{"id":89518,"date":"2022-10-21T10:00:21","date_gmt":"2022-10-21T14:00:21","guid":{"rendered":"https:\/\/www.adorama.com\/alc\/?p=89518"},"modified":"2024-06-13T22:57:26","modified_gmt":"2024-06-14T02:57:26","slug":"tips-editorial-photography","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/tips-editorial-photography\/","title":{"rendered":"Tips for Editorial Photography with Philip Edsel"},"content":{"rendered":"\r\n

As an active fashion and fitness photographer, my clients include brands like Nike, Adidas, and Reebok. I\u2019ve been lucky enough to capture some of the most talented athletes in the world like Devin Booker, Simone Biles, and Conor McGregor. I like to describe my specific style of photography as having “potential energy,” which often means I\u2019m capturing some type of energetic movement. This could also mean capturing energy in the emotion of my subjects through portraiture<\/a>\u00a0and editorial photography.\u00a0<\/p>\r\n\r\n\r\n\r\n

If you\u2019re looking to create powerful sports images, energetic portraits, or even hope to work with some of the most well-known brands in the retail industry, here are some of my tips for capturing active editorial photography<\/strong>.<\/p>\r\n

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Photo by Philip Edsel<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Work with Talented Subjects<\/strong><\/h2>\r\n\r\n\r\n\r\n

So much of my work would have been impossible without talented subjects. I often put my subjects through their paces by asking for extreme movements like jumps or headstands \u2014 if they’re capable. Often when I’m casting for shoots, even if I’m working with models, I’ll look for models with a background in dance or sports.<\/p>\r\n

Check out\u00a0Dance Photography Ideas, Tips and Examples<\/strong><\/a> for more on the subject.<\/p>\r\n

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Photo by Philip Edsel<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Collaborate with Your Subjects <\/strong><\/h2>\r\n\r\n\r\n\r\n

I see a lot of photographers who treat their subjects as mannequins to pose and move as they please. Although, I find that the best photography usually comes from the most collaborative relationships with my subjects. Oftentimes I have posing or movement ideas, but always qualify them with, \u201cor whatever feels most comfortable to you.\u201d I find that I\u2019m usually giving posing tips<\/a> as a starting point, but the talent generally has better ideas for how their body should move. Plus, the more they feel comfortable and \u201cheard\u201d the more they\u2019re willing to give to the shoot.<\/p>\r\n

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Photo by Philip Edsel<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Find Interesting Environments<\/strong><\/h2>\r\n\r\n\r\n\r\n

One of the things I’ve always priorities in my work is geometry. I love architecture<\/a> and urban spaces that give me interesting backdrops for photography. Either through using leading lines or an interesting framing, I can focus attention on my subjects.<\/p>\r\n

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Photo by Philip Edsel<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Find Interesting Angles <\/strong><\/h2>\r\n\r\n\r\n\r\n

If you want to create unique photography, you’ve got to find some perspectives the audience isn’t so used to seeing. Let’s face it \u2014 we’re inundated with imagery all day, every day on social media. You’re eye-level portrait shot has to work a lot harder to catch someone’s attention than a low-angle forced perspective. Those weird angles have always given my work a certain energy that I love.<\/p>\r\n

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Photo by Philip Edsel<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Simplify, Simplify<\/strong><\/h2>\r\n\r\n\r\n\r\n

Another reason I utilize modern architecture so much in my work is because it’s generally very simple and clean. I apply my background in graphic design by removing things from my frame that take attention away from my subject. That often happens in post, but it always starts with a minimal, clean environment<\/a> for me.<\/p>\r\n

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Photo by Philip Edsel<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Focus Your Color<\/strong><\/h2>\r\n\r\n\r\n\r\n

Speaking of graphic design, one of the ways I’ve created my image style is to really hone in on colors.\u00a0I generally try to pick only a handful of colors and stick within that palette \u2014 especially complimentary or contrasting colors. <\/a>If the image has a bunch of different colors, it can often feel cluttered or distracting. I try to adjust hue until it all feels like one or two color families.<\/p>\r\n

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Photo by Philip Edsel<\/figcaption><\/figure>\r\n\r\n\r\n\r\n

Create a Style that is Recognizable<\/strong><\/h2>\r\n\r\n\r\n\r\n

Finally \u2014 and most importantly \u2014 in order to get hired for jobs, you have to have a style that stands out. It needs to be representative of you and your work. What does that mean? It can mean a lot of things. For me, it’s the sum of all parts: energetic movement, minimal or geometrical framing, hard contrast, and bold colors. But it’s that “look” that oftentimes clients reference when I’m hired for jobs. It takes time and self-awareness to discover but be patient. Shoot as much as you can and you’ll start to see your style emerge.<\/p>\r\n

Learn more about\u00a0editorial photography at my AdoramaTV episode of “The Masters” below:<\/strong><\/p>\r\n\r\n

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Philip Edsel : Editorial Photography | The Masters<\/div><\/div>
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