I must be getting old. This year I will turn 32 and as each day of my life passes I care about social media sites less and less. I can remember when a Facebook "like" used to excite me. Those days are long gone, I simply do not care anymore, and my business is struggling because of it.
When people walk through my living room studio, they are puzzled that I do not own or rent a permanent studio space. What many do not know is that when I’m contracted for a commercial assignment, about 80% of the time I must travel to a location or shot at the client’s home base. And, in many cases that requires transporting several 9 foot seamless backdrops and a whole lot of equipment. I don’t have a giant bus to haul all of my studio gear, so it’s been a trying experience to find the right tools to efficiently pack and tote my mobile studio.
Each year over 150,000 people flock to Las Vegas for CES, the world’s largest consumer electronic showcase. Major tech innovators from all over the world kick off the new year by showing off their latest and greatest gadgets and innovations to the public. This year, SanDisk unveiled three new products that are designed to increase your productivity and give your workflow a boost.
Getting your clients comfortable in front of a camera is always a challenge. I still get a little nervous before a shoot so I can imagine what my clients must feel like. In part one of this series, we talked about the importance of the pre-shoot consultation and how it can start you off on a good path toward a successful headshot or portrait session. In this article, I want to talk about ways we can address skin issues with our clients, how to deal with makeup, when to use a makeup artist, and discuss the basics of getting clients comfortable and focused in front of the camera.
Last week saw the release of ‘Anomaly’, a film that is redefining the approach and model for independent, narrative film making. Co-Director Salomon Ligthelm outlines how he managed the project as it grew from “a 2 minute art film” into the astonishing 38 minute-long final masterpiece, and provides key takeaways for all of us that we can apply to our own stills or motion projects. If you have any interest in what's coming over the horizon for cutting edge, independent, visual media production, this is for you.
When you offer a service, the amount of people who come out of the woodwork to claim their "family and friends" discount is incredible. You can save friendships and avoid family drama simply by setting boundaries that separate friend time from business time. Here are a few helpful pointers on how to prepare yourself and never feel taken advantage of again.
With the year drawing to a close, and the new one just around the corner, it is at this time many of us reflect on what has happened and what we plan to achieve. Year after year it is the same story. We make a couple resolutions, we give it a good go for a few weeks, and then we fall back into some old routines that keep us from making progress. Here’s how I like to tackle my resolutions and keep myself on track each and every year!
What is the value of a photograph? What is the right price for an hour of your work? Those are questions we tackle on a daily basis. Each of us has a different pricing structure depending on the type of job, overhead costs, difficulty, length and reputation. Two years ago, photographer Shantanu Starick decided to abandon the idea of money as a form of compensation and went with the unique concept of shooting for trade, and made/spent no money since. Instead of asking for X-amount of money for each job, all he asks for is a place to sleep, something to eat, and transportation.
Pressure, fear, joy, excitement – these are not uncommon emotions on any shoot. A few weeks ago, I spent a few hours in a helicopter above New York City with Vincent Laforet where we experienced all of these emotions. This exclusive interview and BTS video highlights not only what’s involved to produce aerial stills of this nature, but provides 5 key insights we can all apply to our own shoots.
When I first began shooting headshots, it was a daunting task. Figuring out a rhythm for how a headshot session should go felt like an overwhelming problem. I slowly began to solve the problem through trial and error. It was when I began to realize that we have no control over almost anything in life that I began to find my own rhythm in this crazy photography business.
I recently read a survey that said the average time a person spends driving a car is 4.3 years. Let me break that down for you. Let's say you live to be 75. That is 37,688 hours spent behind the wheel of a car! Most of us listen to music while we drive, but what if we took that time and devoted it to expanding our craft and making us better photographers? Over the past year I did just that, and the results speak for themselves.
Photographers around this time of the year, portrait and wedding photographers especially, tend to have clients banging down their doors for holiday photos and other must have product deliveries in time for Christmas. While the rest of the world is gearing up for a relaxing holiday, we often experience anything but. From Christmas cards to wedding albums — regardless of the client's procrastination all year — we're expected to produce our work in record time.
I guess I’ve always been different; I’ve never really yearned for a big studio space. As a freelance photographer, the majority of my clients require that I come to their location and shoot on-site. I have a strict organizational-mobile system to transport all my equipment which includes over 8 strobes, 2 scrims and a plethora of staging props and modifiers. I’m asked quite often about my studio and where I shoot all these incredible portraits and dramatic fashion editorials. The answer is easy; my living room.