Sunday Spotlight On: Portfolio Options

Have you ever wondered how you are going to present your photographs to people?

As photographers, the way that we present our work can make us look either professional or like a hobbyist depending on the final product. Have you thought about self-publishing with Blurb? If you are deciding to self-publish, Blurb is a perfect tool that allows you to control the look and layout of your own book. Sizing, layout, paper choice, turnaround and cost is something that you should know before you invest in this sort of outlet. Although I have printed with Blurb numerous times, now it has merged with programs such as InDesign and Lightroom making it easier and less complicated to export from.

Undecided on what you should do? No Plastic Sleeves is a wonderful site to find inspiration from. Since photography is an open market, almost everyone would either settle on a digital portfolio or a physical portfolio. No Plastic Sleeves displays tons and tons of portfolios, postcards, mailings, and out of the box concepts that inspires photographers to be different. 

No Plastic Sleeves. 

No Plastic Sleeves. 

Think outside the box when you begin to search for options on presenting your portfolio. See what has already been done and do something different according to your brand. No Plastic Sleeves has some really great inspiration but not everything is for everyone. Let your brand have a voice and you will find what works for you.


Photo Credit:

Currier, D., "Custom Portfolio Design for Karyne Bond." No Plastic Sleeves. 23 January 2013. Web. 6 September 2014. <http://blog.noplasticsleeves.com/custom-portfolio-cover-design-for-karyne-bond/>

Know Your Gear, Save Your Shot!

I vividly remember my very first maternity session, which I shot for friends. It was so exciting to capture a special time in their lives, but even though they were friends I wanted to execute the session perfectly to make them happy and begin a new portion of my portfolio. Well, we did capture images that I adore, but there was a moment when my "oh crap" poker face came in handy. Finger on the shutter button, I pressed down and nothing happened. Nothing. My screen showed a dreaded error, but I'd not yet learned everything I should have about my camera body. FEE kept flashing at me, taunting me when all I wanted was the shot below with my 85mm. Luckily for me and my friends, I also had my 70-200mm on my other camera body for nicely compressed portraits. It only took a few seconds to switch cameras, but my heart was beating so quickly with the thought that my expensive lens or camera might be broken. A quick Google search when I got home relieved my worries, but I couldn't help but wonder what I would have captured if I'd only known I had to simply move the aperture ring on the lens and reattach it.


Being a student allows you the freedom to experiment and push your gear to the limits. To get the most out of it, though, you need to learn everything it's capable of. Read your manuals, look at reviews to learn how each piece excels or falls flat, and definitely memorize those error codes so you don't end up in a situation like I did!

Do you have any anecdotes about times when you wish you'd known your gear a bit better? Leave them in the comments so we can learn from one another.

Network, Network, Networking…….

One of the biggest things I have learned so far is that you better network. Without networking you are pretty much out on your own with no help what’s so ever. If you network then you have peers to ask questions, talk too, and hopefully work with. You might be just starting out and not knowing where to secure some work. If you network with people they will know they type of shots and quality of work that you do. If your work is up to there standards and they know of up coming jobs they may ask you if you want an opportunity to do the job.  Personally I have joined many Facebook groups and also a camera club just for the simple reason of networking. Some of the Facebook groups I joined are strictly my home area alone. Sometimes the people in the group put together meet ups to go out and shoot. During these meet ups you get to chat with peers and see what type of work they do. I have met photographers that shoot for magazines, some that do product photography, sports and others that are strictly Fine Art.

The Sports photographer has asked me to shoot with him many times so far. Sometimes it has been a paid shoot and a few it has been a volunteer opportunity. I have done both, while I rather get paid and who wouldn’t. Its also good to shoot a volunteer shoot every so often so that you can for one give back, and then also add to your portfolio. My first time shooting with the sports photographer it was a volunteer shoot. We had to shoot a race that a church was hosting. Now he knows my capabilities and he calls me when he see things come up. He also emails me other events that he can’t make because he’s shooting at other places. I hope that some day the magazine photographer knows of an opening and helps secure me a position shooting that type of stuff also. I probably wouldn’t have any of these jobs if I wasn’t putting myself out there and hanging out with other peers.

You might not know many people yourself right now but search for groups you can join in your area. Another good place to find that is meetup.com they have tones of different photography groups you can join. Once you have met some new friends make sure you hang out and do some shooting. This way they get to see your style and you also get to see theirs. I try to shoot something every week. I also try to invite peers to join me. It makes the shoot less boring and then you have someone to talk with during and after your done.

TBT

Thursday Ambassador


Works Cited

Photo Credit
Virtual Social Media. Web. 4 Sept. 2114.

Now & Then: A Personal Retrospective

I'm sure at some time or another you have heard that one of the great things about photography is that there are endless things to learn--we are always learning.  I know that after being enrolled in the Art Institute of Pittsburgh Online Division for over two years now I still have such a long way to go in terms of knowledge/wisdom still to be acquired, but I would like to take this time to reflect on how far I have come.  Maybe you can relate  ;-)

Before I started school I had almost no knowledge of photography but I just knew it was the path I wanted to take--we all have to start somewhere, right!?  It is so thrilling to be able to have random, advanced conversations with new people about photography, cameras, and other related topics.  I even remember my first shooting class before I had my first DSLR.  I was using an old point-and-shoot to capture images for my assignments in Digital Image Management.  (Keep in mind, this was two years ago!)  I had to choose four different categories for images in which to build my collection.  

Without much insight as to what made great photos at this point I chose what I felt would be fun and still a little challenging: Line, Pattern, People, and Nature.  The first time I went out to photograph people was the first time I realized that I did not want to be a portrait photographer!  It was difficult, intimidating, frustrating, and just did not feel like something I could ever be comfortable doing even in a studio.  I couldn't even get Line and Pattern straight in that class, I was always submitting the wrong kinds of subjects.  I just didn't get it and didn't understand photographic design at all.

Move forward two years to present day and I have a whole new outlook on my skills and abilities as a photographer, I have actually exclaimed that I feel as though I was born to be a photographer!  Working with people now feels like second nature and even though I don't always know what I am doing when I use my "fancy" setups, I have definitely improved in technique as well as developed my mind's eye and artistic observation.  Now I did get better after that first shooting class, especially after I learned more about how to use my DSLR, but, as embarrassing as it is, I will post some of my own work today to illustrate how far I have come and to give you inspiration about never giving up and working hard to pursue your dreams.  (By the way, I just recently began considering staying in school to pursue a degree in Journalism!) 

Going from thinking I would only ever be a Nature photographer to feeling like I could do absolutely anything with a camera (career-wise) gives me such pride in my journey thus far.  In two years I will probably look back and grimace at my work now, but in the meantime I will just keep learning.

Now & Then: People (candid)

Now & Then: Line

Now & Then: Nature

The thing that has changed the most in the last two years is my comfort zone.  I went from a shy, awkward, stalker-like person with a camera to approaching people and asking if they would mind me photographing them, making phone calls to get access or permission to do something, and feeling more confident with my presence--I don't feel like I look like a stalker, I look like a photographer now.  

I think I get turned down about 1% of the time when asking to photograph people candidly so there really is no need to fear rejection when faced with an opportunity to break out of your comfort zone.  In my experience, I have found that people are very willing to be photographed or even to let you have access to something.  A lot of it has to do with personality.  I am approachable, engaging, polite, and respectful when I talk to new people but I also give cues with my facial expressions while I'm shooting if I haven't had a chance to speak to them yet.  I will smile a lot, give the appearance of satisfaction after previewing some of the exposures I have captured, and linger around a bit rather than abruptly walking away.  

So, what qualities do you have or do you think need improvement as you progress as a photographer?  Do you have a story you would like to share about breaking out of your comfort zone, how you have developed, or maybe some examples of your work that show how far you have come?  Leave me some feedback in the comments or post your questions, I would love to hear your experiences!

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/ >