Consider/Re-Consider Your Product Delivery

If only being a photographer was as easy as people tend to think it is; we are glorified button-pushers or something of the like so it comes as no surprise that clients would rather receive their images on a disc thinking that this is the cheaper route, especially because it should be "inexpensive" for us photographers to put it all together, plus, "anyone can do it".  It's unfair for people to use that expression though because most of them will probably pay for dining, cleaning, and entertainment services that can also be done by "anyone".  The real deal though is getting what you pay for.   

No matter what kind of photographer you are you have probably had to consider the type of media to deliver to your client.  

I have read that the DVD-R is the better choice for delivering large files and large quantities of images especially because it has less compatibility complaints.  Many of us provide this product exclusively as an option to our clients because it's generally fast, easy, and they want to be able upload them to a device for social media and send them via email.  High-resolution digital files are not the answer for this situation/solution.  Also, with the rise in popularity in devices such as iPads, a disc is not the best option for delivering files; this is where USB flash drives are becoming a more popular method--it is also my preferred method.  Nonetheless, who's to say where technology will take us in 10 years, 50 years, even 100 years?  Discs and USB's will inevitably become obsolete as well as misplaced, broken, and damaged over time but a high quality print will last indefinitely.  

There is a stunning difference between what we see on a computer screen and what we see in a high quality professional print.  With the right steps and consideration taken during output and how it will be rendered, a photograph can impress your clients beyond technical proficiency.  They can actually hold and closely inspect the photo and have it in their immediate physical possession.  Oftentimes, those who only want a disc will have good intentions of printing off the photos at the lab of their choice but more than likely the images will end up on social media and sitting in a forgotten computer folder. 

 

This is why it is important to consider, or, re-consider your product delivery.  A disc, in my opinion, should be a separate product for low-resolution files that clients can use for sharing on the Web, high-resolution images on a disc or USB can be purchased a la carte, and print packages should be your biggest service product.  I would even suggest helping them choose the best printing options, help them put together and design an album or photo book, and even go so far as to help them get it framed as part of your service package price because, as a professional, you should still make the effort to ensure the quality of your work.

Recently I had an experience where someone wanted to hire me to take a few photographs and go get them printed off at Wal-mart for them since they wanted these in a rush.  I flat out told them that I would love to be their photographer but I will not voluntarily print any photos from anywhere that is not one of my trusted professional printing labs.  If they wanted a disc to take and print off themselves I would have been happy to do that.  Needless to say they went with a "cheaper" photographer and although this situation upset me a little, I can look back and be proud that I am not a "cheap" photographer.  I want my work to be cherish, relished, and displayed with pride, don't you?  There is a difference between a good photo and a great photo, strive to always be great.

So, does any of this change the way you will delivery your product?  What is your current method or what do you anticipate doing?  Do you need advice?  Leave me some feedback in the comments and thanks for reading today!  You can read the whole article here.

Works Cited

"Compact disc in a computer CD-ROM disc drive." Photograph. Encyclopedia Britannica ImageQuest. Web. 25 Aug 2014. <http://quest.eb.com/#/search/132_1311364/1/132_1311364/cite>

"Couple signing mortgage paperwork." Photograph. Encyclopedia Britannica ImageQuest. Web. 25 Aug 2014. <http://quest.eb.com/#/search/154_2880728/1/154_2880728/cite>

Fitzpatrick, Alethea Cheng. "Please Don’t Just Give Your Clients The CD or DVD!" tiffinbox. Tiffinbox, 9 Sept. 2010. Web. 25 Aug. 2014. <http://tiffinbox.org/please-dont-just-give-your-clients-the-cd-or-dvd/ >

"Girl taking picture of three girls." Photograph. Encyclopedia Britannica ImageQuest. Web. 25 Aug 2014. <http://quest.eb.com/#/search/154_2883658/1/154_2883658/cite>

Don't be a Cliché! Editing Trends that are Past their Prime

As an 80s child, I have my share of family portraits shaped into an oval by a white vignette. Why that was the style I'll never understand, but at least it's a thing of the past... right? Well, it seems to pop up now and then in some circles, and it's usually a newcomer to a Facebook group centered on photography that falls victim to such outdated trends. Here, I'd love to share three editing clichés that are past their prime. Please feel free to add to the list in the comments! My subject for this little trip through time is Patrick, an adoptable dog through Peace for Pits in Chicago. I will not be watermarking the edited images since they do not reflect my actual photographic style, but it is an image I took for the rescue. Here's the original for reference:

1. The White Vignette. Is it just me, or does this really never ever look good? It could be that only people who lived in the 80s and early 90s that see this as cheesy, but I can practically hear Bananarama when I see this:

2. Spot Color/Selective Color. Sure, this can add a cool effect to the right image when done well. However, that usually doesn't happen. Spot color for the sake of spot color is not a good idea.

3. Majorly Decreased Clarity. It can be tempting to smooth the skin (or in this case, the fur) of your subject in post-production, but please - don't take it too far! When a photograph looks more like a digital painting without intending to be one, there's a problem.

Of course in photography, as in life, there's always a reason to break a rule after it's been ingrained in your brain. Maybe a white vignette can help you brighten up the natural dark vignette that your 50mm creates in camera. Perhaps the colorful lasers at a high-energy event would make for a unique spot colored capture. If you have an image that you think makes an editing cliché work once again, head on over to the Google+ community and share it, or link to it in a comment below!

-Friday Ambassador

Breaking Bounds: How to Photograph Strangers

For many of us, photographing people is either in or out of our comfort zone.  Many of you who read this might consider yourselves portrait photographers and working with familiar clients might come easier for you than most, but ultimately, these classes will force you out of your comfort zone and ask you to photograph people; no, not just people, but strangers!  You will soon find yourself being told that you are not to use friends or family members for your shooting assignments and you should take this on as a personal challenge.  It is too easy to get caught up in what you are comfortable with and as a photographer you need this experience to keep you on top of your game as a professional.  There are a few simple steps to improving this daunting task and just like anything, with practice comes perfection.

I think you will surprise yourself at how often you will get told "yes" rather than "no" when you ask for permission to photograph someone or something.  I have been told no probably twice.  We tend to believe that no one likes having their picture taken, but in reality, most people don't mind.  So that is the first step: exude confidence in your approach and force yourself to go out and meet people with your camera.  

Next, keep in mind the assignment or concept and practice it as a story for the intent of your shoot.  Having an answer prepared for the inevitable "why?" when you ask to photograph someone will not only make you look and sound confident but professional as well.  Provide a little background information such as "I am a Photography student with the AI and I am working on an assignment that I think you would be perfect for."  It is polite and acceptable to collect their contact information and send them their portrait but it is not necessary to do it for every occasion--you will thank yourself later for not offering every person their complimentary photos.

By this point you have probably noticed that people notice you when you have a camera hanging from your neck.  The good thing is that this gives you a sort of conversation piece for when you approach people you would like to photograph.  It also gives you an excuse to randomly walk up to people and introduce yourself when you find or see someone you would like to photograph when you might naturally be inclined to avoid talking to strangers.  I know having a camera around my neck turns me into a different person--I am all of the sudden extroverted and confident! 

You don't have to introduce yourself first every time though.  When you happen upon an interesting scene it is fine to snap away and get that decisive moment and afterwards you may approach the person if you feel they are curious about your presence.  It may also be necessary to tell people to ignore you and pretend that you are not there so that they continue to act as normal as possible.  Have you ever been trying to photograph someone and they intentionally try to dodge you to get out of your way?  

Stick around, have a chat if and when necessary, and it is encouraged to not be a "taker."  Do not take photos of an interesting scene, have a chat, and abruptly walk away afterwards.  You have entered into a sort of social contract with the person and you kind of owe them the courtesy of your time, otherwise your attitude might come off as rude or arrogant.  Also, try to give back when you can.  You don't have to always offer the gift of complimentary photos as a bargaining tool or to keep the peace.  If you are photographing a vendor, crafts-person, tradesman, a street musician, or something of the like, buy something from them or toss a little money in their hat/cup/case.  It might not always be the best investment with your spare change but it definitely might be an investment towards a priceless story to accompany your experience.  

Lastly, it can also be suggested that when a language-barrier is present, for instance, photographing someone in a foreign country, sometimes a well-timed smile is the only mode of communication necessary for friendly interaction.  Remember that as you embark on this new-found confidence you are cultivating your own reputation as a professional so make sure you are leaving a positive impression on those you encounter.  Do not forget to thank them whether they grant or deny you permission.

Did you find this post helpful?  Do you have a special trick for approaching strangers?  Do you have an interesting story about how engaging people led to increased success in your shoot?  Tell me about it in the comments below!

 

Works Cited

"A young vendor proudly displays her fresh grown produce at the Cedar Farmers Market." Photograph. Encyclopedia Britannica ImageQuest. Web. 18 Aug 2014. 

<http://quest.eb.com/#/search/167_4018277/1/167_4018277/cite>

"Snail vendor in an Iquitos, Peru market." Photograph. Encyclopedia Britannica ImageQuest. Web. 18 Aug 2014. <http://quest.eb.com/#/search/139_1971908/1/139_1971908/cite>

"Street Vendor, India." Photograph. Encyclopedia Britannica ImageQuest. Web. 18 Aug 2014. 

<http://quest.eb.com/#/search/139_1972532/1/139_1972532/cite>

"WASHINGTON, SEATTLE. FRESH FISH MARKET AT PIKE PLACE." Photograph. Encyclopedia Britannica ImageQuest. Web. 18 Aug 2014. 

<http://quest.eb.com/#/search/300_1826838/1/300_1826838/cite>

Westergren, Dan. "How to Photograph Strangers." nationalgeographic. National Geographic Society, 15 March 2013. Web. 18 Aug. 2014. <http://intelligenttravel.nationalgeographic.com/2013/03/15/how-to-photograph-strangers/ >

New ways to get creative.

Recently I was able to try out a new photography tool. This tool is great for getting creative and the possibilities seem endless. The tool is called the Pixelstick, barley on the market but will be fully very soon. Was recently part of a kick starter program to secure funding to help bring this invention to market. The founders Bitbangerlabs was hoping to receive $110000.00 in support to help bring this tool to market. What they did get was a flooding of interested people and received $628,417.00 well over there hopped amount. In the proceeding months they worked on getting some select companies to manufacture the product they designed. The manufacturing was built from their working prototype.
         This Pixelstick will take your light painting to a whole new level. You can have it broadcast simple patterns or you can even have it display a .bmp file 1 pixel line at a tie to broadcast full characters or words from within your images. When I gave this tool a test run I didn't have any .bmp files with my to use that feature but I have seen some images from others to know that the possibilities are endless on what you can create. You can really do some out of the box thinking with portraits, product photography, or just simple abstract images. You can purchase your own for $325 currently but there is no confirmed date they will start shipping late orders since they have to fulfill all there backers orders first. I know I will be purchasing my own I hope very soon. If your looking to get creative with your photography then I would look into getting one for yourself.

For more information check out their kick starter website.
https://www.kickstarter.com/projects/bitbangerlabs/pixelstick-light-painting-evolved/posts

You can also check out their website to purchase your own.
http://www.thepixelstick.com

People have been finally receiving their own Pixelsticks so check out Flicker for some great ideas of how you could use your own Pixelstick
https://www.flickr.com/search/?q=Pixelstick

TBT Ambassador Thursday

Works Cited

Flickr. Yahoo!, n.d. Web. 14 Aug. 2014.

"Pixelstick - Lightpainting Evolved | Home." Pixelstick - Lightpainting Evolved | Home. N.p., n.d. Web. 14 Aug. 2014.

"Pixelstick - Light Painting Evolved." Kickstarter. N.p., n.d. Web. 14 Aug. 2014.

Designing Your Business Card

When you get to the point where you are ready to start marketing yourself as a professional, one of the first things you will need is a business card.  It sounds easy enough to slap on your personal information and sit back and wait for the calls to come in, but are you including the right information?  Not sure?  Not sure if you're ready for business cards yet?  Don't panic!  Below are tips for making the right decisions about your business card.


1.  Do you need one?

If you are not going out and meeting people or taking on work that would lead to future business, or if you're doing all of your networking electronically there is no need to get business cards...unless you just really want them then continue reading.

2.  Where do I order them?

There are so many options for ordering business cards.  Personally, I order my first business cards from Vistaprint because I got a good deal on them, and, since I am not profitable yet, I needed something to get me by as I market myself.  Right now I saw they were advertising 40% off any item in your cart.  MOO is another great resource.  They caught my eye with their mini cards--a new trend in self-marketing material.  Check them out!

3.  Contact details?

Nowadays we have innumerable way to get in touch with people: home, cell, office, secondary, fax, personal email, business email, website, IM, Facebook, Twitter, and snail-mail to name the most common.  Maybe most of these don't apply to you, but if you're like me, you have most of these to consider.

There is no point in adding contact information that you don't answer/check every day.  You will thank yourself in the end for not adding too many sources when you only have a couple inquiry streams offered!

Personally, I have my name and address (because I run my studio out of my home), phone number, business email, and website (I have a price guide on my website--saves me the time of having to explain it).  I also included some extra text up in the corner that says "Find me on Facebook" instead of posting my Facebook URL because I am big on posting teasers and updates on my page.

4.  Does it need a purpose?

Do you want to include links to your social media?  Include it if:

• Your social networks are useful to your potential clients/employers.
• You have an online community you would like to build.
• You regularly check and update your social media pages.

You might also want to avoid advertising your social media if:

• The content on your page is inappropriate for clients/employers.
• You don’t regularly check or update your social media pages.
• You don’t have the time or resources available to respond to people via social media.
• Your customers are not using social media.

Do you want to include any additional text or information for  clients to take action such as: "Call for a quote," "Follow me on Twitter," or "Award-winning ______!"?  Omit any information that takes away from the clear message/intent.  Keep it simple.

*Bonus*  Your card, if you choose, can also double as an appointment card, a loyalty card, discount card, etc. that you and your clients will get more use out of.

5.  Do I need a logo?

Yes!  It helps people get familiar with your branding and will be more likely to remember your symbol/graphic/logo, especially if you have a simple business name.  Here are a couple examples of my personal logos and graphics that I created using Photoshop.

6.  What about a QR code?

No, just no!  It stands for Quick Response code and is a bar code that people can scan with their phones.  Although they are slowly gaining popularity in our culture, unless you know that most of your clients will have a QR reader app and can scan your QR code then you can consider using a QR code generator for your business marketing.  Still not sure about it?  Refer to the flowchart below.

Do you have a business card already?  What information did you include?  Have any other questions?  Please comment below and I will find an answer that's right for you!

Works Cited

"Businesspeople shaking hands." Photograph. Encyclopædia Britannica ImageQuest. Web. 11 Aug 2014.
<http://quest.eb.com/#/search/154_2882895/1/154_2882895/cite>

Curry, Niq. "Flowchart." Photograph. niqcurry. Uniq Creative, 4 May 2014. Web. 11 Ayg. 2014. <http://niqcurry.com/what-info-should-i-have-on-my-business-card/ >

Curry, Niq. "What Info should I have on my Business Card?" niqcurry. Uniq Creative, 4 May 2014. Web. 11 Ayg. 2014. <http://niqcurry.com/what-info-should-i-have-on-my-business-card/ >

moo. MOO, Inc., n.d. Web. 11 Aug. 2014. <http://us.moo.com/ >

"QR Code Generator." Photograph. qrstuff. QRStuff, n.d. Web. 11 Aug. 2014. <http://www.qrstuff.com/ >

vistaprint. Vistaprint, n.d. Web. 11 Aug. 2014. <http://www.vistaprint.com/ >

Top 5 Publications to Further Your Education

My current stack of magazines -
I'll go through them in one sitting!

Once you graduate from the Photography program, your schooling may be complete but your education certainly isn't! Flipping through industry magazines will introduce you to new techniques and inspirational artists, provide opportunities for discounts on advertised products, and keep you abreast of industry news and contests. Joining a professional organization can give you the benefit of certain publications and online resources, and there are several unaffiliated options as well. Here are my top 5 that I look forward to reading:

1. Professional Photographer. A membership to Professional Photographers of America, Inc. (PPA) includes a subscription to my favorite photography magazine, which is full of business tips, gear reviews, and gorgeous images!

2. Photo District News (PDN). Joining Wedding and Portrait Photographers International will snag you a subscription to PDN.

3. Rangefinder. Along with PDN, a membership to WPPI will get you a subscription to Rangefinder. Though the two are published by the same company, each magazine features unique content.

4. Popular Photography. I remember reading this way back when I was into photography as a hobby. It is an established publication with a great reputation that continues to deliver quality content online and in print.

5. Photoshop User Magazine. Digital photography does not end with the click of the shutter. Check out Scott Kelby's publication to help hone your editing skills.

Which magazines do you look to for inspiration and furthering your education? Add to the list by commenting below!

-Friday Ambassador

Works Cited:

"Magazine - KelbyOne." Photoshop User Magazine. KelbyOne, LLC, 2014. Web. 07 Aug. 2014.

"PDN." PDN - Photo District News. Emerald Expositions, 2014. Web. 7 Aug. 2014.

"PopPhoto." Digital Camera Reviews, Photography Tips and More. Bonnier Corp., 2014. Web. 07 Aug. 2014.

"Professional Photographer Magazine: Weddings." Professional Photographer Magazine. Professional Photographer Magazine, 2014. Web. 07 Aug. 2014.

"Rangefinder - Imaging and Photography Magazine." Rangefinder Magazine. Emerald Expositions, 2014. Web. 07 Aug. 2014.

I have my strobes but how do I trigger them?

There are three major way to trigger strobes lights to go off. The first option is probably the cheapest but makes your studio area almost dangerous because you have your camera physically connected to your strobes by a wire. The will make it so you have a constant trip hazard in your studio. With this option you are also relying on the other strobe firing with its optical slave. A optical slave is an eye on the strobe head that can see other strobes flash. When the eye sees other strobes go off it will make that strobe go off as well. You can also use this option and take your on camera flash or a speed light to trigger the strobes. The disadvantage with this option is when you are doing an on location shoot your optical eye my not see the other strobes go off because of all the ambient light. Because you dnt have a controlled environment of a studio this Optical slave option isn't a very good one. The third option is to use a wireless trigger. This system works by taking a trigger and attaching it to you camera, then attaching another to each strobe. The trigger that you attach to your hot shoe will trigger all the other triggers. Thus eliminating the worries that the optical slave won't see the other strobe going off. Another problem with relying on a optical slave say for a wedding reception, when ever anyone takes a photo near by that has their flash on they will set off your strobe.

A few wireless trigger systems that I have read about are Younguo, Pocket Wizards, Phottix just to name a few. While I only have experience with pocket wizards I sure they all work the same. The main difference in them are they can only work with each other because they all have different frequencies. They also all have different working distances so you may want to research that prior to purchasing your triggers. This way you will purchase the right one to meet your needs. Another thing to consider is some strobe companies make their own triggers. For me I purchased the Pocket Wizard brand because I knew that my light meterhas a pocket wizard build into it. When I want to take a reading I hit the button on the meter and it fires the strobes. To hook up your trigger one attaches to the camera via the hot shoe,the receiver part of the trigger connects to your strobes with a wire between the trigger and the strobe. You will want to purchase one trigger for each strobe plus you will need the transceiver for the camera.

Some places you can purchase these triggers are B&H Photo, Adorama, Mac On Campus, or your local Camera store. Be sure to look and ask what student discounts are available.

https://www.facebook.com/photo.php?fbid=10152594568718498&set=gm.524332494372336&type=1

Thursday Ambassador 

Get More Confidence with Outdoor Flash Photography

My current class, Portraiture, has been seriously testing my skills with specific instruction and although I am feeling more confident about using my strobes I am still facing some issues on how much knowledge I still lack in problem-solving photography obstacles.  I have been scouting locations and scheduling extra shoots not only for added practice but also to cover myself for when I make those inevitable errors like forgetting to reset a setting--I have actually done a few shoots where my Auto-Focus was set to manual and I never caught it until I caught previews of noticeably-blurry photos--no one else noticed it either, but I still felt so disappointed in myself.

In an effort to get better results with my on-location, outdoor shoots using flash I had to do some extra research to help me understand what it really means about strobes being controlled by aperture and ambient light controlled by shutter speed and how to effectively use flash photography outdoors during daylight hours.  I recommend reading the entire article here but I will highlight the points that I found very informative.

An Introduction to Outdoor Flash Photography

If you're like me and knew so little about the field of photography, the challenges these classes offer to get us real-world experience should be accepted as a means to acquire or hone our skills.  Many of these assignments will provide us opportunities to venture out of the studio where we face even more elements for consideration.  Good time management is very important as well as understanding your environment.  The studio gives us greater control but how do you set up your strobes during the day..?  Using ambient light and likely a reflector card would be the first go-to, maybe even a speedlight, when shooting outdoors during the day, but effectively using flash photography outdoors can be both an invaluable skill and fun to experiment with.  This Nature photographer here cannot resist the urge to be shooting outside so it was important for me to learn how to be able to combine the two for portraiture -- Double bonus!

The first problem we face is balancing the mixed light.  You have natural ambient light and flash to consider so make time to do a custom white balance using your gray card.  

Next, since we cannot control the sun we can effectively control the strobes to light the scene.  It is often noted that we should avoid shooting when the sun is high but rather shoot early or shoot around sunset.  Sometimes we cannot avoid it so the best approach when using strobes is to first set the exposure on your camera to match the available light.  You will need to keep an eye on your shutter speed so that you are metering for an exposure that is within your sync speed.  This will help you determine the aperture at which to meter your strobes.  It is important to take test shots beforehand to obtain the correct exposure balance before you start shooting because natural ambient light can change pretty fast.  You will also need to determine the quality of light you want to create by using modifiers appropriately and also getting creative with how you use them such as for bouncing light for use as fill light as you will see later when discussing cross lighting.

 Depending on how much you want to over- or under-expose the background will determine the level of drama you want to create.  This is where we learn what it means about what shutter speed and aperture control.  Changing the shutter speed slower than sync speeds typically around 1/200th will control the exposure of the background.  Slowing it down will brighten up the background thus lessening the contrast and opening up the shadow regions.  The aperture will control the subject and how over- or under-exposed it is.  Say you metered for f/8 @ 1/200th and you are ok with the illumination of the background but you want to emphasize your subject by making them brighter you would open up the aperture to f/5.6 or f/4 or something similar and let more light in.  If you wanted them a bit more under-exposed you would stop down the aperture and close it down to something similar to f/9 or f/11 while the background remains constant.

Something to consider about light placement is outdoor cross-lighting.  This is where the lights face the direction of the sun and the model is captured in between--something comparable to shooting under the mid-day sun with no shade.  It is highly recommended to have the sun illuminating your subject and your strobes fill their shadowed side or you will end up running into issues with them squinting.  Follow the same instructions for metering and checking the desired exposure.

These tips will help you achieve more effective outdoor lighting and  increased success when using your strobes outside.  As with pretty much everything we learn, practice does indeed make perfect and hard work almost always pays off.  Let your passion and curiosity inspire you to be the best photographer you can be.  Do you have tips about flash photography outside or questions I might be able to answer?  Please leave a comment below!  

Works Cited

Eftaiha, Diana. "An Introduction to Outdoor Flash Photography." photography.tutsplus. Envato Pty Ltd., 15 Dec. 2010. Web. 8 Aug. 2014. <http://photography.tutsplus.com/articles/an-introduction-to-outdoor-flash-photography--photo-4272>

All images are my own and from my recent experiences using my strobes during the day.