Interested in learning more about quick remote collaboration with Capture One Live? Join David Grover and photographer Dariane Sanche for a Live beauty shoot.
In this Livestream, we’ll show you how to share shoots with clients and get previews over to your team lightning fast – no matter what device they’re viewing from or where they are in the world. Learn how to collaborate quickly and save time finding and rating the best shots with your client.
During the session, we’ll share a Live link with you so you can follow along in real-time as Dariane and David work.
Portrait and documentary photographer Raymond Alva, or Rap – short for Rapberry – as he’s been known since the 4th grade, wants to challenge people to look at each other in new ways; to create understanding between different groups.
In this month’s RAW Talent, the recent graduate gives us a look at how he is taking the plunge into the world of professional photography after his studies and using his education and personal interests to explore hidden stories within street culture, fashion, and music.
How did you get into photography?
I first got introduced to stills back in 2014 at a summer camp I went to. Some older campers I knew had cameras and I was immediately interested in what they were doing. About a year later, I got my first camera from my parents for my birthday, and I’ve been shooting ever since.
You studied photography at California Baptist University. How was that? And how did it help you find your voice?
My time at CBU was incredible, to say the least. My professors there showed me time after time that photography and art can be so much more than just a pretty picture. A still image can bring life to dark areas, it can bring hope to the weary, and it can even remind us of where we come from.
Program Lead Christopher Kern has built a platform and space for students to come and truly develop their craft into something far greater and more meaningful than thought of before.
In the video: Follow along as Raymond edits the cover for R&B artist Shua’s single ‘Fix Myself To Death’: “We wanted the photos to have a similar feeling to film. We achieved this by flattening the curves and adding a slight s curve. Open up the shadows while still darkening and brightening the mid-tones. The world is not a perfectly clean place, and the texture in photos will reflect that.”
What are three things that have defined photography for you?
Photography can be a lot of things, but these three aspects came to mind first: exploration, texture, and access.
Your craft will not go anywhere without your own personal exploration and the challenges that you make for yourself. Texture can evoke so much emotion in a frame. The world is not a perfectly clean place, and the texture in photos will reflect that.
Photography can be a great tool when wanting to get close to people, places, or stories that are not usually accessible in everyday life. I meet so many people who have interesting backstories and lives. Their stories inspire me and make me grateful for this experience as a whole.
Now, about your work, you spend your time between gigs as an assistant, “digiteching”, and doing personal projects. How does your approach to commissioned work differ from the one in your personal projects?
Commissioned work is really fun because oftentimes, I’m working with someone else to achieve a creative goal. It’s a collaboration. With personal work, it’s usually just me and my camera in the field. If I have an itch to try something new or document a certain subject, it’s totally up to me and I don’t have to run it by anyone else. There are pros and cons to both for sure.
You focus a lot on street culture, music, and fashion. Through your photos, you almost offer a sneak peek at what it’s like being part of these different subcultures. How do you achieve that look and feel?
I honestly just started shooting the things that were most important to me. I’ve skated pretty much my whole life, and a couple of years ago, I realized that I had never actually documented that culture. This turned into me dedicating my senior thesis to the topic, and I began to invest myself even more in the culture.
Besides skateboarding, both fashion and music play a huge role in my life. Because of this, they naturally became subjects in my work, and their worlds started to naturally blend into mine.
What is the most interesting part of using photography as means of creative expression?
I’d say the fact that it’s enabled me to speak on topics or ideas that people might overlook. Anyone can pick up a camera and shoot a well-exposed image, but it’s the voice of the artist and what they’re saying that really makes the art of photography special.
One of the hopes I have with my work is that people would be challenged to look at each other differently. We are all a lot more similar than we think. We all mess up, we all struggle, and we all feel lost and misrepresented at times. I hope my work acts as a bridge to show that it’s ok to be different, but also, if we actually talked to each other, we would see that we are all going through very similar struggles in life.
On a different note, how did Capture One come into your workflow?
Capture One has been great for a couple reasons. First off, it’s a great tool when culling through a large amount of photos. Previews load quickly and Smart Folders make the whole process a lot more pain free.
Tethering is also a huge part of my workflow (like most photographers in the industry). It allows me to be confident in what I’m shooting. A 16+ inch screen is a lot nicer than a 3-inch screen on my camera. It has also enabled me to send quick proofs over to clients who may not be on set but still want to be involved. Overall, it raises my own experience as well as the client’s.
What are the aspects of Capture One you enjoy the most? And could you share a couple of your go-to tricks and tips with our audience?
The multi-photo viewer and the texture panel, for sure. When I’m teching on set for another photographer, I always cull some of my favorite selects from the last look we shot and showcase them on all the monitors. That way, the client can feel confident as well as be inspired for the next look. I always have people asking me what software I’m using to do this, and luckily enough, I can do it all in Capture One. I also love the texture tool and all the options it has. Soft and harsh grain are usually always my go-to, but each one has its own feeling and use.
2023 might be the first year in a while that COVID won’t keep us away from each other or the studio, but that doesn’t mean that working together remotely is history. As many photographers have found new ways of working closely with clients who could not join them on a shoot, both parties have discovered that being in the same room is not always necessary to get a good result.
We spoke to beauty and product photographer Taylor Brumfield about how she is getting closer to her clients without going anywhere.
Taylor Brumfield knows how to grab your attention. Her vibrant and lush style of photography makes the nail polish, moisturizer, or shampoo she shoots look so good that you almost want to take a bite, and encapsulates the “clean girl aesthetic” that so many aspire to for with the flawless, dewy skin of her beauty subject.
Working as a beauty and product photographer for over a decade – product photography is her bread and butter, as she puts it– Taylor works with clients all over who send her their products to photograph.
“Most of my clients are not anywhere near me,” says the Washington DC-based photographer. “They are in LA, New York, Paris, London.”
“I have some larger brands under my belt, but I work with mostly smaller ones to provide them with content that’s really going to stop people from scrolling and go to their pages to interact with their product.”
Getting closer
To achieve the best results and get the thumb-stopping effect the brands are looking for, Taylor likes to work very closely with her clients. But when they are on the other side of the country or even the world, this can be a challenge.
In 2022, Taylor started playing around with Capture One Live as a new way to share her shoots with clients. The image-sharing tool allows photographers to share a session directly from Capture One so that anyone with access to a browser and the session link can view the photos seconds after they are shot from anywhere in the world.
“That’s the nice thing about tech nowadays; they can just join a shoot remotely, and that’s really lovely,” says Taylor about how she works with her clients.
“They can ship their products to me, and then I can update them however often they need me to. But they don’t actually have to be there with me in the studio,” she says, noting that this is great news to many of her clients.
“They actually appreciate not having to come to the studio. Then they don’t have to take time out of their busy schedules to come in and watch me shoot.”
More time for being creative
Taylor’s clients are not the only ones saving time by collaborating remotely. Using the new tool, Taylor also gets more time back that she can spend on the things she really enjoys.
“I can get that immediate feedback and make any kind of adjustments. It helps me be more time efficient because they don’t have to wait for me to go and save to small form JPEG and then upload to a gallery.”
“It saves me time and I love that for me because that means I can use that time for something else or to make additional content for that client. I think it really elevates the client experience,” she says.
“These types of platforms where the client gets to be engaged, but they can be in the comfort of their own homes are very appealing. It makes them feel like they’re really getting their money’s worth out of a production. They’re handing me quite a bit of money. So they have high faith that things are running smoothly and that things are going to turn out exactly how they need to.”
Space around your workstation
In addition to getting closer to her remote clients, Taylor has also found a new way of working with her colleagues on set with Capture One Live.
“What’s lovely is that the team, so the makeup artist, the stylist, the whomever, or even the client, is that they can be in the lounge area, sitting back, maybe having a cup of coffee, chatting, doing their thing, maybe having a meeting while also watching those photos come through.”
“They don’t have to be right up on the model and me to see the screen,” says Taylor.
“It’s really convenient. Models get nervous if somebody’s right on them. So that gives me and my model space to work, but it also makes sure that my client is being taken care of. So that’s just something I appreciate.”
Alicia Berardelli’s own athletic background and passion for sports are impossible to miss in her work. With a graphic and dynamic style of composition playing with light and shadows for added dramatic effect, Alicia uses her camera and her own experience to create a bond with her subjects to showcase their skills and dedication to the sports they do.
In this edition of RAW Talent, the recently graduated, California-based photographer tells us about her path to sports photography and what she thinks it takes to get the perfect action shot.
Tell us a bit about yourself.
Essentially, I have an obsession with light. The way it falls, the shadows it makes, its ability to paint and sculpt, to show emotion, to empower, to change meaning, and illuminate.
I channel my love of movement into creating narrative imagery that captures my subjects in dynamic and clean ways that emphasize their talents, stories, and the beauty of individuality.
When I’m not climbing up something during a shoot, you can find me running somewhere near the ocean, surfing, playing soccer, or on the slopes skiing & snowboarding, and probably drinking coffee.
How did your journey into photography start?
I was constantly exposed to the arts as a child. My parents instilled that love in me when I was young by taking me to museums, putting me in art classes, drawing with me, and talking about art with me, pushing me to explain what I thought about it.
I still remember when I was around 7, how my dad would bring home these terrible point-and-shoot cameras from work for my brother and me to experiment with and how we would go around the neighborhood and on hikes taking photos.
I took some photography classes in middle and high school, but it wasn’t until my senior year of high school, when I took some college photography classes, that I became truly passionate about photography. What flipped the switch for me was learning about how I could tell stories with my photographs and share the way I saw the world with others.
You studied photography at California Baptist University. How was that? And how did it help you find your voice?
No matter what people may say about attending a four-year university to study art, I do feel that it was worth it. Overall, my time at CBU taught me how to think about the world around me, while my studies in photography taught me how to translate those thoughts into imagery that I could share with others. My professors pushed me to question ideas I hadn’t thought about before.
One of the most important parts of my university experience was the critiques with my classmates. I was blessed with an extremely talented cohort of creatives, most of whom I can say were and are my best friends. We pushed each other so strongly to create the best work we were capable of, and we could see (and were not afraid to tell each other) when people didn’t put in the work. I can 100% say I would not have developed my style and my voice today if it weren’t for them.
What three things have defined photography for you?
The first thing is the ability that I have through my photography to highlight a specific individual and share their story or their talent with the world in a beautiful and empowering way.
As I’m still early in my career, the athletes I photograph aren’t famous Nike-sponsored pro athletes, but that doesn’t impact their passion or dedication. I can connect with these individuals and show them in their element, doing what they love through doing what I love.
I get to see someone else’s passion first-hand while photographing them and experiencing their world. There is this beautiful connection that comes when you experience someone else’s world. I tend to participate in whatever athletic activity I am shooting. I skate with the skaters, bike with the bikers, ski and snowboard with the snow lovers, hike up mountains, climb all over structures to photograph parkour and free runners, surf, run, play soccer. Instead of just being an onlooker, I am a participant, and in most of the shoots I do, they share or teach me something about their athletic field.
Lastly, seeing the look on my subjects’ faces when they see the final images and seeing the reactions other people have to my work and the questions that follow is unbeatable. Hearing one of my subject’s say “wow I’ve never seen myself portrayed like that before” with a look of awe and pride on their face or seeing someone’s eyes widen as they see my work…it’s so special. I love being able to answer questions about a shoot and talk about athletics that don’t often get the spotlight; sometimes viewers haven’t ever seen a certain sport before, and I get the ability to share that with them, which is so cool.
Now, you focus a lot on sports and outdoor activities. How did you get into it?
The transition from high school to college, where I was no longer constantly involved in and surrounded by sports, was rough. As I tried to find a way to cope with this, I realized that I could still stay connected to the athletic world and channel my love for sports by photographing athletes. That realization soon turned to passion, and no subject has ever felt easier and truer to myself than photographing sports and athletes from that moment on.
How would you define your style?
I was always frustrated by how commercial campaigns were shot and how the subjects were portrayed. The models weren’t athletes, they were just models wearing athletic clothing, and I remember countless times saying, “That’s not how those clothes would fit on the athlete who would be wearing those clothes”.
To see the industry shifting to finally photographing athletes of all ages, genders, body types, and looks has been encouraging. I believe commercial/editorial sports campaigns need to keep evolving in this manner. Instead of just showing pretty people wearing pretty clothes or unnecessarily sexualizing an individual’s physique, the focus should be on how the individual will use the product, capturing them in an empowering way that highlights their unique skill set.
This is what I strive to capture in my photography. Authentic and driven individuals who put in the hard work to get to the point where they are at. I want the viewers of my work to experience a portion of these feelings and this lifestyle through the imagery I create.
Can you share a couple of insider tips on what’s important to have in mind when photographing sports?
You need to understand the sport before you can properly photograph it. If you don’t know how an athlete moves or how the sport is conducted, it’s very difficult to understand how to time your shot. For sports that involve completing a trick, you have to know ahead of time what the trick is and what it looks like so that you capture it at the proper moment.
There is also a mutual respect that is formed between you and an athlete when they know that you understand the complexity of what they are doing, which translates into authenticity in your images.
Collaboration and communication are two of the most important things in my mind. Understanding their movements and how they flow and where they will be at certain moments is something I discuss with everyone while shooting them.
I tend to find a location and then explain to the athlete how I would like them to move through the location, then ask them to do some repeats so that they can adjust to the environment. As we shoot each location, look, or trick, I show my subjects the images so I can explain adjustments and they can see my vision. This collaboration always results in much better final products because the athlete can see what I am looking for, but also, they often point out certain things about themselves that they can improve that I may not notice.
How do you achieve great shots in ever-changing circumstances and scenarios (ie. light, movement, etc)?
Due to the type of light I’m drawn to and my style, I choose certain times of the day to shoot. Sometimes it doesn’t go as planned. Almost all my work is shot on location, and you have to be flexible and prepared for the fact that you can’t control the weather. Top this off with the fact that the athletes I photograph often require certain conditions to perform within.
Planning ahead and following weather patterns is important, but also mentally preparing to work with what you have, thinking on your feet, being a creative problem solver, and sometimes having to wait it out or reshoot a different day.
On a different note, when did you first come across Capture One?
I first came across Capture One in my 2nd year at university while taking a studio lighting class that used the program. At that point, I hadn’t heard of it before and hadn’t used a program that was so advanced.
What are the aspects of Capture One that you enjoy the most?
How multi-faceted the program is. Not only can you use it for tethering and import the files straight from your camera, but your whole workflow can be contained within it. After shooting, I can cull files, rate them, do universal adjustments, color, and retouch all within the same program. This is really helpful because you don’t have to worry about exporting to a different software and that your edits won’t sync. I have only begun to scratch the surface of what Capture One can do.
Finally, what are some of your favorite emerging photographers at the moment?
There are too many to list, and I feel like the definition of “emerging” is subjective. Still, some of the photographers and creatives who I look up to are Tal Roberts, Mike Dawsy, Carlos Serrao, Brian Lowe, Joe Pugliese, Morgan Maassen, Andy Woodward, Cameron Strand, and Jake Stangel.
