying dress photography.

There’s something timeless about the beauty of a woman standing against the backdrop of nature, her long flowing dress sweeping through the air, caught in a perfect moment. This visual poetry has become the hallmark of Brittany Colt’s brand, The Flying Dress Experience. Her work blends the grandeur of nature with feminine grace, crafting images that feel both awe-inspiring and ethereal. But beyond the aesthetics, Brittany’s vision tells a deeper story—one rooted in female empowerment and a love for the natural world.

The Birth of The Flying Dress Experience

Brittany, who for many years was the head of education at the Ansel Adams Gallery in Yosemite National Park, discovered a passion for landscape photography as a child growing up in the Pacific Northwest. Later, as a young adult in Portland’s vibrant arts scene, Brittany developed her cinematic eye as she experimented with makeup, lighting, and art direction while setting up fantastical shoots. She also began shooting weddings and photographing women’s portraits.

After years of working within the framework of landscape and portraiture, Brittany found herself pulled toward a new vision—one that would blend her love for nature with her desire to empower women. It began with a simple idea: a flowing satin gown set against an epic landscape. From that initial creative spark, The Flying Dress Experience was born. It was a way to not only showcase the majesty of nature but to give women an unforgettable experience—one where they could embrace their femininity, beauty, and strength. 

“The dress itself became a metaphor for freedom, confidence, and empowerment,” Brittany explains. “It’s as if the natural settings are literally carrying these women into their power, into their full expression.” From the towering granite cliffs in Yosemite to the otherworldly sand dunes of Death Valley, to the fairytale magic of the Pacific Northwest, her sessions allow women to connect with both the environment and themselves.

Since the whole concept of flying dress photo shoots still seems like it’s in its infancy here in the US, you might be wondering, “How do I get people interested in a photo session that they don’t even know they want yet?” While places like Santorini, Dubai and other luxurious resort destinations are bustling with flying dress photo shoot options, the phenomena is relatively new to the US. The answer is simple–show what you want to shoot. Below Brittany kindly shares her tips for how to get started offering your own “flying dress experience.”

Crafting The Perfect Flying Dress Shot

Capturing these dreamy images requires a combination of artistry and technical skill. Below, Brittany shares some of her top tips for photographing long flowing dresses in natural settings.

1. Be Aware of the Wind
   The wind is not your friend, even though it seems like it would be. It can be unpredictable and tends towards flapping furiously rather than flying elegantly. So, if it’s not the wind flying the dress, what is? Read on to find out.
2. An Assistant is Mandatory
   This is probably the most important tip of all. If you really want the dress to fly, and in a way that is beautiful and not chaotic, having an assistant to help “fly the dress” is crucial.  
3. Plan for Location and Lighting
   Shooting in awe-inspiring natural settings is a big part of The Flying Dress Experience, but it also means planning meticulously around location and lighting. Always scout locations ahead of time and check the weather–especially wind conditions.
4. Use a Fast Shutter Speed
   Perhaps this is obvious, but it’s also crucial. Have that motor drive cranking at a fast enough shutter speed to freeze the flying of the dress. 
5. Communicate with Your Subject
   It’s crucial to make your subject feel empowered and comfortable. Long flowing dresses can be a bit overwhelming at first, so help guide your clients through posing and grounding into their bodies and help them find movements that feel natural and beautiful.
6. Focus on Composition
   When photographing flying dresses in these awe-inspiring natural locations, composition is everything. You’re not just capturing a person in a dress—you’re highlighting the landscape as much as the woman. Try to focus on artistically incorporating both the subject and the vast, majestic landscape around them. 
7. Leave No Trace
   As photographers who specialize in taking people into nature, we also have a profound responsibility to minimize our impact on the natural world. This includes avoiding sensitive areas that are susceptible to be trampled such as meadows, river banks, and locations that are closed for restoration. With the assistant running in and out of shots, there could be a lot of impact on sensitive areas. 

Building a Flying Dress Photography Portfolio

For photographers looking to dive into flying dress photography, Brittany emphasizes the importance of building a strong, eye-catching portfolio. Here’s her advice on how to get started: 

1. Invest in Dresses
   Having a variety of colors and sizes of flowing dresses is essential. It’s an upfront investment, but it’s essential to have these dresses ready for your clients.
2. Collaborate with other Creatives
   Partner with local musicians, artists, or small business owners who may want stunning photos for their own portfolios or marketing materials. Collaboration can help you create a win-win situation, allowing you to experiment while offering something valuable in return.
3. Embrace Unconventional Locations and Props
   Don’t be afraid to explore unconventional locations or even props. Yes, the beach, mountains and National Parks are classic, but your local park, venues, or even urban rooftops can provide stunning backdrops for a flying dress shoot. On one of her recent photo sessions Brittany collaborated with a local business that restores grand pianos and actually got a piano out in nature to photograph!
4. Post-Production Magic
   While we photographers all try to capture everything in-camera, sometimes a bit of post-production work is needed to remove any distractions and really bring the images to life. And if you’ve never processed “landscape photography” before, Brittany highly recommends spending time learning this art form.

Empowering Women Through Photography

At the heart of The Flying Dress Experience is Brittany’s mission to uplift and empower women. Through her own personal journey of growth and self-discovery, Brittany realized that photography could be a powerful tool not only for capturing beauty but for fostering confidence and healing. For many of her clients, the photo shoot becomes a transformative experience, allowing them to reconnect with their femininity, embrace their inner strength, and feel truly seen. 

“I’ve always believed in the power of art to transform, not just the artist but the subject as well,” Brittany says. “Many of the women I photograph come for the experience itself, not just the final images. They leave feeling confident, celebrated, and empowered in ways they didn’t expect.”

In the world of wedding and portrait photography, Brittany Colt’s The Flying Dress Experience offers a fresh, visionary approach that inspires both photographers and clients alike. Through a combination of breathtaking landscapes, flowing gowns, and her empowering message, Brittany has carved out a unique space in the industry. For photographers eager to elevate their portfolios, experimenting with flying dresses could be the key to unlocking a whole new level of creativity.

Whether you’re just starting out or looking for a way to infuse new life into your work, let Brittany’s journey inspire you expand your creativity, collaborate with others, and create something truly magical.

Explore Brittany’s work at BrittanyColt.com, The Flying Dress Experience, @theflyingdressexperience, and @brittanycolt.

 

Shawn Reeder is a Yosemite & Eastern Sierra-based adventure elopement photographer and film maker who loves to photograph couples in love amidst the majesty of awe-inspiring nature. See more of his work on his adventure elopement and landscape websites, and his elopement and landscape Instagrams.

The post Flying Dress Photography: Brittany Colt’s Tips to Get You Started appeared first on Rangefinder.

Creativity is undoubtably a key part of creating a portrait considered iconic. This week, we talked with four photographers on the inspiration behind their creative portraits that won them Icon Awards recognition. Explore iconic portrait photography in this week’s Photos of the Week by Richard Wood, Jen Hargrove, Rachel Owen, and Alvaro Ruiz Nogues.

See the live judging for the next round of the Icon Awards in fabulous Las Vegas at WPPI in March 2025.

Richard Wood, Richard Wood Photography

When Richard Wood (@Richard_wood_photographer and @Richard_wood_commercial) of Richard Wood Photography hosted the Imagination Series online course for The Portrait Masters, he created this re-imagination of Da Vinci’s Last Supper as a meeting of the underworld. The iconic portrait photography image earned the photographer a First Place and Grand Award in the Creative Division: Portrait Creative in the Icon Awards.

Wood wanted the image to look as if the underworld was planning to take over the world, including details like maps and atlases. He built the image piece-by-piece as a composite because he was working with two models and he wanted a wide shot without the wide-angle distortion. He took the shots with a Canon R5 and two Godox AD600s with diffused umbrellas.

“To be honest, I think I had all the advice I needed quite early,” Wood says. “I was originally inspired by Sue Bryce back in 2011, who spoke about value in your work. I also joined the NZIPP (New Zealand Institute of Photography) which is the NZ governing body of sorts in the industry here. When you belong to a body like this, you have access to so many mentors eager to give their advice in all aspects of photography.”

Jen Hargrove, Jen Hargrove Photography

This iconic portrait was a spur-of-the-moment idea, says Jen Hargrove of Jen Hargrove Photography. The model, Rich Cox, was attending Hargrove’s pet and child photography workshop in Boston. Hargrove says that Rich has the sort of face and persona that can inspire a thousand images, and so with a Santa suit and a couple minutes in the hotel lobby, she created this emotive portrait. She captured the image with the Nikon D850 and 70-200mm f2.8 lens and asked her husband to hold up the Godox AD200 with a translucent umbrella because she couldn’t access her light stands at the time. The image earned her Third Place in the Individual Portrait Division of the Icon Awards.

“Always make sure that you are NOT the best in the room,” Hargrove advises. “By surrounding yourself with others who are at a level above yours, it gives you the opportunity to learn, and a lot of times it lights the fire to be better because who wants to be the worst in the room?” 

Rachel Owen, JR Owen & Co

Photographer Rachel Owen (@jrowenco) and her makeup artist Kylee Ann (@kyleeannartistry) had an ice queen image pinned on their inspiration board for almost a year before finally finding the opportunity to put the idea into practice when commissioned for a Pro Prints billboard campaign. Working with the makeup artist as well as costume designer, Illuminescent Design (@illuminescentdesign), Owen photographed the model on a green screen in her studio, creating a composite using images from the Ice Castles in Wisconsin. She captured the shot with the Canon 5D Mark IV and a Canon 50mm f1.4 lens, later receiving a First Place in the Creative Division: Fashion and Beauty for the Icon Awards.

If she could go back in time to give herself advice as she was just starting out, Hargrove would say, “Good choice. Photography is going to be the most rewarding career that will bring you more joy and opportunity than you can imagine. There will be tough times, but as long as you keep at it, everything comes to fruition.” 

Alvaro Ruiz Nogues

For this image, photographer Alvaro Ruiz Nogues (@alvaroruizfotografs) wanted to represent the strength and history of the older generation. The rifle symbolizes a protective, fighting stance, while the worn-down environment helps visualize the resistance to being forgotten. He captured the shot with the Nikon D850 with a 14mm lens. Nogues placed a Profoto B10 series flash with a Profoto Softbox Octa 90 outside the room’s window to simulate the look of natural light while allowing deep contrast and dramatic shadows. The image earned Second Place in the Individual Portrait Division of the Icon Awards.

“The advice I’d give myself would be to be patient and trust the creative process,” Nogues says. “Early on, it’s easy to feel impatient and want to achieve perfect or quick results, but photography is an art that takes time to understand–light, emotions, and the stories you want to tell. I’d also tell myself to explore without fear. Many times, I held back because I was afraid to experiment with styles or subjects that seemed outside my comfort zone. Now I know that the best images come when you allow yourself to break boundaries and follow your curiosity.”

Dig into our Photos of the Day Archives for even more timeless photos, eye-catching portraits and wedding photos. Submit your wedding, editorial, documentary and other interesting imagery (up to five images at a time) to: hillary.grigonis@emeraldx.com.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters courses below. Use the code RF25 at checkout to redeem. This code cannot be used in combination with other sales.

The post Photos of the Week October 14: Creative, Iconic Portrait Photography appeared first on Rangefinder.