Viral video - Inspiration for all you Videographers. Viewed over 12,109,660 times on Facebook.

The Perfect Portrait Guide – How to Photograph People – Book Review

A Post By: Darren Rowse

I recently went on a buying frenzy of photography books over at Amazon.
One of the books that I purchased was The Perfect Portrait Guide: How to Photograph People by Michael Busselle and David Wilson.
Portrait photography has always been the main focus of my own photography and so I was keen to read this book (recommended by a reader of this site).
I’ve spent the last few days reviewing the book and have really enjoyed doing so.
I should say up front – this is not just a digital photography book. Most of the techniques in the book are applicable to digital photographers and film photographers alike but it is not specifically targeted at digital photography.
While there are a lot of photography books out there with a very technical approach – The Perfect Portrait Guide is much more practical in it’s approach and uses A LOT of case studies as the basis for it’s teaching on portrait photography – this in my mind makes it a very useful book.
The structure of the book is fairly simple – there are four sections:

1. Informal Portraits
2. Formal Portraits
3. Lighting
4. Cameras and Equipment

Sections 1 to 3 are largely case studies. Each page covers a different aspect of the section’s topic and has at least one photograph taken by a Pro Photographer. The photograph is then talked about in the sections of:

• Seeing: the story behind the image
• Thinking: the challenge of the photographer – what they wanted to do
• Acting: how the photo was taken
• Technical Details: the gear used
• Rule of Thumb: (not on every page) – a technique or rule that photographers can learn from the case study.

Section 4 tackles the topics of Choosing a Camera, Choosing Lenses, Camera Accessories, Lighting Equipment, Apertures and Shutter Speeds, Understanding Exposure, Choosing Film and Finishing and Presentation. Once again – this is not specifically focussed upon digital photography.

My Opinion

This book is not focussed upon teaching advanced techniques but gives a good overview of many of the topics a beginner to intermediate portrait photographer will want to learn in their craft.
The fact that it’s not focussed upon digital photography is at times frustrating (why a book published in 2002 has such a focus upon film photography I do not know) – however most of the techniques mentioned are just as relevant (for example composition techniques go across both mediums).
I really enjoy learning by seeing what others have done and so found the format of this book to be worthwhile. The example images are great and give inspiration for trying new things.
If you’re looking for a technical book then this is probably not the book for you
If you’re looking for an easy to read book for beginners to help you improve your shots of friends and family – you’ll probably enjoy this one – especially if you learn best by watching how others do things and then imitating them.
Get The Perfect Portrait Guide: How to Photograph People at Amazon

Share this article.

How to Find the Best Locations for Landscape Photography

By: Andrew S. Gibson

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:

1. It helps you find the most iconic, popular, and spectacular places to take photos.
2. 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.

Share this article.

                                       
       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

By: Simon Ringsmuth

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 consistently produce 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.

Share this article.

Why You Need to Manage Expectations – Both Yours and Your Client’s

By: Simon Ringsmuth

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.
• What types of pictures are off limits? Your clients might want to do pictures on train tracks or recreate some risqué images they saw on Instagram. If that’s not your cup of tea, your clients need to know about it. And in the case of train tracks, the answer should always be NO!

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?

I was asked by some friends to take pictures at a funeral for their loved one. The key to the whole 

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.

Share this article.

                                        Viral video - Inspiration for all you Videographers

12 Sources Where You Can Make Money in Photography

By: James Maher

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

By: Simon Ringsmuth

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.

    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

By: Kim Kelley 

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.

Share this article.