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What’s your definition of a photo studio? Is it a room with a white seamless backdrop or a cyc wall? Maybe it’s simply anywhere you’re in control of the lighting. In a perfect world, where every day is a breezy 72 degrees with partial cloud coverage, we would all have a 5,000-square-foot studio–and the entire catalog of B&H™ in our equipment lockups.
But the reality is that you may have an outdated DSLR with two decent lenses (which took you several years to save up for), and all you have at your disposal is an unfinished basement, your garage, or the empty conference room at your office. That’s where Studio Anywhere comes in. With photographer Nick Fancher as your guide, you’ll learn how to get portfolio-ready photos while working in some of the most problematic scenarios imaginable. Whether shooting a corporate portrait, a test shoot with a model, or a promo shoot with a band, you’ll discover that most of the time, there’s no need for an expensive studio–you just have to get creative.
Studio Anywhere is a resource for photographers to learn through behind-the-scenes photos and lighting diagrams from a range of photo shoots–but it doesn’t stop there. Because directing a photo shoot involves more than simply knowing how to wield a camera or process a raw file, Nick also lets you in on the aesthetic decisions he makes in his signature photos, inspiring you to develop your own vision. And, finally, he describes his Lightroom and Photoshop workflow so you can learn how to deftly navigate post-processing.
- Shows how to create images with minimal equipment that is within reach of anyone’s budget
- Takes you through the entire shoot, from concept to lighting to exposure to post-processing in Lightroom and Photoshop
- Teaches how to build a portfolio without a dedicated studio space
- Sales Rank: #58631 in eBooks
- Published on: 2015-03-19
- Released on: 2015-03-19
- Format: Kindle eBook
About the Author
Nick Fancher is a Columbus, Ohio–based portrait and commerce photographer. He graduated from The Ohio State University with a BFA in fine art photography in 2005. His clients have included JackThreads, ESPN Magazine, The Ohio State University, CVS, and Getty. He adores good coffee, music, and the film work of Charlie Kaufman. He can be found online at nickfancher.com, @nickfancher (Twitter), and nickfancherphoto (Facebook).
Most helpful customer reviews
24 of 26 people found the following review helpful.
From perfume in a puddle to a Vogue-worthy Versace ad. And so much more. Genius!
By Wiz
As a Designer and Developer for some of the biggest, most-respected businesses and personalities in the world, I have had the distinct honor of working with some of the best photographers in the game. But when asked for my personal favorite photographer, I will refer you to Nick Fancher every time. He's smart and ridiculously talented and can bring beauty out of even the most mundane in the most unexpected ways. Judging from his impressive portfolio, you'd think he worked out of world-class studios with state-of-the-art equipment and unrealistically expensive retouchers. Nope! Try kiddie pools and puddles. Seriously, this book reveals the mind-boggling secrets behind Nick's masterpieces and shows you exactly how to use what you have around you to create beautiful, magazine-worthy shots on your own! Studio Anywhere is a selfless offering and a must-have to anyone who wants to create better pictures without having to shell out a penny more than the cost of this book. Well done, Nick!
23 of 25 people found the following review helpful.
Your Photography Library needs this book!
By Ian J. Wilson MD
If you enjoy recounting the story of how Ansel Adams exposed "Moonrise, Hernandez, New Mexico" in a panic, unable to find his Weston light meter and forced to rely on his intuition and years of experience (and knowing the luminescence of the full moon - who doesn't?) then I suspect you will thoroughly enjoy this little masterpiece. I was actually going to start this paragraph with 'Would you take advice on photographic flash and lighting techniques from a guy who doesn't own a light meter?" but my daughter Natalie interjected "You can't start that way - people only read the first paragraph and move on."
I first met Nick Fancher at a Photography Workshop this Winter which was devoted to the concept outlined in this book, namely answering the question "If you don't have a 5000 square foot photography studio (or you have one but had to leave it at home), are you still able to capture and produce interesting, innovative and high-quality portrait photographs? You won't be past the first few pages of this well-written (and fun) book before you're hooked on the idea that, with a little bit of knowledge and some clever innovation, you can create really neat, clever stuff without thousands of dollars worth of not-so-portable equipment.
One of the previous reviewers implied that this was niche book for professionals struggling without a proper studio, but it's much more than that: Fancher assumes you know the nuts and bolts of regular camera manipulation, and instead of a boring lecture about "flattering 4:3 light ratios to bring out the Female Persona" he takes you on a Magical Mystery Tour of what you can do with light, and reflectors and gels, and what walls and surfaces are available as backgrounds, using very little equipment (I suspect he really does own a flash meter) and a whole lot of imagination and "thinking outside the box,"
For instance, did you know that gradually separating your subject from a pure white background changes the latter into a grey background and, moving further, into a BLACK backdrop? Did you know your flash has a tele feature that can be used to bring drama to a portrait? That an inexpensive flash grid will magnify this effect? That you can manufacture dramatic Vogue-type fashion shots with a simple sheet of pegboard?
I don't want to give the impression that this book is only a collection of Tips and Tricks like "Hints from Heloise" (although the book is full of lots of clever ideas) - Fancher knows light and knows how to make it work for him, and, more importantly, for you. He will teach you how to analyze someone else's work as to how the shoot was arranged, what lighting was used, and where, (he calls it deconstructing the photograph) and in so doing you quickly learn about the mechanics of the portrait and the art of producing aesthetically interesting work.
So this not a niche book - whether you're a serious photographer who's timid about delving into the scary world of portrait photography, a genuine amateur who simply wants to make great family portraits, or a blossoming professional who just wants novel ideas beyond the usual "Flash Photography in the Digital Age" plethora, you will probably rank this as one of the best little investments you've purchased yet.
12 of 12 people found the following review helpful.
Without a Studio
By Conrad J. Obregon
This is an unusual book targeted at a specific audience. That audience is photographers shooting portraits and products who do not have a formal studio in which to work. (To be accurate the author does discuss how to use a small cramped basement space as a studio.)
Fancher discusses using living rooms, backyards, offices, parks, streets and that cramped basement for photography. He shows how to get images with minimal equipment, like a single flash and a foam board reflector. From the examples he shows, this seems to work pretty well, and while his own images don't raise to the level of Karsh or Avedon, they are far better than the ordinary snapshot that a well-schooled photographer would take. There is also an epilogue that deals with some of the business aspects of being a studio photographer, even though that's not the main thrust of the book. Each example includes a lighting diagram. Moreover the author follows the progress of each image from setup to processing in Lightroom and occasionally Photoshop.
The author assumes you know how to use equipment and doesn't give any instruction on exposure, or focusing, or the technical aspects of using your flash. Moreover, it probably helps to be familiar with lighting techniques like main, fill and background lights. Similarly you won't get detailed instruction on using Lightroom, although the author shows which sliders he maneuvered, and to what purpose, to achieve his final results (although some of the screen captures are a little smaller than I would have liked for comfort). On the other hand, Fancher did give me a new respect for the Split Toning Panel in Lightroom, which I had always perceived as a bit gimmicky.
At first it seemed that the book would not tell me anything I hadn't seen in other tomes on photographic lighting. Then I got a series of small surprises. For example, I knew the advantages of shooting outside in open shade, but had never considered the degree of control I could get by posing a subject just beyond a garage door.
The author's style is almost too easy going and non-didactic and might lead a reader to at first believe the content is trivial. But the photographer without a studio may well pick up a few tricks that will enable him to make better portraits and product shots without a dedicated space.
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