5 Top Tips - To Get the Most From Your First Model Photoshoot

As the saying goes, there's a first time for everything...Working with a professional model is no different. It might be intimidating at first but well worth the effort.

Up to now you've probably been shooting family members and friends, possibly whilst on vacation or at special events. These are all great learning opportunities as it lets you hone your skills and make mistakes in a non-critical environment.

But now you're itching to take things further and want to try your hand at a modeling shoot in a studio set-up. So you've seen videos of the pros at work, snapping gorgeous models with windswept hair striking pose after pose, while assistants and MUAs run around ensuring every eyelash and crease is in the right place...

Well just stop right there...

That is not going to happen, at least not for your first shoot or unless you have a big budget at your disposal. Most likely you will be photographer, assistant and casting agent all rolled into one and with the rise in popularity of microstock photography, a lot of photographers are starting to work this way.

Just to say, this is not a tutorial on studio photography techniques or makeup tips. There is plenty of information out there already. So lets get started with my 5 tips for a successful first model shoot.
Where to find models - So you've exhausted your contact list and its time to find new talent to work with. One option is asking model agencies if they have any new faces that need test shoots. As a first timer, its unlikely they'll give you the opportunity so that means looking elsewhere. The internet has lots of websites like model mayhem and one model place where new and established models register their profiles. Another option is somewhere like craigslist. Often you'll find some who are willing to work on a Time For Print (TFP) basis. i.e they provide the time free but expect copies or digital files of the shoot in return. I personally prefer to at least pay travel costs, as there'll be less chance of a no show if there's a financial incentive. I would also at this stage look for models who do their own makeup as it's one less thing to coordinate. Booking a Studio - Again the internet is your friend, just Google for studios in your local area. The rates are usually on an hourly or halfday/day basis. Ask if you can drop by, as the studio images on their website (most will have one) are often taken with wide angle lenses and look bigger than they are. Check if lighting equipment is included. Some of the expensive studios will be geared towards pros and will typically be well specced in terms of facilities like high ceilings, model changing areas, showers, client area etc but these will be overkill for what you require for now.Bringing it together - Now you have the model and studio selected, its time to pick a few dates and check availability with both parties. Once a suitable date is found you can book the studio. They will most likely ask for a deposit, which is standard practice.Communication is key - Let the model know what you will be looking to do i.e. the style and look of what you're trying to achieve. For your first time, I recommend something simple like a white backdrop shoot as this will let you concentrate on trying different model poses and learning to give instructions. Having some idea of poses to try is invaluable as this cuts down on the model standing around wasting studio time (You'll also look more professional).Email him/her clearly with the time, date, what to wear and location (A map will help). I often ask them to arrive a little late so I have time to set-up. Call the studio and model a couple of days before the shoot to reconfirm.On the day - You can ask a reliable friend to come along who can act as assistant for the day. Bring some refreshment like water or soft drinks, your model will appreciate the gesture. Make sure you are professional and respectful at all times. At the end of the shoot thank the model, let them know you'll be in touch and when they can expect to receive their prints/files (if it's a TFP shoot).

Note: If the model is a no show then you'll just have to take it on the chin. Most photographers say this goes with the territory. The reconfirm in point 4 is to give you a heads up just in case. You may be able to make alternative arrangements.

Happy Shooting!

This article has been viewed 8 time(s).
Article Submitted On: October 08, 2010

View the original article here

How To Make More Money From Digital Photography Online

This is a question that all photography lovers will ask themselves at some time or another. Even professional digital photographers will at some point need to have a think about where their photography businesses is going. So the question that needs to be addressed is just how can we make more money from digital photography online.

It doesn't really matter whether you are a professional photographer or an amateur, you only have to spend your time doing what you love most in order to make money from digital photography online, and these following tips will help you make the most out of your photography business.

What you are about to learn will help your business to flourish whether you are selling digital photography online through stock photography sites, or even to your local market place, so let's discover just what you are actually able to do to sell more of your photography work.

1) Do more online marketing.
All of us fail here at some stage or another, so you need to sit down and take a look at where you are at and what you should do to market your photography more effectively. Use a mind map so you can clearly see how your business is currently making money, and focus your marketing efforts on those elements that produce most income. Build a web site around the work that sells most, and then market your web site to a wider market. You may need help from a professional Internet marketer, but you will soon see your photography business grow 10 fold in a very short time.

2) Write an online photography guide.
So you're a great photographer, and have picked up a lot of tricks and useful knowledge along the way, so this could be your chance to put pencil to paper and produce your very own photography online guide. There are so many people out there who are just yearning to learn your photography skills, and the best way to market that guide would be to include it on your brand new web site. Your newly attained marketing skills will also help you to promote the photography guide to a world wide audience, so you can market it for just a couple of bucks. Include a monthly update subscription too, which will allow your income to grow even more.

3) How about giving photography online courses.
Now, have you ever thought about being a teacher? It doesn't sound very glamorous, but apart from just teaching locally you can also get out there on the Internet once again, and offer a step by step digital photography online course. Once again you are able to turn your photography knowledge into something you can share with a very wide audience, and you would be amazed at just how many people are turning to online courses today. You could offer courses from beginners to advanced, and don't forget to include a few lessons about how to make money from digital photography online.

Now as you can see, there is a whole new market out there who not only want to buy your photography work, but also want to learn from you. So just follow my advice, and you will soon have a really thriving photography business.

View the original article here

Choosing a PR Photographer - Pick a Peach Not a Lemon

PR PHOTOGRAPHY- Choosing a Photographer from London to Inverness

Firstly, why bother with a professional photographer? With modern digital cameras and Photoshop, surely anyone can get decent pictures? NO! Most professional photographers will tell you that the equipment doesn't do it all for you, no matter how much money you spend. Knowing exactly what all those buttons and gizmos do is secondary to an understanding of the rules of composition, years of experience in putting together setups that work, knowledge of relevant lighting techniques, and above all knowing when to just stand back and not fiddle too much. The gap between 'fine art' photography and commercial photography is a wider gulf than most amateurs assume. The skill of a good photographer is their creativity, speed, and consistent good quality. Aside from the technical and creative aspects of the work a good photographer should be presentable, approachable and easy to work with. Maybe the best way to think of a photographer is as someone representing not only you but also your client/customers. Will Uncle Jeff's friend who happens to have a digital camera be happy gently cajoling your blue-chip's CEO into standing just the right way while making them smile, and quite equally when faced with a group shot will they be assertive enough to get the shot just right without being too bossy?
It's not just about the photography.....it's the whole package.

It doesn't matter if you're a small company looking for a photographer to take pictures to accompany the latest press release, or an established public relations and branding outfit looking for fresh ideas - choosing the right photographer is key to put the right message across in the right way.

In the following article I intend to outline some of the things that I consider important when selecting a photographer. As a disclaimer - I will say that as a photographer myself I am in no way saying that I tick all these boxes as to be honest, certain photographers will inevitably suit certain clients better than others. But PR professionals may appreciate the view from the other side of the fence.

Where to look:

Referrals and contacts.

As with most staff and consultancy sourcing, referrals are a very useful way to scout the talent you're after. If you want to commission a photographer to work in an area where you have no existing contacts, why not call someone who does? It's often seen as poaching people's staff, but bearing in mind that most photographers are freelance then why not speak to another PR professional in that area and get the information you need. It is worth keeping in mind however, that just because someone has been using a photographer for twenty years, doesn't mean that they are necessarily the best choice for you. Avoid the inevitable referrals from friends and family unless you're sure they have a proven track record.

The 'local paper' technique.

I have known many PR companies that have contacted the local paper to query if there are any photographers in that area who they can recommend. Press photographers tend to work with a minimum amount of equipment and this is provided by the newspaper they work for. Due to the woeful lack of investment in newspapers and their staff, this means they may not be willing or able to use creative light set-ups and may have quite dated and worn equipment. It's for this reason that the local paper strategy can be successful if you're only after a photographer to cover a simple job such as an event or a cheque presentation. The chances are that one of the staff photographers on the newspaper will do the job efficiently and cheaply. It's worth bearing in mind that, in my experience at least, press photographers are generally of a high standard and used to working to deadlines, but often have their own ideas about how a brief should be covered so clear communication is needed. If you require something a bit more special, then maybe this is not the right approach.

The internet.

Use Google for what you want (PR photographer [your area]) and have a look at the websites on offer. You'll probably have lots of sites coming up for wedding photographers and such so look out for relevant keywords in the listing such as 'commercial', 'advertising', 'PR', 'public relations' or 'editorial'. If you struggle to find anything, then 'freelance' is quite a good catch-all search term.

Ideally you want to see a nice website with lots of info about the person/people. Some kind of info showing a proven track record, such as a client list or blog is great. Most importantly there should be an online portfolio that displays the kind of work that you would happily put on your website and present to your client/customers. Having a photo of the photographer on the website is useful. I'm not saying they have to be Brad Pitt or Angelina Jolie but they should look presentable and in some way vaguely human.

Enquiries

Ideally you should now have a short list of photographers to choose from. If you are struggling to find a few in your particular target area then try a wider geographical search. I've worked from South London to Inverness in the last year so it just goes to show that if the photographer can do you a good deal on travel expenses you can choose someone from a little further afield.

Email enquiries are the easy way but there is no substitute for a phone call. Don't dismiss photographers who don't pick up - would you want a photographer talking to other clients when he's meant to be working for you? Do leave a message and number though, and the conscientious will call back. Speaking to someone will straight away give you an impression of the person and give you an opportunity to ask all the questions you need.

FAQ:

What is your availability on the relevant date?

What are your rates, per hour, or part of day? (Don't confuse price with value!)

How far do you travel and what do you charge per mile/flat fee?

What is your policy on copyright?

How quickly can we get the pictures?

How do you deliver the pictures?

How do you accept payment?

These are all pretty obvious but the best questions are often the ones that put the photographer on the spot. These could be something like: 'We want some portraits of the Managing Director of a logistics company in a city centre location....what would your ideas for that shoot be?'

A good photographer would say: 'We could have them stationary with blurred crowds of people rushing around them, or have them on a traffic island with traffic zooming around them or sat in a nice coffee shop reading the FT......etc'.

What I'm trying to say is that a photographer should be able to add to the brief as well as fulfill it. As a photographer I know only too well that a client can come up with an idea for a photograph which they think is wonderful, which in reality may be difficult or impractical to achieve. It's worth getting the photographer involved at the concept stage for a shoot and bouncing ideas around.

Make sure you get an agreed quote in writing. If it's agreed over the phone then send a confirmation email too. This is for you and the photographer and it saves any misunderstanding later.

The Brief: What to include?

The brief is an essential part of any given job. It sets down in writing what you expect from that person. Even if you're with the photographer on the day it's still really good to work together from the same brief so everyone's expectations are met.

+ Job Information: What, where, when, who..... info and relevant telephone numbers. The usual pitfall is getting to reception and being told that there are twelve Bobs in the factory. Full names and job titles are always useful, along with any relevant schedule or timing details. Be specific about how you expect the photographer to be dressed. Is it smart casual or suited and booted?

+ Must Have: Have a specific shot list of 'must have' things that you definitely need to have recorded as they happen and/or set-up.

+ Additional: Have an extra list of 'bonus' photographs you would like if possible allowing for time, conditions etc.

+ Style: Detail the overall look and feel of the image in terms of style. Do you want newsy pictures for the papers or more of a features brochure style?

+ Deliverables: Explain how you would the pictures sent or emailed.

+ Additional info: This may detail photography consent or parking.

+ Press Release: This may not always be possible, but if relevant do try and show a planned press release to a photographer so that they can work to take relevant accompanying photographs.

+ Plan B: Always try and make provision for poor weather or the person being photographed not to turn up because they've forgotten it's happening!. You can't plan for all eventualities, but having a plan B for the obvious ones may be wise.

This is just the bare bones. I was sent a brilliant 4000 word, 19 page brief recently from one of my regular clients. It was detailing the visit of a celebrity to the region to promote the 2010 Olympics. It contained concise instructions, all the places they would be visiting that day, exactly what was hoped to be achieved in each area and a preliminary press release that will be sent with the images. It contained a lot of background information that will be very useful on the day.

Feedback and organic growth.
All regular business relationships are about constructive communication. Although some jobs will occasionally be one-off type arrangements, it's always nice to know that once you have found someone you trust, you could use them again. If for some reason you are unhappy with a photographer's work, it's important to be clear why and give them the opportunity to receive that feedback and comment on it. We're not talking about an 'eBay' system of starred reviews, but do say what you liked most and least about commissioned work.

Hopefully once you've found a PR photographer you enjoy working with it will become a mutually beneficial relationship. Some small companies like to deal with one photographer all the time, whereas some rotate the work amongst several, ensuring availability at short notice. Some businesses pay a premium and go through an agency to get the equivalent (or worse, in my opinion) service they would get from an individual.

Apologies if this seems obvious to those who know.....

Feel free to add to the discussion.

View the original article here

Great Photography Is More Than Equipment

The photography industry has been very successful in generating an absolute hysterical interest in the latest technological innovation to the point of changing the perception of the general public into believing that great photography is simply a matter of having the right equipment. Many times I have heard from someone, "Well, I could do that good if I had a camera like yours." Statements like these totally discount my 35 year study of photography and over 10 year study of Photoshop. My normal retort is to encourage them to get a better camera. The problem with that is my statement is an affirmation of their core belief. Is there something we can do as serious photographers to help change this perception? I would like to think that we can by following a few simple steps.

First we need to be more open about what went into our high quality photographs to educate the public as to what goes into a great shot. For example, I go to Zion National Park a minimum of twice a year and each visit gets me more familiar with the area including mental notes of areas I want to photograph at particular times of year, time of day, and weather conditions. One shot has eluded me since I have started going there. I have a lot of work into that shot and not one capture. But one of these days the weather will be somewhat I like I imagined and I will get it then. But as of now, I have five years into a picture that hasn't been realized. Simply stated, there is a lot more to it than going there, snapping a picture, and leaving.

Second, when I first started in photography, I would just shoot away at anything that piqued my interest without the slightest consideration to composition what so ever. Fortunately, I befriended an artist whose medium was photography. This was the key to my growth because not only did my friend understand composition, he had the keen ability to explain it. I began studying art composition and this has been the difference in my abilities. So we need to talk exhaustively about composition not only in our own photography but about others as this will emphasize the attention to detail and planning that a great photograph requires.

Thirdly we must strive to be original. Granted this requires time and effort on our part but I think you will find every minute worth it in the end. Ever since Peter Lik created his masterpiece "Ghost" art festivals have been full of photographers selling their version of a southwest slot canyon with a ray of light peeking through to the point of clich?. We are not exercising our compositional imagination when we do this and it degrades the market and our value. We may earn a few dollars by doing this but at what cost?

The master photographer deserves their due. That thought runs contrary to a manufactures concern that they sell more and more units. Clearly there is more money in selling cameras than there is in selling photographs. And the manufactures have utilized their marketing dollars to make a very compelling argument that the camera makes the photograph. We need to start screaming from the top of the highest mountain that, "The camera is the tool the Photographer uses to create the photograph!"

View the original article here

Choose Perfect Camera Lens for Night Photography

Night Photography can be very intriguing. You cannot just think of clicking photographs in the night under normal circumstances. A lot of factors come into play and influence the photographs. During nights the most important aspects of photography are focus, weight, image quality and the price of the lens. The lens that offers all these qualities automatically qualifies as the ideal choice for night photography. The Nikon Telephoto Lens and the Canon Wide Angle Lens do the needful to qualify.

The reason why both the Nikon Telephoto Lens and the Canon Wide Angle Lens qualify is because of the variety available. The AF-SDX 35mm f/1.8G, AF Nikkor 50mm f/1.8D Autofocus and the 2180 AF-S NIKKOR 50mm f/1.4G are three fine examples from Nikon. All these have been categorized under the Nikon Telephoto Lens and have shown their capacity to produce visually appealing images during the nights. The ambience might be dark and the light dim, but these lenses get to work quickly and show why they are top preference. They have a good focal length, curvature, and aperture and produce good snaps.

If Nikon has these to boast of, then Canon too is not far behind. The 24-105mm f/4L IS USM EF, EF-S 15-85mm f/3.5-5.6 IS USM UD Wide Angle Zoom and the EF 28-135mm f/3.5-5.6 IS USM are Canon masterpieces that have been made for night photography. During nights, whether artificial light is available or not, these lenses show competence in taking clear photographs. They are the finest Canon Wide Angle Lenses that have been produced so far with a proven track record of doing well during nights.

These are the perfect examples of the lenses used during nights for photography. The photographs taken through these are neither blurred nor distorted. They are as apparent as they can ever be. Once the photographer puts them inside his camera and starts using them, issues such as picture quality and image stability which are otherwise very important seem very petty.

The nights do not have the good fortune of broad daylight. Hence, the lenses in the camera have to be so strong that absence of light gets compensated for. Distorted lenses lack clarity. The images come blurred, and the darkness sets it up for a double whammy. This can really become frustrating for the photographer, for he has to put in twice the effort during nights. These lenses do not let that happen, and give the photographer a reason to cheer for.

Laying focus during nights is not that easy. Same goes for establishing stability and ensuring texture. All these things only fall into place when the lens itself has something special to offer. The features that have been talked about above have to be there in the lenses to get good pictures. Their absence is bad news and will leave the photographer in dismay. These are the most ideal lenses that fit the bill for good night photography. There are plenty of artists vouching for their efficiency, reason enough for usage.

View the original article here

Purchase a Used Sony Z1u From a Reputable Reseller

Even when you are buying a used piece of equipment, a high quality camcorder can still be a costly purchase for a student or someone just starting out as a professional in the field of video recording. If you are a student at a school that specializes in video production, you probably use a camcorder every day for various assignment given to you by your professor. Owning a Sony Z1u probably seems like a fantasy while you are still in school because of how expensive they are when you check the price at your local electronics store. Camcorders are not a cheap piece of equipment, and the Sony Z1u is no exception. This is the main reason why you are always told to be very careful when renting out or borrowing someone else's camera; however, if you know you are going to be using a camcorder for years to come, it may be time to put the money up to get your own equipment.

The prices of video cameras have come down a bit over the years, but they still aren't a spur the moment purchase that most people can make without putting much thought into them. In fact, with many online trading and selling markets now available to everyone, many people are offered low prices for used camcorders everyday from all over different parts of the world. If you need a new digital camcorder for work or school, a used, less expensive camcorder would be ideal for you, especially if you are just getting started with your professional career. Used camcorders are widely available on the Internet these days, but if you are looking for an expensive model, such as a used Sony Z1u, consider finding a professional reseller, as this is the most secure way to purchase.

Purchasing a used Sony Z1u does not have to spell disaster, as long as you make smart, sensible decisions when picking out where to buy from. Choose a reputable website with some positive feedback and reviews, so you know that you are getting what you paid for and won't be scammed by an individual selling a broken camcorder. Auction websites like eBay are notorious for ripoffs and scams, so you will want to be extra diligent when making a purchase.

For example, there have been numerous stories of someone purchasing an expensive electronic device and then being very frustrated when the package arrives at the house and it is just the box for the product they thought they purchased. This happened plenty of times when the Microsoft Xbox 360 was first released because people were not reading the fine print on the auctions which they bid on. To avoid horrible stories like these, you are much better buying any used gear and equipment from an established dealer.

View the original article here

Making the Jump Into Studio Photography

You've been taking pictures on vacation and at family events but you feel its time to take things further and try your hand at studio photography.

So what is the 'advantage' of shooting in a studio to shooting outside? Well I like to think it's not better but just different. In a studio you will have full control of lighting and style. This is a great learning experience as you'll get to experiment to your heart's content. You'll learn how light behaves as you'll have full freedom to place them where you like.

So what's your motivation? Is it the challenge of interacting and directing models or the satisfaction of creating images and not just capturing them?

Whatever the reason, it requires a different kind of workflow than you may be used to. It may take you longer to prepare a shot than to actually take it.

You'll need to get familiar with the lighting equipment, and all the light modifiers that come with them. It's a good idea to get up to speed handling off camera flash before you take the plunge into full studio strobes. Next you need to know the kind of backdrops that works best with your subject. If the colour is too similar they'll blend into the background.

If you're working with a model, the wardrobe and make-up can make or break the shoot, so this has to be selected carefully. This could mean working with stylist and hairdressers to craft the right look.

While shooting, you'll need to have an idea of which model poses to use and how to communicate them to your subject... And that, as they say, is another subject...

View the original article here