Have you ever looked at the work of a good landscape photographer and
wondered how they found such beautiful places to shoot? Or would you
like to travel to a new place to do landscape photography but are unsure how to find the best locations?
You are not alone. It takes work to find the best locations and most
landscape photographers go through this process. The tips in this
article will help you.
1. Look at the work of other photographers
The first step to finding great places to take landscape photos is to look at the work of other photographers.
There are so many great photographers on 500px, Instagram, and Flickr
that it should be relatively easy to find some who have worked in the
areas that you have in mind.
Looking at the work of other photographers helps you in two ways:
It helps you find the most iconic, popular, and spectacular places to take photos.
It gives you an idea of the potential of a place for the type of
landscape photography you have in mind (for example, perhaps you are
looking for somewhere to do long exposure photography, or perhaps you like to work in black and white).
It’s a good idea to look for the work of a local photographer. Locals
have a huge advantage over visitors. They know the area better and are
familiar with photogenic but relatively unknown locations. They may have
lived there for years and built up a substantial body of work. Their
portfolios contain photos taken at different times of the year. All these things help build a picture in your mind of the location and its potential for landscape photography.
I
went through this process when I traveled to northern Spain last year.
Looking at the work of local photographers helped me find locations like
this.
2. Go out and explore
Once you’re on location, curiosity is the key to finding interesting
things and places to photograph. If you’ve done your research you
already know the most iconic and popular locations – they are probably
what attracted you in the first place.
But what about other locations? The not so well known ones? You can
only find those by exploring. It’s only the desire to see what lies
around the next corner, or where a lonely road takes you that allows you
to find these places.
I made this landscape photo while walking along footpaths near my
parent’s house. This is not a well-known area and you’ll struggle to
find other photos taken here. Yet it has a lot of potential and I was
able to make photos like this.
3. Make a bucket list of great locations
As you look at other photographer’s work and read about landscape photography on websites like Digital Photography School you are bound to come across interesting places and locations.
My suggestion is that you set up a spreadsheet or word processing
file that contains a list of all the places you might like to visit one
day. The world’s a big place and there are a lot of photos to look at
online. If you don’t make a note when you find something interesting you
may forget it and never find it again.
As time goes by you can go back to your list and research the places
that seem most interesting to you. For example, let’s say you have the
city of Venice on your bucket list. Whenever you find an interesting
photo or a good article about photography in Venice, add it to your
file. Then, when the time comes that you finally get to go, you’ve
already done most of the research required and have a good idea of what
you’d like to achieve.
Make your list
Another approach is to write down a list of the places you’d like to
visit. Don’t censor the list – they are ideas, not certainties. Then you
can research them and make notes as you find out more information. This
gives you time to think about how much time you need on location, and
how to fit that into your schedule. You can think about time and money
and gradually build your plans.
Places on my bucket list include the mountains of Torre del Paines
National Park in Patagonia, the Italian Dolomites, and the desert
landscapes in the southwestern United States. How about you?
The Picos de Europa in northern Spain, where this photo was taken, were also on my list.
4. Find your personal vision
One of the dangers of looking at the work of other photographers is
that it creates a desire to take photos of the same places as other
photographers. There’s nothing wrong with capturing photos of iconic
locations, and sometimes it’s just an itch that has to be scratched
before going on and finding the lesser known places. But the danger is
that you forget to look elsewhere for good places to take photos.
Photographer Cole Thompson has an interesting idea he calls
photographic abstinence. He never looks at the work of other
photographers as he wants to find his own locations and his own way of
seeing the landscape. There’s a lot of merit to this idea and it’s
something you might like to try for yourself. It’s the opposite approach
to the advice given at the beginning of this article, and it may work
well for you.
Personalize it
Last year I visited my family in Norfolk, England. Look up the work
of local photographers and you’ll find lots of photos of sand dunes,
wide beaches, and beach huts – the typical landscape of the local area.
I stayed away from those places and walked around with my camera
through the landscapes around the village where my family left. It
wasn’t intentional to start, but as I did so I found that I was building
a body of work photographing the elements of the landscape that were
personal to me. I was ignoring the iconic locations, the ones you see
photos of for sale in local galleries, and photographing the landscape
in a much more personal and interpretive way.
I ended up taking photos like the one above, and this one.
Wherever
you go to take landscape photos, and no matter how well known and
iconic some of the locations there are, I encourage you to look for and
find your own personal vision.
These ideas are just some of the ways that you can find interesting
landscapes to photograph. Do you have any more? I’d love to hear them
– please let me know in the comments. Andrew is the author of the ebook The Black & White Landscape.
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Tuesday, January 21, 2020
Viral Video - Inspiration for all you Videographers. Viewed over 150,000 times on Facebook
Tips for Client Photo Sessions – What it’s NOT All About
There are a host of things which are important when doing photo
sessions for clients. But if you’re not careful you could end up falling
into the trap of assuming that photo sessions are about something that
they really are not. The list of things to keep in mind covers topics
such as lighting, exposure, location, posing, and even practical
elements like what to charge and what to recommend they wear.
I’ve personally made some mistakes in my development as a
photographer when I got caught in the trap of focusing on the wrong
things. An understanding of what client sessions are not about can be just as impactful as knowing what they are all about.
With that, here are a few things to keep in mind the next time you set out to take pictures for people.
It’s not about your gear
I know how fun and exciting it is to get new photography equipment.
While I don’t have an entire room full of cameras and lenses, I do have
enough to fill a pretty large backpack, and I once chased down a UPS
driver just to get my new 70-200mm f/2.8 lens one day early. I always
enjoy showing my latest camera purchase to friends and family. While
none of this is necessarily a bad thing, an obsession with photo gear
can actually become a hindrance when working with clients.
I can remember some photo sessions from a few years ago that I’m
almost embarrassed to recall because of the way I showed up and starting
flaunting my cameras, lenses, and accessories for my clients. There
were times when I would make it a point to explain that my lenses had
super wide apertures which meant that they were so much better than a
kit lens.
Or when visiting with potential clients I would make sure to point out that I was shooting with the latest, greatest,
and costliest full-frame camera on the market. Shamefully, I have even
gone so far as to literally pull out speedlights, tripods, and other
accessories that I had no intention of using just so the clients could
see that I had them.
Clients want results and to feel important
In hindsight, not a single client I have ever worked with was
impressed with my camera gear. They wanted results, not grandstanding,
and it was the pictures that mattered to them rather than the gear I
used to make the images. For all my clients care, I might as well be
using an old Canon Rebel T3 and the on-camera flash! (Truth be told I
know some photographers who do great work with a basic setup like that.)
If you try to dazzle your clients with how cool your camera stuff is,
it could actually make things worse by setting unrealistic expectations
in their mind of what you can actually do. Or worse yet, you could come
across seeming like an arrogant show-off even if that’s not your
intention at all.
When you work with clients I recommend leaving gear out of the
equation entirely. Don’t talk about your cameras, your lenses, your
super cool equipment bag with dozens of folding pockets, or the camera
you don’t have but hope to buy someday.
Discuss your goals for the photo session, explain your plan for getting the kids to smile,
or take a few minutes and just get to know your clients on a personal
level. Don’t make the session about your expensive fancy camera stuff.
Instead, make it about your clients and let them be impressed with your
pictures, not your camera.
It’s not about your last gig
Have you ever been to a holiday gathering and had the unfortunate
luck of sitting by a particular relative who just wouldn’t stop talking
about all the things he or she has done, the places they have visited,
or the new stuff in their house?
Every time you bring up something from your own life, they counter with a swift rebuttal, “Oh
you went to the Grand Canyon for a day? That’s nice. But it’s nothing
compared to the week I spent backpacking in the Swiss Alps!”
All you want is to share some of your life experiences, but all this
unfortunate friend or family member wants to do is play an endless game
of one-upmanship until you finally excuse yourself to go get some pie.
And you don’t even like pie.
Think about those uncomfortable situations the next time you are at a
photo session with clients and you feel tempted to regale the people
with tales of fun, excitement, and adventure from previous sessions. You
might have some fun stories to share of how you barely got the shot
before a thunderstorm rolled in, or you might want to pull out your
phone and show off some amazing images of that time you photographed a
destination wedding at a national park.
Focus on the people in front of you right now
The best course of action in those situations is to say nothing at
all and keep the focus squarely on your clients and the job you are
currently doing. You know, the one you are getting paid for.
Regaling clients with tales of your previous sessions can make them
feel inadequate by comparison, and often sends them messages that you
don’t intend. It can make your clients feel inferior, outclassed, or
even jealous when pitted against the fantastic tales being spun of your
other work.
Save your stories for your friends and instead talk with your clients
about how great they look, how much fun you are having, and how you
plan to address the questions and concerns they might have.
Rest assured your clients already have a high opinion of you and your
work based on what they saw on your website or heard from others.
Otherwise, they would not have asked you to take their pictures. So put
away the stories of past gigs you’ve had and make the session about the
only people who matter at the moment – the ones in front of your camera.
It’s not about how awesome you are
Look, I get it. As a photographer, you’ve done some pretty cool
things, seen some great places, made some incredible images, burned the
midnight oil into the wee hours of the morning to make sure your RAW files were edited to absolute metaphysical perfection.
You’ve got some stories to tell and you might have even earned an
award or two along the way. Perhaps one of your pictures ended up in a
print publication, or you teach photography classes at your local
vocational/technical school. As Ron Burgundy might say, you’re kind of a big deal.
All this may sound harsh, but I bring it up because I’m ashamed to
admit it used to be my attitude. There were times when visiting with
clients that I would make it a point to describe, in painful detail, how
hard I worked on other sessions. Or I’d brag about the number of images
on my memory card the last time I did a similar shoot. And I would talk
about this as if it had any bearing at all on the quality of my work
when all it did was alienate people and send them the wrong message
about me as a photographer.
The most important people in the room
Your clients don’t care about the stories you might want to tell them
demonstrating how great you are. What they care about is the job you
are doing for them and the pictures they are paying you for, not your
stories, your adventures, or your portfolio.
They hired you for a reason, and they are probably already familiar
with your work after seeing samples on your website or talking with
friends, family, or other client referrals. They already think highly of
you or they wouldn’t have hired you, so you don’t need to keep
reminding them of your greatness.
When it’s time to do the photo session just show up, do the work, and rest easy in the confidence of knowing you are an awesome photographer. You consistentlyproduce
great results, and people like your work enough to pay you for it! Let
your work speak for itself, pay attention to your clients and their
needs, and you’ll get some phenomenal photos that will keep your clients
returning and sending others your way as well.
What about you? Do you have any lessons you have learned from doing
client photo sessions over the years, or mistakes you feel comfortable
sharing with others so they can avoid the same pitfalls? Please leave
your thoughts in the comments below.
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Why You Need to Manage Expectations – Both Yours and Your Client’s
As you prepare for a photo session with clients you probably run
through a checklist to make sure you don’t forget anything. Cameras?
Check. Lenses? Check. Lighting modifiers? Good to go. Props, stepstools, spare batteries? Got ’em.
But one thing that often gets left behind, so to speak, is a set of
expectations that you and your client might have for the photo session.
You might have something in mind for the session based on your
experience, your work with previous clients, or the particular set of
gear you are bringing along. But if your clients have a different set of
expectations it can spell big trouble and will require a lot more than a
few batteries and extra memory cards to fix.
These
clients hired me for a maternity session and it went smoothly thanks to
a very clear set of
expectations that we discussed beforehand.
Expectations are important
Think of the many ways in which your expectations influence your
perception of the services and products you buy. When you go out to eat
you will expect a certain level of service based on previous visits. If
you go on vacation you will probably look for reviews online and base
your satisfaction of the accommodations on how well those expectations
were met.
If you hire a contractor to remodel your kitchen you will make sure
to have lengthy discussions with them to make sure the work they perform
is precisely what you want. It’s fair to say that as a consumer you
probably base many of your buying decisions on expectations that have
been set for you.
And yet, as a photographer, how often have you worked to set
expectations for potential clients? Your website might proudly proclaim
that you do weddings and formal events, but there are probably two dozen
other photographers in your area who offer similar services. The same
goes for most types of photography: families, youth sports, products,
high school seniors, or even aerial drone images.
You’re good at what you do but what makes you stand out from the
rest, and what can your clients expect when you show up to take
pictures?
What can clients expect from you?
One of the first things I learned when I started doing portraits for
clients was that the things which I thought were the most important were
not at the top of my clients’ priority lists. I spent so much time
thinking about pricing and choosing a template for my website that I
neglected to properly craft a message letting clients know what they
could really expect out of me.
A few dozen sample images of portraits in parks along with a
testimonial or two are a great way to market yourself. But these don’t
really tell clients much about your approach to a photo session or what
you will do to get the shots they are looking for.
Set expectations early
Think about the many ways in which you can set expectations in
advance to let clients know how things will go. This goes well beyond
simply telling your clients how much you charge, how many prints or
images you will deliver, and whether you take checks or credit cards.
For a session to go smoothly think about the more esoteric
expectations and do your best to manage them before a single click of
your camera shutter. Some items to ponder would be…
Your shooting style: Are you easygoing, flexible, and open to improvisation or do you have a more strict and pre-planned approach to photo sessions?
Accepting input: Do you incorporate input from clients in terms of poses, locations, or picture ideas?
Who can attend the session: Will you let clients
bring friends, family, or even pets to a photo session? (Not to get
their pictures taken, but just for help, encouragement, or comfort.)
Where you draw the line: Are you willing to engage
in illegal or semi-legal activity to get photos? Some clients might want
to shoot in areas that prohibit trespassing or are otherwise off-limits
which might be beyond the scope of your services. “But my friend got photos taken at this abandoned warehouse last year.” they might say, in which case you might advise your client to solicit the help of another photographer.
This
picture was not my idea; my clients suggested it on the day of the
shoot, and we made it happen.
I told them that I was open to their ideas
so they offered some, and the results were great.
More expectation examples
Posing: Are you the type of photographer who likes
to use specific formal poses or do you take a more casual hands-off
approach? This is especially important if you are doing wedding and
other types of events that are not easy to replicate.
What’s your approach to social media? Will you
share pictures of the session online, talk about the session before or
afterward, or snap behind-the-scenes photos to ingratiate yourself to
other potential clients? Some people might be fine with this but other
clients may prefer more privacy. If so you would need to adjust your
approach for those clients, or let them know so they can make an
informed decision about whether or not to use your services.
Photography locations: Do your clients want to
shoot in locations that just won’t work (or the wrong time of day), or
you simply can’t get to with your gear? Discuss what your clients expect
beforehand so you won’t be caught off guard during the session if they
ask you to shoot in a dimly-lit alley, behind a waterfall, or in the
middle of a crowded mall.
Photography assistant: Do you use a second shooter and if so, what will his or her role be during the session?
Turn-around times: How long will your clients have to wait to get prints or digital files after the session?
experience was a
crystal-clear understanding of what the clients wanted and what my role
was as the
photographer.
This
is just a starting point. You are going to have other things that are
unique to yourself and your photography. And even though some of these
might be clearly spelled out in your contract, it’s a good idea to set
and manage expectations clearly and without room for misinterpretation. A contract may cover you in legal terms, but don’t assume your clients have meticulously read and understand every single word.
Open communication is key
In my experience, one of the best ways to set these expectations is
to have some kind of real-time back-and-forth dialog with your clients.
Exchanging information over email and social media is fine, but when it
comes to hashing out the details of a photo session nothing beats a
phone call or in-person meeting.
If the latter isn’t all that practical, then, by all means, talk with
your clients on the phone or via video chat. This can help you set a
positive tone for the session, ease their minds about any concerns they
might have, and give you a chance to explain what they can expect.
Reassure them that you have their best interests in mind.
What do you expect from your clients?
There’s a flip side to setting expectations and it’s one that
sometimes gets overlooked when planning or executing a photo session.
You might have bent over backward to let your clients know what to
expect from you, but what have you done to let your clients know what
you expect from them?
Just as every photographer is different, each client is also unique.
They have an attitude and approach that separates them from everyone
else. In order to make sure things run smoothly, think about ways to
communicate your expectations of them with your clients. Otherwise you,
and they could end up knee-deep in frustration with no easy way out.
Punctuality: Do you value punctuality and expect
your clients to be on time for a photo shoot? This might seem obvious
but not all clients take the same disciplined approach as you might when
it comes to arriving when they are supposed to.
Cell phone usage during a session: Will you ask
your clients to put their phones away during the session? For some
photographers, this isn’t an issue, but others get irked if clients are
constantly snapping, tweeting, and texting during a photo session. If
you expect them to be focused and attentive, let them know in advance.
When
this family arrived I spent a few minutes explaining how I was going to
conduct the session
and listened to their ideas as well. It set a
positive tone that resulted in some images that they really
liked.
More examples of your potential expectations:
Transportation on-site: Do you expect your clients
to be able to walk around or transport themselves to different
locations? If you are doing high school senior photos do you plan on
taking them to different locations in your vehicle? If so, do the
seniors and their parents know that this might be a possibility? Iron
out these details beforehand or you could find yourself in an
uncomfortable situation the day of the shoot.
Other photographers at the session: If you are
doing a wedding, will you be the only photographer or will the groom’s
uncle (who just got a new DSLR for his birthday) be hanging out taking
photos also? Some photographers don’t mind this sort of thing, but most
would rather the clients tell Uncle Bob to leave his camera at home and
let you do your job. Communicate your expectations well in advance to
avoid hurt feelings the day of the ceremony.
When
working with kids, especially infants, things are never going to go how
you expect! But
discussing things with the parents beforehand is a good
way to help deal with issues as they crop up.
As before, these are only some of the things to consider when setting
client expectations and the best way to go about doing that is with a
phone call or other type of back-and-forth conversation. This
information might be on your website, but it’s incumbent on you as the
photographer to do everything you can to make sure your clients know
what you expect of them. Don’t simply just assume they have read through
every page of your site.
This family was a joy to work with, largely because of clear expectations from both parties (the family
and myself).
Finally, one tip that might be useful to you is to make a checklist
of these items so you have it handy during conversations with the
client. This way you can update it over time as new issues come to
light, and you can make sure to properly address all the most pressing
expectation issues that could come into play before, during, and after a
session.
The goal here is to make every session a positive experience for your
clients as well as yourself, and the more work you do to manage
expectations for all parties involved, the happier everyone will be.
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Monday, January 20, 2020
Viral video - Inspiration for all you Videographers
12 Sources Where You Can Make Money in Photography
It can be a daunting task when you first start looking for ways to
make money in the photography world or find photography jobs. On one
hand, there seems to be, and are, many different avenues you can take to
achieve an income, but on the other hand, each of these avenues can be
difficult to break into.
I created this list to help focus you on your path to finding the
right way to achieve income through your work. Take your skill level,
your location, your situation, your short-term goals, and your longterm
goals all into account and choose the strategies that you think will be
most effective. Hit those strategies hard. There is no need to waste
your valuable time on the other stuff.
1. Friends, colleagues, and family
Band photography
There are few photographers that I know who did not gain their first
photography jobs through friends and family. Your friends, colleagues,
and family already know you and your work ethic (which I hope is
strong). They trust you and will be willing to recommend you. Some will
even hire you. Everyone needs photography in some way and people often
want to work with a person they know. Let that person be you.
Think about how your network can help propel you where you want to
go. Who might they know who can help your career? Ask for an
introduction. If you want to do business or law firm portraits,
ask your friends who work for those type of companies to put you in
touch with the person who hires photographers. In addition, influential
people (connectors) can be a big boon to your business. Reach out to any
of these people that you might know or seek out an introduction from a
friend who might know them.
Send out an official announcement about your business. Create a mailing list,
and send out a professional looking email that talks about your
services and how you can help people. It’s one thing to talk in passing
to your friends and family about it, but it’s another to be official and
explain how you can help them or the people they know while showing
your accompanying work.
2. Assisting and internships
Business portraiture
Besides your personal network, assisting and internships are the
other primary way that you can effectively break into the photography
business. Be prepared to make coffee and sweep floors (tip: if you learn
to make good, strong coffee, everyone on a photo shoot will love you).
Doing this will allow you to learn about how a true photography business
runs quicker than at any photo school. It will give you a nuanced insight that you cannot get in any other way.
If you assist a portrait photographer, you will learn about lighting
really well because you will be in charge of setting up the lights. If
you assist for a wedding photographer, you will likely be a second shooter.
In that role, you will gain invaluable wedding experience without the
risk of shooting a wedding for the first time without any support.
It
will allow you to build a new network around you. The photographers you
work for will pass along jobs that they cannot do. You will make
friends with the other assistants and you can help each other out in the
future when you all start shooting on your own. The relationships and
skill building that happens in these environments is invaluable.
3. People that need photographs for their wall
Canvas wall print
If you are aiming to sell your photographs,
you can market directly to businesses, restaurants, local galleries,
everyday people, collectors, and your network. You can be a go-to person
for gifts. However, keep in mind that this is a very hard way to make
money. It can take years of dedicated work to build up and you will need
to actively market yourself.
Studying marketing and selling is important for anything you do on
this list, but particularly if you are aiming to sell your work. Most
photographers choose other ways to make a majority of their income at
first while building up a print sales business over time.
4. Local businesses
Business portraiture
You know the needs of your local businesses well, and most likely you
already know the people who own them. Figure out what they might need,
whether it’s business portraits, shots of their food or products, event or conference photography,
or work for their walls. Approach them with a plan in mind, and ask to
set up a meeting to discuss your ideas and how they can benefit.
Better yet, if you know anyone that works for the business or has a
relationship with someone who does, ask for an introduction first.
Introductions will give you a huge advantage.
5. Couples, weddings, and engagement photography
Engagement photography
Wedding photography
is a big business for photographers. It takes a lot of time to get good
and is very hard to do well, but it is one of the best ways to make a
good living at photography. If you are aiming to start off with wedding
photography, I suggest trying to at least work as a second shooter for a
while to gain a portfolio and skills.
But there are other ways you can take advantage of this as well. You do not have to be a wedding photographer
to be an engagement photographer. Couples and family photography is a
very viable business wherever you live and engagements are a big part of
that, whether or not you are a wedding photographer. Learn the best
locations in your area to photograph and market to families and
newlyweds. This may also be a good first-step to transition into the
wedding world.
6. Travelers
Tourists from a workshop
If
you are in an area that gets any sort of tourism, you can become a
photography tour and workshop leader. Learn about all the best locations
in the area and the best times to photograph them. Learn some history
too. Just because you are running a photography tour does not mean that
history isn’t important. People should be able to get to know more about
what they are photographing. They want to learn that stuff. Market
yourself through hotels, tourism companies, local tourism boards, and
Google.
7. Actors, artists, and students
Dancer
There is a whole photography sub-industry that caters to creatives
and students. These genres do not usually pay as much as working with
business firms, but they can as you improve and move up. Go advertise
where these people hang out. Find a connection at your local schools.
Learn which of your friends have high school age children that need
photos taken, then begin to work with their network of friends. Try to
get into acting or art schools.
8. Conferences and events
Business Conference
Event photography is another way that photographers can start making money right away. Event photography
is on the easier and less stressful end of the photography spectrum, as
long as you are okay with the socializing. There is not as much
pressure involved as shooting a wedding, and the technical skills are
not as difficult to master as other forms of photography. Learn to use your camera, your flash, how to shoot in low light, and how to get people to smile in photos and you’ll be good to go.
9. Trade and art shows – networking events
Trade event
Seek out all of the trade shows whose members you think you might be
able to work with. Whether it’s a business related show or a local
tourism event, many of the attendants will need your services. Meet
people, get to know them, don’t come on too strong, and let them know
that you’re there if they ever need your services. The more you attend
these different events, the more people will recognize and get to know
you. Just this exposure can be very valuable in the long run.
In addition, many areas have arts and crafts fairs and shows.
This is a great way to get your work seen by your community. It’s a lot
of work, so plan carefully and try not to go overboard at first. Do
your research coming in, and use the time at the show not only to sell
your work but to get to know people in your community. Even if someone
is not ready to buy your work, it doesn’t mean that they will not want
to in the future or for a gift. Get to know them, and see if they want
to sign up for your mailing list, so you can keep your work in front of
them in the future.
10. Organic: Google and social media
An image used as a fashion show backdrop
Due to all the competition, ranking highly in Google is tougher than
it used to be. But with some focus and time, it is very doable. Learning
how to rank higher in Google involves too much information to do the
topic justice here, but you should follow resources and websites such as
problogger.com (our own Darren Rowse’s other site), which will help you learn to make more of your living through the internet. You will need a website
of course. Also keep in mind that besides a variety of unique factors,
Internet links are the lifeblood of ranking highly in Google, so it is
necessary to figure out how to get other people to link to your site and
mention your work.
In addition to your email list, build a Facebook business page and an Instagram page
to grow your following. This will help you keep your work in front of
people so that they will remember you the next time they need your
services.
11. Local internet marketing
Business photography
You can market your work to all types of business on the internet.
However, local websites can be the most important. Local news sites,
blogs, or wherever your community hangs out on the internet
are important to become a part of.
Think about how you might be able to work with these websites or be
of value to them. If you join certain communities, you do not want to go
crazy marketing to them. Join the community, be a valuable member,
answer questions and offer advice, and just get to know people. That’s
how you market in these situations. If you do this the right way, they
will like and trust you and will want to work with you in the future.
12. Other photographers
There is so much competition between photographers that it can get
incredibly frustrating. Other photographers share the same passions that
you do, and they are going through the same trials and tribulations.
Seek out the good ones and become friends with them. Offer to help them
if they need. Pass along jobs if you can’t fulfill one. Grow together.
Over time, you will surround yourself with an invaluable community
and you will all be stronger together. The photographers who feel too
competitive to give you the time of day will then not have the
advantages that the rest of you do.
Making money in photography can be challenging and hard especially
when you’re getting started. These tips should give you some ideas to
move forward with in your photography career. If you have any other
ideas that have worked for you please share them in the comments below.
Share this article.
4 Lessons for Aspiring Family Portrait Photographers
Over the past four years as my wife and I have done more family
photography we have learned quite a bit. Going through some of those
early shots I’m sometimes amazed that anyone paid us money for them at
all! Self-reflection is critical
not just for photographers, but any artist and indeed anyone who wants
to improve at a given skill over time. In thinking about what has worked
and what hasn’t worked I repeatedly noticed four key elements that I
wanted to share with you. Hopefully, these will be useful to you if you
are just starting out as a family portrait photographer, and you won’t
have to make the same mistakes I did as I was learning them!
1. Location, location, location
I live in Stillwater, Oklahoma, and there’s a spot in the middle of
our town that a lot of people think is the ideal location for
photography. It’s called Theta Pond and sits in the heart of the campus
of our very own Oklahoma State University.
When you go there for an afternoon stroll it’s almost impossible not
to be taken in by the beautiful flowers, towering trees, and flocks of
waterfowl that dot the serene landscape. There are stone paths, wooden
bridges, and several fountains sending water high into the air. They all
combine to create a scene which practically screams “Do your family
portrait photography here!” So a lot of people do just that, and it’s
how I started out as well.
You might think a location like this would be ideal for family photos. But you’d be wrong.
Your town probably has a Theta Pond too; a park, garden, waterway, or
another setting that seems like it has been tailor-made for capturing
poster-size prints of happy families with cute kids. However, if your
town is anything like mine, your Theta Pond is probably one of the last
places you really want to shoot.
Great for a picnic, not always optimal for portrait sessions
While locations like these are ideal for getting out and enjoying
nature, they are often plagued by a host of other issues that make it
quite difficult for taking good pictures. There’s traffic whizzing by in
the background, people walking around and getting in the way of your
shots, and trash bins and informational signs scattered all about. And
then there’s the matter of all those ducks and geese you’ll find at just
about any pond, lake, or river. You might think they’re fun to have
around but they leave some nasty messes behind that can stain jeans and
ruin dresses if you ever want your clients to sit on the ground.
The
kids look great in this photo, but there are way too many distractions
in the background including
a person walking through the frame between
the boys. I actually gave this shot to a client and even
though she
liked it, I have since learned that I prefer to go to other locations
for photo sessions.
When I started getting more serious with family portrait photography I
began looking at other places besides just what was popular, and found
that a whole new world of opportunities opened up for me. I found places
off the beaten path that were much more convenient for me and my
clients to meet, much less crowded, and often just as scenic and pretty.
Your subjects take priority over the background
Also, it’s important that you find locations which complement your
subjects and don’t distract the viewers. The local botanical garden
might seem like a great place for a photo session. But you may end up
taking your viewers’ attention away from the people and putting it on
the plants and flowers by accident. Nowadays I like simple groves of
trees, empty fields, or old barns and farm settings that aren’t flashy
but make for great photography. Wherever you shoot your photos, choose
your locations intentionally such that they fit your photography and
your subjects, not just because a friend thinks it would be pretty.
Wherever you shoot your family portrait photography, choose your
locations intentionally such that they fit your style and your subjects,
not just because a friend thinks it would be pretty.
This
location may not be as flashy, fancy, or popular as a park with
fountains, but that’s exactly why
I like it so much for photography
sessions.
2. There’s no substitute for good lighting
This second rule works in tandem with the first regarding location.
Wherever you choose to do your photo sessions, you need to make sure to
pay attention to lighting. Great photographers can wrest beautiful
images from the most challenging lighting conditions. But for the rest
of us mere mortals, it’s essential to stick to the fundamentals. For
family sessions that usually comes down to two basic tips: be careful when shooting in broad daylight, and make sure your subjects are evenly lit.
Avoid direct sunlight
Bright sunlight is, contrary to what some beginning photographers may
think, far from ideal in terms of taking good photos of people. The
harsh overhead lighting often creates shadows, causes people to squint,
and results in uneven lighting across the entire frame with some parts
of a picture being very bright and others ending up quite dark. You
don’t want Grandma looking perfect while Grandpa is squinting to keep
the sun out of his eyes, or bright patches of light showing up on shirts
and ruining haircuts.
Use even diffused light
Fortunately, it’s not too difficult to make sure your subjects are
well-lit even if you are shooting at high noon, as long as you are aware
of your surroundings and use the elements to your advantage. Look for
buildings that cast nice long shadows, overhangs that you can stand
beneath, or even trees that block out a lot of the sun and allow for nice even lighting.
I
had this family sit in a park shelter to combat the harsh overhead sun.
They’re evenly lit and
properly exposed, which is what really mattered
to me when taking the shot.
You can also use accessories like a diffusion panel to cast a pleasing shadow on your subjects which help mitigate the effects of harsh, bright sunlight.
These
videographers are using a diffusion panel to make sure their subject is
evenly lit, despite the
harsh overhead sunlight. The background will be
overexposed, but that’s fine because the person
being filmed is going
to look fantastic.
Shoot at golden hour
Another option is to forego the afternoon hours entirely and shoot photos during what’s known as the golden hour.
This generally starts about an hour prior to sunset (or from sunrise to
an hour after) but can vary depending on your exact location.
During this short window of time, the sun is low on the horizon and
it bathes your scene in a rich, warm light that is amazing for
portraits. You can have your subjects stand almost anywhere and face any
direction, or ask them to face the sun which will make their eyes
sparkle nice and bright. Everything looks so rich and beautiful during
this time, but it passes quickly so make sure to use your time wisely
and work efficiently to get the shots you want.
I
shot this as the sun was setting which resulted in rich, deep colors. I
also put these kids in the
shadow of a tree to make sure they were
evenly lit, which resulted in a pleasing picture overall.
The message that I hope I’m conveying here is that there’s just no substitute for good lighting. I didn’t touch on things like off-camera flash
which can also be used to manipulate the light in a scene. But if
you’re looking to get started with family, child, or senior portraits
one of the best things you can do is use the tools you already have to
make sure your subjects are evenly lit and properly exposed.
You can fix a lot of things in Lightroom and Photoshop afterward, but poor lighting isn’t really one of them.
3. Know your camera settings and how to change them
There’s an old Greek amorphism, gnothi seauton, which has been the basis for countless philosophical discussions over the ages. Roughly translated, it means know thyself
and often functions as an exhortation for an individual to be
intimately aware of who they are, what makes them tick, what their goals
in life are, etc.
Even in the most controlled studio environment, things can change at a
moment’s notice, and often there isn’t much you can do about it. So
it’s important to know your camera settings and how to change them if
you need to fast.
Your
camera might have so many buttons and menu options that it seems
overwhelming. It’s good
to figure out how they work on your own time,
not when you’re on location with clients.
It’s not enough to simply know about fundamentals like aperture,
shutter speed, and ISO when you are doing formal photo sessions. You
need to know how to control these parameters on your camera and when to
change them if you need to in a hurry. The former comes from reading your manual,
looking at articles online like the ones we have here at dPS, and a lot
of experimentation. The latter often comes only from years of
experience.
Get up to speed with your camera on your own time
I’m a big proponent of poring over your camera’s manual. But when
you’re on location with clients that is not the time to try and figure
out how to use your exposure compensation button
or in which menu the auto-ISO setting is buried. You need to be
intimately familiar with how to access and alter the settings on your
camera in order to get the shots you want and deal with conditions as
things change.
One of my favorite tricks to help learn the camera better is to do a
practice session with a friend or family member. Go out to a location
and make sure you know how to adjust various camera settings on the fly.
Then tell your helper to try something you aren’t expecting which could
require a faster shutter, higher ISO, etc. Practice changing your
camera settings in this type of environment before you go out with
clients, so when the unexpected happens you’re as ready as you can
possibly be to deal with it in the moment.
Remember
that Theta Pond example from earlier? When this moment came up during
that same
session I was able to think on my feet and quickly adjust my
aperture and ISO to get this impromptu
headshot which the boy’s mom
really liked.
4. Make the experience memorable
One of the most important aspects of doing a photo session for clients is that it’s about much more than the end product. Wells, Valacich, and Hess (2011)
found that the quality of a website is related to the perception of
quality regarding the products being sold on the website. A
higher-quality website, their data tended to show, meant that consumers
perceived the things they were buying as being higher quality than the
same products purchased from lower-quality websites.
The same holds true for photography, in that how your clients view
the final photos you deliver to them is directly related to how they
feel about the session itself. If you make the experience fun,
enjoyable, and stress-free while engaging your clients in friendly
conversation they will be more likely to enjoy, appreciate, and share
the pictures when they receive them. Conversely, if your clients get
top-notch pictures but you showed up for the session late, unprepared,
and stressed-out, then they will likely have a lower opinion of the
photographs.
This
family’s dog wandered into the photo shoot totally uninvited. I’m not
much of a dog person but
I set that aside, went with the flow, and got
some shots that the family really liked. It also helped put
the kids at
ease and so they enjoyed the rest of the session more.
The overall experience is important
To put this in a different context, let’s say you are looking to buy a
new microwave. Two stores in town have the one you want at the exact
same price. One store has a clean parking lot and interior, bright
lights, neat shelves, and friendly employees. The other store has a
dirty trash-filled parking lot, dim and flickering lights, haphazard
shelves, and employees who will barely give you the time of day. From
which store are you likely to purchase the appliance? If you’re like me
you’ll go to the first store. Then if your friends are ever looking for a
similar appliance you will probably recommend the same store with great
enthusiasm. Budding family photographers would do well to remember this
concept and apply it to their approach to dealing with clients.
Taking
photos is not just about the end product but the whole photographic
experience. Make it fun for your clients from the time you first
interact with them to when you deliver the final products. Get to know
them, and don’t be afraid to show your own personality too. Make the
photo session fun and enjoyable, and if there are kids involved, make
sure to spend time getting to know their names and finding a bit more
about them. (This has a couple of bonus side effects too – parents are
thrilled when photographers spend time getting to know their kids, and
the children will be more likely to listen to you and follow directions
during the session.)
Don’t underestimate the value of providing a good experience
The point is that if your clients enjoy the photo session, they are
likely to assign a high perceived level of quality to the end product
and will recommend you to their friends, coworkers, and especially their
acquaintances on social media.
This
couple invited me into their home for a rather emotional photo session
due to a medical condition
their daughter has. While I had a job to do
as a photographer, that was only a small part of the whole
experience.
It’s not your job to be your clients’ best friend, but it is your job
to make the photo session something they will remember in a positive
light. Do what you can to earn their trust and respect, as this can pay
off in many ways long after you deliver the pictures.
One of my biggest weaknesses as a photographer, or even as a person,
is that it’s difficult for me to go back and look through things I’ve
done in years past. I often find it more than a little embarrassing to
read things I’ve written, examine things I’ve built, and look at
photographs I’ve taken because I think the work I’m doing now is so much
better. Yet in five years I’ll probably dust off a few of the pictures
I’m taking now and wonder what in the world I was thinking when I took
them!
However, this type of self-reflection is essential for growth in any
profession, hobby, or craft. It’s only by learning from our previous
experiences and examining our mistakes as well as our successes that we
can truly grow and refine our skills.
The four lessons I have detailed in this article are by no means
comprehensive, but they are things that have turned out to be extremely
important to me over the years and I hope they prove helpful for you
also. I’m also curious to hear from you, especially those of you who
have been doing family portrait photography for a long time. What are
some of the important lessons you have learned over the years? Please
share in the comments below and I look forward to reading them.
Share this article.
Sunday, January 19, 2020
Inspiration for all you Videographers. This video received over 2,000,000 views on Facebook.
How to do a Simple Inexpensive Setup for Newborn Photography
When I first started taking on clients, as a new photographer I
thought newborns would be my favorite. They seemed so easy, lying
around, ready to be molded into any pose I desired, nothing to it. Fast
forward five years and hundreds of dollars later, they are still my
favorite, but I’ve wasted a lot of money, sweat, and tears trying to
figure out how to do it correctly. If you are just starting out, either
with new clients, or your own baby, this article is for you, before you
throw away a lot of money. How to get started doing newborn photography
Keep it simple with props
I figured to get the cutest newborn portraits I needed lots of hats,
bows, blankets, and baskets. Then I needed colors that worked for boys,
and ones that worked for girls. I bought tiny cribs, and big wooden
letters to match the baby’s first initial of his or her first name. My
house was so cluttered with photography gear we weren’t able to house
our guests in our guest room, and I’m not even done.
I had a fake wood floor that was made of paper so I also had a pull
out shelf from our armoire that was big enough to support the fake floor
on the carpet. I had heaters, and backdrop stands, and so many blankets
and backdrops they over took me. Every time I read an article about a
photographer and what gear she used to get ONE specific photo, I would
hunt down those items for myself. They mentioned she used rolled up
receiving blankets under the baby’s head? Fire up Amazon, I need to get
myself some of those. When would I be satisfied? I wanted to spend money
on lenses, and photography classes, but I was so sure one more prop
would produce the most amazing baby portrait, so that’s where all my
money went.
Last year I read a photography article called, Less is More.
It opened my eyes. It struck me that the baby is the art, not the
props. The props will probably date your photograph (have you seen the
photos that are black and white except for a red rose in color?). But a
baby, on a simple background, with only the simplest of accessories,
will be stunning, because of the baby. That is why I’m here to tell you,
save your money, especially if you’re just starting out. You can
achieve phenomenal photographs of babies with only the very basics, and
it’s so much easier than trying to fit her into that basket while trying
to keep her asleep!
Setup
First of all, you need something to put the baby on. If you are
working on posing the baby (versus lifestyle photography which requires
no posing), you need something that is slightly malleable. Many
professional photographers buy expensive beanbags, but you don’t need
that. I actually use a leather ottoman we have here in our house, and
when I do sessions at client homes I bring it with me.
Of course, last week I forgot to load it in my car for a newborn
session. I got to the house and realized it was missing. They didn’t
have any ottomans of their own, so instead I pulled the two large bottom
cushions off their couch and stacked them on top of each other. For
both the cushions and the ottoman I layer multiple blankets on top of
each other. In between the blankets I have a few layers of waterproof
sheets that are leftover from my own children, and a heating pad. The
multiple layers of blankets make it soft and pliable, and the top few
layers are the various backdrops I use to photograph the babies on, so I
just keep removing layers for the different backgrounds (see below).
I only shoot on black, white, and cream. I have gotten away from
colored blankets, but that’s my choice. I used to have colored blankets
as well, and you may still want that, but don’t buy the expensive
options off of etsy, use blankets you already own. I do recommend
neutral colors though because bright reds, pinks, and greens can cause
colorcasts on baby’s skin.
Positioning the baby
The stack of blankets help the baby to sink down a little bit if you
want her to, and I also bought a stack of white washcloths from Costco,
that I bring with me to roll up and stick in between the blankets and
the baby to get her propped and curled exactly how I want her. A boppy (feeding pillow) under
a blanket may be a good way to get some of the poses you want, and I’ve
found that if you can’t use a boppy, another good option is a neck
pillow like you’d use on the plane. I actually prefer that to the boppy
because it’s small, and perfectly sized for a baby’s body, so it helps
keep the baby propped in place if you lay her on her belly with her arms
and head resting on the pillow.
Background
I like a continuous look for my backdrop, so I use the same material
under the baby and stretch it up to create the background behind the
baby. I own a stand that I bought for the purpose of holding up
backdrops (or you can make your own),
but you don’t need one of those. Invest in some heavy-duty clips, and
you can pin up the material or blanket to anything above the baby. I’ve
used bed frames, chair backs, stepladders, tables, etc., it’s just a
matter of looking around you to see what will work. When I’m at a
client’s house I pull stuff from all over the house to use during the
session. I always put it all back the way I found it, and no one has
ever had any issues.
Lifestyle or unposed photography
So I mentioned lifestyle photography.
It’s something that is becoming ever more popular. Essentially, it’s
about capturing photos without posing the family too much. Of course you
will set the scene. You might move some furniture around, lay a blanket
on the ground, and tell the family members where to sit or stand. But
beyond that, you let them sort of do their thing. The photos are
natural, realistic, and lovely. But I think lifestyle alone is not
enough when we’re talking about newborn photos. Of course they are
easier, and require almost no additional props at all, but most people
want at least two or three posed photos of the baby alone.
Accessories
Now for the accessories. Again, you don’t have to spend a ton of
money on this stuff, and believe me, it’s easy to rack up a pretty big
bill once you start purchasing. My favorite backdrop is a stretchy knit
fabric that when smoothed over my blankets, has no wrinkles. I bought it
at a craft store. I also bought an extra, smaller piece of the same
fabric to wrap the babies in. I love the continuous look. But if you
don’t want to buy anything at all, look around – you probably have some
scarves, shawls, or small baby swaddling blankets you can use. I’m not a
huge fan of big bows, but I do like small tiebacks. You can purchase
one of two of them, or make your own with some twine and pretty beads.
Once you start looking around at what you already own, I bet you can
find many different options for positioning, backdrops, and wraps. To
add some variety you can purchase some scarves, head ties, or small
pieces of material at the fabric store that won’t set you back a lot of
money, but will bring the needed variety in your photos.
Good luck, and remember it’s the baby you’re trying to capture, not
the props. Don’t forget those long eyelashes, those tiny toes, and those
perfect pouty lips.
