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Moment Smartphone Lens Review for Photography and Videography

The post Moment Smartphone Lens Review for Photography and Videography appeared first on Digital Photography School. It was authored by Suzi Pratt.

It’s no secret that smartphone cameras are getting increasingly better with every new release. But did you know that you can enhance your smartphone photography even further with lenses? There are several smartphone lens manufacturers out there, but one of the most popular and premium choices out there comes from Moment. This Seattle-based company offers four lenses that can take your smartphone photography to the next level. I’ve long been curious about these lenses and was delighted to finally have a chance to try them out.

Specs

Currently, Moment has four smartphone lenses on hand: the Superfish (fisheye), Wide, Macro, and Tele Portrait. Each lens ranges in price from US$ 89.99 to US$ 99.99. The lenses are attached via a custom Moment smartphone Photo Case, so you’ll need one of them too. Presently, there are Photo Cases for Google Pixel, Samsung Galaxy, and iPhone. Each case varies in design and price depending on your smartphone brand, but they’re in the US$ 30 or less range. This test and all resulting images were done with a Samsung Galaxy S8.

Build quality

Physically, each lens varies in presentation, which helps tell them apart at a quick glance. All lenses are made of metal and glass and have some nice heft to them. They also come with rubber lens caps that protect the front element. While there are no end caps to protect the back elements, at least they are small and relatively easy to keep clean and protected if using the included velvet lens drawstring bags.

Attaching the lens to your Smartphone

Lenses attach to your phone via the bayonet-style mount on Moment’s custom phone cases. You simply match up the lens mount to the phone case and twist the lens to lock it into place. It’s relatively easy to do with no added tools required. However, the lens mount is so small that it can take some trial and error to get it mounted. Once locked in place, these lenses are solidly attached to your phone case and it would take significant force for them to accidentally fall off.

Wide lens

Moment’s wide lens is equivalent to 18mm, which is significantly wider than my Samsung Galaxy S8’s 26mm (35mm equivalent) focal length. It’s a rather large lens with a curved, fisheye-like lens. However, there are zero fisheye effects in the resulting images. In fact, there’s no distortion, vignetting, or blurring around the edges.

Superfish lens

This 170-degree Superfish lens offers the widest field of view out of all Moment lenses. It’s rather compact with a flat front-facing lens. However, the resulting image generally takes on a fisheye appearance.

Macro lens

Moment’s macro lens is arguably the best-designed lens of the bunch. It’s also the flattest and most compact lens. Offering 10x magnification, the Moment macro lens comes with a plastic diffuser hood. This hood is very important for helping you determine how close the lens needs to be to a subject (hint: it’s VERY close), but the hood can also be removed. Design-wise, I love how detailed this lens is, particularly on the front element of the lens.

Telephoto lens

While I didn’t get to test the Moment telephoto lens, here’s a brief overview. This 60mm equivalent lens offers roughly double the focal length of most smartphones. Best of all, this lens gives you a telephoto effect without having to use your smartphone camera’s digital zoom, which often degrades the quality of your images.

If you can only buy one lens…

These lenses aren’t cheap, so it makes sense to invest in one or two initially, and then build up your collection from there. Personally, I found the Macro lens to be the most fun. It offers a unique perspective on just about anything and can be great entertainment for all ages. I’d pick the Superfish lens as my next favorite as it also offers a fun and different way to capture your surroundings.

Moment lens accessories

Straight out of the box, each Moment lens comes with a velvet drawstring bag. It’s a thin lens case that is better than having no protection at all, but it doesn’t offer the best padding. As a result, I highly recommend investing in the Moment Lens Pouch. This pocket-sized zippered pouch is nicely padded and has enough room to store two Moment lenses. If you need a bigger carrying case, the Moment Travel Case is a larger version of the Lens Pouch with room for 4 Moment lenses and extra accessories.

Bottom line

If you’re on the hunt for premium lenses to extend the capability of your smartphone camera, Moment offers the very best. Not only do their lenses look and feel professional, but the resulting images are noticeably sharper. Sure, there are much cheaper smartphone lenses out there, but they often compromise on physical quality. You won’t find any compromises if you go with Moment. The only catch is that you have to use one of the high-end smartphones that Moment makes a phone case for.

Moment lens sample photo gallery

Moment Lens Superfish Lens

Moment Lens Superfish Lens

Moment Lens Wide Angle Lens

Moment Lens Wide Angle Lens

Camera phone – before the next Macro lens shot.

Moment Lens Macro Lens – Seashell

Moment Lens Macro Lens – Coffee Beans

Moment Lens Macro Lens – Back of my hand.

Video

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The post Moment Smartphone Lens Review for Photography and Videography appeared first on Digital Photography School. It was authored by Suzi Pratt.

Digital Photography School

January 16, 2019
CamFi Pro Plus brings wireless tethering to 3rd party apps

Wireless camera controller maker CamFi has launched an improved version of its CamFi Pro model, the CamFi Pro Plus. Like the Pro, the new model offers wireless tethering for more than 500 camera models from all major brands.

In addition you can now directly tether to your favorite third-party applications, such as Capture One, Lightroom, EOS utility, Sony Pixel and others, all via WiFi. As before, the camera is controlled remotely via the native CamFi app.

In its own tests, CamFi found the maximum Wi-Fi speed to be approximately 10MB/sec. 20MP Raw files need approximately three seconds to transfer from your camera to the computer using the Capture One software,

Third party tethering works with Windows and Mac computers. A full list of supported cameras is available here. The new CamFi Pro Plus will set you back $ 339 but existing Pro users will be able to upgrade for $ 40 from the 18th of January. More information is available on the CamFi website.

Press Release:

CamFi Announces CamFi Pro Plus, Adding Fast Wireless Tethering for 500+ Cameras

Guangdong, CHINA—DECEMBER 18, 2018—CamFi, maker of wireless camera controllers, announced the release of CamFi Pro Plus today. This new product adds the wireless tethering feature for 500+ cameras, including Canon, Nikon, Sony, Fuji, Pentax and more. All DSLR cameras which support USB tethering can be supported by CamFi Pro Plus.

“This is a big step for tethering technology,” said Mark Ma, the CEO of CamFi Limited. “It will improve the productivity for the professional photographers greatly, without any study cost.” With wireless tethering, there is need for a USB cable to connect the camera and computer. CamFi Pro Plus also allows photographers to keep using familiar tools, such as Capture One, Lightroom, EOS utility, Sony Pixel and so forth, directly via WiFi.

CamFi Pro Plus adds the third party tethering service. It can send USB data to the client device directly through a WiFi connection. When a camera is connected with CamFi Pro Plus, the laptop which connects to it will act as if the USB device plugged into it directly. In tests, the maximum Wi-Fi speed can achieve 10M Bytes/second. For a 20M raw photo, for example, this translates into need only about three seconds to transfer with Capture One.

The third party tethering service of CamFi Pro Plus supports Windows and Mac. The price of CamFi Pro Plus is $ 339. It can be ordered via CamFi web site. All the existing customers of CamFi Pro can order the upgrade service for $ 40.

For more information, visit http://cam-fi.com/en/product/camfi-pro-plus.html

Articles: Digital Photography Review (dpreview.com)

January 15, 2019
Proposed rule changes would make it easier for drones to fly at night, above crowds

Despite a partial government shutdown in the United States, Transportation Secretary Elaine Chao announced a new proposed rule that would simplify the process of flying drones at night and over crowds of people by removing the need for waivers.

The proposed rule, which can be read as a draft (PDF), would remove the need for commercial drone operators to file for waivers granting them permission to fly both at night and over large gatherings of people. It would also drones to have ‘an anti-collision light illuminated and visible for at least 3 statute miles, according to the document proposal.

‘This will help communities reap the considerable economic benefits of this growing industry, and help our country remain a global technology leader,’ said Chao in her statement to the nonprofit Transportation Research Board.

DJI chimed in on the proposed rule change with a blog post on its website that begins by stating:

DJI, the world’s leader in civilian drones and aerial imaging technology, welcomes the U.S. Department of Transportation’s proposals announced today to help expand the use of drones in America, and looks forward to a substantive discussion that balances the requirements of the proposed rules with the benefits they would achieve.

The proposed rule change also lists out new rules for smaller drones. Specifically, drones weighing less than .55lbs / 250g would be able to fly over crowds without any new restrictions. However, drones weighing more would need their manufacturers to prove that if the drone ‘crashed into a person, the resulting injury would be below a certain severity threshold,’

The proposed rule change will be open for public comment for 60 days before anything can be set in stone.

Articles: Digital Photography Review (dpreview.com)

January 15, 2019
How to Replace Colors in Your Images Using Photoshop

The post How to Replace Colors in Your Images Using Photoshop appeared first on Digital Photography School. It was authored by Megan Kennedy.

Have you ever taken a photograph and wondered what it would look like in a different color? Or perhaps you find a particular color distracting and want to swap it for a more subtle tone? Maybe you want to ramp up the impact, using more vibrant colors to make your image pop?

With the help of Photoshop, swapping the colors of different elements in a photograph is quick and easy. Here are two ways to switch the colors in your image to make them more dynamic.

Method one – Using the Replace Color Panel

The Replace Color panel is a simple tool designed to tweak color selections. When you select a specific color in the image, the Replace Color function grabs similar colors, allowing you to change them within the same action.

Step 1 – Preparing your image

First, open your image in Photoshop. To edit non-destructively we need to duplicate the layer. That way, we can go back to the original image at any time. Select your image in the Layers Pallet, then go to Layer -> Duplicate Layer. Alternatively, you can right-click on your image in the layers panel and click Duplicate Layer or drag your layer onto the New Layer icon.

Step 2 – Selecting a Color to Replace

With your duplicate layer selected in the Layers Pallet go to Image -> Adjustments -> Replace Color and the Replace Color panel will pop up. Check the Localized Color Clusters and Preview options. The cursor will automatically be converted to an eyedropper icon, so click on the color in the image that you want to replace. This highlights the color in white in the preview thumbnail, so you can see how much of the color is selected.

Go to Image -> Adjustments -> Replace Color to open the Replace Color panel

Click on the color in the image that you want to replace. This highlights the selection in white in the preview thumbnail

Step 3 – Adjusting the range

The next step is to add further shades of your chosen color to the selection so it looks more natural. With the Replace Color panel still open, hold down the shift key and click on more shades of your selected color in the image. This adds new shades of your selected color to the preview thumbnail.

If you accidentally select an area, hold down the alt key and click the area again to deselect the selection. You can adjust the edges of the selection with the Fuzziness slider, this dictates the sharpness of the edges in the selection.

Step 4 – Swapping the color

In the Replace Color panel, use the Replacement Hue slider to adjust the color of your selection. Once you’re happy with the color, use the Saturation slider to increase or decrease the intensity of the replacement color. You can also adjust the Lightness slider which tweaks the shade of the replacement color.

Use the Replacement Hue slider to adjust the color of your selection

To make sure the edges of the selection have adequate coverage, you may need to readjust the Fuzziness slider.

Once you’re happy with your results, click OK. Your adjustments will be applied to your image and you’re good to go!

Method two – Using the Color Replacement Tool

The Color Replacement Tool is an alternative to using the Replace Color panel. With the Color Replacement Tool, you can apply a replacement color to a more targeted area in the image.

Step 1- Preparing Your Image

Just like in the first method, we need to duplicate the original layer so we can return to the original image if required. Select your image in the Layers Palette then go to Layer -> Duplicate Layer or right click on the layer in the Layers Pallet and click Duplicate Layer.

Step 2 – Selecting the Color Replacement Tool

Accessing the Color Replacement Tool is a little tricky. Click and hold the cursor over the Brush Tool on the left toolbar and several brush options will appear. Select the Color Replacement Tool.

Step 3 – Setting your foreground color

With the Color Replacement Tool selected, set your foreground color to the color you want to replace your current color with. So if you want to change a red subject to blue, select blue as your foreground color.

Set your foreground color to the color you want to replace your current color with

Step 4 – Applying color with the Color Replacement Tool

With the Color Replacement Tool selected, brush over the area of color you want to replace. You can adjust the settings of the brush (size, shape, tolerance) in the top menu bar.

With the Color Replacement Tool selected, brush over the area of color you want to replace

Conclusion

Color is a wonderful and versatile element of composition. But sometimes the right color scheme is elusive. That’s where the Color Replacement tools come in handy. Now you’ve read the guide, why not give it a go? Post your results in the comments below!

The post How to Replace Colors in Your Images Using Photoshop appeared first on Digital Photography School. It was authored by Megan Kennedy.

Digital Photography School

January 15, 2019
Miami Beach police use camera blimp to get around drone surveillance ban

The Miami Beach Police Department found a loophole to circumvent Florida’s 2015 ban on police drone surveillance — a tethered, relatively immobile blimp with a camera attached to the underside. Officially called a ‘tethered aerostat,’ the helium-filled vehicle was used to monitor the approximately 15,000 people who attended the Capital One Beach Bash over the New Year’s holiday.

In 2015, Florida passed the Freedom From Unwanted Surveillance Act, which banned the use of drones for police surveillance. In a letter to the city commission on January 3, City Manager Jimmy Morales explained the police department’s use of the camera blimp, citing necessity due in part to ‘the legal restrictions on police departments under Florida law and because of limited battery life and flight time’ associated with drones.

We have an ? on all things @CapitalOne #BEACHBASH #MiamiBeach #NYE2019 pic.twitter.com/sOJLnGqDaS

— Paul Acosta ???? (@PaulAcostaMBPD) December 28, 2018

Morales went on to call the blimp ‘a new technological solution for aerial monitoring,’ one the police department felt was necessary due to “the emergence of new threats of terrorism seen around the world in such large gatherings…”

A Miami Beach Police Department spokesperson told the Miami New Times the department doesn’t believe its tethered aerostat violates state law. Use of a lighter-than-air vehicle for aerial surveillance has proven controversial, however, with critics saying there is little difference between a stationary floating camera and a remote-controlled flying camera.

The region’s law enforcement has repeatedly demonstrated interest in camera-based surveillance, including the Miami-Dade Police Department’s attempt in 2017 to deploy a wide-area surveillance system involving Cessna planes equipped with cameras. That plan, which was abandoned following heavy criticism, would have monitored the entire county using technology developed by the U.S. Air Force for use in combat zones.

Articles: Digital Photography Review (dpreview.com)

January 15, 2019
SmugMug Films: An inspiring BTS look at photographing the autumn beauty of Slovenia

SmugMug Films has released ‘Framing the Journey,’ a short film that follows photographer Karen Hutton around the landscapes and cityscapes of Slovenia.

The seven minute film, which was made in partnership with Fujifilm, ‘unveils both the epic beauty of a charming country tucked between Italy and Croatia and the wonder of the artist experiencing it all for the first time.’

Hutton, whose past careers have included acting, singing, voiceover work, figure skating and horseback riding, says her ‘photography is about a philosophy […] It’s about the world, about life, and all the possibilities that exist in between.’

The short film does a great job highlighting the fantastic work of Hutton and showcasing the seemingly endless beauty across Slovenia. Sure it’s effectively a glorified ad for both SmugMug and Fujifilm (as well as DJI whose Mavic Pro 2 drone was used to capture much of the 4K footage), but that doesn’t take away from the inspiring and informative narration provided by Hutton nor the stunning scenery.

To see more work from Karen Hutton, visit her website. To see other SmugMug Films, head to the SmugMug Films’ YouTube Channel.

Articles: Digital Photography Review (dpreview.com)

January 15, 2019
Timelapse+ VIEW Intervalometer now supports select Fujifilm, Panasonic cameras

Timelapse+ has announced support for select Fuji X series cameras and Panasonic cameras with its Timelapse+ VIEW Intervalometer, which went on sale to the public in January 2017.

Until now, the Timelapse+ VIEW Intervalometer only supported select Nikon, Canon, Sony and Olympus cameras. Now it’s capable of triggering the following camera systems from Fujifilm and Panasonic:

Fujifilm:
• Fujifilm X-T1
• Fujifilm X-T2
• Fujifilm X-T3
• Fujifilm GFX 50S

Panasonic:
• Panasonic GH3
• Panasonic GH4
• Panasonic GH5

The Timelapse+ VIEW is a powerful intervalometer with features including an OLED color screen, automatic exposure ramping, gesture controls, live preview and an accompanying smartphone app for wireless control of the settings. It features a 15+ hour battery life according to Timelapse+ and also has the option to be powered externally using a Micro USB cable.

More information is available on the Timelapse+ website. The Timelapse+ VIEW Intervalometer retails for $ 399.

Articles: Digital Photography Review (dpreview.com)

January 15, 2019
OPPO to announce 10x lossless smartphone zoom camera

At MWC 2017 Chinese smartphone maker OPPO showed a prototype device at its booth that featured a dual-camera setup with 5x optical zoom in a normally-sized smartphone body. The zoom lens design had been developed in cooperation with CorePhotonics and used a 90-degree angular prism to direct the light to a vertically positioned stabilized camera sensor.

The prototype never made it into a production series but now it seems OPPO is going to skip the 5x zoom entirely and make a direct jump to a device with a 10x zoom lens that is based on the same principles. The company is currently sending out media invites for the presentation of a 10x lossless zoom solution in Beijing, China, on January 16.

OPPO/CorePhotonics 5x optical zoom design

According to Chinese sources it is not clear if OPPO will present a production device or yet another prototype. In any case it looks like we’ll see zoom factors on smartphone cameras grow rapidly in the near future.

Articles: Digital Photography Review (dpreview.com)

January 15, 2019
Finding Your Strength in Isolation – 3 Methods to Make Your Subject Pop!

The post Finding Your Strength in Isolation – 3 Methods to Make Your Subject Pop! appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Including extraneous details in your photographs dilutes attention. Or they distract the viewer’s attention away from your main subject.

Fill the frame! This was the only composition rule I had drummed into me when I started work in the newspaper photography department. Do not include anything that does not help tell the story better. If it’s irrelevant, remove it.

In this article, I share three of my favorite methods for isolating subjects.

© Kevin Landwer-Johan

The balance of light

Finding a dark background is always pleasing. When your subject has more light on them than the background, you can often expose carefully so the background is very dark or even black. This was a great technique for newspaper photos when we were publishing in black and white. It often works particularly well for portraits.

Train your eye to look for the right situations where you can use this technique. Once you are aware of what to look for you will do it instinctively.

© Kevin Landwer-Johan

Look for large areas of shade where no light is turned on, and no sunlight affects the area directly. In this portrait of the fish vendor at the market, her open storefront is perfect. The room behind her has no windows and only one or two low-powered lights. The light on her is sunshine reflecting off the building opposite her shop. It is diffused and soft and does not affect the interior of her room.

Setting my camera to expose her face correctly means the interior of the room behind her is underexposed. Use a spot meter setting to only read the light from your main subject and not the darker background. If your camera’s meter is set to take a reading from the whole frame and average it, you won’t get a satisfactory result.

The key to this method is the balance of light and shade. If you take your exposure reading from the whole scene, the camera includes all the dark area and wants that to be exposed well too. The resulting image will have an overexposed subject and visible detail in the shadows.

© Kevin Landwer-Johan

You can also use this same method with a background brighter than your subject. Doing this is often more complicated if the light is too strong or coming directly into your lens. The same principle applies when you have more light in the background than you do on your main subject. Make your exposure reading from your subject only, excluding light from the background. Your subject will be well exposed, and your background will be overexposed.

© Kevin Landwer-Johan

I have developed an outdoor daylight portrait studio which incorporates this technique. In this studio, I have good control of the light and the background. Here, I use black and white fabric backdrops which mean I have an even exposure on the background creating a great contrast to my subject.

© Kevin Landwer-Johan

The control of Focus and Depth-of-Field

The most popular methods used to isolate subjects is carefully controlled focus and a shallow depth-of-field. My very first lens was a 50mm f/1.4. So, naturally, I grew to love using the wide aperture capability to help me knock my backgrounds out of focus.

Using a wide aperture setting is central to this method. However, there is more to it than choosing your lowest f-stop number.

Relative distances have a significant impact on how much your background blurs. The closer you are to your subject, with any lens, the more the background will blur. Likewise, the further your subject is from the background, the softer the background appears.

Lens choice influences depth-of-field too. Using a telephoto lens, you can blur a background more with any aperture setting than if you use a wide-angle-lens.

© Kevin Landwer-Johan

Learn to control what you focus on, as well as the other settings that affect depth-of-field. Doing this well means you can include sufficient detail without compromising attention on your main subject. In this portrait of the tricycle taxi rider, I focused on him. I chose to have enough detail in the background, without it being sharp, because the background is relevant to this photo.

Compositional choices to isolate your subject

Point-of-view (the angle you choose to take your photo from), affects what you include and exclude from your frame. Often even just a small change in your camera position can have a significant impact on what’s in your frame and what’s left out.

Move around your subject and watch what happens with the background. Having a tree looking like it’s growing out of someone’s head is going to be distracting. Changing your angle of view a little your left or right eliminates this distraction. Selecting a higher or lower position helps if there’s a strong horizontal line in the background which dissects your subject.

© Kevin Landwer-Johan

Take your time. Pay attention to the background, not just your subject, when you are making your composition. After taking your initial photo, review it on your monitor. Study what’s in the background. Often this reveals distractions. Move around a little. One side or the other, up and down. Concentrate on the relationship between your subject and elements in the background.

Conclusion

Other methods of isolating your subject are many and varied. You can use contrasting colors, interrupted patterns, selective cropping and other techniques to help your chosen subject stand out.

© Kevin Landwer-Johan

Photographs are often stronger when your subject is clearly defined over everything else in the frame.

Experimenting with the methods I have outlined helps you build stronger compositions. Try them out. Try others. Find a few you like and this will help build up your individual photographic style as you begin to use them consistently.

The post Finding Your Strength in Isolation – 3 Methods to Make Your Subject Pop! appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Digital Photography School

January 15, 2019
Why You Should Always Have a Client Pre-Consultation
The post Why You Should Always Have a Client Pre-Consultation appeared first on Digital Photography School. It was authored by Jackie Lamas.

Mimi Thian

Any time you have a client paying you for a certain type of photography, it is essential to get all of the details laid out before any real planning or photography happens. Getting all of this squared away beforehand can make the whole process go quicker. Everyone stays satisfied, and all involved know what to expect for the final result.

What is a client pre-consultation?

A client pre-consultation is where you and your client meet to talk about the details of the session or project. You can meet at your studio, a coffee shop, or the client’s home or place of business.

Whether it’s a portrait client, a model, a commercial project, or a personal project that involves more people, a pre-consultation is important because you’re able to settle lots of questions and details that will make the session go smoothly.

A client pre-consultation can also take place via a video conference service like Skype or Facetime. The point is to get in front of your client and talk about your project or session.

Choose a location or method where you can give your undivided attention to your client. Having distractions or being in a place that isn’t suitable for a meeting can often keep you from staying focused on the details.

For example, a coffee shop may seem like the best choice, however, choose a spot within the place that is secluded and quiet. Choosing a very popular or loud location can make it difficult to talk or hear each other.

Be prepared for each type of pre-consultation

Even though you need a pre-consultation for all photography sessions or projects, preparing yourself for each with the right questions and information can help you to have a more focused pre-consultation.

Wedding pre-consultation

Even though the process of weddings tends to be the same, each wedding is unique. That is why pre-consultations are really important, especially if the pre-consultation happens before the couple books you for the event.

Meeting with the couple before the wedding can help them to determine the days’ timeline in terms of photography.

Prepare your contract with a cover sheet that you can fill in with all the important details. For example, names of the couple, date of the event, details of the ceremony and reception location, number of bridesmaids, start times for important events, and any other notes that relate to the event.

Have another sheet or notebook prepared for essential notes during the meeting. As much as we’d love to have photographic memories, the truth is, when we meet people for the first time, we can get lost in conversations and forget small but imperative details. So a meetings sheet can help you write down anything you think is important without having to write it on the contract.

Write down anything. From the color scheme, types of flowers they are having, first dance song, how they met, through to the more important details like the photography style they like and if they want a second photographer.

All of these details are equally important to the bride and groom, and so they should be important to you as well. For example, it can help you on the day of the event to remember that the flowers they chose are in remembrance of a passed grandmother.

Leave time for the couple to ask you any questions that they may have. It doesn’t matter if their questions or concerns are a bit unrealistic. Settling any doubt in a friendly way can mean the difference between them choosing you or another potential photographer they may be meeting.

Also be prepared to showcase your work with your clients at the time of the meeting. Take a portfolio, albums, prints, a laptop with your website and galleries open. Sometimes, clients contact photographers by referral without really checking out their work. So, this meeting is a great way to have them fall in love with your work. Taking albums can also open the door to upsell and add products to the wedding coverage.

These are items you should bring with you to every pre-wedding consultation:
- Portfolio, laptop, slideshow to show your clients
- Albums and products you wish to upsell your clients
- Contract and info sheet
- Meetings sheet or notebook to write down extra information about the wedding
- Copy of your collections pricing as well as a product price sheet
- The contract for clients to view terms and conditions
Remember that you are the professional and the couple is coming to you not only to meet you but to get as much information about photography, the wedding process, and any additional advice that could benefit them. Your expertise will always be appreciated, and your friendly attitude can get the wedding on your calendar.

Portrait sessions of any kind

For portrait sessions, you may think that a pre-consultation is a bit much. However, once you do have a pre-consultation you will be happy you did. Each portrait session, be it a family session, senior session, or individual are all unique and important.

Here a face-to-face meeting may not be as necessary and can sometimes be done through email or messages. However, it might become a long drawn out process if you do it that way. If possible, have a face-to-face meeting with your client – whether physically face-to-face or via a video conference service.

Things to go over during the meeting:
- Location and ideal time for the session
- Wardrobe ideas and what would fit the concept of the session
- How many people are attending the session
- If children are present, their ages so you can prepare ahead of time
- The style of photography they like, candid, posed, a mixture
During the client pre-consultation, it’s also important to have a portrait contract and a list of prices for your packages. That way, you can go over the pricing and what each package includes from the start.

Doing this gives your client the opportunity to ask any questions regarding the session beforehand avoiding any miscommunication or misunderstandings after the session has been completed.

Commercial or editorial projects

Commercial/editorial projects usually require quick execution and only allow a limited amount of time for you to photograph the concept. Depending on what your client is hoping to have as a result, you may have to have more than one pre-consultation especially if it is a new client.

Meeting with the whole team can also help the project go off with fewer setbacks. Everyone will be on the same page as far as concept, lighting, location, and all of the essential details of the project.

A pre-consultation is also a great time to go over the payment details of the project. The pricing and payment schedule is vastly different from portraits or weddings. Here, the circulation count should get discussed. Circulation covers how often the client runs your photographs in their marketing, advertising, or promotional material.

Also, discuss copyright and licensing during the meeting. You may want to be able to showcase the photographs in your portfolio, or sometimes, the client wants exclusive rights. Go over model releases and contracts during this time as well.

For these types of projects, the more questions you ask to get a clearly defined idea of the project can help you to get a better estimate for your work. The more information you get, the better.

In Conclusion

Pre-consultations are very important in all types of photography projects where you are dealing with a client who is paying you for your services. These meetings help you get a clear idea of what your client is looking for and what they are expecting to receive as their final product.

It can eliminate any doubts, answer questions, and help your client with your advice and expertise so that the project happens without any setbacks.

The post Why You Should Always Have a Client Pre-Consultation appeared first on Digital Photography School. It was authored by Jackie Lamas.

Digital Photography School
January 14, 2019