11 Tips for Shooting Travel Stock Photography to Make Money

By: Kav Dadfar

Stock photography is a tough industry to master. The competition is fierce and prices have been falling over the last decade. But if you are willing to put the effort in and have a long term plan, you can certainly reap the rewards. As a photographer who has been involved in stock photography for over a decade, I have certainly seen the highs and lows. So here are my top tips for shooting travel stock images and how to make money from it.

1. Include people

Picture buyers are always looking for something new and fresh. Including a person can often be what makes your images unique to the thousands of others that already exist. Including a person in the shot also gives the image some context and shows more of an experience rather than just documenting a place.
Some scenes are busy enough that you don’t need someone to pose. But if you do need someone, don’t be afraid to ask a stranger. Rarely have I found that anyone says no. I always offer to send them a copy of the image to sweeten the deal. This doesn’t mean you shouldn’t take the more generic-type shots. It more about maximizing your sales potential by shooting a variety of different images.

2. Get a model release

So once you have included a person when shooting travel stock photography, it is a good idea to get a model release. If the person or people are mainly unrecognizable, or if you intend to sell your shot for editorial purposes only, you won’t require one. But be aware that some stock agencies will require a model release even if it is someone’s hand showing in a photo. Of course, there are times where it simply isn’t feasible, for example, if you are photographing a crowd of people. Getty Images have a great model release form that you download here.

3. Shoot portrait and landscape

When shooting travel stock photography, you should always shoot a landscape and portrait version. Not all scenes work in both landscape and portrait, so sometimes it might not be possible. But if you can, it will come in really useful.
But not only portrait and landscape, try to capture some different compositions. For example, place your point of interest on the left or right. Leave room above and below. You are already at the location so you might as well cover as many possibilities as you can. You never know when a buyer will ask if you have that image in a different crop. Doing this will mean that for example, your image may get used as a double-page spread or a front cover.

4. Leave space for copy

It is important to shoot images with dead space to allow for copy or headlines to be put in. Sometimes this can mean breaking those all-important rules of composition you have spent years perfecting. But it’s worth it to make those sales.
As mentioned above, you can always shoot multiple versions of the same shot. Try to imagine where and how your image will be used in a publication (or even a website), and compose your shot with that in mind.

There was plenty of free space at the top of this image for the copy to be placed.

5. Choose the right agency

This might be pretty obvious, but it’s important to submit your images to the correct stock photography library. If you shoot travel stock photography, then a specialist travel site is best. If you shoot still life, then an agency that specializes in this would be more successful.
Beyond that, spend some time researching the agency that you are thinking of submitting to. For example, are you happy to see your images sold for a few cents? Consider what your commission rate will be as well as they vary greatly from one agency to another.

6. Think carefully before submitting to Microstock

Every single person I have ever spoken to who submitted to microstock sites regrets doing so down the road. Of course, there are probably some photographers out there who are very happy with their returns. The problem is that you will need such a huge collection of images with a wide coverage to see any returns that will be worth your time. This is because microstock sites sell images for cents. Ask yourself, would you prefer to sell one image at $25 or 250 at 10 cents?

7. Find fresh angles

If you really want to make your images stand out and catch the buyer’s eye, photograph it differently! Every picture buyer has seen the classic shot of the Eiffel Tower, and it has been on the cover of hundreds, if not thousands, of publications. So the same is not likely to catch many prospective client’s attention. It’s not always easy, but if you can capture something different or unique, you might end up with a few sales from it. This could be as simple as photographing something from lower down or higher up.

8. Unique location

As well as finding fresh angles, find new locations. Iconic locations such as London or New York, are constantly changing, so there are always potential new places from which to capture photos. This could be from a new rooftop bar with a unique view of Manhattan or new art installation on the streets of London. Even if your location isn’t ever-changing, finding somewhere with a view that not everyone photographs can be very useful.

9. Quality over quantity

This is often a bit of a contradiction when it comes to stock photography because stock photography is a numbers game. The more images you have, the better your chances of making a sale. However, the key is that they have to be quality shots that people would be willing to pay for. This is the reason that it will take most stock photographers a few years to get a wide enough coverage of images to see a decent return.
Try to always shoot the best locations at the best possible time of day. More often than not, this will be sunrise or sunset, but you will need to assess each scene individually. Your aim should be to capture each shot in a way that you can sell it.

10. Stay local

Shooting good travel stock photography doesn’t always mean jetting off to far-flung locations. You can often produce great travel stock images a lot closer to home. If, like me, you are lucky enough to live near an iconic place (for me it is London), then you already have endless photo opportunities.
Shooting locally has other benefits as well.
You can revisit locations easily if the weather wasn’t great. You don’t have to worry about the additional travel expenses that eat into your profits. In fact, you will probably find that your local shoots end up having a far better ROI (return on investment) than traveling to other places.

11. Do something different

Another way that you can try to capture different types of images is to use different technology. For example, drones have now been around a while and can offer a completely new and unique view of something that may have been photographed a lot. But there’s no denying it’s getting harder and harder to fly drones in many places. So if it’s something you are interested in, it’s probably a good idea to get a license. But drone images do sell pretty well, so it is worth considering.

For most people stock photography will never be the main source of income. However, with some preparation and planning, you can certainly make some extra money from your hobby or profession. The key to being a successful travel stock photographer is to treat it like a business as much as possible. Keep your costs as low as you can, and shoot as often as you can.
Do you have any other tips you’d like to share? Do you make money from shooting travel stock photography? Share with us in the comments!

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The Essential Online Resources List for Street Photographers

By Federico Alegria 
 


Having a good place to start with street photography can be extremely helpful in the long voyage to find our inner voice. Today we want to share with you a compendium of resources we have found to be very helpful in the never-ending evolution of our passionate careers as street photographers.
After some good old brainstorming and a long series of emails, we have concluded that this might be a resource pool for street photographers – or at least an essential list for getting heavily immersed in street photography for a while. Therefore, this is an excellent place to start if you are new to street photography.
We have divided our list into 10 different categories, and each of category has between two and five different resources. We hope this list will be helpful to your growth as a street photographer.

1. Awards

If you have ever been interested in awards, then the Lensculture Yearly Street Photography Awards may be just what you need. These guys are among the leading voices in contemporary photography, and their awards are an excellent way to get feedback and critique, as well as tremendous exposure if you make it to the finals.

 

2. Books 

Photo by Eugenio Mazzone on Unsplash

• Valerie Jardin – Street Photography: Creative Vision Behind the Lens

I recently got myself a copy of this fantastic book. I'm a fan of Valérie's work, and this paperback looked pretty interesting. And it is. The book is special because it shows you the story behind each image in the book, a completely new approach indeed.

• Helen Levitt – 2008

First of all, this book is huge but is a treasure. It’s filled with images from one of my favorite street photographers of all time, Helen Levitt. I felt absolutely inebriated the first time I took the time to actually read the images in the book.

• Winogrand: Figments from the Real – 1988

Okay, the price of this thing has skyrocketed … but I bought for $20.00. Garry Winogrand was part of the bold moves John Szarkowski made at MoMA to push photography into the world of art. This book is magnificent if you like street photography. Unfortunately, it has become pretty pricey, but you can still see his work online.

3. Documentaries 

Photo by Pim Chu on Unsplash

• Koudelka: Shooting Holy Land – 2015

This documentary centers on the most recent work of the legendary Czech Photographer Josef Koudelka, a personal favorite of mine. Holy Land is a four-year project in which Koudelka portrays the harsh realities of violence and conflict.

• Finding Vivian Maier – 2013

If you’re unfamiliar with the work of one of the most recent rock stars of street photography, this documentary will be a delight to watch. It centers on the life of Vivian Maier, a French-American woman who worked for most of her life as a nanny and housekeeper in Chicago, but one who had a great passion for photography. What is happening now with her prints and work has been a bit controversial, but her images are a blast.

• In No Great Hurry: 13 Lessons in Life with Saul Leiter – 2012

Made three years before he passed away, this documentary is an intimate and personal film about Saul Leiter's philosophy of life, especially about how he loved to postpone things. Filled with wisdom, passion and a glimpse of humor, this film is a great lesson for everybody, not just photographers. 

• Everybody Street – 2013

This documentary shows us the lives and work of New York's iconic street photographers and the city that has inspired them for decades. The documentary pays tribute to the spirit of street photography and is an absolute must for anyone interested in this genre.

4. Gear Reviews

Photo by Luca Bravo on Unsplash
Ok, I'm not much of a gearhead, but when it comes to gear reviews, Take Kayo (aka Big Head Taco) and Ted Forbes are great at it. Objective and fun indeed (also watch Ted Forbes’ entire pool of videos; he's awesome).

5. Instagram Accounts

If you’re into endless scrolling and high-quality street photography, try adding these two to your following list:

• Fujifeed
• Sixstreetunder

6. Magazines

Magazines are always an accessible way to get close to up-to-date photography. These two are one of the most prestigious magazines out there. Of course, there are plenty of magazines on the market, and this is just our very brief selection: 

• The APF Magazine
• Street Photography Magazine 

7. Movies

Movies are extremely efficient when it comes to storytelling. And even though the following motion pictures we recommend are not about street photography itself, they surely reflect the adrenaline rush of shooting under non-controlled conditions (like what happens when shooting pictures in the streets).

• Cidade de Deus – 2002

Bold indeed, Cidade de Deus centers around the tough life of the favelas of Rio de Janeiro in the ’70s (you can see how important this movie was for the Favelas in a documentary called Gringo in the Slum). One of the main characters of the movie is a photographer who documents the related drug violence of his own slum. 

• The Bang Bang Club – 2010

This movie centers around a brief excerpt of the life of four great photographers: Ken Oosterbroek, João Silva, Kevin Carter and Greg Marinovich (there is also a book written in a sort of chronicle format which has almost nothing to do with the movie). This movie was the main reason I wanted so desperately to learn how to shoot film. I just wanted to feel how things were made by these four crazy great photographers. 

8. Podcasts

Photo by Eric Nopanen on Unsplash
Podcasts aren't for everybody, but I'm a huge fan. I download them and play 'em in traffic. Try these three if you love street photography and podcasts: 

• Hit The Streets by Valérie Jardin
• The Candid Frame by Ibarionex Perello
• Eye, Heart & Soul by Vijce 

9. Website

Photo by Brooke Cagle on Unsplash
Magnum Photos is the best website to keep an eye on if you like high-quality candids and street photography. After all, Magnum was founded by Henri Cartier-Bresson and Robert Capa – who else would you want to learn street photography from?

10. YouTube Channel

Hosted by the talented, charismatic and passionate John Free, this is pretty much the quintessential channel you need to watch to get a real grasp of what street photography is about.
We hope you enjoy these amazing resources and, as always, if there is anything else that should be added to these lists, please let us know in the comments.

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These Three Ideas Will Help You Grow As A Street Photographer

By Jason D. Little  

Street photography continues to be a compelling topic within the larger photography community. It garners lots of strong opinions and debates — from whether street photography is a “dead” genre to what camera/lens is “best” for street photography.
While those subtopics are interesting (in small doses), they are by no means the main ideas street photography should revolve around. If you’re looking to find your footing as a street photographer, here are three crucial concepts you should keep in mind.

Use Whatever Camera You’re Comfortable With

The right camera for street photography is the one you’re comfortable with. Ask 10 longtime street photographers for a camera recommendation and you’re likely to get 10 different answers.
Whether they shoot with a medium format camera or a pocketable point-and-shoot, the thing that street photographers have in common is they use what they’re comfortable with.
Don’t think that you need to buy a new camera for the sole purpose of doing street photography, especially if you’re new to the genre. Whatever camera you have is all the camera you need.
Getting good at street photography is so much more about changing the way you see as opposed to changing your gear. Of course, you might decide later on that you want to make some changes in the gear you use, but it should still be something that you’re completely comfortable with and not something you pick up just because it’s popular on YouTube.

Photo by Jason D. Little

Stay In Your Lane

Street photography is largely about perspective and everyone’s got a different one. While it’s fine to be inspired by the work of others, it’s important to remember that your perspective is unique and is ultimately how others will identify you and your work.
Find your lane and own it. If using a telephoto lens is your thing, do that. If you like to do your street photography at night, do that.
Take the time to figure out what it is you like and what makes your photos worth looking at. Trying to do exactly what someone else is doing is a waste of creative energy.

Photo by Jason D. Little | Kodak Gold 200

Expand Your Vision

Once you feel somewhat settled in your style, you may occasionally encounter bouts of stagnation. This is a hint that you should try something new. You don’t necessarily have to adopt a whole new style, but perhaps you should try shooting in new places, at different times of the day or with a different lens/focal length.
The previous two points address the idea of being comfortable with what you’re doing. But there does come a time when you’ll need to get out of your comfort zone in order to experience real creative growth. Allow yourself to go through the process. You’ll thank yourself as you emerge from the other side as a more competent and expressive photographer.

Photo by Jason D. Little | Kodak Portra 800

The arguments over whether street photography is dead are inconsequential — people are doing it, so it’s alive. A discussion about whether street photography is — in a larger sense — in good hands is a discussion worth having, but beyond the focus of this piece.
The simplicity of street photography is, ironically, what makes it difficult to master. How do you capture an everyday scene and make it uniquely yours? Many have tried, few have actually figured it out.
But it’s fun to try. So take to heart the ideas above and keep trying. You might become someone who figures it out.

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Why Couples Aren’t Booking You for Their Wedding Photography

By: Dan Waters 

Nobody wants to hire you for their wedding photography. It’s not fair, is it?
Your photographs are gorgeous, you’ve created a shiny new website, and you’re more loveable than a bucket of kittens. So why isn’t your phone ringing off the hook with people wanting to hire you for their wedding?

It’s easy to start doubting yourself and going a little crazy. Maybe your photographs aren’t as good you thought. Are your prices too high, or too low? Perhaps all your competitors are secretly dating wedding planners?
The reality is that these days it requires a little more savvy to be a successful wedding photographer. It’s because there may actually be more wedding photographers on the planet than there are stars in the solar system. So, let’s help you shine brighter than everyone else in your area with some simple, practical ideas for getting more wedding photography bookings.

Your photography style

There are so many different styles of wedding photography. Photojournalistic, posed, quirky and fun, romantic, fashion, traditional, highly retouched, and so on.
Pick a style that you love to photograph and then specialize in it. Only show that style of photography in all your marketing. Ideally, it’s a style that most of your competitors aren’t using. The more defined you can make it, the better because people who love that style will be drawn to you.

Yes, you will repel some people, but it’s better to have 20% of people love your work than having 100% of people just say that it’s “nice”.

People buy from people they like and trust

Hiring a wedding photographer is a huge decision for a bride and groom. They have to pay a large sum of money to have a stranger stand by their side all day on one of the most important days of their life. They’ve got so many concerns spinning around their head. For example:

• Is this photographer going to be rude, or just plain dull?
• What happens if we don’t like the photographs? After all, most photographers can cobble together a decent portfolio. But can they do a good job in tough conditions?
• What happens if it rains?
• Will the photographer be able to cope with my crazy family?
• Will they actually turn up?!
• Is it even possible for me to look good in a photograph?
• Will they be able to keep us on schedule?
• Will the group photographs be as painfully boring and time-consuming as I fear?

The list goes on.

One way to get more wedding inquiries is to handle these concerns within your marketing. When you show a couple that you understand their fears and you can help them, then they’ll start to trust you. If you can do this in an engaging, kind, and entertaining way then they’ll start to like you, too.
So how might you deal with their concerns? The single best way I’ve found is to have a money-back guarantee. However, you shouldn’t simply have a bullet point saying “Money-back guarantee” on your website. Inject some feeling into it.
Explain that you’ve heard all the horror stories about wedding photographers letting down couples and that your signed guarantee is there to put their mind at ease. It also demonstrates that you’re confident in your abilities and that you truly care about your clients. This one thing will instantly make you stand out and build trust.

Be different

If you’re the same as every other photographer then the only reason to hire you is the price. We’ve already talked about differentiating yourself through your photographic style and through having a guarantee, but there are many other ways to do it.
For example, I choose 70-page A3 sized (29.7 x 42.0cm, or 11.69 x 16.53 inches) wedding albums that can fit 250 photographs in them comfortably. That number of photographs can comfortably tell the whole story of the wedding day, so the bride and groom don’t have to leave out any images. This avoids awkward conversations with Auntie Betty where the couple has to explain why she didn’t make the cut because they put their friends in instead.
There are lots of great slideshow services (like Animoto) available for you to create beautiful, animated, audio-visual presentations within a few minutes. Couples love them and you can even create presentations made up of their childhood photographs which can be played for the entertainment of guests during the reception. I use a projector and screen to present the show and it’s guaranteed to get the parents a little tearful.

Photograph different, offer different products and stand out from the crowd.

Or, how about creating a framed portrait of the bride from the engagement session to give to the bride’s parents as a surprise gift on the wedding day?
Sometimes you don’t have to be different to stand out. You simply have to explain something that other photographers don’t make clear. For example, many photographers scout venues before the wedding. It helps then find the best places for the romantic and group photographs. They get to see where the best light will be and the best compositions can be made. Most photographers never mention this in their marketing, so if you do then it cements your position in the market as a helpful and dedicated professional.

Reveal your personality

Again, people hire people they like and trust. So, give prospects a hint at what it would be like to work with you by injecting your personality in your marketing. The About Page on your website is really important. If a couple doesn’t connect with you after reading it, they’re far less likely to get in touch.

Just like with your photography it’s okay if your personality doesn’t gel with everyone. If you’re a bit quirky that’s fine. If you’re obsessed with dogs then talk about that. People will connect with you over the weirdest stuff. But if you give them nothing to connect with then you won’t attract anyone.
The less you reveal about yourself the more unfriendly or distant you may seem. These days even large businesses are starting to understand that people don’t like dull “corporate speak”.

Use social proof

People want to get a feel for what it would be like to work with you. That’s why people love to read reviews and testimonials before going on holiday or watching a movie. The same applies to photographers.
Testimonials are one of the most powerful marketing tools you can use. Never stop asking for them. Don’t just put them on one page of your website, use them on every page and in your other marketing. Make them impossible to miss. Ask clients to put them on your Google business page too, as this will quickly help your search engine ranking.

Another great way of showing clients how great you are to work with is to create a behind the scenes video. Ask a second shooter to film you in action at a wedding. The best moment is when you’re charming the guests during the group photographs, or perhaps the romantic ones. It’s the perfect way of providing absolute proof that you would be a joy to work with on the big day for their wedding photography.

Rocking the client meeting

Most wedding photographers meet their couples in person, or over Skype before they’re booked. Sadly, all the fantastic marketing in the world can unravel quickly if you screw this bit up.
One of the most common mistakes photographers make is they start talking about their packages 30 seconds after meeting.
A better approach is to make the whole meeting about the client and what they want. You do that by asking lots of strategic questions. For example:

• What are you looking for in your wedding photographer?
• What’s the most important thing to you about your wedding?
• Describe your wedding in three words
• Is there anything you’re worried about?

This shows that you care about them and what they want. It also gives you a nice segue into explaining some of the things that separate you from the competition.
For example, when couples tell me, “we hate weddings with formal group photographs with everyone looking bored”, that gives me the perfect excuse to bring up something unique I do. I bring a bottle or two of bubbly to spice up the formal photographs. One of the bottles is given as a prize to whoever performs the best during the group photographs. This always leads to a bit of banter and of course you get great photographs of the bubbly being popped open.

You should only start talking about your wedding packages once you’ve been chatting about their wedding for about 30 minutes. That is enough time for you to build rapport with them, find out what they’re looking for, and to explain how your unique services can help them.
When presenting your packages, start with your finest (biggest and best). After you’ve explained each package, ask them how they feel about it. Some clients never even bother looking at the smaller packages if they love the top one.
When you work down the packages like this it’s hard for people to then take the smallest package because they’ve just heard you talk about all these fantastic things you can do for them.

Get the booking

Don’t forget to ask for the sale! It’s so easy to have a nice long chat, only to realize that the couple has left and you never asked them to hire you. It’s your job to gently nudge them into a decision. As you go through the packages and find out which is their favorite, just come right out and say, “Fantastic, I’d really love to work with you because you’re such an amazing couple and your wedding sounds fantastic. A deposit is just $XXX amount and I can take a credit card if you’d like to reserve the date now. How does that sound?”
Simply asking for the booking in a positive and enthusiastic way will dramatically increase your conversion rate. But, you’ll still get some couples say they want to think about it and get back to you. There are many ways to handle that situation. The underlying strategy is to keep them talking because the longer they’re with you the more likely it is that they’ll book. One response is to say, “I completely understand, but do you mind if I ask how you feel about everything we’ve talked about today?”
Another response would be, “Absolutely, but can I ask what it is you’re looking for, maybe I can help if there’s something on your mind?”

The trick is to keep digging until you find out what’s keeping them from hiring you right then and there. This is a great time to stress your money-back guarantee because it helps people overcome the fear of choosing the wrong photographer.

This article only scratches the surface on how to book more weddings, but hopefully, you can see that the issue is rarely just price. Sadly, too many wedding photographers respond to a lack of bookings by lowering their price rather than improving their service and the way they connect with couples.
The more you think about how you can serve your clients the better you’ll do. So, which idea resonates the most with you? I’d love to hear your thoughts in the comments below.

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How to be a Second Shooter at Weddings and Why it’s Important

By: Jackie Lamas 

Getting started in wedding photography takes more than your camera gear. In order to really get an idea of what photographing a wedding is truly like, becoming a second shooter can be the perfect way to get you started.

Why it’s important to be a second shooter?

Getting started in weddings means that you should have a high level of photographic experience not only technically, like how to use your camera, but also what goes into photographing a wedding.

Second shooting allows you to shadow a photographer, photograph the entire wedding, and get real hands-on experience without having all the pressure fall on you to get every photo right.

A second shooter can get creative with angles, perspective, and photograph key guests at weddings.

Being a second photographer can also give you insight into the customer service aspects of weddings like keeping to a timeline, knowing what to expect if something goes wrong, and seeing how each photographer you second for handles the pressure.

As a second shooter, you can also determine if weddings and events are something you’d even like to pursue. You also don’t have the pressure of booking a wedding client and then not knowing what or how to go about photographing it or if you’ll even like it.

Working alongside an experienced wedding photographer can also let you in on industry tips and tricks that they’ve learned throughout the years. You can also ask questions and observe how they work at a wedding. This will help you when you start photographing events as the primary photographer.

Difference between second photographer and assisting

Although it may seem like there isn’t a difference between assisting and second shooting, there is. Assistants are just that. They assist the main photographer with anything from carrying bags and equipment, to helping with veils, styling, or running to grab something for a photo. An assistant is an extra pair of hands.

Assistants generally don’t help photograph a wedding. However, depending on the terms that the main photographer has set up for the position, sometimes you may.
A second photographer is someone who helps photograph a wedding in tandem with the main photographer. As a second shooter, you are usually responsible for photographing the in-between moments and get a different, more creative angle on photos.

Reach out to photographers

The first step in getting a second shooting gig is to reach out to photographers that inspire you, are looking for help on wedding days, or people you know who wouldn’t mind having an extra photographer at the wedding.

Your email can be simple and concise like:

Hello,

My name is ____________. Firstly, I love your work and it’s an inspiration to me as a new wedding photographer. I was wondering if you needed a second photographer at events, as I would love to learn the ropes before jumping into wedding photography full time. I have the following gear: __________. You can see my portfolio at www.yourwebsite.com.

Thank you so much for your time!

Your name.

Emailing a busy photographer a short and to-the-point email is best. They may say no, which is okay. You should respond with a thank you email along with the message that if they ever need anyone in the future, you are available. They can then keep your information on file should they need a second photographer in the future.

Also, there are many social media groups where you can look for second shooting jobs in your local area. Many photographers can hire on the spot just by looking at your website and gear.

Make sure to sign a contract

Second shooting with a contract is highly recommended. Not all photographers do this. However, you can draft one up for them just in case they don’t have one ready.

Include the details of the event, how long you’ll be second shooting, what you’re expected to cover, and finally, the delivery of the photos and payment.

Many photographers will want you to use your own equipment and will ask you what you photograph with. If this is the case, make sure to put this in the contract as well.

Just as an important note as well, when you second shoot, the images that you take may not be under your copyright. Most contracts will state that copyright belongs to the main photographer since their photography business is the one who was hired by the couple.

Often, second shooters get the candid photos during a wedding event, like this one above.

This means that you’re a subcontractor. Therefore any images you produce are copyright and property of the main photographer – even if you photograph the event with your equipment. Check your contract for copyright and usage rights, if any exist.

Gear

Some photographers want you to use their memory cards or even their gear. That way, they don’t have to worry about syncing times, converting raw files into the same format, or image delivery delays to the client.

Try and get a different angle than the main photographer so you can add variety, like these two 

images of the first dance.

Take your gear with you. Doing so gives the main photographer the choice to let you use your gear or their gear, or a mixture of both.
When you email the photographers, make sure you list all the gear that you know how to use at 100 percent. In the event you don’t know how to you use your flash in manual mode, for example, then put down “flash only in TTL mode.” This can help the main photographer know your photography experience and may even help you learn manual mode or another photography tip!

Be all-in

Being a second shooter means that you are there to help the photographer with photography. While some second shooters take this approach very seriously, I believe that second photographers should also be at the disposal of the main photographer – within reason, of course.

This means that you help fluff up the dress, put on the boutonniere, help with getting flowers to the bridesmaids, and yes, maybe handing the main photographer a lens or battery.
You’re a team, and it’s important to be all-in when you second. The main photographer is helping you gain experience and learn. It’s best that you also help as much as you can.

While the main photographer focuses on the couple, you can use your eye to focus on other key 

moments during the wedding!

Each photographer works differently, however. Showing initiative and being accommodating can also help you get more second shooting gigs in the future with the same photographer.

Take what works for you

Second shooting is really helpful because you get lots of experience with different photographers and get to observe all the different ways that each one works a wedding.

Perhaps you vibe best with one photographer and not so much with another. That is okay. Make sure to thank the photographer for having you along. Then, in the future, only go with photographers you have a good rapport with and like to be around.

Also, you’ll be able to take away tips and tricks that you feel work for you. If one photographer was excellent at customer service, take away what they said or did, and apply it to your business. Another photographer may have created a really interesting image during the reception that you can try at the next wedding event you have.

Take what works for you, your style, and your business and leave the rest. That’s one great thing about being the second photographer – you can observe all and still have fun photographing a wedding.

Payment

When you are highly experienced in photography and can create quality images every single time, you may get paid anywhere between $25-$50 or more per hour for second shooting. Some photographers also offer a flat rate for a set of hours.

If you’re just starting out, you might not get paid, but the experience is completely worth it. Getting your feet wet in the wedding photography industry is more important because you’ll find that weddings are a high-pressured, fast-moving, and a once-in-a-lifetime type of photography.

You don’t get do-overs, so second shooting is the best way to get experience without paying the price for unhappy clients.

That being said, definitely ask the main photographer before signing a contract what the payment will be. Then you can choose whether the pay is acceptable or not. You do have the choice to take on second shooting gigs for free if you wish or ask for a set rate.
Some experienced photographers help other photographers out and so their pay rate is higher. While others do it to flex their skills, practice, or just fill up their calendar in between jobs.

Becoming a second shooter is a lot easier than you would think. Reach out to photographers that you admire and spend time observing how they work. When you’re ready, you can then start to photograph your own weddings if you don’t already do!

Do you have any other second shooter tips? Share them in the comments below!

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Another Photography Freebie. Enjoy. Get your copy by typing this link into your web browser, and clicking ENTER.

http://oopoomoo.com/wp-content/uploads/2012/01/BadLight.pdf

Avoid These Top 9 Photography Mistakes Made by Beginners

By Federico Alegria 
 


Ok, we all make mistakes and that is how you learn in photography, but there are a few recurring ones that, if you stick with photography, will almost certainly make you cringe in a few years time. This is a rant… about those mistakes.
We’ve all made them – either from aesthetic ignorance or simply by a desire to simulate an effect that arouses our interest. Fortunately, when some of us mess up, generous peers help us notice those mistakes. The great difference between photographers who overcome errors and those who don't lies simply in learning to listen to this advice.
Some mistakes happen directly in the camera, others at the post-production stage. But if we consider the final photograph as a result, it matters little when they happen. We assume in the following list that all these mistakes are committed after the photographer has learned to expose correctly and basically knows how to use a camera.
Excessive use of HDR
Photo by George Coletrain on Unsplash
Some years ago, the HDR technique became quite popular, and honestly, a good HDR shot can produce pleasing results. The important thing is to understand HDR as a way to level out the exposure of the entire scene to get the highest dynamic range of tones throughout the scene. This includes shadows and highlights.
If we look at the work of Ansel Adams, we can appreciate the result of his meticulous zone system, which is the beginning of the quest to achieve a high dynamic range in a photograph. The problem with the excessive use of HDR is that it generates a strange image that ends up looking like a digital painting.
Selective Color
I'm not exactly sure when selective colour was born, but the technique doesn't add anything to the meaning of the image, and its use is pretty tacky. Avoid it, no matter whether it’s done in the camera (since some cameras allow it) or during post-production.
Cutting off limbs in odd places
This is a recurring theme in photography, especially in street photography. When you’re doing things quickly, the door is wide open to mistakes. This was perhaps one of the most important observations a friend/photographer made about my work. I wasn't aware of this flaw, especially regarding people's feet. There are many types of framing, but when you crop a portion of the human body in a strange and even uncomfortable way, you make this mistake. Image by Federico Alegría
There has been much talk around this, and even some images by Henri Cartier-Bresson exemplify this mistake. Personally, I think it’s a mistake you should avoid.
Excessive blurring
This is one of those mistakes that happen during post-production. People tend to see blurring (any type of blurring) as way to fix skin imperfections. This may be true, but when it’s overused, it becomes so obvious that the result is very unappealing. The important thing here is to learn how to use postproduction tools properly to achieve a specific result, especially if you’re working in commercial photography.
Improper focal length for portraits Image by Paul Stevenson
It’s well known that the lens focal lengths that present natural results with a minimal distortion of reality are those longer than 50mm, especially between 50mm and 85mm. If we use wide-angle glass such as 16mm to take close-up portraits of a person, we get extremely strange results that affect the appearance of the subject's anatomy in a way that can seem satirical or mocking. Extreme care must be taken when choosing a lens for a portrait.
Crazy Finger
Technology has allowed cameras to shoot a large number of frames per second, and this sometimes results in photographic disaster. This is commonly known in the photography world as “Spray and Pray”. By reducing the rate at which we shoot, we become better photographers. We also reduce the time it takes to choose and edit the images we wish to present to the world.
Bokeh craziness Photo by Clem Onojeghuo on Unsplash
Bokeh is a peculiarity generated by a lens' aperture. We must learn when it’s necessary to use – but remember that not all images need an extremely creamy bokeh (as some new photographers seem to think).
Watermarks
Invasive watermarks can reduce an image's personality and aesthetics. And a watermark on an image doesn't automatically make us a professional photographer. Over the years, I have reduced the mark I use on my work in my Bēhance profile and on other networks. And I have eliminated the signature in the images on my website. I invite you to think about whether watermarks are necessary for your own photographs. If you don’t want anyone to steal your work, then show it offline only.
Rule of Thirds = Composition Image By Alchemist-hp (talk) (www.pse-mendelejew.de) – Own work, FAL, https://commons.wikimedia.org/w/index.php?curid=18004081
We have previously discussed the importance of composition in photography. And many elements beyond the rule of thirds can add to an image’s aesthetics. That’s why it’s a mistake to believe that the rule of thirds is a compositional absolute. If you learn to make images with alternative compositions that add to its aesthetics, you’ve gained a lot.

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