I’m very excited to have given my photography studio a little makeover, which didn’t cost much, but made a huge difference in the overall look of the studio, and how much easier I can keep it clean, and organized. For those who have not been here for a shoot, my studio is a detached 2 car garage that’s a simple, but functional studio, with heat and air conditioning I love the high ceilings and rafters, makes clamping strobes easy, and opens up floor saving possibilities for rim and hair, and even background lighting. When I first moved into it, it had wood veneer paneling on the walls, and plain concrete floor. I decided to spruce it up and empty it out, paint and finish it, and organize it so I make better and more efficient use out of my space.

So I started with painting the 2 side walls flat dark gray, to add lighting contrast, where white can give a softer light when reflected, dark colors absorb light. I painted the front and back walls flat white. I scrubbed the concrete floor with muriatic acid and water, and when it dried, I applied a one part slate gray epoxy on the floor. It looks SO much better. Soon my friend will help me build a cyc / infinity wall on the back to allow for less use of seamless paper, and reduce setup time. I look forward to many more years of fantastic work and fun in my studio….it’s the place to come for modeling and commercial headshots, business headshots, boudoir photography, and other portrait work as well. Here is a rough copy before removing tape and touch ups

It was a beautiful afternoon in April I met up with Chris and Lacey, and children, Bryson and Chris Jr to do their family portraits! They wanted to enjoy some scenic and serene countryside to have a taste of Americana in their family photos, and yet keep a casual mood. Chris’s grandparents live on some beautiful property outside of Gallatin, TN. which is maybe 45 minutes to an hour from Nashville, they were kind enough to let us take advantage of the beauty of their property with a stocked pond and barn, rolling hills, the whole shooting match When doing couples’ and family photography, I like to incorporate a natural mood, which includes some journalistic approach to the photos, mixed with some strategic posing and shaping of the groups of people. I’m a little biased towards the journalistic style family, engagement, and wedding photos, but that’s what helps people gravitate towards me I will start with Lacey and Chris as a couple, some intimate journalistic couples photos by the pond.

One cool idea we had, why not let Chris teach the young buck how to fish, and earn his keep in the country?

Let’s head down to the barn where we could take advantage of it’s textures and the shade. Textures are very important to my particular style of photography! Some journalistic mood photos mixed in with posed group family photography….hope you enjoy! I hope you will book your portrait session soon!

I guess this is a 2 part equation….if I am hired to do entertainer or recording artist photography for either merchandising use or for CD or website artwork, and they want to provide photo credits on the artist’s website, fabulous! That’s a nice thing and it shows they appreciate my part in the creative process. But as a photographer, if offered these exposure or photo credits for their albums etc., in lieu of payment…..it’s worthless. I’ve had these offers and declined. In the past, if I found the subject matter interesting, I did it a couple times….but only if I pick the person and the concept for my portfolio….but in hindsight….a professional photographer accepting this, is cutting their own throat. The artist plans to use the photos I provide to make money on merchandise or sell their music. They may not have the money as more established recording artists, but they have to invest in their image and business as well. Therefore, entertainment and portrait photographers need to be paid for their part.

I say the credits alone aren’t a viable form of compensation, because the promise made by the artist doesn’t always hold, if there is a design and production person who conveniently forgets….and even so. Many MP3′s which eliminates CD artwork. If it makes it in the CD, we’re relying on the marketing and distribution skills of that musician. That smells of a business partnership. Yuck. lol. And how many listeners are going to get as far as to read credits? Or look at it, and say….oh, we’ll hire that photographer? LOL. Just seems like a fair trade to pay the photographer and they keep their own earnings. My 2 cents, for what it’s worth. I love working with creative musicians and other artists. But it starts things off on a bad foot offering exposure for compensation, when most who would do that, don’t have it to offer. This is Curb artist Ronnie McDowell…..he hired me to photograph him, and in turn, uses the images I provide to sell his music, as well as merchandise, and it’s win win for both of us….I look forward to working with him again, great musician and great guy!

To a still photographer? I’ve shot stills for one independent film, and it was a fun experience…..but it wasn’t paid. But I’m glad I did it. I’d have to have some financial motive to do it again. It was about the experience, different portfolio material, and exposure through film credits that time, all of which was cool. So, besides the fun and experience of it…..from a photographer’s business standpoint, what are film credits worth to a photographer’s exposure and overall marketing? Suppose I was in LA and my goal was to be a still photographer for the movie industry….there would be value to the experience and list of credits. But I’m in Nashville, TN. and am a journalistic wedding photographer and portrait photographer primarily….so there isn’t any value to their version of exposure for me, from a business standpoint. Film credits roll for an average of 8 seconds. When you go to a movie, pay attention to how many people stay past the ending….some do stay for the cast listing. But almost everyone leaves before the still photographer credits would get rolled. Besides, who looks at film credits and says….oh, I think I will hire that photographer? No one? Safe bet, LOL! My usual rule of thumb is anyone who promises exposure in lieu of payment usually doesn’t provide quality exposure if they don’t have the budget to pay me. It’s a different story for the still photographer than it would be the actors, or filming crew. For what it’s worth

This mainly pertains to my role as a professional wedding photographer, and the conflict that sometimes arises….overzealous guests in every row of the ceremony sticking themselves out in the aisleways recording the action with their phones, cameras, tablets, and video cameras…..and without fail they get in some of the professional photographer’s photos. Or trying to photograph groups I arrange and stages I set, or photobomb at the reception. I have photos like that, but do not wish to make them public, out of respect for the couple. Though usually my events don’t have much problem in that regard, because I do my best to weed this out up front with the couples. My contract clause covers no other photographers working while I am, but no contract can govern guest behavior. This is where I encourage the couple to set that precedent with their family and guests.  Not to make my job easier, but to allow me to do a better job for them, that I am being paid a lot of money to do. And also I can stay the good guy if I’m not the one who has to ask them to refrain from photography until I am done working. (though during ceremonies I can’t say a word, only think to myself how freaking rude and disrespectful can people be) LOL.

Now, the two sided coin. Some might say, well who cares, as long as you are getting paid to photograph the wedding, who cares what they do? As long as your contract covers you against acts of God and disruptive guests, you’re legally covered, and at the end of the day, you got paid. Well, I can understand how some feel that way, but to me it’s short sighted. It works for low priced shooters who probably won’t be around in 2 years anyhow. I’m not super high priced, but am out of that price point bracket, and provide quality journalistic wedding photography, professional post production, and beautifully designed albums and coffee table books….not a here’s a pat on the butt and a CD of photos for you. I believe in providing customer service of a higher caliber, and taking ownership in the end product I provide for my clients. It’s a better representation of my work that way, and a better representation of the couple’s wedding. In turn, I get better quality referrals that I rely on. If the couple would rather let their event turn into a paparazzi circus, let them shoot the wedding, or hire the hobbyist from Craigslist. Sometimes there really is such a thing as bad money.

I recently had a lady call me about acting or theatrical headshots for a talent agency submission. She wasn’t quite in the senior bracket but her look caught the eye of a local casting director and they told her she could be used for a parental role in commercials or even be in pharmaceutical commercials. She had told me she never acted or did any modeling in the past and wasn’t too sure about all this just yet, LOL! But she decided, sure why not, let’s go for it! She was honest with the agency that she was referred to that she had no prior experience and didn’t have a lot of time or money to put into it. Her only investment was hiring a photographer for headshots and an agency listing fee to be featured on their website.

The agency told her they didn’t have many people in her age bracket and there was an opportunity for acting and commercials for the senior age bracket. She found my website and liked my style of headshots and portraiture, and after talking, we mutually determined we’d be a good fit to work together, and I could offer her what she needed. We did a friendly approachable look for an acting headshot, but I particularly enjoy this theatrical headshot with some mood to it.

With the start of Spring, I recently took the motorcycle to my gym, LA Fitness, for a workout early on a Sunday afternoon. I finished and went to grab my backpack, gloves, jacket, and helmet. An older man, maybe mid to late 50′s approached me and asked if that was my Triumph outside the window. I said yes, and we talked for a bit. He was definitely an old school biker, long salt and pepper hair in a ponytail, scars, and loaded with tattoos. I really enjoyed the stories he was telling about his experiences in life, as well as on motorcycles. I was fascinated but had not yet figured out why. He was waiting for his wife to finish her workout, and they rode in on his Harley, which gets ridden in all weather. We went our separate ways…..after I got home, it hit me. All I could say was DAMNIT!!! Why didn’t I ask him to my studio to photograph him?

It’s very rare I will approach someone and ask them to allow me to take a portrait of them. But certain subjects I find interesting, and unique….so when it happens, I pick the person. I went to the gym a couple different times that week….no sign of them. So, I went at about the same time the next Sunday….towards the end of my workout, I saw his wife, but not him. I asked her if he was around and I had enjoyed talking to him. She said yes, he is outside in the car. I introduced myself as a professional photographer, and I really wanted to photograph him. She looked at me funny, and said, really? Why? Why would you want to photograph him? I said, well, an artist thinks differently, and we just know when we have the opportunity to create something powerful and I know I can do that with him. I got her attention. I talked to him on my way out…..his reaction was much the same. Surprised! LOL! I explained to both of them that I don’t mean to make them uncomfortable with this request, but his face has so much character and can really tell a story. And after talking to him and listening to his life experiences, gives me an even greater advantage to capture the character in his face.

I feel confident we can make this happen. It’s having these visions that help every artist evolve and avoid complacency. This brought back some fond memories of my time in Santa Fe, New Mexico, studying with Greg Gorman about capturing the soul of a portrait or headshot. One day our class went to the old Santa Fe prison, which was damaged in the 1980 massacre, and taken out of service after the new facility was built. This location remained for National Guard and law enforcement tactical training with paintball guns. One of the subjects was an older gentleman who had beaten cancer and had so much character. I still remember him asking….there are several pretty young female models here, why the hell are you guys photographing ME? LOL!! He thought it was cool, and funny! Sure, young beauty is nice! But character, age, flaws, and textures of skin are great as well…..and stories are told! Is it a coincidence that I like older buildings and textures in my wedding photography and portrait work? I think not Here is the man from Santa Fe, and also a horseback rider we met on the Santa Fe trail. Great stuff I will never forget….I photograph character any chance I get.

When photographing any inanimate objects or groups of people, using vanishing perspectives or dimensions of the subjects to create an interesting shape really makes those photos stand out. with any multiple object or human subject photo, we as photographers have to use shallow depth of field carefully but it can still be done if the objects or people are close together, and you want one in particular to be the focal point in that image. I like the challenge of these types of images…..it forces us to slow down and pay attention to where the subjects are at, where they are positioned, how we compose the shot, and what is in the background that could draw attention away from the intended subject….hence the composition reference. LOL. If one person is mostly hidden behind another to where it looks like the person in the foreground grew extra parts, that doesn’t qualify for the image I’m talking about. Or an object in the background that makes the person in the foreground look like they grew extra parts

That’s one challenge I enjoy about journalistic style portraits or journalistic wedding photography, I can capture a natural candid mood and it’s not posed or forced, (even if I stage it on occasion, LOL) It’s great when those perspectives and dimensions can work in my favor to make an interesting shape in that photo. One old portrait trick is to pose the group in a triangle shape, or have imaginary triangles in the photo between different subjects. If you look, you will see that in one of the images below It’s just psychology and how the eye notices a photograph, and what keeps a viewers’ attention. Here are a few photos with those interesting dimensions that stick out in my mind most, as far as human subject material at weddings

This is slightly off topic, but there is a solid connection which relates to the photography business I know and love. Especially as it relates to giving and receiving critiques, and being accountable for our successes and failures alike. And being open to change, learning and growth, keeping an open mind. Those who are stubborn and emotionally attached to their work can’t look at it subjectively and are less likely to learn anything, grow, or make forward changes. This is pretty universal. I occasionally enjoy watching these shows on Food Network about the master chef and restauranteur going in and helping to revamp failing restaurants. The chef, Robert Irvine has to open many doors that the owners may not be ready for, and give them harsh realities not all take so well. Well…tough. You needed help, you get his opinion, lol.

I see some common links when watching it. Often the restaurant lacks leadership and has untrained staff, has inexperienced or rude servers, as well as substandard canned or frozen food, sanitary issues that make me never want to eat out, etc. All caused by owner complacency or clueless nature. The responsibility starts with them, and they are the cause of their failure, because they have not come to terms with them not knowing enough, or having the drive to make necessary changes to save their business. Sometimes that kick in the pants is what they need to see the situation for what it is.

Here is how this all relates to professional photographers. It’s healthy to seek out critique from respected peers. I do it all the time, and provide it for others. I am respectful of everyone when doing it, but I don’t water down the truth because it might hurt their little ego. Guess what….in the real world, the ones with the money to spend are the ones who decide. Them not coming to you hurts more than any critique. There is no, everyone gets a gold star. There are thousands of photographers in Nashville alone. Portrait photographers. Wedding photographers. All kinds. The ones who earn income from it have to have work that stands out, as well as good marketing and must run a business that evolves. That’s all part of basic customer service, changing and evolving to fit the clients’ needs and adapt to technology and how it changes business. Not every restaurant patron knows how to cook chicken parmigiana but when they go out and order it, they do know when it tastes great and when it doesn’t.

On location portrait photography is a great service to offer and I always enjoy challenges as far as lighting, using what is available, and traveling lightly equipment wise. Recently I went to visit my very dear friends Dave and Mary, and their 3 month old daughter (and my niece Caliece. The weather was cold and wet. They wanted a photograph of them together as a family, and some of her at 3 months old. And the baby had been a little sniffly so they didn’t want to load her in the car to my studio, this option of me going to their home only made sense. It’s one of things, if you wait until the weather is perfect etc. you miss major milestones. Sometimes you just have to make it happen. No one has ever regretted investing in quality portraiture, especially as a family, or as their kids are growing.

I don’t advertise myself as a childrens’ or baby photographer, I’m not. I can do it, and am happy to do it for existing customers I already know or people they know. But to make the claim as a specialist, you have to really know how to speak to children and babies, etc. and make them comfortable, the psychology etc. It’s almost like being the dog whisperer for children, lol. I rely on the parents to know their childrens’ least cranky or tired time, and this way they don’t get mad at me for not being able to work past their grumpiness etc. LOL. But when I do it, I enjoy it. It’s rewarding to see my clients enjoy family time and see their children grow, and it’s an honor for me to be a part of it.

The setup was as minimal as it gets, besides natural light as a sole light source. We just used their living room. They have white walls and ceiling, so I bounced my flash off the ceiling and used a white reflector for fill light at eye level, worked like a charm. I didn’t even have to bump my iso up past 200. I used as shallow a depth of field as I could get away with. 4.5 – 5.6 for a small group is about as wide as I want to go, so no one is out of focus. But the somewhat shallow depth of field creates some background blur and separation so the picture in the background isn’t the focal point of the image. Also, I was careful not to let the picture frame grow out of the center of anyone’s head, lol. This way, I can come in, not rearrange their home, get nice simple portraits and they have those memories. And Caliece’s 6 month photos can be done at the park or somewhere they like to go. But this shows a progression of her growth I liked the brush light the flash created when she was laying down, sometimes simple gets it done. Work smarter, not harder.

If there’s one thing I have a good track record for, it’s keeping my photography gear and camera bag organized, and not losing equipment. Though sooner or later we all have that oh shit moment, usually later on when we discover it, LOL! In my prior article, when I shot the band at The Boro Bar and Grill in Murfreesboro, TN. I brought my camera bag, and only used my main SLR body, one lens, a Speedlite, and a Gary Fong Lightsphere. I don’t use my Speedlites much, nor the Lightsphere. But I know my camera bag, and keep everything in a dedicated place. That’s the important reason to have a large enough camera bag, so each lens and triggers, all other accessories can easily be seen when the bag is open.

Well….you know where this is going. I thought I had everything packed up, and was also helping my friends load their band gear. A few days later I did my next photoshoot, a family portrait session. I opened my camera bag and looked inside, and had a creeping feeling in my gut. There was an open hole. I realized I left my Lightsphere behind a the bar a few days before then. I told my client what happened and she suggested I call the bar, I was thinking no way, it’s long gone. But I gave them a call and described the item, and the man said they have it in their lost and found behind the bar. I about jumped for joy! After my session, which was halfway to Murfreesboro as it was, I went down there to pick it up, placed some cash in their tip jar and thanked them a billion times, LOL! I am very grateful for their honesty. If they Googled it and saw it had a $100.00 value new, they could have easily made an easy 60 bucks or so and I’d never know it. They’re good people, and remain indebted to them for their honesty. http://www.theborobar.com/

Granted, it could have been far worse….I could have left an expensive lens or something. But still it would suck losing a $100.00 item too. In the past 9 or 10 years, the only piece of equipment I lost forever was a reflector, when doing an on location photoshoot with a model. Maybe 40 bucks. I was still bummed out, but we’re all human. But I quickly learned to keep my gear organized. This is especially critical for wedding photographers, event photographers, commercial photographers, and location portrait photographers who bring a lot of gear off site, and on location. I am very careful to remember what gear I used, and when packing up, do a spot check of the area. It also helps to keep the gear in one area, it eliminates the risk of having gear strewn all about, which would increase the risk of lost gear. On jobs where I have an assistant, it’s an easier process, because I have an experienced assistant who knows my gear and how I organize and transport it. Each of us manages our own part of the gear we use. Then 2 of us do spot checks. I usually have no issues, even if unassisted. Because I know where I keep everything, check the area, and recheck my bag. But something distracted me that night, or I’d have noticed something was missing from my bag. It never pays to get in a rush. I’m glad this mistake that I learned from, I didn’t have to learn the hard way.

Recently I had the pleasure of joining a longtime friend to see his band play in Murfreesboro, TN. at the Murfreesboro independent music fest, at The Boro Bar and Grill. They are a somewhat heavy metal band, their link is here, the band is called Omnivus http://www.reverbnation.com/omnivus The Boro Bar and Grill is a cozy dive bar type of place, and were really nice there, so I look forward to going back there to have a beer and listen to some local musicians play Their website is here http://www.theborobar.com/ . Like many photographers would, I snapped some of the bar ambiance and waited for the band to play…and even got there in time to take a couple photos of the band performing before them.

When I photograph performances on location, I always travel lightly and only bring my camera bag with lenses and flashes etc. and no other lighting. It’s easier to load in and out that way, and less gear to manage if I am unassisted as I was that night. I often like to use stage lighting and not use flash at all, but there wasn’t enough of it there. So I used a speedlite flash with a lightsphere modifier. Black ceilings or tall ceilings  etc. are not useful for bouncing flash so for a situation like that, to remain light and mobile, a speedlite with a bounce card or a Lightsphere is a good solution. I’m not a huge fan of on camera flash, but it works in situations like that or for outdoor fill, to fill in shadows. Most of all, was just fun to casually photograph the nightlife and the band for a brief while, hope you enjoy!

This is kindof one of those “how long is a piece of string” questions, but the answer is different for every couple planning their weddings. Lots of variables. Whether the bride knows this because she learned from those knowledgeable about wedding budgeting, or learns from her own mistakes, you don’t skimp on wedding photography because she wanted to over spend in other areas. Well, then you don’t skimp on a videographer either. Since both the photographer and videographer provide a product that remains long after the wedding is over. The two main goals of a wedding are these. The first being that the couple, wedding parties, and guests enjoy themselves. Also, to be left with quality memories of their big day, and time spent with those they love. As I know I have said before, if you look at your wedding photos (or videos) years from now, and remember the good times, and seeing photos of guests and family, some of whom have sadly passed on….you aren’t going to look back and wish you hired the cheaper photographer. I will go over a few key points about choosing wisely.

Photos and video have a very different feel. You can’t compare the importance of them, but they are both very sound investments if you choose wisely. Any couple that has it in their budget to hire a videographer, I definitely recommend it. BUT…..it’s one of those deals, if you are going to bother hiring one at all, hire an experienced and qualified videographer for your wedding. Your friend who has a pretty nice video camera who records his son’s baseball games is not a wedding and event videographer. A good wedding and event videographer knows how to work in low light and any other lighting condition….as wedding photographer need to have that skill too. But perhaps the most important thing a videographer does is knows the placement of their cameras, and how to stay out of the photographer’s shots. Any weddings where there is a videographer I meet them and go over those things with them, and it all works out great. We know the other’s field of view and how to capture the goods, and stay out of each other’s way. That’s when it’s an experienced videographer.

However, there is nothing more aggravating than dealing with an inexperienced or student videographer at weddings. They are just out to get everything, everywhere, and not be mindful of the fact that they are a disturbance while capturing the event….and getting the way of the photographer. The worst is when they follow me or make it a race to see who gets what first. No clue about the protocol or how to be stealth….and not work against the other vendors. Not to mention making it feel like a paparazzi circus. It’s a private event people pay good money for. Misbehavior of any film or camera crew can ruin the couples’ and guests’ overall experience….not to mention costing the client extra money when the photographer has to take the dork video person out of the background of many shots. All those are signs of amateurs. Being an amateur is fine, but you don’t do weddings without experience, under an established service provider. Having an unqualified video person do a wedding really is asking for trouble, and the couple has to be left accountable for that decision. I have examples of a low budget videographer getting in my way when I’m working, but out of respect for those clients, I am not posting photos of it. Those I have worked with and had video and hired me for photography, have always been happy with the end product and the story told. Not more footage, but better footage.

Anyone who follows my work knows I like to bring the soul out of my subjects when doing portraits or headshots, but sometimes I go above and beyond. If it’s a model or subject I know, sometimes I spend extra time with them to get a range of expression and emotion out of them that fits, or brings out their personality. Then sometimes I put them together and make a collage of images, that collectively tell a story or provide entertainment for them, and the viewers. As well as their families, they usually enjoy seeing a lighter side of them. There may not always be a commercial use or practical purpose, but it’s a light way to wrap up a commercial or acting headshot / portrait photography session. BUT…..these type of comedic or entertaining portraits can be used for comedians, entertainers of different varieties, or outtakes that can add fun to any project. But fun and laughter is good for the soul, even if there is no other use for it. Photography with no fun would make photography dull. I think it’s great when setting, mood, lighting, styling of the subject, and overall expression all come together to make a strong photo that makes a powerful impact. Here is a recent work from in my studio.

That’s right! I made a post recently contemplating the idea of delivering wedding photos to clients on branded USB flash drives. For the sake of better presentation value, download speed, and convenience, not to mention newer technology as disc drives not being standard equipment on some newer computers. I approached several previous clients and asked them what they thought, as well as received feedback from my last article when I was tossing the idea around. It was unanimous. Everyone loved the idea for the sake of convenience, portability, and speed. I run an interactive photography business so that helps me know what people want, and how I can evolve to stay ahead of the curve.

For now, these will be used only for wedding photography delivery, and for larger commercial shoots, because I went with a mixture of 8 GB and 16 GB drives. Headshot or portrait photoshoots, I will continue using Dropbox, CD, or other file sharing method. At least until I can get a more cost effective option on smaller capacity drives, like 2 GB’s. But from this point on, these will be available to wedding clients! Here is the mockup photo. Thanks for your feedback and suggestions, that is what makes our business relationship a great one!

One challenge I’ve always enjoyed about headshots is that no other part of the body takes away the viewer’s focus from the face of the subject….therefore the expression, how facial features are captured, and the overall emotion and soul are captured is more telling than a portrait composed more loosely. A good portrait and headshot photographer knows how to bring out the subject’s best features, know their best angle based on the shape of their face, and avoid problem areas. Examples would be shooting into the bend of someone’s nose, shooting from a higher angle and using a telephoto or standard prime lens if the subject has a rounder face, and using the right lighting to fit the look of the subject. Also creating the best mood of the photo, along with proper lighting and composition to be suited for the headshot’s specific purpose.

This particular method shown below wouldn’t work for every subject, but with her, I wanted to create a dramatic mood, not only with her confident and smitten expression. As well as create a good jawline shadow to emphasize her lovely jawline. Let’s not forget nice but subtle catchlights in her eyes. The setup was simple. We had just shot on location and the sun was starting to go down. I set up my Elinchrom Quadra strobe on a stand, off camera with a 17″ beauty dish, about 30 degrees to the front and to her right about 5 feet away. And a white reflector fill on the opposite side, within 2 feet of her. This way any nose shadows can be softened, that would normally be caused by off camera lighting off to the side. I like this particular image because of the mood and soul, strategically placed shadows, and the framing. The top of her head not in the frame draws more attention to her eyes and jawline, and lovely skin…all the features I wanted to bring out.

For years, since digital photography became the standard, the standard for image / digital file delivery has been on photo CD or DVD’s. The discs have a pretty good archival quality, if taken care of. Most wedding photographers these days have to deliver digital files to their customers, and the disc is still the standard for many, and what most customers expect. I have always encouraged my clients to load the contents onto their computer and any backup hard drives and then store the disc in a safe place as an added form of backup. Some shlep it around and risk scratching it, which can render it useless. I have learned that some desktop and laptop computers are now being manufactured without disc drives. Even so, there are external drives. But that tells me the discs are being gradually phased out. Like the old floppy disc was in the late 90′s. Which really got me thinking that by me considering USB flash drives as a file delivery option, I am staying ahead of the curve.

Between discs facing eventual obsolescence, the neat presentation value, compact size, speed, and durability, I am considering using USB flash drives for image delivery for my clients. I can even get them customized with my logo, would be a rich presentation! No form of digital media is forever. But periodically transferring contents to newer backup forms, and multiple backup forms is definitely a wise idea. For portrait photography or headshot clients who have smaller amounts of images in comparison to wedding clients, I have the option of using Dropbox or another file sharing provider, or keep some smaller 2 GB drives for those types of shoots. And for wedding photo delivery, use an 8 or 16 GB, whichever is needed. That way I’m not paying for more expensive drives wastefully. Just thinking it’s a trendy, practical, and convenient option and it’s something I may implement soon. Stay tuned

I’ve heard mostly newer photographers say that tripods aren’t needed because of newer SLR cameras’ high ISO capabilities. They’re only correct about the high ISO part. LOL. In the film days, studios would use tripods especially if using hot lights (continuous light source) where the wattage of the light source isn’t as strong as a flash or a strobe of the same wattage because of the flash duration, the burst of light comes all at once. Those photographers would use a tripod so they could drop the shutter speed and not get the blurs, and not have to use as high of a film speed and have grainy images. I’ll agree, tripods aren’t needed in the studio if shooting digital and with strobes or monolights. For that matter I really don’t use a tripod for portraiture or in the studio. But to say they are outdated is totally false.

I don’t really shoot nature or architecture except for fun or when photographing weddings, but for those two things, tripods are very important. Many nature or traveling photographers like carbon fiber tripods because of their light weight. And also the ability to absorb shock and not cause the blurs. I sold my old Quantaray last year, it did the job but wasn’t great. I don’t use a tripod super often but I still enjoy long exposure photography. Now that I have a better one I use it a little more. I bought a used Manfrotto 190X Pro B. The head is a Manfrotto 804RC 2. Does the job perfectly. Not as light as a carbon fiber one, but not super heavy at all, suits my needs and the head is good and steady. And nowhere near as expensive as the carbon fiber models LOL. I use mine for fine art work, in low light, or when doing painting with light (moving a flashlight or other light source across the subject while the shutter is open) as seen here.

Try that without a tripod? Still think they’re uncool? lol. Also long exposure or double exposure. Both of which require a slower shutter speed than can be hand held. The average person can only hand hold a camera using 1/30 second to 1/60 second shutter speed. Here is an example of a double exposure using 4 second shutter speed.

I also bring my tripod with me to most weddings I photograph. Especially night scenes. It provides the customer something different they don’t expect. Also most wedding photographers aren’t going to provide that. I’m not saying it’s wrong another wedding photographer to not need a tripod, but it’s just part of the variety and artistic touch I like to provide, a small detail of my brand. And it allows me to provide details like this as part of their story. Really pretty much any serious professional photographer needs a tripod, they’re far from passe

As part of my workflow and quality control of imagery, I use calibration software to build an accurate color profile for my monitor, I do this twice a month. The default color profile may not be accurate, and as monitors age, adjustment may be needed. So this is very important for a professional photographer, designer, or retoucher to stay on top of. The average user wouldn’t have much reason to do that. With that said, every type of display, whether desktop monitor, laptop screen, tablet screen, etc. can have color and exposure variation from the other. Sometimes minor, sometimes very noticeable, with respect to variation in exposure and color tones. I had a wedding photography living out of state tell me some of the group photos looked washed out. I asked her, how you mean? Which ones? I looked, and saw none of that. Just good high contrast lighting. Turns out she was viewing them on a laptop, which often make images appear hot.

Normally, in the case of any discrepancy, I’d ask them to come over and view them with me on my monitor to make sure we’re seeing the same thing. Since she was out of state, I had my lab run 3 test prints of the images in question, and had them shipped to her, so she was relieved that it was her display and no the photos, lol. She then asked me, so if many display different, how do we know yours is right? Because as I told her, not even all calibrated monitors show the same. Well, the prints you got very closely match what I see on my screen. It’s about there being consistency between your monitor and your print station, or print lab. Not an easy thing to do with digital imaging. But there really is good and bad. That’s the reason I only use my lab, I know there is consistency and quality. And I do what I can to deter customers from using just any old place to print their images. Even crappy prints aren’t free, so why would you pay for them?

Recently I learned a fancy term for this very question. Unique value proposition. This is how a business or service provider stands out amongst it’s competitors and gets the attention of it’s potential clients. This goes beyond the generic obvious terms, like great customer care and un paralled product, professional staff, etc. Those are all things that are necessary for any business to provide! LOL! I booked a Spring wedding a couple months ago, this particular client really opened my eyes to this very question. She owns a marketing firm and really did her homework as I would expect. This meaning she looked at my website and made sure the information she needed was there….looked for reviews online as found on my Facebook page and Wedding Wire page, and looked at what vendors I have worked with. When I met with them, she asked me directly, so why you? As you know, there are tons of Nashville and Franklin area wedding photographers, why do we go with you? I’m used to being asked questions during consultations, and in fact I encourage them! It’s a GREAT question, but I’ve never been asked exactly that way, LOL!

I just told her that I genuinely love what I do, and I have a unique personality that makes the event fun for people, before and after. You want a journalistic style of wedding photography, which you have seen how I capture them and how your story will be told. And you get tangible goods to showcase your event. No dog and pony show with 4 student photographers making it a paparazzi circus, but no nonsense service, with a proven track record of the best customer service you will find anywhere. As a result I have formed many great relationships and get called back for family portrait photography or business headshots later. That was what she was looking for, excellent! Most of these questions I could have answered in the past, but now I say it with greater confidence because of the weddings I have to showcase my work in more recent years, and now I have a much better idea what my unique value proposition is than I did even a year or two ago. I guess the cliffs notes would be my shooting style, storytelling ability, personality and interaction with the customer, the books and products I put out, and perhaps most of all….what customers are saying about me in their reviews. That speaks louder than anything I can say.