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Posts Tagged ‘Truth’

The Truth About Becoming a Professional Family Photographer

06 Nov

So you’re growing restless with your place in life, and thinking of becoming a professional family photographer? You know it’s what you want to do, but there seem to be a lot of obstacles holding you back. If only you could take a quick peek into the future and see if it will really work out for you.

Unfortunately, there’s no way to see the future. But would hearing from a photographer a few years ahead of you help?

I’ve been there myself and encouraged others along the way. And I hope I can inspire you too.

My first photography job had me working with dozens of kids every day. I didn’t know how to work the camera. Everything in the studio was preset. But what I did learn was how to work with people, especially kids. That is one of the most valuable parts of my family photography business.

Am I Good Enough?

Chances are many of your doubts relate to one question: ‘Am I good enough?’ But keep in mind that’s different from asking, ‘Are my photographs good enough?’

Are your photographs good enough? Do you know how to work your camera, and take the photo you envisage in your head? Do you get good responses from people when you put your photos out there? Do other photographers give you encouraging feedback?

If you can’t answer ‘Yes’ to these questions, then you probably need to improve your skills. But if you can, then you are good enough. And you’ll keep getting better through experience. Eventually, you’ll know you’re good enough because everyone who hires you will love their photos.

Begin with competence, and the confidence will come with time.

Along the way, you may be really hard on yourself. You might be a great photographer who pleases the families that hire you, and yet you still feel inferior. Learn to be honest with yourself, and start assessing your work from other people’s perspective.

At first, it may feel really awkward taking photographs of families you don’t know. Learn to embrace that awkwardness and be comfortable with new people, silences, and the occasional tears.

I Don’t Have a Defined Style Yet

You don’t need a defined style when you’re starting out. You’ll develop your style along the way. You don’t really know what you’ll encounter yet, so keep yourself open to surprises. Your style will reflect your unique vision (which you’ll be developing your entire life) and the experiences you’re drawn to.

Compared to other photographers well ahead of you, your style and vision may seem weak. But if you ask, they’ll tell you it took them a while to develop their style too.

I knew nothing about ‘golden hour’ photography when I first started my business. Now I love this time of day for photography.

I Need to Have the Right Gear First

Don’t go into debt for thousands of dollars to start your photography business. Use what you’ve got to the best of your ability. It’s probably better than you think.

Yes, you need to have good gear. But most new photographers over-purchase and buy gear they never use. Start with a good camera and a 50mm lens. Then upgrade and expand your gear as you get more experience.

No photographer is as good as the simplest camera — Edward Steichen.

I use a Fuji XT1 and 56mm lens for most of my photos.

Where Can I Get a Logo?

You don’t need a logo to get started. Nobody really cares about your logo. When people are looking for a photographer, it’s not your logo that will convince them to hire you.

Spend your energy building and showcasing your photography, and leave the logo for later.

How Many Facebook ‘Likes’ Should I Have?

When you’re starting out you should use every avenue possible to let people know you’re in business as a photographer – social media, networking, word of mouth and, of course, a website.

But don’t worry about the number of ‘likes’ you have. It’s the people who hire you that count, not the people who click ‘like’.

In the beginning, social media and word of mouth were critical for me. But now my website brings in most of my business. Create a simple website showcasing your photography, and tell people why they’ll love hiring you as a photographer.

Should I Quit My Job?

No.

Ease yourself into becoming a professional family photographer, and then leave your day job when you’re confident it’s the right decision.

I had seasonal jobs that allowed me to pursue photography in the summer. After about three years I decided to quit my job. I’m introverted and find it difficult to promote myself, so it took longer than it needed to. It might be much quicker for you.

Occasional sessions on evenings or weekends is a great way to get started. Prove you really want to be professional and that you can make your business work, then quit your job.

The more you focus on your photography instead of things such as logos and likes, the sooner you’ll be able to transition into your own business.

What Should I Charge?

I guarantee you’re thinking about this the wrong way. You’re thinking about how much you should charge per session, aren’t you? But you really have no idea. You’ll make assumptions about how much people are willing to spend. And you’ll settle for way too little.

Instead, you should:

  1. Decide how much you’d like to earn in a year.
  2. Decide how many sessions you’d like to do each year. (How many sessions can you handle each week or month?)
  3. Use those numbers to calculate how much you need to charge per session.

Suppose you’d like to earn $ 50,000 per year and want to do only one session a week.

So that’s $ 50,000 / 50 sessions, or $ 1000 per session.

Maybe you’d settle for $ 20,000 each year and 100 sessions (two per week).

That’s $ 20,000 / 100 sessions, or $ 200 per session.

Keep in mind expenses. I use minimal gear and work on location, so my costs are quite low. But some photographers make a lot of money and then lose a lot of it due to expenses.

Above all, don’t assume you have to be cheap. People value photography, and when you’re a great photographer with excellent people skills they’ll be happy to pay you.

And don’t worry if your friends think you’re charging too much. Believe me when I say you shouldn’t start out cheap and then raise your prices over time. By all means, start off cheaper for a month or two to build your portfolio. But when you start you should already have your correct pricing in place.

Any Questions?

I’d be thrilled to answer any questions you might have. Leave them in the comments and I’ll answer them for you.

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NPPA to raise dues for the first time in 11 years, because defending truth ain’t cheap

10 Aug

The National Press Photographers Association, the professional organization that regularly advocates for and defends the rights of visual journalists in and outside its ranks, has announced that it will be raising its membership dues for the first time in 11 years starting this coming January. Because, as they explain, “defending the rights and freedoms of visual journalists isn’t free.”

The news was announced in a blog post published earlier this week by photojournalist and NPPA President Melissa Lyttle. As more and more photojournalists are forced to work freelance, without the backing of a major media organization, the NPPA has had to adapt, writes Lyttle.

“This has made our legal advocacy work more critical than ever, as our members experience a rise in interference, harassment, and arrests along with an increase in assaults of journalists,” she writes. “We also see a public increase in the distrust of the media, challenges to the First Amendment by the current administration, state, and local government, an ever-increasing number of copyright infringements, and a rash of ill-conceived anti-drone laws.”

But all of this advocacy and legal work comes at a price, and so the NPPA board has voted to increase membership dues for the first time in 11 years, starting January 1st, 2018.

If you’re interested in joining the NPPA or re-upping your membership, you can do so at the old rates by the end of 2017. Once January 1st rolls around those annual rates will go up to $ 75 for student and retired member memberships ($ 10 increase), $ 145 for a professional membership ($ 35 increase), $ 240 for a family membership (households with more than one working photojournalist), $ 170 for international membership with surface mail, and $ 245 for international membership with air mail.

NPPA membership comes with several perks, including: discounted insurance, services and products; being listed in a searchable database of photojournalists; the ability to participate in the NPPA’s mentorship program; and more.

To find out more about the price increase, perks, NPPA’s mission or anything else about membership, head over to the official announcement or visit the NPPA homepage.

Articles: Digital Photography Review (dpreview.com)

 
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7 Steps to Capturing Truth in Your Portraiture

05 Sep

A stunning portrait, one that stops you in your tracks and demands attention, is a beautiful thing. There’s something magical when a portrait intrigues and connects with us. It’s not about celebrity or beauty; it’s about humanity. For my money, the moment you capture truth and humanity in your portraiture, is when photography and art collide.

DPS7

From the moment you raise a camera to take a photograph of someone, there are many variables to keep under control. It is easy to get lost and allow your focus to drift. This is the one time in photography when you need to be incredibly present.

Following this mini guide of seven steps, can help you to improve your portrait photography, and connect better with your subjects.

Step One: Photograph within your technical capabilities

The last thing you need to be worried about when you start a shoot is the technical side of things. Practice ahead of time and nail your technique. Get to know all of your equipment, and iron out any technical kinks before the day of the shoot. Your subject is bound to become nervous if you seem uneasy with your kit, or project any uncertainty. Things can still go wrong on the day, but the more relaxed you are overall, the more you will be able to handle it without panicking.

DPS2

Step Two: See images of your subject beforehand

It can be handy to see images of your subject ahead of shoot day. I like to ask clients to send me a picture of themselves which they really like. This is useful in several ways.

You can get a good idea of their skin tone and the planes of their face, which helps you to consider your lighting set up and any adjustments you will need to make. You also get a good idea of how the client wants to be perceived, and what they want an image to say about themselves.

This will not always balance with what you see in them, but herein lies the magic. As a photographer, you are seeing the subject in a new light. When you add that into the process, alongside trying to capture what they like about themselves, you make a unique portrait.

DPS1

Step Three: Have a plan

You absolutely must have a plan ahead of time. Use the what you’ve learned by having seen an image of your subject ahead of time, to help you plan your lighting and background choices. Obviously consider the weather if you are planning any natural light or outdoor shots.

It’s worth mentioning at this point that natural light doesn’t always mean you actually have to be outside. Being close to large windows or open doors can provide a beautiful light, but it absolutely depends on the weather. You should also plan what framing you might use. The goal is not to end up with a contrived shoot, it’s still important to stay in the moment. But, if session is slowing down, and you at least have some ideas in mind, you can refer back to your mental plan and get things going again by changing it up.

Author photo

Step Four: Take charge

When you lift that camera, you must take charge of your set. This is a collaborative process, but you are definitely in the driver’s seat. It’s up to you to be vocal with your subject, to keep their energy levels up, and to make sure they feel good about themselves. It’s no good just shouting out stage directions, “left a bit, chin down,”. You must encourage them, and keep them having fun, because tension is not your friend! No matter how many times your subject has been in front of a camera, each one is a new performance and needs to be directed as such.

Wherever your shoot is taking place, you are in charge of that space. Define the space in your mind, and remove as many distractions as possible. Obviously if you are shooting in a public place, a park for example, you can’t remove everything. But if you can choose an area away from the main pathways, that will make life easier.

DPS3

If you are indoors music is a must. It’s a great leveller, and helps everyone to relax. You can create a playlist specially for your shoots, include some cheesy music to put a smile on people’s faces. It’s a good idea to choose different genres/decades depending on your client’s age, style, etc.

Step Five: Learn to read people

Learning to read people is a skill you absolutely must acquire in order to progress as a people photographer. Try to connect with your subject and chat to them, tell stories – humanizing the experience is vital. The more they relax, the more you will get out of them, and the more authentic the photograph will be.

DPS5

You must learn to pick up on signs and signals: Are they losing focus? Change up the setting. Are they uncomfortable? Try standing or sitting instead. You don’t want to waste shots on unusable images, where the subject is not present or is clearly not in the zone.

Another way in which you can learn to read people has to do with their personality. Determining early on that they are nervous, might mean you tell some jokes, or explain the setup to put them at ease. A giggly, happy person definitely needs to be represented as such, but there is always room for a more serious look, which will be up to you to direct them towards.

DPS6

Step Six: Set the tone

So once you have gained control and confirmed that you are in charge, you must set the tone for the whole shoot. When you look at a portrait which you love, consider what you like about it and how you too can take this sort of image. Keeping in mind that any picture you take will have your own voice, and that develops over time. The connection or level of engagement in that photograph is entirely dictated by you, the photographer.

Your subject feeds off your energy and pace, so you must keep this in mind at all times. If they seem to be wilting, it’s your job to bring them back up to speed. Make sure to check your own performance so that you are giving out the right vibes.

DPS9

Step Seven: take your time

This last step has to be one of the most important – take your time! Please trust me on this one, slow down and keep your head in the game. A shoot can run away from you in no time, and the last thing you want is to look at back at your shots and discover you haven’t captured what you wanted. You may find that you have spent too long on one look or background, and not captured another enough. Just as you want your subject to take mini breaks to refocus themselves, you must take the opportunity too.

Personally, I know that if at the end of a shoot I don’t feel a bond with my client, I haven’t nailed it – I’ll have some great images of them but it won’t be what I set out to capture.

DPS4

Your turn

Do you do portraits? How do you inject some truth into your portraiture? Please share your tips and tricks in the comments below. If you have any questions I’ll try and answer them as well.

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The Uncomfortable Truth About Street Photography

10 Jun

Smiley Face, SoHo, NYC.

As someone who has photographed people candidly since I first picked up a camera over 15 years ago, there is something that needs to be said to everyone that is interested in street photography.

Yes, what we’re doing has importance, whether through the angle of documenting history, noticing interesting moments, fostering ideas, or creating art. These photographs will have cultural value to them in the future, and most of us capture culture and humanity because we like them. We like people. We like to people watch.

Many photographers have been drawn to this genre before even realizing that it has a name, and this helps us realize that this way of viewing the world is instinctive to some people. It comes naturally. I remember picking up my first camera in New York. I could have easily looked up at the tall skyscrapers and epic architecture, and I did and still do, but the people walking around seemed just as fascinating.

Duck Face, SoHo, NYC.

Yes, it’s legal, at least if you’re in the United State and Britain. Yes, it’s within our rights to do this in public, and to share these images as art and for cultural purposes. No, it doesn’t make us bad people.

Street photography will make some people uncomfortable

But no, everything that I just mentioned does not completely free us from culpability out there. We have to consider that the practice of street photography can be inherently uncomfortable to our subjects. Some will understand what we are doing, but others will be weirded out by a stranger capturing a photo of them suddenly in public, whether it is in an obvious or a more candid way. Morality, cultural importance, and the good things that we are trying to create should all be put aside here, so that you realize there is a tradeoff going on. We are creating uncomfortable situations for others.

Student, Broadway

Some would even argue that it is a virtue to create a little uncomfort out there, and that we all need to be thrown off balance every once in awhile. I agree with this statement, but I still realize that there is a negative side to what I am doing.

Some people do not like that we are taking their photograph. Some would not be happy seeing the photograph afterwards. No matter how hard you try, you cannot avoid those people through your daily shooting.

Love, Midtown

This is something that you will have to come to terms with if you practice street photography. You can have a smile on your face and talk to anyone who seems uncomfortable with your presence with a camera. You can tell them that you did not mean to make them uncomfortable, and you can even offer to delete a photo if the person really doesn’t like it. You can do all of those things, but still you need to know that you are making people uncomfortable.

Yes, you.

I’m not saying that this should stop you from doing it, or slow you down, but it should be in the back of your head. It’s a privilege that we are allowed to do this, and we need to respect our subjects in the way that we shoot, even if there is no choice but to occasionally make someone uncomfortable. You can choose who it is you photograph, and the way and situations in which you photograph, but you will never be able to completely get rid of this.

Broadway Joe, SoHo, NYC.

Learn to live with it and accept it as you photograph people, but don’t ignore it.

Do you do street photography? How do you handle this uncomfortable aspect of this kind of photography? Please share your experiences in the comments below.

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The Ugly Truth About Image Theft: How to Protect Yourself

14 Jan

Back in the Middle Ages, you could have your ears or hands cut off as a punishment for theft. Though in today’s civilized society, lots of things have changed, and we no longer deprive people of the parts of their body. Instead, we, in the worst case, put them to jail, with their ears safe! While theft is an issue Continue Reading

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Aesthetics versus truth: DW Akademie examines ethics of manipulating documentary images

10 May

beforeafter2.jpg

How do you balance the demands of aesthetics and documentary truth? Image manipulation of documentary photographs is nothing new, but it is certainly much easier now than ever before. DW Akadamie has published a feature examining the challenges faced by photojournalists and picture editors in creating attractive and atmospheric images, without compromising their authenticity. Click through for extracts from the article, images and a link to the full feature at www.dw.de.com.

News: Digital Photography Review (dpreview.com)

 
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The Awful Truth of Photo Theft, and What You Can Do About It

29 Apr

Stop what you’re doing for a second. Think about how content you are with your photography. The accolades. The compliments. Even if you think the only person who really appreciates the results is you. Think about how much work you put in to get those things. Experimentation with different filters, formats, and shooting locations, not to mention countless hours of Continue Reading

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Halo Combat Evolved: Walkthrough – Part 6 [Mission 3] The Truth and Reconciliation

02 Dec

Halo Combat Evolved Walkthrough: The Truth and Reconciliation – Mission 3 Part 6 of my Let’s Play series from Halo Combat Evolved. I would really appreciate if you guys could rate this video whatever you feel it deserves as a rating either way goes a long way! Follow me on Twitter – www.twitter.com Playlist- www.youtube.com
Video Rating: 4 / 5

 
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Jamie Woon – Blue Truth

17 Nov

Backstage photosession director of photography Ivan Kvasha model: Alyona Kozlovets
Video Rating: 4 / 5

 
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