Have you gone out shooting on a great photo-adventure and wondered what else you could be doing to get more sales? In the same vein as our other amazingly astute guest post, our friend Varina Patel has offered us more great info about how to mix business and landscape photography. Here’s what she says about keeping the customer at the forefront of your mind the next time you’re outdoors capturing something beautiful.
You never know what a buyer will want – and each buyer is different. But, over the past several years, we’ve learned a few things about maximizing the potential of our portfolios. Here are a few tips for making sales.
1. Horizontal and Vertical Shots
When we are in the field, we usually find that a composition works best in either horizontal or vertical orientation. But in most cases, after capturing the most visually appealing image, we will work to find another shot that works with the camera turned 90 degrees. Why? Because sometimes the buyer needs an image that works in a particular orientation. Is he looking for a collection of calendar images? He’s probably going to need horizontal images. Is she looking for photos for a magazine? She’ll need a vertical shot to grace the cover.
Since you never know who might want to purchase your images in the future, you can’t know which orientation will work best for their needs. Shoot in both orientations, and you’ll be ready no matter what they ask for.
2. Local images
Not too long ago, Jay sold this shot of Cedar Falls (titled The Looking Glass) as part of a collection of fine art images. He has many shots of waterfalls, and this is not one of his favorites. The image lacks the vibrant colors or grand vistas that you typically find in Jay’s more popular landscape photographs. When the client asked about waterfalls, his first instinct was to send them samples of the most popular waterfall images in his portfolio. One of the first shots he sent was Arizona Dreaming… this brilliantly colorful “icon shot” from Havasu Falls in Arizona.
But, the client passed on all those brilliant color and famous locations. Instead, she chose the quieter image… one that he had never sold before. He was curious about her choice, and he asked her about it. The answer was simple – she wanted images of local places… no matter how ordinary they looked in comparison with those famous iconic locations.
When you approach a potential buyer, make sure you have plenty of local images. Colorful photographs capture the eye of the viewer – but familiar places capture their hearts.
When you present your images for sale, consider using gallery features that allow you to group your images into categories based upon similarities. For example, I have a gallery that is dedicated only to black and white images, and another that is just for mountains. You can set up a gallery for images with a dominant blue color theme, or for photographs from a specific location. Your options are wide open.
SmugMug’s Smart Galleries feature lets you use keywords to create collections, so that potential buyers view images with shared characteristics. When a buyer wants more than one image, they often have a theme in mind. One buyer asked me for 30 detail shots that she could sell as a wallpaper collection. Another wanted several waterfall photographs for decorating a newly opened hospital. In Cleveland, a buyer wanted images of local parks and iconic locations for the walls in an office building.
As you build your portfolio, keep an eye out for images that work well together, and be sure to present them as potential groupings.
4. Big Prints
Would you be surprised if I told you that giclée canvas prints are some of our biggest sellers? There’s just nothing like a really BIG print that makes a statement or ties a room together. In most cases, I don’t get to see a print after it’s hung, so it was a real treat to be able to see this one in its place of honor over the fireplace. This canvas print is hanging in a beautifully decorated home near Atlanta, GA. The colors in the room were actually chosen to match the print – the entire room is coordinated to match the colors in the photograph. I wish I could give you a tour of the whole house – which is a work of art itself.
Canvas prints are more expensive – especially really big ones… but most people hang them without a frame, since they stand alone so well. They avoid the expense of matting and framing, making the price much easier to swallow.
Offer your prints for sale on canvas at the largest size available. A photo printed at that size packs a whole lot of punch!
Learn More about Photography from Jay and Varina Patel
If you’re looking for more inspiration, photography tips, education and webinar workshops, visit Jay and Varina’s blog over at Photography by Varina. And use this exclusive discount code to get 10% off any eBook order over $20: SMUGMUG314
With this, we hope that you summertime explorers are inspired to take different shots with a new perspective. Stay safe, and stay tuned for more great tips from our pro friends!
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.
Think your camera is your best friend? Think again.
Your camera is a marvel of amazing technology, but you still need to use your brain when you shoot. Even if you’re in full Auto mode, don’t assume your camera knows what’s best for you!
Here are five common bloopers and how to avoid getting tripped up on your next shoot.
1) It’s exposed.
Photo by Windermere Studios
Your camera has several automatic metering modes to help you catch the right amount of light without you needing to whip out the calculator. But are you using the right one? Spot, center-weighted and multi-zone metering are great for many situations, so be sure you know which one is best for you.
For example, you may want to over-expose when shooting in situations like snow, to be sure you get that fluffy, clean white stuff you’re used to seeing. No one likes gray snow.
Finally, let your artistic creativity be your guide. There’s no shame in flooding your summer portraits with light or even leaving in a bit of flare if you’re going for a sun-soaked, dreamy mood. Similarly, underexposing your shots is your key to super-dramatic clouds, abstract shadows and gritty street shots.
2) It’s in focus.
Photo by Windermere Studios
Despite the reassuring “beep-beep!” of your AF, there’s still a lot that can foil your focus. The most common culprit is motion blur if it’s too dark in the room. As a rule, you want your shutter speed to be at least 1/(focal length) for your shot to have a chance at being sharp. If it’s not possible, try bumping up your ISO to compensate for lack of light.
Also, be sure you’re focused on the right spot. If you’re shooting wide open (low f-stop numbers) your depth of field gets smaller, meaning it’s easier to accidentally focus on your subject’s nose, not their eyes. We love bokeh as much as you, but missing the focus can make or break a perfect portrait.
3. You can keep on shooting.
Photo by Schmootography
Your camera’s telling you your memory card can hold 386 more shots, but did you know this may not be the case? The size of each photo file you shoot depends on the data in each, which usually translates to how busy your pictures are. A zen, monochrome ocean scene makes a smaller image file than a colorful fisheye of Times Square. So be aware if you’re worried about space on your hard drive, or on your memory cards.
When in doubt, pack extras.
4) You’re a great/horrible photographer.
Photo by Ana Pogačar Photography
“Great shot! What camera was that?” We’re sure you’ve heard this before but contrary to popular belief, the camera doesn’t make the image. YOU do. You don’t need to upgrade your equipment just to run with the big dogs, and top-of-the-line gear isn’t carte blanche to the photographer’s Hall of Fame. So be proud to carry your favorite camera into the field. As long as you know what all the buttons do and have a grasp of fundamental principles, you’ve got everything you need to take an awesome photo.
(Like the above shot, taken with a 4 megapixel Canon Powershot point-and-shoot.)
It’s not the size of the ax; it’s how you click it.
5. You’re off the hook.
Photo by Windermere Studios
Even if you switch on your camera’s auto modes (green square, Tv, Av), don’t switch off your brain. Auto modes work most of the time to get you better shots with less fiddling, but they can also be fooled. Like when shooting in unusually bright scenes (snow), unusually dark scenes (backlit subjects) and when you want to freeze action.
Take that extra second to think about what you’re shooting, the picture you want to get, and how best to make it happen. You can manually bump up or lower the exposure when using most automatic modes, so consider over- or under-exposing your scene to get what you want.
Have you discovered any scandalous lies that your camera has been telling you? Share it with us!
Over the last few weeks we’ve been thinking about our big planet and all the weird riddles that concept brings. We’ve brought you information about tiny photography, tips for your small business, how to shrink the gap between you and your fans, and how to make your time sitting at your desk smaller so you go to out and explore this glorious world.
Here’s a quick recap.
Photo by Liquid Drop Art
- Brian Valentine’s Beautiful and Savage Garden Fantastic (and useful) tips for taking your own stunning macro bug and flower photos.
- The Weird, Wonderful World of Droplets eBook author Corrie White shares her story of how she got started taking intensely gorgeous droplet photos… and how you can, too.
- Tilt Shift Miniaturization Honey, I shrunk New York! An interview with fine art photographer Richard Silver.
Your small business
- How to Stay in Business Our friend Varina Patel magically juggles her photo education business, travel, and her family. She shared some great tips with us about how to keep the first afloat.
- 7 Rules for Small Businesses Will your small business survive? Quickbooks Certified Advisor Kathy Rappaport has something to say about that.
Shrink your workflow
- SmugMug time savers hiding under your nose It’s gorgeous outside, so what are you waiting for? Use these tricks to save time at your desk, so you can get back to shooting.
- Kickstart your Lightroom Workflow Matt Kloskowski is a master Adobe educator and it shows. Here are his suggestions for Lightroom users to get your photos organized before you can say, “Publish!”
Shrink your world
Bored with shooting the same ol’, same ol’? If you’re like the rest of us, malaise is destined to happen eventually but there are lots of things you can do to breathe new life into yourself… and your camera. Here’s ten ways we recommend.
photo by Windermere Studios
1) Shoot something new
If you’re a portrait or a wedding photographer, you do the same thing all the time. Why not point that lens at something else: A sunset, people on the street, flowers in your garden, skateboarders at the park, the Milky Way? You may discover new ways to use your existing gear that you never would have thought of before.
And who knows! You may even end up finding a new niche.
2) Find a group to shoot with
Nothing lifts the mood like a smile, and there’s tons of that at a photo walk. Social sites like Meetup.com and Google+ are only two of many options where you can find like-minded photographers like you getting together to shoot something fun. It’s always inspiring to see what other people are using and doing, and you may end up making a few new friends, too.
Better yet, if you’re thinking about organizing your own photo walk, we have some tips for you.
3) Shoot a theme
Sometimes the way to stretch yourself is – yes, it’s weird – to limit your boundaries. Try taking pictures of just red things, a series only looking upwards, or any series you can think of with a common theme. You’ll find yourself liberated by the rules, grounded by great focus, and perhaps even seeing something new in the mundane.
Try uploading those photos into a single, themed gallery, too. You might like the result!
photo by Schmootography
4) Rent something new
With companies like Borrowlenses.com out there, it’s so easy to take your dream lens for a spin. From macros to mega-zooms, you can get anything you want shipped to your door and enjoy it for as little (or as long) as you like. Especially great for getting to use highly specialized lenses like fisheyes, which pack a lot of punch mixed up in with your regular portfolio offerings.
And did you know that Borrowlenses is part of our ClubSmug? They’re offering logged-in SmugMuggers a special discount on your next lens rental, so why wait?
5) Try a Daily Photo project
Daily photo projects aren’t a new concept, but there’s a reason why they’re still around. It’s pretty neat to take a picture every day, whether you frame it with a common theme or just take a picture of whatever you’re doing at a certain time each day. It may not be high art and you may miss a day here or there, but it still gets you thinking about shooting each day without the stress of your business or a client. It’s YOUR time, YOUR life. Enjoy it!
At the very least, they make fantastic time capsules. Going through your photo diary ten years later is priceless. Browse SmugMug’s Daily Photos community to see some great examples of Smuggers documenting their lives.
6) Take a break from shooting
At the other end of the spectrum, you may just need a break. Put the camera down but don’t get stagnant — go hiking, pick up a paint brush or a pencil, read a great book, take your kids to the park, or do yoga. Try new things that don’t flex your photography muscles, and you may find your creativity growing back.
photo by Schmootography
7) Take a workshop
Some people thrive in the formal education environment. Is that you? With the boom of digital photography workshops of all types, you’re bound to find a way to learn something totally new, and find the best environment for you, to boot. From one-day classes to week-long trips, you can take up a brand-new photo skill and actually get good at it in relatively short time.
8) Look at other people’s art
Taking an afternoon to the museum could be the best thing you ever did for your craft. Switch gears, stop stressing about creating your own art and take a look at what others have done before you. The timeless work of old masters or the trailblazing pieces of new ones will inspire, stretch and get your brain thinking in great new ways.
Similarly, take a look through photo blogs and social channels to see what other photographers are doing. You may be inspired to try something new in the format you’re already familiar with. No need to trek down to the art store.
Nothing gets the soul going like travel. Speak, eat, look, immerse yourself in new cultures and notice new things. And you don’t have to go far, unless you want to: You can experience a whole different side of your own town that you’ve never even noticed by volunteering at an organization, taking a walk to that park you’ve never visited, paying attention to local events and flyers posted on the street.
What’s around your next corner?
10) Enter a contest
Sometime a little friendly competition is just what you need to hone in and focus on your craft. Get the blood pumping with a photo contest where there’s a set theme and (if you like) a tasty prize. Just be sure to check the rules and be sure that the way the organizers handle copyright and ownership of submitted images is OK with you.
photo by Schmootography
We hope some of these methods work to breathe new life into your photo-passion. What are some things that you’ve done to rekindle your love for photography?
Importing images into Lightroom can be a chore. What is a benign process when you shoot a few hundred pictures in a portrait session can become unwieldy when you come home with 15 CF cards full of files from a big event.
First, consider that Lightroom has always imported from only one card at a time. The standard process is as follows:
- Insert CF card .
- Configure the Import options and hit “Import.”
- Wander off with the intention of coming back when its done.
- Forget you were importing for an hour and then realize it.
- Wander back in and go back to step 1.
Repeat 10 or 15 times. And 8 hours later I’m good to go. A whole work day and I’ve not edited a single photo yet. Ouch.
This just does not work for me. I’m a ballet photographer and work routinely involves shooting several thousand photos of a single performance that need to be quickly imported because the next performance is 2 hours away and the cards need to be cleared and ready. That is some serious file management and little time to do it.
So what does the enterprising photographer do?
Photo Mechanic for Easier Photo Imports
Some years ago I bought Photo Mechanic solely because its Import tool was pretty darn good. Much better than Bridge. Of prime importance was the fact that it would import images from all mounted cards in order. If you had the card reader for the card, it would do the right thing. The rest of Photo Mechanic is inconsequential (and a bit ugly) with Lightroom, but this one feature makes worth the purchase price. I have 5 or 6 card readers, so I can really chew off a bunch of cards in one fell swoop using this little tool.
So for the past few years, I would use Photo Mechanic to import the files onto my Drobo and *then* run an Import in Lightroom to get them in and previews built. This was a two step process that had to be done serially as well: 1) import with Photo Mechanic 2) turn Lightroom loose on the big folder with everything.
Somewhere in the Lightroom 2 cycle I’d worked on a redesign of the Import dialog and as part of that I’d suggested the whole multiple cards thing as a way to speed our customer’s workflow. Sadly, we didn’t get it any of this for the release of version 2. So when Lightroom 3 was released, the first thing I looked at was the new Import dialog and if it could do what I needed. Unfortunately, no.
So recently, as I returned from another photo shoot with 12 cards in tow, I was all set up to dance the same waltz with the same klutzy partners.
But something clicked this time. Call it a Lightroom Epiphany of sorts, but all of a sudden I realized a possible solution had been sitting under my nose all this time.
Lightroom’s Auto Import Feature
Lightroom has this somewhat obscure feature called “Auto Import” that watches a folder and then imports any images therein. As I recalled, it was mainly Lightroom’s way of dealing with tethered capture before we had a dedicated module for such. Anxiously, I clicked on the File Menu to see if it hadn’t been deprecated due to the new Tethered Capture features. Huzzah! It was still there.
Giddy, I clicked on the Auto Import Settings and set it up to watch the folder I was going to use Photo Mechanic to dump them to.
From Photo Mechanic to Lightroom to SmugMug
So, I setup Auto Import and chose the import directory. So far so good.
I then went into Photo Mechanic and dumped all 6 cards to the aforementioned directory.
It worked! Photo Mechanic dumped all the cards to the directory and Lightroom then imported it and built a preview for each image. It took awhile, but not nearly as long as I was used to. And it did it in one fell swoop.
So, so awesome.
I did notice that at one point there were over 500 processes going at once in Lightroom – one for each import and preview build it was working on. But it didn’t seem to bother it much.
The result is that I’m in business more quickly than before. I was able to import all those cards and have Lightroom ready to edit, with all files imported and previews already built.
It’s a beautiful thing.
Since that ah-ha! moment, I’ve dramatically cut down my file management time, which lets me get to the important parts faster. SmugMug makes uploading directly from Lightroom dead simple with their integrated publishing service, so I can get photos into my galleries and start making money.
More on Streamlining Your Workflow
The Help doesn’t stop here. Check out these additional resources: