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What Pro Fashion Photographers Can Teach Us About Taking Jaw-Dropping Portraits
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!
The Model
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
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!
The Producer
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.
How to Create Success with Amanda Reed Photography
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!
Photography Perspectives: Brian Valentine’s Beautiful and Savage Garden
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
- ISO200-1600
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.
Photography Perspectives: The Weird, Wonderful World of Droplets with Corrie White
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!
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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!
Smug Tip of the Week: 6 Great Time-Savers Right Under Your Nose
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.
Things of note: The plugin in remarkably easy to use, but Lightroom can be as simple or as complex as you need it to be. We recommend reviewing our Lightroom help page, FAQ and to watch our webinar.
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).“
Things to note: For more complicated tweaks like changing specific items in certain galleries, or Javascript modifications, you’ll need to check out Advanced Customizations. We provide plenty of help on this through our Dgrin forums.
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!
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Link roundup:
- 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
Photography Perspectives: Tilt-Shift Photography with Richard Silver
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.
Why miniaturization?
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.
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Love being inspired? Check out our other Success Stories and stay tuned for more perspectives from great SmugMug photographers!
SmugMug Success Stories: Kent McCorkle Photography, LLC
The Sportsman: Kicking Off a Second Career and Having a Ball
Name: Kent McCorkle
Position/Title: Owner/Photographer
Company: Kent McCorkle Photography, LLC
Location: Metro Atlanta, GA
Market: Sports (professional, college and high school), plus local news and company-sponsored events
Website: www.KentsFotos.com
Bragworthy Factoid: Earning back his initial investment in his SmugMug site within a few months of launching his business.
SmugMugger since: 2004
Career Highlights…
- First time being accepted by a media wire service to cover sports.
- Breaking into Division I college and professional sports.
- Seeing his work published in Sports Illustrated, on ESPN and in other national publications.
Favorite Features…
- SmugMug’s shopping cart for print sales
- Pricelists
- Watermarks
- Percentage-off Coupons
- Choice of print labs
- Proof delay
- Dgrin community
- Digital downloads
- Customization
Making the most of a moment
Kent McCorkle knows the exact moment he became a photographer. After more than 30 years working in the corporate world, raising a family and flirting with image-making, everything changed with a single email. Although he had enjoyed capturing youth sports, vacations and other personal moments for years, he hadn’t thought seriously of working for profit. Then he was contacted out of the blue by an architectural design firm about photos he’d shot and posted of antebellum homes during a family holiday. Interest sparked, McCorkle quickly sold them the images for publication in a book. Fast-forward to today: McCorkle has settled firmly into sports photography, fashioning a second career out of his passion for capturing exciting moments in youth athletics. Riding the digital photography wave and fueling his interest with online support resources, he honed his skills and bided his time. “The idea of selling photographs had never crossed my mind…[but] after the surprise of selling my first photographs, I began to wonder if parents might be interested in purchasing the sports-action photographs I had been taking of their kids.”
Fit to print
Along with technical mastery, McCorkle has acquired a deep knowledge of the byzantine world of sports photography. His advice for the aspiring and uninitiated? Get your feet wet covering youth sports before attempting Division I college and professional athletics, both of which require extensive credentialing. “The first step is to gain lots of experience photographing sports at lower levels,” he says. “Develop a portfolio that shows your best work. Standards for acceptance by wire services are very high. Compare your work to what you see in major sports publications. You can also visit media wire service websites and see examples.” Photographers must be affiliated with approved media companies to shoot higher-level sporting events; the sports governing associations license the images for distribution. McCorkle suggests honing your craft by connecting with other photographers. “Even at high school games, you may have opportunities to pick up tips and learn techniques from more experienced photographers.”
SmugMug and sports
Citing SmugMug’s “remarkable” customer service, continual innovation and “flawless” order processing, McCorkle considers the service foundational to his business model. From the outset, SmugMug helped McCorkle streamline his burgeoning business needs. He especially likes the one-stop shop aspect. “I started with SmugMug because it offered the ability to create a gallery-based photographic website and sell photos. Order placement and fulfillment were the clinchers for me,” he says. He continues to add SmugMug features to his arsenal, sometimes evolving his workflow to take advantage of SmugMug’s conveniences. “I was slow to get on the Proof Delay bandwagon because every image uploaded to my galleries had been fully post-processed and I considered them print-ready,” he points out. “But then I started using it in order to allow me one last chance to make sure everything is right.”
Pounding the pavement
McCorkle’s business acumen has proved invaluable since his transition to photography. Underscoring the importance of building multiple revenue streams and diverse customer segments, he has cultivated clients ranging from athletes’ families and high school booster clubs to local news outlets and national publications including Sports Illustrated and ESPN. “In all but one case, my freelance work with newspapers resulted from my making initial contact with either the editor, sports editor or publisher,” he says. “Sometimes a simple email expressing your interest in working with the paper is all that is necessary to get the ball rolling.” McCorkle adds that persistence and patience are key. “Each time that I’ve expanded the types of sports I photograph or my customer base, I’ve followed a simple principle from my corporate career. Stated simply, it is ‘gentle pressure, relentlessly applied,’ ” he says with a smile. McCorkle markets his business in creative ways, ranging from hardcopy business cards he passes out while shooting games to requesting links to his portfolio on booster club sites to emailing booster officers gallery links and asking that they forward them to coaches, parents and fans.
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Love what you see? Check out our other incredible SmugMug Success Stories.
For the Love of Photography: How to Organize a Photowalk by Scott Jarvie
If you love photography, going out to shoot something with a your friends is probably way up on your list. We’re hard-pressed to find anyone who organizes these events better than Scott Jarvie, full-time destination wedding photographer and vagabond whose vibrant photos are matched only in brightness by his wit. He’s a friend of ours, too, and he recently helped pilot a full-weekend long exposure photowalk right here in San Francisco. He’s written up his personal insights into why joining photo walks is good for the photo-soul and how you can get the most out of planning one of your own.
By Scott Jarvie
Why Photowalks?
2008 was my first connection with other photographers and photowalks, and it marks a turning point in my photography. The small group of people I met on my very first photowalk are still good friends of mine, and knowing that other photographers were looking at my work actually made me step up my game. No longer was it just friends who thought every picture was a masterpiece… I actually had to start taking legitimately good pictures.
Utah has a consistent photowalking community, which was a great example to me of what a great community should be like. They connect on Twitter, Flickr and Facebook and then they become legitimate friends by meeting each other in person at the photowalk.
To this day, I see this same core group from 2008 meeting at SMUG meetings and still interacting with each other online or in-person: They have created studio co-ops, they’ve worked on paid projects together, they’ve referred businesses to each other, they’ve done photoshoots for each other. 4-5 years later and they still have a vibrant community with over 1000 people on their Facebook group.
I’ve met some of my very best friends because of photowalks. I’ve done weddings for a lot of people I’ve met at photowalks. I’ve seen casual goers to these photowalks become really good professional photographers.
Tips for Attending (or Planning) Your Next Photowalk
- Just go. You rarely – if ever – will regret going.
- Have a good attitude and don’t have crazy expectations so you’re not let down.
- Giving is more rewarding than taking: You’ll get more from photowalks if you help organize or be leader of sorts, teach, or make the newbies feel welcome.
- The balancing of taking pictures with meeting people is an art and it takes a a little experience to find it.
- The people you’ll meet are often more beneficial than the pictures you’ll take.
- Edit your pictures fast because the buzz dies down quickly.
- Use a hashtag for your photowalk photos (#jarviewalk, #dv2011) when sharing on sites like Google Plus
- Comment on other people’s pictures, too
- Stick around for the dinner and the mingling.
- Plan to have your picture taken by someone there. It’s inevitable.
- Consistent, regular photowalks are key to creating a successful group.
- Don’t try to do it all yourself, especially if you plan regular photowalks. Get other people to help organize.
- If it’s a local group, try to create yearly traditions. (Christmas walk, Halloween walk, studio day, BBQ with no photography)
- Use social media. Get people that use social media to mention it.
- Have a place online to congregate and share pictures (Facebook group, G+ community, Flickr Group)
Questions to Consider
- Are you attending a Photowalk?
- Are you going to meet people and network?
- Do you already know these people and want to solidify friendships?
- Do you want to meet new people?
- Are you going to learn?
- Will there be a class before or after?
- Will there be photographers there that like to teach?
- Are you going to take pictures?
- Because it’s a good way to motivate yourself to get out there?
- Because the location is a place you’ve wanted to go?
- Because you’ll take any excuse to go take pictures?
- Are you going to meet people and network?
- Are you setting up a Photowalk?
- Because you want to create a community where you are?
- Because you want to network?
- Because a company will sponsor it?
- Because the location wants exposure?
- Because you have no idea why… it just sounds fun?
- Because it will help get your name out there?
- What style of Photowalk is it?
- Short walk (2-3 hrs)
- Short walk plus (walk plus either a lesson or food)
- Day Walk (All day, many locations)
- Multi Day Walk (Cover a big area over a course of a weekend)
- An adventure (A planned trip with friends)
- How can you ensure good attendance?
- What day is it?
- What time of the day is it?
- How far away from people is it?
- How much money will it cost people?
- Are there any giveaways?
- Does it seem organized?
- Is it an interesting location?
- Has the location been overdone?
- Is a photowalk long overdue?
- Is it a regular thing?
- How many other people are saying they’re going?
- Are there any well known photographers going?
- How welcome do beginners feel?
- Is there a chance for people to learn?
- Is there food before or after?
- What’s the weather like?
- How far in advance did you plan it?
- How well did you remind people?
- Where did you advertise it?
The Surge of Multi-Day Photowalks
Probably the most interesting thing I’ve seen in the last couple years is the growth of the multi-day photowalk. I’ve been to several including Utah, Yosemite, Death Valley and San Fransisco. It’s at these photowalks that you seem to get the best of both worlds: to get great pictures and to meet new people.
At multi-day photowalks you can, in general, make much more solid friendship than what you can get in a single 2-3 hr interaction. Plus, with most of those multi-day photowalks you’re hours from home, staying in hotels, eating out as a group and are less distracted with your day to day stuff.
There’s also a lot more time which means you don’t have to rush the taking pictures part or the creating friendships part. You’ll be able to do both, even if there are 30-40 people there.
Come to #JarvieWalk in March 2013
I am doing the second year of the “#JarvieWalk which is a photowalk centered around the Festival of Colors in Utah, March 29-31st, 2013.
Last year, I had super great friends that came and it made the event even more fun. Plus, people came into town early and stayed late and we did other photography trips in addition to what was scheduled. I already have over 30+ people coming from all over the country for this year’s #JarvieWalk, with hardly any advertisement. I call that a big success.
You are all welcome to come, if just to learn what a good multi-day photowalk is like. I’m not too humble to say that I did a dang good job last year and this time will be even better.
I’ve organized the event on Google Plus, so get details and RSVP right here.
All photos by Jarvie Digital
The Business of Love: Getting Intimate with Je Revele Fine Art Photography
We’re so excited to debut this guest post from the two lovely and incredibly talented ladies over at Je Revele Fine Art Photography, who we featured as a Success Story last summer. Love is in the air as Valentine’s Day approaches, pros fill their wedding calendars and winter engagements blossom into summer nuptials. So with the “Business of Love,” we’ll feature insights and tips related to planning, shooting and selling those beautiful photos you’ll take in the coming weeks. Enjoy this behind-the-scenes look into what goes into crafting the stunning images you see at New Jersey boudoir photographers Je Revele!
Insights from Natalie Licini and Cate Scaglione
When Cate and I joined forces, it was based on a love and a shared vision for Intimate Portraiture. From the beginning, we had a common passion about the kind of work and client experience we wanted to create for our clients, which we believe has been the foundation of our success.
Our business is a fusion between photography, a luxury spa, and an art gallery. We make more than beautiful portraits. Our clients cherish the wall art we make for them… but beyond that, they remember the experience of the day, how they connected with Cate or I and how our stylists made them feel. Ultimately, their memory is about feeling beautiful and special. That translates very powerfully into the portraits we create for them.
Cate and I have different personalities and approaches when it comes to working with clients. We sometimes find that one of us may be more compatible with a certain type of shoot or client, but the one constant is the final product our clients receive. Our end-to-end client experience is something we both take part in, regardless of which of us photographed the client. Cate often handles pre-consultations whereas I often execute the sale. We both handle editing and post-production. Our common ground is in our aesthetics, editing style and a mutually unwavering commitment to the quality of our product and studio experience.
The Value of the Pre-Consultation
Our process always starts with a pre-consultation, which is a critical component to the shoot and its subsequent sale. We believe this first step is a major component to our success. Our clients are surprisingly open during our pre-consultations, which enables us to know them on a highly emotional level, upfront. We like to hear what the client is envisioning and learn who they are to plan the session of their dreams. The pre-consultation serves a two-way purpose; we get to know them intimately beforehand to effectively plan a shoot and they get excited about it. Both of these factors lead to higher sales.
As a result of our pre-consultations, we’ve found ourselves planning era-inspired sessions of the 1920s, 30s, 40s, or 1980s. Some sessions are based on specific milestones, like one client’s 50th birthday where we planned a “past present and future” theme incorporating various themes of her life. Other clients find art as a healing mechanism, to recover from the death of a loved one, a double mastectomy or to regain confidence after a divorce or breakup. And yet other times, our sessions are to mark a celebration, such as remission from breast cancer, bachelorette parties or a special anniversary. On one occasion, we even held a Ladies Day of Glamour, a fashion-inspired day where we served lunch, champagne and a private chef who prepared a special dinner on the terrace of the castle in between their individual photo shoots and styling sessions.
No matter what type of session, their day with us is about comfort, convenience and luxury. We furnish them with everything they need to relish in their beauty, which includes in-house stylists, delicious hors deurves, chocolates, champagne, an in-house wardrobe to peruse, or our concierge-approach to designer gown rentals. We often find that the more we do to create a great experience, the more engaged they become with their images.
The pre-consultation is truly step one of putting clients at ease for the shoot. They feel they have a pre-established connection with us and they know what to expect. In addition, we put ourselves at ease through a consistent routine of scheduling, either as a 10AM or 1PM session appointment daily. We don’t waiver much and clients are OK with that.
Fluidity and Confidence During the Shoot
On the day of the shoot, women can initially feel nervous, shy or self-conscious… or all of the above. Cate often jokes that there is a “nine minute factor” in which clients find the joy and liberation of the session, a point at which the nervous excitement goes away. After those first nine minutes, we feel them come to life. We always give them authentic feedback and compliments early in the session. We do our best to make them comfortable, happy and show them a sneak peak of an early photo to build confidence in themselves. We don’t always show them the images, but sometimes we find that it enables clients to let go and embrace the experience. This approach can often be reassuring.
We hear a lot of consistent comments from women, regardless of her age, body type or overall appearance. One of the most common phrases is: “I’m not not photogenic at all”, almost as a warning. We often say: “Have you ever had your photo professionally taken? {often the answer is no} Many of your photos may be taken by friends and family under challenging lighting conditions so you may think you’re not photogenic. But beautiful light and proper direction by a professional photographer can definitely make you look your very best. If you’re photographed in darker light some clients feel they look wider or older. Let me show you a posing example”.
At this point, it’s a great example to show them how I’d look straight on flat-footed. I’d look wider, static… almost bored. With some adjustments, bending my knee, pushing my weight on my back hip in beautiful light and suddenly, I look thinner and prettier. The clients instantly feel more confident!
The pre-consultation is always a guide to how we pose our clients. The direction will vary depending on the styling and theme of the session. Our intimate portrait work may include high fashion photos, fine art nudes, boudoir or all of the 3 in one session. I feel the best approach is to pose my clients from the feet up, posing them standing, seated, leaning or laying and guide them so they look and feel beautiful, slim and elegant. The wrong pose can instantly add 10 pounds to any client. We do our best to ensure the opposite is true with every photo. The last step is to ensure they look relaxed and their hands are relaxed. Little adjustments with hands and encouragement can make your client shine brightly from the inside and you see that in their eyes.
For our intimate portrait work, we shoot both indoor and outdoor at our studio. Our studio has over seven acres of picturesque grounds at the castle, with brick and stone, old classic architecture, thick woods, beautiful gardens and trees, etc. We shoot indoors using both natural light and strobes. We love variety, but we photograph our clients truly in accordance with the pre-consultation we planned. At all times, both Cate and I each shoot with our own two cameras. Cate uses her two Canon 5D IIs using a 85mm and a 24-70 or a 70-200, depending on the session. Cate likes fluidity and tries to incorporate with a single new idea each shoot. I always photograph my clients with my Canon 5D Mark III with my 85mm 1.2 on the right of my rapid double strap and my Canon 24-70 II on my left. We love both perspectives for intimacy and storytelling. The dual-camera approach is important to the flow of the session because changing lenses causes delays, which breaks your clients’ enthusiasm. It’s important to keep a rhythm and energy going… for all parties involved in the shoot!
Exquisite Marketing
One thing we noticed was that clients booked us because they are attracted to our fine art work and they wanted to hang a piece of art in their home. We’re always excited to do what we love, but from a business perspective it was limiting. Cate always tended to shoot intimate close-ups for her fine art. I liked to shoot wide for maximum storytelling. So we made adjustments on both our parts and begun offering a variety of posed beauty portraits, creating the variety and “bigger picture” story for our clients. This enabled us to sell both wall art and albums or image boxes with each sales session, doubling our revenue instantly. It changed and reshaped our business.
This past summer, we created a marketing plan which cross-promoted with venues, stylists and clients. We offered gift vouchers enclosed in a gorgeous black box with thick white satin ribbon. Targeting our class-A clients and vendors was a great way to attract our ideal clients for intimate portrait sessions.
Pricing is an important part of the brand. Our brand is about a premium experience and making woman feel special and important. We are priced accordingly and our brand look and feel helps us communicate that idea. One can never underestimate the importance of being well branded and well priced for your target audience. You attract what you put out there in the market.
Working Together as a Team
There are two of us in our studio and naturally, we work a little differently than one another. However we maintain a very structured workflow for the consistency of the client deliverable and final product.
First, we download our images from our cameras and with Photo Mechanic do a “sort by capture time” and rename the RAW files. Then, there is a culling process in Photo Mechanic which we reduce the gallery selections to 75-100 images. We then import everything into Lightroom 4.
Cate and I process images a little differently, but generally maintain the same aesthetic with our custom-created presets and actions Cate made from our most inspired looks. I label about 40% of the images in LR using the star rating, which I make black and white. I use the same style black and white throughout for consistent styling and branding. I take the remaining 60% and edit them with a desaturated vintage color. I don’t cherry-pick which images are black and white, I randomly choose. Cate really enjoys the editing process and tends to like to look at each image individually and decide with each image what should be presented in color or black and white. Our editing aesthetic can vary a little from session to session depending based on the styling and theme (example: 1930s era), but in general there is about a 40/60 rule for bw/color (unless we know from our pre-consultation a client has a penchant for a style). No matter what, we always try to ensure that our post-processing maintains that signature Je Revele look.
We typically decide before the sales session which portraits would have the best potential as a fine art wall portrait. Rarely do we edit any fine art work before the viewing appointment. Instead, we show several beautiful fine art portrait samples to clients during the viewing appointment. This explains what their portraits could potentially look like and it usually illustrates the idea quite well.
From the beginning of our Je Revele adventure, we decided that our Intimate Portraits were about creating intimacy with the client and helping them see their beauty. It was never about the wardrobe like lingerie or boudoir-style setting to define our genre. In this sense, our Intimate Portraits are very much the same vertical as our other portrait work. With this philosophy in mind, we price our Intimate Portraits the same as our other portrait sessions including families and high school seniors. Our newborn photography structure and weddings have a different pricing structure, however to accommodate the very specific needs of those life stages.
At the end of it all, we simply want our clients to look and feel their most beautiful self. That’s incredibly important to us… we feel it’s what differentiates us. We listen to their needs and understand why they are doing the session… and we deliver according to that. That’s intimacy.
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All photos by Je Revele Fine Art Photography
The Austin SMUG welcomes a legend!
The Austin SMUG welcomed John Langford, a successful commercial, advertising, and editorial photographer, to their SMUG. Two years ago he decided he wanted to travel the world with a camera. He sold everything he owned and embarked on a journey around the globe that he dubbed "The Rompin' Stompin' Circus of Love Extended World Tour." His travels have taken through over 20 countries, and the Austin SMUG was lucky enough to have him speak during a brief layover in Austin before he heads out for another year of world travel.
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