What am I worth? This is a question every new photographer ultimately asks himself. If you’ve ever wondered what you should be charging your clients and what the best way to go about it would be, keep on reading. I will go over how to determine your personal creative fee and how to present it to your client in a way that makes sense.
Each week, we ask our writers to answer a question submitted to us in the comments from the previous weeks. These questions can cover anything, and hope to provide some insight on what its like to be a working professional photographer in the industry. Last week, we asked "Ten Headshots for a Corporate Client, What Do You Charge?" and got a lot of feedback, which spawned this weeks question -- "What is Your Cancellation Policy?"
If you’re curious about learning how to shoot video with your DSLR, or wanting to improve the video you shoot, this might be right up your alley. New York fashion and portrait photographers and videographers, Lindsay Adler and Jeff Rojas, are about to kick off a 3 day workshop called ‘Keep It Simple – Video for Photographers’ on Creative Live focused on helping photographers make the jump into shooting great video simply and efficiently.
The portfolio review is likened to speed dating for good reason — you often have only 20 minutes to make a lasting impression. Whether you are having a one-on-one chat in a prospective client’s office or meeting at a photo festival round robin with several reviewers, here’s some advice for how to succeed… and, hopefully, put yourself in contention for future visual opportunities. As the saying goes, “you never have a second chance to make a first impression.”
A couple weeks ago, fellow Fstoppers writer Peter House wrote an article on focusing your work. I got excited at the possibilities of him giving tough love on the photography community as a whole. This article however, while exceptional, was centered on focusing your business efforts to grow to new clients. I’m here to do it a little different, and going to tell you what you're doing wrong and why you need to stop.
How can you take HOURS of footage from completely different projects, and edit together a montage that's only a few minutes? Here is the second part of the Making A Better Demo Reel article where I'll share a few techniques on reducing the number of clips you have, selecting music, and more.
Cameron Davis is a photographer, cinematographer and creative director based in New York. Growing up in Southern California, Cameron has developed a style that blends East Coast with West Coast, adding in flavors of London and Paris. Focusing primarily on shooting editorial fashion imagery, Cameron's work has been published in treats!, GQ Italia, Fault and S Magazine.
If you’ve ever wondered how much time a good make up artist can really save you in post on your stills images, you might want to take a look at the absolutely stunning before and after shots in this article. Believe it or not, no Photoshop was used in the making of any of these images, this is all done the old fashioned way - straight out of camera.
In the competitive landscape of fashion photography, Charles LUCIMA stands out with fashion-editorial images and videos that have graced magazines and televisions around the world. We caught up with Charles after his three-day, Destination MARS workshop and right before shooting a new line of cosmetics.
Before my trip to Russia in August I wrote about what we should keep in mind when choosing our clients. While in Moscow, I photographed my own best clients and I thought it would be very interesting to find out how we, photographers, get chosen too.
Needless to say, there are many factors that influence relationships between creative professionals and those who hire them. But I thought that interviewing my own clients could be a great case study and we all could learn something from their answers.
After reading the comments on the Miley and Terry article I wrote the other day, it made me realize how many people are in the dark about Terry Richardson's talent. I am a huge fan of Terry, mostly because he has an 'I don't give a damn' attitude but he turns out some pretty glorious images when you aren't paying attention. Most people when they hear the name Terry Richardson they think creepy, old, incredibly lucky photographer who gets to see a lot of boobs. But in reality he is highly talented and brought in millions last year for doing much more than mediocre white wall shots.
Welcome back to our series on pricing your commercial photography. A few weeks ago we released Part 1 of the series which explored the benefits and pitfalls of working for free. As we explored the topic it became evident that working for free has its place but in order to create a sustainable and professional industry we must educate our community on the importance of properly pricing their work. Thus in Part 2 we will begin by showing you my personal approach to laying out a commercial invoice and the thought process behind the layout.
If you use Bing, you'll notice that in the image search, they added a Pinterest bar on the righthand side. This new feature brings up pinboards with whatever key words you're searching for. With the new feature it pulls directly from Pinterest and shows you in a minimized sidebar. Here are a couple tips to help make sure you are properly naming your pins and taking advantage of the new feature.
Like a kid in a candy shop, I stood on the bright fresh green grass, eyes wide open watching the Arizona Cardinals on their practice field. I wore my media badge like an Olympic gold medal. This was my first time shooting professional sports and I was quite excited to be there. At the end of the day I walked away with some great photos, but even more important I learned a lesson in the art of mastering your craft.
I've got a fun little DIY light modifier for you today. I call it the High Fashion Specular Reflector or "shiny board" for short. In my travels, I have to carry a LOT of gear. Especially when the trip is on my own dime and I don't have a budget to rent the cool toys I want to have. I came up with the idea for this reflector through experimentation and just obnoxious luck. I wanted to create a very hard light (in addition to the sun) to use on my model while on location.