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7 stellar photography gifts that won’t break the bank in 2023

7 stellar photography gifts that won’t break the bank in 2023

Shopping for someone whose love of taking pictures is bumping up against the creative constraints of their iPhone’s camera roll? There’s a whole world of photography gifts and gear out there, but you don’t need to spring for an expensive new camera body to get a gift that counts. If you’d like to stay well, well below the $1,000 threshold you’d spend on a new mirrorless digital camera, these fun options prioritize play and can expand anyone’s photography horizons.

As far as hobbies go, photography is extremely personal —  everyone has their own style, preferences and gear setup. Personally, I started shooting around two decades ago with an old 35mm camera passed down from my grandfather (a now-ancient Canon AE-1 — these used to be everywhere!) and still prefer the simplicitly of relatively rustic equipment.

As a hobbyist who mostly shoots adventure and nightsky photos (outside of work-related photojournalism) and occasionally sells my prints, I’ve tested all kinds of camera equipment, including DSLRs, mirrorless cameras, action cameras and many, many lenses. These days I mostly shoot digital, but film and physical prints are making a comeback, a trend our gift guide makes ample note of.

For anyone experimenting with photography and looking to get out of the smartphone shooting mindset, film and instant photography offer an exciting, tactile starting place.

Price: $79 at Amazon

In recent years, social media’s prevailing aesthetic has shifted from perfect and polished to something a lot more casual that hearkens back to the heyday of the Polaroid. After dying an untimely death, Polaroid is back, thankfully, but Fujifilm seems to be having the most fun in instant photography at the moment.

The Fujifilm Instax Mini 12 is the perfect embodiment of that. The camera isn’t very expensive and doesn’t take itself too seriously, with a toy-like design that would be at home in the back of a Twitch streamer’s pastel dreamscape. The format is a little smaller than a classic Polaroid, but the film is readily available and still captures the fun and serendipity of printing photos on the fly.

Price: $33 at Amazon

If you’ve got an aspiring content creator on your gift list — or anyone who just wants better vacation shots — Joby’s line of tripods will instantly up their game. This GorillaPod, designed for smartphones, lets you safely mount your phone just about anywhere so you can take advantage of its higher-resolution front-facing camera. The flexibility can be useful at home too, say for shooting content for that close-up magic YouTube channel or funky fungi crochet craft TikTok.

Price: $295 at Amazon

GoPro Hero 11 Black

Image Credits: GoPro

GoPro is synonymous with action photography for a reason. These cameras are tough, tiny, designed from scratch for extreme environments and fast-paced adventure. If you want to record a surfing session or an epic snowboard line, GoPro is the industry standard for a reason. They take great stills and video considering the circumstances and the little boxy cameras can be bought with a slew of accessories that make them even more indispensable, from mounts and grips to flotation devices. If you’d like to save some cash buying a GoPro, check out a model from a year or two ago (the GoPro Hero 12 Black is the current model) — the best deals in photography are often on cameras from a few years ago that manufacturers keep in stock. This same logic applies to pretty much all cameras and camera bodies, so keep that in mind if you’re after a good deal.

Price: $219

Price: $90

Photography gear is personal, but so are bags (as every TechCrunch bag week makes abundantly clear). Everyone has different preferences for what they want out of a backpack, messenger or sling. On the other hand, no one is ever mad about having too many bags for strategically lugging different combinations of stuff to various far-flung places. Peak Design is well-known in the photography community for painstakingly designed camera bags and accessories, but also check out Wandrd for what we think are cooler-looking packs with plenty of nooks and crannies for gear. Both brands have an array of options across price points, from small hip belt packs for a single extra lens to backpacks that fit a whole suite of gear on the go.

Price: $234 at Amazon

Fujifilm Instax Mini Evo Camera

Photo credits: Fujifilm

Okay, we already talked about another of Fujifilm’s instant cameras but this one is in a class of its own. The Instax Mini Evo takes a different approach to instant photography, adding in a ton of filters and relatively sophisticated options without undermining the point and click ease that makes instant photos so fun. The Instax Mini Evo works as a traditional instant camera like its siblings, but it offers one big twist. Instead of shooting and printing immediately, you can shoot and then select which photo you’d like to print out — a huge boon considering how many poorly framed instant photos we’ve printed while trying to get the right shot. You also can use the Mini Evo like a standalone instant photo printer, sending smartphone photos to the device wirelessly to print out your best shots. Sure it’s cheating, but it’s also really flexible and fun — and that’s what photography is all about.

Vintage camera shop

Image Credits: Bloomberg / Contributor / Getty Images

Vintage camera (variable)

If you take the dreamy, grainy photography trend to its logical conclusion, why not just rewind back to film? Like instant photos, film photography is making a comeback — and for good reason. Shooting with film feels nothing like taking a million snaps on an iPhone. The process slows you down, forces you to be deliberate and the shots wind up feeling that much more special. For a really special camera gift for the retro aesthetic appreciator, head to your local vintage camera store and pick up a 35mm camera and some good film. You could shop online, but browsing in person if you’ve got an old-school store nearby parallels the tactile charm of film photography. Either way, you’ll help keep film photography shops in business and wind up with a thoughtful, one of a kind gift.

Check out some of our other 2023 gift guides:

The View From: Yuki Terase

The View From: Yuki Terase

The View From is excerpted from The Asia Pivot, Artnet Pro’s biweekly members-only newsletter providing mission-critical analysis, insights, and exclusive intelligence on developments in Asia’s art markets, with a focus on business opportunities and challenges. Subscribe here to receive it directly to your inbox. 

Having some 20 telephones ringing to bid on an ultra-contemporary work was not unusual at auctions in Asia a year or two ago. There was heated demand that resulted in off-the-chart prices. The art industry’s swift adaptation of digital initiatives during Covid opened new doors to art collecting, making it more accessible and enticing to newcomers. The enthusiasm was unparalleled.

This is no longer the case. Now that Asia has returned to some degree of normalcy after stringent Covid quarantine and travel restrictions were lifted after nearly three years, much later than that in the west, people are traveling again—profusely. What Asian “revenge tourism” means for the art market is that collectors are distracted. Whereas buying art became a primary pastime during Covid, it has reverted to being just one of many.

Also, people who took on a lot of leverage in the last few years are now keen to repay their loans as soon as possible as interest rates continue to spike. High interest rates have certainly had a significant psychological impact. When interest rates were low, cash was almost free and people were less likely to keep money in the bank. But now, you can get a high return from, say, a timed deposit. So when it comes to buying art, the sense of urgency is greatly reduced, unless it’s a specific piece you’ve wanted for some time. This shift has resulted in a mismatch between the expectations of sellers and buyers.

The overall pace has slowed down, for primary galleries, secondary dealers, and particularly young emerging galleries whose shows sold out instantly during Covid.

In my opinion this is a healthy phenomenon. For a good while, there was a huge amount of speculative money being poured into the market. But the frenzy is over. A cautious, leveled approach to art buying and collecting is now in place. Collectors are questioning—rightfully so—the value of certain kinds of art, and are a lot more selective. It was not healthy for freshly painted works from within the last five years to sell for hundreds of thousands of dollars. I’ve never met a single artist who has been excited or happy about seeing their work selling for such high prices at auctions when they are as young as in their 20s or early 30s. So the correction in this particular segment is reassuring in terms of the long-term health of the art market.

This is actually a global phenomenon, not Asia-specific, but we feel it more acutely in light of the Asia market’s accelerated expansion over the past few years. And indeed, despite the market slowdown, Asia’s place as a key player in the global market remains evident, especially at the top end. For instance, Klimt’s last painting, Lady with a Fan, which set a European record at Sotheby’s in London, was sold to an Asian collector. The results of the sale of the collection from Long Museum’s founders earlier were the talk of town—globally—also demonstrating Asia’s influence within international-market dynamics.

– As told to Vivienne Chow, originally published in The Asia Pivot on October 18, 2023.

Yuki Terase is a founding partner of art advisory firm Art Intelligence Global (AIG). In addition to offering bespoke advisory service to private clients, AIG also stages exhibitions around the world. This year it staged “Voice of a Generation: Works from the Collezione Sandretto Re Rebaudengo,” curated by Eugenio Re Rebaudengo, at its Hong Kong space. It also opened “A Force of Colour,” a solo exhibition of Seoul-born, New York-based, 1992-born artist S.H. Kim at Tiger Gallery at Onitsuka Tiger’s Regent Street shop in London during Frieze week.

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How Misan Harriman Assembled the Pieces of His Award-Winning Short ‘The After’

How Misan Harriman Assembled the Pieces of His Award-Winning Short ‘The After’

Nigerian-born British photographer Misan Harriman has photographed a range of celebrities from Rhianna to Angelina Jolie to Tom Cruise.

A close friend of the Duke and Duchess of Sussex, Harry and Meghan, Harriman has photographed many of their important life moments, including the couple’s pregnancy announcement and Baby Lilibet’s official portrait. However, Harriman is far from a celebrity photographer.

A social activist, his pictures of the Black Lives Matter protests are some of the most widely circulated photographs in civil rights history. His series of photos of people living through the COVID-19 lockdown were featured in a project called Lost in Isolation in the hopes of bringing his community together. He is also the first Black photographer to photograph the cover of British Vogue in the magazine’s 104-year history.

Now, Harriman goes from still photographs to moving pictures with his short film, The After. The 18-minute film stars David Oyelowo (who also produces) as a successful family man whose life changes instantly when he suffers a horrific tragedy and must figure out how to move on.

The After won Best Live Action Short at the HollyShorts Film Festival in August, making it eligible for Oscar consideration. It is currently streaming on Netflix.

In an exclusive interview with Casting Networks, Harriman details his experience as a first-time filmmaker, explains why he tackled the film’s topic and proves how it’s never too late to do what you love.

The After deals with some heavy topics – loss, moving on in the face of tragedy and those who are quietly suffering inside. What made you choose these themes for your directorial debut?

I needed to make something to make people feel that it’s okay not to be okay, to have them recognize their invisible wounds and not have shame in bearing the weight of this thing called life. Off the back of COVID, off the back of George Floyd and off the back of three of the craziest years humanity has had in a long, long time, I don’t think anyone’s okay.

Chronic depression and suicide are at the highest numbers it’s been for generations. People are struggling. If I can make something that someone watches and their shame starts to climb out of them, then that will be our greatest achievement with a film like that.

I think there’s a lot of healing that is needed in the world right now. Art has the soft power of not judging. Hopefully, David [Oyelowo] and all the extraordinary souls that have been involved in making this film are making a crescendo of hope and healing in 18 minutes of your time.

Speaking of David, how did you manage to get him on board your movie, along with the rest of the cast?

I won the lottery, quite frankly. I DM’ed this man whom I have idolized for 25 years. He’s been someone I’ve looked up to and we didn’t know each other. I DM’ed him on Instagram. He never checked his messages, but on that day, he did.

He was aware of my photography and was a fan of me as an image maker. I said, “I’m thinking of getting into the movies,” and he was like, “let’s talk.” From that moment on, he was in and that was the anchor.

To have that kind of talent decide that they want to go on their first journey into this medium gave me so much safety. He’s also Nigerian-born like me, raised in England like me, similar in age to me. There are so many nuances in our relationship, which meant that although we were just getting to know each other, I felt like I had known him for generations. I felt like I knew him before I knew myself. There was that level of emotional connection.

For your first outing as a director, you experienced a lot of firsts, from casting to lighting to costuming, etc. Tell me about some of them.

I was a kid in a candy store. Although it was my first time, it felt like I was finally in the village that I’d been looking for. It’s like I’ve been wandering the world and looking for this place and finally, I’m here.

I worked with Aisha Bywaters, a Black woman and a casting director, which is rare, especially in the UK. I worked with my extraordinary producer, Nicky Bentham, who had just made The Duke with Helen Mirren and Jim Broadbent. We were very lucky to get (director of photography) Si Bell, whose work, particularly on Peaky Blinders, is just so strong. All these people were available and they wanted to go on this journey with this [unproven] entity when it came to film.

How was working with all the departments?

Casting children is difficult and we were lucky to get the young [girls] in this film and work with their chaperones and parents. Working with really good extras, location managers and stunt coordinators — all were firsts for me and incredibly enjoyable. It was amazing to learn — from costumes to how we do blood on a knife realistically or the right way to lay down a lens on a jib shot with harsh lights shooting with a large format camera. I could go on all day.

I’m very passionate about the process, but I’m also very passionate about the respect I have for the orchestra that is filmmaking. I love the passion of all the different people who do different things, from hair and makeup to light, sound, all of it.

All of that for me is unique because I don’t have that in photography. I have my camera and I find stories to tell, but this was a much more collaborative process, which I loved.

David Oyelowo in a suit smiles and holds his daughter's hand. Photo courtesy of Misan Harriman.

What was the post-production process for you like?

Our editor, Aggela Despotidou, was amazing. I was like a sponge, sitting next to her. The thing about editing is trimming the fat per se without losing the story. Some directors may find it quite heartbreaking to let go of certain things.

I always try to have a bird’s eye view of what we’re trying to do in 17 to 18 minutes. Of course, you have to make allowances for certain things that won’t make the cut, but what we all refused to do was lose any emotion. Emotion was key. That stayed.

There was no scene we could walk away from if it had the level of emotional honesty we felt was needed to bring the narrative to life. That was our focus.

The song that comes on at the end, Let It All Go, was so beautiful and cathartic. How did you find it and come to use it for the film?

I fought so hard for this song because it’s a big hit by a brilliant song singer-songwriter called Birdy in a duet with another great singer called Rhodes. I’ll be honest with you, that song, in many ways, saved my life in my mental health journey.

I can have very large anxiety attacks and I use music to simmer, to bring me back to a place where I feel safe. That specific song is part of a playlist I use that brings me back to a place of humanity and self-love.

It wasn’t just some random song that I liked, it’s a song that has a deep, deep personal connection to my journey. I spoke to Netflix and my producer and said, “It’s got to be this song.” We weren’t sure whether we’d be able to license it. When we were able to speak to the record folks and I did my pitch to them, they finally agreed. I’m really happy to finish the film in that way.

Now that you reflect on this filmmaking experience, what are your thoughts?

Life has a way of leading you to the right place when you begin to love yourself. I describe this moment in my life and this film as an act of self-love.

For me to feel that the little boy who was always afraid of the world [and] is now in the body of the man who is brave enough to have a point of view, feels like an act of self-love. That’s why this film will forever be so special regardless of what happens. It lets me know that maybe I do have a point of view that people will respond to.

Also, for men and women who may be in careers they’re not happy about, or not following their passions, I want to be a living, breathing example of what it is to take the road less traveled in later life. That could be being a florist, taking those tap dancing lessons or trying calligraphy. Or picking up a camera and taking still and moving images.

This (experience) has been the culmination of the little boy who always wanted to tell stories and the man who is now able to.

David Oyelowo sitting on his car hood looking upset. Photo courtesy of Misan Harriman.

You have photographed some of the most well-known people in the world. You’re a celebrated civil rights photographer. You made history with British Vogue magazine. Looking at your photography, I can’t picture you being a little boy afraid of the world! That work takes bravery.

It’s interesting because everything you’ve said all happened since the summer of 2020. Just imagine, I had a whole life beforehand. This is what I love sharing, because if it could happen to me in my forties…. All those extraordinary things – the Vogue, the images, the high-profile people and now this film – all happened literally in the last three years. Before that, I never thought I even deserved to have people consider me as an artist.

Why?

I’m dyslexic. I struggled at school, I dropped out of university. A lot of the systems that are in place in the educational world are not designed for people who process the world the way I do. If all the benchmarks tell you that you’re not smart or you are slow, then of course you’re going to believe it, especially in your formative years.

When I met my wife, this lady fell in love with all the parts of myself that I was ashamed of. She was the one that bought me the camera. The rest, as they say, is history.

I think the way you process the world is your superpower. It’s enabled you to take impactful photographs and now make an impactful film. What do you make of that?

I know that my art is not just about entertainment. It’s about survival. Film, music, poetry and books – they’ve never been just about having fun for me. They’ve allowed me to love myself and what I could be.

In the ‘great why’ of our existence, I found the answers in the notes of songs, in the pages of books and in the sweet territory of cinema itself. Not everyone understands how much of a gift that is.

With me having the platform that I’ve been afforded in the last three years, my work has to be intentional. It has to try and reach into the parts of yourself that you sometimes either don’t know about or you’re running away from. It has to be a mirror of which you see your humanity. That’s the art I want to make.

This interview has been edited for length and clarity.

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

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How to Grow as a Photographer

How to Grow as a Photographer

Growing as a photographer is not an easy or obvious thing to do. This particularly insightful video is here to help, though, offering practical advice for photographers seeking to elevate their craft, regardless of whether they are beginners or long-time enthusiasts.

Coming to you from Ted Forbes with The Art of Photography, this fantastic video discusses how to grow as a photographer. Forbes divides the discussion into two parts: a mindset shift and actionable steps. He emphasizes the importance of being specific in goals and understanding personal limitations. For example, one might focus on mastering a particular type of subject matter or experimenting with specific lighting techniques. He argues that growth in photography often involves self-imposed constraints. This concept is illustrated through ideas such as a challenge by photographer Keith Carter to take 12 compelling photographs within a mile of one’s home and Forbes’ personal experience of limiting himself to a rangefinder and a 50mm lens for an entire year. These constraints, he explains, can lead to more creative problem-solving and a deeper understanding of one’s tools.

Analyzing and understanding one’s work is another key point. Spending time with your own photographs, questioning what could be improved, and learning from each shot can significantly elevate a photographer’s skills. Forbes also stresses the importance of being inspired by others’ work. He encourages photographers to explore and learn from both the historical and contemporary photography scene and other creative fields like art, literature, and cinema. He suggests finding a mentor or taking workshops, which can provide guidance and accelerate learning.

Altogether, Forbes offers a lot of valuable insight sure to help you improve. Check out the video above for the full rundown.

Calling all photographers for the 20th Annual Dahl Mountain Photo Competition and Exhibit

Calling all photographers for the 20th Annual Dahl Mountain Photo Competition and Exhibit
image

RAPID CITY, S.D. – The Rapid City Arts Council (RCAC) is seeking submissions for the 20th Annual Dahl Mountain Photo Competition + Exhibit, a juried photography exhibition based on mountain culture. All submissions are due by Friday, January 19. The exhibit will be on display from February 23 through April 20 in the Inez & Milton Shaver Gallery and the Denise Du Broy Gallery at the Dahl Arts Center.

Submissions for this show should capture the essence of mountain culture lifestyle, encompassing the ideas, beliefs, and values shared by individuals immersed in such environments. Whether it’s the Black Hills region or any other mountainous terrain, the content should reflect the unique way of life shaped by these landscapes.

Judges (professional regional photographers) will select the show through a blind jury process. There are three exhibit categories – Youth (18 and under), Adult Amateur/Hobbyist, and Adult Experienced/Professional. Judges will award First, Second, and Third places in each category as well as a Best of Show Award.

Award amounts are as follows: 

∙ Youth (18 and under) 1st – $75 | 2nd – $50 | 3rd – $25 

∙ Adult Amateur/Hobbyist (over 18) 1st – $75 | 2nd – $50 |3rd – $25

∙ Adult Experienced/Professional (over 18) 1st – $100 | 2nd – $75 |3rd – $50 

∙ Best of Show Award—$125 

∙ People’s Choice Award—$100

The submission process is entirely online, please visit thedahl.org/dahlmtnphoto to submit your application. 

 

Threads, Popular X Alternative Among Photographers, Launches in the EU

Threads, Popular X Alternative Among Photographers, Launches in the EU

Threads

When Threads launched earlier this year, the app was available in the US and more than 100 other countries. But those in the European Union were left out of the fun. However, in a short and sweet post on Threads, Mark Zuckerberg announced that Meta’s social media platform is now available to EU users.

Along with the launch, Meta allows users in the EU to browse Threads without signing in to a profile, a departure from how users elsewhere, including those in the United States, can use the service. However, users who want to post or interact with content will need an Instagram account, as The Verge reports.

A screenshot of the Threads launch page for EU users.
Users in the EU will be able to browse Threads without logging in, though will need an Instagram account in order to post or interact with the app. Image Credit: Instagram

Meta’s Threads initially launched in July 2023. Meta designed the app as an alternative to X (formerly Twitter) and, therefore, geared it towards text. However, photographers quickly jumped on board. The frustrating “insta-crop” is not a factor on Threads, making it an ideal alternative for sharing photos.

Unfortunately, EU residents haven’t been able to take advantage of the new social media platform until now. In fact, after the launch, Meta had to block EU-based users from accessing the app via a VPN, according to TechCrunch. Many blame the delay of access on the EU’s Digital Markets Act (DMA), which the bloc designed to curtail Big Tech’s alleged abuses and firm grip on the market. Indeed, companies such as Meta were listed as “gatekeepers” under the DMA and have until March 2024 to comply with the new requirements.

Other speculation posits that Threads’ close integration with Instagram (they do have the same parent company, after all) will cause issues with the EU regulators. When Threads launched, users signed up using existing Instagram accounts and could instantly connect with all of the Instagram accounts they already followed. This led to quick adoption but could go against the DMA’s rules against self-preferencing.

Since Threads launched, the connection between it and Instagram has loosened. In November, users were finally able to delete a Threads account without simultaneously deleting their Instagram account. However, users still need an Instagram account to post on Threads.

Despite the incredibly rapid growth (it was the fastest-growing app ever), Threads has struggled to retain users. The launch to the EU’s 448 million citizens will surely bring a new surge, though whether the app has done enough to keep people around remains to be seen.


Image credits: Header photo licensed via Depositphotos.

How To Take Sexy Selfies, According To Actual Boudoir Photographers

How To Take Sexy Selfies, According To Actual Boudoir Photographers

Taking some sexy photos at home to send your partner as a surprise is a fun way to spice things up, and the pictures can even make a romantic gift. But more importantly, perhaps, are all the reasons you might take the pictures for yourself: to celebrate exactly how your body looks right now, or to see yourself in a new, more confident light. Boudoir photos capture your body like art (because it is!), and just the process of taking the pictures can be empowering. So, here’s how to take sexy selfies at home and capture beautiful, boudoir-style images, according to professional photographers.

1. Research some poses.

Realistically, most people don’t pose for the camera, like, ever, beyond just smiling and holding still. So, before you get dressed up (or down), get an idea of how you want to pose in your photos.

“Looking up ideas is Square One,” says Sperber, who recommends browsing Pinterest for inspiration. “Then, you practice. Get in front of the mirror and just try it without taking any photos. You’ll start to get an idea of what’s comfortable not only for your body, but also for your personality, which is really important in your photos. You can also find photographers on TikTok that have series on posing for sexy photos, usually geared towards people that are using their phones.”

2. Pick the time and place with lighting in mind

Where you’re taking your photos, and when, will determine what the best lighting will be,” says Stephanie Sperber, a professional photographer in Jacksonville, Florida. “If you’re taking some cute poolside or beach bikini pics, being closer to dusk or sunset will be best. If you’re indoors and it’s day time, use natural window light.” Snapping pics at night? Do not turn on that overhead ceiling fan light. Instead use a reading lamp and play use it to cast bright light different directions and play with the shadows, Sperber says.

Woman in bra poses with palm frond shadow over her chest, in a story about how to take sexy selfies.
Shutterstock

“Using a lamp that is at eye-level or just a few feet higher is a much better option than turning on any overhead lights, which can cast dark shadows under your eyes and is much less flattering,” says Holly Douglas, owner of Holly Douglas & Co., a boudoir photography studio in Nashville. “Position the lamp a little off to one side, as opposed to directly in front of you, to give your lighting more dimension and prevent your photos from looking flat.”

3. Play with the position and intensity of the light.

A good rule of thumb: diffused natural light is always going to be the most flattering. “Posing near a window that either receives indirect light or has white sheers that can diffuse the light is ideal,” says Douglas.

If you want your face and body visible in the photos, position yourself with the window off to the side or directly in front of you, Douglas says. You can also try snapping some sexy silhouettes by posing with the camera in front of you and the window behind you.

“No matter where you are, be mindful of the direction from which the light is coming. You generally don’t want to light yourself from below. If your face is in the shot, the light should be at or above eye level. Play with the harshness and softness of the light too. Sheer curtains help soften light if you want something more even and flattering to your complexion,” Sperber says.

4. Set a vibe.

Getting yourself in a relaxed, romantic headspace will make posing and taking your own photos feel less awkward.

Always set a vibe,” Sperber says. “Sometimes that’s just a playlist that sets your mood. If you’re taking your own photos at home, lighting some candles or incense can also be nice. And give yourself grace for feeling weird, if you do. It’s not easy for a lot of people to be vulnerable like this, but it’s so worth it to get there.”

“If you want to look sultry and sexy in your photos, it’s important to feel sultry and sexy as you’re taking them,” Douglas adds. “As soon as clients enter our studio, they smell the beautiful essential oils in the air from our diffuser. We also always have some kind of sexy or chill music playing while they’re in hair and makeup and during their photoshoots. We also like to light some candles throughout the studio. Not only do they look great in photos, but who doesn’t feel romantic in candlelight?”

5. Let your personality shine through in your outfit.

Very attractive mid aged woman relaxing in bedroom. She wears white shirt and skin color panties and...
miljko/E+/Getty Images

Lingerie feels like the obvious wardrobe choice for taking steamy pics — it’s designed to accentuate your curves and make your body look bangin’. It can fun to buy a special set just for pictures too. But if lingerie is not your thing, there are so many other options for what to wear. Sperber and Douglas recommend:

  • Sheer kimonos (which can look extra cool if you’re backlit or taking silhouette photos)
  • A big, chunky sweater with long socks and undies
  • A football jersey and panties
  • Your partner’s favorite shirt, jacket, hat, or other item, with very little else
  • Draping yourself in a bedsheet or blanket

6. If you’re snapping pics on your phone, use the back camera.

Shot of a beautiful woman in her bedroom at home in a story about how to take sexy selfies.
Adene Sanchez/E+/Getty Images

It’s tempting to snap selfies with your front cam so you can see what the photo will look like, but this is folly, these photogs agree. Start by propping your phone up on a tripod (or, more realistically, a DIY one, like leaning it against a stack of books or a heavy candle).

“The back camera on your phone is going to take photos of higher quality, meaning sharpness, focus, and tones. The challenge with that is that you can’t see what you’re photographing until you run back over and check,” Sperber says. “There are mirrors you can buy that attach to your phone that let you see things live as you take photos. But I wouldn’t blame anyone for just skipping all of that and using the front selfie camera. You can still place it on a tripod to get some distance and have your hands free for posing. As far as actually taking the photo, timers exist on all phones, but there are also Bluetooth remotes that are helpful to keep you from running back and forth.”

Most people look their best when photographed at eye level or just slightly higher, Douglas points out, so keep that in mind when finding a place to position your phone. Booty shots, though, look good from a low angle (wink wink).

7. Take some pics with Portrait Mode.

“If you use the iPhone’s Portrait setting, it will look a little more professional than the regular iPhone camera setting,” says Douglas. “You definitely do not want to use the 0.5x camera setting though, as that is the wide-angle lens and it’s the most unflattering for portraits of any kind.”

8. Turn up the heat with these subtle movements.

Woman poses in her bedroom, in a story about how to take sexy selfies with tips from boudoir photogr...
Anastasia Dobrusina/E+/Getty Images

Whatever poses you strike in your photos, Douglas recommends doing the following if you want the final shot to have serious sex appeal:

  • Point your toes.
  • Arch your back.
  • Relax your jaw and part your lips slightly.
  • Don’t be afraid to mess up your hair. (“Messy hair pics are hot!” she says.)

9. Know when to hire a pro.

Like most things, you can absolutely DIY a little sexy photoshoot for yourself, but there are advantages to hiring an expert. It can be important to have someone experienced taking your photos if you’re not sure how you’ll feel about your body in them.

“When someone decides to try taking her own spicy selfies, she doesn’t always consider how she’s going to feel about herself if the photos she takes turn out to be rather unflattering. A professional boudoir photographer, on the other hand, understands that the experience of creating sexy photos can actually have a huge impact on a woman’s overall self-confidence and body image,” Douglas says. “We are literal experts at knowing the best lighting, poses, and angles to create beautiful, flattering photos for every woman we photograph, regardless of her age, shape, or size.”

10. Enjoy yourself.

Whether you show them to someone special or keep them for yourself, commemorating what your body looks like right now is a fun way to celebrate it.

“Just make sure to have fun with your photos and be proud of yourself for doing this. It’s creative and powerful,” Sperber says. “And remember that you are beautiful. Every single person on the planet has at least one thing about their body they don’t love, and others rarely even see those flaws, or they don’t care about them because they’re part of the whole lovely package.”

Sources:

Stephanie Sperber, a professional photographer in Jacksonville, Florida

Holly Douglas, owner of Holly Douglas & Co., a boudoir photography studio in Nashville

This Photographer Captured One Image of Cambridge Every Day for 13 Years

This Photographer Captured One Image of Cambridge Every Day for 13 Years

In March 2010, photographer Martin Bond decided to snap a portrait of his hometown every day. Titled A Cambridge Diary, the project captured subjects such as tango dancers, swans, commuters and even King Charles.

Bond tells the Guardian’s Donna Ferguson he wanted to showcase scenes in Cambridge, England, that tourists don’t usually see, while simultaneously rekindling the love locals feel for the city.

“The power of capturing everyday moments reminds us that we’re human. There’s a connectedness that we sometimes take for granted or are not aware of,” he adds. “All I’m really doing is just tuning in to those little personal moments and interactions that happen thousands of times over, in every street, because they chime with me, and I think they will chime with others.”

Snowy winter night with street lights

Jesus Green Avenue on a winter night

Martin Bond

Onlookers in boats watch fireworks

Crowds watch fireworks at St. John’s May Ball.

Martin Bond

Now, 5,000 photos and 13 years later, Bond has decided to conclude the project.

The final image, which he shared on social media last Wednesday, features a full moon resting symmetrically between the turrets of an illuminated King’s College Chapel.

A dog on the grass

A dog ignores a “please keep off the grass” sign.

Martin Bond

A cow in front of a Cambridge building

A cow grazes in front of King’s College.

Martin Bond

“I knew the moment I pressed the shutter that I wanted it to be the last photograph of my daily pictures, not just because this frame is undoubtedly the most recognizable view in Cambridge, but because, for me, the full moon symbolizes a moment of release and completion and a time to sit in the fullness of life and feel grateful for my blessings,” Bond wrote on X, formerly known as Twitter. “The full moon is also associated with madness, of which I must have had a portion to have stuck with this for so long!”

In the post, he thanked those who have followed his journey, as well as those who have appeared in his pictures—including bikers, gardeners, rabbits, squirrels and the Dalai Lama. He added that he will continue sharing photos, although not daily.

“[Five thousand] seems to be a nice, round figure, and I did kind of want to relieve the pressure of doing it every day,” the photographer tells BBC News’ Lewis Adams, adding that he will “miss it tremendously,” as the project feeds him “psychologically and emotionally.”

Snowman beside a building

A Cambridge snowman

Martin Bond

A man stands beside a closed doorway.

Martin Bond

Originally shared through a Facebook page, the diary currently has over 100,000 followers across several platforms, including Instagram and X. Bond tells Cait Findlay of Cambridgeshire Live that he originally planned to end the diary after ten years, but he decided to continue when the pandemic began. “Everywhere I go, I keep seeing potential for a photograph,” he says. “It’s a low level of vigilance that you carry with you all the time.”

Although A Cambridge Diary has come to an end, Bond continues to create. This fall, the photographer released his first book, Town and Gown, which showcases a curated selection of 365 images captured during the initial seven years documented in his diary. The 224 full-color pages display scenes from everyday life and celebrate the multifaceted city.

Woman in formal dress on the street

A woman in a blue dress walks down Trinity Lane.

Martin Bond

Women in curlers at a table

Women in curlers sit down for a meal.

Martin Bond

According to the Guardian, Bond eventually intends to review approximately 25,000 photos taken since 2010, which he will use to compile two additional collections.

After building such a large portfolio, he is struck by how many meanings can be assigned to a single image. As he writes on his website, “The best thing about street photography … is that it is possible for the final viewer of a picture to see more than the original photographer—proof, if any were needed, that there is more going on in any moment than a single person can understand.”

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Welsh youngster wins prestigious RSPCA photography awards

Welsh youngster wins prestigious RSPCA photography awards
Jamie’s winning photo of Frederick

A striking close-up image of a turkey has won the top prize in the prestigious RSPCA Young Photographer Awards 2023 for a Welsh snapper.

The stunning photo was entered by eight-year-old Jamie Smart, who is the youngest ever winner of the charity’s photography awards which have been running for over 30 years.

The winners of the award, which are open to youngsters aged 18 and under, were announced today 14 December at a ceremony the Tower of London hosted by TV presenter and RSPCA president Chris Packham.

Jamie, from Llandrindod Wells,  secured the highest award out of more than 6,000 entries to the competition this year.

The judges were impressed by the level of detail illuminated on the turkey, called Frederick, the contrast of colours and the dark and brooding background.

image

Thought provoking

The image which was entered under the ‘Pet Personalities’ category also caught the judges’ attention as an unusual and thought-provoking image which encourages people to think about turkeys differently.

Jamie, who has her own website Eagle Eyed Girl where she posts David Attenborough-style wildlife videos and photography, said: “I’d definitely like to be a wildlife photographer and presenter when I’m older. I really want to spread awareness and make a difference. I want to inspire people of all ages to get as many people as possible to help and conserve all these beautiful creatures.

Jamie Smart

“I’m amazed and proud of myself to have won and proud of my winning image. The shot of Frederick, our turkey, was taken through the bars of his pen and it looked like he was in prison which was quite appropriate due to the bird flu situation at the time.

“I wanted to show the beauty of his feathers with their iridescent shine, which he loves to display during spring and summer. People don’t often get to see the amazing plumage of turkeys. When the restrictions were lifted, he was able to be let out again in our wooded area.”

image

Curious George

Jamie also won the ‘Pet Portraits’ category with her image of Curious George – a horse she spotted on some moorland, in the ‘Small World’ category she was commended for her caterpillar image, a swan tilting its head into the water also secured her a commended position in the ‘Under 12’ category along with an image of a pheasant sitting on top of a farm gate – which was her personal favourite.

She also won the ‘portfolio’ category with ‘A Year In a Life of the Turkey’ which as well as featuring the winning image showcased striking close-ups of the turkey’s eyes and feathers.

Curious George

All entries are judged entirely anonymously which makes Jamie’s success this year even more amazing.

This year’s awards were judged by a panel of experts in wildlife photography, including wildlife photographer, TV presenter and RSPCA president Chris Packham; wildlife photographer Rachel Bigsby; former competition winner-turned-professional photographer Catriona Parfitt; professional wildlife photographer and photographic guide Ellie Rothnie; and RSPCA photographers Andrew Forsyth and Emma Jacobs.

Heartening

Chris Packham said: “Seeing children and young people express their connection to the natural world through these photographs is always so heartening to see, and this year I was blown away by how many superb photographs we received for the competition.

“Jamie’s turkey photo really stood out for me, it’s a fantastic image and not just because I could imagine it as an album cover for a punk band!

“Jamie is clearly a very talented young photographer with an exciting future ahead of her and I can’t wait to see what she does next.”


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