Not so long ago, I took the plunge and deleted my Facebook accounts, both personal and business profiles. As a professional photographer, this may seem like career suicide. However, it may have saved my career and sanity.
I have been doing photography for about 10 years. In that time I have moved from hobbiest film shooter to professional commercial photographer. This is what helped me make the leap.
Creating soft light can become an expensive pursuit. A large, indirect softbox will cost around $2,000 and the cheaper ones are often badly built, are small, or generally lack good light quality. Being a tight git, I set about finding a way to create high quality, soft light for my food photography, although this set up will work for pretty much all genres.
Most of us reach a stage in our career (usually early on) where we feel a bit lost and like we are on the wrong train. If you are stuck in that rut, here are some great reasons to get out there and start collaborating on test shoots.
My studio has become a second home, and I invest a lot of time and money into it. Recently, I have been restocking a few essentials I can’t live without while trying to make my shooting more efficient.
Last week, I had a photographer friend (hobbyist, but very talented) ask me if it was still possible to make a living in photography.
2018 is certainly well underway. It’s getting toward the time of year where we start to let our goals slip. In the UK, summer has arrived and it's far more appealing to sit in a beer garden than it is to lock yourself away at your desk.
Most of my food photography is lit with only one light source and after a few years of taking a special interest in shooting food and drink, I know exactly where I want the light to be and why.
When we start out as photographers, it can be a little underwhelming, I mean, we all have this idea of what we're capable of and yet we start out working on small jobs (often) with low budgets. Assisting helps you keep your enthusiasm while rising up through the ranks of experience and gives you access to productions possibly decades away from your current skill set.
For a lot of us who are chasing a career in photography, we soon come to a bit of a pinch point. We have thrown all our money into cameras, computers, lenses, and lights, so our house is a mess of kit clutter. Here's how to build your own dedicated studio.
We all have to start somewhere. Taking on that first job can be very intimidating, so here are some tips to make sure it goes as smoothly as possible.
Photography agents are nothing new. They've been around for a long time, but since the advent of social media they seem like something we are all a lot more aware of; anyone who's anyone has an agent, right? However, there are a few misconceptions out there as to what an agent offers.
Most clients today look at a digital portfolio rather than a printed book. Granted, the higher up the ladder you go, the more it leads toward print, but for the vast majority of us trying to make a living from photography, digital is king. Here are some tips on how to get bookings from your website.
Isn’t Facebook time hop great?! Every day I get to see the last seven to eight years of my photography. Like almost every photographer, I sucked when I started out. My actual composition and use of the camera weren't too bad, but my post-production was horrendous. The best way to describe the post processing is “heavy-handed.”
Most of us will have had that feeling of dread creeping up on us at some point in our lives; the racing heart, nausea, sweaty palms, and sense of impending doom. For some of us, this is just the start. And it’s not occasional. Working as a photographer with anxiety can feel very isolating and often impossible.
Although I now work in the commercial world, my passion started with documentary photography. I was, and still am, obsessed with Annie Leibowitz’s work with the Rolling Stones and I loved William Egglestone’s color observations of the mundane world he found himself in. When I find a free day, there is nothing that I enjoy more than walking out with my camera to document someone else's life. However, unlike the plethora of studio lighting tutorials available, there seems to be a real lack of articles on documentary photography. Here are six tips on how to improve your images.
Whether you are just starting out or you have been shooting for years, pricing is always top of your mind. For a long time, I just plucked figures out of the air, which made for very awkward conversations when clients wanted to know various ways to save money on a shoot. I eventually got my arse in gear and had a long (like a week-long) sit down and I went through everything in the smallest detail. Today, I give quotes with confidence, knowing that if a client says no, I am simply not the photographer for them.
You might have noticed a common theme in my articles: "the gear doesn’t matter". A lot of people have called me out on this, especially as in my profile picture I’m shooting on a Phase One with Broncolor lights. And yes, you are right, the kit does matter in my line of work, just not always. Sitting on the fence? Maybe. Here’s my explanation:
Going pro or full time in photography is often a daunting task. A lot of us are making the jump from another career rather than straight from university. This offers a particular set of challenges. Chances are that you have a mortgage or rent, loans, credit cards, children, cars, bills, a cat and dog, and a host of expenses that you have to keep on top of. The risk is high, but so is the reward.
As a photographer, at some point a friend, relative, co-worker, or a follower will ask you to photograph their wedding. Regardless of whether you are a product photographer, pet photographer, or any other kind of photographer that has nothing to do with weddings, they will ask you. And at some point, you will say yes, which is probably how you have found this article.
