Any of you who enjoy taking advantage of the “golden hour”, the final sunlight of the day, know exactly why I say narrow window!! For natural light shooting, the first or last hour of day is the best quality light…..other times can be controlled with scrims / reflectors and fill strobes / flash guns. But it’s nice to be able to travel lightly, use any fstop you want with no sync speed to deal with (for strobes) and you don’t have that harsh light with hard shadows.

During the very final moments before the sun goes down, you can get the very best light possible, when shooting in those conditions, you have to be quick on the draw……..it can be a matter of 10-30 seconds you are having to change camera settings because of the light changing so fast, sun going down, but look what you have for the fruit of your labor It can all come and go in a matter of seconds! Also moving reflector location if you are using one is another thing to consider…..I love the challenge and the results. Demanding and ever changing conditions keep us sharp and well conditioned as photographers

On the first page, you want a real eye catcher, so the viewer is interested in continuing, and not flip through the pages fast, but to enjoy each image, hopefully LOL!! A good stunning headshot that is dynamic, I don’t think you could go wrong with. As mentioned before, my portfolio holds 24. This keeps you on your toes and allows you enough to show your very best, doesn’t take up all your viewers’ time, and makes it easier to keep updated.

I met with a fellow photographer a while back, and his portfolio held 100 prints  I think. It became exhausting looking through them all, honestly, because many of the images didn’t really catch my eye. And I’d say out of that 100, there were 10 that I’d have put in there if I were him, but that’s just my take on it. Having so many made the process daunting, and the rest of the images that I thought were sortof boring, whether weak composition or flat lighting, lack of connection with the subject, or several that are alike…..in effect, they drowned out the ones that really were good. That’s where image critique with your peers comes in….I didn’t do that with him because he didn’t ask for it. So basically sometimes less is more. Even if every shot is amazing, why are so many needed? Just my opinion

Another thing, when someone is looking at your book, please zip it. Keep talk to a minimum, unless asked who that is, location, etc. It helps the viewer better absorb your presentation. From my experience, the faster they flip though, the less interested they are, then again everyone’s different. I’m very visual and skim fast through words a lot, because no matter how well they are written, it’s often hard for me to relate. Your goal is to let the viewer connect with your work, good luck and I hope this article was helpful

In no way does a digital slideshow take the place of a print book. It’s fine for casual meetings, but with clients, especially commercial, they want print! Print has so much more depth and is much more telling of your work, like a black car doesn’t lie as far as blemishes and dirt, LOL!! As for what size, and type of book, all depends on your style of work, client base, etc. I personally use a 9×12 black leatherbound with acid free sleeves, bought at Plaza Art. It holds 24, which is the perfect amount. Many photographers use 11×14, which is fine, I may have one that size if I need to. I like the 9×12 because it is the model standard size, it travels easier, and I can make 2 prints on one 13×19 sheet.

Paper is personal preference. BUT do stick to the same kind throughout the book. I use Ilford Smooth Pearl, which is a lustre paper. There are many nice matte, pearl, metallic, or lustre papers out there. My personal preference is not glossy, and don’t go cheap on your prints! I pick only my very strongest images for my book. I also have a 3 separate books for portrait and commercial, wedding, and fine art. That way I am on topic with whom I am making the presentation.  It’s also annoying for the viewer to have to turn their head, to view portrait and landscape composed images. How I get around that, I either make a double truck, think of a 2 magazine page spread, or crop to 6 high, 9 wide, and either place in center, or place another image, same size, same look, but different image, directly beneath it, border to taste.

I rarely even view the photos the same day I shoot them unless there’s a deadline. I do this so that I can get a fresh start and give them a careful look. If excitement gets the best of me, I look through them but do not usually make any selections. The first thing I do is back up my work, RAW files, even before converting copy jpg’s. I then view the images in either Finder or Bridge, and don’t make selections, but do make mental notes. I go back another time, once they’ve had time to sit with me, and select the ones that stand out, and move copies to a separate folder. I take my time during this step especially because I rarely revisit the bulk of them after that, however they remain in the folder and are backed up.

If time allows, I let it sit again, and then go back when completely focused and have a fresh set of eyes. I then compare the different images of the same look, and look at all details, like arm, hand, neck, finger, etc. position, head tilt, expression, and technical photography / compositional qualities of the images, and narrow down. Also, I’m not above calling on one of my peers to help critique, in fact it’s smart. It’s good to have friends, that you can do that for each other. Sure, there may be many that are good, from the lot of images…..but unless I am selling the lot of them, why not only put out what are the absolute best? I am of the mindset that you are only as good as your weakest image. Less really is more, it’s quality control.

I just recently learned of this term, and it does exist especially today…….I was having a discussion with a friend and it boiled down to people creating problems by overdosing on the media / news, crime tv shows, talk shows, religious shows and commentaries, etc. Many are so quick to patronize the shortcomings of a crack addict, but don’t realize the above mentioned things can also ruin your life, and be harmful. Kindof hypocritical.You can read more about it here. http://en.wikipedia.org/wiki/Mean_World_Syndrome

We don’t live in a perfect world, we never have. Not everyone wants to kidnap your children, take your money, rip you off, etc. It all boils down to common sense, and awareness. Not fear mongering or alarmist behavior. We can still do things we enjoy, and choose our friends wisely, and not be consumed with things we can’t help anyway. The face of photography is changing, the business is as well….as is in every other business. You have to change and adapt to stay with it, like anything. It’s still as fun, and addicting, and rewarding as it ever was. People bring up those Craigslist killers who passed themselves off as photographers…..now we have idiots out there who think photographers are so dangerous…..Um, he was just a crazy, sick bastard, not a photographer at all.

Sadly, there are, and always will be bad people. All you can do is do your research, study peoples’ character before making yourself vulnerable, and don’t ask for trouble. I call it basic common sense and diligence. It seems to me that this type of awareness, while still enjoying life and helping others when you can, is a much more positive method than crying havok. Pick up a camera, and photograph something, or someone you enjoy today.

And / or engagement photos.

-Less pressure of the “big day” and time constraints, pressure of the schedule, pressure from guests to get to reception etc. Not having the added pressure that can result from doing them on the wedding day can help them be more relaxed and look more connected in photos….less rushing, and worrying about time and spending more time with family and guests they are working hard to entertain.

-The bridals, and bride and groom together, are perhaps THE most important photos in a wedding, and it’s hard to allow enough time the day of to give them the attention they deserve, without the wedding party and / or guests getting antsy.

-It gives an opportunity to have at least one large framed print for presentation at the reception table, as people enter….or individual prints to offer to guests / family.

-More time to “location hop” if desired.

-No two cases are the same…..just food for thought, let me hear your feedback.

My friend was helping a neighbor clean out their garage before moving…..they had 3 old cameras they were going to throw out, so thankfully he thought of me

There’s an old polaroid 420, my guess is from the late 60′s, an early Polaroid Land Camera, from the 50′s I’d say…..and a Kodak Jr. Autographic camera, from 1920, with box and manual! On the Polaroid and the Kodak, the boots are challenged but I can’t wait to try and get them all working and use them! The kicker is the Kodak uses A116 film that isn’t made anymore…..there is a way to retrofit to 120 I think, I just have to research it. But how cool is that? New toys to play with, yay!! Film’s still cool.

This has similarities to photographers’ topic, but it’s different on other levels…..from an agency’s standpoint, models are born, not made. You have the look they want and they get you jobs, you’re in. Most agencies want female models to be 5’9″ or taller, and not curvy. Pretty just isn’t enough. If you have the look they want, you can be signed today and working tomorrow, though not always typical. Like anything, if it were that easy, everyone would be doing it

Now, with freelance modeling, mainly promoting yourself online, it’s a different story. You are then looking for smaller companies to hire you, and photographers. Smaller market, many people do it though, few with the success of being able to live off it. The full time professional freelance models I have seen do it like this. Active promoting, and they only test with their favorite photographers to keep their portfolio fresh. They have an impressive portfolio, as examples of their work, in genres they seek work in. They often travel a lot, and spend lots of time booking, and have their entire schedule organized, with exception of sleeping and eating LOL! They have to know the proper rate and negotiations, contracts etc. So not only do they need to know their market, and how to pose, but also have business and organization skills, take care of their body and skin etc. It takes time, and doesn’t happen overnight. But it’s the right way to build it. The wrong way is to think you are entitled, or let your personal situation, or business risks influence your decision to start charging. That makes no difference to anyone LOL! Provide the product, know how to steer your ship.

That’s almost like asking, how many licks to the center of a tootsie roll pop, LOL! And there is no direct answer. It’s a question I see asked a lot on photography related forums, or asked by people whose books I look at, etc. Bottom line, the most abbreviated answer I can think of, is whenever you can find clients who are willing to hire you. People will hire you, when you know how to sell yourself, to the proper market, and have a style that brands you, and their image. Which means there are great photographers with mediocre marketing skills, that will often be less successful than a mediocre photographer with strong marketing skills. Remember people pay for what they see value in. It’s about being able to deliver consistently pleasing work to them, and about your presentation.

Positives- Have a business plan, know your style and target market. Have a nice website and business cards. Know how to find your clients, know how to attract them. Know how the business operates, know about contracts and bidding, selling usage of your image, etc. Produce the style and quality of work that your clients need. Most of all, have the confidence in your technical and business skills, or else you’ll have trouble. If you don’t have those tools, you aren’t ready for business.

Negatives-Charging because you feel entitled, because you’ve invested lots of money in equipment, need money due to situations in your life, when not having a direction, etc. are not reasons to charge and be taken seriously. No one cares about your investments and what you think you are worth. We all live in the same economy, you aren’t special

This isn’t a get rich quick business, and it takes time to build. You have to have something to offer your customers, that every guy on the corner can’t offer, and be able to present it. You can surely look at the two different business models and see which makes more sense

There are shadows that are a result of poor light control, and look accidental, and those that enhance the mood of the photo, and intensify your subject! Ill go with that latter. The trick is to prevent sudden light falloff, by using brush light of some sort, from a spot grid or narrow softbox, or reflected light, etc. Otherwise referred to as keeping your midtones. Seeing and shaping light, and controlling light is the whole entire deal.

I enjoy shooting strobes through windows when there isn’t ample ambient light, turning the subject’s face and body to get the desired shadow play….I usually outline the body, arm, other side of the subject’s face by using a spot grid from behind, or by using a reflector, white foam core, all depending on how hard I want the light to be on the accent. Sometimes also I use cinefoil which is a black foil, that you can shape a makeshift snoot from. Also black foam core panels are handy, to cancel out light and create shadow play…..by either standing up alongside your key light and narrowing it’s path, or placing directly across from the strobe, if aimed sideways. Sometimes I even go with a noir look and use a grid spot from the rafter in the studio, secured by a Bogen Superclamp. For those reasons, I often have my lighting setup as a partial butterfly, or diagonal. Shadowing has it’s place, and sometimes you want to avoid it for certain kinds of photoshoots……but when it can be used, if done correctly, it can add a lot of character to the photograph and make the subject stand out.

In this game, as well as most others out there, it’s about hustle, and taking care of your clients if you want to get anywhere. It’s certainly in my interest to be eager for new work and new clients. But it’s a simple fact of life, and consequence of doing business, that you don’t get every job you bid, and it’s not always in your best interest to take every job that you can get. Once you discuss terms with your client, you either agree on them, or you don’t. Also photography is a very personal service…..so even in a case where good people come together, but they have different ideas about what are acceptable terms of usage, or payment, or contract, etc. for the job at hand, not everyone is a perfect fit to do business together.

You want to be flexible and work with your clients however possible, and accomodate them. But also it’s important to not compromise your business model in doing so either. Business comes from all different sources. Word of mouth is the best, you are already in. You have to be able to sell yourself for sure and gain your clients’ trust. The trick is to run your business by a certain code, and not deviate from it. Anytime I’ve allowed someone to use any other kind of manipulation, or promises as a bargaining chip to back off on my rate, or terms of contract, it’s never been a rewarding experience, and never resulted in all this “extra business” So really it’s best for everyone to stick to their obligations and everyone’s happy!

Part of being a professional is establishing yourself as a brand, offering a valuable service, and charging accordingly, but remaining reasonable. Under promise, over deliver. I love to get all the jobs I can, but I have to keep a standard and not do things that will be harmful to me in the long run, or devalue my craft. I not only represent my own business, but the industry as a whole. As a result, I get the word of mouth I depend on, and have a great relationship with my clients.

Happy Easter everyone! I’m out to do some motorcycle time and enjoy the 75 degree sunny day! I just shot this photo a few minutes ago, they are violets I think. They are pretty when they first bloom in Spring, as they are now, but are considered weeds…..they don’t look like a weed right now, so they stay for now. Just like the above story, when they don’t flower, they grow thick and you must pick them before they choke out your good plants.

I think the same thing applies to model’s business cards as a photographer’s……invest in a designer and have them professionally printed. I have attended several meet and greet events and networking functions and have collected many cards. We part ways after saying, nice to meet you…..again, I have to remember who everyone was and who had interest in working with. The simplest way is if there’s a face with the name, hence the visual aspect of presentation as in last discussion.

Here is what I recommend…..based on personal experiences of finding and contacting a model after meeting them, and who I pursued and didn’t. Clean design, two sided to allow more info, without looking “busy”, at least one small image per side, one great headshot, other 3/4 body. Type of model you are….fashion model, commercial model, fine art model, etc. Name. Phone number, always! Or booking information, with agency’s contact info. If you have a website, always have that, instead of Model Mayhem or OMP pages etc. It looks more professional and you are sending your audience directly to you, and only to you, not where a bunch of your peers are too. This is the pertinent information. Social networking sites info, in my opinion, do not belong on a professional business card.

Since we are in a very visual business, I’m of the opinion that we should have a professional business card with some representation of our work, and pertinent information on it. It’s worth it to me to hire a skilled designer to make the design for me. Sure, I can put something together that would look ok, but why be cheap when this is your image, that you are introducing new contacts to? Think of it this way, if someone hands you a generic card for any creative service, how likely are you to pursue them online etc. if something about them, or their presentation doesn’t get your attention?  You are in public, or meet with clients, you hand them a business card but they did not view your book or see your website yet……what is happening then? By handing them that card, you want them to not throw it out, but rather to make a concerned effort to go to your website, view your work, call you for an appointment, etc. All when you are not with them and time has passed. How are they more likely to do that? If they have a card that already impresses them? Or if you hand them a piece of crap that you printed yourself with the edges curled?

Your business card is your salesman after you part company. If you take your business seriously, don’t cheap out on this, is my advice. In my opinion, it should have a clear design header, be two sided, on good heavy card stock, website URL, phone number, and what you do. (Such as commercial photography and portraiture, etc. ) Good clean design with a couple images to give your audience a visual, that they will want to check out further.

A photo of my actual card, rather than a design PSD to give you an idea.