Halloween is upon us! What better time to announce our latest inspiring Success Story with Todd Atteberry from History Trekker? Todd’s beautiful, haunting photos of historic northeast locations echo classic, timeless Dutch paintings. He talked to us about how he got into the art of photographing haunted buildings and how his SmugMug website helped him find a firm foothold in the historic community.
Todd is also the man behind Green Man Studio, one of SmugMug’s Certified Customizers. You can tell that his creative skills reach well beyond simply digital art in his beautiful and thoughtful website designs.
Read the full interview with Todd, and don’t be surprised if you hear something go bump in the night.
Have a safe, happy and haunting Halloween!
Since our relaunch you’ve been unveiling gorgeous new SmugMug sites and we’re in serious SmugLove. From elegant to inventive, funky to funny, your photo websites are wowin’ us, so we’re kicking off a contest!
From now until December 27, 2013, you can “Show Us Your SmugMug” and enter to WIN a 1-year free membership! We wanna see your new site, share your inspired vision, and get you hooked up with fabulous freebies. Celebrate the all-new SmugMug!
Enter via Twitter or Facebook
Step 1: Follow SmugMug on Twitter or Fan us on Facebook
Step 2: Tweet @SmugMug or post on Facebook.com/SmugMug a link to your site with the hashtag #NewSmugMug
Step 3: Stay tuned and see if you won! One winner will be picked at random, weekly.
You must have a new SmugMug site to enter or win. Not on new SmugMug yet? No worries. Go to smugmug.com/migration to start playing around with the new SmugMug today.
1. You must be 18 years or older to enter.
2. You must be following SmugMug on Twitter (http://www.twitter.com/SmugMug) or a fan of SmugMug on Facebook (https://www.facebook.com/SmugMug) to win.
3. You must use the hashtag #NewSmugMug when you tweet or post a link to your site.
4. The prize value will vary weekly between Basic, Power, Portfolio and Business subscriptions (USD $40-$300 value). The value of the subscription prize that week will be applied to your account as a credit towards your renewal.
All winners will be picked randomly by a random number generator and announced every Friday by SmugMug.
We can’t wait to see your sites! We’ll post the winners in a special Winner’s Gallery – stay tuned for some awesome SmugMug site eye candy.
***Update – Winners!*** Check out the weekly winners so far:
- Tom Chwojko-Frank: http://photos.chwojkofrank.com
Prize: Basic Account
- Anthony Mahieu: http://anthonymahieu.smugmug.com
Prize: Power Account
- George Torres: http://gtsphotography.smugmug.com/
Prize: Portfolio Account
- Kim Volles: http://boll-vils.smugmug.com/
Prize: Business Account
- Lisa B Ellison: http://lisabe.smugmug.com/
Prize: Basic Account
- Frederick Eriksson: http://fredrikeriksson.smugmug.com/
Prize: Power Account
- Emma Fiala: http://www.frostonflower.com/
Prize: Portfolio Account
- Cynthia LeGrand: http://www.legrandlifeimages.com/
Prize: Business Account
- Susan Myhill: http://illuminatingphotography.smugmug.com/
Prize: Basic Account
- Judy Valentine: http://judyv.smugmug.com/
Prize: Power Account
- Michael Rork: http://www.zinfandelphotography.com/
Prize: Portfolio Account
- Jao van de Lagemaat: http://lagemaatphoto.smugmug.com/
Prize: Business Account
We’re halfway through this orbit around the sun and to those of us in the northern hemisphere, that means it’s time to grab your towel and hit the beach. In the spirit of the ocean, we browsed through Scubazoo‘s incredible collection of underwater photos and videos and were taken aback by the magical beauty of life beneath the waves. How does Scubazoo do it, and what kind of gear does it take? What’s the market for underwater photography? Scubazoo photographer Jason Isley graciously shared a look at how they get that incredible footage.
All photos by Scubazoo
So, who and what exactly is Scubazoo?
Scubazoo is a video production, location management and publication company based in Borneo. Over the past 15 years Scubazoo has managed locations for more than 125 hours of programming within SE Asia for international broadcast. Scubazoo’s cameramen have filmed on upwards of 150 programs from natural history blockbusters such as BBC’s LIFE and Human Planet to hit reality shows like Survivor & The Amazing Race. The Publication department has a number of world class photographers working on various assignments throughout the year and a great editorial team in the office. Scubazoo have provided images to hundreds of magazines and books and have also published several high-quality coffee table books, selling over 200,000 copies internationally.
As a serious photographer as well as a serious diver, what’s in your kit bag? What does a professional setup for underwater photography look like?
It’s not advisable to try and change lenses underwater so, in order to handle macro and wide angle subjects I might encounter, I usually take two setups down with me. For the macro setup I use a Nikon D700 with an AF-Micro Nikkor 60mm f2.8 or an AF Micro-Nikkor 105mm f/2.8D. The wide angle kit consists of a Nikon D800 DSLR with a Nikkor 17-35mm f/2.8 and a Nikon AF 16mm f/2.8 D Fisheye. Both cameras are housed in Nauticam underwater housings. These give me access to every control on the camera and are rated to 100m. Each housing will have two strobes connected by a fibre optic cable and attached with ultralight arms. I use the Inon Z-240′s as they are light and extremely portable and I also usually carry lots of other gadgets like snoots, flourescent filters, wet diopters etc. If I can, I’ll employ a local dive guide to help spot critters and carry the extra setup.
All the usual scuba gear is used – a tank, weight belt, buoyancy compensation device (BCD) and regulator and also wetsuits to extend my bottom time. Even in tropical waters it can get a little chilly!
What has been your most frightening underwater encounter?
During my filming days I filmed the sardine run in South Africa which is basically a massive feeding frenzy including dolphins, sharks, seals etc and that was a certainly a little hairy. However, the most frightening encounter must be the one with a 4.5m salt water crocodile that literally walked all over me underwater.
Which came first, diving or photography?
I didn’t start diving until I was 25 so the photography certainly came first. When I was 15 I use to play with my father’s camera kit and tried to photograph birds in the garden.
Are there any other underwater projects you’ve worked on?
I have worked on many assignments shooting amazing creatures in different exotic locations, however the project that seems to have gained the largest following must be the miniature people series I started back in 2011. The project is based on a futuristic scenario where the planet is completely underwater and the people are living and breathing underwater, I use miniature people to create scenes with the marine life.
Out of all the places you’ve been, what wins the prize as your most exotic locale?
I’m based in SE Asia which is about as exotic as it gets, however I have certainly been based in some extremely remote locations for long periods of time which can definitely effect your sanity. Myself and one of my colleagues lived in a remote village in Indonesia and spent everyday sat opposite each other under the beating sun in a tiny dug-out canoe for three weeks tracking leatherback turtles.
The coldest location was Newfoundland and Hudson Bay in Canada looking for Beluga whales, that trip really confirmed I am not a big fan of cold water diving!
There’s a ton of life under the seas. What is your favorite subject?
Sharks are definitely high up on the list, however you certainly get more of an encounter with dolphins and whales as they appear to be interested in you sometimes. I don’t have a specific favourite subject as I like diversity and think it improves your photography to change subjects and try different styles.
Who are Scubazoo’s customers?
Scubazoo have two large online libraries, one for video and one for photography and we also have regular agents that we provide our images to. I also write articles for dive, adventure and travel magazines but we are really trying to expand our publications department and publish a couple of books each year. One of the books currently in production is for a large resort company and we are shooting all the wildlife and landscapes around their resorts throughout South East Asia.
What kind of equipment, training, workshops, locations, etc., would you recommend to people looking to test the waters, so to speak, in underwater photography?
I would strongly suggest a course with one of the leading underwater photographers that operate locally wherever you’re based. It will rapidly improve your technique. Underwater photography equipment can be quite expensive because you need all the extras to house the camera and underwater strobes, etc. You may want to consider looking for a 2nd hand set-up to start with. There are some great underwater photography sites with plenty of people giving advice and also selling old kits that you can use to get started.
With that, we hope that all of you get your opportunity to take great photos wherever you end up on holiday. Stay safe in the waves, and check out our Photography Perspectives series if you’re looking for some light beach reading!
The open road, sweet mountain air, and being alone in nature. As photographers, don’t we all dream about living the nomad’s life? If you’re like us, the thought probably pops up every now and then but most of us don’t actually take the leap and do it. One of our long time friends and Digital Grin veterans, Ron Coscorrosa, has been a subject of extensive envy for the past 2 years. He traded his tech job and high-rise apartment to live a life of sunlight, pixels, and sleeping in his car. So we asked him to give us the skinny on what it’s really like to put life aside and put photography first.
Photos by Ron Coscorrosa
I was born and raised in the Pacific Northwest, but despite being near some of the most spectacular scenery in the American West didn’t pick up a dSLR until 2005, when I was tired of crappy image quality of my point and shoot digital camera (I don’t remember, but I’m pretty sure it had a floppy drive and a resolution of 6×4 pixels). It turned out that buying a better camera only made the bad photos larger, not better. Deterred by this sad realization, the camera and some expensive lenses sat unused in my closet until finally overwhelming guilt forced me to start using them more (this process took years). Eventually photography and traveling to beautiful places became a passion, to the point where I quit my software development job in the summer of 2011 in order to travel and photograph full time for approximately two years, without any distractions and without trying to generate an income. During my travels I met my girlfriend and gifted nature photographer Sarah Marino and moved from Seattle to Denver to be with her, and since then we have spent the last eighteen months traveling and photographing together extensively.
You’ve done something extraordinarily brave, something many of us wish we had the gumption to do: Quitting your day job to spend two years doing photography. Was that a hard decision to make? Did you agonize for a long time, or was it spontaneous and immediate?
It wasn’t a hard decision to make, nor particularly brave (at least to me). The hard part was in coming to the realization that there was actually a decision to make, that I didn’t have to live the normal life of working nearly fifty years straight until retirement when at last I would be liberated from the shackles of employment and free to enjoy life fully (assuming I was still alive and still healthy). After thinking about it for a few days, it no longer made any sense for me to continue the path I was on, and I was fortunate to have the financial flexibility to quit my job and be on the road within a few weeks of making the decision to leave.
By that point in my life I was heavily into photography yet not particularly good. I wanted to be able to dedicate myself to photography and pursue it absolutely free of distractions to see where I would end up. So having an alternative to work (in my case travel and photography) was definitely crucial to making the decision. I also didn’t want to be distracted by earning an income or trying to generate money via photography, I just wanted to do it for the sake of doing it itself.
What gear do you need to get the shots that you take? Do you pack differently if you’re traveling domestically vs internationally?
My preferred subjects are natural landscapes, both large and small (including macro and abstract subjects). I used to photograph wildlife, cityscapes, and some other subjects as well but felt I needed to narrow my focus to try and be good at something rather than mediocre at everything.
Currently I’m using a Canon 6D as my primary camera, with a series of rotating lenses (all Canon) including a 14 prime, 17-40, 24-70, 70-200 f/4, 100 macro, and 100-400, all subject to change pending future insurance claims.
I don’t distinguish between foreign and domestic travel as much as traveling by car or traveling by plane. If by car (my preferred choice, though it doesn’t work so well over oceans or apparently on I-5 over the Skagit river in Washington state) then everything will come. If traveling by plane, I typically won’t bring things like backpacking packs, extra food (unless it’s Iceland, where $3 gas station hot dogs get old after a few weeks when nothing else is open in winter), extra boots, etc. For both types of travel I will bring backup camera bodies and tripods, as inevitably something will fail on a trip and securing a replacement is a hassle that has potential to interrupt photography.
How has your gear held up to your adventure? Is it true that you buy tripods in bulk?
My gear hasn’t held up at all, which is typical for landscape photographers who are in the elements (salt water, sand of various types, fresh water, waterfall spray, rain, and extreme temperature variances). I’ve had more experiences with Canon’s repair department than I care to recount. I’m on my third camera in two years. I have three tripods and none of them are fully functional (though I haven’t bought any in three years, it’s now getting to the point of ridiculousness and I may have to buy one soon). The only pieces of gear I can actually recommend are my RRS plates and ballheads.
Most of my gear failures are from gradual wear and tear in the elements rather than single dramatic incidents. One exception would be one of my aforementioned tripods which had a leg severed by an incoming iceberg on a beach in Iceland. Fortunately my own legs are of higher quality than my tripod’s legs and I remained unscathed.
If you consider your car gear, and I do, it’s held up fairly well despite 80,000 miles in two years and continual driving on roads that it is ill suited for, including numerous drives to the Racetrack in Death Valley, sliding down wet clay roads in the San Juan mountains in Colorado after a thunderstorm, going high speed over a rock disguised as sagebrush at Toroweap in the Grand Canyon and impaling the gas tank, driving twenty miles in slick mud near Escalante, Utah after an afternoon snow melt, navigating down steep rock shelves at Marlboro Point in the Canyonlands, and, the most expensive, getting stuck in deep mud on a remote desert playa two and a half hours from the nearest towing company.
You’ve spent the last two years doing crazy things like living out of your car so you can be in the right place for a sunrise shoot. What’s the best thing to come of it? What’s the worst aspect of it? Would you keep doing so if you could afford to, indefinitely?
For some reason, sleeping in a car brings much more scrutiny than sleeping in a tent (a more societally accepted form of cheap lodging), but to me, car sleeping is clearly superior in every way (save for backpacking, where sleeping in the car is not an option for obvious reasons).
It is more comfortable (especially with a twin foam mattress in the back), takes less time to set up and disassemble (in that it doesn’t take any time), can be used in noisy and windy environments, and comes with a full heating and cooling system. It is also more flexible, given there are always more roads than there are camping areas and none of them require a reservation in advance. It also allows me to be nearer to where I want to photograph for sunrise, letting me sleep longer.
There are some downsides, including questionable legality in certain places (though it rarely is an issue if you’re in after sunset and out before sunrise), occasional lack of public restrooms, and lack of showers. If the choice is between showers and photography, photography always wins. If it’s between showers and sleep, sleep usually wins. Apologies to any member of the general public that we may have came across while in the midst of a long photography trip…
If I had infinite resources I would still travel and sleep in the car because the main motivating factor is convenience and not to save money, though I’m sure the car would be a lot better!
You don’t sell your work. In fact, you don’t take measures to protect it – it’s out there for all to see, enjoy and use. What’s your philosophy about that? What is your philosophy about taking photos in general and sharing them on the web?
Actually that’s not entirely true, all my work is copyrighted and can only be legally used with my permission. It is true that I do not watermark images and would never consider doing so. There are so many elements that go into making a compelling photograph that ruining it with an excessive or distracting watermark seems to undo the entire point of taking the photo to begin with. Measures such as right-click protecting images will only deter the lazy, as those with even limited technical savvy can download any image that is displayed in a web browser.
I do not sell my images or prints not because I’m against doing so in principle, but because I would currently rather spend my time on photography and travel. Sarah and I are writing a few location guide e-books that should be out by mid summer, but other than that I don’t have any immediate plans to sell my work or make money from my photography.
As for sharing images online, I do it all the time, mainly to tell stories of the places I’ve been and show people what I’m photographing. I’m not a big fan of the quid-pro-quo culture of many online photo-sharing or social media sites where the goal seems to be to solicit praise or get attention rather than engage in any meaningful dialog (some of which may be critical of the image being shared). I have met a lot of photographers online who have since become friends in real life, and that wouldn’t have been possible before, though I do wish there was less ego-stroking and more thoughtful discussion in general.
If you could sustain your lifestyle through photography sales and keep doing what you’re doing, would that change your perspective on image protection/pricing?
I don’t actually believe I can sustain my lifestyle through photography sales, as my lifestyle currently doesn’t involve spending any time marketing or selling photos. There may come a time when I believe that spending a little time on marketing and selling, or conducting photo workshops, would be worth the larger payoff of being able to do photography full time (which would be a different but possibly acceptable lifestyle), but right now I’m enjoying the flexibility and freedom of being able to photograph whatever I want, whenever I want.
After completely submerging yourself in photography, are you ‘photo-ed out’ or are you still passionate? Are you planning on going back to work?
I am definitely still passionate but my priorities have shifted since I began. I no longer feel any pressure to come away from an outing or a trip with something to show for it or feel like I’m missing out on photo or travel opportunities. I am more able to take risks and be comfortable if they don’t pan out because I still have a gigantic and overwhelming backlog of photos I’ve barely even looked at. I’m much more interested in coming away with a unique or personal take than nailing an icon shot at peak conditions (though I still photograph icons occasionally because they’re iconic for a reason – they’re inspiring beautiful places). While I am not where I want to be as a photographer (and probably never will be, and this is good!) I believe I am finally on the right path and have a vision about what I want to accomplish with my photography.
I will be going back to work before the end of the year, and plan to use that time away from extensive traveling to process more photos and possibly dust the cobwebs off of my blog or at the very least create some new cobwebs.
How far in advance do you plan your travels? Do you plan for major meteorological or astronomical events?
For domestic trips, we usually plan a few weeks in advance (though a trip to the Colorado Plateau can just as easily become a trip to Death Valley if the conditions aren’t good). For international trips usually a month or more in advance. The only trip we planned for meteorological events was a March trip to Iceland in order to see the aurora (which we were able to witness several times and it is an amazing spectacle that deserves to be seen in person) Once we are on a trip, we go wherever we feel like going. There are so many random variables that one cannot plan for (weather, clouds, foliage, general conditions) so I feel it is better to be flexible and react to what’s there rather than follow a strict itinerary.
You’ve got a dedicated group of friends in your social circles, but what’s your philosophy about shooting or traveling in groups?
I am lucky that I found a partner in Sarah who is equally passionate about photography and likes to photograph the same subject matter as I do. Photographing together enhances our individual experiences and there is almost zero conflict or friction (and though we are often at the same location our photos are always quite a bit different). Once you start photographing with more than three people I personally believe that you are compromising on photography in favor of being social (which is fine, if that’s what you are trying to do). Some areas and locations are just not conducive to small groups let alone large ones (and large photo workshops in these areas are annoying and in my opinion irresponsible). The idea of a “photo walk” is absurd to me. It’s a social outing; it has nothing to do with photography. So I prefer to photograph with Sarah and occasionally with one or two more people, but beyond that it’s too crowded. Photography to me is personal, not social.
What countries/areas are next on your hit list?
For foreign locations, Norway, Scotland, New Zealand, and Patagonia are near the top, but I’m just as happy in re-visiting old locations with a new eye or with different conditions or seasons. One could spend their entire lifetime in, say, Death Valley, and still only scratch the surface of what’s there. I’m not really in favor of hitting the landscape photography destination circuit like I was a few years ago. There’s plenty to photograph almost everywhere.
If you’ve enjoyed this guest post, don’t forget about the other posts in our Photography Perspectives series! We love hearing from photographers from all walks of life, and hope you do, too.
Fashion photography is just one of those things that inspires us all, whether you’re a photographer or not. The glamour, the lighting, the beautiful models, clothes most of us will never wear, and the notoriety of the rich and famous… who hasn’t dreamt about living that life? This month we’re going to take a closer look at what goes into making those incredible pictures, and we talked with Ed and Dallas Nagata White, two fresh, young and incredibly talented fashion photographers from Hawaii. Here’s what they had to say about what it takes to create magical portraits and how you can bring a little glam into your photos, too.
Photos by Dallas Nagata White
Fashion photographers tend to get a lot of attention for their images. It’s not hard to see why, since those photographs strive to portray glamorous moments within the four corners of a poster or glossy magazine spread, unfettered by the everyday stresses and worries of the real world. The truth is, though, those moments are carefully crafted illusions that no photographer can create alone, which is why SmugMug invited me to talk about the crew I work with and how they can help other photographers bring a touch of that same magic to their own work.
You are a professional photographer, that that’s what people hire you for, but there are other professionals in photography that don’t take pictures, but are essential to helping you craft the most polished, professional image possible. When I started doing fashion photography, I tried to do everything on my own, which was very expensive and not nearly as effective as working with people who make a living in each of these photography niches. You are hired by your clients because you are an expert at photography, so you should encourage you to do the same for your clients with models, stylists, makeup artists, hair stylists and producers who can take your work to the next level.
Here are my thoughts on how to work with what I consider essential crew, and how they can help you improve your craft, even if you are not in the fashion industry. I also don’t claim to know it all, so I’ve also invited a few of my friends from the Hawaii fashion community to write their thoughts about how they think photographers can make the best use of their skills. Please watch for their guest posts over the next month!
A model is much more than a pretty girl. In addition to being in possession of striking appearances, a model must be able to convey the right emotion and body language at the right moment, and know how to connect that emotion to the viewer. In that way, modeling can actually be a little more complex than film acting.
Even if you are not in fashion, you may benefit from hiring a model every so often. For example, a portrait photographer could hire a professional model to showcase what their technique looks like with an “ideal subject,” allowing you to focus on shooting instead of directing. Working with models will also give you more experience with seeing how professionals pose and emote, which will help you direct your clients later on.
The stylist is probably one of the single most important members of a fashion crew, because they are in charge of the clothes! In fashion or editorial work, your client will usually fill that role, but there are also independent stylists who work on supporting bigger shoots, magazine editorials, non-clothing brands, and test shoots.
A stylist goes a great distance towards improving your photography, even if you’re not shooting fashion or editorial images. The great majority of photographs include clothes; by extension, fashion is a nearly unavoidable element in photography and it exists in a spectrum of good to bad. Hiring a stylist makes sure that balance falls on the “good” side, and will absolutely make a difference in your photos.
Besides having good fashion sense, a stylist’s job is to ensure he or she has access to clothes that would ordinarily be out of reach for most people. Your client may not own a $4,000 Oscar De La Renta outfit and $2,000 worth in accessories, but a stylist with the right connections can make it available for the shoot. Barring that, a stylist can consult with your client prior to the shoot and put together the best combination of their own clothes…or help your client buy a new set!
The Makeup Artist
Whether I’m doing commercial work, editorials, or test shoots for new models breaking into the industry, I insist on making sure a professional makeup artist gets hired. The time a makeup artist saves you during post-processing alone makes hiring one worth it, but good makeup work has the potential to totally transform the appearance of your subject and make your photographs far more cohesive.
On the side of saving you time, professional makeup goes beyond covering up acne or blotches. One of my most memorable makeup moments was watching makeup artist Jessica Hoffman explain what the techniques and colors she was using on that day’s model, and watching very slight circles under her eyes–things no one else would have noticed–disappear on one side, and leap into existence on the other as the difference made it possible for our brains to finally notice they were there.
Makeup artists who work with photographers also know how their various products photograph, which your client may not. This helps prevent unflattering artifacts in your images (which you’d have to fix), and can help you nail a particular look in the process of transformation.
On the side of transforming your subject, a makeup artist is able to minimize some aspects of your client’s and emphasize others. A slight darker tone under your subject’s cheekbones in real life can translate to sharp, contrasty features in photographs. The right shade of eye shadow can make a your subject’s eyes jump to life and convey the sultry attitude of a rocker. A different brand or variety of makeup can create the dewy glow of an athlete or the shimmery aura of a clubber. Most importantly, a trained makeup artist can achieve these looks without overdoing it and distracting from your final images.
The Hair Stylist
Hair is often described as the one accessory you have to live with every day. While makeup artists are generally able to style hair, having a dedicated hair stylist on set allows you to push the polish much further with their specialized tools or their ability (or willingness) to actually cut hair with confidence. This is particularly important when a particular look absolutely must be achieved for a commercial client. Some hair teams may also have wigs they can style instead of cutting the subject’s own hair.
Even if you’re not a fashion photographer, you can suggest or offer professional hair styling in your packages. This will give you control–or at least input–into hair styling right before the shoot, so you have the freshest, most polished hair possible for your shoot, and your client leaves with a whole new cut from a hair professional!
A producer’s job is simply to help you get things done. I don’t generally have to use producers, but sometimes it’s easier, faster, and cheaper to pay someone who has the appropriate knowledge, connections, and relationships to help you complete an assignment. A big role producers play for most photographers is helping scout and book locations, especially private locations that are not generally available or advertised for commercial work. Even if you can’t hire a producer to play this role, you may be able to consult with some if you are looking to change up the places you shoot for fresh and interesting locations.
Producers also help with other production work, such as acquiring props, vehicles, catering, and accomplishing other non-photography tasks that make the shoot come together in a timely manner.
Putting it into practice!
So, where can you find all these adjacent-industry professionals?
It varies a lot by city, and finding fashion crew is different going from Honolulu to Maui, let alone from Los Angeles, California to Bartley, Nebraska, especially given that a lot of fashion people don’t necessarily advertise their services due to the close-knit nature of most fashion communities.
The best and most universal place to track down fashion crew is to start with local magazines or publications that use editorial images. The editors and creative directors will probably know a few fashion professionals and could give you a couple of contacts, and those connections can potentially give you a foothold into the entire network of people in your area. In larger cities, the usual places–agencies, marketing firms, and places of that sort–will probably provide you contacts as well.
Thanks for reading! I hope my advice was useful, and I hope you find the guest posts from my friends over the next month helpful as well. If you have any more questions, feel free to reach out on your social platform of choice (I’m on Twitter, Instagram, Google+, and Facebook) and I’ll do my best to give a useful answer, and if you’d like to keep up with my work, please visit www.dallasnagatawhite.com.
Next up in the lineup of pros we’re tapping to chat with is Amanda Reed, a fun and fearless high school senior portrait photographer. We love her attitude (in addition to her gorgeous images), so we had to ask her how she built her business from the ground up, how she keeps it alive in her tiny West Virginia town and what inspires her to keep capturing those teens at such an important time of their lives. Amanda’s got some amazingly fun ideas for promotion and marketing, too, so read on to see what she says!
Photos by AR Photography
What is your niche, and how did you find it? How would you describe your specific style of photography?
My photography journey starts with a personal tragedy that took place when I was 10. When you are 10 you are mostly concerned with Scooby Doo episodes and your bike. Not me. When I was 10 and my youngest brother was 4 he suffered a brain aneurysm. To make a long story short, his life is a miracle. Doctors told us he would not have anything to offer the world, that his life expectancy would be a maximum of 18 years. Damage from the aneurysm was indeed severe. He requires 24-hour care. Epilepsy now wreaks havoc on his body and my now 27-year-old brother will always mentally be my 4-year-old brother in an adult body. So, the doctors were wrong.
When he was 21 and about to graduate high school, he needed senior portraits. Watching my brother be ridiculed, watching him tire after a seizure, I knew this would be a daunting and stressful situation. I told our mother I would handle his portraits. I was always documenting everything with my camera for as long as I could remember. So, I took my brother’s senior portraits. In that moment I realized I captured a moment doctors had told me would never happen and that these images may be all I have to hold on to one day.
That moment changed my life. People recognized my work. My love for photography became more than documenting moments – it became an outward expression of what moves my soul and a journey to perfect this profession.
In 2008, Amanda Reed Photography had legs and of course high school seniors are my niche. It is where I got started, where I feel most creative and where I feel I can have the most impact on a young adult’s life. Growing up in West Virginia it is very easy to be sheltered by our beautiful mountains and heritage. It is easy to be convinced that you will never have more than what your family has. The fact that I still live in the small town of 1500 people I grew up in and have a successful career, that I can travel and experience new places and situations inspires the clients I come into contact with. I want them to know that with hard work and faith your dreams can fly you to places you only dreamed about.
How did you find your “happy place” in your profession? Did you know how you were going to make AR succeed from the start?
That is a hard question to answer. I shoot from my heart. A few years ago I got caught up trying to emulate what other successful photographers were doing. I spent a lot of time reading blogs, trying to figure out their style and yet I was very unhappy. I began examining my life, my choices. I was working way too much for way too little. I spent half of the night on the computer. I was spending more time with other families than I was my own. My business was running me and I was not happy.
In 2010 I attended my first WPPI convention and learned the importance of a business plan. I came home and went to work on finding me. I stopped reading blogs. I hid every photographer and photography page from my Facebook wall. I developed a business plan. I stopped working weekends. I scheduled work hours from 9 to 5, Monday through Thursdays. I quit relying on sweet light and relied on skill to manipulate and create light. I honed my craft and I found me.
If you want to find your style, turn off the noise, tune out what everyone else is doing and look for you in what you create.
In 2010, the market was saturated with photographers and the economy was in a down turn. Our business was thriving. Every six months it seemed liked I reached a point where I said “go big or go home.” We went big and broke ground on my studio in 2011, by the winter of 2012 we were moved in. Was it scary taking on the debt of a studio when the economy was crashing? Yes, but I knew when the market recovered I would be way ahead of photographers who were relying on nice weather to run a business. While they were praying for warm weather I could master in-studio lighting. Operate on a 12 month calendar of income instead of the 6 month on-location photography calendar. Right now, we are sitting pretty and I could not be happier with our success.
Apart from technical skill and perseverance, what do you think is the secret to your success?
I attribute 75% of that to my personality. I am a people person. I love honestly and openly. I know that when you walk into my studio that smile on your face may be hiding hurt and insecurities. High school is a tough time. My high school years were some of my hardest, personally. I want my clients to feel comfortable. We talk personally and comfortably. They are making an investment in my work and I am making an investment in them. I come from a genuine place in befriending my clients. I want every young adult who walks in that door to walk out feeling better than when they arrived. Not only do I invest in my client but I invest in what is important to them. We often joke that I give away more money than I make but I have no problem with that. I give back to our high schools, I rally around them. I want Amanda Reed Photography to be integrated in the happenings of not just my town but my state. If it is a charity event, a sporting event or a simple prayer that I can offer my heart to then you better believe I am going to make every effort to be there.
My essential gear:
- Canon 5D Mark II
- Canon 70-200 IS L series lens
- Adobe Bridge/Photoshop
- PhotoVision Reflector goes everywhere I go.
We hear you’ve done some pretty fun events to market your brand. What are they?
One year we decided to see how far our fans would go to show their love for AR. The craziest idea would win them $1500 worth of products. My brother kicked things off by shaving my logo into his hairy chest. Yep! Things only got crazier from there. A few examples of entries were: my logo burned into a field, a sleeping baby lying beside milk spilled into my logo, people with backstage passes to concerts having music artists sign autographs to “AR.” All of these were fabulous ideas but the winner tattooed AR on her leg. Those were not her initials, not by any means! We had over 200 entries. Lots of them amazing so it was going to take something big to seal the deal and this did it. I posted every entry to my Facebook account and tagged the entry. When you tag 200 entries and multiply that by their number of friends we were getting maximum exposure. People were waking up to see our page and the craziness going on around it.
This year we are going to prom. Yes, prom. I offered a free session and an iPad mini to the first person to take me to prom. I have no plans of crashing the prom. Only to create buzz, arrive in the limo with clients, pose for prom portrait and be on my way. If you missed out on taking me to prom then you can take Flat AR. It is a twist on the Flat Stanley character. Snap some images with my flat AR persona with you getting ready for prom, family portraits, at dinner, on the dance floor, etc. Whoever shows Flat AR the best time at prom and documents it through images wins $1500 worth of products.
All of these fun ideas create a ton of buzz for our business and our clients realize that we are about having fun.
The promotion I am most proud of is our Annual Toy Drive event. During two weekends in November I will photograph 34 sessions. The cost of these sessions is a new toy valued at $35. Each session lasts 20 minutes with option of purchasing another 20 minutes for another toy donation. Our print pricing is deeply discounted for this event but that still doesn’t stop some clients from ordering over $1800 in products from a 20-minute session. Each year we donate toys to a different charity so that I can spread our love back to different communities who support us. Some of our clients really outdo themselves by donating bikes and electronics to make a child’s Christmas a little brighter.
We have to ask: What are your favorite SmugMug features?
High school seniors live in the moment. I believe the faster we can put products in their hands, the happier the client experience will be. That’s where SmugMug comes into play. The ability to link clients to their galleries and the sharing options they have right from their computer or mobile device leads potential clients directly back to me. If I am photographing a charity event or a high school basketball game, the option my clients have for to downloading and sharing the display copies directly from my galleries creates amazing word-of-mouth advertising for our business.
So, what would you say is the #1 secret to success?
How you define success is very important and my definition should be different than yours. I define my success by the quality of my life and the time spent with the ones I love. It is not about the money, the exposure, magazine covers or speaking engagements. When photography affords me the opportunity to make a difference in an individual’s life, that is when I am most successful. Please do not get caught up in the “do it all” mentality. You do not have to be on the cover of a magazine, have a million dollars in the bank, be on speaking circuit, and have products to sell to the photography industry to be a great example of success.
I believe you have to carry a smile in your heart. When you find you, you find success.
As a final note, I know you are going to visit my blog and website but please do not spend much time there reading about my life and my work. That is how you waste time worrying about the competition. Instead, grab your camera, go find you and find success!
We’re having a blast talking with some of the best photographers in our midst, and we hope that you’re enjoying these Q&As, too. Next for your weekend reading: You may know him as LordV, DGrin Macro Artist-in-Residence aka Brian Valentine, bringer of bugs. Brian is a generous tutor, having written numerous detailed photography tutorials for DGrin and other photography forums. With his guidance, many aspiring photographers have learned to take pro-level macro shots of water droplets, flowers, bugs and anything hiding right under our noses. He’s been in our sights for a long time, and we hope that you find his work fascinating, inspiring, and as educational as we do.
Photos by LordV Macros
You’ve had a past life as a PhD Microbiologist, which shouldn’t come as a surprise. How did you go from microscopes and petri dishes to teaching the world about macro photography?
This was a coincidence of events with the first affordable DSLRs coming onto the market, and me having plenty of time as I had already managed to take early retirement. These combined with an interest in gardening and my background in microbiology naturally seem to lead to me trying macro photography.
Where do you find your subjects? What are your favorite macro subjects and why?
I take nearly all my shots in my own garden. Because I have koi pond, I have not used insecticides in the garden for many years and it turned out to be a small haven for insects. Although they do not have universal appeal, I enjoy taking photographs of insects the most – I think because it requires hunting skills as well as photographic skills to pull it off.
How long have you been honing your macro skills? Do you do other types of photography?
Have you developed any new techniques recently?
I started macrophotography in 2005 with a Canon 300D DSLR and a Sigma 105mm macro lens.
I still do the normal “family” type photography, but not with any skill. I don’t think I can claim to have developed any techniques, but rather may have simply found how to apply various techniques to macro photography. So I think I have helped popularise the use of focus stacking to increase the depth of field in macro photographs.
Macro photography opens you up to a whole new world of interesting behaviours and the diversity of species. What is the most unexpected behaviour or detail that you have found through your photography?
I think the oddest thing was finding mummified aphids with a circular porthole cut into them. I was able to find out and photograph them being parasitised by very small wasps.
What challenges would you say are particular to macro photography?
The main challenges are due to the magnifications you are dealing with. This amplifies any camera movement so camera stabilisation, high shutter speeds or use of flash is required. The magnification also leads to very small depth of field in your photos and you often end up trying to balance depth of field vs diffraction softening (the lack of sharpness that happens when you use smaller apertures.)
Which macro lenses do you use and recommend?
The best all-round lens for macro is a prime lens around 100mm focal length. I have yet to come across a bad macro lens made by a major manufacturer so Canon 100mm, Tamron 90mm, Sigma 105mm, Canon 60mm EF-S (to name a few) are all optically excellent. Longer focal length macro lenses not only cost a lot, they are harder to handle hand held, more difficult to get higher magnifications with and are in general slightly less sharp than their smaller cousins. I’d only recommend getting one if you will be shooting very nervous or dangerous subjects, or if you really do want the lovely background bokeh they can give.
With a 1:1 macro lens of 150mm focal length or less you can get to 2:1 magnification or higher using a full set of extension tubes (68mm). The ultimate high magnification lens is the canon MPE-65 which goes from 1:1 to 5:1 magnification without additions.
Is there a “starter” set up that someone might use to test the macro waters?
One alternative is to start off with a set of extension tubes (e.g. Kenko) and use them with a prime lens you already own, around the 40mm to 85mm range. The only major disadvantage is the loss of infinity focus.
An even cheaper alternative is to use lens reversing techniques: You can reverse either a kit lens, or say a 50mm lens, directly onto the body using a reverse body coupler. This can give suprisingly good results but suffers from the problem of losing aperture control. You need to preset the aperture of an autofocus lens whilst the lens is mounted normally, set the aperture in Av mode, press the DOF preview button and remove the lens whilst keeping the DOF preview button depressed. This leaves the aperture set on the lens until the next time it is mounted normally but does result in a dimmer viewfinder. If you try this, you can get around this problem by using an older, manual lens which has an aperture control ring.
Lighting is very important for this type of photography. Are there any special considerations the blooming macro shooter should know?
Natural light is fine for macro shooting up to 1:1 magnification but past this, keeping your subject lit becomes increasingly difficult. I tend to use natural light where I can for flowers and often larger bugs such as butterflies and dragonflies. I prefer shooting natural light on slightly cloudy days as this avoids the high contrast and ugly specular highlights you can get with full bright sun.
Typical camera settings I would use for handheld work would be:
- camera in Tv mode
- shutter speed 1/200th
- aperture around F6.3 to F11
I normally dial in some negative Exposure compensation (around -.3 or -.6) to avoid blown highlights but this does vary with camera body. Obviously, if you have a static subject and some form of stabilisation (e.g. tripod or bean bag) you can drop the shutter speed.
Flash has a number of advantages for macro work: you can always get enough light with small aperture values that are often used to get reasonable DOF, and it helps provide very high, effective shutter speeds (the flash duration) which helps stop motion blur (on either you or the subject). It becomes a necessity for most shooting above 1:1 magnification, simply because there is not normally enough light.
I use standard flashguns (430Ex) mounted on a bracket with a diffuser. You can obviously use macro flashes but I would avoid single flash tube ones and ones where you cannot move the flash heads, which only really leaves the rather expensive MT-24Ex. Single tube macro flashes tend to give very flat-looking shots and dual tube macro flashes are rather hard to diffuse adequately.
Typical camera settings for full flash shots up to 1:1 magnification:
- camera in M mode,
- aperture f/11
- shutter speed 1/200th
- ISO 100/200.
Above 1:1 you may need to start opening up the aperture more if you want to avoid diffraction softening. I tend end up around F5.6 at 5:1.
Put the flash in ETTL mode, but remember that the FEC (Flash Exposure Compensation) will need to be adjusted depending on the shot brightness. I have to adjust mine down to -.66 for dark backgrounds or no close background and up to +1.66 for a white background from a normal setting of 0 FEC (note the normal setting for good exposure of a grey card may not be 0 FEC on some setups).
There are some situations where you may want to shoot mainly natural light but add some flash to light the subject a bit more – this often occurs if the subject is significantly backlit. Typical camera settings as for natural light shooting but with EC probably at -.66 and FEC set on the flash around -.66 to -1.
What tips can you give us for successfully focusing on such tiny subjects?
I tend to use the same focus method no matter what I’m shooting. I set the magnification I want with the focus ring with the lens set to MF and then focus on the subject by moving the camera towards the subject. If I’m hand holding or using a pole then once I’m near focus I gently move the camera back and forth by swaying slightly and take the shot as I pass through the focus point I want. If I’m resting the camera lens on something then I gently move it forward until I get the focus point I want. It does take a bit of practice doing this but you will get more keepers this way once you have mastered it.
With most bug shots they work better if the eyes are in good focus unless you are specifically trying to focus on some other detail.
Can you tell us more about Focus Stacking? What it is, how and why do you do it?
Focus stacking is not a necessity for macrophotography but it suits my preferred style of trying to capture sharp detail in shots. I use fairly open apertures to avoid diffraction softening of the image and focus stacking allows me to get the DOF I’m losing.
Here’s a step-by-step tutorial on focus stacking using one of the freeware software stacker programs.
I do however now use the commercial programme Zerene Stacker as it has many advantages over the combine series. It keeps low contrast detail, is better at reducing haloing and also better at aligning as it does do rotational correction as well.
There are a few basic problems associated with focus stacking, no matter what method you use:
#1 You need to be pretty good at focusing to get the overlapping DOF slices needed for a good stack. It does, however, sharpen up your focusing and can be good practice for focus bracketing a shot.
#2 Some focus stacks can look very unnatural due to the abnormal DOF which can flatten the image and also give rather odd DOF boundaries on the background. This is largely a matter of personal interpretation of a 2-D picture and what we normally use for depth cues. Problems like this can often be avoided by using incomplete stacks and careful choice of shooting angles to avoid sharp DOF boundaries. I often also cheat by doing what I call differential focus stacking by hand where I only focus stack the parts of the image I want more DOF in, often not stacking the background.
#3 Some subjects are almost impossible to focus stack if they are moving, although you might be suprised what you can stack if you get used to shooting quickly.
We hope that everyone reading this is a little inspired to go outside and see the world with new eyes. Whether you rent a new lens and try focus stacking on your own, or just cut a little more distance around your local honeybees, we hope that you all appreciate the big, big world around us… camera or not.
From the first moment we saw Corrie White’s incredible, alien macro images we were floored. A lot goes on under our very noses, including the strange and beautiful shapes created by droplets of water. Corrie taught herself how to photograph these teeny, fleeting sculptures and found so much success, she’s written an eBook teaching others how to do the same. We asked her a few behind-the-scenes questions about her experience in a small, small world, and she’s giving away a copy of her eBook below. Keep reading to see how to enter!
Photos by Liquid Drop Art
What inspired you to start capturing liquid drops? Were you a photographer before trying drop photography?
Years ago, I stumbled upon the Liquid Sculptures of Martin Waugh. I was fascinated with them and kept going back to marvel at his beautiful works. In early 2009, I had some free time and decided to give these a try for myself. I found I had a knack for doing these manually and the rest is history. I have always had a love for macro photography and started on this with a Sony DSC-H1 point and shoot camera many years ago. I found this very limiting and got an entry level DSLR. In 2008, I acquired a Canon EF f2.8 100mm macro lens, which was essential for my water drop photography. So basically, I was more of a “snap-shot” type of photographer before the water drops.
How much experience did you have with strobes before you started photographing droplets?
I had never used any external flashes before I did water drop photography. Indeed, for the first half year I used my camera pop-up flash for my water drops. I knew nothing about Flash Exposure Compensation and soon learned why I was getting those cool, but annoying light trails on my drops
How exciting was it to discover The Three Drop Splash – a new drop structure? Will it be
named in your honour?
I was so ecstatic when I saw the Three Drop Splash appear on my little screen. I did a little dance! Something entirely new which had never been done before. I was really very excited. Will it be named in my honour? I can’t say, but I really don’t think so. Martin Waugh has the distinction of taking water drops to a new level with his two drop collisions. I personally think anything after this is after-the-fact and secondary. What you see currently in the water drop world are extensions of his creations. I’m just happy to have discovered some new shapes in a world where it’s hard to come up with something totally unique.
What type of publications and sites tend to purchase your work?
The interest in my water drop art is very diverse, anywhere from photography magazines to children’s magazines. There is a lot of interest from the science world, especially in the field of Fluid Dynamics. One of the most memorable compliments came from a Professor at MIT who said they brought a tear of joy to his eye and shared the work with his students.
Have you ever been commissioned to shoot a specific drop image?
Not for any monetary value. I have been asked to do certain abstract images, but they are very difficult, especially when I need equipment I don’t have available to me. Right now I am trying to find time to create an Amanita mushroom which will be a difficult, but fun project. I much prefer to work in an uncontrolled atmosphere with colours and shapes that I like.
What kind of droplet images are on the horizon for you to try? Any tantalizing new equipment or materials you want to experiment with?
I really don’t know what the future holds for me with respect to my water drops. Is there more undiscovered territory with them? I will certainly see what’s possible and test the limits. I may try multiple valves, but that is becoming commonplace and I prefer to find the unique. The possibilities are endless and I would like to find more surprises in the liquids.
Say someone had only $200 to invest into trying this kind of photography. How would you
recommend they do it?
I always suggest that before people go out and spend lots of money on electronics, to first try
out a manual set-up to see if you like this type of photography. You only need to spend a small amount of cash on a flow regulator from an aquarium supply store, or an IV drip contraption, to start out. Use your DSLR with manual controls, a regular lens with zoom, your pop-up flash, and see if this is what you want before you take it to the next level. It’s a great hobby, especially in the cold winter months. Be careful, though – you can get hooked!
Buying a macro lens is a good investment if you like macro photography in general. Buying an electronic timing device can be useful for much more than water drop photography. I am familiar only with Mumford’s Time Machine, but it will do time lapse photography, ballistics, and many other types of photography. I would like very much to do some time lapse experiments in the near future.
What have you learned from droplet photography?
I have learned that within each of us is a creative spirit. I have found mine in liquid art photography. It is an exhilarating, relaxing and very rewarding experience. I find a great satisfaction that so many people have been inspired by my water drop work and the techniques I use. They have expressed gratitude that I have shared my experiences with them and although some say I should keep some of my methods secret, I find the opposite to be a richer experience. “Imitation is the sincerest form of flattery” rings true for me and I am honoured to see others experimenting with my methods.
Win the Ultimate Guide to Water Drop Photography eBook!
Corrie has generously donated a copy of her eBook, The Ultimate Guide to Water Drop Photography, to one lucky person. In it you learn step by step what you need to take arresting droplet images, as well as basic flash and camera principles to help you stop motion – essential for any photographer who is looking to freeze a moment in time.
To enter, simply post a comment below with a winning caption for this image:
What does this photo say to you? Post your entries below and we’ll announce a winner in this space on April 29th, 2013.
Get creative, get learning, and set your curiosity free!
UPDATE: The winner has been chosen! Congrats to Holly Gordon with the caption “Bobble Head Water Drop.” We’ll be in touch with Holly with the prize, and thanks to everyone who entered!
If you’re like the rest of us, you’re constantly looking for a way to maximize your time behind the camera and shrink time spent at your desk. While it’s important to keep your photos safe, secure and organized, you don’t have to blow your entire evening doing it.
Here’s few features built in to your account that will help you shave a few valuable seconds off of your photo-flow.
1. Quick Settings (All)
Did you know that once you find that “sweet spot” of Gallery Settings, you can save it as a template? This way you don’t have to click each line to set specs on every. single. gallery. Set it and forget it! You’ll find all the Quick Settings you’ve saved in a handy dropdown bar on the gallery creation page.
How it’s done: Open up any gallery’s settings page and make sure that the settings are to taste. Scroll to the top and click the menu bar under “Quick Settings” header. You can give your current set of settings a descriptive name from this space, apply a Quick Setting, or apply a Quick Setting to multiple galleries at once. To delete a Quick Setting, simply highlight it in the bar and click the “delete template” button that appears.
Things to note: Gallery titles, gallery descriptions, keywords, the category/subcategory, NiceNames, and themes don’t get carried over by Quick Settings. You will need to set these manually for each gallery.
2. Smart Galleries (All)
Smart Galleries automate the photos that are included in your gallery. You create a set of rules to follow and we’ll listen, pulling in the photos that you’ve specified. Pick from a variety of options, like by keyword or date uploaded. The gallery will automatically Collect new photos that you upload to your SmugMug account that follow those same rules.
How it’s done: You’ll find your Smart Gallery settings in your Gallery Settings, under “Make This Gallery Smart.” From there you’ll be able to add rules that fit your requirements, tweakable to taste.
Things to note: Freshly-uploaded photos may take a little time to be included in your galleries, but they’ll get there. Please be patient! If you really can’t wait, open your Smart Gallery rules and hit the “Click to Refresh Preview” button to pull them in. Don’t forget to save your changes.
3. Lightroom plugin (All)
We talk about the SmugMug plugin for Lightroom a lot, but we really do think it’s one of the best inventions since lens caps. It’s free, it’s easy, it automates so much of your digital workflow… pro or not, for everything you shoot. And so many smart photographers are already loving Lightroom to process and organize their photos.
How it’s done: Download the free SmugMug plugin and install it according to instructions. You can edit, organize and even sync your SmugMug galleries right through Lightroom’s modules. When you’re ready, publish your photos and upload to SmugMug with a click. Business SmugMuggers, remember that you can sync, edit and republish your clients’ Event favorites, making sure your wires never get crossed.
4. Easy Customizer (Power, Portfolio, Business)
If our 70+ default themes don’t work for you, our point-and-click Easy Customizer is your new best friend. It’s super-easy to add your own logo and color scheme and have it instantly applied across your entire site. You get a preview of your website at all times in the left pane, so there are no surprises once you hit Publish. Leave your code at the door.
How it’s done: You can access the Easy Customizer right from your homepage Tools button. Click around the many different options on the right, preview what you’ve done and then Publish to show the world! If you add any banner or background images via the Easy Customizer, you’ll find those in an unlisted gallery that we create for you, called “My SmugMug Site Files (Do Not Delete).“
5. Proof Delay (Portfolio, Business)
Busy pro? We know. Proof Delay lets you quickly upload your unedited proof images into your clients’ galleries and get their approval the night of the shoot. This means they can buy prints while they’re still excited, and you save time by editing just the pics they’ve bought. Happy client, happy you. What more can you ask for?
How it’s done: Open your Gallery Settings and scroll down to the “Printing” option. You can enter a number between 1-7 there, which will factor into the potential shipping time quoted to your client. Once your orders are in, you can replace the image in your gallery with an edited version, then release the order to the print lab. Read more here.
Things to note: Proof Delay doesn’t currently apply to digital downloads, so if you plan on selling those be sure that you’ve edited your images before enabling or pricing that option.
6. Assistant Passwords (Portfolio, Business)
Why not have someone else do your uploading and organizing while you’re away? Assistant Passwords are one of the many time-saving features included in pro accounts, designed to let someone else do your busywork for you. Your password and billing information is never revealed, but they can take care of all those little details while you’re out on a shoot.
How it’s done: Set your assistant password from the Privacy tab of your Account Settings. Make sure it’s different from the password that you use to log in. Read all the details about what your assistant can or won’t be able to do.
Things to note: Although there are several security measures in place to ensure your account isn’t compromised, Assistants by definition have the ability to make changes on your site. Be sure that person you let in the door is someone you trust to manage your photos!
We hope that we’ve introduced you to a few way that help you get more things done in your day. Share your thoughts and tell us what’s on your time-saving wishlist!
- How to create, edit and delete Quick Settings
- All about Assistant Passwords
- Smart Galleries and how they auto-populate your stuff
- Collecting photos and virtual copies
- SmugMug’s free Lightroom plugin
- How to use the Lightroom plugin
- SmugMug’s Lightroom webinar
- Intro to the Easy Customizer
- Intro to Advanced Customization
- The Dgrin customization forum
- How (and why) to use Proof Delay
We’ve tapped tilt-shift photographer Richard Silver on the shoulder because we’ve long been inspired by his ability to miniaturize pretty much any beautiful location on Earth. We asked him a few questions about what it’s like to be a pro in this genre of landscape photography, and how he turns the mundane into something totally unexpected. Here’s what he said.
All photos by Richard Silver Photo
Do you have a past life in other careers, or have you always been behind the camera?
I have a varied professional background from owning a beer distributor, stock broker and a real estate agent. In real estate I would photograph the apartments that I had for sale so photography played a role in that area. I have always traveled and photographed all of my trips which my friends would make me take all of the pictures for them too. In early 2011 I got the itch to leave real estate and pursue my photography career full time.
A few years back I was fascinated by this photographer Olivio Barbieri, who became my inspiration to do Tilt Shift in the first place. He would travel the world and do this effect using an actual Tilt Shift lens. I figured out how to do the effect using Photoshop only in post production. To me it is such a fun way to see the world, it gives a different perspective to seeing in a way that plays tricks on you. In the big picture we are just a small blip of what the world truly is.
What are your tools of the trade?
I have always been a Nikon guy. Currently I have a Nikon D800 a full frame camera, Nikon 24-70mm 2.8 lens and a Sigma 70-200mm 2.8 lens which I use mostly for my Tilt Shift shots. I have 2 different tripods, one for travel which is carbon fiber and one that is heavy duty, my Manfrotto 055XPROB. Daylight is extremely important in my shots as shadows add so much to the final image.
Do you ever create or enhance the miniaturization in post?
All of my work is done in post production. Photoshop and Lightroom are my go to programs. Using digital gives me the freedom to make any changes needed to achieve the Tilt Shift effect. When I take the original photograph I already have in my mind what the image will look like. I do not do anything other than the few steps needed in Photoshop to create the effect.
With the new PS6 there is a single filter that I can apply but in the older versions it took me about 5 moves to achieve my effect. I go back and forth between using the new single filter and the older way, it all depends on the image that I use.
What makes the ideal tilt shift miniaturization?
At first I would only shoot iconic places such as the Eiffel Tower, Great Wall of China, Acropolis in Greece but then I started to shoot more nature locations. Now I try and mix the locations up depending on where I travel to. I need to be in a location that is higher than what I am shooting. Mountains and tall buildings work great for me. I also need people in my photo for me to get the perception part to work. For the best results I need a good sunny day, people lined up in rows, me to be on top of a skyscraper shooting down to the streets or shooting from a helicopter which I find exhilarating.
What other types of photography do you shoot?
There are two new types of output I am working with now. One is called “Sliced” where I take photographs of buildings at sunset for about an hour and sliced them together creating an effect of day to night in one image, each image consists of about 30 individual photos. I have shot so far almost 40 buildings in New York and plan on doing that all over the world. I also perfected a new way to shoot churches. I do a 180 degree panorama from pew to exit of the church shooting the ceilings in the photos. I received so much play on the web from so many photography websites it was an amazing feeling to be recognized.
You’ve achieved great commercial success, although your images aren’t the traditional client-photographer sort. How did you build your business and brand?
I am honored to be represented by Yellowkorner Gallery, a photographic company with locations all over the globe. They represent 9 of my images, we recently did a book together called Portfolio 9 of my Tilt Shift images. In New York I have representation by two local galleries also. One with my Tilt Shift and one with my New York Sliced images. I am not the type of photographer hired; I aim to sell my photographs of my travels through my SmugMug sites or through some of my physical galleries.
What SM features get you through the day?
Since I travel so much I am constantly updating my Galleries at my SmugMug sites. I love how simple it is to upload, arrange my photos and make any other changes so easily to my site. Having 2 separate sites with Smugmug, both being slightly different in look but both having the ease of use to work with. I work with the guys over at Fastline Media, they helped me design my sites exactly to my specs. I get so many compliments on my images and layout of the site.
Love being inspired? Check out our other Success Stories and stay tuned for more perspectives from great SmugMug photographers!