In this realm of the arts, and probably with any career path in life, people with thick skin and an open mind have a huge advantage over those without it. Over the years, as I’ve been involved with photography, I greatly value and appreciate those with whom I’ve had discussions and critique time with. It’s nice to have friends, whether photographers, makeup artists, models, graphics designers, etc. to periodically get together with, discuss where we are at and what’s happening, show new work, give and receive critique and kudos. Of course many things are subjective….the whole idea is to discuss what strengthens the image, what may take away from it, and then come to your own final conclusion.

Many people, myself included have been known to develop an attachment to a specific image, and miss a fairly obvious flaw…..that or be your own worst critic! That’s one reason it’s nice to view your peers as just that, and not competition…..we can all help and encourage each other. And there are times when a layman can effectively critique work, you never know…..every opinion does count and should be respected! I am very grateful to those who have helped me, no matter how nice or harsh they have been…..without that, I couldn’t have gotten where I am. I don’t want to stop here either. If I can provide that for others as well, it feels good to pass it on. Good karma folks

A few years ago, I was approached by an indy film production company about shooting still photos for them. My good friend was involved with them as an assistant director, and they seemed like good people. The job had no budget, but they were offering film credits and access to shooting locations…….at first I was thinking, are you F-ing kidding me? Go multiple locations on several different occasions and not get paid, and lose out on other shoots if I’m committed? Well, I thought it sounded like fun so I decided to do it. And hopefully the actors would come to me for headshots, and I’d meet new people to network with.

It was definitely interesting….and indeed I did meet some cool people, see some nice locations I’d otherwise never have seen…..and see some cool special effects makeup. The actors were very dedicated, the team worked together well. That was a nice reward in itself! It was neat to see the inner workings of independent filmmaking. When all said and done, I had mixed feelings whether it was worth doing or not. In the end, I wouldn’t do another one without a decent budget, but I am glad I did this one, and I’m glad I did it with these people.

Negatives-Time consuming, and lots of driving….dealing with some disorganization, hurry up and wait. None of the actors ever came to me for headshots….the film was never really marketed as they intended, so screen credits were as worthless as gold dust…..even if it had been, screen credits for a still photographer don’t have much value, who hires a photographer that way? That and how many people watch that much of the credits past the acting cast?

Positives-I met lots of nice people I consider friends. I enjoyed some of the locations I now know about. I got to have a peak inside the indy film scene. The director sent a co worker of his to me for a wedding….and they have been repeat clients….those people in turn sent me other clients whose wedding I shot as well. I doubt it will end there. Someone thought of me, because they were happy with what I’ve done for them, and that started a nice little chain reaction. Also, it helped me be a very disciplined shooter, working with difficult conditions on the fly, in a short time window. So there were many benefits. If I did it for what they originally offered me, it would not have been worth it. Doing it for the experience, friendship, and client referrals, certainly made it worth doing

Sure, there’s a special art to making dramatic model photos, but there’s also an art to making a powerful photo with everyday people, that can potentially carry the same depth as with a trained model! This puts photographers to the test….I find myself out and about, as I see certain people, I envision a photo opportunity with that person, and think of lighting and mood I would create if that person were my client. Many people don’t even know the caliber of photo they can help produce. When you do it, and they appreciate it, and even send you other clients, that’s a major victory! It’s liberating to bring out character that person didn’t know they had, and to sometimes use some flaws, to strengthen the photo. I still remember making the transition to digital, a mentor of mine encouraged me to shoot a photo of my neighbor, and make it as good as with the most gorgeous model……the more times I think about that advice, the more I realize how true it is!

I get an inquiry about this, I always get information from them first…..age, measurements, desired genre of modeling, etc. and see where they are most likely to be marketable. Nashville has a commercial market, but fashion is not strong here like it is in NYC, LA, Europe, etc. There are agencies here, especially commercial and acting….they must pick the one that is right for them. I am as eager for new business as anyone would be…..but our job as a professional photographer goes beyond shooting photos. We should advise our clients and give them what we know they can use, based off information we get from them. THAT is one key thing that separates the guy with a camera, and a pro. Here are the recommendations I make before booking a photo session with them.

I recommend a few different agencies to them, that I have either dealt with, or know someone who has been happily represented by them. They then attend open calls and get information, and choose the agency that is right for them. When there, they find out what they want them to have, photo wise. THEN we have a more solid direction. Sometimes headshots are all that is needed…..other times the agencies want full / 3/4 body images as well. Professional hair and makeup is always a smart investment. But my point is, why do a generic portfolio package like a portfolio mill, when it may not be what they can use for the intended purpose? This is why I recommend they pick an agency, and a direction first, so I can be more effective getting them the exact product they need. From my experience, people appreciate honesty, and effective photos, and will come back when treated right…..as well as send other people! Ironically, when someone is pissed off, even more people know LOL! It’s best to avoid that

Here is a link that has been proven to be helpful to many aspiring models. http://www.newmodels.com

I am all for getting the right tool for the right job, but this is dead weight we are talking about, LOL!!! I have seen people use stockings filled with sand or water bottles. I bought 2 small military sacks at the Army / Navy store, used, made for canteens or something, and 2 bricks fit perfectly in there. Very valuable tools for protecting your lighting equipment from blowing over in the wind, when used outdoors, or from tipping when someone trips over even a taped down cord, top heavy boom stand, etc.

This is a very key part of what makes an interesting and successful image. It’s very important for a newer photographer to learn the fundamentals of photography first and foremost, through shooting, reading, assisting, and other methods of training. No matter how creative you get with Photoshop, it all needs to start with a good image, or it will show. Don’t put the cart before the horse

Understanding composition / rules of thirds has been around before photography, in art. It’s how the eye is drawn most to the subject. http://en.wikipedia.org/wiki/Rule_of_thirds Everyone breaks “rules”, I do too, but you can break them more successfully once you understand them. The subject being directly in the center is known as “static” composition, which can be boring if not done correctly. Keeping this in mind while shooting, makes you a more disciplined shooter and more effective in my opinion. This also means avoiding chopping off limbs, below the knee , past elbow, etc.

I have a friend who is an outstanding artist, we have been doing image critique for each other for years, I recall going through a frustrating period where there was something about some of my work that bothered me that I couldn’t put my finger on…..he spotted it. I was trying to make my own composition rules too often, and didn’t always work. He suggested cutting a 18″ or so square piece of cardboard, and cutting a small rectangular hole in the center as a view finder. Then look through and compose your “shot” and take your time. It really does help you be more mindful of more carefully composing your images when shooting. Sometimes it’s about simplifying and getting back to basics. 

For up and coming photographers, that are pursuing models to work with….Of course this could relate to any subject, but models’ photos would usually the most dramatic kind……

-Respect them, give them what they want, and no, they don’t want you LOL….form a good working bond, get them talking and bring out their soul…..which is why I don’t just shoot the second I meet them, under the most favorable circumstances anyhow. That doesn’t mean being a white knight or treating them like a delicate flower, but do respect them and treat them as an equal.

-Positivity and energy…..they feed off of the photographer, set the mood and the pace, before you know it, you follow each other. Be a fountain of energy, and an encouragement! No over complimenting or creepiness….but do communicate throughout the shoot, offer them some direction, keep the flow going.

-Music helps, helps keep energy!

-Of course you survey the scene and eliminate dangers, like something they slip on, etc….but if you’re working with a nervous nelly, especially, remember “safe and comfortable’ photos are BORING, lol!!! Get them out of that zone, help get them out of their shell.

-Avoid over-shooting. Put a little thought into your work, and let them save some energy for the next look…..I never understood why some need to shoot 50 bazillion photos every shoot, if there were an art director on set, you’d be getting shoes thrown at you  -Lighting, composition, mood, hair and makeup…..Godspeed, and good shooting!

She asked why the photographers she spoke with, and / or read contracts of, restricted other photographers from shooting photos at their wedding. I told her policies will vary by photographer, I can only speak for myself, but the long and short of it, they can distract the subjects, and get in the way of the photographer while doing his / her job. I explained to her that I don’t care what people do at the reception, and am not bothered by disposables being passed out…..some others may be. I’m not there to boss people around at their wedding, but restricting other photographers is covered in my contract, which is mainly aimed at the formal portraits session times at the wedding, and the ceremony itself.

The formal portraits are done in a fairly tight time frame. “Uncle Bob” with a camera over my shoulder can disrupt the flow of the photos, as my assistant and I are directing the flow, and can also cause divided attention of the group in the photos….especially children, who know “Uncle Bob” and will divert their attention to him, rather than us. That’s where his interference can affect the job I am hired to do, which is not good. I just asked if I could have cooperation with that, and as long as no one blocks me from getting photos during the rest of the wedding, I can work with it. As long as I have the support of the bride, and leave a professional impression on the family and guests, I am good to go

Whether you shoot Nikon, or Canon, etc., your bodies will last maybe a few years, but your lens choice is more permanent, which is why you should choose them carefully. I know as well as anyone how expensive they are, and definitely understand improvising when you have to! When buying a digital body, I recommend avoiding kits, as in with kit lenses. Every one I have seen has been a variable fstop lens, and not good for shallow depth of field, or lower light performance/ focus speed. And for some reason, there are some variable, slow fstop lenses on the market that aren’t exactly cheap! I will explain how this works. If it says on a lens 3.5-5.6 and say the lens is 35mm-105mm focal length…..at the wide end, 35mm of the lens, you have available fstop of 3.5, but at the telephoto end, 5.6. Quite a difference. For example, one of my favorite lenses is a Tamron 28-75 2.8. It’s at least 2.8 all the way through, and closely rivals Canon’s L lenses in a similar focal length.

This is something important to look for when purchasing a lens. Kit / variable lenses can take a nice photo, but your limitations are stated above, depth of field and low light performance. Another option to consider are prime lenses, they are very fast and some of them are very cheap in comparison. Especially 50mm 1.8 in Nikor or Canon, can be had for less than $100.00.

There is NO automatic mode with this classic camera

I will have random tips and discussion for photography on a regular basis….the first and foremost, is to encourage up and coming SLR photographers to leave the “comfort” of automatic or program modes, and venture into manual. When you are in automatic, the camera selects the shutter speed and fstop / aperture settings, and ISO settings. With Program mode, you set ISO and it selects the rest with auto exposure. With manual, you select the depth of field you want, and the shutter speed you want, based on exposure and motion capture, etc. And desired ISO. This will eliminate errors, blurs, etc. if done correctly. With studio lighting it is required because there is no way a camera can meter light that hasn’t flashed until you press the shutter button.

First, go out and practice and document settings. Use a light meter and / or get familiar with reading your histogram. There is a good article here about how to read histograms. http://www.luminous-landscape.com/tutorials/understanding-series/understanding-histograms.shtml Also get familiar with depth of field, think about available light, and if you want focus throughout more of the frame, or if you want shallow depth of field, behind your subject. Depth of field calculator here. http://www.dofmaster.com/dofjs.html With aperture, the smaller the number, the less depth of field you have, and the more light it lets in…..think of it as lens opening. Shutter speed comes into play with motion of subject and exposure. The lower the shutter speed, the more light it lets in, but the less motion it will freeze. You have to know the balance you need. ISO cleanliness varies by camera body and sensor. In most modern SLR’s you can get fine results if you need to bump it up in low light.

Manual shooting seems like a lot of work at first, but no one said photography was easy. Those that are too lazy to put the time in to properly learn the craft, will never get anywhere. A trained eye will always know the difference between someone who dubiously gets a good shot, and fixes their sloppy work in Photoshop, trying to make a bad shot good, and someone who knows the fundamentals. Do you want the camera to be in control, or do YOU want to be? Photoshop is meant to be a seasoning, not a main course, because it all starts with a good image, and Photoshop enhances it. I’m not trying to be a “mode snob” but there is good reason for using manual. On the fly, I have used aperture or shutter priority, but you are still in more control than the green box

Planning a wedding is a lot of work, and very time consuming, and takes lots of time, planning, and talking to lots of different vendors, and can be costly as well! Overwhelming for sure, especially for many brides these days planning most of the details themselves. Your vendors that are working for you should make your life easier, and a certain amount of communication is necessary. I recommend getting word of mouth referrals from people you know and respect, as your best resource. That method, along with advertising resources, wedding resource and planning websites, and bridal shows are other ways brides find their photographers. You may be approached by so many, it can quickly become overwhelming, and you can’t possibly have time to meet with them all. I am going to share a few tips to narrow your selection.

Information you should have when discussing with a photographer, or trying to get an estimated cost from them……a schedule of sorts, approximate number of guests, if you want any other guests in your formal portraits besides immediate family and wedding party, if you want separate bridal and / or engagement photos, number in bride and groom party, color of tuxes and bridesmaid’s dresses, location of ceremony, and reception, and approximate timeline. Also budget and style of shooting, desired medium (whether you want discs, or albums, etc.) This is necessary for most photographers to know before being able to quote a price.Unfortunately there is no way to shrinkwrap that information for most, by doing “one size fits all’ pricing. So please be understanding of this, and if you like the person, and their work, please give them the opportunity to get this information. After all, this is the person that is capturing the most important day of your life! Choose wisely. Then again, you should never feel like you are being given a timeshare presentation either

Their work- You should really like their work obviously. Those who you like best, I recommend meeting with. They should have a dedicated website with samples of their wedding photography. Next, you will want to see their work in print. That is what you want for yourself, right? Seeing website content isn’t always consistent with seeing one’s work in print form, which is how it will be seen when you have your album, or framed photos. That should be available to you.

Their personality- This could be the most important factor! Wedding photography is a very personal service. The photographer has interaction with your family and closest friends, and everyone there knows the difference between nice and rude, even if they don’t know the difference between good and great photos. Not everyone is compatible, as in with dating. You have to find the right match. You should ask questions and they should be addressed. You should feel like your business is valued and appreciated, and that they genuinely care about their craft and capturing your day. If something doesn’t feel right, it probably isn’t. Most want a good photographer who is friendly and energetic, positive, and assertive without being bossy or rude, or invading everyone’s personal space every second. You just have to define what you are looking for.

Contracts- Every wedding professional should use one, for your protection and theirs. Read carefully and make sure it’s reasonable and mutually accountable. It is standard to require a 50% deposit to book the date. You should however be offered a copy of contract and receipt, stating balance due, and when. I hope this has helped. Anyone free to add comments, suggestions to add to this topic, etc.

The web can be a great supplement /resource for freelance models, if used correctly. Remember this, your wording and overall tone / vibe you give off is your only introduction, that you don’t have the opportunity to make in person. Keep in mind also, not everyone reads everything in your bio in it’s entirety, no matter what you write.

Professionalism and being cordial-Avoid slangy netspeak and misspellings now matter how cute you and your friends think it is. Also avoid using all caps, it looks angry and abrasive. If you are serious about getting exposure, and attracting photographers to shoot with you, and possibly paid bookings, treat it like you would a job interview. Put some effort into it, keep it professional and approachable.

Positivity-Avoid posting a sea of “rules”, demands and “will not do’s” especially in caps. This makes you look like a diva with an attitude, that real pros won’t put up with. No, you don’t look THAT good to tolerate this treatment. Simply state what work you are available for, stay on point and keep it pleasant. The worst thing you can do is insinuate that every photographer wants to date you or hit on you, and that you aren’t there to date. No need to mention your significant other, no one cares. That’s personal. This is business. I have hired models myself, and if I run across that, I think something along the lines of “dim witted twit, get over yourself, NEXT.” You can keep it professional and attract respect without being abrasive. By all means you should be treated with respect, but don’t vilify people when they haven’t crossed any lines, even if you’ve chosen to work with the wrong person in the past.

Relevance-A sentence or two with friendly banter is fine, but you are best to keep relevant information in your bio. Such as accurate measurements, age, what work you are available for, etc. Also what you are trying to accomplish by being signed up there. Quotes from your favorite famous person, or what your favorite childhood aspirations were, no one cares. Also, make sure that the type of assignments you seek, you are marketable for. It will save you disappointment and lots of bogus offers. Be realistic about what you are suited for, do a little industry research. I’d suggest not posting rates, but rather to take it as a case by case basis, and base it on usage. Let your audience speak to you about particulars, rather than trying to settle every detail in your bio. Less can be more, keep it pertinent, that’s not being vague, or including too much fluff.

Thank you for visiting, and I am excited to finally have this off the ground! What we will be mainly talking about are photography discussions, vision, and resources for brides, clients,  aspiring models, and other photographers. Please post here or contact me directly through my site, if you have topic suggestions. Thanks again, I hope all of you are enjoying your afternoon!