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Posts Tagged ‘Professional’

15 Inspirational Presentation Folders for Professional Photographers

02 Jul

Since the first consumer camera was introduced more than 130 years ago, photography folders have provided a solid means for organizing and protecting developed and printed images. Somewhere down the line, ambitious photographers began to use them to market their services and separate themselves from the pack by branding their work. Presentation folders for photographers should be taken seriously because Continue Reading

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15 Inspirational Presentation Folders for Professional Photographers

26 Jun

Since the first consumer camera was introduced more than 130 years ago, photography folders have provided a solid means for organizing and protecting developed and printed images. Somewhere down the line, ambitious photographers began to use them to market their services and separate themselves from the pack by branding their work. Presentation folders for photographers should be taken seriously because Continue Reading

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Pros and Cons of Adobe Portfolio For Your Professional Gallery

17 May

The post Pros and Cons of Adobe Portfolio For Your Professional Gallery appeared first on Digital Photography School. It was authored by Ian Johnson.

I am going to tell you one of the worst parts about running a photography-based website, and you can tell me if you agree with me: maintaining your image galleries. Galleries are one of the greatest ways to show off your content to the world and to show everyone what you are all about. As you grow as a photographer, you need to continually update your public face and what you want to tell your followers. However, curating the content is so time-consuming that I often wonder if it’s worth it! I, (and surely you) would rather be out making more images and bringing visions to life, not spending more time in front of the computer. I have great news – you can use Adobe Lightroom’s workflow, coupled with Adobe Portfolio, to create beautiful and dynamic galleries in record-breaking time!

This collection set in Adobe Lightroom syncs directly to my Adobe Portfolio. Any edits that I make to images in this collection sync automatically to the online gallery making it incredibly easy to keep up-to-date galleries on a website

Adobe Portfolio? What is it?

Adobe Portfolio is Adobe’s online website-for-dummies platform to display your images in stunning galleries. It links directly to Adobe Lightroom using collection sets. Updating the gallery is as easy as adding or removing an image from the collection! If you are already paying for their annual Adobe Cloud membership, you have access to Adobe Portfolio without paying another dime. This is a great option if you run your own low-budget website and are doing your best to keep your costs at a minimum.

This is a look at my Adobe Portfolio website in design view. Adobe Portfolio offers easy website creation with dynamic, beautiful galleries connected directly to Lightroom.

How to do it?

To set up your Adobe Portfolio there’s really three main steps:

  1. Set up an Adobe Portfolio account,
  2. choose a template, and
  3. sync photos from your Adobe Lightroom collections to the website.

Presto! In his article, Andrew Gibbon claims you can set up a full Adobe Portfolio website in 15 minutes. His step-by-step tutorial makes it easy! Since making a tutorial as thorough as Andrew’s would be simply re-writing the wheel, I’d like to instead turn to the pros and cons of Adobe Portfolio so you can determine if this service is right for you.

Cons

I always like to get the bad news before the good. So here’s a couple of cons for your consideration.

1. Cannot sell imagery from it

If selling your imagery through a savvy e-commerce solution is what you most desire, then Adobe Portfolio is not for you. Technically you can hyperlink your image to a sales page, but the likelihood of losing the shopper is high. There are multiple other web platforms such as Fine Art America, Smug Mug, Square Space, Weebly, and so many others that allow you to sell your imagery directly.

2. Redirects traffic from your primary website

If you run a website through another host, you will need to connect your websites. I outlink the galleries using a custom link in my WordPress site. If you feel you need to keep people on your primary website to sell them something or deliver a message, then you may choose to avoid Adobe Portfolio and look for integrated gallery options. I will say though; Adobe Portfolio gives you lots of options on their templates to re-direct people where you want them to go (such as sales) after they view your gallery.

I outlink to my Adobe Portfolio galleries which directs traffic away from my primary website. If you need to keep traffic on your primary website, then Adobe Portfolio may not be for you.

3. Templates are pretty, but not highly customizable

The templates within Adobe Portfolio do not give you access to CSS or other mechanisms to customize them. Although you can change the color of the theme, your options are very limited here.

Pros

The way I want to use Adobe Portfolio, the pros outweigh the cons. The pros below are listed in importance (most important to least) for my own workflow and website needs.

1. Show image edits in Lightroom instantly

How many times do you re-edit an image? There are so many reasons why you continue to tweak an image. In most website galleries, a new image edit would require taking down the old edit and uploading the new. Not so with Adobe Portfolio. Any edits sync (color, crop, clarity, any of them!) to your Adobe Portfolio and can be updated on your website with just a few clicks. In my eyes, this is the #1 reason that Adobe Portfolio shines for my needs.

In each of these thumbnails, you can see a double arrow in the upper right-hand corner. That means all changes are automatically synced to my gallery online!

2. “Free” if you already pay for an Adobe Creative Cloud membership

There’s a good chance that you do not want to pay for more services than you already do. Camera gear, website fees, and everything else add up! As long as you already pay the annual membership for Adobe Creative Cloud, Adobe Portfolio is included.

3. Automatically resizes images

Adobe Portfolio’s galleries are very beautiful. Even though a RAW file is being synced to the Adobe Cloud, they automatically reduce the resolution of the image to optimize load time and viewing. This also makes it is less useful to a copyright thief. Having this built-in functionality removes any need to research optimal DPI, web color space, and pixel widths you would need to do if exporting your images for the web.

4. Lots of templates that easily outlink to your other content

I mentioned in the cons that you have to outlink to your Adobe Portfolio. However, all of the Adobe Portfolio templates provide lots of links back to your other work.

This landing screen of my Adobe Portfolio has five links where viewers can click to redirect back to my website and two links to my social media websites. In my opinion, if you can hook them with your beautiful galleries it is likely they will follow your links.

5. You can create as many collections as you want

In Adobe Portfolio, collections act as a page on your website. There are no limits to the number of pages you can create. This gives you a huge amount of flexibility because you can create very specific collections (say for an individual wedding or a species of animal) and have personalized galleries for each one.

6. No coding necessary

There is absolutely zero coding needed to set up an Adobe Portfolio website. If you want to have heavy customization privileges over your website, this isn’t for you. However, I found most of the templates to have characteristics that I liked, and I’m not looking for a lot of control over this website. That’s in stark contrast to my WordPress site where I like to have CSS control for each element in a theme.

The Bottom Line

The bottom line is there are SO many ways to display your images on a website – many ways to “skin that cat” if you will – that finding the best solution for you can be challenging. I think many users will find the ease of creation and low cost of Adobe Portfolio to be very appealing, but it may not be desirable for high-level web users.

I’m all ears and happy to discuss Adobe Portfolio further, and my experience or yours. Please provide your constructive thoughts, and I’ll be sure to respond!

The post Pros and Cons of Adobe Portfolio For Your Professional Gallery appeared first on Digital Photography School. It was authored by Ian Johnson.


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Secrets of a professional photographer’s workflow: Brian Ach

21 Apr
Brian Ach is an editorial and commercial photographer.

As photographers, most of our focus is on capturing images—finding good material and getting shots with all the gear we’ve spent so much time and money accumulating—but what happens next? For a lot of us, we download the images to a computer and edit a handful that catch our eye, and then… well, there are more photo shoots to pursue. Maybe we’ll apply some keywords, perhaps mark a few favorites, but too often the photos we worked so hard to create are just dumped onto a hard disk and forgotten. We know we should do better, but who has the time?

Professional photographers, that’s who.

To learn how a pro handles this process, I talked to Brian Ach, who frequently photographs celebrity portraits, high-profile events, and glamorous autos for numerous clients. You may remember his work from his stint as Prince’s official photographer during the musician’s 2011 international tour (the photos he returned to after Prince’s passing in “Purple Reign: Photographer Brian Ach shares his experiences of working with Prince”). He outlined his entire workflow, from preparing to leave for an event through handing off final images and making sure everything is backed up.

Brian’s outlined his entire workflow, from preparing to leave, through handing off final images and making sure everything is backed up

Although a professional’s workflow is different from that used by most photographers, there are aspects anyone can use in their own workflow to better manage their library.

A man of many skills, Brian shoots everything from rock and roll world tours to automotive ads. Shown here: Journey at Prudential Center in Newark, New Jersey.

Understanding Expectations

To get a sense of how Ach’s workflow may differ from most photographers’ approaches, I asked him to describe the types of high-pressure assignments that he encounters. In most cases, time is the number one factor at play.

“If I’m shooting an event for Getty or WireImage or AP Images, time is of the essence,” he said. “If you’re doing the red carpet and don’t have an onsite editor, you want to turn around your best pictures as quickly as possible and get them up on the wire so you can get placement and, basically, make money. From the end of the event, the goal is to have everything captioned and up on the site in two hours. That’s the worst case scenario—you’re really looking to do it quicker than that. Often it will be trying to get your top 10 or 15 pictures out in 45 minutes or less.”

‘Always import your card immediately after you’re done shooting.’

He noted that when shooting a big job like the Academy Awards or the Tony Awards, photographers are usually hard-wired via Ethernet cables to editing stations on site where editors send images out as soon as possible. Sometimes he shoots the red carpet as a solo photographer, where there may be on-site runners who collect memory cards every 15 or 20 minutes from each photographer to deliver to editors. And, of course, there are plenty of events where he’s responsible for everything.

“Usually when I’ve worked with Getty, it’s what they call a hired job,” he said. “I’m often the guy inside the party, which means I’ll have an editor on site. You have 1500 frames and you need to send them out as soon as possible because you want to beat everybody else and get the stuff out correctly.”

When shooting a high-profile event, it is essential to get your photos up on the wire before other photographers.

During the Shoot

Regardless of which type of event he’s shooting, Ach has developed a consistent workflow through years of hard-won experience.

“I do everything the exact same way every time, because once you have a workflow, you do it the way you do it,” he said. “If you change anything—you have to trust me on this—you will screw it up in a big way. Something will happen. It took me probably my first year-and-a-half to two years, no lie, just to get a workflow.”

Usually we think of photo workflow as the process that begins after you’re done shooting, but for Ach it’s earlier than you might expect: in his studio preparing to leave, formatting cards and making sure batteries are charged.

‘I always keep fresh cards in my right pocket. Cards that I’ve shot on, I keep in my left pocket.’

“It’s very hard for me to separate out the workflow from shooting,” he said. “When I get to the event, if I know I’m shooting multiple cards I always keep fresh cards in my right pocket. Cards that I’ve shot on, I keep in my left pocket. Always. I’ve learned not to put them back in the bag, or put them in my jacket or anything like that. Right pocket, fresh cards. Left pocket, used cards. So after I shoot the event, I come back to the studio. Whatever is still in my right pocket I just put back in the bag.”

Celebrity portrait shoots are another high pressure assignment that Brian specializes in – he often has only a few minutes with his subjects to nail the shot. Shown here: Director and screen writer Christopher McQuarrie.

We’ve all received the advice that it’s best to capture photos correctly in-camera, but in environments like these, it’s even more critical.

“White balance and exposure are two of my biggest things,” he said. “Put a gel on your flash, create a custom white balance, and then get it right [before the event begins]. I don’t want to have to waste the time afterward processing it. It sounds so obvious, but it’s not if your editor has to tweak your white balance for every shot and you’ve got 100 shots and your red carpet photos are coming out slightly yellow. The editor may not have time to do it—they may need to just send it out.”

To assist editors, or for his reference later if he’s doing the editing, Ach will mark images during the shoot that stand out, using a camera’s built-in tagging or image-protection features.

‘Go out and over-shoot everything and be brutal on yourself when evaluating’

“You can help your editor by tagging certain photos that are very good or very important,” he said. “You’re not trying to tell the editor how to do their job; you’re simply saying ‘here’s that photo.’ They can look at the previous 10 or 15 frames, or the 10 or 15 afterward, and pick whatever they think is best based on your recommendation.”

And how does one know which images rise above the others? “It’s training your eye,” he said. “Look at books, look at everything and try to figure out what makes them good. And then go out and over-shoot everything and be brutal on yourself [when evaluating them].”

Ach mentioned he once shot New York Fashion Week events and had a day where he shot 17,000 frames. “Thank God I had an editor who was very good, and he was able to quickly whittle that down,” he said. “It’s just pattern recognition, and knowing what the shot is and what’s good. And the only way you can get better at that is shooting a lot and looking at a lot.”

Not all of Brian’s assignments involve models and celebrities.

Articles: Digital Photography Review (dpreview.com)

 
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Canon launches four new 4K / 30p professional camcorders in XA range

03 Apr
Canon XA55

Canon has added four new models to its XA range of professional camcorders updating the series to include its first models capable of 4K / 30p recording: the XA55, XA50, XA45 and XA40.

All four of the cameras are aimed at professional news, broadcast and corporate videographers. They providing 5-axis OIS support for their wide ranging zoom lenses and feature dual XLR sockets built-in to the handle for linear PCM audio recording.

The XA55 and XA50 are essentially the same camera just with the addition of an HD-SDI (3G-SDI in Europe) terminal in the XA55. Both use 1″-type sensors and use Canon’s Dual Pixel AF system. They have a 15x zoom that covers the angle of view we’d expect from a 25.5-382.5mm lens on a full frame system, and both offer a Wide Dynamic Range Gamma mode that Canon says increases the DR by 800% to improve detail in highlight areas and to produce more accurate color.

The XA45 and XA40 use smaller 1/2.84-inch sensors and have 20x zoom lenses (29.3-601mm). As well as offering 4K / 30p recording each of the new models provides an over-sampled HD footage mode.

A fifth model launched at the same time has many of the features of the XA55 according to Canon, but is aimed at the budget/student market and doesn’t feature an overhead handle. The Canon VIXIA/LEGRIA HF G60 4K UHD uses a 1″-type sensor, has Dual Pixel AF and a 15x zoom with a variable maximum aperture.

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Some existing Canon camcorders will also benefit from new firmware:

  • XF705: Firmware Version 1.0.1.1 now features improved zoom response when using the zoom ring or zoom rocker, improved focus following speed during zooming, and improved image quality of interlaced recording.
  • XF405/XF400: Firmware Version 1.0.3.0 now features IP streaming, the ability to set custom white balance, support for the reset function that resets the clip number when the reel number is set and improved image quality of interlaced recording.
  • XF405 only: Firmware Version 1.0.3.0 now features 3G-SDI mapping at level A and level B.
  • VIXIA GX10: Firmware Version 1.0.3.0 now features the ability to set custom white balance.

The new XA55 and XA50 models are due to ship in June this year and will cost $ 2699 and $ 2199. The budget VIXIA/LEGRIA HF G60 will arrive at the same time and will cost $ 1699. Those interested in the XA45 and XA40 should see their cameras later this month, at a cost of $ 2199 and $ 1699.

For more information see the Canon website.

Press release:

Four New Canon XA Professional Camcorders Feature 4K 30p High-Quality Recording
XA55, XA50, XA45 and XA40 Camcorders Deliver Crisp 4K Imagery in Compact Bodies at Affordable Price Points

Meeting videographer needs for a variety of applications, Canon U.S.A. Inc., a leader in digital imaging solutions, today announced four new additions to the lineup of XA Series professional camcorders, the XA55, XA50, XA45 and XA40. These four camcorders are the first in the series to feature 4K 30p recording. They also include a detachable XLR handle and the XA55 and XA45 each feature an HD-SDI terminal. In addition, the company has announced the Canon VIXIA HF G60 4K UHD camcorder, a budget-friendly, compact-and-lightweight camcorder.

“Often spending their days and nights working in fast-paced environments, videographers need a camcorder that is affordable, reliable, and delivers great images,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc. “These new camcorders meet the needs of a variety of users, including those capturing news, shooting influential documentaries, educating young filmmakers or developing content for their companies.”

All of the camcorders feature Canon’s five-axis Intelligent Optical Image Stabilization system, providing users with powerful image stabilization via a Dynamic mode, which helps reduce image distortion, even when shooting while moving. The ergonomically designed and highly portable camcorders have a three-inch LCD touch panel screen and user-friendly, tilting, high-resolution Electronic View Finder (EVF).

The XA55 and XA45 are excellent options for news reporting and documentary shooting, while the XA50 and XA40 are geared more towards broadcasting schools, government agencies and corporate-video production companies. The affordable VIXIA HF G60 caters to advanced amateur videographers who need a 4K UHD camcorder to shoot a wedding or a student film project.

The XA55 and XA50 camcorders both feature a 1.0-inch sensor, nine-bladed circular aperture and Dual-Pixel CMOS AF with a 15x (25.5-382.5mm) genuine wide-angle Canon optical zoom lens. For natural and realistic life-like imagery the XA55 and XA50 camcorders feature a Wide Dynamic Range (DR) Gamma mode. This lowers the barrier for focusing, especially when shooting in 4K, which requires strict focus accuracy. By suppressing overexposure in high- brightness areas of the composition, this mode helps achieve a wide dynamic range of 800 percent to help produce seamless tone gradations, resulting in smooth detail, accurate color and virtually no blown-out highlights. The camera’s Dual Pixel Focus Guide takes advantage of Dual Pixel CMOS AF data to display focus-assist information on the screen. The camcorders also record 4K UHD/30p (4:2:0 8 bit) and 1080p Full HD (4:2:2 10 bit) via SDI/HDMI Output in XF-AVC and MP4 format to dual-card SD card slots with dual and relay recording.

The XA45 and XA40 camcorders both feature an eight-bladed circular aperture with the ability to record 4K UHD/30p (4:2:0 8 bit) and 1080p Full HD (4:2:2 10 bit) via SDI/HDMI Output) in MP4 or XF-AVC format to dual-card SD card slots with dual and relay recording. To help provide enhanced image quality over its predecessor, over sample HD processing can be utilized with information obtained from the 4K 1/2.84-inch sensor and the DIGIC DV 6 image processor. Both camcorders boast a 20x (29.3-601mm) genuine wide-angle Canon optical zoom lens.

The Canon VIXIA HF G60 4K UHD camcorder is packed with many of the same great features found in the XA55 and XA50, like a nine-bladed circular aperture, Dual Pixel Focus Guide and Wide DR, but with the budget- conscious user in mind. The affordable camcorder is an ideal tool for young videographers taking their first steps in the craft and will be sure to please due to its compact-and-lightweight form factor in addition to ease of use.

Additionally, Canon today announced firmware updates for the XF705, XF405/XF400 and VIXIA GX10 camcorders. New features by model include:

  • XF705: Firmware Version 1.0.1.1 now features improved zoom response when using the zoom ring or zoom rocker, improved focus following speed during zooming, and improved image quality of interlaced recording.
  • XF405/XF400: Firmware Version 1.0.3.0 now features IP streaming, the ability to set custom white balance, support for the reset function that resets the clip number when the reel number is set and improved image quality of interlaced recording.
  • XF405 only: Firmware Version 1.0.3.0 now features 3G-SDI mapping at level A and level B.
  • VIXIA GX10: Firmware Version 1.0.3.0 now features the ability to set custom white balance.

Pricing and Availability
The Canon XA55, XA50 and VIXIA HF G60 are scheduled to be available in June 2019 for estimated retail prices of $ 2699.00, $ 2199.00 and $ 1699.00, respectively. The XA45 and XA40 4K UHD video camcorders are all scheduled to be available in April 2019 for estimated retails prices of $ 2199.00 and $ 1699.00, respectively*. For more information, please visit, usa.canon.com.

Articles: Digital Photography Review (dpreview.com)

 
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$400 Camera VS $4,000 Camera – Can a Professional Photographer Spot the Difference?

23 Nov

In this video, Peter McKinnon asks the question “Can a professional photographer tell the difference between a $ 400 camera and a $ 4,000 one just by looking at the pictures?”

?

Watch the video, and take a look at the images shot with the Canon Rebel and the Canon EOS R. Can you tell which is which?

Can you really take professional photos with an entry level camera? Can you be a professional photographer on a budget or do you need to spend thousands of dollars on professional gear?

You may also find these articles helpful:

Shooting Portraits Like a Pro on a Tight Budget

A Look Inside the Bag of a Hobby Photographer on a Budget

10 Tips for Creating a Photography Kit on a Budget

Small Budget Photography: Lenses

Beginners Guide to Different Types of Digital Cameras

 

What cameras do you use for your photography work? Are you achieving great photos with less expensive gear? Share with us in the comments below.

 

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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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Canon brings its Digital Photo Professional Raw processing program to iOS

10 Oct

Canon has ported a large chunk of its Digital Photo Professional (DPP) Raw processing software’s feature set to mobile and launched the DPP Express app for Apple’s iPad.

The new app works in conjunction with Canon’s Camera Connect app and offers a wide range of processing functions for Canon .CR3 Raw files and JPEG images. Files can be viewed, adjusted and saved to the cloud, a computer or your camera – all wirelessly.

The Camera Connect app, which also allows you to control the camera remotely, is used to wirelessly download images from your Canon camera to the iPad. Once on the tablet, images can then be processed and edited in DPP Express. The user interface has been designed with simplicity in mind and adjustment options include tone curves, picture settings, gamma levels and lens correction. All changes are applied in real time.

DPP Express also offers Multiple Editing Histories, allowing for several edited versions of the same image. Up to four editing histories let you compare effects and editing options on the same image and can be copied and pasted between files to apply the same workflow to more than one image.

The app is compatible with newer iPads and iPad Pro models running iOS 11. For more information on compatibility and features have a look at the Canon website. You can download DPP Express from the iOS App Store.

Articles: Digital Photography Review (dpreview.com)

 
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5 Questions Professional Photographers Hate and What You Can Ask Instead

10 Jun

You probably know a few professional photographers, and you’ve undoubtedly found them to be an invaluable fount of information. However, there are a few questions that beginners commonly ask that they secretly despise. Let’s take a look at five of those questions, and what you can ask instead.

#1 – Which camera should I get?

5 Questions Professional Photographers Hate and What You Can Ask Instead - small Sony camera

You’re just starting out with photography. You’ve discovered your creative eye through your phone, and you’re looking to get serious. Photography sounds like a fun hobby – it gets you outside and allows you to share your unique view of the world with others.

Perhaps you have some friends who are also photographers, and you don’t want to be left out when they start getting excited about apertures and bokeh. So where do you begin? You ask which camera you should buy, right? Wrong!

Why pros hate this question

Pros hate this question because it’s too vague. There are so many cameras out there, and they’re all designed to cater to specific needs. A camera is a very personal thing – much like a car – so others may find it difficult to advise your purchase.

A pigeon judges the tourist with a camera in a city park.

Do you want to shoot stunning stars at night (which would benefit from a full-frame camera), or do you want to build your fashion Instagram account? Are you looking to photograph wildlife (where a cropped sensor might come in handy), or are you interested in portraiture?  Will you be traveling a lot and need something small and portable (mirrorless)?  What is your budget? These all come into play choosing a camera.

It also depends greatly on your experience. If you’ve never played with f-stops, ISO, and shutter speeds, then any entry-level camera that teaches you these things will serve you well. Practice with the fundamentals of photography, learn what you enjoy shooting, and get more familiar with what all the features actually mean.  Then you can make a much more informed decision or ask more directed questions.

5 Questions Professional Photographers Hate and What You Can Ask Instead - photo of a bunch of cameras and lenses

What to ask instead

Do a little research first in order to understand your own needs. Narrow down the type of photography that interests you, and identify the features that are most important to you. Use Google! Armed with this knowledge, you can then confidently approach a pro (preferably one who does the kind of photography what you’d like to shoot, as they’ll be more knowledgeable and helpful to you) and ask specifics to help narrow your choices.

Here are some examples of good questions to ask:

  • I really want to shoot the Milky Way, but I can’t afford a full-frame camera. Do you know of a less-expensive model that does well in low light?
  • I want a super compact camera for my vacations that can take better snapshots than my phone. It would be great if it also has built-in wireless so I can upload photos on the go. What would you recommend?
  • I get a lot of beautiful birds in my backyard. I’d love a better camera to capture them and perhaps some of the flowers in my garden. Can you suggest a basic camera, hopefully, one with a flip-out LCD screen?

5 Questions Professional Photographers Hate and What You Can Ask Instead - red leaves

Bonus tip

Rent! Just like a test drive, you can easily rent cameras, lenses, and accessories from your local camera shop to try out equipment and find what you really like before you invest the big bucks. Many shops even have weekend deals (pick up on Friday, return on Monday) at very affordable prices ($ 20-100 range).

#2 – Which is better: Canon or Nikon?

So now you’ve narrowed down the type of photography you wish to pursue, and you even have a few ideas of camera models that might be good for that. As you continue to research, however, you see options from Canon and Nikon. But which is better?

Why pros hate this question

Pros hate this question because it’s a silly competition the really needn’t exist. Which is better, Toyota or Honda? Marvel or DC? Deep dish or thin crust?

“Better” is such a subjective term, and asking this question really won’t give you a good answer. If you ask this of several photographers, you’re likely to get divided opinions, and this won’t help you in your final decision. Many photographers started with one brand, and they’ve simply stuck with it as it’s too expensive to switch (most brands are also deliberately not cross-compatible).

5 Questions Professional Photographers Hate and What You Can Ask Instead - a Canon camera

The truth is, these are competing camera makers. One will pull ahead with some fancy technology, and the other will jump up to match, adding its own new feature to gain an edge. And guess what? There are other brands, too – gasp!

Sony has been making amazing headway in its mirrorless department, and even Fuji has become popular with some photographers for their compact system. Just like camera models, they each offer different things, and it depends on the features most important to you.

Do you want to take low light pictures with little noise? Do you care about good dynamic range? Is superb multi-point autofocus important to you? Do you like using knobs and buttons over a digital menu? Brands are more about the specific features, and while pros can sometimes be polarized on which is “better,” they’ll generally agree that certain ones will perform better with regards to a given feature.

5 Questions Professional Photographers Hate and What You Can Ask Instead

Shot with a Canon camera.

5 Questions Professional Photographers Hate and What You Can Ask Instead

Shot with a Fuji camera.

What to ask instead

Just like the cameras above, figure out what you want most out of the camera you’re looking to buy, and ask about specifics. This will help you steer toward the camera that would be best for you, and it will be more than just an opportunity for the photographer you’re asking to sell you on their favorite brand.

  • I want to shoot landscapes at sunset, but I worry about the sky being too bright while the foreground is all in shadow.  Which cameras perform better in these situations?
  • I find all of these menus far too complicated. Is there a camera that lets me adjust the settings more naturally?
  • Which brand generally has cleaner pictures at a high ISO?

Bonus tip

Be sure to ask your questions of multiple people (preferably using various brands) to get a balanced viewpoint. Even with more specific questions, “best” can still be subjective.

#3 – What settings/camera/lens are you using?

5 Questions Professional Photographers Hate and What You Can Ask Instead

Okay, so now you have a good idea of what camera you want, and you’re excited to start shooting. You’re observing your pro photographer friends, and you want to emulate their setup.

But what camera settings are they using?

Why pros hate this question

Pros hate these questions mostly because of context. While these can certainly be legitimate questions under the right circumstances, most pros are asked these under less-than-flattering implications.

“Wow, that’s a great picture! What camera are you using?” This implies that the art of the photograph is completely removed from the photographer and can be accomplished through mere equipment alone. This will irritate a photographer faster than asking a chef if his food is so good because he uses expensive spoons and knives.

Asking about settings is arguably better, as this provides insight as to how a waterfall was blurred into silky smoothness, or how a hummingbird was completely frozen in the shot. When pros receive this question, though, they often get the impression that beginners are looking for a silver bullet for how to take good pictures.

Settings are very specific to the photograph. This question will only be useful to you if you’re looking to shoot the same kinds of things under the same conditions. And they are only helpful if you understand what the settings mean – and how to make adjustments for your specific situation.

As well, megapixels has become this magic number that consumers have come to equate with quality. 24-megapixels is worth the extra $ 300 because it’s so much better than the 20-megapixel model, right? While more megapixels does mean slightly better quality, this number really doesn’t matter to the average photographer. Many pros don’t even pay much attention to this number (unless they’re in the business of fine art prints).

Typical photographs are printed at 300 dpi (dots per inch). Even an 8×10 print (2400 x 3000 pixels = 7.2 million pixels) requires only 7.2 megapixels. 20+ megapixels don’t come into play until you’re talking poster prints. If you’re only looking to print a few images at home or share them on social media, you needn’t worry about spending more for a higher number; most modern cameras will easily have you covered.

5 Questions Professional Photographers Hate and What You Can Ask Instead

What you can ask instead

The camera never makes the photographer. Incredible images can be produced from the most elementary equipment. Know that a camera is a tool that only allows you to perform your job more effectively, but the art is still created by your vision. Know what you want to create, and ask informed questions of the tools – without the implication that the art wouldn’t be possible without them.

Understand what the settings mean before asking about them so you know how best to apply them to your own work.

  • I admire your macro shots. I’ve been trying to accomplish something similar with my flowers, but I can’t seem to get mine as sharp as yours. What shutter speed are you using?
  • I know you do a lot of night photography. Which wide-angle lens do you prefer to use for those shots?
  • I’d like to start printing larger images for my wall at home. Your prints turn out really well. How many megapixels does your camera have?

5 Questions Professional Photographers Hate and What You Can Ask Instead

Bonus tip

A wise person once told me to never buy any equipment until you feel limited by what you own. Before you go drooling over someone else’s camera or lenses, ask yourself if an upgrade would afford you shooting opportunities you cannot already do (and that you’d actually want to do – that’s the hard bit!).

And know that just because a pro has more megapixels than you (or a newer model camera, or a more expensive lens) they aren’t necessarily able to take pictures that you can’t. It’s your experience that separates you, not your equipment.

#4 – How can I make money with photography?

You have your camera. You more-or-less understand the settings, and you’ve gotten pretty good. Now, you want to see if you can turn these pixels into profit.

So you ask a professional photographer you know how you can make some money with your photography.

5 Questions Professional Photographers Hate and What You Can Ask Instead

Why pros hate this question

Pros hate this question because many don’t know the answer themselves. Or they do, but they don’t want to disappoint you.

The truth is that photography is a very difficult industry to break into, and it is seldom lucrative. With better cameras being more affordable to the average user, anyone can fairly easily take high-quality photos. In short, few want to pay you for pictures they could take themselves.

It’s a troublesome question to answer because so many are struggling to find just the right path to that elusive pay check.

Additionally, much like the above topics, there is no single perfect answer. There are specific types of photography that are more successful at earning a living wage than others (hint: they directly involve people), but a new photographer will find it challenging to see money out of their photography without a lot of hard work, effective self-marketing, and a niche business model.

5 Questions Professional Photographers Hate and What You Can Ask Instead

Most pros have several sources of income. It’s rare that a single tactic will prove sufficiently effective.

What you can ask instead

Take a look at your local market to see what’s popular and where a need exists. Spend some time identifying what sets you apart from everyone else and build a portfolio with which to market yourself. Then you can approach those pros with specifics to help you develop your business plan.

  • I love photographing people at conventions in all of their colorful costumes. What do you typically charge for a single session?
  • I’d like to upload some of my photos to a stock photography site. Which ones give the best payouts to photographers?
  • How much do you charge for travel to wedding locations? Do you think I should offer free engagement sessions?

5 Questions Professional Photographers Hate and What You Can Ask Instead

Bonus tip

This day and age, the money is with people. If you have a fear of working with people, you’re unlikely to make a living at photography. Portraits, events, and weddings are far more likely to see income streams than landscapes, abstracts, and macro images.

That doesn’t mean the latter isn’t possible, it’s just more difficult. And even those areas require marketing yourself to galleries, travel and tourism companies, and individuals. So get used to interacting with people!

#5 – Thoughts?

5 Questions Professional Photographers Hate and What You Can Ask Instead

You have some experience under your belt now, and maybe you’re even making a few bucks on the side. You have a general understanding of what makes a good photograph, but you want to take it to the next level.

How can you improve?

Why pros hate this question

Pros hate this question because it’s also vague. You post an image on a photography forum with just the single word, “Thoughts?” While it’s great to request feedback on your images, this question puts a lot of work on the responder to generate a viable conversation about your photograph.

This is also likely to garner some less-than-helpful (and possibly less than desired) responses, as it’s so open-ended. What type of feedback are you looking for, exactly? Are you displeased with the composition and you’re looking for pointers? Do you want some tips on ways you can make a person’s eyes stand out more? Gain more sharpness to that mountain landscape?

In many instances, this is not actually an invitation for critique but rather praise. Therefore, you might receive criticism you’re unprepared to receive. Being clearer with your request can spare you and others some angst.

What you can ask instead

When seeking feedback, figure out what you actually want to know about your photo and direct your questions in that manner. Specifics help guide people answering you, and you’re more likely to get more and better responses.

5 Questions Professional Photographers Hate and What You Can Ask Instead

It’s also perfectly acceptable if you just want to share your pictures without constructive criticism. Just make that clear so you don’t get any undesired feedback.

  • I really don’t like how this picture seems a bit fuzzy. Is there anything I can do to sharpen it, or should I do something different when taking the picture?
  • This was my first time shooting waterfalls. I’m not looking for criticisms at this time, I just wanted to share.
  • I tried doing an HDR with this sunset, but it looks a little fake. How can I make it look more natural?

Bonus tip

Feedback is a wonderful way to improve. However, be prepared to hear it if you put the request out there. Even the most thick-skinned of photographers can find criticism difficult to take. Listen to the feedback you receive, take each with a grain of salt (in the end, it’s your art), and try to not be defensive (it’s a natural reaction).

It will doubtless be painful at first, but you will be a better photographer for it.

Conclusion

Questions pros hate 15

Those more experienced in your field are generally happy to help, and they welcome your questions. But they want to make sure you’ve done a little research on your own first so you understand what you’re asking. Assess what you enjoy shooting, experiment a bit, and possibly check out renting some gear.

In the right context, and with the proper information on what your needs are, pros can be an excellent resource for improving your own skills in photography.

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Canon unveils Canon EF 70-200mm F2.8L IS III USM for professional photographers

07 Jun

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Canon has taken the wraps off a new flagship telezoom, the Canon EF 70-200mm F2.8L IS III USM. A modest refresh of version II, the new lens features the same 23 elements in 19 group optical design and 3.5 stop image Stabilization system as its predecessor but adds Air Sphere Coating and fluorine coating on front and rear elements. Other coatings are reportedly ‘improved’.

The Canon EF 70-200mm F2.8L IS III USM will be available in August for $ 2,099.

Press Release

CANON UPDATES LINEUP OF EF L-SERIES TELEPHOTO ZOOM LENSES WITH THE INTRODUCTION OF EF 70-200MM F/4L IS II USM AND EF 70-200MM F/2.8L IS III USM

Next Generation of EF 70-200mm Lenses Features a Variety of Updates Including Enhanced Optical Image Stabilization in the f/4 and the Inclusion of Air Sphere Coating in the f/2.8

MELVILLE, N.Y., June 7, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced two new telephoto zoom lenses, the Canon EF 70-200mm f/4L IS II USM and Canon EF 70-200mm f/2.8L IS III USM. The new lenses serve advanced amateur and professional photographers in a variety of applications and solutions including wildlife, landscapes, portrait and sports photography. Canon EF 70-200mm focal-length lenses are a popular option for photographers in need of a long zoom range that maintains a relatively compact design. In addition, these updated lenses inherit the same overall build-quality and ruggedness photographers have come to expect from the Canon EF L-series line of lenses.

“At the core of image capturing, Canon believes the lens is just as important as the camera. A seamless relationship between the two allows photographers to produce emotion-evoking and timeless images,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is excited to offer photographers two distinct options in the 70-200mm focal-length, continuing to further expand our optics heritage.”

Canon EF 70-200mm f/4L IS II USM

The new Canon EF 70-200mm f/4L IS II USM features numerous updates over its predecessor, making it an ideal lens for advanced amateur photographers using Canon DSLR cameras such as the EOS 6D Mark II or EOS 80D. Most notably, Optical Image Stabilization is upgraded from three stops to five shutter speed stops of correction over the original f/4 lens. The improved IS allows photographers to more easily capture crisp, in-focus images without the use of a tripod. The new lens also features three IS modes, each uniquely designed and suitable for a variety of shooting situations, such as the capture of still subjects, panning or fast moving objects2. Furthermore, the IS operational noise has been reduced, which proves ideal for photographers shooting in a concert hall or on-stage shooting at the theatre.

Additional noteworthy features of the Canon EF 70-200mm f/4L IS II USM include:

  • One fluorite lens and two UD lenses helps to provide high-image quality
  • Minimum focusing distance shortened from 1.2m to 1m (3.9ft to 3.3ft)
  • Super Spectra Coating technology and optimized lens element placement helps minimize ghosting and flaring
  • Circular nine blade aperture producing a beautiful bokeh quality, ideal for portrait shooting
  • Lens features 20 lens elements in 15 groups
  • Fluorine coating on front and rear elements helps to reduce smears and fingerprints
  • Inner focusing system with Ring Ultrasonic Motor

Canon EF 70-200mm f/2.8L IS III USM

The new Canon EF 70-200mm f/2.8L IS III USM is an ideal lens for professional photographers who shoot with the Canon 1D and 5D series of DSLR cameras. The inclusion of Air Sphere Coating (ASC) technology helps to reduce flaring and ghosting, and suppresses the reflection of light.

Additional noteworthy features of the Canon 70-200mm f/2.8L IS III USM include:

  • Optical Image Stabilizer up to 3.5 shutter speed stops of correction
  • Fluorine coating on front and rear elements helps to reduce smears and fingerprints
  • Inner focusing system with Ring Ultrasonic Motor
  • One fluorite lens and five UD lenses helps to provide high-image quality
  • Minimum focusing distance of 1.2m (3.9ft)
  • Lens features 23 elements in 19 groups
  • Circular eight blade aperture

The Canon EF 70-200mm f/4L IS II is scheduled to begin shipping in late June 2018 with an estimated retail price of $ 1,299.00. The Canon 70-200mm f/2.8L IS III is scheduled to begin shipping in August 2018 for an estimated retail price of $ 2,099.00.

For additional information regarding the lenses improved performance over predecessors please visit, https://www.youtube.com/watch?v=OFTBw7-8gdk&feature=youtu.be.

Canon EF 70-200mm F2.8L IS III specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 70–200 mm
Image stabilization Yes
CIPA Image stabilization rating 3.5 stop(s)
Lens mount Canon EF
Aperture
Maximum aperture F2.8
Minimum aperture F32
Aperture ring No
Number of diaphragm blades 8
Optics
Elements 23
Groups 19
Special elements / coatings Five fluorite and five UD elements, ASC and fluorine coatings
Focus
Minimum focus 1.20 m (47.24)
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Focus distance limiter Yes
Physical
Weight 1440 g (3.17 lb)
Diameter 89 mm (3.5)
Length 199 mm (7.83)
Materials Magnesium alloy
Sealing Yes
Colour White
Zoom method Rotary (internal)
Power zoom No
Zoom lock Unknown
Filter thread 77 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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