Boarding a flight to Florida for a Hilton shoot this morning.
Throwback to some of my favorite travel assignments over the years.
Spent a lot of time on the road capturing outdoor hospitality properties for brands like @northgateresorts , from New England all the way down to the Gulf.
That kind of work never gets old, love it!.
A quick look behind the scenes.
This is what a team headshot session can look like in progress. Lighting, setup, and review all come together to make sure the final portraits feel consistent, polished, and ready to use.
Nonprofit headshots should feel professional, warm, and grounded.
For philanthropy teams, an office style background can give the portraits a more personal feel while still keeping them polished for websites, donor materials, leadership profiles, and community outreach.
@ckingmedia is growing!
We’re hiring 2 freelance Final Cut Pro X editors for ongoing corporate, interview, and commercial work.
Must have:
FCPX (not Premiere)
3+ years experience
Corporate, or B2B reel
Fast internet (we work cloud-based)
Long-term partnership. Remote. Paid per assignment.
If this is you or someone you know, DM me.
This is what it looks like when a home is photographed with intention. 🏡📸 Natural light, thoughtful angles, and a space that practically sells itself. Ask us about real estate photography!
Noon day sun. No clouds. No shade. No good options.
This is the reality of corporate and commercial photography. I do not always get to pick the time. A lawyer, a doctor, an executive is available when they are available, and my job is to show up and make it work.
Direct midday sun is one of the hardest situations to shoot in. The light is harsh, the shadows are unflattering, and if you put someone in a suit or a lab coat in direct sunlight for even three minutes they are going to be miserable. That affects how they look and how they feel during the shoot.
The fix starts with shade. Find it, put your subject in it. The light is already even and the subject is actually comfortable enough to be there. Then you bring in artificial light to sculpt the image the way you want it, control the mood, and bring the background exposure down to where it needs to be. You cannot change what the sun is doing to a mountain or a building or a field behind your subject. But you can control everything happening on the person in front of your lens.
That is why we carry 500 to 1000 watt second strobes for. Not for a studio. For situations exactly like this.
#photographytips #commercialphotography #lightingtips #corporatephotography #dmvphotographer
Color is everything in photography and most people never think about it until something looks off.
Today I was shooting in a hospital, mixed fluorescents and tungsten everywhere, none of which I can touch or change. So instead of fighting the environment I gelled my strobe to match it.
I used the Datacolor color meter, read the room, dialed in the gel so the skin tones stay natural and clean no matter what the ambient light is doing.
This is the difference between a photographer who makes it work and one who just hopes it works.
#colorgrading #strobephotography #lighttips #photographytips #colormetering
Location work often requires building a controlled set in the middle of an active environment. From staging lighting and diffusion outdoors to coordinating talent and camera angles, every step is planned so the final frame looks intentional.
While the subject steps into position, the team is adjusting light, framing the shot, and reviewing the monitor to refine the composition. These moments between setup and capture are where preparation meets execution, and where the details that define a strong image are carefully dialed in.
